Everyone, according to W.A. Mathieu, is musical by nature—it goes right along with being human. And if you don't believe it, this book will convince you. In a series of interrelated short essays, Mathieu takes the reader on a journey through ordinary experiences to open our ears to the rich variety of music that surrounds us but that we are trained to ignore; such as the variety of pitches produced by different objects, like glassware, furniture, drums—anything you can tap; or sounds that hover on the border of music, like laughter, the clinking of glasses in a toast, or the unintentional falsetto produced by yawning. Along the way the author teaches aspects of music theory that nonmusicians might ordinarily shy away from. He reveals the way of music to be a profoundly spiritual path—one that is everyone's birthright.

Renowned as the gifted composer of a string of masterworks, Richard Strauss (1864-1949) is less often remembered for his achievement as a major conductor. This book considers Strauss' career as a conductor and places it in relation to his life as a composer.

Explicitly or not, the historical musicology of post-Revolutionary France has focused on Paris as a proxy for the rest of the country. This distorting lens is the legacy of political and cultural struggle during the long nineteenth century, indicating a French Revolution unresolved both then and now. In light of the capital's power as the seat of a centralizing French state (which provincials found 'colonizing') and as a cosmopolitan musical crossroads of nineteenth-century Europe, the struggles inherent in creating sustainable musical cultures outside Paris, and in composing local and regionalist music, are ripe for analysis. Replacement of 'France' with Paris has encouraged normative history-writing articulated by the capital's opera and concert life. Regional practices have been ignored, disparaged or treated piecemeal. This book is a study of French musical centralization and its discontents during the period leading up to and beyond the "provincial awakening" of the Belle ?poque. The book explains how different kinds of artistic decentralization and regionalism were hard won (or not) across a politically turbulent century from the 1830s to World War II. In doing so it redraws the historical map of musical power relations in mainland France. Based on work in over 70 archives, chapters on conservatoires, concert life, stage music, folk music and composition reveal how tensions of State and locality played out differently depending on the structures and funding mechanisms in place, the musical priorities of different communities, and the presence or absence of galvanizing musicians. Progressively, the book shifts from musical contexts to musical content, exploring the pressure point of folk music and its translation into "local color" for officials who perpetually feared national division. Control over composition on the one hand, and the emotional intensity of folk-based musical experience on the other, emerges as a matter of consistent official praxis. In terms of "French music" and its compositional styles, what results is a surprising new historiography of French neoclassicism, bound into and growing out of a study of diversity and its limits in daily musical life.

From legendary hip-hop and R&B journalist Nelson George, the definitive chronicle of the bestselling album of all time

This book traces Fauré's life and the rich cultural milieu in which he lived and worked.

To best friends and devoted theater fans Emily and Philip, Aurora is no ordinary Broadway musical. Their love for the hit show (whose reclusive author has never been named) is nothing short of an obsession. Thanks to a secret loan from Emily’s grandma Rose, seeing the Saturday matinee has become a weekly ritual that makes real life seem dull and drab by comparison. But when the theater chat rooms start buzzing with crazy rumors that Aurora might close, Emily and Philip find themselves grappling with some truly show-stopping questions. What, exactly, is the “one sure thing” in show business? How will they pay back the money they owe Grandma Rose? And why hasn’t Philip asked Emily out on a real date? As they go to hilarious lengths to indulge their passion for Aurora, Emily and Philip must face the fact that all shows close sooner or later. But first they’ll put their friendship to the ultimate test, solve Broadway’s biggest mystery–and spend one unforgettable night at the theater.