At the end of WWII, themes in music shifted from soldiers' experiences at war to coming home, marrying their sweethearts, and returning to civilian life. The music itself also shifted, with crooners such as Bing Crosby and Frank Sinatra replacing the Big Bands of years past. Country music, jazz, and gospel continued to evolve, and rhythm and blues and the new rock and roll were also popular during this time. Music is not created without being influenced by the political events and societal changes of its time, and the Music of the Postwar Era is no exception. *includes combined musical charts for the years 1945-1959 *approximately 20 black and white images of the singers and musicians who represent the era's music

This book presents a large body of Korean fifteenth-century music in transcription.

Vladimir Jankélévitch left behind a remarkable uvre steeped as much in philosophy as in music. His writings on moral quandaries reflect a lifelong devotion to music and performance, and, as a counterpoint, he wrote on music aesthetics and on modernist composers such as Fauré, Debussy, and Ravel. Music and the Ineffable brings together these two threads, the philosophical and the musical, as an extraordinary quintessence of his thought. Jankélévitch deals with classical issues in the philosophy of music, including metaphysics and ontology. These are a point of departure for a sustained examination and dismantling of the idea of musical hermeneutics in its conventional sense. Music, Jankélévitch argues, is not a hieroglyph, not a language or sign system; nor does it express emotions, depict landscapes or cultures, or narrate. On the other hand, music cannot be imprisoned within the icy, morbid notion of pure structure or autonomous discourse. Yet if musical works are not a cipher awaiting the decoder, music is nonetheless entwined with human experience, and with the physical, material reality of music in performance. Music is "ineffable," as Jankélévitch puts it, because it cannot be pinned down, and has a capacity to engender limitless resonance in several domains. Jankélévitch's singular work on music was central to such figures as Roland Barthes and Catherine Clément, and the complex textures and rhythms of his lyrical prose sound a unique note, until recently seldom heard outside the francophone world.

Blending insights from linguistic and social theories of speech, ritual and narrative with music-analytic and historical criticism, Britten's Musical Language offers interesting perspectives on the composer's fusion of verbal and musical utterance in opera and song and provides close interpretative studies of the major scores.

Urwind comprises fifty-three letters from Daniel Urwind, an aging bookseller, to his wife, who has left him for an indeterminate spell of greater freedom and study in the United States. The wife's absence haunts the letters, which are often tales of Daniel's daily rituals. Yet Daniel's narration of such mundanities--changing the bookshop window dressing, or housekeeping--approaches magical realism; memories of his wife, fantasies, bad dreams, monologues, and dialogues with the living and the dead coalesce in a complex layering of experience, past and present. Urwind is a construct worthy of Bachelard's Poetics of Space, and a painful chronicle of the ending of a love.