This book develops ways of discussing musical practices to articulate a new approach to understanding connections between recordings, singers, and singing. Centred around materials from the mid-twentieth century, this book focuses on a time when composers and performers were questioning the idea of authorship within their musical practice. Materials drawn upon include recordings, scores, archival content, visual art, interviews, and liner notes to develop a rich conception of practices of performance. Analysis of performances include recordings of singers such as Cathy Berberian, Linda Hirst, Loré Lixenberg, Angelika Luz, and Meredith Monk. Compositions by Cathy Berberian, Luciano Berio, John Cage, and Manuel De Falla are considered. The book utilizes these sources to examine the collective way in which singers and composers form practices as multiple, transforming, emergent, and not hierarchical. The book articulates – with a detailed, close consideration of specific instances in recordings and scores – a relational understanding of performance. This book will be useful reading for students and scholars of music analysis, musicology, performance practice, and twentieth century vocal music.

(Transcribed Score). A fitting tribute to possibly the greatest pop band ever - The Beatles. This outstanding edition features full scores and lyrics to all 210 titles recorded by The Beatles. Guitar and bass parts are in both standard notation and tablature. Also includes a full discography. Songs include: All You Need Is Love * And I Love Her * Baby You're a Rich Man * Back in the U.S.S.R. * The Ballad of John and Yoko * Blackbird * Can't Buy Me Love * Come Together * Drive My Car * Eleanor Rigby * From Me to You * Glass Onion * A Hard Day's Night * Help! * Hey Jude * I Saw Her Standing There * I Want to Hold Your Hand * Michelle * Penny Lane * She Loves You * Twist and Shout * Yesterday * and many more! A must-own for any serious Beatles fan or collector!

The newest addition to our Alfred Vocal catalog, Singer's Library of Song features 37 of the world's best-loved songs from the Medieval era though the 20th Century, presented with historical information and performance suggestions that are designed to enhance and educate developing vocalists. Art Songs, Arias, Folk Songs, Spirituals, and Lieder -- they're all here, and they're all beautifully laid out in this comprehensive 200-page anthology for vocal study. English, Latin, Italian, German, French, Spanish, and Hebrew texts are included, and accurate translations and IPA pronunciation guides pave the way for serious singers. Available in low, medium, and high editions with optional accompaniment CDs (set of 2), Singer's Library of Song is a must-have for every voice teacher and student.

The much-loved tale of Maria and the von Trapp family is magically brought to life in this spectacular pop-up format. Based on the classic musical, this pop-up book transports the reader from the peaceful abbey to the lush green hills and breathtaking Austrian Alps. With intricate visual pops and lyrics from some of the memorable songs, such as 'My Favourite Things', 'Edelweiss', and 'Do-Re-Mi', The Sound of Music pop-up is sure to become a favourite thing in any family's library.

The Pathways of Song series offers concert songs in easy vocal ranges for the voice student, by composers such as Schubert, Brahms, Handel, Bach, Mozart, Beethoven, and Haydn. The series includes representative repertoire, with English translations and piano accompaniment. This title is available in MakeMusic Cloud.

(Instrumental Folio). When kids learn to play an instrument, they want to play the songs they know and love! This collection of 50 songs alongs them to do just that! It includes 50 contemporary favorites, including: Believer * Don't Stop Believin' * Happy * High Hopes * Let's Get It Started * Ocean Eyes * Perfect * Rewrite the Stars * A Thousand Miles * You Will Be Found * and more.

In Segregating Sound, Karl Hagstrom Miller argues that the categories that we have inherited to think and talk about southern music bear little relation to the ways that southerners long played and heard music. Focusing on the late nineteenth century and the early twentieth, Miller chronicles how southern music—a fluid complex of sounds and styles in practice—was reduced to a series of distinct genres linked to particular racial and ethnic identities. The blues were African American. Rural white southerners played country music. By the 1920s, these depictions were touted in folk song collections and the catalogs of “race” and “hillbilly” records produced by the phonograph industry. Such links among race, region, and music were new. Black and white artists alike had played not only blues, ballads, ragtime, and string band music, but also nationally popular sentimental ballads, minstrel songs, Tin Pan Alley tunes, and Broadway hits. In a cultural history filled with musicians, listeners, scholars, and business people, Miller describes how folklore studies and the music industry helped to create a “musical color line,” a cultural parallel to the physical color line that came to define the Jim Crow South. Segregated sound emerged slowly through the interactions of southern and northern musicians, record companies that sought to penetrate new markets across the South and the globe, and academic folklorists who attempted to tap southern music for evidence about the history of human civilization. Contending that people’s musical worlds were defined less by who they were than by the music that they heard, Miller challenges assumptions about the relation of race, music, and the market.