Lehman Engel, the man who "knows more about the American musical theatre than anyone else" (Brooks Atkinson), composer of scores of smash successes, and winner of three Tonys, raises the curtain on what makes a musical hit: MUSIC LYRICS LIBRETTOS AUDITIONS It's all here for the aspiring student, seasoned professional, and everyone else who has ever thrilled to the color, drama, and sheer excitement of the musical theatre.

Musical experience as transaction -- Transience to permanence -- The rise of commercial markets -- Media revolutions -- Convergence and crossover -- Masssification -- Scaling and selling live performance -- Visual media -- Artists, audiences, and brands -- Digitization -- State of the art.

This volume brings together a number of perspectives on the musical landscape of Invercargill, a city at the bottom of Aotearoa/New Zealand. Invercargill is in many ways unique; it is relatively isolated, its access to liquor is controlled by a licensing trust, and it is home to the longest-serving mayor in Aotearoa. The musicking that occurs within Invercargill is surprisingly diverse and wide-ranging. This book acknowledges and explores many of the South’s musical communities, and in, doing so, illustrates the importance of music in local communities. It highlights the ways in which social connectedness, local identity and individual lives are enriched through musical activities being interwoven through communities.

The year 1917 was unlike any other in American history, or in the history of American music. The United States entered World War I, jazz burst onto the national scene, and the German musicians who dominated classical music were forced from the stage. As the year progressed, New Orleans natives Nick LaRocca and Freddie Keppard popularized the new genre of jazz, a style that suited the frantic mood of the era. African-American bandleader James Reese Europe accepted the challenge of making the band of the Fifteenth New York Infantry into the best military band in the country. Orchestral conductors Walter Damrosch and Karl Muck met the public demand for classical music while also responding to new calls for patriotic music. Violinist Fritz Kreisler, pianist Olga Samaroff, and contralto Ernestine Schumann-Heink gave American audiences the best of Old-World musical traditions while walking a tightrope of suspicion because of their German sympathies. Before the end of the year, the careers of these eight musicians would be upended, and music in America would never be the same. Making Music American recounts the musical events of this tumultuous year month by month from New Year's Eve 1916 to New Year's Day 1918. As the story unfolds, the lives of these eight musicians intersect in surprising ways, illuminating the transformation of American attitudes toward music both European and American. In this unsettled time, no one was safe from suspicion, but America's passion for music made the rewards high for those who could balance musical skill with diplomatic savvy.

Infused with a warm, affable tone, Making Music in Montessori is the Guide’s guide to music education, providing Montessori teachers all at once a snappy, practical handbook, music theory mentor, pedagogical manual, and resource anthology.The book’s goal: To give teachers confidence in music, so that when their children walk away from a lesson all fired up to compose their own music, their teacher will know how to guide them. Before Making Music in Montessori, teachers may have only dreamed of a classroom buzzing with children working, learning, and growing with music alongside all of the other subject areas in the Montessori curriculum. Now, it’s a reality. If children’s minds are a fertile field, then Making Music in Montessori will stir Montessori teachers of all musical backgrounds to don their overalls, roll up their sleeves, sow the musical seeds, and watch them blossom under their children’s flaming imagination.

The late Jan Fairley (1949-2012) was a key figure in making world music a significant topic for popular music studies and an influential contributor to such world music magazines as fRoots and Songlines. This book celebrates her contribution to popular music scholarship by gathering her most important work together in a single place. The result is a richly informed and entertaining volume that will be of interest to all scholars in the field while also serving as an excellent introduction for students interested in popular music as a global phenomenon. Fairley’s work was focused on the problems and possibilities of cross-cultural musical influences, fantasies and flows and on the importance of performing circuits and networks. Her interest in the details of music-making and in the lives of music-makers means that this collection is also an original and illuminating study of music and politics. In drawing on Jan Fairley’s journalism, this volume also offers students a guide to various genres of world music, from Cuban son to flamenco, as well as an insight into the lives of such world music stars as Mercedes Sosa and Silvio Rodríguez. This is inspiring as well as essential reading.