Duncan Heining, George Russell: The Story of an American Composer. London: Scarecrow Press, 2010. 400 pp. ISBN 978-0810869977 (hbk). £37.95

2015 ◽  
Vol 7 (2) ◽  
pp. 243-246
Author(s):  
Frank Griffith
2015 ◽  
Vol 8 (1-2) ◽  
pp. 238-256
Author(s):  
Pierre-Emmanuel Seguin
Keyword(s):  

1969 ◽  
Vol 55 (9) ◽  
pp. 40-45
Author(s):  
Gail Kubik
Keyword(s):  

2010 ◽  
Vol 7 (2) ◽  
pp. 381-402
Author(s):  
Ingrid Monson ◽  
John Gennari ◽  
Travis A. Jackson

Do not miss Robin D. G. Kelley's Thelonious Monk: The Life and Times of an American Original, for it will stand as the definitive biography of the great American composer and pianist for many years to come. What distinguishes Kelley's treatment of Monk's complicated and enigmatic life is the sheer depth and breadth of primary research, including, for the first time, the active cooperation and involvement of Thelonious Monk's family. In his acknowledgments, Kelley describes a long process of convincing Thelonious Monk, III to grant permission culminating in a six-hour meeting in which his knowledge, credentials, and commitment were thoroughly tested and challenged. Once he had secured “Toot's” blessings, as well as that of his wife Gale and brother-in-law Peter Grain, Kelley was introduced to Nellie Monk, Thelonious Monk's wife, and a wide range of family and friends who shared their memories and personal archives of photos, recordings, and papers. This is not an authorized biography, however, since Thelonious Monk, Jr. never demanded the right to see drafts or dictate the content. Rather Kelley was admonished to “dig deep and tell the truth.”


1940 ◽  
Vol 17 (1) ◽  
pp. 49
Author(s):  
S. L. Quimby
Keyword(s):  

Artful Noise ◽  
2020 ◽  
pp. 107-117
Author(s):  
Thomas Siwe

With the end of World War II came the rebirth of European radio. Government stations in both France and Germany established experimental studios for research, from which arose a new kind of music, “electronic music.” The station in France, Office de Radiodiffusion Télevision Française (ORTF), was directed by the engineer/composer Pierre Schaeffer and his partner, Pierre Henry, who called their musical creations musique concrète. In Germany the Westdeutscher Rundfunk (WDR) studio produced music through the process of “synthesis.” This chapter will explain the difference between the two approaches used to create electronic music with examples from the percussion solo and ensemble repertoire. Early experiments using wire recorders, test records, and tape recorders by composers Halim El-Dabh, John Cage, and Edgard Varèse precede the major electronic works of Karlheinz Stockhausen, Mario Davidovsky, and the American composer Stephen Everett, whose use of computers in “real time” brings the reader into the next century.


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