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Published: 25 July 2024

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1

Association for the Promotion of New Music. Association for the Promotion of New Music catalog, 1986. Ship Bottom, N.J: The Association, 1986.

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2

Music Library Association. New England Chapter. A history of the New England Chapter: 1963-1988. [S.l.]: Music Library Association, New England Chapter, 1988.

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3

Lulu, Butterfly, and Department for Work and Pensions, eds. Marketing, promotion and distribution: Workbook 6. London: Department for Work and Pensions, 2005.

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4

New York State Early Music Association., ed. The age of elegance: New York State Early Music Association lecture/demonstrations, 1994-1996. [Ithaca, N.Y. (616 Coddington Rd., Ithaca 14850)]: The Association, 1994.

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5

Conference, College Band Directors National Association. The wind band in and around New York ca. 1830-1950: Essays presented at the 26th biennial conference of the College Band Directors National Association, New York, NY, Feb., 2005. [Van Nuys, Calif.]: Alfred, 2007.

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6

van, Rij Cees, International Association of Entertainment Lawyers. Meeting., and MIDEM (1991 : Cannes, France), eds. Music and new markets: Reports presented at the meeting of the International Association of Entertainment Lawyers, MIDEM 1991, Cannes. Apeldoorn: MAKLU, 1991.

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7

L, Scherer John. Music halls to movie palaces: An exhibition organized by the New York State Museum, Albany and circulated by the Gallery Association of New York State. Hamilton, N.Y: Gallery Association of New York State, 1985.

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8

Gellert, Thomas. History of the New York State School Music Association 1990-2006. NYSSMA, 2007.

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9

Fulcher, Jane F. Conclusion. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190681500.003.0008.

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Musicians such as Désormière, Schaeffer, Poulenc, and Messiaen explored new ways to destabilize or challenge the meanings Vichy sought to inscribe in culture, or to open up the message of iconic works in order to disrupt the regime’s increasingly compromised national cultural representations. To perceive this, it has been necessary to examine the evolving associations of musical styles as well as the material dimensions of performance, for they were both central components of the manner in which meaning was produced, particularly in the midst of politicized attempts to control it. For the Resistance, music thus magnified the regime’s evolving collaborationist goals and cultural tactics—its eventual quest to court the Germans by promoting cooperation in all areas. According to Resistance intellectuals, music could and did contribute both to a growing awareness of political realities and to the development of new cultural tactics within its ever-growing repertoire of symbolic contestation.
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10

Lambert, Philip. Evolutions. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037603.003.0003.

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This chapter examines Wilder's compositional maturity in the 1950s. From the late 1940s through the 1950s, Wilder pursued a long-held goal with growing confidence and perseverance. Having made his name as a songwriter-arranger, he now aspired to become more of a “composer.” He never abandoned the popular song but he found himself drawn more and more to the sounds and artistic sensibilities of the theater, opera house, and concert hall. Wilder's turn toward concert music was inspired, in his mind, by his association and friendship with his Eastman confrère John Barrows. Barrows took on a role for Wilder's concert music that Mitch Miller had once played for Wilder's experience in the popular realm: promoting him, helping him find opportunities, and offering boundless encouragement. Over the decades of their friendship, Wilder would write not only because of Barrows but also for him, as a soloist and in chamber groups.
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11

Frith, Simon. World Music, Politics, and Social Change: Papers from the International Association for the Study of Popular Music (Manchester New German Texts). Manchester University Press, 1989.

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12

Talent in the new millennium: Report presented at the meeting of the International Association of Entertainment Lawyers MIDEM 2001, Cannes. Apeldoorn, Netherlands: MAKLU Publishers, 2001.

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13

J. B. (John Bunyan) 1852- Herbert. Y. M. C. A. Gospel Songs: A New Collection of Sacred Music Arranged for Male Voices, and Designed for Use in Young Men's Christian Association Meetings ... Creative Media Partners, LLC, 2021.

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14

Murphy, Clifford R., ed. New England Country and Western Music and The Myth of Southern Authenticity. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038679.003.0003.

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This chapter illustrates how the story of New England country and western music is ultimately about how working-class New Englanders living in the multiethnic age chose to understand themselves as Americans through the frontier symbolism of western music. When the Country Music Association (CMA) coalesced in Nashville and rebranded the music as “country music,” a fundamental change took place in how country music functioned within working-class New England. The courting and subsequent takeover and abandonment of New England country and western music by national or corporate entities is just another in a long line of such losing battles for New England's working people, which led many to believe that the interests of working-class New Englanders are not the interests of the nation.
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15

Jameson. Sisters of Charity; and, the Communion of Labour: Two Lectures on the Social Employments of Women. a New Edition Enlarged and Improved with a Prefatory Letter to the Right Hon. Lord John Russell, President of the National Association for the Promotion Of. HardPress, 2020.

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16

Whitmire, Ethelene. The New York Public Library. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038501.003.0007.

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This chapter discusses Regina's decades-long battle with the New York Public Library (NYPL). For all that she was doing for the NYPL, Regina believed that she was neither being paid a wage that recognized her contributions nor being afforded the opportunities for promotion she deserved. Her relationship with Ernestine Rose deteriorated as Regina frequently asked W. E. B. Du Bois, representing the National Association for the Advancement of Colored People, to intervene on her behalf with the NYPL administration. In order to understand Du Bois' involvement with Regina, the chapter examines his earlier dispute with the NYPL administration on behalf of librarian Catherine Latimer—the first African American librarian in the system. Du Bois was particularly galled by the situation at NYPL, which limited African American librarians to a few branches.
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17

Pilchak, Angela M. Contemporary Musicians: Profiles of the People in Music (Contemporary Musicians). Thomson Gale, 2005.

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18

Pilchak, Angela M. Contemporary Musicians: Profiles of the People in Music (Contemporary Musicians). Thomson Gale, 2005.

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19

Pilchak, Angela M. Contemporary Musicians: Profiles of the People in Music (Contemporary Musicians). Thomson Gale, 2004.

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20

Pilchak, Angela M. Contemporary Musicians: Profiles Of The People In Music (Contemporary Musicians). Thomson Gale, 2005.

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21

Pilchak, Angela M. Contemporary Musicians: Profiles of the People in Music (Contemporary Musicians). Thomson Gale, 2004.

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22

Pilchak, Angela M. Contemporary Musicians: Profiles of the People in Music (Contemporary Musicians). Thomson Gale, 2005.

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23

Contemporary Musicians: Profiles Of The People In Music (Contemporary Musicians). Thomson Gale, 2005.

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24

Pilchak, Angela M. Contemporary Musicians: Profiles Of The People In Music (Contemporary Musicians). Thomson Gale, 2005.

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25

Pilchak, Angela M. Contemporary Musicians: Profiles of the People in Music (Contemporary Musicians). Thomson Gale, 2005.

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26

Pilchak, Angela M. Contemporary Musicians: Profiles of the People in Music (Contemporary Musicians). Thomson Gale, 2004.

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27

Magowan, Fiona. Mission Music as a Mode of Intercultural Transmission, Charisma, and Memory in Northern Australia. Edited by Jonathan Dueck and Suzel Ana Reily. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199859993.013.001.

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This article, focuses on the durability of Methodist “mission music” among the Yolngu, an Australian Indigenous people, and addresses questions of musical transfer between missionaries and Yolngu over fifty years that have shaped their Christian music politics. “Mission music” is marked as a genre by its association with the early missionaries among the Yolngu, their processes of teaching and transmission and its articulation with some aspects of Yolngu ritual performance practices. Today, mission music is performed together with an array of contemporary Christian musics reflecting its ongoing importance as a local, transnational and international currency. Magowan shows how hymnody has persisted for Yolngu as a musical mode of remembering and celebrating the past, illustrated first in early dialogic approaches to music teaching and choral training, and later recaptured in choral performances for the 50th anniversary festival of a Yolngu mission. She argues that “mission music,” in spite of its introduced, non-local origins, has become an experiential, rhythmical and textual sign of the “local” as it is adopted and used by the Yolngu. Choral singing is shown to be a means of embodying mission memories and facilitating local charismatic leadership, in turn, transforming Yolngu-missionary relationships over time. Ongoing work with missionary evangelists and frequent travel to foreign mission fields have also created new arenas for intercultural dialogue, leading to increasing complexity in Yolngu relationships embodied in Christian performance.
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28

Schiff, David. Back to Modernism. Back to Futurism. Back to New York (1948–1975). Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190259150.003.0007.

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Carter’s mid-life oeuvre much of it composed in Europe, can be divided into three phases. From the Cello Sonata to the Variations for Orchestra he achieved a synthesis of European modernism, especially as found in the music of Schoenberg, Berg and Bartók, and American ultra-modernism; in all of these works Carter either quoted or alluded to compositions by Charles Ives. The works from the Second Quartet to the Concerto for Orchestra reflect his ambivalent connection with the European avant-garde. While he was particularly impressed with the spatial composition and expansion of percussion found in works of Boulez and Stockhausen, he rejected the algorithmic and aleatoric aspects of their music. After 1968 Carter returned to New York and became a central figure in the “uptown” new music scene. He formed a particularly close association with the new music group, Speculum Musicae.
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29

Nigel, Blackaby, Partasides Constantine, Redfern Alan, and Hunter Martin. 8 Arbitration under Investment Treaties. Oxford University Press, 2015. http://dx.doi.org/10.1093/law/9780198714248.003.0008.

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This chapter describes the arbitration process under international investment treaties, in particular under the Washington Convention of 1965. This Convention aimed primarily to create a new arbitral forum for the resolution of disputes between investors and states by means of the inclusion of arbitration clauses in state contracts. The travaux préparatoires of the Convention also made clear that the consent of the state to arbitration could be established through the provisions of an investment law, which prompted many states to develop a programme of bilateral treaties for the promotion and protection of investments, so-called bilateral investment treaties (BITs), which set out protections in favour of foreign investment. The dramatic growth of BITs since the mid-1980s has led to the adoption of similar provisions in the ‘investment chapters’, or collateral agreements, to multilateral economic cooperation treaties, such as the Association of Southeast Asian Nations (ASEAN) Comprehensive Investment Agreement.
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30

Larsen, Kristin E. Community Architect. Cornell University Press, 2017. http://dx.doi.org/10.7591/cornell/9781501702464.001.0001.

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This biography of Clarence Samuel Stein comprehensively examines his built and unbuilt projects and his intellectual legacy as a proponent of the “Garden City” for a modern age. This examination of Stein's life and legacy focuses on four critical themes: his collaborative ethic in envisioning policy, design, and development solutions; promotion and implementation of “investment housing;” his revolutionary approach to community design, as epitomized in the Radburn Idea; and his advocacy of communitarian regionalism. His cutting-edge projects such as Sunnyside Gardens in New York City; Baldwin Hills Village in Los Angeles; and Radburn, New Jersey, his “town for the motor age,” continue to inspire community designers and planners in the United States and around the world. Stein was among the first architects to integrate new design solutions and support facilities into large-scale projects intended primarily to house working-class people, and he was a cofounder of the Regional Planning Association of America. As a planner, designer, and, at times, financier of new housing developments, Stein wrestled with the challenges of creating what today we would term “livable,” “walkable,” and “green” communities during the ascendency of the automobile. He managed these challenges by partnering private capital with government funding, as well as by collaborating with colleagues in planning, architecture, real estate, and politics.
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31

Beal, Amy C. Having Faith, 1936–1940. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039157.003.0003.

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This chapter discusses Beyer's music in the late 1930s. During this period, Beyer's life seemed to balance precariously between a private struggle with poverty and being on the brink of public recognition. Beyer received some support from WPA projects around this time. On May 19, 1937, Beyer had her second Composers' Forum-Laboratory event, shared with composer Walter Helfer. She continued to compose prolifically; in 1937 alone she wrote eight works, including two chamber pieces, three pieces for choir, and three works for orchestra. Around 1938, Beyer was included in a small group that would comprise a “Promotion Committee” for the New Music Quarterly Recordings (NMQR), and she communicated regularly about the New Music recordings project with Harrison Kerr, Otto Luening, and Gerald Strang, who had taken over the direction of New Music Society events.
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32

Hobson, Suzanne. Unbelief in Interwar Literary Culture. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192846471.001.0001.

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Unbelief offers a new account of the relationship between literary and secularist scenes of writing in interwar Britain. Organized secularism has sometimes been seen as a phenomenon that lived and died with the nineteenth century. But associations such as the National Secular Society and the Rationalist Press Association survived into the twentieth and found new purpose in the promotion and publishing of serious literature. This book assembles a group of literary figures whose work was recommended as being of particular interest to the unbelieving readership targeted by these organizations. Some, including Vernon Lee, H. G. Wells, Naomi Mitchison, and K. S. Bhat, were members or friends of the RPA; others, such as Mary Butts, were sceptical but nonetheless registered its importance in their work; a third group, including D. H. Lawrence and George Moore, wrote in ways seen as sympathetic to the Rationalist cause. All of these writers produced fiction that was experimental in form and, though few of them could be described as modernist, they shared with modernist writers a will to innovate. This book explores how secularist ideas were adapted and transformed by these experiments, focusing in particular on the modifications required to accommodate the strong mode of unbelief associated with British secularism to the notional mode of belief usually solicited by fiction. Whereas modernism is often understood as the literature for a secular age, Unbelief looks elsewhere to find a literature that draws more directly on secularism for its aesthetics and its ethics.
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33

Heyman, Barbara B. Samuel Barber. 2nd ed. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190863739.001.0001.

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Samuel Barber (1910–1981) was one of the most important and honored American composers of the twentieth century. Writing in a great variety of musical forms—symphonies, concertos, operas, vocal music, chamber music—he infused his works with poetic lyricism and gave tonal language and forms new vitality. His rich legacy includes such famous compositions as the Adagio for Strings, the orchestral song Knoxville: Summer of 1915, three concertos, and his two operas, the Pulitzer Prize–winning Vanessa and Antony and Cleopatra, a commissioned work that opened the new Metropolitan Opera House at Lincoln Center in New York. Generously documented by letters, sketchbooks, original musical manuscripts, and interviews with friends, colleagues, and performers with whom he worked, this book covers Barber’s entire career and all of his compositions. The biographical material on Barber is closely interspersed with a discussion of his music, displaying Barber’s creative processes at work from his early student compositions to his mature masterpieces. The book also provides the social context in which this major composer grew: his education; how he built his career; the evolving musical tastes of American audiences; his relationship with Gian Carlo Menotti and such musical giants as Serge Koussevitzky, Arturo Toscanini, Vladimir Horowitz; and the role of radio in the promotion of his music. A testament to the significance of neo-Romanticism, Samuel Barber stands as a model biography of an important American musical figure.
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34

Sykes, Jim. The Musical Gift. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190912024.001.0001.

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The Musical Gift tells Sri Lanka’s music history as a story of giving between humans and nonhumans, and between populations defined by ethnic and religious difference. Author Jim Sykes argues that the genres we currently recognize as Sri Lanka’s esteemed traditional musics were not originally about ethnic or religious identity but were gifts to gods intended to foster protection and/or healing. Noting that the currently assumed link between music and identity helped produce the narratives of ethnic difference that drove Sri Lanka’s civil war (1983–2009), Sykes contends that the promotion of histories of cultural interaction, exchange, and respect for difference through musical giving has a role to play in post-war reconciliation. The Musical Gift includes a study of how NGOs used music to promote reconciliation in Sri Lanka, the first ethnography of the plight of musicians during the war in the Tamil-dominated north and of Sinhala Buddhist drummers in the south, and a theorization of the relations between musical gifts and commodities. Eschewing a strict binary between the gift and identity, Sykes claims that the world’s music history is largely a story of entanglement between these paradigms. Drawing on fieldwork conducted widely across Sri Lanka over a span of eleven years, The Musical Gift brings anthropology’s canonic literature on “the gift” into music studies fully for the first time, while engaging with anthropology’s “ontological turn” and the “new materialism” in religious studies.
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35

Martin, Andrew R. Steelpan Ambassadors. University Press of Mississippi, 2017. http://dx.doi.org/10.14325/mississippi/9781496812407.001.0001.

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“Maybe you won't like steel band. It's possible. But it's been said that the Pied Piper had a steel band helping him on his famous visit to Hamelin.” When the US Navy distributed this press release, anxieties and tensions of the impending Cold War felt palpable. As President Eisenhower cast his gaze toward Russia, the American people cast their ears to the Atlantic South, infatuated with the international currents of Caribbean music. Today, steel bands have become a global phenomenon; yet, in 1957 the exotic sound and the unique image of the US Navy Steel Band was one-of-a-kind. From 1957 until their disbandment in 1999, the US Navy Steel Band performed over 20,000 concerts worldwide. In 1973, the band officially moved headquarters from Puerto Rico to New Orleans and found the city and annual Mardi Gras tradition an apt musical and cultural fit. The band brought a significant piece of Caribbean artistic capital—calypso and steelband music—to the American mainstream. Its impact on the growth and development of steelpan music in America is enormous. This book uncovers the lost history of the US Navy Steel Band and provides an in-depth study of its role in the development of the US military's public relations, its promotion of goodwill, its recruitment efforts after the Korean and Vietnam wars, its musical and technological innovations, and its percussive propulsion of the American fascination with Latin and Caribbean music over the past century.
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36

Zacharasiewicz, Waldemar, and Siegfried Beer, eds. Cultural Politics, Transfer, and Propaganda. Mediated Narratives and Images in Austrian-American Relations. Verlag der Österreichischen Akademie der Wissenschaften, 2021. http://dx.doi.org/10.1553/978oeaw88742.

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The interdisciplinary collection contains 16 essays by scholars from literary and cultural studies, by sociologists, historians, musicologists, art historians and media experts. Following the introduction to the key issues in cultural politics and propaganda and a synopsis of the essays, an article surveys the reciprocal perception of Austria and the USA from the 18th century onwards. The following essays analyze various historical phases in the complex relationship between Austria (and Central Europe) and the USA. Several essays survey the strategies used to promote Austrian tourism and contrast them with advertisements for American sights, and document the implementation of aid programs for the impoverished societies in Austria in the aftermath of World War One. There follow articles that discuss the role of exiled Austrians in the dissemination of a positive image of Austria and a favorable view of the USA, while two contributions are devoted to the misrepresentation of significant individuals active in Austria in the interwar years. Special attention is then paid to the role of the Marshall Plan in economic reconstruction in Austria and Western Europe, and to the promotion of liberal democracy in the media during the Cold War. The impact of transatlantic exchange programs for scholars and scientists in the countries of Europe under Soviet influence is also considered. The wide range of essays concludes with critical perspectives on political phenomena, such as the apparently exaggerated role of Austrian resistance fighters in the liberation of the country from the Nazi tyranny in 1945, and on the controversy over Dr. Kurt Waldheim as reflected in popular music in the 1980s. The transfer of new concepts of contemporary art in museums and of contrasted cinematic genres resulting in a merger is illustrated in the final two essays.
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37

Zwickel, Jonathan A. Beastie Boys. ABC-CLIO, LLC, 2011. http://dx.doi.org/10.5040/9798400617072.

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A concise musical biography traces the Beastie Boys' story from the New York punk scene through a blockbuster career that spans more than 20 years. Ever since they hit the big time with their 1986 rock/rap debut Licensed to Ill, the first rap album to reach #1 on the Billboard 200, the Beastie Boys have been a cultural bellwether, the likes of which was unseen before or since. Their association with MTV made the Beasties instant poster children for an unprecedented phase of integration, both musical and racial. Their music, a pastiche of sounds that spans decades and genres, influenced the course of popular music and continues to do so today. Beastie Boys: A Musical Biography tells the story of the band, from its beginnings through its ongoing critical and commercial success. Fans can read about the group's origins, the training of its members, its awards and accomplishments, and its influence on pop culture. Authoritative yet concise, this lively overview covers everything from the band's unique sound to their collaborations with leading filmmakers on their award-winning videos.
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