This is the original conductor's score for the opera "Daisy" including the vocal parts as well as instrumental lines for flute, oboe, clarinet, bassoon, horns, trumpets, bass trombone, timpani and percussion, harp and piano, violin, viola, cello, and string bass. The introductory pages at the start of the score include acknowledgements and synopsis by Professor Kenneth L. Ballenger, the cast of characters and scene list (5 scenes). There is an index to the scenes for each act following their title pages (before page 1 for Act I and before page 262 for Act II).

From book jacket: “Mr. Guitar” Chet Atkins called Lenny Breau (1941-1984) “the greatest guitarist who ever walked the face of the earth.” Breau began playing the instrument at age seven, and went on to master many styles, especially jazz. Between 1968 and 1983 he made a series of recordings that are among the most influential guitar albums of the century. Breau’s astonishing virtuosity influenced countless performers, but unfortunately it came at the expense of his personal relationships. Despite Breau’s fascinating life story and his musical importance, no full-length biography has been published until now. Forbes-Roberts has interviewed more than 175 people and closely analyzed Breau’s recordings to reveal an enormously gifted man and the inner workings of his music. “Lenny Breau was, and will always be, a great treasure. We need him today more than ever.” —Mundell Lowe

In Music from the Hilltop, Benjamin A. Kolodziej studies three significant academic musical figures to weave a narrative that not only details the role musical studies played in the development of Southern Methodist University but also relates a history of church music and pipe organs in Dallas, Texas. Bertha Stevens Cassidy (1876–1959), the first organ professor and the only woman on the faculty of the new university, established herself as a leader and veritable dean of the church music community, managing a career of significant performances and teaching. Her student and protégé, Dora Poteet Barclay (1903–1961), broadened the pedagogical horizons for her students. Many of her own students achieved great professional heights as performers and church musicians. Robert Theodore Anderson (1934–2009) was intellectually able to bridge the gap between the theologians of the Methodist seminary and the performers at the Meadows School of the Arts. He consulted with the Dallas Symphony to prepare for the installation of an organ in the new Meyerson Symphony Center—an organ that would influence concert hall instruments in subsequent decades.

After he died, Townes Van Zandt found the success that he sabotaged throughout his short life despite the release of sixteen brilliant albums. Since his death, numerous albums both by and in honor of him have been released and many critical articles published, in addition to several books (including Robert Hardy’s A Deeper Blue by UNT Press). For the Sake of the Song collects ten essays on Townes Van Zandt from a variety of approaches. Contributors examine his legacy; his use of the minor key; his reception in the Austin music scene; and an exploration of his relationship with Richard Dobson, with whom he toured as part of the Hemmer Ridge Mountain Boys. An introduction by editors Ann Norton Holbrook and Dan Beller- McKenna provides an overview of Van Zandt’s literary excellence and philosophical wisdom, rare among even the best songwriters.

Jade Visions is the first biography of one of the twentieth century’s most influential jazz musicians, bassist Scott LaFaro. Best known for his landmark recordings with Bill Evans, LaFaro played bass a mere seven years before his life and career were tragically cut short by an automobile accident when he was only 25 years old. Told by his sister, this book uniquely combines family history with insight into LaFaro’s music by well-known jazz experts and musicians Gene Lees, Don Thompson, Jeff Campbell, Phil Palombi, Chuck Ralston, Barrie Kolstein, and Robert Wooley. Those interested in Bill Evans, the history of jazz, and the lives of working musicians of the time will appreciate this exploration of LaFaro’s life and music as well as the feeling they’ve been invited into the family circle as an intimate. “Fernandez’ insightful comments about her brother offer far more than jazz scholars have ever known about this significant and somewhat enigmatic figure in the history of jazz. All in all, a very complete portrait.”—Bill Milkowski, author of Jaco: The Extraordinary and Tragic Life of Jaco Pastorius

This book examines 43 great concerti and discusses, in detail, the technical, aural, rehearsal, and intra-personal skills that are required for “effortless excellence.” Maestro Itkin wrote this book for conductors first encountering the concerto repertoire and for those wishing to improve their skills about this important, and often understudied, literature. Often misunderstood is the fact that both the physical technique and the score study process require a substantially different and more nuanced approach than with the major symphonic repertoire. In short, this is the book that Itkin wished had been available when he was a student and young professional.

The musical career of Alexander Tumanov extends from Stalinist and Soviet Russia through contemporary Canada, and as such provides an inspiring portrait of one person’s devotion to his art under trying circumstances. Tumanov was a founding member of Moscow’s Madrigal Ensemble of early music, which introduced Renaissance and Baroque music to the Soviet Union. The Ensemble enjoyed tremendous popularity in the 1960s and 1970s, despite occasional official disapproval by the Soviet bureaucracy. At times the compositions of the group’s founder, Andrei Volkonsky, were banned. Volkonsky eventually emigrated to escape the oppressive conditions, followed soon after, in 1974, by Tumanov, and the Madrigal Ensemble continued in a changed form under new leaders. The story of the author's subsequent life and career in Canada provides a poignant point of contrast with his Soviet period — at the musical, academic, and political levels. This book is a valuable resource for those interested in the history of music and intellectual life in Russia, Ukraine, and the Soviet Union in the twentieth century and is the first published book on the Madrigal Ensemble.

In the late 1970s legendary pianist Bill Evans was at the peak of his career. He revolutionized the jazz trio (bass, piano, drums) by giving each part equal emphasis in what jazz historian Ted Gioia called a “telepathic level” of interplay. It was an ideal opportunity for a sideman, and after auditioning in 1978, Joe La Barbera was ecstatic when he was offered the drum chair, completing the trio with Evans and bassist Marc Johnson. In Times Remembered, La Barbera and co-author Charles Levin provide an intimate fly-on-the-wall peek into Evans’s life, critical recording sessions, and behind-the-scenes anecdotes of life on the road. Joe regales the trio’s magical connection, a group that quickly gelled to play music on the deepest and purest level imaginable. He also watches his dream gig disappear, a casualty of Evans’s historical drug abuse when the pianist dies in a New York hospital emergency room in 1980. But La Barbera tells this story with love and respect, free of judgment, showing Evans’s humanity and uncanny ability to transcend physical weakness and deliver first-rate performances at nearly every show.

Although in 2000 he became the first sideman inducted into the Rock & Roll Hall of Fame, “King Curtis” Ousley never lived to accept his award. Tragically, he was murdered outside his New York City home in 1971. At that moment, thirty-seven-year-old King Curtis was widely regarded as the greatest R & B saxophone player of all time. He also may have been the most prolific, having recorded with well over two hundred artists during an eighteen-year span. Soul Serenade is the definitive biography of one of the most influential musicians of the 50s, 60s, and early 70s. Timothy R. Hoover chronicles King Curtis’s meteoric rise from a humble Texas farm to the recording studios of Memphis, Muscle Shoals, and New York City as well as to some of the world’s greatest music stages, including the Apollo Theatre, Fillmore West, and Montreux Jazz Festival. Curtis’s “chicken-scratch” solos on the Coasters’ Yakety Yak changed the role of the saxophone in rock & roll forever. His band opened for the Beatles at their famous Shea Stadium concert in 1965. He also backed his “little sister” and close friend Aretha Franklin on nearly all of her tours and Atlantic Records productions from 1967 …

Collection of Texas folklore and historical anecdotes split into three main sections: "Legendary" Texans; Texas Folk Song and Dance; and Life in Texas -- As We Remember It. Index starts on page 311.

Convict Cowboys is the first book on the nation’s first prison rodeo, which ran from 1931 to 1986. At its apogee the Texas Prison Rodeo drew 30,000 spectators on October Sundays. Mitchel P. Roth portrays the Texas Prison Rodeo against a backdrop of Texas history, covering the history of rodeo, the prison system, and convict leasing, as well as important figures in Texas penology including Marshall Lee Simmons, O.B. Ellis, and George J. Beto, and the changing prison demimonde. Over the years the rodeo arena not only boasted death-defying entertainment that would make professional cowboys think twice, but featured a virtual who’s who of American popular culture. Readers will be treated to stories about numerous American and Texas folk heroes, including Western film stars ranging from Tom Mix to John Wayne, and music legends such as Johnny Cash and Willie Nelson. Through extensive archival research Roth introduces readers to the convict cowboys in both the rodeo arena and behind prison walls, giving voice to a legion of previously forgotten inmate cowboys who risked life and limb for a few dollars and the applause of free-world crowds. The contents include: Texas prisons: a pattern of neglect -- A cowboy's a man …

“This wonderful collection of essays is a treasure of insight into the mind and heart of one of our great American performers and teachers. If the Arban book is the trumpet player’s ‘Bible,’ then I’d have to say Inside John Haynie’s Studio is the trumpet teacher’s ‘Bible.’”–Ronald Romm, founder, Canadian Brass and Professor of Trumpet, University of Illinois “The essays in this remarkable volume go far beyond trumpet pedagogy, providing an exquisite portrait of the studio practices of one of the first full-time single-instrument wind faculty members in an American college or university setting. John’s concern for educating the whole person, not just cramming for the job market, emanates from every page. This book showcases a teaching career that has become legendary.”–James Scott, Dean of the College of Music, University of North Texas “The principle that pervades my entire educational philosophy did not come from education or psychology classes; it did not come from the many sermons preached by my Dad and hundreds of other pulpiteers. It came from John Haynie’s studio.”–Douglas Smith, Mildred and Ernest Hogan Professor of Music, Southern Baptist Theological Seminary “I read a book like this and I come out the other end asking, ‘Why didn’t …

Book is a collection of poems that won our annual Vassar Miller Prize in Poetry. Themes include exile from one's native country and sexual identity

Jake Heggie and Gene Scheer’s grand opera Moby-Dick was a stunning success in the world premiere production by the Dallas Opera in 2010. Robert K. Wallace attended the final performance of the Dallas production and has written this book so readers can experience the process by which this contemporary masterpiece was created and performed on stage. Interviews with the creative team and draft revisions of the libretto and score show the opera in the process of being born. Interviews with the principal singers and the production staff follow the five-week rehearsal period into the world premiere production, each step of the way illustrated by more than two hundred color photographs by Karen Almond. Opera fans, lovers of Moby-Dick, and students of American and global culture will welcome this book as highly readable and visually enthralling account of the creation of a remarkable new opera that does full justice to its celebrated literary source. Just as Heggie and Scheer’s opera is enjoyed by operagoers with no direct knowledge of Moby-Dick, so will this book be enjoyed by opera fans unaware of Melville and by Melville fans unaware of opera.

Book is a history of the Industrial Areas Foundation branch in Texas. The Industrial Areas Foundation was founded by Saul Alinsky in Chicago in 1940 and is currently an international advocacy group. The Texas branch has many affiliates throughout the state. This book describes the evolution of those affiliates and their cooperative activities with other advocacy groups.

Stan Kenton (1911–1979) formed his first full orchestra in 1940 and soon drew record-breaking crowds to hear and dance to his exciting sound. He continued to tour and record unrelentingly for the next four decades. Stan Kenton: This Is an Orchestra! sums up the mesmerizing bandleader at the height of his powers, arms waving energetically, his face a study of concentration as he cajoled, coaxed, strained, and obtained the last ounce of energy from every musician under his control. Michael Sparke’s narrative captures that enthusiasm in words: a lucid account of the evolution of the Kenton Sound, and the first book to offer a critical evaluation of the role that Stan played in its creation. “Michael Sparke’s book, the first general history of the Kenton Orchestra, is the best evaluation yet of Kenton’s 40-year musical development.”—The Wall Street Journal

Quarterly publication discussing various topics in environmental ethics, including features, discussion papers, book reviews, editorial commentaries, and other text related to environmental philosophies. Some issues also include announcements and other news related to the environmental studies community.

"Cold Anger is an important book about the empowerment of working-class communities through church-based social activism. Such activism is certainly not new, but the conscious merger of community organizing tactics with religious beliefs may be. The organizing approach comes from Aul Alinsky and his Industrial Areas Foundations (IAF). . . . The book is structured around the political life of Ernesto Cortes, Jr., the lead IAF organizer who has earned recognition as one of the most powerful individuals in Texas (and who has been featured on Bill Moyers' "World of Ideas"). . . . Cortes fashioned a hard-ball Alinsky approach onto the natural organizing ground of church-based communities. The experiment began in San Antonio . . . and was successful in the transformation of San Antonio politics. Such dramatic success . . . led to similar efforts in Houston, Fort Worth, El Paso, the Rio Grande Valley, Phoenix, Los Angeles, and New York, to mention only a few sites. Expansion beyond San Antonio meant organizing among Protestant churches, among African American and white, and among middle-class communities. In short, these organizing efforts have transcended the particularistic limits of religion, ethnicity, and class while maintaining a church base and sense of …

A History of Fort Worth in Black & White fills a long-empty niche on the Fort Worth bookshelf: a scholarly history of the city's black community that starts at the beginning with Ripley Arnold and the early settlers, and comes down to today with our current battles over education, housing, and representation in city affairs. The book's sidebars on some noted and some not-so-noted African Americans make it appealing as a school text as well as a book for the general reader. Using a wealth of primary sources, Richard Selcer dispels several enduring myths, for instance the mistaken belief that Camp Bowie trained only white soldiers, and the spurious claim that Fort Worth managed to avoid the racial violence that plagued other American cities in the twentieth century. Selcer arrives at some surprisingly frank conclusions that will challenge current politically correct notions. "Selcer does a great job of exploring little-known history about the military, education, sports and even some social life and organizations."--Bob Ray Sanders, author of Calvin Littlejohn: Portrait of a Community in Black and White.

Containing pieces by distinguished scholars including Darlene Harbour Unrue and Robert Brinkmeyer, this book is the first full investigation of the links between Porter’s only novel and European intellectual history. Beginning with Sebastian Brant, author of the late medieval Narrenschiff, whom she acknowledges in her Preface to Ship of Fools, Porter's image of Europe emerges as more complex, more knowledgeable, and more politically nuanced than previous critics have acknowledged. Ship of Fools is in conversation with Europe's humanistic tradition as well as with the political moments of 1931 and 1962, the years that elapsed from the novel's conception to its completion. The contents include: New contexts for Katherine Anne Porter's Ship of fools / Thomas Austenfeld -- Fools and folly in Erasmus and Porter / Jewel Spears Brooker -- "After all, what is this life itself?": humanist contexts of death and immortality in Katherine Anne Porter's Ship of fools / Dimiter Daphinoff -- Paratexts and the rhetorical factor in literature: Sebastian Brant and Katherine Anne Porter / Joachim Knape --.

“There are some poets we admire for a mastery that allows them to tell a story, express an epiphany, form a conclusion, all gracefully and even memorably— yet language in some way remains external to them. But there are other poets in whom language seems to arise spontaneously, fulfilling a design in which the poet’s intention feels secondary. Books by these poets we read with a gathering sense of excitement and recognition at the linguistic web being drawn deliberately tighter around a nucleus of human experience that is both familiar and completely new, until at last it seems no phrase is misplaced and no word lacks its resonance with what has come before. Such a book is Austin Segrest’s Door to Remain.”— Karl Kirchwey, author of Poems of Rome and judge

Utilizing many sources new to publication, James L. Haley delivers a most readable and enjoyable narrative history of Texas, told through stories—the words and recollections of Texans who actually lived the state’s spectacular history. From Jim Bowie’s and Davy Crockett’s myth-enshrouded stand at the Alamo, to the Mexican-American War, and to Sam Houston’s heroic failed effort to keep Texas in the Union during the Civil War, the transitions in Texas history have often been as painful and tense as the “normal” periods in between. Here, in all of its epic grandeur, is the story of Texas as its own passionate nation.

Over the past sixty-five years, the Allied invasion of Northwestern France in June 1944, known as D-Day, has come to stand as something more than a major battle. The assault itself formed a vital component of Allied victory in the Second World War. D-Day developed into a sign and symbol; as a word it carries with it a series of ideas and associations that have come to symbolize different things to different people and nations. As such, the commemorative activities linked to the battle offer a window for viewing the various belligerents in their postwar years. This book examines the commonalities and differences in national collective memories of D-Day. Chapters cover the main forces on the day of battle, including the United States, Great Britain, Canada, France and Germany. In addition, a chapter on Russian memory of the invasion explores other views of the battle. The overall thrust of the book shows that memories of the past vary over time, link to present-day needs, and also still have a clear national and cultural specificity. These memories arise in a multitude of locations such as film, books, monuments, anniversary celebrations, and news media representations.

Texas changed enormously in the twentieth century, and much of that transformation was a direct product of social and cultural events. Standard histories of Texas traditionally focus on political, military, and economic topics, with emphasis on the nineteenth century. In Twentieth-Century Texas: A Social and Cultural History editors John W. Storey and Mary L. Kelley offer a much-needed corrective. Written with both general and academic audiences in mind, the fourteen essays herein cover Indians, Mexican Americans, African Americans, women, religion, war on the homefront, music, literature, film, art, sports, philanthropy, education, the environment, and science and technology in twentieth-century Texas. Each essay is able to stand alone, supplemented with appropriate photographs, notes, and a selected bibliography. In spite of its ongoing mythic image of rugged ranchers, cowboys, and longhorns, Texas today is a major urban, industrial society with all that brings, both good and bad. For example, first-rate medical centers and academic institutions exist alongside pollution and environment degradation. These topics, and more, are carefully explored in this anthology. It will appeal to anyone interested in the social and cultural development of the state. It will also prove useful in the college classroom, especially for Texas history courses.