...Chapter 1 with Chapter 2 focuses on the environment within Japanese musical modernity that is comprised of infrastructures in four spheres of activity--education and the government, industry and commerce--and, in the field of music, connectivities among them that afford composers opportunities...

... life in the twentieth century, the chapter also examines the careers of two other European composer-pianists, Busoni and Paderewski. Piano Concerto No Prelude in C sharp Minor Symphony No “Vocalise ” Karatygin Vyacheslav Scriabin Aleksandr Stravinsky Igor Taneyev Sergei Tchaikovsky Pyotr piano...

... figures, and topics. Because modules of various types featured in Mozart's activities as both a composer and a pianist, the concept of modularity provides a bridge connecting the two sides of his career. The chapter ends with a discussion of the role of explanation (as opposed to description) in musical...

...The Introduction distinguishes the modern Japanese composer from the performer-composer in the sphere of Japanese traditional music. The author situates herself in terms of experience and motivation and the book in terms of ethnomusicology. The discussion of modernity in the book is framed...

...Chapter 2 with Chapter 1 focuses on the environment within Japanese modernity that is comprised of infrastructures in four spheres of activity— education, government, industry, and commerce--and, in the field of music, connectivities among them that afford composers opportunities. Chapter 2...

... and Japanese traditional music (hogaku)— each deeply cultivated, historically grounded complexes from which composers might make creative choices. Chapter Four chronologically traces some choices from the 1920s, considering personal, political, and economic reasons for them. Intersections...

... does the speaking? The composer, his dedicatee, her instrument? Where does this leave “me,” twenty-first century “professional” performer of Haydn sonatas, working from an old score or “script”? Under the headings of “The weight of an ideology,” “The keyboardist as orator,” “Dedicatees,” and “Keyboards...

...-expression. Gordon Mumma, a composer and performer who collaborated with Cage at a time when both worked with the Merce Cunningham Dance Company, documents aspects of Cage's activities as a performer. Though, the scope and influence of Cage's activities are far too extensive to address, but this book...

...In the late nineteenth century, the few early nineteenth-century Italian operas remaining in the repertory were routinely reorchestrated to render their sound more similar to operas being composed at that time: Rossini's characteristic use of the piccolo as a solo instrument was ruthlessly...

...This chapter provides a glimpse of an exhibition of Cage's musical scores and other works held at the Student Union Gallery at Virginia Tech, which introduced his work as a visual artist to many people who knew him only as a composer. His investigation of the watercolor medium...

...Abramo Basevi published his study of Verdi's operas in Florence in 1859, in the middle of the composer's career. The first thorough, systematic examination of Verdi's operas, it covered the twenty works produced between 1842 and 1857—from Nabucco and Macbeth...

..., and American musics are reviewed, then motivations of individual Japanese composers for seeking experience in the United States or Europe. Cultural capital thereby accrued is factored in, as seen through Seiji Ozawa, Toru Takemitsu, and others. Types of international connections made by individual composers...

...Chapter Five, with Chapter Six, focuses on opportunities for composers in the environment of Japanese modernity characterized by the presence of European spheres of musical participation. Chapter Five considers the different types of instrumental ensembles— orchestras, small ensembles for chamber...