Music Received Compiled by Katharina Mueller This column features works by contemporary self-published Mexican composers who were either born in Mexico or had a large part of their musical upbringing there. The 38 composers included in this column were found through the Living Composers Project – Mexico or the Mexican Repertoire Collection at Dartmouth. The lists of works included are a sample of one or two representative works, including works of all instrumentation or electronic/electroacoustic music. Because these are self-published composers, an email and/or personal website link is listed as a point of contact for each. Scores offered by each of these composers are digital unless otherwise indicated in the bibliography entry. If you need a model for purchasing and licensing of digital scores, see the model agreement provided by the Music Library Association. https://copyright.wp.musiclibraryassoc.org/digital-score-purchase-license/ The Living Composers Project, located by country: http://www.composers21.com/country/mexico.htm Mexican Repertoire Collection at Dartmouth - Hopkins Center for the Arts at Dartmouth: https://rcweb.dartmouth.edu/~f001m9b/mexican_repertoire/. ÁLVAREZ, TOBÍAS www.blackdogeditions.com, tobiasalvarez.com Labyrinthis: For Solo Horn (2021). Álvarez Publishing. Score. $25. Rotaciones: For Violoncello & Electronics (2020). Álvarez Publishing. Score and Parts. $25. BARER, SERGIO https://sergiobarer.com Echoes of Mexico (2020): For Band (2020). Barer Publishing. Score and Parts. $50. Echoes of Mexico (2020): For Chamber Ensemble (2020). Barer Publishing. Score and Parts. $20. CALLEJA, JORGE https://jorgecalleja.musicaneo.com, jorgecalleja@jorgecalleja.org En Ese Camino Empedrado (On That Path of Stones): For Saxophone Quartet (2001). Calleja Publishing. Score and Parts. $10. CASTELLO, ANGÉLICA https://castello.klingt.org, castello@klingt.org Bodies of Noise: For 2 Pianos, Two Percussion Sets, Cassette Players, Radios and Electronics (2019). Castello Publishing. Score. Negotiable price. Star Washers: For Orchestra and Electronics (2021). Castello Publishing. Score. Negotiable price. CHAMIZO ALBERRO, ANDREA andreachamizoalberro@gmail.com Sigue Siendo Arena: For Orchestra (2018). Chamizo Publishing. Score. $160. [End Page 735] Frag ilidad: For Chamber Orchestra (2022). Chamizo Publishing. Score. $100. CORTÉS-ÁLVAREZ, FRANCISCO https://franciscocortes.com Reminiscencias de un Recuerdo: For Clarinet or Violin and Fixed Electronics (2012). Cortés-Álvarez Publishing. Score and Electronic Track. $100. Transcendiendo Muros: For Orchestra (2019). Cortés-Álvarez Publishing. Score and Parts. $200. ELIZONDO, JOSÉ https://www.joseelizondo.com, elizondo@alum.mit.edu Danzas Latinoamericanas: For Cello and String Orchestra (1997). Elizondo Publishing. Score. No charge. FERNÁNDEZ, HORACIO https://www.horaciofernandezcomposer.com, hf4@juilliard.edu Jacarandas en el Suelo: For Chamber Orchestra and 2 Sopranos (2022). Fernández Publishing. Score. $50. Score and Parts. $150. Tumbao: For Orchestra (2020). Fernández Publishing. Score. $50. GONZALES MEDINA, ENRIQUE https://enriquegonzalezmedina.musicaneo.com Pequeña Suite Latina, Op.33: For Piano, Bassoon, Oboe (2006). Medina Publishing. Score and Parts. $2.00 HERNANDEZ-RAMOS, DAVID https://www.davidhernandezramos.com, hramos.david@gmail.com Feux d'artifice (d'après Miro): For Flute, Saxophone, Violin, Violoncello, Piano, Harp and Percussion (2017). Hernandez-Ramos Edition. Score and parts. $40. Widmung: For Solo Violin and 14 Players (2017). Hernandez-Ramos Edition. Score. $60. HURTADO, JOSÉ-LUIS https://www.joseluishurtado.net, jluishdo@yahoo.com Tre Clamori da Civitella: For Speaker, Speaking Pianist, and Optional Fixed Media (2023). Eximius Edition. Score. $5.00 The Exerting Forces of Theia and Gaia: For Four Percussionists, Fixed Media, and Optional Percussion Ensemble (2018). Eximius Edition. Score. $26.50. IBARRA, VICTOR https://www.victoribarra.net, ibarracardenas@hotmail.com Química del Agua: For Flute, Clarinet, Violin, Cello and Piano (2015). Ibarra Publishing. Score and Parts. $30. La Dimensión Frágil: For Ensemble (2015). Ibarra Publishing. Score. $40. IKUNO SEKIGUCHI, KENICHI https://soundcloud.com/kenichi-ikuno, kenichi.ikuno.sekiguchi@gmail.com Sonata: For Soprano Saxophone and Piano (2021-2022). Ikuno Sekiguchi Publishing. Score and Parts. $25.00. From the Breath of the Beautiful Island: For Violin and Piano (2018). Ikuno Sekiguchi Publishing. Score and Parts. $25.00. ITURRALDE, CARLOS http://www.carlositurralde.com Motus: For Chiapanecan (Mexican) Marimba, Clay Jar (Udu Drum) and Timpani (1999-2000). Iturralde Publishing. Score and Parts. Negotiable Price. Love Song: For Canadian Wooden Spoons, Ensemble, and Live Electronics (2007- rev. 2015). Iturralde Publishing. Score. Negotiable Price. JAIME DONJUAN, NUBIA cellonubia@gmail...

Reviewed by: On Minimalism: Documenting a Musical Movement ed. by Kerry O'Brien and William Robin Kristen Wallentinsen On Minimalism: Documenting a Musical Movement. Compiled by Kerry O'Brien and William Robin. Oakland: University of California Press, 2023. [xvi, 449 p. ISBN 9780520382077 (hardcover), $95; ISBN 9780520382084 (paperback), $34.95; ISBN 9780520382091 (ebook), $34.95.] Illustrations, bibliography, index, listening guide. Historical attempts to "define" mini-malist music often struggle to reconcile the variegated artistic styles of those categorized as minimalists under the umbrella of a single definition, and this struggle has often led to a narrowed view of who gets to "count" in the stories we tell about the minimalist music. Common origin stories perpetuated through music history textbooks and courses, and through the scholarly communities of musicology and music theory, choose to focus on the compositional strategies and resulting works of what editors Kerry O'Brien and William Robin call "the Big Four": La Monte Young, Terry Riley, Steve Reich, and Philip Glass (p. 4). In doing so, the stories ignore the plethora of artists, dancers, composers, performers, film-makers, and other creative minds that were (and continue to be) part of the rich environment in which minimalism flourished as a musical movement. On Minimalism: Documenting a Musical Movement aims to broaden this narrative to encompass many of the artists who have been cast to the side. Through a carefully organized collection of 108 primary source documents, O'Brien and Robin introduce their readers to over one hundred composers, performers, artists, critics, and scholars whose work takes the story of minimalism beyond the Big Four narrative. In their self-identified "revisionist history," O'Brien and Robin ask the questions, "Who can be called a mini-malist?" (p. 5). "Where was repetition-and drone-based music happening, in the 1960s and onward? Who was there? What did it sound like? How was it described? And what is missing from how it is now remembered?" (p. 4). By asking these questions, the editors draw in important historical predecessors both in jazz and classical music; discuss the profound cultural, countercultural, [End Page 711] and sociopolitical influences that shaped the movement; and invite into the discussion some composers who one might not initially think of as "minimalist" but whose compositional strategies and sociocultural surroundings place them within the movement's mi-lieu. In expanding minimalism's philosophical reach, this book is in keeping with other recent trends in the scholarship of minimalist music, including books by Christophe Levaux (We Have Always Been Minimalist: The Construction and Triumph of a Musical Style [Oakland: University of California Press, 2020]) and Patrick Nickelson (The Names of Minimalism: Authorship, Art Music, and Historiography in Dispute [Ann Arbor: University of Michigan Press, 2023]) that problematize the traditional narrative of minimalist music. The work also resonates with current efforts to reexamine the sanitized narrative of the Big Four more critically (such as Sumanth Gopinath and Pwyll ap Siôn's edited volume Rethinking Reich [New York: Oxford University Press, 2019]). In On Minimalism, O'Brien and Robin push these scholarly trends further by providing a rich and detailed primary-source reader—a crucial resource in which they collect diverse stories into one place and offer future scholars of minimalist music a new and readily accessible source for inspiration. The editors organize the book historically into three parts along chronological divides familiarly outlined by previous scholarship. In part 1, they detail minimalism's origins and early years beginning in the late 1950s. In part 2, they deal with the expansion of minimalism and the rise of postminimalism from the mid-1970s to the 1990s. In part 3, they round out the book by examining minimalism's legacy and current influence from the year 2000 to today (pp. 6–7). O'Brien and Robin contextualize the chapters of part 1 by discussing the wide sphere of influence out of which minimalism grew. They write that "to understand the beginnings of minimalism, it is perhaps best to leave singular or simple 'origin stories' behind. Instead, we can embrace the movement's capaciousness by looking to what made minimalism possible right around the beginnings of the 1960s and the emergence of American post...

Books Recently Published Compiled by James Procell and Matthew Ertz This column is compiled quarterly from a variety of sources, including publisher and vendor websites and announcements. If you are an author or editor of a recently-published music book and would like to request inclusion in a future column, please send a message to music.library@louisville.edu. ________ ENGLISH Adams, Allison D., and Brian R. Horner. Playing & teaching the saxophone: a modern approach. New York: Oxford University Press, 2023. xiii, 239 p. ISBN 9780197627594. Adams, Byron, and Daniel M. Grimley, eds. Vaughan Williams and his world. Chicago: The University of Chicago Press, 2023. xi, 330 p. ISBN 9780226830452. Bard Music Festival series Alanne, Sami. The theory and practice of psychodynamic music psychotherapy. Dallas: Barcelona, 2023. xii, 377 p. ISBN 9781945411793. Allsbrook, Jr., William C. Making music: the banjo in a southern Appalachian county. Jackson: University Press of Mississippi, 2023. xviii, 246 p. ISBN 9781496845801. American made music series Almada, Carlos de Lemos. Musical variation: toward a transformational perspective. Cham: Springer, 2023. xxxv, 307 p. ISBN 9783031314506. Computational music science Anesiadis, A lexandros. Heroes of the metal underground: the definitive guide to 1980s American independent metal bands. Port Townsend: Feral House, 2023. 517 p. ISBN 9781627311403. Arnold, Gina, et. al., eds. The life, death, and afterlife of the record store: a global history. New York: Bloomsbury Academic, 2023. vi, 283 p. ISBN 9781501384509. Avid Technology, Inc. Make music with Pro Tools: Av id off icial curriculum. Lanham: Rowman & Littlefield, 2023. xviii, 423 p. ISBN 9781538175620. Avid learning series Barg, Lisa. Queer arrangements: Billy Strayhorn and midcentury jazz collaboration. Middletown: Wesleyan University Press, 2023. xii, 265 p. ISBN 9780819500632. Music/culture Barra, Vincenzo. The musician and the senator: the microhistory of a friendship. Abingdon: Routledge, 2023. 204 p. ISBN 9781032274256. Microhistories Beer, Madison. The half of it: a memoir. New York: Harper, 2023. x, 160 p. ISBN 9780063237698. Beets, Greg, and Richard Whymark. A curious mix of people: the underground scene of '90s Austin. Austin: University of Texas Press, 2023. 350 p. ISBN 9781477328132. Bernstein, Jane A. Printing music in renaissance Rome. New York: Oxford University Press, 2023. xvii, 272 p. ISBN 9780197669617. Beshara, Robert K. A psychoanalytic biography of Ye: the legacy of unconditional love. Newcastle upon Tyne: Cambridge Scholars, 2023. xxxiv, 166 p. ISBN 9781527528864. Blumhofer, Edith L. Songs I love to sing: the Billy Graham crusades and the shaping of modern worship. Grand Rapids: William B. Eerdmans, 2023. xxi, 165 p. ISBN 9780802875297. Breckling, Molly M. Hidden treasures: cultural, social, and political commentary in Mahler's songs from Des Knaben Wunderhorn. Clemson: Clemson University Press, 2023. xii, 264 p. ISBN 9781638040408. Brown, George. Too hot: Kool & the Gang & me. Chicago: Chicago Review Press, 2023. v, 186 p. ISBN 9781641609180. Bruscia, Kenneth E. Assessment in music therapy: options and resources. Dallas: Barcelona, 2023. xix, 605 p. ISBN 9781945411632. Callahan, Dan. Bing and Billie and Frank and Ella and Judy and Barbra. Chicago: Chicago Review Press, 2023. viii, 375 p. ISBN 9781641609227. Campbell, Genevieve. The old songs are always new: singing traditions of the Tiwi Islands. NSW: Sydney University Press, 2023. xlv, 315 p. ISBN 9781743328750. Indigenous music, language and performing arts Campbell, Jeff, and Braeden Paul. Texas bluegrass legacies: families and mentors through the generations. Charleston: The History Press, 2023. 128 p. ISBN 9781467153676. Campbell, Robert J. Haight-Ashbury, psychedelics, and the birth of acid rock. Albany: State University of New York Press, 2023. xi, 238 p. ISBN 9781438493367. Excelsior editions Carner, Gary. Pepper Adams: saxophone trailblazer. Albany: State University of New York Press, 2023. xiii, 240 p. ISBN 9781438494357. Excelsior editions Carr, Elizabeth. Josef Hofmann: the piano's forgotten giant. Lanham: Rowman & Littlefield, 2023. xv, 239 p. ISBN 9781538183403. Cason, David. The life and music of Graham Jackson. Gainesv ille: Universit y Press of Florida, 2023. xii, 174 p. ISBN 9780813069777. Chan, Andrew. Why Mariah Carey matters. Austin: University of Texas Press, 2023. 145 p. ISBN 9781477325070. Music matters; 013 Chun, Edna B., and George S.T. Chu. Transformational music teaching. Cham: Palgrave Macmillan, 2023. xv, 205 p. ISBN 9783031389191. Cimardi, Linda. Performing arts and gender in postcolonial western Uganda. Rochester: University of Rochester Press, 2023. xxiii...

Reviewed by: The Musical Language of Italian Opera, 1813–1859 by William Rothstein Steven D. Mathews The Musical Language of Italian Opera, 1813–1859. By William Rothstein. (Oxford Studies in Music Theory.) New York: Oxford University Press, 2023. [xxiv, 573 p. ISBN 9780197609682 (hardcover), $120; also available as ebook (ISBN and price vary).] Music examples, bibliography, indexes. William Rothstein, the eminent music theorist, has published a second monograph, The Musical Language of Italian Opera, 1813–1859. This book (hereafter MLIO) has at least a dual nature: it is a massive yet remarkably concise text on the musical structure of nineteenth-century Italian opera. Totaling more than 550 pages, MLIO fills a significant void belonging to the close music analysis of Italian opera by nineteenth-century Italian composers—Gioacchino Rossini, Giuseppe Verdi, Vincenzo Bellini, Saverio Mercadante, and Gaetano Donizetti. (The only German composer whose operas Rothstein considers in detail in MLIO is Giacomo Meyerbeer.) Until now, Rothstein's meticulous and decades-long research on this topic has appeared only in several journal articles, starting in 2008. At the same time, the analytical depth and contextual breadth of the analyses in MLIO evince a succinct writing style that invites the reader to study them repeatedly. In this review, I will first present an overview of MLIO that highlights a few of the memorable and effective analyses. I will then pose a question that may arise after reading this book and, finally, conclude with a few implications for musicians, scholars, and students. Part 1, "La Via Italiana," contains five chapters. It is the most informationally dense part of the book, because it establishes the theoretical and historical foundations for the analytical methodology used in the subsequent parts of the book. The latter is especially true for chapters 2–5, in which Rothstein compares German-centric and Italian-centric theorists and their ideas related to the primacy of melody, diatonic and [End Page 687] chromatic harmonic relationships, rhythm and meter, and musical form. Many students and scholars of the history of Western music theory will recognize the German theorists, such as Gottfried Weber, Heinrich Schenker, and Hugo Riemann, but the Italian theorists, such as Abramo Basevi and Bonifazio Asioli, may be unfamiliar and new. The introduction to the nineteenth-century Italian theorists in chapter 2, and how they compare to the more familiar German theorists studied by US music theorists today, is particularly powerful. In the chapters on rhythm and meter (chap. 4) and musical form (chap. 5), Rothstein also provides several important examples of Italian-centric concepts, such as the role of Asioli's accento comune (common accent) in a musical setting of Italian poetry and Basevi's la solita forma (conventional formal types) for multimovement duets and finales. The most compelling chapter of part 1, however, is the opening chapter, "The Anvil Chorus," which Rothstein devotes entirely to an analysis of the short passage from Verdi's Il trovatore (1853). Readers will feel as if thrown, in an existential sense, into an entirely new world based on Rothstein's unique and pluralistic analytical choices. For example, instead of choosing a single key to label significant vertical harmonies, he applies medieval modes to the melody as if it were a cantus firmus line and tracks common tones between the formal sections. Rothstein even argues that the chorus fits into the "verse–pre-chorus–chorus" structure of 1960s rock music (p. 21). In other words, the analytical approach to this passage is just that: utterly analytical, or an exercise in "analytical defamiliarization" (p. xxi). Unlike Schenkerian analysis, for example, this approach does not feature the realization of abstract hierarchical principles of tonal music. In short, as Rothstein states strongly at the end of this chapter, "Nineteenth-century Italian opera is simply different from the German music that theorists usually study. It is composed differently, and it must be analyzed differently" (p. 23). In part 2, "Rossini," Rothstein focuses on the harmonic and tonal organization of Rossini's serious operas. In chapter 6, "Rossini's Mediants," he presents many examples illustrating the harmonic progression of triads whose roots are related by major or minor third. These examples also show how Rossini deploys diatonic and chromatic...