THE ETUDE PRESSER'S MUSICAL MAGAZINE SEPTEMBER 1914

The Etude magazine was established in 1883 by Theodore Presser with $250 saved from his income as a music teacher. The subsequent history of the magazine and the Theodore Presser Company is one of the great entrepreneurial success stories of American music. The Etude remains one of the longest-lived music magazines in American history and is still a ubiquitous presence in flea markets and online auctions.In the early years, each issue published roughly five or six musical scores, but by the 1930's there were upwards of twenty compositions published each month. The resulting list of repertoire comprises well over 10, 000 musical compositions in an eclectic range of styles and difficulty levels. The major composers of Western art music appear side by side with a broad range of popular composers, including a strong representation of American and female composers.This rich resource has never been indexed and has thus been virtually inaccessible to scholars and performers, who now have access to three quarters of a century of music in this valuable repository of scores.

Release Date: June 01, 2003

Documenting thousands of British poetry magazines from the last century, British Poetry Magazines 1914-2000 records the remarkable world of the 'little magazine': a world where now famous authors are first found as unknowns. Many go on to use the little magazine as a testing ground for their writing for the rest of their lives. Here is the work of T. S. Eliot, Robert, Graves, James Joyce, Laura Riding, Dylan Thomas, Samuel Beckett, Muriel Spark, Harold Pinter, Seamus Heaney, Ted Hughes, Angela Carter, Irvine Welsh and many others. Although these magazines played a key part in the lives of so many British authors, they often had small print-runs and short lives: many are now extremely rare. This book lists the holdings of key libraries where the magazines can still be found. Each entry gives the editors involved, the dates of publication, and other information (such as documented interviews with editors, and details of any published index). Thousands of descriptions outline the magazines while short essays dis

This book is a re-examination of the fertile years of early modernism immediately preceding the First World War. During this period, how, where, and under whose terms the avant-garde in Britain would be constructed and consumed were very much to play for. It is the first study to look in detail at two little magazines marginalised from many accounts of this competitive process: Rhythm and the Blue Review. By thoroughly examining not only the content but the interrelated networks that defined and surrounded these publications, Faith Binckes aims to provide a fresh and challenging perspective to the on-going reappraisal of modernism.Founded in 1911, and edited by John Middleton Murry with assistance from Michael Sadleir and subsequently from Katherine Mansfield, these magazines featured a series of pivotal moments. Rhythm was the arena for a challenge to Roger Fry's vision of Post-Impressionism, for the introduction of Picasso to a British audience, for early short stories and reviews by Lawrence, and for Mansfield's discovery of a voice in which to frame her breakthrough writing on New Zealand. A further context for many of these experiments was the extended and acrimonious debate Rhythm conducted with A.R. Orage's New Age, in which issues of the proper gender, generation, and formulation of modernity were debated month by month.However, reading magazines as vehicles for avant-garde development can only provide half the story. The book also pays close attention to their dialogic, reproductive, and periodical nature, and explores the strategies at work within the terminology of the new. Crucially, it argues that they offer compelling material evidence for the consistently mobile and multiple boundaries of the modern, and puts forward a compelling case for focusing upon the specificity of magazines as a medium for literary and artistic innovation.

Release Date: June 01, 2003

Published from 1883 to 1957, The Etude Music Magazine featured a series of "Master-Lessons" by noted piano virtuosi. Among the chapters in this collection are master-lessons on Paderewski's Minuet in G, Chopin's Military Polonaise, Grieg's Norwegian Bridal Procession, Mendelssohn's Scherzo, and Beethoven's Pathétique Sonata. Authors include Wilhelm Bachaus, Percy Grainger, Edwin Hughes, and Mark Hambourg.

This book is a re-examination of the fertile years of early modernism immediately preceding the First World War. During this period, how, where, and under whose terms the avant-garde in Britain would be constructed and consumed were very much to play for. It is the first study to look in detail at two little magazines marginalised from many accounts of this competitive process: Rhythm and the Blue Review. By thoroughly examining not only the content but the interrelated networks that defined and surrounded these publications, Faith Binckes aims to provide a fresh and challenging perspective to the on-going reappraisal of modernism.Founded in 1911, and edited by John Middleton Murry with assistance from Michael Sadleir and subsequently from Katherine Mansfield, these magazines featured a series of pivotal moments. Rhythm was the arena for a challenge to Roger Fry's vision of Post-Impressionism, for the introduction of Picasso to a British audience, for early short stories and reviews by Lawrence, and for Mansfield's discovery of a voice in which to frame her breakthrough writing on New Zealand. A further context for many of these experiments was the extended and acrimonious debate Rhythm conducted with A.R. Orage's New Age, in which issues of the proper gender, generation, and formulation of modernity were debated month by month.However, reading magazines as vehicles for avant-garde development can only provide half the story. The book also pays close attention to their dialogic, reproductive, and periodical nature, and explores the strategies at work within the terminology of the new. Crucially, it argues that they offer compelling material evidence for the consistently mobile and multiple boundaries of the modern, and puts forward a compelling case for focusing upon the specificity of magazines as a medium for literary and artistic innovation.

Like the corset, the women's magazines which emerged in the nineteenth century produced a `natural' idea of femininity: the domestic wife; the fashionable woman; the romancing and desirable girl. Their legacy, from agony aunts to fashion plates, are easily traced in their modern counterparts. But do these magazines and their promises empower or disempower their readers? A Magazine of Her Own? is a lively and revealing exploration of this immensely popular form from its beginnings. In fascinating detail Margaret Beetham investigates the desires, images and interpretations of femininity posed by a medium whose readership was and still is almost exclusively female. A Magazine of Her Own is at once a chronological tracing of the history, a collection of intriguing case studies and an intervention into recent debates about gender and sexuality in popular reading. It is a book which anyone who is interested in the unique, influential world of the woman's magazine - students, scholars and general readers alike - will want to read