Teacher's Guide Cambridge Pre-U MUSIC Available for teaching ...

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62 Cambridge Pre-U Teacher Guide (d) Satie and Les Six Orledge, R. Satie the Composer. CUP 1990 Orledge, R. Satie Remembered. Faber and Faber 1995 Whiting, S. M. Satie the Bohemian. OUP 1999 Myers, R. H. Erik Satie. New edition, Dover 1986 Perloff, N. Art and the Everyday: Popular Entertainment and the Circle of Erik Satie. Clarendon Press 1993 Davis, M. E. Erik Satie (Critical Lives). Reaktion Books 2007 Spratt, G. K. The Music of Arthur Honegger. Cork University Press 1987 Collaer, P. Darius Milhaud. San Francisco Press 1988 Mellers, W. Francis Poulenc. OUP 1993 Ivry, B. Francis Poulenc. Phaidon Press 1996 Buckland, S. Francis Poulenc: Selected Correspondence, 1915–1963. Gollancz 1991 Poulenc, F. Diary of my Songs (with a translation by Winifred Radford). Gollancz 1985 Bernac, P. Francis Poulenc: the man and his songs. Gollancz 1977 Keck, G. R. Francis Poulenc: a bio-bibliography. Greenwood 1990 Shapiro, R. Germaine Tailleferre: a bio-bibliography. Greenwood 1994 (e) Diaghilev, the Ballets russes and the Ballets suédois Percival, J. The World of Diaghilev. Herbert Press 1979 Garafola, L. Diaghilev’s Ballets Russes. OUP 1989 Häger, B. Ballets Suédois. English edition, Thames & Hudson 1990 Topic C4: Jazz (1920–1960) Candidates need to be aware of the general history of the development of jazz during this period, and although some awareness of its earlier origins may be helpful it is not of primary importance. Among the many musicians who made significant contributions during the period of the topic are the following: Kid Ory (Original Creole Jazz Band), Bix Beiderbecke, Louis Armstrong, Jelly Roll Morton, Paul Whiteman, Fletcher Henderson, Duke Ellington, Earl Hines, Count Basie, Jimmy Dorsey, Tommy Dorsey, Benny Goodman, Dizzy Gillespie, Artie Shaw, Art Tatum, Fats Waller, Django Reinhardt (Quintette du Hot Club de France), Charlie Parker, Theolonius Monk, John Lewis (Modern Jazz Quartet), Charlie Mingus, Miles Davis Several of these worked in a succession of different styles and approaches, of which the following are especially significant: New Orleans Jazz, Swing, Dixieland Revival, Bebop, Gypsy Jazz, Orchestral Jazz (Big Band), Cool Jazz, New Orleans Revival, Hard Bop, Modal Jazz www.cie.org.uk/cambridgepreu
Cambridge Pre-U Teacher Guide Apart from books about individual musicians, of which there are many, the following more general studies may be found useful: Shipton, A. A New History of Jazz. Continuum International 2008 Gioia, T. The History of Jazz. OUP 1999 Kirchner, B. The Oxford Companion to Jazz. OUP 2005 Gridley, M. C. Jazz Styles: History and Analysis. Prentice Hall 2002 Megill, D. D. Introduction to Jazz History. Prentice Hall 2003 Giddins, G. Visions of Jazz: The First Century. OUP 2000 Feather, L. & Gitler, I. (eds) The Biographical Encyclopaedia of Jazz. OUP 2007 Walser, R. Keeping Time: Readings in Jazz History. OUP 1999 Cooke, M. (ed) The Cambridge Companion to Jazz. CUP 2003 Lopes. P. The Rise of a Jazz Art World. CUP 2002 Topic C5: Art Song and Popular Song in Britain and America (1939–1970) The Syllabus lists some of the most significant composers of art song in both countries and this should provide a sufficient starting point for exploration of the repertoire. The same is true for popular song, though it is important to note that the emphasis in this case is much more on performers and styles than on individual composers. It can sometimes be quite difficult to discover exactly who composed a particular song, even when a recording by a well-known artist is very familiar. The nature of the repertoire for this topic implies a rather different approach from most of the others, simply because it embraces two very different kinds of music. Some of the main aesthetic issues are listed in the Syllabus, and candidates need to consider such questions: the examination paper will assume that they have done so. It is important, however, that issues of this kind should be approached in as precise a way as possible, and that they should always be related directly to the music studied. Answers that are too discursive and which make only scant reference to actual music are unlikely to gain high marks. Much information about this topic is available on the internet, especially for popular song. The quality and reliability of such information is, however, extremely variable. Care needs to be exercised in choosing which web sites are accurate and useful, and which are not. The standard search engines will nevertheless bring up sites that give fairly comprehensive lists of composers, styles and artists that will very easily provide suggestions for a wider exploration of repertoire than is given in the Syllabus. There are relatively few scholarly books that directly address this topic. For English song, most deal with a slightly earlier period, while for popular song many published resources are quite conversational in tone. Information about specific composers and their songs is therefore more easily found in books about those composers individually, rather than in more general studies. The following suggestions may be useful: Banfield, S. Sensibility and English Song: Critical Studies of the Early 20th Century. CUP 1985 Karloyi, O. Modern British Music: the Second British Musical Renaissance, from Elgar to P. Maxwell Davies. Associated University Presses 1994 www.cie.org.uk/cambridgepreu 63
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