Kirjahaku

The first full-length biography of the Pulitzer Prize-winning composer Winner of both the Pulitzer Prize and the Grawemeyer Award, Aaron Jay Kernis achieved recognition as one of the leading composers of his generation while still in his thirties. Since then his eloquent yet accessible style, emphasis on melody, and willingness to engage popular as well as classical forms has brought him widespread acclaim and admiring audiences. Leta Miller's biography offers the first survey of the composer's life and work. Immersed in music by middle school, and later training under Theodore Antoniou, John Adams, Jacob Druckman, and others, Kernis rejected the idea of distancing his work from worldly concerns and composed on political themes. His Second Symphony, from 1991, engaged with the first Gulf War; 1993's Still Moment with Hymn was a reaction to the Bosnian Genocide; and the next year's Colored Field and 1995's Lament and Prayer dealt with the Holocaust. Yet Kernis also used sources as disparate as futurist agitprop and children's games to display humor in his work. Miller's analysis addresses not only Kernis's wide range of subjects but also the eclecticism that has baffled critics, analyzing his dedication to synthesis and the themes consistent in his work. Informed and engaging, Aaron Jay Kernis gives a rare mid-career portrait of a major American cultural figure.

An in-depth account of the Black locals within the American Federation of Musicians In the 1910s and 1920s, Black musicians organized more than fifty independent locals within the American Federation of Musicians (AFM) in an attempt to control audition criteria, set competitive wages, and secure a voice in national decision-making. Leta Miller follows the AFM’s history of Black locals, which competed directly with white locals in the same territories, from their origins and successes in the 1920s through Depression-era crises to the fraught process of dismantling segregated AFM organizations in the 1960s and 70s. Like any union, Black AFM locals sought to ensure employment and competitive wages for members with always-evolving solutions to problems. Miller’s account of these efforts includes the voices of the musicians themselves and interviews with former union members who took part in the difficult integration of Black and white locals. She also analyzes the fundamental question of how musicians benefitted from membership in a labor organization. Broad in scope and rich in detail, Union Divided illuminates the complex working world of unionized Black musicians and the AFM’s journey to racial inclusion.

The first full-length biography of the Pulitzer Prize-winning composer Winner of both the Pulitzer Prize and the Grawemeyer Award, Aaron Jay Kernis achieved recognition as one of the leading composers of his generation while still in his thirties. Since then his eloquent yet accessible style, emphasis on melody, and willingness to engage popular as well as classical forms has brought him widespread acclaim and admiring audiences. Leta Miller's biography offers the first survey of the composer's life and work. Immersed in music by middle school, and later training under Theodore Antoniou, John Adams, Jacob Druckman, and others, Kernis rejected the idea of distancing his work from worldly concerns and composed on political themes. His Second Symphony, from 1991, engaged with the first Gulf War; 1993's Still Moment with Hymn was a reaction to the Bosnian Genocide; and the next year's Colored Field and 1995's Lament and Prayer dealt with the Holocaust. Yet Kernis also used sources as disparate as futurist agitprop and children's games to display humor in his work. Miller's analysis addresses not only Kernis's wide range of subjects but also the eclecticism that has baffled critics, analyzing his dedication to synthesis and the themes consistent in his work. Informed and engaging, Aaron Jay Kernis gives a rare mid-career portrait of a major American cultural figure.

An in-depth account of the Black locals within the American Federation of Musicians In the 1910s and 1920s, Black musicians organized more than fifty independent locals within the American Federation of Musicians (AFM) in an attempt to control audition criteria, set competitive wages, and secure a voice in national decision-making. Leta Miller follows the AFM’s history of Black locals, which competed directly with white locals in the same territories, from their origins and successes in the 1920s through Depression-era crises to the fraught process of dismantling segregated AFM organizations in the 1960s and 70s. Like any union, Black AFM locals sought to ensure employment and competitive wages for members with always-evolving solutions to problems. Miller’s account of these efforts includes the voices of the musicians themselves and interviews with former union members who took part in the difficult integration of Black and white locals. She also analyzes the fundamental question of how musicians benefitted from membership in a labor organization. Broad in scope and rich in detail, Union Divided illuminates the complex working world of unionized Black musicians and the AFM’s journey to racial inclusion.

This lively history immerses the reader in San Francisco's musical life during the first half of the twentieth century, showing how a fractious community overcame virulent partisanship to establish cultural monuments such as the San Francisco Symphony (1911) and Opera (1923). Leta E. Miller draws on primary source material and first-hand knowledge of the music to argue that a utopian vision counterbalanced partisan interests and inspired cultural endeavors, including the San Francisco Conservatory, two world fairs, and America's first municipally owned opera house. Miller demonstrates that rampant racism, initially directed against Chinese laborers (and their music), reappeared during the 1930s in the guise of labor unrest as WPA music activities exploded in vicious battles between administrators and artists, and African American and white jazz musicians competed for jobs in nightclubs.