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The University of Rochester Press launched the Eastman Studies in Music series in May 1994 with the publication of its first title - a revised edition in hardback and paperback of <i>The Poetic Debussy: A Collection of His Song Texts and Selected Letters</i>, by Margaret G. Cobb. With over one hundred fifty titles in print and more new titles scheduled for publication in the coming year, Eastman Studies in Music is a well-established endeavor committed to publishing quality titles in music scholarship.

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139 results in Eastman Studies in Music

Page 7 of 7

Music and Musical Composition at the American Academy in Rome
  • With contributions by Martin Brody , Elliott Carter , John Harbison , Christina Huemer , Carol Oja , Andrew Olmstead , Vivian Perlis , Judith Tick and Richard Trythall
  • Published by:
    Boydell & Brewer
    Published online:
    25 October 2017
    Print publication:
    10 December 2014
  • The American Academy in Rome launched its Rome Prize in Musical Composition in 1921, a time in the United States of rapidly changing ideas about national identity, musical values, and the significance of international artistic exchange. Music and Musical Composition at the American Academy in Rome tells the story of this prestigious fellowship. Combining cultural analysis with historical and personal accounts of a century of musical life at the American Academy in Rome, the book offers new perspectives on a wide range of critical topics: patronage and urban culture, institutions and professional networks, musical aesthetics, American cultural diplomacy, and the maturation ofa concert music repertory in the United States during the twentieth century. Contributors: Martin Brody, Elliott Carter, John Harbison, Christina Huemer, Carol Oja, Andrew Olmstead, Vivian Perlis, Judith Tick, Richard Trythall. Martin Brody is the Catherine Mills Davis Professor of Music at Wellesley College, and served as the Andrew Heiskell Arts Director at the American Academy in Rome from 2007 to 2010.

Composing for Japanese Instruments
  • Minoru Miki
  • Translated by Marty Regan
  • Edited by Philip Flavin
  • Published by:
    Boydell & Brewer
    Published online:
    12 September 2017
    Print publication:
    02 October 2008
  • The unique sounds of the biwa, shamisen, and other traditional instruments from Japan are heard more and more often in works for the concert hall and opera house. Composing for Japanese Instruments is a practical orchestration/instrumentation manual with contextual and relevant historical information for composers who wish to learn how to compose for traditional Japanese instruments. Widelyregarded as the authoritative text on the subject in Japan and China, it contains hundreds of musical examples, diagrams, photographs, and fingering charts, and comes complete with two accompanying compact discs of musical examples. Its author, Minoru Miki, is a composer of international renown and is recognized in Japan as a pioneer in writing for Japanese traditional instruments. The book contains valuable appendices, one of works Miki himself has composed using Japanese traditional instruments, and one of works by other composers -- including Toru Takemitsu and Henry Cowell -- using Japanese traditional instruments.

    Marty Regan is Assistant Professor of Music at Texas A&M University; Philip Flavin is a Research Fellow in the School of Languages, Cultures and Linguistics at Monash University, Australia.

Italian Guitar Music of the Seventeenth Century
  • Battuto and Pizzicato
  • Lex Eisenhardt
  • Published by:
    Boydell & Brewer
    Published online:
    05 July 2016
    Print publication:
    15 December 2015
  • In the seventeenth century, like today, the guitar was often used for chord strumming ("battuto" in Italian) in songs and popular dance genres, such as the ciaccona or sarabanda. In thegolden age of the baroque guitar, Italy gave rise to a unique solo repertoire, in which chord strumming and lute-like plucked ("pizzicato") styles were mixed. Italian Guitar Music of the Seventeenth Century: Battuto and Pizzicato explores this little-known repertoire, providing a historical background and examining particular performance issues. The book is accompanied by audio examples ona companion website.

    Lex Eisenhardt is one of Europe's foremost experts on early guitar. He teaches both classical guitar and historical plucked instruments at the Conservatory of Amsterdam. He has produced a number of highly acclaimed CD recordings, and has given concerts and masterclasses in Europe, the United States, and Australia.

Ralph Kirkpatrick
  • Letters of the American Harpsichordist and Scholar
  • Ralph Kirkpatrick
  • Edited by Meredith Kirkpatrick
  • Published by:
    Boydell & Brewer
    Published online:
    05 December 2014
    Print publication:
    10 November 2014
  • This collection of letters to and from the eminent harpsichordist, scholar, and early music pioneer Ralph Kirkpatrick provides a portrait of the musician from the beginning of his career in Paris in the 1930s to its end in the early 1980s, offering new insights into his work and scholarship. The volume contains letters to his family from Europe as well as correspondence with harpsichord makers, performers, and composers, including Nadia Boulanger, Alexander Schneider, John Kirkpatrick, Elliott Carter, Henry Cowell, John Challis, Kenneth Gilbert, Serge Koussevitsky, and Vincent Persichetti. In addition, two former students of Kirkpatrick, the guitarist Eliot Fisk and the harpsichordist Mark Kroll, write about their experiences studying with Kirkpatrick in a foreword and an afterword. The volume also includes a bibliography of publications by and about the musician, as well as a discography. Meredith Kirkpatrick is a librarian and bibliographer at Boston University and is the niece of Ralph Kirkpatrick.

Wagner's Visions
  • Poetry, Politics, and the Psyche in the Operas through 'Die Walküre'
  • Katherine R. Syer
  • Published by:
    Boydell & Brewer
    Published online:
    05 November 2014
    Print publication:
    01 September 2014
  • The psychological dimension of Richard Wagner's operas has long been associated with the ideas of Arthur Schopenhauer, yet Wagner had begun absorbing elements of contemporary psychological thought into his stage works as early as the 1830s, twenty years before he engaged with the philosopher's writings. As Katherine Syer demonstrates, the composer incorporated imagery and metaphors with the potential to infuse his psychologically charged dramas with latent political meaning. His operatic visions convey a sense of urgency intimately bound up with the era's crises and instabilities. In Wagner's Visions, Syer offers a detailed examination of Die Feen, Wagner's least known complete opera, as well as new analytical insights into Der fliegende Holländer, Tannhäuser, Lohengrin, and the four Ring dramas. Her study of the ways Wagner probed the inner experiences of his protagonists explores the impact of neglected yet crucial artistic influences. These include the fables of the eighteenth-century Venetian playwright Carlo Gozzi, the Iphigenia operas of Christoph Willibald Gluck, and the legacy of the martyr Theodor Körner. During the Napoleonic Wars, which raged as Wagner was born, Körner's poetry became the lingua franca of the revolutionary movement to liberate and unify Germany. A Humboldt Fellowship recipient, Syer is Assistant Professor of Musicology and Theatre Department Faculty Affiliate at the University of Illinois at Urbana-Champaign.

Harry Partch, Hobo Composer
  • S. Andrew Granade
  • Published by:
    Boydell & Brewer
    Published online:
    05 November 2014
    Print publication:
    01 December 2014
  • During the Great Depression, Harry Partch rode the railways, following the fruit harvest across the country. From his experience among hoboes he found what he called "a fountainhead of pure musical Americana." Although he later wrote immense stage works for instruments of his own creation, he is still regularly called a hobo composer for the compositions that grew out of this period of his life. Yet few have questioned the label's impact on his musical output, compositional life, and reception. Focusing on Partch the person alongside the cultural icon he represented, this study examines Partch from historical, cultural, political, and musical perspectives. It outlines the cultural history of the hobo from the mid-1800s through the 1960s, as well as those figures associated with the hobo's image. It explores how Partch's music, which chronicled a disappearing subculture, was received, and how the composer ultimately engaged and frustrated popular conceptions of the hobo. And it follows Partch's later years to question his response to the hobo label and the ways in which others used it to define and contain him for over thirty years. S. Andrew Granade is an Associate Professor of Musicology in the Conservatory of Music and Dance, University of Missouri-Kansas City.

The Music of Carl Philipp Emanuel Bach
  • David Schulenberg
  • Published by:
    Boydell & Brewer
    Published online:
    05 October 2014
    Print publication:
    15 September 2014
  • Of the four sons of J. S. Bach who became composers, Carl Philipp Emanuel (1714-88) was the most prolific, the most original, and the most influential both during and after his lifetime. This first full-length English-language study critically surveys his output, examining not only the famous keyboard sonatas and concertos but also the songs, chamber music, and sacred works, many of which resurfaced in 1999 and have not previously been evaluated. The bookalso outlines the composer's career from his student days at Leipzig and Frankfurt (Oder) to his nearly three decades as court musician to Prussian King Frederick "the Great" and his last twenty years as cantor at Hamburg. Focusing on the composer's choices within his social and historical context, the book shows how C. P. E. Bach deliberately avoided his father's style while adopting the manner of his Berlin colleagues, derived from Italian opera. Anew perspective on the composer emerges from the demonstration that C. P. E. Bach, best known for his virtuoso keyboard works, refashioned himself as a writer of vocal music and popular chamber compositions in response to changingcultural and aesthetic trends. Supplementary texts and musical examples are included on a companion website. David Schulenberg is professor of music at Wagner College and teaches historical performance at the JuilliardSchool. He is the author of The Music of Wilhelm Friedemann Bach (University of Rochester Press, 2010).

Narratives of Identity in Alban Berg's 'Lulu'
  • Silvio J. dos Santos
  • Published by:
    Boydell & Brewer
    Published online:
    05 August 2014
    Print publication:
    01 June 2014
  • Exploring the crossroads between autobiographical narrative and musical composition, this book examines Berg's transformation of Frank Wedekind's Erdgeist (1895) and Die Büchse der Pandora (1904) -- the plays used inthe formation of the libretto for Lulu -- according to notions of gender identity, social customs, and the aesthetics of modernity in Vienna of the 1920s and 1930s. While Berg modernized several aspects of the plays by Wedekind and incorporated serial techniques of composition from Arnold Schoenberg, he never let go of the idealistic Wagnerian perspectives of his youth. In fact, he went as far as reconfiguring aspects of Richard Wagner's life as anideal identity to be played out in the compositional process. In the process of composing the opera, Berg also reflected on the most important cultural figures in fin-de-siècle Vienna that affected his worldview, including Karl Kraus, Emil Lucka, Otto Weininger, and others. Adopting an approach that combines a systematic analysis of Berg's numerous sketches for Lulu, correspondence, and the finished work with interpretive models drawn from cultural studies and philosophy, this book elucidates the ways in which Berg grappled with his self-image as an "incorrigible romantic" (unverbesserliche Romantiker) at the end of his life, explaining aspects of his musical language that have been considered strange or anomalous in the scholarship. Silvio J. dos Santos is assistant professor of musicology at the University of Florida.

The Career of an Eighteenth-Century Kapellmeister
  • The Life and Music of Antonio Rosetti (ca. 1750-1792)
  • Sterling E. Murray
  • Published by:
    Boydell & Brewer
    Published online:
    05 April 2014
    Print publication:
    14 February 2014
  • Today the classical style in music is defined primarily through the accomplishments of a handful of acknowledged masters, with Haydn and Mozart leading the field. Such selective fascination has all but eclipsed the music of most of their contemporaries. In this book, Sterling Murray examines one of the most talented of this group: Antonio Rosetti (ca. 1750-92). Born and trained in Bohemia, Rosetti spent most of his creative life in Germany, where he served as music director to the Prince of Oettingen-Wallerstein between 1773 and 1789 and then the Duke of Mecklenburg-Schwerin until his death in 1792. The Career of an Eighteenth-Century Kapellmeister provides the first comprehensive investigation of Rosetti's life. The events of the composer's biography are unfolded against a vivid picture of musical life at the two small German courts where Rosetti was employed. The second half of the book is devoted to an examination of form and style in Rosetti's music, illustrated with full-score musical examples in the text and on a complementary website. What emerges from this investigation is a composer who, having conquered the stylistic language of his day, challenged those conventions to produce imaginative and highly creative works of great beauty. Sterling E. Murray is Professor Emeritus of the School of Music at West Chester University in West Chester, Pennsylvania. His thematic catalog of Antonio Rosetti's music was published by Harmonie Park Press in 1997.

The French Symphony at the Fin de Siècle
  • Style, Culture, and the Symphonic Tradition
  • Andrew Deruchie
  • Published by:
    Boydell & Brewer
    Published online:
    05 April 2014
    Print publication:
    30 September 2013
  • In this first full-length study of the symphony in late nineteenth and early twentieth-century France, Andrew Deruchie provides extended critical discussion of seven of the most influential and frequently performed works of the era, by Camille Saint-Saëns, César Franck, Édouard Lalo, Vincent d'Indy, and Paul Dukas. The volume explores how French symphonists reconciled Beethoven's legacy with the musical culture, intellectual environment, and political milieu of fin-de-siècle France, pursuing issues of musical form and also moving beyond the notes to consider questions of meaning. Andrew Deruchie is a lecturer in musicology at the University of Otago (New Zealand), specializing in French music of the nineteenth and twentieth centuries.

Music in Print and Beyond
  • Hildegard von Bingen to The Beatles
  • Edited by Craig A. Monson, Roberta Montemorra Marvin
  • Published by:
    Boydell & Brewer
    Published online:
    05 March 2014
    Print publication:
    15 December 2013
  • This collection of critical essays examines the diverse ways in which music -- and ideas about it -- have been disseminated in print and other media from the sixteenth century onward. Contributors look afresh at unfamiliar facets of the sixteenth-century book trade and the circulation of manuscript and printed music in the seventeenth to nineteenth centuries. They also analyze and critique new media forms, showing how a dizzying array of changing technologies has influenced what we hear, whom we hear, and how we hear. The repertoires considered include Western art music -- from medieval to contemporary -- as well as popular music and jazz. Assembling contributions from experts in a wide range of fields, such as musicology, music theory, music history, and jazz and popular music studies, 'Music in Print and Beyond: Hildegard von Bingen to The Beatles' sets new standards for the discussion of music's place in Western cultural life. Roberta Montemorra teaches music at the University of Iowa and is the author of 'Verdi the Student-Verdi the Teacher' (Istituto Nazionale di Studi Verdiani, 2010) and editor of 'The Cambridge Verdi Encyclopedia' (Cambridge University Press, 2013). Craig A. Monson is a Professor of Musicology at Washington University (St Louis, Missouri) and is the author of 'Divas in the Convent: Nuns, Music, and Defiance in 17th-century Italy' (University of Chicago Press, 2012).

From Boulanger to Stockhausen
  • Interviews and a Memoir
  • Bálint András Varga
  • Published by:
    Boydell & Brewer
    Published online:
    05 January 2014
    Print publication:
    15 October 2013
  • Bálint András Varga makes available here twenty-one extended interviews with some of the most notable figures in music from the past fifty years, as well as lively "snippets" from interviews Varga conducted with thirteen other equally renowned musicians. The interviewees include singers Elisabeth Schwarzkopf and Cathy Berberian; pianists Alfred Brendel and Arthur Rubinstein, violinists Isaac Stern and Yehudi Menuhin; conductors Claudio Abbado and Sir Neville Marriner; composers György Ligeti, and Karlheinz Stockhausen; and legendary pedagogue Nadia Boulanger. Of special interest is an interview with the reclusive composer György Kurtág, here published for the first time in any language. From Boulanger to Stockhausen concludes with a touching memoir by Varga of his experiences growing up in a Jewish family in Hungary during World War II and the early years of Communist rule. Varga's recollections also include details about how he managed to interview so many remarkable musicians-thanks in large part to his employment at the Hungarian state radio station and then in the music-publishing industry, which brought him to, among other places, London and Vienna, where he now lives. Bálint András Varga has spent nearly forty years working for and with composers. His previous books for the University of Rochester Press are György Kurtág: Three Interviews and Ligeti Homages and Three Questions for Sixty-Five Composers.

Laughter between Two Revolutions
  • Opera Buffa in Italy, 1831-1848
  • Francesco Izzo
  • Published by:
    Boydell & Brewer
    Published online:
    05 December 2013
    Print publication:
    01 December 2013
  • This study represents the first substantial assessment of Italian comic operas composed during the central years of the Risorgimento -- the period during which upheavals, revolutions, and wars ultimately led to the liberation andunification of Italy. Music historians often view the period as one during which serious Romantic opera flourished in Italy while opera buffa inexorably declined. Laughter between Two Revolutions revises this widespread notion by viewing well-known masterpieces -- such as Donizetti's L'elisir d'amore (1832) and Don Pasquale (1843) -- as part of a still-thriving tradition. Also examined are opere buffe by Luigi Ricci,Lauro Rossi, Verdi (Un giorno di regno), and others, many of which circulated widely at the time. Francesco Izzo's pathbreaking study argues that in the "realm of seriousness" of mid-nineteenth-century Italy, comedy was not an anachronistic intruder, but a significant and vital cultural presence. Laughter between Revolutions: Opera Buffa in Italy, 1831-1848 offers new insights into opera history and theories of humor in the arts.It will be of interest to opera lovers everywhere and to students in such fields as music, philosophy, comparative literature, and Italian cultural studies. Francesco Izzo is Senior Lecturer in Music at the Universityof Southampton, and has also taught at New York University, East Carolina University, and the University of Chicago. He is the editor of Un giorno di regno for the Works of Giuseppe Verdi (forthcoming).

Unmasking Ravel
  • New Perspectives on the Music
  • Edited by Peter Kaminsky
  • With contributions by Elliott Antokoletz , Gurminder Bhogal , Sigrun B. Heinzelmann , Volker Helbing , Steven Huebner , Barbara Kelly , David Korevaar , Daphne Leong , Michael Puri and Lauri Suurpää
  • Published by:
    Boydell & Brewer
    Published online:
    05 September 2013
    Print publication:
    15 May 2011
  • "Unmasking Ravel: New Perspectives on the Music" fills a unique place in Ravel studies by combining critical interpretation and analytical focus. From the premiere of his works up to the present, Ravel has been associated with masks and the related notions of artifice and imposture. This has led scholars to perceive a lack of depth in his music and, consequently, to discourage investigation of his musical language. This volume balances and interweaves these modes of inquiry. Part 1, "Orientations and Influences," illuminates the sometimes contradictory aesthetic, biographical, and literary strands comprising Ravel's artistry and our understanding of it. Part 2, "Analytical Case Studies," engages representative works from Ravel's major genres using a variety of methodologies, focusing on structural process and his complex relation to stylistic convention. Part 3, "Interdisciplinary Studies," integrates musical analysis and art criticism, semiotics, and psychoanalysis in creating novel methodologies. Contributors include prominent scholars of Ravel's and fin-de-siècle music: Elliott Antokoletz, Gurminder Bhogal, Sigrun B. Heinzelmann, Volker Helbing, Steven Huebner, Peter Kaminsky, Barbara Kelly, David Korevaar, Daphne Leong, Michael Puri, and Lauri Suurpää. Peter Kaminsky is Professor of Music at the University of Connecticut, Storrs.

Building the Operatic Museum
  • Eighteenth-Century Opera in Fin-de-Siècle Paris
  • William Gibbons
  • Published by:
    Boydell & Brewer
    Published online:
    05 August 2013
    Print publication:
    30 June 2013
  • Focusing on the operas of Wolfgang Amadeus Mozart, Christoph Willibald Gluck, and Jean-Phillipe Rameau, this book examines the essential role that eighteenth-century works played in the opera houses of Paris around the turn of the twentieth century. These works, most of which had been neglected during the nineteenth century, became the central exhibits in what William Gibbons calls the Operatic Museum-a simultaneously physical and conceptual space in which great masterworks from the past and present could, like works of visual art in the Louvre, entertain audiences while educating them in their own history and national identity. Drawing on the fields of musicology, museum studies, art history, and literature, 'Building the Operatic Museum' explores how this seemingly simple idea represented a fundamental shift in how French audiences, critics, and composers understood the nature and function of music history, as well as their own place in it. William Gibbons is assistant professor of musicology at Texas Christian iversity.

John Kirkpatrick, American Music, and the Printed Page
  • Drew Massey
  • Published by:
    Boydell & Brewer
    Published online:
    05 August 2013
    Print publication:
    15 June 2013
  • For over sixty years, the scholar and pianist John Kirkpatrick tirelessly promoted and championed the music of American composers. In this book, Drew Massey explores how Kirkpatrick's career as an editor of music shaped the music and legacies of American modernists including Aaron Copland, Ross Lee Finney, Roy Harris, Hunter Johnson, Charles Ives, Robert Palmer, and Carl Ruggles. By drawing on oral histories, interviews, and Kirkpatrick's own extensive archives, this book argues that Kirkpatrick's career invites a reconsideration of many of the most important debates in American modernism -- about young composers' self-fashioning during the 1940s; about the cherished myth of Ruggles as a composer in communion with the "timeless"; about Ives's status as a pioneer of modernist techniques. Drew Massey is an assistant professor of music at Binghamton University.

Rethinking Hanslick
  • Music, Formalism, and Expression
  • Edited by Nicole Grimes, Siobhán Donovan, Wolfgang Marx
  • Published by:
    Boydell & Brewer
    Published online:
    05 July 2013
    Print publication:
    01 March 2013
  • Rethinking Hanslick: Music, Formalism, and Expression' is the first extensive English-language study devoted to Eduard Hanslick--a seminal figure in nineteenth-century musical life. Bringing together eminent scholars from several disciplines, this volume examines Hanslick's contribution to the aesthetics and philosophy of music and looks anew at his literary interests. The essays embrace ways of thinking about Hanslick's writings that go beyond the polarities that have long marked discussion of his work such as form/expression, absolute/program music, objectivity/subjectivity, and formalist/hermeneutic criticism. This approach takes into consideration both Hanslick's important 'On the Musically Beautiful' and his critical and autobiographical writings, demonstrating Hanslick's rich insights into the context in which a musical work is composed, performed, and received. 'Rethinking Hanslick' serves as an invaluable companion to Hanslick's prodigious scholarship and criticism, deepening our understanding of the major themes and ideas of one of the most influential music critics of the nineteenth century. Dr Nicole Grimes is a Marie Curie Fellow at University College Dublin (UCD), and the University of California, Irvine. Dr Siobhán Donovan is a College Lecturer at the School of Languages and Literatures, UCD. Dr Wolfgang Marx is a Senior Lecturer at the School of Music, UCD.

Looking for the 'Harp' Quartet
  • An Investigation into Musical Beauty
  • Markand Thakar
  • Published by:
    Boydell & Brewer
    Published online:
    05 February 2013
    Print publication:
    30 January 2011
  • This book is a philosophical tour through the experience of beauty: what it is, and how the composer, performer, and listener all contribute. It explores - with insight, patience, and humor - profound issues at the essence of our experience. A student performance of Beethoven's String Quartet No. 10 in E-Flat Major, known as the 'Harp,' serves as a point of departure and a recurring theme. For the layperson the core of the book is five dialogues between Icarus, an inquiring student intensely concerned with fulfilling his highest potential as a musician, and Daedalus, a curmudgeonly, iconoclastic teacher who guides Icarus's search. Three technical articles, geared to the music professional and academic, treat the issues in greater depth. Supplementary online audio files and musical examples. Markand Thakar is Charles A. & Carolyn M. Russell Music Director, Duluth Superior Symphony Orchestra; music director, Baltimore Chamber Orchestra; principal conductor, Duluth Festival Opera; and codirector of the graduate conducting program, Peabody Conservatory of the Johns Hopkins University.

Schumann's Piano Cycles and the Novels of Jean Paul
  • Erika Reiman
  • Published by:
    Boydell & Brewer
    Published online:
    05 February 2013
    Print publication:
    15 March 2004
  • Robert Schumann frequently expressed his deep admiration for the novels of Jean Paul Friedrich Richter, the late-eighteenth-century German novelist, essayist, and satirist. Schumann imitated Jean Paul's prose style in his own fiction and music criticism, and said once that he learned 'more counterpoint from Jean Paul than from my music teacher.' Drawing on the recent, groundbreaking work in musico-literary analysis of scholars such as Anthony Newcomb, John Daverio, and Lawrence Kramer, Erika Reiman embarks on a comparative study of Jean Paul's five major novels and Schumann's piano cycles of the 1830s, many of which are staples in the repertoire of concert pianists today. The present study begins with a thorough review of Jean Paul's literary style, emphasizing the digressions, intertextuality, self-reflexivity, and otherworldliness that distinguish it. The similarly digressive style that Schumann developed is then examined in his earliest works, including the enduring and highly original 'Carnaval' (1835), and in cycles of the later 1830s, notably 'Davidsbündlertänze' and 'Faschingsschwank aus Wien'. Finally, an analysis of three one-movement works from 1838-39 reveals links with Jean Paul's exploration of the idyll, an ancient genre that had experienced an eighteenth-century revival.Throughout, the author attempts to keep in mind the actual sound and performed experience of the works, and suggests ways in which an awareness of Jean Paul's style might change the performance and hearing of the cycles. Erika Reiman, received her Ph.D. in Musicology from the University of Toronto (1999) and has taught at Brock University, Wilfrid Laurier University, the University of Guelph, and the University of Toronto; she is also active as a pianist and chamber musician.

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