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Myers, Stanley ( b Edgbaston , Oct 6, 1930; d London , Nov 9, 1993 ). English composer. After leaving Oxford University he began his professional career in the 1950s writing songs for cabarets, among others working with Joan Littlewood’s Theatre Workshop, and acting as musical director for West End shows, including Grab Me a Gondola ( 1956 ), before composing for BBC television plays from about 1964. In nearly thirty years he composed over 100 film and television scores. His first feature film score, which included several big band arrangements

Helden ( 1980–83 , known for two singles and a bootleg album) and worked with the Spanish synth-pop band Mecano ( 1983–5 ). While apprenticing from 1982 to 1985 with the British film composer Stanley Myers, Zimmer combined his ’synthetic’ work as a popular music synthesizer player and songwriter with more traditional, orchestral film sounds. Zimmer’s collaborations with Myers included Moonlighting ( 1982 ), Insignificance ( 1985 ), and My Beautiful Laundrette ( 1985 ); he then moved to the United States. Zimmer’s ‘pseudo-orchestral’ (or other hybrid) approach

al trio with Australian guitarist John Farrar. They re-formed the Shadows to perform Welch’s Let me be the one in the Eurovision Song Contest ( 1975 ). Subsequently the group had hit recordings with versions of Tim Rice and Andrew Lloyd Webber’s Don't cry for me Argentina , Stanley Myers’s Cavatina (the theme from the film The Deer Hunter ) and Stan Jones’s Riders in the Sky. In 1983 the Shadows were given an Ivor Novello award for their services to British music. Bibliography M. Read : The Story of the Shadows (London, 1983)

“Lou Donaldson’s Saxophonic Journey,” JT , 25/5 (1995), 44 R. Grosman : “Lou Donaldson: Lou and Sentimental,” Jh , no.524 (1995), 16 S. Woolley : “Lou Donaldson: Putting Swing into Bebop,” JJI , 50/1 (1997), 6 “Lou Donaldson a toujours son franc-parler,” BHcF , no.487 (1999), 5 M. Myers : “Interview: Lou Donaldson,” Jazz Wax (June 21–3, 2010) < https://www.jazzwax.com/2010/06/interview-lou-donaldson-part-1.html >; < https://www.jazzwax.com/2010/06/interview-lou-donaldson-part-2.html >; < https://www.jazzwax.com/2010/06/interview-lou-donaldson-part-3.html > W. Jenkins

Society Collection from 1968–1980 ), incl. G. Rendall (woodwind), L.G. Langwill (mostly bassoons), A. Myers (brass), J.B. Dick, C.H. Brackenbury Memorial, part of Glen, part of Mickleburgh, Ross, Shaw-Hellier, M. Whewell, A. Macaulay (plucked strings), J. Blades (percussion), P. Cooke (ethnological) and C. Monk (brass) collections. G. Melville-Mason, ed.: The Galpin Society: an Exhibition of European Musical Instruments ( 1968 ) [exhibition catalogue] A. Myers: ‘The Glen and Ross Collections of Musical Instruments’, GSJ , xxxviii ( 1985 ), 4–8 Handel: a Celebration

c 40 mainly music boxes incl. Wilmerding collection. Sitka, AK. Sheldon Jackson Museum: c 25 Inuit, and a Russian organ, 1846 , first used in Alaska. Stanford, CA. Department of Music, Stanford University: c 65 string instruments esp. bowed, Harry R. Lange collection. H.W. Myers: “Stanford’s Lange Collection Profiled,” AMIS Newsletter , xiv/3 ( 1985 ), 8–9. Sterling, CO. Overland Trail Museum: c 50 mainly Western used locally. Sturbridge, MA. Old Sturbridge Village: c 110 made or used in New England before 1840. Superior, WI. Douglas County Historical

Forbidden Planet (1956), loosely but unmistakably referential to The Tempest; the filmic version of the Broadway musical West Side Story (1961), based on Romeo and Juliet with music by Leonard Bernstein; Tom Stoppard’s Rosencrantz and Guildenstern are Dead (1980) with music by Stanley Myers; Prospero’s Books (1991), evoking The Tempest , directed by Peter Greenaway with ethereal music by Michael Nyman; recalling aspects of Hamlet, the Disney animated musical drama The Lion King (1994) directed by Roger Allers and Rob Minkoff featuring original songs by Elton

more on European influences, as in Bitter Sweet ( 1929 , films 1933 and 1941 ) and Operette ( 1938 ). One of the most prolific British theatre composers between the wars was Vivian Ellis, who produced many light musical comedies for London, including Mr Cinders (with Richard Myers, 1929 ), Jill Darling ( 1934 ) and Under Your Hat ( 1938 ). Another successful British composer of songs in the light, syncopated style of the time was Noel Gay, whose biggest musical comedy success was Me and My Girl ( 1937 , film 1939 , as The Lambeth Walk ) which included

Loos (Bonn, 1986), 283–96; Eng. trans. in Mendelssohn and his World , ed. R.L. Todd (Princeton, NJ, 1991), 121–36 G. Stanley : ‘Bach's Erbe : the Chorale in the German Oratorio of the Early Nineteenth Century’, 19CM , 11 (1987), 121–49 M. Schwarzer : Die Oratorien von Max Bruch: eine Quellenstudie (Berlin, 1988) G. Stanley : The Oratorio in Prussia and Protestant Germany: 1812–1848 (diss., Columbia U., 1988) G. Stanley : ‘Religious Propriety versus Artistic Truth: the Debate between Friedrich Rochlitz and Louis Spohr about the Representation

this club presented a large number of performances by nationally known figures. Among those who appeared there were Dave Holland, Lester Bowie’s Brass Fantasy, Henry Threadgill, Oliver Lake, Jaki Byard, Abbey Lincoln, David Murray, Hamiet Bluiett, Stanley Cowell, Ran Blake, Kenny Barron and Bill Barron, Amina Claudine Myers, Ricky Ford, and Frank Lowe. Dante Alighieri Society Cultural Center. 41 Hampshire Street. The center is the principal venue of the Boston Creative Music Alliance. Dedicated to providing a listening environment for avant-garde music, the center may

Review to April 1925] (1924–46) [see also M. Lederman (1983) and R.M. Meckna (1984)] O. Downes : “Placing the Critics,” MM , 2/2 (1925), 33–5 H. Hanson : “Of Critics, Publishers, and Patrons,” MM , 4/2 (1927), 28–31 H. Straus : “Honest Antagonism,” MM , 4/2 (1927), 3–8 R. Myers : “Possibilities of Musical Criticism,” MQ ,14/3 (1928), 387–96 J.E. Chamberlin : The Boston Transcript: a History of its First Hundred Years (Boston, 1930) A. Copland : “The Composer and his Critic,” MM , 9/4 (1932), 143–7 A. Berger : “Rosenfeld’s ‘Experience and Criticism,’”

ed.: Ethnomusicology in Canada (Toronto, 1988) B. Diamond Cavanagh and J. Robbins : ‘Ethnomusicology’, Encyclopedia of Music in Canada , ed. H. Kallmann and others (Toronto, 1992), 422–31 J. Robbins : ‘Canada’, Ethnomusicology: Historical and Regional Studies , ed. H. Myers (London, 1993), 63–76 E. Keillor : ‘Indigenous Music as a Compositional Source: Parallels and Contrasts in Canadian and American Music’, Taking a Stand: Essays in Honour of John Beckwith , ed. T.J. McGee (Toronto, 1995), 185–220 E. Keillor and others: Annotated Bibliography

in den USA’, SMH , 36 (1995), 181–226 D: Brass bands (i) General G.F. Patton : A Practial Guide to the Arrangement of Band Music (Leipzig, 1875/ R ) A.S. Rose : Talks with Bandsmen: a Popular Handbook for Brass Instrumentalists (London, 1895, rev. 1996 with introduction by A. Myers ) E. Jackson : ‘Origin and Promotion of Brass Band Contests’, MO , 19 (1895–6), 392–3, 454–5, 538–9, 673, 814–15; 20 (1896–7) (1896–7), 101–3 C.J. Vincent : The Brass Band and How to Write for it (London, 1908) H.C. Hind : The Brass Band (London, 1934/ R ) J.F. Russell and J

musicians' thought processes during performance and composition, as well as in their responses to music generally. Surprisingly, musicians may not be the quickest thinkers – their cognitive style requires them to ruminate at some length and depth, and to incubate solutions to problems (Myers, 1980 ). It is often thought that decisions in performance need to be carried out cerebrally and taken in split seconds; in fact, it may be more accurate to view them as being kinaesthetically based – a form of body thinking (as described above in connection with introversion; see

t nach 40 Jahren: Bilanz eines Hochschullehrers’, BMw , vol.33 (1991), 18–25 E. Klemm : ‘Bilanz und Ausblick’, BMw , vol.33 (1991), 13–17 G. Knepler : ‘Beiträge zur Bilanz’, BMw , vol.33 (1991), 5–12 H. Lenneberg , ed.: ‘Musicology in the Third Reich’, JMR , vol.11/3 (1991) H. Myers , ed.: Ethnomusicology: Historical and Regional Studies (New York, 1993) [incl. J. Porter : ‘Europe’, 215–39; A. Schneider: ‘Germany and Austria’, 77–96] W. Steinbeck , ed.: Gesellschaft für Musikforschung: Einheit und Spaltung der Gesellschaft für Musikforschung: zur Wissensch

Operatic Society’, EMc , vol.32 (2004), 442–58 J. Higney : Henry Purcell: a Reception/Dissemination Study, 1695–1771 (diss., U. of Western Ontario, 2008) R. Luckett : ‘The Playfords and the Purcells’, Music and the Book Trade from the Sixteenth to the Twentieth Century , ed. R. Myers , M. Harris , and G. Mandelbrote (New Castle, DE and London, 2008), 45–67 M. Burden : ‘Purcell’s King Arthur in the 1730s’, Restoration: Studies in English Literary Culture, 1660–1700 , vol.34 (2010), 117–38

Flood : ‘The Beginnings of the Chapel Royal’, ML , 5 (1924), 85–90 E.S. Roper : ‘Music at the English Chapels Royal c.1135–Present Day’, PMA , 54 (1927–8), 19–33 G. Hayes : King’s Music (Oxford, 1937) J.A. Westrup : ‘The Chapel Royal under James II’, MMR , 70 (1940), 219–22 A.R. Myers : The Household of Edward IV (Manchester, 1959) J. Noble : ‘Purcell and the Chapel Royal’, Henry Purcell 1659–1695: Essays on his Music , ed. I. Holst (London, 1959), 52–66 W. Shaw : ‘A Contemporary Source of English Music of the Purcellian Period’, AcM , 31 (1959), 38–44 W.K

of popular American sheet music, letters of Thomas Hastings to his brother, dating from 1817–52 (discussed by Mary D. Teal in Notes , xxxiv, 1977–78, pp.303–18), and a large collection of material devoted to the conductor Ossip Gabrilowitsch. Libraries and collections, §3: ListK. Myers: The Music and Drama Department of the Detroit Public Library (Detroit, 1957); Catalog of the E. Azalia Hackley Collection of Music, Dance and Drama (Boston, 1979) Minnesota In addition to the libraries cited below, the Hill Monastic Manuscripts Library at St. Johns University (

Musicians who have worked with such combinations of ‘black boxes’ include David Tudor, Ron Kuivila, Richard Teitelbaum, Marek Chołoniewski, Voice Crack (Norbert Möslang and Andy Guhl), Rolf Julius, Michael Prime, Andres Bosshard, members of the Hub, Bob Ostertag, Arcane Device (David Myers), Otomo Yoshihide, Yamatsuke Eye, Sachiko M, Matt Wand, Mats Lindström, Matt Rogalsky, Richard Barrett, Rik Rue, Jérôme Noetinger, Lionel Marchetti, Gert-Jans Prins, and the sound poet Jörg Burkhard. In some cases a specially designed or modified controller is used, mostly with MIDI

the Michigan Collection of music and recordings by area composers and performers, as well as collections of early American hymnals and songbooks and of popular American sheet music (in the Hackley collection and elsewhere in the library). 5201 Woodward Ave., Detroit, MI 48202-4007 K. Myers: The Music and Drama Department (Detroit, 1957 ) Catalog of the E. Azalia Hackley Collection (Boston, 1979 ) Evanston Northwestern University ( Eu ). The Music Library specializes in 20th-century materials and has extensive MS holdings of works by Thomas Beversdorf, Johan Franco