Enhanced descriptions from Syndetics:

Benjamin Britten's strong interest in the musical traditions of the Far East had a far-reaching influence on his compositional style; this book explores the highly original cross-cultural synthesis he was able to achieve through the use of material borrowed from Balinese, Japanese and Indian sources.

Table of contents provided by Syndetics

• List of illustrations (p. viii)
• List of musical examples on compact disc (p. x)
• Acknowledgements (p. xi)
• Glossary of Indonesian and Japanese terms (p. xiii)
• 1 Making Tonic and Dominant Seem like Ghosts (p. 1)
• 2 Britten and Colin McPhee (p. 23)
• 3 Bali (p. 50)
• 4 The Prince of the Pagodas (p. 90)
• 5 Japan (p. 112)
• 6 From No to Church Parable: the Evolution of Curlew River, 1956-64 (p. 130)
• I The No Theatre (p. 130)
• II Sumidagawa and the Curlew River libretto (p. 137)
• III Curlew River and the dramatic style of No (p. 153)
• IV Curlew River and European mediaeval drama (p. 160)
• V The musical style of Curlew River: No and Gagaku (p. 165)
• 7 The Later Church Parables (p. 190)
• I The Burning Fiery Furnace (p. 190)
• II The Prodigal Son (p. 205)
• 8 Stylistic Synthesis: Death in Venice (p. 220)
• 9 The Composer and his Critics (p. 245)
• Bibliography (p. 259)
• Index (p. 272)

Reviews provided by Syndetics

CHOICE Review

Engaging and thoughtful, this study offers new insights and enriches the reader's understanding of the influence of Balinese, Japanese, and Indian music on Britten's compositions. Cooke (Univ. of Nottingham, UK) traces Britten's amalgamation of Asian elements from gamelan reconstruction in The Prince of the Pagodas through integration of concepts from Japanese Noh and Gagaku court music (such as heterophonic counterpoint) in Curlew River and imbedding of Japanese traits in the later two church parables, to a deeper synthesis of materials for dramatic symbolism in Death in Venice. After introductory chapters that contextualize musical "exoticism" among Western composers and discuss Britten's early acquaintance with Asian music (especially through Colin McPhee), Cooke chronicles Britten's short trips to Bali and Japan in 1956; provides background on the Asian source material Britten used; and delineates their specific and general influences on his compositions. Cooke draws on much primary documentation; interacts with and corrects material presented by other Britten scholars; and gives careful attention to detail. The accompanying CD of Asian music that influenced Britten includes McPhee's gamelan arrangements for two pianos performed by him and Britten, plus traditional music recorded for Britten in 1956. Highly recommended for all academic libraries serving music students at the upper-division undergraduate level and above, and for professionals. J. M. Edwards Macalester College

Author notes provided by Syndetics

Mervyn Cooke is Professor of Music at the University of Nottingham