Art music, orchestral and formal music Books

Book SynopsisFor well over two hundred years, Joseph Haydn has been by turns lionized and misrepresented - held up as celebrity, and disparaged as mere forerunner or point of comparison. And yet, unlike many other canonic composers, his music has remained a fixture in the repertoire from his day until ours. What do we need to know now in order to understand Haydn and his music? With over eighty entries focused on ideas and seven longer thematic essays to bring these together, this distinctive and richly illustrated encyclopedia offers a new perspective on Haydn and the many cultural contexts in which he worked and left his indelible mark during the Enlightenment and beyond. Contributions from sixty-seven scholars and performers in Europe, the Americas, and Oceania, capture the vitality of Haydn studies today - its variety of perspectives and methods - and ultimately inspire further exploration of one of western music''s most innovative and influential composers.Trade Review'This is a fascinating, wide-ranging volume written by leading Haydn scholars from around the world. The simultaneously substantive and incisive essays, a pleasure to read as they enlighten at every turn, ably reflect and build on recent Haydn scholarship. In short, The Cambridge Haydn Encyclopedia is essential reading for all musicians - performers, listeners, scholars, critics - experienced and inexperienced alike, who want better to understand and appreciate Haydn and his remarkable musical achievements.' Simon P. Keefe, J. R. Hoyle Chair in Music, University of Sheffield, and author of Mozart in Vienna: the Final Decade'… this encyclopedia is replete with thoughtful information on the significance of Haydn to his times and on how aspects of his times - including the Enlightenment overall - impacted his development and production. Illustrations, including musical excerpts, are scattered throughout, with cross-references embedded in the narratives … Highly recommended.' A. J. Adam, Choice'The Cambridge Haydn Encyclopedia has much of value and is eminently user-friendly …' David Threasher, Gramophone'A paradise for 'dipping in' at random and seeing where the journey takes you.' Malcolm Hayes, BBC Music Magazine'Four years in the making, this book is a significant and welcome addition to Haydn studies. By adopting the same ethos as the great encyclopaedists of the past, the editors have opened up some fresh areas of musical knowledge to modern readers. The best work from previous centuries is included, along with fresh topics related to our own times. So, while some entries, such as acoustics and counterpoint, are subjects that the reader would naturally expect to encounter, others - notably disability and gender - reflect the new research pathways that young scholars are choosing to follow today.' Denis McCaldin, Haydn Society Journal'This major book is a treasure trove, a cabinet of wonders … a Wiki-Haydn … in an inspired touch, short entries, ranging in length from two to five pages, are punctuated by seven much longer 'conceptual essays', like pillars in a temple, which both tie together a cluster of other entries and fly their own kites … We can be grateful to Clark and Day-O'Connell for assembling such a rich and stimulating, if necessarily pointillist, portrait of this joyful composer.' Michael Spitzer, Eighteenth-Century MusicTable of ContentsPreface and guide to readers; Acknowledgments; List of figures; List of musical examples; List of contributors; Chronology; Abbreviations; List of entries and essays; A-Z entries and essays; Bibliography; Index.

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Book SynopsisThis is the first ever book-length study of the a cappella masses which appeared in France in choirbook layout during the baroque era. Though the musical settings of the Ordinarium missà and of the Missa pro defunctis have been the subject of countless studies, the stylistic evolution of the polyphonic masses composed in France during the seventeenth and eighteenth centuries has been neglected owing to the labor involved in creating scores from the surviving individual parts. Jean-Paul C. Montagnier has examined closely the printed, engraved and stenciled choirbooks containing this repertoire, and his book focuses mainly on the music as it stands in them. After tracing the choirbooks' publishing history, the author places these mass settings in their social, liturgical and musical context. He shows that their style did not all adhere strictly to the stile antico, but could also employ the most up-to-date musical language of the period.Trade Review'… Montagnier's book is a seminal and exceptional contribution to the study of French sacred music during the seventeenth and eighteenth centuries.' Thierry Favier, Music and Letters'Until the appearance of this book, no comprehensive study of the development of the polyphonic mass in France, from the early seventeenth century up to the eve of revolution, had been undertaken. For that reason alone, it should be lauded as an exceptional contribution to the literature … a monumental achievement … this book will undoubtedly prompt many further enquiries.' Peter Leech, H-France Review'Montagnier's book stands as a welcome and authoritative contribution to the literature.' Erick Arenas, Notes'Jean-Paul Montagnier's book is a much-needed addition to the current literature on French seventeenth- and eighteenth-century music … a rich resource for anyone interested in Baroque music.' C. Jane Gosine, Journal of the American Musicological Society'[Montagnier's] control of such a large information is impressive, and the combination of broad context and specific detail ensures that the content is accessible even to the reader with little prior specialist knowledge … a hugely important addition to the literature on French Baroque sacred music.' Shirley Thompson, Revue de Musicologie'… the present book by Jean-Paul C. Montagnier, the first devoted to a cappella Masses published in France in this period, is welcome not only in terms of the new factual information it imparts, but also because it invites a much-needed reassessment of the repertoire discussed … the potential of this book to act as a springboard for others to investigate this repertory further makes it a hugely important addition to the literature on French Baroque sacred music.' Shirley Thompson, Revue de musicologyTable of ContentsIntroduction; 1. Printed choirbooks; 2. Choirbooks and musical practice; 3. People and networks; 4. Music and liturgy; 5. Lassus as model; 6. Stylistic considerations; 7. Two best sellers; 8. Missa pro defunctis; Conclusion.

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Book SynopsisThis thematic examination of Britten''s operas focuses on the way that ideology is presented on stage. To watch or listen is to engage with a vivid artistic testament to the ideological world of mid-twentieth-century Britain. But it is more than that, too, because in many ways Britten''s operas continue to proffer a diagnosis of certain unresolved problems in our own time. Only rarely, as in Peter Grimes, which shows the violence inherent in all forms of social and psychological identification, does Britten unmistakably call into question fundamental precepts of his contemporary ideology. This has not, however, prevented some writers from romanticizing Britten as a quiet revolutionary. This book argues, in contrast, that his operas, and some interpretations of them, have obscured a greater social and philosophical complicity that it is timely - if at the same time uncomfortable - for his early twenty-first-century audiences to address.Trade Review'The author is interested in Britten's ideology and studies this by focusing on the origins, nature, and structure of the ideas in the operas. Recommended. Graduate students, researchers, faculty, professionals.' R. Pitts, Choice'… deeply original and brilliantly wrought … Ideology in Britten's Operas is an intellectually stimulating achievement-agile in critical-theoretical perspective, musical in its score analyses, and engaging to read. It is also an ambitious book, seeking in Britten's operas a testing-ground for a broader ideologically framed criticism.' Philip Rupprecht, Music and LettersTable of ContentsPart I. Mappa Mundi: 1. Defining ideology; 2. Ideological narratives; Part II. The Ship of State: 3. From manifest violence to its historical sediment; 4. The occultation of history; Part III. New World: 5. Women and children; 6. A shadow falls on castle walls.

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Book SynopsisAward-winning author Jack Boss returns with the ''prequel'' to Schoenberg''s Twelve-Tone Music (Cambridge, 2014) demonstrating that the term ''atonal'' is meaningful in describing Schoenberg''s music from 1908 to 1921. This book shows how Schoenberg''s atonal music can be understood in terms of successions of pitch and rhythmic motives and pitch-class sets that flesh out the large frameworks of ''musical idea'' and ''basic image''. It also explains how tonality, after losing its structural role in Schoenberg''s music after 1908, begins to re-appear not long after as an occasional expressive device. Like its predecessor, Schoenberg''s Atonal Music contains close readings of representative works, including the Op. 11 and Op. 19 Piano Pieces, the Op. 15 George-Lieder, the monodrama Erwartung, and Pierrot lunaire. These analyses are illustrated by richly detailed musical examples, revealing the underlying logic of some of Schoenberg''s most difficult pieces of music.Trade Review'Schoenberg's Atonal Music offers a study of the endlessly fascinating and enigmatic music Schoenberg wrote from around 1908 to roughly 1920. Jack Boss is a complete master of the music and the surrounding literature; he has an appropriate and effective analytical methodology, and he offers a synoptic understanding of these challenging musical works that greatly enriches our understanding of them. This book is an important prequel to Schoenberg's Twelve-Tone Music (Cambridge, 2014), which deservedly received the Wallace Berry award from the Society for Music Theory.' Joseph Straus, City University of New York'With this provocative re-interpretation of six of Schoenberg's middle-period works, Jack Boss turns time-honored conceptions of tonality versus atonality and 'amotivicism' on their heads. Through his vividly argued analyses grounded in motivic/set-class relations, the 'conflict-elaboration-resolution model' of the 'musical idea', and the use of 'expressive' tonality, Schoenberg's Three Piano Pieces, Op. 11, reveal a novel structural identity, cohering in a unified cycle. Erwartung, previously understood as the quintessence of amotivicism, finds logic in the development of a 'basic image', two leitmotifs representing the Lover's body and the Woman's sense of loss. With further analyses based on the concepts of 'musical idea', 'basic image', and 'spectres of tonality', Boss thus propounds a fascinating revisionist history - a consistent and steady development to and from atonality, setting the stage for Schoenberg's future twelve-tone works.' Severine Neff, Eugene Falk Distinguished Professor of Music, Emeritus, University of North Carolina, Chapel Hill'Jack Boss' book, Schoenberg's Atonal Music, presents a unified, integrated, and consistent picture of the composer's middle period compositional processes and works in contrast to the dichotomies of tonal versus atonal, atonal versus serial, and intuitive verses rational composer found in much Schoenberg scholarship. Boss creates an analytical model that links Schoenberg's tonal, atonal, and serial compositions, demonstrates the processes found in his tonal works continue albeit transformed by new structural resources in the atonal works, and demonstrates the organicism and applicability of pitch-class set analysis as a consequence of Schoenberg's method of working with and transforming small intervallic patterns.' Ciro Scotto, Ohio UniversityTable of Contents1. Tonal oder Atonal? The complicated, contradictory nature of Schoenberg's middle-period music (Op. 11, No. 1); 2. Piano pieces Op. 11, Nos. 2 and 3: The latter movements of a remarkably progressive cycle; 3. Das Buch der hängenden Gärten, Op. 15, Nos. 7 and 11: basic images in two of the earliest atonal pieces; 4. Erwartung, Op. 17: A Leitmotivic Opera and a 'cumulative setting', atomized; 5. Six little piano pieces, Op. 19 (Nos. 2, 3, and 6): musical idea and basic image in miniature; 6. Pierrot lunaire, Op. 21, Nos. 1, 14 and 21: basic image at the apex of its development; 7. Summary, and the way forward to twelve-tone music.

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Book SynopsisRichard Strauss in Context offers a distinctive approach to the study of a composer in that it places the emphasis on contextualizing topics rather than on biography and artistic output. One might say that it inverts the relationship between composer and context. Rather than studies of Strauss''s librettists that discuss the texts themselves and his musical settings, for instance, this book offers essays on the writers themselves: their biographical circumstances, styles, landmark works, and broader positions in literary history. Likewise, Strauss''s contributions to the concert hall are positioned within the broader development of the orchestra and trends in programmatic music. In short, readers will benefit from an elaboration of material that is either absent from or treated only briefly in existing publications. Through this supplemental and broader contextual approach, this book serves as a valuable and unique resource for students, scholars, and a general readership.Trade Review'The essays are excellent and sure to be of interest to readers at all levels … Highly recommended.' S. Edwards, ChoiceTable of ContentsPreface Morten Kristiansen and Joseph E. Jones; Part I. Family, Friends and Collaborators: 1. Family and upbringing Chris Walton; 2. Formative influences David Larkin; 3. Pauline de Ahna Katharina Hottmann; 4. Close friends Walter Werbeck; 5. Hofmannsthal Ingeborg Haase and Dirk Hoffmann; 6. The other librettists Kenneth Birkin; 7. Stage collaborators Ryan Prendergast; 8. Champions Bryan Gilliam; Part II. Career Stations: 9. Munich and Garmisch Sebastian Bolz; 10. Meiningen and Weimar Michael Saffle; 11. Bayreuth Ulrich Konrad; 12. Berlin Dietmar Schenk; 13. Vienna Joseph E. Jones; Part III. Cultural Engagement and Musical Life: 14. Strauss as reader Matthew Werley; 15. Antiquity Jason Geary; 16. Philosophy and religion Charles Youmans; 17. Allgemeiner deutscher musikverein James Deaville; 18. Genossenschaft deutscher tonsetzer Manuela Schmidt; Part IV. Professional and Musical Contexts: 19. The composer Jeremy Zima; 20. The conductor Raymond Holden; 21. The orchestra Scott Warfield; 22. Program music Jonathan Kregor; 23. Post-wagnerian opera Morten Kristiansen; 24. The lied Jürgen May; Part V. In History: 25. Modernism Peter Franklin; 26. Traditionalism Leon Botstein; 27. World War I Philip Graydon; 28. Nazi Germany Erik Levi; 29. Lateness Giangiorgio Satragni; 30. Reception Franzpeter Messmer; Part VI. Artifacts and Legacy: 31. Publishers and editions Andreas Pernpeintner and Stefan Schenk; 32. Letters Claudia Heine and Adrian Kech; 33. In performance Raymond Holden; 34. Influence Ben Winters; 35. 2001: A space odyssey and beyond Charles Youmans; 36. Scholarly directions Matthew Werley; Index.

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Book SynopsisThis is the first introductory survey of western twentieth-century music to address popular music, art music and jazz on equal terms. It treats those forms as inextricably intertwined, and sets them in a wide variety of social and critical contexts. The book comprises four sections Histories, Techniques and Technologies, Mediation, Identities with 16 thematic chapters. Each of these explores a musical or cultural topic as it developed over many years, and as it appeared across a diversity of musical practices. In this way, the text introduces both key musical repertoire and critical-musicological approaches to that work. It historicises music and musical thinking, opening up debate in the present rather than offering a new but closed narrative of the past. In each chapter, an overview of the topic''s chronology and main issues is illustrated by two detailed case studies.Table of ContentsPart I. Histories; Part II. Techniques and Technologies; Part III. Mediation; Part IV. Identities.

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Book SynopsisAcademic attention has focused on America''s influence on European stage works, and yet dozens of operettas from Austria and Germany were produced on Broadway and in the West End, and their impact on the musical life of the early twentieth century is undeniable. In this ground breaking book, Derek B. Scott examines the cultural transfer of operetta from the German stage to Britain and the USA and offers a historical and critical survey of these operettas and their music. In the period 19001940, over sixty operettas were produced in the West End, and over seventy on Broadway. A study of these stage works is important for the light they shine on a variety of social topics of the period - from modernity and gender relations to new technology and new media - and these are investigated in the individual chapters. This book is also available as Open Access on Cambridge Core.Trade Review'This virtuoso study provides valuable insights into the musical styles, business models, stars, creators and infrastructures associated with operetta during the decades surrounding the turn of the twentieth century. Scott provides salient distinctions between Viennese and Berlin operetta styles and discusses how both approaches played out in London and New York. His insights into the concepts and production systems of operetta complicate and therefore add to previous accounts of the genre. Scott's book helps us gain a deeper appreciation of this highly popular and influential part of the wider musical theatre firmament and its influence on contemporary transnational practices.' William Everett, University of Missouri, Kansas City'Considering that there are not that many new books on operetta in English, one must greet Derek B. Scott's fresh-off-the-press German Operetta on Broadway and in the West End, 1900-1940 with a big cheer … [the book] gives a clear overview of this particular field, as a good introduction that mentions many important aspects that will give students more than enough to do on their own in the years to follow.' Kevin Clarke, Operetta Research Center (www.operetta-research-center.org)'Rather than looking at the influence of American operettas on European stage productions (the customary approach), this excellent study focuses on the influence of German operettas on the stages of the West End and Broadway from 1900 to 1940.' R. Pitts, Choice'Scott's book makes an interesting contribution to existing research … The book will be of value for anyone interested in the history of the entertainment industries and of inter-urban cultural transfers in the first half of the twentieth century, and provides a fresh take on the cultural history of transatlantic exchanges.' Antje Dietze, H-UrbanTable of ContentsIntroduction; Part I. The Production of Operetta: 1. The music of operetta; 2. Cultural transfer: translation and transcreation; 3. The business of operetta; 4. Directors, designers and performers; Part II. The Reception of Operetta: 5. The reception of operetta in London and New York; 6. Operetta and intermediality; 7. Operetta and modernity; 8. Operetta and cosmopolitanism; Postlude: the demise of operetta; Appendix 1. Productions of operetta from the German stage on Broadway and in the West End; Appendix 2. Longest runs of operetta from the German stage on Broadway and in the West End; Appendix 3. Operettas with English librettos by composers for the German stage; Appendix 4. Selected period recordings of English versions of operetta from the German stage; Appendix 5. Selected films in English of operettas from the German stage; Appendix 6. Research resources.

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Book SynopsisThe authors of this book propose to computationally analyze both the structure and the performance of Hindustani classical music. Under the structure, they have taken up certain fundamental aspects like aroh (ascent), awaroh (descent), pakad (catch), etc. of the more common ragas. Under performance, other features like note duration, inter onset interval, and pitch movements between the notes have also been considered. Both statistics and probability are extensively used, including statistical modeling. The authors have also analyzed raga-based songs whose role in promoting Hindustani classical music among laymen cannot be denied. An open research problem of assessing the raga content in such songs is addressed as well. This book would be useful for musicians, musicologists, researchers in music history, aesthetics, statistical musicology, and advanced undergraduate and postgraduate students of music and musicology.Table of ContentsPreface; Introduction; Fundamental Concepts of Music and Mathematical Techniques Used in the Book; Literature Survey; A Musical Performance Analysis; Structural Analysis of Hindustani Music; Raga Analysis Using Entropy; Similarity Analysis; Semi-Natural Composition; Multivariate Statistical Analysis; Discussion; Conclusion and Future Scope; References; Links; Appendices.

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Book SynopsisWhen it comes to buying classical music, it can be hard to know where to start. Packed full of essential information, this pocket-sized handbook reviews the most important record labels and recommends 100 recordings, providing a useful starting point for beginners and a wealth of options for more experienced listeners. Classic FM's Handy Guides are a fun and informative set of introductions to standout subjects within classical music, each of which can be read and digested in one sitting: a perfect collectible series whether you re new to the world of classical music or an aficionado.Table of ContentsContents Introduction vii Preface ix The Classical Labels That Matter 1 The 100 Albums to Own 7 About Classic FM 89 About the Author 93 Index 95

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Book SynopsisOne hundred years after Luigi Russolos The Art of Noises, this book exposes a cross-section of the current motivations, activities, thoughts, and reflections of composers, performers, and artists who work with noise in all of its many forms. The books focus is the practice of noise and its relationship to music, and in particular the role of noise as musical material -- as form, as sound, as notation or interface, as a medium for listening, as provocation, as data. Its contributors are first and foremost practitioners, which inevitably turns attention toward how and why noise is made and its potential role in listening and perceiving. Contributors include Peter Ablinger, Sebastian Berweck, Aaron Cassidy, Marko Ciciliani, Nick Collins, Aaron Einbond, Matthias Haenisch, Alec Hall, Martin Iddon, Bryan Jacobs, Phil Julian, Michael Maierhof, Joan Arnau Pámies, and James Whitehead (JLIAT). The book also features a collection of short responses to a two-question interview -- what is noise (music) to you? and why do you make it? -- by some of the leading musicians working with noise today. Their work spans a wide range of artistic practice, including instrumental, vocal, and electronic music; improvisation; notated composition; theater; sound installation; DIY; and software development. Interview subjects include Eryck Abecassis, Franck Bedrossian, Antoine Chessex, Ryan Jordan, Alice Kemp (Germseed), George Lewis, Lasse Marhaug, Maja Solveig Kjelstrup Ratkje, Diemo Schwarz, Ben Thigpen, Kasper Toeplitz, and Pierre Alexandre Tremblay.Table of ContentsIntroduction; Aaron Cassidy and Aaron Einbond; Black Square and Bottle Rack: noise and noises; Un-sounding Music: noise is not sound; Noise and the Voice: exploring the thresholds of vocal transgression; Subtractive Synthesis: noise and digital (un)creativity; Noise Music Information Retrieval; Inside Famas House: listening, intimacy, and the noises of the body; We Need You To Play Some Music; Beyond Pitch Organization: an interview with Michael Maierhof; Materiality and Agency in Improvisation: Andrea Neumanns Inside Piano; Noise-Interstate(s): toward a subtextual formalization; Molding the Pop Ghost: noise and immersion; Qubit Noise Non-ference: a conversation.

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Book SynopsisThis short collection of essays focuses on four areas of immersive sound environments: repetition, sustained tones, performed installations and approaches to extended forms. Through in depth exploration of the experiential nature of these subjects, the authors offer reflections upon the materials used for these environments, how they are organised, and the consequences of this on how we listen.Table of ContentsAcknowledgments; Introduction; Sustained tones, sustained durations; Performed installations; Repetitions in extended time: recursive structures and musical temporality; Listening through Morton Feldmans Triadic Memories; Bibliography; Recommended listening; Biographies.

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Book SynopsisThe launch CD of Huddersfield label, Pennine Records, dedicated to historically interesting new recordings. A disc experimenting with modern instruments and a fusion of contemporary and historical performance aesthetics.Table of ContentsAllegro appassionato (7.14); Andante un poco Adagio (4.39); Allegretto grazioso (3.43); Vivace (5.03); Allegro (Moderato) (7.53); Adagio (3.54); Un poco presto e con sentimento (2.56); Presto agitato (5.42); Allegro amabile (7.56); Allegro appassionato (4.43); Andante con moto (6.32).

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Book SynopsisWhere would classical music be without the orchestra? Whether they are of the symphony or chamber variety, every orchestra is made up of a group of musicians playing together as one body to bring the music of the great composers to life. This handy reference guide from Classic FM takes you on a whistle-stop tour of the greatest orchestras at home and abroad, stopping off to explore the world of orchestral instruments, as well as making plenty of musical recommendations along the way. The orchestra is one of the cornerstones of classical music, beloved of music lovers around the world. Packed full of essential information, this pocket-sized handbook explores the make-up and functions of the different sections, from strings to percussion, as well as some of the greatest orchestras around the world and the incredible music that they perform. Classic FM's Handy Guides are a fun and informative set of introductions to standout subjects within classical music, each of which can be read and digested in one sitting: a perfect collectible series whether you're new to the world of classical music or an aficionado.Table of ContentsContents Introduction vii Preface ix 1 Back at the Beginning 1 2 The Conductor 5 3 The String Section 13 4 The Brass Section 19 5 The Woodwind Section 23 6 The Percussion Section 29 7 Great British Orchestras 39 8 Great Orchestras of the World 65 9 The Music Orchestras Play 75 About Classic FM 89 About the Author 93 Index 95

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Book SynopsisDuring the 17th and 18th century musicians' mobilities and migrations are essential for the European music history and the cultural exchange of music. Adopting viewpoints that reflect different methodological approaches and diversified research cultures, the book presents studies on central scopes, strategies and artistic outcomes of mobile and migratory musicians as well as on the transfer of music. By looking at elite and non-elite musicians and their everyday mobilities to major and minor centers of music production and practice, new biographical patterns and new stylistic paradigms in the European East, West and South emerge.

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Book SynopsisMusic and Democracy explores music as a resource for societal transformation processes. This book provides recent insights into how individuals and groups used and still use music to achieve social, cultural, and political participation and bring about social change. The contributors present outstanding perspectives on the topic: From the promise and myth of democratization through music technology to the use of music in imposing authoritarian, neoliberal or even fascist political ideas in the past and present up to music's impact on political systems, governmental representation, and socio-political realities. The volume further features approaches in the fields of gender, migration, disability, and digitalization.Table of ContentsAmbivalences in Music and Democracy: Introductory Remarks; Part 1: From Recorded Democracy to Digital Participation? Part 2: Political Impacts of Bourgeois Music Culture; Part 3: (Non‐)Democratic Participation in Popular Music and Performance Cultures; Part 4: Sonic Implications of Political Changes.

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Book SynopsisProceedings from The Nordic Festival and Conference of Gregorian Chant.

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Book SynopsisText in Danish with an introduction in German. The Lumbye-catalogue is a catalogue of printed ballet and dance compositions by the Danish composer H C Lumbye. It provides us with a chronological survey of his printed works including a detailed index. The works were performed by Tivoli's orchestra which he conducted from its establishment in 1843. Co-published by The Royal Library in Copenhagen and Museum Tusculanum Press.

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Book SynopsisGustav Mahler may have become a popular composer, but he remains widely misunderstood both as a man and musician. This biography re-examines his life and work and the circumstances leading to his death in 1911.

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Book SynopsisMusic has been seen since the Romantic era as the quintessentially temporal art, possessing a unique capacity to invoke the human experience of time. The Melody of Time explores the multiple ways in which music may provide insight into the problematics of time, spanning the dynamic century between Beethoven and Elgar.Trade ReviewAt once a deeply engaged historical studyTable of ContentsAcknowledgements ; Introduction ; 1. Time and Transcendence in Beethoven's late Piano Sonatas ; 2. Music, Time and Philosophy ; 3. Memory and Nostalgia in Schubert's Instrumental Music ; 4. Temporality in Russian Music and the Ideology of History ; 5. La sonate cyclique and the Structures of Time ; 6. Elgar's The Music Makers and the Spirit of Time ; Bibliography ; Index

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Trade ReviewKofi Agawu is widely known as one of the pioneers of musical semiotics. Now, in Music as Discourse, he offers a focused study that shows semiotics in action, engaging with a familiar and cherished repertory in a way that provides valuable insights to both scholar and student. * Patrick McCreless, Professor of Music Theory, Yale University *At a moment when referential and structural interpretations of music threaten divorce, Agawu's fresh initiative supports synthesis and debate. These are splendid new analyses of important works. * David Lidov, Department of Music, York University, Toronto *Excitement, radicalism, challenge: these qualities have seldom been associated with advanced courses in analysis. This book, with its lapidary clarity, its surprising insights, and its emphasis on musical meaning, is going to change all that. * Raymond Monelle, Honorary Professor of Music, University of Edinburgh, Scotland *Confirms [the author's] status as one of the foremost semiotic analysts of our time. . . rarely can a treatise that ponders on matters so weighty have had such a light, intensely readable, touch. * Tempo *An excellent example of . . . analysis as a kind of 'performance'. * Notes *Remarkable . . . inspiring . . . a reminder of how playful and rewarding music analysis can be. . . . One finishes Agawu's book with new methods to probe music's unfathomable meanings, new ways to refashion the tools we already know, a conviction that the real value of analysis lies in the doing of it rather than the 'truth' it uncovers, and a desire to get down to work. * Theoria *The painstaking clarity of the analyses will surely be imitated by a generation of bright students. . . radical and challenging . . . easy to absorb yet infinitely sophisticated. . .This elegant and rich book needs to be lived with and digested. Of how many analytical manuals can one say that? * Music and Letters *Table of ContentsIntroduction ; PART I ; Theory ; 1. Music as Language ; 2. Criteria for Analysis I ; 3. Criteria for Analysis II ; 4. Bridges to Free Composition ; 5. Paradigmatic Analysis ; PART II ; Analyses ; 6. Liszt, Orpheus (1853-1854) ; 7. Brahms, Intermezzo in E Minor, op. 119, no. 2 (1893), and Symphony no. 1/ii (1872-1879) ; 8. Mahler, Symphony no. 9/i (1908-1909) ; 9. Beethoven, String Quartet, op. 130/i (1825-1826), and Stravinsky, Symphonies of Wind Instruments (1920) ; Epilogue ; Bibliography ; Index

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Book SynopsisOut of Time explores a bold idea: that western art music of the last four hundred years is better understood through the idea of musical modernity than by the usual periodizations of music history.Trade ReviewIncluding many musical examples and a wealth of references to literature on modernity and music, this refreshing exploration of "modern music" goes backward and forward, and surrounds music in the present. * B. L. Eden, CHOICE *Table of ContentsIntroduction ; Mapping musical modernity ; 1. Being Late ; Looking back ; Brokenness ; Remembering ; 2. Being Early ; Pushing forwards ; The temporality of desire ; Sounding utopia ; 3. The Precarious Present ; Simultaneity ; Boredom ; Historicism as modernism ; 4. Being Everywhere ; The space of music ; Labyrinths ; Technologies of the musical body ; 5. Being Elsewhere ; Music as transport ; The metaphysics of restlessness ; Re-enchantment ; 6. Placing the Self ; Being nowhere ; Hypersubjectivity ; Staging the self ; 7. Like a Language ; Disclosure ; Discourse ; Music as self-critique ; 8. Le corps sonore ; The return of the repressed ; Bodies of sound ; The grammar of dreams ; Bibliography

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Book SynopsisOver the last century tonality has adapted and persisted in remarkable ways. In Pieces of Tradition, Daniel Harrison explores the modern endurance of tonal music, examining works by masters such as Shostakovich and Hindemith alongside music by Leonard Bernstein and Brian Wilson.Table of Contents1. Inheritance 2. Overtonality 3. Geography 4. Harmony 5. Styles Acknowledgments Bibliography Index

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Book SynopsisThis first full-length study of Telemann's concertos, sonatas, and suites focuses on his imaginative mixing of styles and genres. Special attention is also devoted to the extra musical meanings and humor of his programmatic overture-suites, his unprecedented self-publishing enterprise, and the social resonances of his Polish-style works.Trade ReviewIf any music-lovers, performers, or scholars still doubt the beauty and richness of Telemann's music or the importance of his industrious life for the course of music history, let them now read this new study by Steven Zohn, which is extraordinarily well researched, meticulously argued, and original in both content and approach. In one bound, Zohn sets new standards not only for literature in English on Telemann, but also for Telemann scholarship worldwide. * Michael Talbot, Emeritus Professor of Music, University of Liverpool *Steven Zohn's excellent and engaging study should put to rest, once and for all, any view that Telemann was a habitual composer of wallpaper music. Zohn gives us a comprehensive, nuanced, and discerning picture of the Telemann whose music Bach and Handel so greatly admired. * Michael Marissen, Professor of Music, Swarthmore College, and author of The Social and Religious Designs of Bach's Brandenburg Concertos *Zohn takes Telemann well beyond Bach's shadow, revealing not only Telemann's original voice and uncanny fluency in any number of national styles, but also transforming our basic conceptions about music in eighteenth-century Germany. An invaluable contribution. * Wendy Heller, Professor of Music, Princeton University *If any music-lovers, performers, or scholars still doubt the beauty and richness of Telemann's music or the importance of his industrious life for the course of music history, let them now read this new study by Steven Zohn, which is extraordinarily well researched, meticulously argued, and original in both content and approach. In one bound, Zohn sets new standards not only for literature in English on Telemann, but also for Telemann scholarship worldwide. * Michael Talbot, Emeritus Professor of Music, University of Liverpool *Zohn takes Telemann well beyond Bach's shadow, revealing not only Telemann's original voice and uncanny fluency in any number of national styles, but also transforming our basic conceptions about music in eighteenth-century Germany. An invaluable contribution. * Wendy Heller, Professor of Music, Princeton University *Steven Zohn's excellent and engaging study should put to rest, once and for all, any view that Telemann was a habitual composer of wallpaper music. Zohn gives us a comprehensive, nuanced, and discerning picture of the Telemann whose music Bach and Handel so greatly admired. * Michael Marissen, Professor of Music, Swarthmore College, and author of The Social and Religious Designs of Bach's Brandenburg Concertos *Table of ContentsList of Abbreviations ; List of Music Examples ; List of Tables ; List of Figures ; Prologue: Styles and Sources ; Part I: The Overture-Suites ; One: Acquiring a Mixed Taste: Telemann as "Great Partisan of French Music" ; Two: Telemann's Mimetic Art: The Characteristic Overture-Suites ; Part II: The Concertos ; Three: Never from the Heart? Telemann's Concertos ; Four: Bach's Debt Repaid with Interest: A Cast Study of Transformative Imitation ; Part III: The Sonatas ; Five: "Something for Everyone's Taste": Telemann's Sonatas to 1725 ; Six: Telemann and the Sonata auf Concertenart ; Part IV: The Hamburg Publications ; Seven: Telemann in the Marketplace: The Composer as Self-Publisher ; Eight: Telemann fur Kenner und Liebhaber: The Music of the Hamburg Publications ; Nine: Telemann's Polish Style and the "True Barbaric Beauty" of the Musical Other ; Afterword ; Glossay ; Notes ; Bibliography ; Index of Telemann's Compositions ; General Index

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Book SynopsisIn Charles Munch, D. Kern Holoman provides the first full biography of this giant of twentieth-century music, tracing his dramatic survival in occupied Paris, his triumphant arrival at the Boston Symphony Orchestra, and his later years, when he was a leading cultural figure in the United States, a man known and admired by Presidents Truman, Eisenhower, and Kennedy.Trade ReviewA fascinating read. Holoman's passion for and knowledge of his subject is quite compelling. In contemporary discussions of the great conductors of that era, Munch tends to be relatively overlooked. Holoman makes a persuasive historical case for Munch's importance, both to musical life in France and to the evolution of the Boston Symphony. Along the way, he also provides a detailed look at what life was like for conductors (and orchestras) in the middle part of the twentieth century. * Aaron Sherber, Music Director and Conductor, Martha Graham Dance Company *A joy to read: well-conceived, well-executed, well-written. Holoman's combination of musical and literary skill brings twentieth-century culture to life throughout, on both sides of the Atlantic. 'Ah, qu'il était beau!' and he still is, in Holoman's vivid biography. * Thomas Kelly, Harvard University *Charles Munch * the musical icon. When you played a concert with Charles Munch or attended one of his performances as a listener, it was not just a concert. It was an event. He never used the same palette twice. As a player, you had to give 110% of yourself, or be left out of the music. This book is an excellent portrayal of this musical phenomenon!Vic Firth *The qualities that marked D. Kern Holoman's biography of Berlioz and his epic The Société des Concerts du Conservatoire * the grand sweep combined with the minute attention to detail, the narrative flair, the breadth of human sympathy, the evocation of the musician's existence, which, as himself a conductor and organiser of concerts, he understands so wellshine out in this new book. Charles Munch's life, spanning three continents and two world wars, raises fascinating issuespersonal, social, political, as well as musical. Reading it, we learn both about the teeming, intricate world of mid-twentieth-century music and about the struggles and achievements of one of its best-loved and most committed practitioners. Holoman has a remarkable story to tell and he tells it superbly.David Cairns *Among its other virtues, D. Kern Holoman's warmly sympathetic new biography sheds necessary light on an already forgotten chapter from the history of the Boston Symphony Orchestra. Few readers of this book will be prepared to discover what was expected of a Boston Symphony music director as of 1949, when Charles Munch took over from Serge Koussevitzky * Munch was to stay put in Boston; guest conductors were a rarity. And there was new music on virtually every subscription concert. A lot has changed since then.Joseph Horowitz, author of Classical Music in America: A History *A book such as this has been needed for quite a while...Very strongly recommended: it is a masterly study. * Musical Opinion *Beautifully written and arranged in every respect...Accessible to a wide audience...Recommended. * Choice *Table of ContentsIntroduction ; 1 Strasbourg, Paris, Leipzig : September 1891 - October 1932 ; 2 Paris : November 1932 - May 1938 ; 3 The Societe des Concerts : June 1938 - May 1945 ; 4 Leaving France : June 1945 - September 1949 ; 5 Winning Boston : October 1949 - June 1951 ; 6 Boston after Koussevitzky : July 1951 - July 1956 ; 7 The Iron Curtain and Beyond : August 1956 - August 1958 ; 8 Shifting Perspectives in Boston : September 1958 - April 1962 ; 9 Paris, Again : May 1962 - August 1966 ; 10 The Orchestre de Paris : September 1966 - November 1968 ; 11 An Eternal Smile ; Notes ; Bibliography ; Index

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Book SynopsisIn this thirtieth-anniversary new edition of Henry Purcell's Dido and Aeneas, Ellen Harris provides a detailed consideration of the many theories that have been proposed for the opera's origin and chronology, a detailed reexamination of the musical sources, and a comprehensive performance history.Trade ReviewHarris' comprehensive, concise, and well-organized volume will prove a durable, invaluable guide for musicologist, conductor, singer, stage director, dramaturg, or opera fan. * Ryan James Brandau, Early Music America *The first edition is a fine study, but the renewal of interest in both scholarship and performance of Purcell's works in general and of Dido and Aeneas in particular make the second edition a welcome contribution. ... Summing Up: Highly recommended. Upper-division undergraduates through faculty and professionals. * M. J. Duffy IV, CHOICE *Table of ContentsContents List of Plates I. Background to the Music Introduction to Part I 1. Synopsis: Literary and Textual Antecedents 2. Premiere: Place, Date, and Meaning II. The Music Introduction to Part II 3. The Tenbury Manuscript: Discrepancies and Omissions 4. Musical and Dramatic Structure 5. Musical Declamation 6. Ground Bass Techniques III. Performance History Introduction to Part III 7. The Late Eighteenth Century: Revival and Adaptation 8. The Nineteenth and Early Twentieth Century: Scholarly Editions and Added Accompaniments 9. Twentieth- and Twenty-First Century Interpretations: The Early Music Movement and Postmodernism Bibliography

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Book SynopsisIn this third edition of the classic Verdi, renowned authority Julian Budden offers a comprehensive overview of Verdi the man and the artist, tracing his ascent from humble beginnings to the status of a cultural patriarch of the new Italy.Table of ContentsIllustrations ; Key to Sigla ; PART I THE LIFE ; 1. Early Life at Busseto ; 2. Success and Failure in Milan ; 3. The Journeyman ; 4. Florence, London and Paris ; 5. Return to Busseto ; 6. Viva V.E.R.D.I. ; 7. The New Order ; 8. The Dark Decade ; 9. Indian Summer ; 10. The Last Years ; 11. Verdi as Man and Artist ; PART II THE MUSIC ; 12. The Background ; 13. From Oberto to Ernani ; Oberto, Conte di San Bonifacio, Un giorno di regno, Nabucco, I Lombardi alla prima crociata, Ernani ; 14. The Prison Years ; I due Foscari, Giovanna d'Arco, Alzira, Attila, Macbeth, I masnadieri, Jerusalem, Il corsaro, La battaglia di Legnano, Luisa Miller ; 15. The High Noon ; Stiffelio, Rigoletto, Il trovatore, La traviata ; 16. Towards Grand Opera ; Les vepres siciliennes, Simon Boccanegra, Aroldo, Un ballo in maschera, La forza del destino, Don Carlos, Aida ; 17. The Final Masterpieces ; Otello, Falstaff ; 18. Miscellaneous Operatic Compositions ; 19. Chamber Compositions ; 20. Choral and Religious Works ; Appendices ; A. Calendar ; B. List of Works ; C. Personalia ; D. Select Bibliography ; E. Glossary of Nineteenth-Century Operatic Terms ; Index

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Book SynopsisThrough a detailed examination of the major musical treatises from the sixth through the twelfth centuries, this text establishes a central dichotomy between classical harmonic theory and the practices of the Christian church.Trade ReviewThe Critical Nexus is a milestone in every respect, which appeals to specialists and novices alike. It deserves to be ranked among the classic studies on the subject and will be of lasting value to anybody interested in the formation of music thought in the Middle Ages. * Fontes Artis Musicae *The Critical Nexus will become required reading for musicologists, music theorists, and medievalists interested in the reception of ancient texts. * Speculum *A meticulously researched survey of early medieval theory and its application to plainsong, it will form the starting point for future research in the field. * James Grier, Professor of Music History, University of Western Ontario *A comprehensive study, fine-tuning our understanding of the challenges faced by medieval theorists as they adopted terminology and concepts from Antiquity to make sense of the music of their own time - the chant repertory of the Christian church. Professor Atkinson brings a unique perspective to this history of tone-system, mode, and notation through his command of Greek and Latin text sources, combined with his forage into the chant repertory itself. The scholarly community will prize this contribution for years to come. * Dolores Pesce, Professor of Music, Washington University in St. Louis *In this meticulous examination of the texts on music that were the most widely read from the ninth to the eleventh century, Charles Atkinson reveals how medieval theorist musicians reinterpreted the tone systems of ancient Greece and the writings of Latin grammarians to explain and notate the new practice of plainchant. His elegant and remarkably lucid argument is the crowning achievement of decades of scholarship: it not only explains early medieval tonality but resolves the longstanding problem of the derivation of the earliest Carolingian notations. It truly transforms our understanding of medieval music. Every musician and medievalist will benefit from reading it. * Barbara Haggh-Huglo, Professor of Music, University of Maryland, College Park *This important book is of a kind to stimulate one's thoughts about the inherent nature of medieval chant and to provoke discussions about contested issues; above all, however, it presents in al its wealth of detail the evidence for the remarkable story of the earliest developments in the history of Western art music. * Music & Letters *All readers, regardless of their level of specialization, will find their understanding both broadened and deepened. To be sure, this is a work that merits to become a classic, that deserves to be read and reread, studied and discussed among students and scholars time and again, and is therefore highly recommended to all musicologists and libraries. * Notes *Table of ContentsNote on Abbreviations and Nomenclature for Ptich ; Prologue ; 1. The Heritage of Antiquity ; Part I. The Eighth and Ninth Centuries ; 2. The Reception of Ancient Texts in the Carolingian Era ; 3. The Heritage of the Church ; Part II. The Synthesis of Ancient Greek Theory and Medieval Practice ; 4. Hucbald of St. Amand and Regino of Prum ; 5. Alia musica ; 6 Pseudo-Bernelinus, Bern of Reichnau, Pseudo-Odo, and Guido d'Arezzo ; Epilogue ; Bibliography ; Index of Chants and Manuscripts ; General Index

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Book SynopsisIn this fully updated edition of his long-indispensable study, Malcolm MacDonald takes advantage of 30 years of recent scholarship, new biographical information, and deeper understanding of Schoenberg's aims and significance to produce a superb guide to Schoenberg's life and work.Trade ReviewThe Master Musicians are the classics of the repertoire. * Nicholas Kenyon, The Sunday Times *Malcolm MacDonald, an eloquent advocate for Arnold Schoenberg, has done away with the dry and cerebral bogeyman of modernism. In his place is a complex, multi-faceted, and often contradictory personality whose music pulses with wit, passion, and spiritual depth. MacDonald ably guides us past the 'how' of technical procedures to the 'what' of expressive substance, toward a vast universe of human thought and emotion, at once challenging and entrancing, terrifying and breathtakingly beautiful. This is a Schoenberg of vital relevance to our own fractured world. * Christopher Hailey *No general survey of Schoenberg is more alert than this one to the paradoxical yet productive tensions between tradition and innovation, secular and spiritual in the composer's life and work. Returning to his original text after three decades, Malcolm MacDonald has not only updated the narrative but also intensified his interpretation in ways which fit the book's governing qualities of enthusiasm and admiration for Schoenberg's special capacity to transcend the negative. The result is an absorbing and accessible tribute to one of musical modernism's greatest masters. * Arnold Whittall, author of Musical Composition in the Twentieth Century and Exploring Twentieth-Century Music *The Master Musicians are the classics of the repertoire. * Nicholas Kenyon, The Sunday Times *Malcolm MacDonald, an eloquent advocate for Arnold Schoenberg, has done away with the dry and cerebral bogeyman of modernism. In his place is a complex, multi-faceted, and often contradictory personality whose music pulses with wit, passion, and spiritual depth. MacDonald ably guides us past the 'how' of technical procedures to the 'what' of expressive substance, toward a vast universe of human thought and emotion, at once challenging and entrancing, terrifying and breathtakingly beautiful. This is a Schoenberg of vital relevance to our own fractured world. * Christopher Hailey *No general survey of Schoenberg is more alert than this one to the paradoxical yet productive tensions between tradition and innovation, secular and spiritual in the composer's life and work. Returning to his original text after three decades, Malcolm MacDonald has not only updated the narrative but also intensified his interpretation in ways which fit the book's governing qualities of enthusiasm and admiration for Schoenberg's special capacity to transcend the negative. The result is an absorbing and accessible tribute to one of musical modernism's greatest masters. * Arnold Whittall, author of Musical Composition in the Twentieth Century and Exploring Twentieth-Century Music *Table of ContentsList of Illustrations ; 1. Peripeteia (1908-13) ; 2. The Past (1874-1907) ; 3. Consolidation (1914-1933) ; 4. In the Wilderness (1933-51) ; 5. Heart and Brain ; 6. Style ; 7. Choral Music ; 8. Orchestra and Chamber Music ; 9. Chamber Music ; 10. Solo Keyboard Music ; 11. The Songs ; 12. Three Stage Works ; 13. Miscellany ; 14. Unfinished Torsos ; 15...and Idea ; Epilogue ; Appendices ; A. Calendar ; B. List of Works ; C. Personalia ; D. Bibliography ; Index

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Book SynopsisImprovisation and Inventio in the Performance of Medieval Music is an innovative and groundbreaking approach to medieval music as living repertoire. The book provides philosophical frameworks, primary-source analysis, and clear, actionable exercises aimed at recovering the improvisatory and inventive aspects of medieval music for contemporary musicians.Trade ReviewI would recommend this book as an addition to the library of any teacher or student of medieval music, medieval-curious musician, or experienced medieval professional who would like to reflect on their mediebal music practice. * Leah Stuttard, Music and Letters *This book is a gift, born of the experience, artistry, and memory of a leading practitioner and teacher of medieval music. It is full of learning lightly worn, and invaluable advice born of long experience. Scholars will appreciate its practical approach, and performers will respect and admire its deep learning. * Thomas Forrest Kelly, Morton B. Knafel Professor of Music, Harvard University *Finally, instructions for recreating the most basic technique in the performance of Medieval music - improvisation. Improvisation and Inventio in the Performance of Medieval Music is a welcome and long-awaited addition to early music performance practice. Angela Mariani sets a new standard for early music performance! * Timothy McGee, University of Toronto *Table of ContentsCONTENTS List of Figures List of Tables List of Examples List of Practices 1. The Process of Inventio 2. Models: Living and "Imagined" 3. Notation and Memoria: What's Not on the Page 4. Mode: The Vocabulary of Melody 5. Inventing Melody: Old Instruments, New Voices 6. Inventing Organum: Memoria and Formula 7. Playing Poetry: The Rhetoric of Invention 8. The Long Memory: Reflections on Teaching Medieval Music APPENDIX 1: Mode Models BIBLIOGRAPHY

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Trade ReviewYou should derive considerable enlightenment from Bonds' trenchant and pertinent perspectives. * Arnold Whittall, The Musical Times *...the idea...turns out to be a big one, and Bonds rises brilliantly to his own challenge, writing an epic narrative with a masterly command of 2,500 years of music history from the mysteries of Pythagoras to the mysteries of the CIA...Bonds's concept is immaculately conceived, wonderfully lucid, beautifully organized, and elegantly written. * Music Theory Online *This is an immensely informed, thoroughly documented, and detailed book, offering much to chew on during a delicious and intellectually nourishing journey through millennia of theoretical discussions about the nature of music. Readers with an interest in these matters should find Bonds' account profoundly satisfying, and his book should also provide the basis for graduate seminars on musical aesthetics. Highly recommended. * Classical.Net *Table of ContentsIntroduction 7 Part One Essence as Effect: To 1550 23 1. Orpheus and Pythagoras 23 2. Isomorphic Resonance 30 Part Two Essence and Effect: 1550-1850 39 3. Expression 41 The Separation of Powers 41 Music and Language 48 Music as Language 58 Mimesis 69 4. Beauty 79 5. Form 90 Form as Number 91 Form as Content 98 6. Autonomy 103 Material Autonomy 103 Ethical Autonomy 108 7. Disclosure 112 The Composer as Oracle 112 Beautiful Insights 117 Cosmic Insights 121 Part Three Essence or Effect: 1850-1945 127 8. Wagner's "Absolute" Music 129 9. Hanslick's "Pure" Music 140 Hanslick the Conventional 156 Hanslick the Radical 171 Hanslick the Ambivalent 181 10. Liszt's "Program" Music 205 11. Polemics 214 12. Reconciliation 231 13. Qualities Recast 244 Expression 246 Beauty 263 Form 264 Autonomy 278 Disclosure 284 Epilogue: Since 1945 292 Appendix: Hanslick's Vom Musikalischen-Schönen: Early and Selected Later Reviews and Commentary 294 Works Cited ] 304

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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