Art music, orchestral and formal music Books

Book SynopsisWE SANG BETTER consists of two volumes of very clear advice about singing from great singers of the past. Volume 2 (ISBN 978-84-940477-9-4) is entitled 'Why it was better' and contains further evidence and reasoning from singers 1800 to 1960. This volume is 260 pages long, and contains 20 illustrations. 'One very important thing right from the start,' said Puccini's star soprano Maria Jeritza, '- not to scream and not to force.' As Volume 1 made clear, the best singers of this period approached their art and their training gently. They built slowly upon the individual voice granted by nature. Volume 2 gives further proof that many of these singers knew exactly what they were doing and why. They were highly aware that singing can go wrong. But they said if you wanted superlative singing you had to keep approaching it their way. You would never master supreme singing: if you put your trust in scientific 'discoveries' or 'fixes; if you rushed your training or forced; or if you tried to copy some academic 'style'. The original Italian model for singers was uncomplicated: the aim was to be natural, spontaneous and simple. And, as Puccini added, 'We Italians love beauty of sound.' This volume takes evidence from the singers on dozens of topics such as: pressure, exercises, 'forward', dans le masque, covering, 'from the chest', voix sombree, portamento, attack, vowel modifications, support, golden ages, keeping up with instrumentalists, listening to others, performances of early music, etc - and also on the question of whether singing is a science, an art, or even something more - something spiritual. For your information, the first volume (ISBN 978-84-940477-8-7) is entitled 'How we sang' and contains 250 tips on how to sing from singers 1800 to 1960; the first volume is 490 pages long, and contains 130 illustrations.Trade Review"Anderson's trawl through the annals of singing has been generous and wide-ranging ... Books on singing are prone to obtuseness and pedantry [but] Anderson's two-volume survey ... brings the subject to life ... the books are full of little bursts of insight and big-hearted moments of inspiration." (OPERA NOW)Table of ContentsTHE CONTENTS OF VOLUME 2 Part II Issues Effort Pressure Force From the chest Throat and larynx Chest voice Head and headiness Forward Breathing Support Dans le masque Legato and diction Breath control Covering and closed Attack A science of voice-production? Ideals Vowel modifications Registers Playing around with registers Voix sombree Those tenor high notes Exercises Criticism Spontaneity Natural tones and carrying power Portamento Varying the volume Vibrancy Expansiveness and expression Complicated or simple? Part III Cycles Cycles Golden ages come and go Why do golden ages not last? Instrumentalists Singers can be more like instrumentalists Success in any art-form needs a basic grounding Where are we now? Part IV So are there lessons from the past we can apply now? Concentrate on ability first, then you can tackle any style Use the past for your benefit Singing is finally up to you, not anyone else The twelve differences Some recent and good advice Stick to the ideals and ignore the closed minds! Pure and beautiful sounds: bells, for instance Example of Patti 'Expansive sensibility' The present early music situation Example of Battistini Pure singing on its own A science? An art Even something more Part V Some fun things Singers in court Two raconteurs tell of their singing lessons Body parts Waiting in the Green Room Rossini sings for Addenbrooke's Hospital You don't need to copy these pictures The price of the claque at the Grand Opera A singer rehearses an orchestra Heroism in performance The trill (Vol.2 also contains) The reference, bibliography and illustration lists of Volume 1 The reference, bibliography and illustration lists of Volume 2 The main cast list A subsidiary list of characters & also of places A final note

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Book SynopsisThis volume concerns a music manuscript written at the end of the fifteenth century and associated with the Brethren of the Common Life at Zwolle. The manuscript is bound together with an incunable containing one of the most influential theological treatises of the Devotio moderna: the De spiritualibus ascensionibus of Gerard Zerbolt of Zutphen. The music manuscript contains 25 one-part hymns and two text excerpts on the Four Last Things (death, judgement, heaven, and hell), the core theme of the Brethren’s penitential meditation. The book deals with the codicological construction of the book, the transmission, and the function of the songs in their context of the practice of pentitential meditation. The multidisciplinary study makes an important contribution to research on hymns in the late Middle Ages as well as on the music and spirituality of the Devotio moderna.Trade Review"... meticulous and careful scholarship ... This edition ... not only illuminates the role of music within the Devotio Moderna, but also makes an important contribution to the understanding of late medieval hymnody, and at the same time illuminates facets of the sixteenth-century movements of renaissance and reform. It is difficult to overestimate the importance of this edition and study". Robin A. Leaver, Yale University and Queen's University, Belfast. In: Church History and Religious Culture, Vol. 89, No. 4 (2009), pp. 572-574.Table of ContentsVorwort I. Einleitung I.1. Zur Forschungsgeschichte I.2. Zur Geschichte des Bandes Emmanuelshuizen VI I.3. Zum Fraterhaus St. Gregorius in Zwolle II. Kodikologische Aspekte II.1. Aufbau II.2. Einband II.3. Lagenaufbau II.4. Papier II.5. Schrift II.6. Notation II.7. Dekoration II.8. Verbindungen zur Inkunabel II.9. Überlegungen zu Datierung und Lokalisierung II.10. Evaluation Beilage 1: Verteilung der Initialen zu Beginn der Lieder und Textauszüge III. Zur Überlieferung der Gesänge III.1. Forschungsansätze III.2. Parallele Überlieferung III.3. Singuläre Überlieferung III.4. Kontrafakturen III.5. Zur Überlieferung der Musik IV. Zum Inhalt der Liederhandschrift IV.1. Die Liturgie als Basis für die Melodieauswahl IV.2. Der Themenkreis der Liedersammlung: die quattuor novissima IV.3. Die unnotierten Textauszüge Beilage 2: Rubriken und Gattungen V. Zur Funktion des Liedteils V.1. Zwolle Emm VI als Rapiarium mit Musik V.2. Der Traktat De spiritualibus ascensionibus V.3. Die Randnotizen der Inkunabel V.4. Anleitungen zur Bußmeditation in Kreisen der Devotio moderna V.5. Die Verbindung von Liederhandschrift und Bußmeditation Beilage 3: Die Randnotizen der Inkunabel VI. Meditationsübungen und geistliche Lieder VI.1. Die Meditation in den consuetudines des Zwoller Fraterhauses VI.2. Der liturgische Hintergrund VI.3. Meditation und Handarbeit VI.4. Bußmeditation und geistliches Lied VI.5. Überlegungen zum Benutzerkreis der Liedersammlung VII. Editionsprinzipien VII.1. Text VII.2. Notation VII.3. Kritische Apparate VII.4. Layout VII.5. Faksimile Edition Faksimile Anhang - Alphabetisches Initienverzeichnis - Initienverzeichnis in der Reihenfolge der Handschrift - Kommentar zu den einzelnen Liedern und Texten - Handschriften und frühe Drucke - Literaturverzeichnis - Abkürzungsverzeichnis - Elektronische Publikationen - Namensregister - Ortsregister - Sachregister Zusammenfassung Summary

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Book SynopsisSonic Modernities situates Southeast Asian popular music in specific socio-historical settings, hoping that a focus on popular culture and history may shed light on how some people in a particular part of the world have been witnessing the emergence of all things modern. In its focus on pioneering artists, their creative use of new genres and border crossing technologies it aims at a rewriting of Southeast Asia’s twentieth century from the perspective of popular music makers, the entertainment industry and its ever changing audiences. Contributors include: Bart Barendregt, Philip Yampolsky, Jan van der Putten, Adil Johan, Andrew Weintraub, Emma Baulch, Lars Gjelstad, Bettina David, Jeremy Wallach, Kees van Dijk, Wim van Zanten and Tan Sooi Beng.

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Book SynopsisHenry George Farmer (1882-1965) was a pioneering musicologist who specialized in Arab music. In 1932, he participated in the First International Congress of Arab Music in Cairo, during which he maintained a journal recording his daily activities, interactions with fellow delegates and dignitaries, and varied perambulations throughout the city. This journal, and the detailed minutes he kept for his chaired Commission on History and Manuscripts, were never published. They reveal aspects and inner-workings of the Congress that have hitherto remained unknown. The illustrations and photos contained therein, as well as additional photos that were never seen, provide visual documentation of the Congress’s participants and musical ensembles.Table of ContentsForeword (Amnon Shiloah) Preface (Sheila M. Craik) Introduction Chapter One: Henry George Farmer: His life and works to his fiftieth birthday Chapter Two: The First International Congress of Arab Music (Cairo, 1932) Chapter Three: Farmer’s “Itinerary of visit to Cairo” Collage of photos from the Kurt Schindler Collection Chapter Four: The Commission of History and Manuscripts Chapter Five: Afterthoughts and follow-up Appendices Bibliography General Index

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Book SynopsisThis work, completed by Neubauer on the very eve of his death in 2015, complements both his benchmark The Emancipation of Music from Language (Yale UP, 1986) and his History of the Literary Cultures of East-Central Europe (John Benjamins, 2004-10). It thematizes Romantic interest in oral speech, its poetical usage in music and musical discourse, and its political usage in the national-communitarian cult of the vernacular community. Subtly and with great erudition, Neubauer traces in different genres and fields the many transnational cross-currents around Romantic cultural criticism and writings on music and language, offering not only fresh analytical insights but also a rich account of the interaction between Romantic aesthetics and cultural nationalism.Table of ContentsPreface Words of Thanks List of Abbreviations List of Illustrations Introduction  Retelling the Fifth  Absolute or Emancipated Music?  Part 1: The New Discourses  Part 2: Romantic Orality Part 1: New Discourses about Music Introduction to Part 1 1 The Music Journals   Allgemeine Musikalische Zeitung (amz)   Friedrich Rochlitz   Gottfried Wilhelm Fink  A.B. Marx and the Berliner allgemeine musikalische Zeitung (bamz)  Revue et Gazette musicale de Paris (rgm)   Maurice Schlesinger   Jules Janin   Hector Berlioz  Neue Zeitschrift für Musik (NZfM) 2 From Poetry to Music Novels  Gulden/Fiorino, Hildegard von Hohental, Heinrich von  Ofterdingen  Le neveu de Rameau  Hegel’s Spirit  “Ritter Gluck” 3 Failing Musicians, Failed Education  The Berglinger Stories  Miseducation or Music Madness   “Der Besuch im Irrenhause” (1804)   “Der arme Spielmann” 4 Serialized Novellas  Hoffmann in Germany  Hoffmann in France and in Fiction   Janin’s Hoffmann  Opera Fiction   Opera in Balzac’s “Gambara” and “Massimilla Doni”  Historical Musicians in Fiction 5 Narrating Listeners, Narrating Instruments  Listeners Narrate  Instruments Narrate  Berlioz   “Harold en Italie” (1834)   Roméo et Juliette (1839)  Schumann Part 2: Romantic Orality 6 From Journals to Battles  Battle Drums at Dresden, Leipzig, and Wellington  Waltzing in Vienna 7 Music Histories: From Gossip to Nationalism  Anecdotes, Gossip, and Obituaries   Stendhal – A Biographer?  Voice and Instruments in History  Thibaut’s Musical Past and Legal Present   Schumann and Thibaut  F.-J. Fétis: The Glory of the Low Countries? 8 Speech and Song  Michel Foucault  Friedrich Schlegel and Franz Bopp  Wilhelm von Humboldt  Johann Christoph Adelung  The Mother’s Voice and Pestalozzi   Der goldene Topf 9 Vocal Authenticity?  Ossianism   Herder on Ossian  Forgeries, Opera Adapations, Plagiarisms, and Copyrights  Authentic Folk Songs?   Whose Wunderhorn? 10 “Write as You Speak” – in Serbian  Kopitar, the Networker  Karadžić, the Voice of the “Volk”  Jacob Grimm, the Patron  Fauriel, the Professor  Parry and Bartók: Secondary Orality 11 Contrafacts from the British Isles  Scott (Re)turns to Ulster  Byron on Jordan’s Banks  Schumann as Saul 12 Vernacular Operas Epilogue References Index

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Book SynopsisIn Musical Culture in the World of Adam de la Halle, contributors from musicology, literary studies, history, and art history provide an account of the works of 13th-century composer Adam de la Halle, one of the first named authors of medieval vernacular music for whom a complete works manuscript survives. The essays illuminate Adam’s generic transformations in polyphony, drama, debate poetry, and other genres, while also emphasizing his place in a large community of trouvères active in the bustling urban environment of Arras. Exploring issues of authorship and authority, tradition and innovation, the material contexts of his works, and his influence on later generations, this book provides the most complete and up-to-date picture available in English of Adam’s œuvre. Contributors are Alain Corbellari, Mark Everist, Anna Kathryn Grau, John Haines, Anne Ibos-Augé, Daniel E. O’Sullivan, Judith A. Peraino, Isabelle Ragnard, Jennifer Saltzstein, Alison Stones, Carol Symes, and Eliza Zingesser.Table of ContentsContents Acknowledgements List of Figures List of Tables List of Music Examples Notes on Contributors A Note on Manuscript Sigla Introduction  Jennifer Saltzstein part 1 The Northern Milieu  1 The “School of Arras” and the Career of Adam  Carol Symes  2 The Poets of the North: Economies of Literature and Love  Eliza Zingesser part 2 Material Contexts of Arrageois Song  3 Another Note on fr. 25566 and Its Illustrations  Alison Stones  4 Aristocratic Patronage and the Cosmopolitan Vernacular Songbook: the Chansonnier du Roi (M-trouv.) and the French Mediterranean  John Haines  5 Taking Notae on King and Cleric: Thibaut, Adam, and the Medieval Readers of Chansonnier de Noailles (T-trouv.)  Judith A. Peraino part 3 Genres in Context  6 The Northern Jeu-parti  Daniel E. O’Sullivan  7 The Songs of Adam de la Halle  Isabelle Ragnard part 4 Traditions and Transformations  8 Adam de la Halle: Cleric and Busker  Alain Corbellari  9 Refrain Quotations in Adam’s Rondeaux, Motets and Plays  Anne Ibos-Augé  10 The Pastourelle and the Jeu de Robin et Marion  Anna Kathryn Grau  11 Friends and Foals: The Polyphonic Music of Adam de la Halle  Mark Everist  12 Adam de la Halle’s Fourteenth-Century Musical and Poetic Legacies  Jennifer Saltzstein Annex I – Refrains in Rondeaux and Chansons  Anne Ibos-Augé Annex II – The Refrains and Citations in the Motets  Anne Ibos-Augé Annex III – Lyrical Citations in the Plays  Anne Ibos-Augé Annex IV – Musical Transcriptions  Anne Ibos-Augé Bibliography Index

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Book SynopsisMartin Luther was the architect and engineer of the Protestant Reformation, which transformed Germany five hundred years ago. In Martin Luther and the Arts, Andreas Loewe and Katherine Firth elucidate Luther’s theory and practice, demonstrating the breadth, flexibility and rigour of Luther’s use of the arts to reach audiences and convince them of his Reformation message using a range of strategies, including music, images and drama alongside sermons, polemical tracts, and his new translation of the Bible into German. Extensively based on German and English sources, including often neglected aspects of Luther’s own writings, Loewe and Firth offer a valuable survey for theologians, historians, art historians, musicologists and literary studies scholars interested in interdisciplinary comparisons of Luther’s work across the arts.Table of ContentsAcknowledgements List of Illustrations Abbreviations Introduction  1 Structure and Scope of This Book 1 Luther’s Theory of Music  1 Music among the Seven Liberal Arts  2 Sources for Luther’s Theory of Music  3 Luther’s Theory of Music  4 The Origins of Music  5 Music as a ‘Habitus’ and Model of Goodness and Praise 2 Hymns and Sacred Songs  1 Singing, Preaching, and Praising God through Music  2 Lutherans, Music, and the Reformation  3 Lutheran Music in the Second Half of the Sixteenth Century  4 Lutheran ‘Kantoreien’ as Instruments of Reform 3 Martin Luther’s ‘Mighty Fortress’  1 Genesis and Dissemination  2 Reception from 1600 to 1945  3 A Hymn of Confidence in God’s Eternal Salvation 4 Martin Luther on Images  1 Radical Reforms in Wittenberg  2 Luther’s Understanding of Images  3 Reading ‘Law and Grace’: A Composite ‘Merkbild’ (Image of Remembrance) 5 Teaching the Reformation to Read Images of Hate  1 Luther’s Adversarial Images  2 Later Reception of Luther’s Anti-Semitic Polemic 6 Luther and Drama  1 Martin Luther and Popular Pre-Reformation Drama  2 Luther’s Objections to Popular Drama and Ceremonies  3 Lutheran Biblical Drama  4 Joachim Greff and Popular Drama  5 Dramatising the Bible  6 Towards a Protestant Dramatisation of the Passion  7 Performing the Passion and Resurrection  8 In Defence of Passion Drama  9 A Matter of Church Polity Conclusion Appendix 1: Luther’s Prefaces to the ‘Symphoniae Iucundae’ Appendix 2: Comparing ‘Law and Grace’ (1529–1550) Bibliography Index

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Book SynopsisThe present volume is a double edition in English and Arabic about the art of ornamentations in the performance of the Arabic qanun (psaltery), and a historical document spanning more than one hundred years. It is based on George Sawa's experience as an artist and performer, as well as the experience of his teachers and their teachers. For the latter, Dr Sawa used his recollections of what his teachers said about their teachers, as well as recordings made by European companies that recorded their works on 78 rpm at the beginning of the 20th century. .

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