Art music, orchestral and formal music Books

Book SynopsisBetween 1600 and 1750 Ottoman Turkish music differentiated itself from an older Persianate art music and developed the genres antecedent to modern Turkish art music. Based on a translation of Demetrius Cantemir’s seminal “Book of the Science of Music” from the early eighteenth century, this work is the first to bring together contemporaneous notations, musical treatises, literary sources, travellers’ accounts and iconography. These present a synthetic picture of the emergence of Ottoman composed and improvised instrumental music. A detailed comparison of items in the notated Collections of Cantemir and of Bobowski—from fifty years earlier—together with relevant treatises, reveal key aspects of modality, melodic progression and rhythmic structures.Table of ContentsPreface to the New Edition  1 Chronologies and “Local Modernity”  2 Instrumental Music: Mehterhane and Fasıl-i Sazende Acknowledgements List of Figures, Tables and Music Examples xxvi The Structuring of the Book Introduction  1 Turkish Classical Music and Ottoman Music  2 Ethnomusicology and History in Ottoman Turkey The Major Sources for Ottoman Music 1650–1750 Part 1: Musicians and Performance 1 Professionalism and the Music of the Ottoman Court  1 The Ottomans and the Turco-Mongol Courtly Heritage  2 The Emergence of Ottoman Court Music  3 Vocalists and Instrumentalists  4 The Geographical Origin of the Musicians and Location of Musical Centers  5 Changes in the Ruling Class and in the Organization of Music in the Palace  6 Unfree Musicians  7 Free Musicians in the Palace Service and the Bureaucracy 2 Professionalism and the Music of the Ottoman Court: Dervishes and Turkish Art Music  1 The Mevleviye  2 Music in the Other Sunni tarikats  3 Conclusion 3 Instruments and Instrumentalists  1 Sources for the Instrumentation of Ottoman Music  2 Organ and Genre  3 The Ottoman Court Ensemble of the Sixteenth Century  4 The Ottoman Ensemble from the Seventeenth to the Mid-Eighteenth Century  5 Social Contexts of the Turkish Lutes  6 Conclusion 4 The Ottoman Cyclical Concert-Formats Fasil and Ayin  1 The Structure of the Ottoman Fasıl  2 The Fasl-i Sazende  3 Structure of the Fasl-i Sazende  4 The Mevlevi Ayin Part 2: Makam 5 The General Scale of Seventeenth-Century Ottoman Music  1 Nomenclature of Scale Degree and Mode  2 Cantemir’s General Scale  3 The Problem of the Note Segah  4 Saba, Uzzal, Beyati, Hisar  5 Conclusion  6 A Note on Symbols 6 Makam and Terkib  1 Other Modal Entities  2 Terkib and Şube Structures  3 The Terkib in the Eighteenth Century 7 Melodic Progression  1 Seyir in Compositions  2 Cantemir’s Terminology for Melodic Progression  3 Hızır Ağa and Harutin 8 The Taksim and Modulation  1 The Generic Nature and Origin of the Taksim  2 Turkish and Persian “Taksim” in Cantemir’s Treatise  3 Modulation and the Taksim  4 Modulation and the Küll-i Külliyat Genre  5 Conclusion Part 3: Peşrev and Semai 9 The Peşrev/Pishrow  1 The Peşrev as Genre  2 Origin and Structure of the Peşrev/Pishrow  3 Generic Variation within the Ottoman Peşrev 10 The Ottoman Peşrev  1 Periodization of the Turkish Peşrev  2 Factors Leading to Change in the Formal Structure of the Peşrev  3 Conclusion 11 Peşrevs and Analyses  1 Period I (1500–1550)  2 Period 2 (1550–1600)  3 Period 3 (1600–1650)  4 Period 4 (1650–1690)  5 Neyzen Ali Hoca  6 The Peşrevs of Cantemir  7 Muhayyer Muhammes  8 Buselik-Aşirani Berefşan  9 Conclusion 12 The Seventeenth-Century Persian Peşrev  1 Peşrevs and Analyses 13 Transmission of the Ottoman Peşrev Repertoire  1 Transmission of the Peşrev during the Seventeenth Century: Peşrevs and Analyses  2 The Nazire (“Imitatio”)  3 Conclusion  4 Transmission of the Peşrev in the Eighteenth Century 14 The Instrumental Semai  1 Semai-i Sazende in the Later Seventeenth Century  2 Periodization of the Semai-i Sazende/Saz Semaisi  3 Analysis of the Seventeenth-Century Semai Documents  4 Semai-i Lenk/Aksak Semai  5 Transformation of the Old Semai  6 Conclusion 15 Conclusion  1 The Departure of Turkey from the “Persianate” Musical Sphere  2 The New Ottoman Style of the Eighteenth Century Glossary Figure Credits Bibliography Index

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Book SynopsisIn 1923, the twenty-seven-year-old Paul Hindemith published a composition for voice and piano, entitled Das Marienleben, based on Rainer Maria Rilke's poetic cycle of 1912. Twenty-five years later, the composer presented a thoroughly revised, partially rewritten version. The outcome of this revision has been highly controversial. Ever since its first publication, musicologists have argued for or against the value of such a decisive rewriting. They do so both by comparing the two compositions on purely musical grounds, and by attempting to assess whether the more strictly organized tonal layout and dynamic structuring of Marienleben II is more or less appropriate for the topic of a poetic cycle on the Life of Mary. This study is the first to analyze the messages conveyed in the two versions with an emphasis on their implicit aesthetic, philosophical, and spiritual significance. Acknowledging the compositions as examples of musical ekphrasis (“a representation in one artistic medium of a message originally composed in another medium”), the author argues in exhaustive detail that the young Hindemith of 1922-23 and the mature composer of 1941-48 can be seen as setting two somewhat different poetic cycles. This volume is of interest for musicologists and music lovers, scholars of German literature and lovers of Rilke’s poetry, as well as for readers interested in the interartistic relationships of music and literature.Table of ContentsIntroduction. The “Life of Mary”. Rilke and Christian Devotion. Ekphrasis in Rilke's Work: Poems on Depictions of Mary and Jesus. Hindemith: From Expressionism to the Ethos of Art. Outline of the Poetic and Musical Cycles on the “Life of Mary”. Geburt Mariä (no. 1). Die Darstellung Mariä im Tempel (no. 2). Mariä Verkündigung (no. 3). Mariä Heimsuchung (no. 4). Geburt Christi (no. 7). Vor der Passion (no. 10). Pietà (no. 11). Stillung Mariä mit dem Auferstandenen (no. 12). Vom Tode Mariä I (no. 13). Vom Tode Mariä II (no. 14). The Five “Picturesque” Songs. Conclusion: Hindemith's Ekphrastic Response to Rilke's Marien-Leben. Bibliography. List of Illustrations. Indes of Names. Index of Literary and Musical Works Cited. About the Author.

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Book SynopsisMozart’s Piano Concertos, especially those composed during the years 1784-’91, are still held in high esteem, two centuries later, by both amateur music-lovers and professional musicians. Strangely enough, only very few comprehensive studies exist on this remarkable section of Mozart’s output. The present study, first published in German in a slightly abridged form, deals with Mozart’s evolution as a composer of piano concertos; sheds light on the connections between the concertos and other fields of creative activity, as well as on those with other composers of his time. Finally, attention is paid to problems of performance practice. The author, born in 1914, emeritus professor of Utrecht University and former chairman of the Zentralinstitut für Mozart-Forschung, Salzburg, has been involved with the subject of Mozart’s concertos for about 60 years.

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Book SynopsisSBT/A 19 features selected papers from the Borderless Beckett / Beckett sans frontières Symposium held in Tokyo at Waseda University in 2006. The essays penned by eminent and young scholars from around the world examine the many ways Beckett’s art crosses borders: coupling reality and dream, life and death, as in Japanese Noh drama, or transgressing distinctions between limits and limitlessness; humans, animals, virtual bodies, and stones; French and English; words and silence; and the received frameworks of philosophy and aesthetics. The highlight of the volume is the contribution by Nobel Laureate J. M. Coetzee, the special guest of the Symposium. His article entitled “Eight Ways of Looking at Samuel Beckett” introduces a variety of novel approaches to Beckett, ranging from a comparative analysis of his work and Melville’s Moby Dick to a biographical observation concerning Beckett’s application for a lectureship at a South African university. Other highlights include innovative essays by the plenary speakers and panelists – Enoch Brater, Mary Bryden, Bruno Clément, Steven Connor, S. E. Gontarski, Evelyne Grossman, and Angela Moorjani – and an illuminating section on Beckett’s television dramas. The Borderless Beckett volume renews our awareness of the admirable quality and wide range of approaches that characterize Beckett studies.Table of ContentsIntroduction 1. J. M. COETZEE: Eight Ways of Looking at Samuel Beckett Dislocations: Limits and Limitlessness 2. Steven CONNOR: “On such and such a Day … in such a World”: Beckett’s Radical Finitude 3. Evelyne GROSSMAN: À La Limite…: lecture de Cette fois de Samuel Beckett 4. Masaki KONDO: Ill Seen Ill Said and the Japanese Spatial Concept Ma 5. Garin DOWD: Watt’s Ways: Addenda, Borders and Courses Littérature et philosophie: voix et images en question 6. Bruno CLEMENT: “Mais quelle est cette voix?” 7. Anthony UHLMANN: Image and Disposition in Beckett’s Late Plays 8. Paul SHEEHAN: Images must Travel Further: Bataille and Blanchot Read Beckett 9. Michiko TSUSHIMA: “Memory is the Belly belly of the Mind”: Augustine’s Concept of Memory in Beckett 10. Yo FUJIWARA: narrateurs et entendeurs dans les oeuvres romanesques et théâtrales de Samuel Beckett 11. Manfred MILZ: Echoes of Bergsonian Vitalism in Samuel Beckett’s Early Works Of Clowns and Artists 12. Mary BRYDEN: Beckett, Böll, and Clowns 13. Enoch BRATER: From Dada to Didi: Beckett and the Art of His Century 14. Angela MOORJANI: Genesis, Child’s Play, and the Gaze of Silence: Samuel Beckett and Paul Klee Animals, Humans, Stones 15. Naoya MORI: Becoming Stone: A Leibnizian Reading of Beckett’s Fiction 16. Shane WELLER: Not Rightly Human: Beckett and Animality 17. Yoshiyuki INOUE: “Little People” in le dépeupleur: Beckett and the Eighteenth Century Impressions of Tokyo by Sjef HOUPPERMANS Television’s “Savage Eye” : Phantasmagorical and Virtual Bodies 18. Minako OKAMURO: ... But the Clouds... and a Yeatsian Phantasmagoria 19. Schirin NOWROUSIAN: “Imagination, Ear and Eye” Et “Müdes Vogelgestöhn”: une réflexion sur la musique et l’influence du poème “The Tower” dans …nur noch Gewölk…, Geistertrio et Nacht und Träume 20. Ulrika MAUDE: “Hint of Jugular and Cords”: Beckett and Modern Medicine 21. Mireille RAYNAL-ZOUGARI: dans le for extérieur de la boîte crânienne: proses et pièces pour la télévision 22. Anne-Cécile GUILBARD: voyons voir Beckett réalisateur: qui voit quoi où? ou: n’y a-t-il vraiment que nuages passant dans le ciel à la télévision? Beckett’s Borderless Words / Paroles sans frontières 23. Chris ACKERLEY: fun de partie: Puns and Paradigms in Endgame 24. Takeshi KAWASHIMA: “What kind of Name is that?”: Samuel Beckett’s Strategy of Naming 25. Izumi NISHIMURA: les points de vue de sirius dans l’innommable et les textes pour rien Witnessing 26. Russell SMITH: Bearing Witness in How it is 27. Yoshiki TAJIRI: Beckett’s Legacy in the Work of J. M. Coetzee 28. Futoshi SAKAUCHI: Not I in an Irish Context “Sssh”: Sounds and Signs of Silence 29. Julia SIBONI: ENTRE “mots muets” et silence bruissant: le ‘je’ en tension 30. Jonathan TADASHI NAITO: Writing Silence: Samuel Beckett’s Early Mimes 31. Manako ÔNO: Actes Sans Paroles, Paroles Sans Scène Borderlessness: Life and Death / Beginnings and Endings 32. S. E. GONTARSKI: An End to Endings: Samuel Beckett’s End Game(s) 33. Julie CAMPBELL: Playing With Death in Malone Dies 34. Régine BRUNEAU-SUHAS: une mise au tombeau: la terre beckettienne dans Oh les beaux jours 35. Gabriela GARCIA HUBARD: “sa naissance fut sa perte” et la perte son aporie: Heidegger / Beckett / Derrida Contributors / Liste des auteurs

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Trade Review"In this study, Van Schaik successfully separates the real from the symbolic in a way that illuminates the meaning of the symbol." – Linda Simonson, in: Journal of the American Musical Instrument Society 17 "…it contains a rich collection of materials and is sure to stimulate further discussion of musical symbolism in the Middle Ages." – Elizabeth Aubrey, in: Speculum – A Journal of Mediaeval Studies 69 "L’indagine, intrapresa con lo scopo di ampliare la conoscenza della tradizione e il significato del simbolismo dell’arpa, è condotta secondo un criterio interdisciplinare che comprende teologia, musicologia, letteratura e storia dell’arte..." – in: Medioevo Latino XV "…dans le cas des instruments de musique du moyen âge (et de la harpe en particulier) il est impossible d’en reconstituer la physionomie sans recourir aux filtres figurative et littéraire, bien que ceux-ci déforment parfois la réalité. C’est précisément à travers leur riche charge idéologique que Van Schaik livre sa contribution à l’étude de la harpe." – Elena Ferrari Barassi, in: Cahiers de Civilisation Médiévale XXXVIII "… a valuable addition to the few studies dealing with the symbolism of the harp – particularly its chapters on terminology and the delta harp, about which little has been known hitherto. By virtue of its broad approach the book will be of interest not only to scholars investigating musical symbolism in the Middle Ages but also to medievalists in general." – Zdravko Blažeković, in: Music & Letters 75/3 "La richesse et la diversité de la documentation sont d’ailleurs les atouts majeurs de l’ouvrage de Van Schaik. Félicitons l’auteur qui a osé s’attaquer à un sujet complexe exigeant des connaissances dans les domaines de l’organologie, de la théologie, de l’historie de l’art et des littératures médiévales!" – Henry Vanhulst, in: Revue Belge de Philologie et d’Histoire 74

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