Art music, orchestral and formal music Books

Book SynopsisThis is the third in a set of four collections of articles by Michel Huglo to be published in the Variorum series. It brings together the studies of Gregorian chant and of later monophonic and polyphonic additions to the earlier repertory that occupied Huglo in the second phase of his research. Represented here are articles on the Kyrie, the introit tropes of St-Gall, an elegy for William the Conqueror (d. 1087), the versus by Venantius Fortunatus for the cathedral of Paris, the liturgical dramas of Fleury, early organum, the Mass of Tournai, and, finally, the Requiem by Eustache Du Caurroy. Ce volume des articles de Michel Huglo est le troisiÃme de la sÃrie de quatre dans la collection Variorum. Il rÃunit des Ãtudes sur le chant grÃgorien et sur les additions de piÃces monodiques ou polyphoniques faites au rÃpertoire primitif, sujets qui ont occupà Michel Huglo dans la seconde phase de sa carriÃre de chercheur. Dans ce volume, le lecteur trouvera des articles sur le Kyrie, les tropes d'introà t de St-Gall, l'ÃlÃgie pour Guillaume le ConquÃrant (d. 1087), les versus de Venance Fortunat pour la cathÃdrale de Paris, les drames liturgiques de Fleury, les dÃbuts de l'organum, la Messe de Tournai, et finalement le Requiem d'Eustache Du Caurroy.Trade Review'Apart from the easy availability of the articles, this series has added value in the indexes, with separate ones for MSS, place names, personal names, and chant texts.' Early Music Review ’This supplementary material and the occasionally out-of-the-way places in which the original articles appeared would make these volumes essential to any university library that is serious about medieval music. In addition, multiple indexes (of manuscripts, place names, names of individuals, and an index of chants) allow readers to identify and access multiple references in both the original articles and the addenda.’ Plainson and Medieval Music 'Huglo published three books and over two hundred articles on the history and manuscripts of Eastern and Western plainchant, late antique and medieval music theory, and early organum. Eighty of these have been reprinted as a four-volume set in Ashgate’s Variorum Collected Studies series, a dazzling display of scholarship on almost all aspects of early medieval music.' AMS NewsletterTable of ContentsContents: Introduction, Michel Huglo; Chant Grégorien: Le traitement de l'accent tonique latin au Moyen âge d'après le chant grégorien; Origine et diffusion des Kyrie; Le Répons-Graduel de la Messe. Evolution de la forme. Permanence de la fonction; Les livres liturgiques de la Chaise-Dieu. Poésie Liturgique, Tropes, Séquences et Drames Liturgiques: Les versus de Venance Fortunat pour la procession du Samedi-saint à Notre-Dame de Paris; Remarques sur un manuscrit de la Consolatio Philosophiae (Londres, British Library, Harleian 3095); Aux origines des tropes d'interpolation: le trope méloforme d'introit. 1ère partie: la tradition sangallienne [St. Gall, Stiftsbibliothek 484 et 381]; Compte rendu: Stiftsbibliothek Sankt Gallen Codices 484 & 381; Compte rendu: Codex 121 Einsiedeln, t. 1: Graduale und Sequenzen Notkers von St. Gallen, t. 2: Kommentar zum Faksimile, éd. Otto Lang (Weinheim: VCH, Acta humaniora, 1991); Centres de composition des tropes et cercles de diffusion; Une élégie sur la mort de Guillaume le Conquérant; Un nouveau prosaire nivernais; Les séquences de Münsterbilsen (Bruxelles, Bibliothèque Royale, 9736-9790); Analyse codicologique des drames liturgiques de Fleury (Orléans, Bibliothèque municipale, ms. 201). Organum et Polyphonie: L'organum à Landévennec au IXe siècle; Les origines de l'organum vocal en France et en Italie d'après les données de l'ethnomusicologie et d'après les sources historiques; Du répons de l'Office avec prosule au répons organisé; Les débuts de la polyphonie à Paris: les premiers organa parisiens; Le manuscrit de la Messe de Tournai; A propos du Requiem de Du Caurroy. Addenda et corrigenda; Indexes.

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Book SynopsisThis work deals with Nielsen's symphonies and other works, and also compares Nielsen and Sibelius as symphonists.Trade Review"This analysis focuses on Nielsen's great symphonies, but also illuminates all of his other important works, including orchestral, chamber, keyboard, and vocal compositions" Music Educators JournalTable of ContentsPreface, 1. The Growth of the Artist, 2. The First Symphony (1891-2), 3.The Second Symphony - The Four Temperaments (1901-2), 4. The Third Symphony - Sinfonia Espansiva (1910-11), 5. The Fourth Symphony - The Inextinguishable (1914-16), 6. The Fifth Symphony (1920-22), 7. The Sixth Symphony - Sinfonia Semplice, 8. The Three Concertos - Violin, Flute and Clarinet, 9. Lesser Orchestral Works, 10. The Chamber Music, 11. The Keyboard Music, 12. The Human Voice, 13. Some General Observations, 14. Sibelius, Nielsen and the Symphonic Problem, A Biographical Sketch, List of Nielsen's Works, Index of Names

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Book SynopsisGateways to Understanding Music, Second Edition, explores music in all the categories that constitute contemporary musical experience: European classical, popular, jazz, and world music. Covering the oldest forms of human music making to the newest, this chronology presents music from a global rather than a Eurocentric perspective. Each of 60 gateways addresses a particular genre, style, or period of music. Every gateway opens with a guided listening example that unlocks a world of music through careful study of its structural elements. How did the piece come to be composed or performed? How did it respond to the social and cultural issues at the time, and what does that music mean today? Students learn to listen to, explain, understand, and ultimately value all the music they encounter in their world.New to this edition is a broader selection of musical examples that reflect the values of diversity, equity, and inclusion advocated by North American universities. Eight gateways have been replaced. A timeline of gateways helps students see the bookâs historical narrative at a glance.Features Values orientation - Diverse, equitable, and inclusive approach to music history. All genres of music - Presents all music as worthy of study, including classical, world, popular, and jazz. Global scope within a historical narrative - Begins with small-scale forager societies up to the present, with a shifting focus from global to European to American influences. Recurring themes - Aesthetics, emotion, social life, links to culture, politics, economics, and technology. Modular framework - 60 gateways - each with a listening example - allow flexibility to organize chronologically or by the seven themes. Consistent structure - With the same step-by-step format, students learn through repeated practice how to listen and how to think about music. Anthology of scores - For those courses that use the textbook in a music history sequence. Gateways to Understanding Music continues to employ a website to host the audio examples and instructorâs resources.Trade Review"At last! An innovative, practical, and inclusive approach to studying music of Europe, North America, and beyond that puts popular and world music, American jazz, and European classical music into conversation with one another by looking at their origins and interrelationships through the lens of World history."—Anne K. Rasmussen, Professor, The College of William and Mary"Gateways to Understanding Music provides a profoundly new and refreshingly original approach to examining the music of the world’s cultures in cohesive, comparable, and contrasting ways that illuminate the power and meaning of all of the musics."—Tayloe Harding, Dean, School of Music, University of South CarolinaTable of ContentsIntroduction / PART I: MUSIC HISTORY TO 1500 CE / Chapter 1: Music of Small-Scale Societies / Chapter 2: Ancient and Medieval Religious Music / Chapter 3: Ancient and Medieval Secular Music / PART II: MUSIC HISTORY FROM 1500 TO 1890 / Chapter 4: Music from the European Age of Discovery (1500–1600) / Chapter 5: Music from the Age of Global Commerce (1600–1750) / Chapter 6: Music from the Age of Enlightenment and Revolution (1750–1815) / Chapter 7: Music from the Early Nineteenth Century (1815–1850) / Chapter 8: Music from the Late Nineteenth Century (1850–1890) / PART III: MUSIC HISTORY IN THE AGE OF RECORDINGS / Chapter 9: Music from the Turn of the Twentieth Century (1890–1918) / Chapter 10: Music from the Interwar Period (1918–1939) / Chapter 11: Music during World War II and its Aftermath (1939–1950) / Chapter 12: Music from an Age of Disenchantment and Protest (1950–1975) / Chapter 13: Music and Community (1975–1994) / Chapter 14: Music Today / Where Will You Go from Here? / Glossary / Sources / Index

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Book SynopsisIn the motets of Philippe de Vitry, Guillaume de Machaut, and their contemporaries, tenors have often been characterized as the primary shaping forces, prior in conception as well as in construction to the upper voices. Tenors are shaped by the interaction of talea and color, medieval terms now used to refer to the independent repetition of rhythms and pitches, respectively. The presence in the upper voices of the periodically repeating rhythmic patterns, often referred to as isorhythm, has been characterized as an amplification of tenor structure. But a fresh look at the medieval treatises suggests a revised analytical vocabulary: for many fourteenth- and fifteenth-century writers, both color and talea involved rhythmic repetition, the latter in the upper voices specifically. And attention to upper-voice taleae independently of tenor structures brings renewed emphasis to the significant portion of the repertory in which upper voices evince formal schemes that differ from those in tTable of ContentsContentsList of Music ExamplesList of FiguresList of Tables[Acknowledgements]Note on Music Examples and Naming Conventions1 Introduction2 Foundational Tenors and the Power Dynamics of Compositional Process3 Talea and/as Color4 A Catalogue of Upper-Voice Structures5 The Hermeneutic Stakes: Reading Form in S’il estoit/S’Amours 6 A New Paradigm for Motet Composition: Colla/Bona Reconstructed ConclusionAppendix: Music-Theoretical Discussions of talea and color, c. 1340–1430Bibliography[Index]

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Book SynopsisMaterials and Techniques of Post-Tonal Music, Fifth Edition provides the most comprehensive introduction to post-tonal music and its analysis available. Covering music from the end of the nineteenth century through the beginning of the twenty-first, it offers students a clear guide to understanding the diverse and innovative compositional strategies that emerged in the post-tonal era, from Impressionism to computer music. This updated fifth edition features: chapters revised throughout to include new examples from recent music and insights from the latest scholarship; the introduction of several new concepts and topics, including parsimonius voice-leading, scalar transformations, the New Complexity, and set theory in less chromatic contexts; expanded discussions of spectralism and electronic music; timelines in each chapter, grounding the music discussed in its chronological context;Table of Contents1. THE TWILIGHT OF THE TONAL SYSTEM 2. SCALE FORMATIONS IN POST-TONAL MUSIC 3. THE VERTICAL DIMENSION: CHORDS AND SIMULTANEITIES 4. THE HORIZONTAL DIMENSION: MELODY AND VOICE LEADING 5. HARMONIC PROGRESSION AND TONALITY 6. DEVELOPMENTS IN RHYTHM 7. FORM IN POST-TONAL MUSIC 8. IMPORTS AND ALLUSIONS 9. NONSERIAL ATONALITY 10. CLASSICAL SERIALISM 11. TIMBRE AND TEXTURE: ACOUSTIC 12. TIMBRE AND TEXTURE: ELECTRONIC 13. SERIALISM AFTER 1945 14. THE ROLES OF CHANCE AND CHOICE IN POST-TONAL MUSIC 15. MINIMALISM AND BEYOND APPENDIX: PRIME FORMS, FORTE LABELS, AND INTERVAL-CLASS VECTORS

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Book SynopsisThis book explores the pivotal role played by ancient mousikein all its facetsin the development of musical practices and ideas throughout history. Since antiquity, music has consistently played a significant role in social and cultural life, and although the terms in which it is expressed and the cultural meanings it conveys vary dramatically across different times and geographies, the influence of the ancient Greek concept on modern Western notions is nevertheless striking. In a series of lucid and engaging thematic chapters, Eleonora Rocconi surveys the roles and functions of music from classical antiquity, through the Renaissance and early modern eras, and up to the present day. The discussion is structured around the key concepts, theoretical models, and aesthetic issues at play - from the educational and therapeutic value of music to its place in the ideal of cosmic harmony and its relationship to the senses and emotions - as well as the function of music in debatesTable of ContentsList of Figures Acknowledgements Notes on Dates and Conventions Introduction: History of an Idea(l) Chapter I: Key Terms and Concepts Chapter II: Theoretical Models Chapter III: Aesthetic Issues Chapter IV: Occurrences and Recurrences Chapter V: Looking Ahead Suggestions for Further Reading Notes Bibliography Index

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Book SynopsisA celebration of music from the creator of Alan Partridge, The Thick of It, Veep and The Death of Stalin.All my days, I''ve felt pressurized by the anonymous Keepers of the Cool who tell us what we should be wearing this year, what digital boxsets we should bunker ourselves in to enjoy, what amazing app is the only one we should be shrieking emotions at our recently acquired friends with. Thankfully, I have the one consolation that if I don''t quite fit into all of this, everyone else probably feels the same way. So, I say defiantly, I get more moved and excited by classical music than by any other musical genre. I believe that it is there for us all, inviting us to reach out and touch it.In Hear Me Out Armando Iannucci brilliantly conveys the joy of his musical exploration, each discovery suggesting a fresh direction of travel, another piece, another composer, another time.Trade ReviewHear Me Out is a fun read that argues for greater accessibility for a form that can feel exclusive to the uninitiated * Sunday Times *Veep's creator on the joy of classical music - it's a liberation * Emerald Street *In his new book he channels his rapier wit and offbeat perspective into a celebration of classical music * Daily Express *

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Book SynopsisThe area whose capital was the southern Lombard city of Benevento developed a culture identified with the characteristic form of writing known as the Beneventan script, which was used throughout the area and was brought to perfection at the abbey of Montecassino in the late eleventh century. This repertory, along with other now-vanished or suppressed local varieties of music, give a far richer picture of the variety of musical practice in early medieval Europe than was formerly available. Thomas Forrest Kelly has identified and collected the surviving sources of an important repertory of early medieval music; this is the so-called Beneventan Chant, used in southern Italy in the early middle ages, before the adoption there of the now-universal music known as Gregorian chant. Because it was deliberately suppressed in the course of the eleventh century, this music survives mostly in fragments and palimpsests, and the fascinating process of restoring the repertory piece by piece is told inTable of ContentsContents: Introduction; Part I Repertory, Sources, Style: The Beneventan Chant; Notes on a census of Beneventan manuscripts; Music of Benevento cathedral. Part II Individual Sources: Palimpsest evidence of an Old-Beneventan gradual; Montecassino and the Old Beneventan chant; Beneventan fragments at Altamura; A musical fragment at Bisceglie containing an unknown Beneventan office; A Beneventan borrowing in the Saint Cecilia gradual; New Beneventan liturgical fragments in Lanciano, Lucera, and Penne containing further evidence of the Old Beneventan chant; New evidence of the Old Beneventan chant. Part III Context: The oldest musical notation at Montecassino; Abbot Desiderius and the two liturgical chants of Montecassino; Beneventan liturgy and music in Tuscany: Lucca, Biblioteca Capitolare Feliniana ms. 606; Non-Gregorian music in an antiphoner of Benevento; A Beneventan notated breviary in Naples (Archivio Storico Diocesano, Fondo Ebdomadari, Cod. Misc. 1, fasc. VII; Musical relations between Venice and Benevento; Tradition and innovation in the antiphoner Benevento 848; Indexes.

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Book SynopsisThis selection of nineteen essays by Nigel Wilkins, in English and in French, is characterised by an inter-disciplinary approach crossing the borders between music, language, literature, history, palaeography and iconography. The principal topic is lyric poetry in the fourteenth and fifteenth centuries, mostly French and English, both with and without music, and in various contexts. Guillaume de Machaut, the dominant poet-musician of the age, is the central figure: his influence is traced in poets such as Froissart, Deschamps, Christine de Pisan, Charles d''Orléans, Villon, Gower and Chaucer, and in the poet-musicians who came after him. The question of patronage is investigated. The development of the principal lyric forms, rondeau, ballade and virelai, is explored on both sides of the Channel, as is the way they were used, for example in miracle plays and in court entertainment. A Flemish painting of 1493 helps us discover the rÃle of music in the ceremonies of trade and religious guTable of ContentsContents: Preface; Part I Old and Middle French Literature: Yet more concerning the tavern bills in Jean Bodel's Jeu de Saint Nicolas; The structure of ballades, rondeaux and virelais in Froissart and in Christine de Pisan; Charles d'Orléans: avec musique ou non?; François Villon, poète universel; En regardant vers le païs de France: the ballade and the rondeau, a cross-Channel history. Part II Lyric Poetry and Music in the 14th Century: The Codex Reina: a revised description; Some notes on Philipoctus de Caserta (c.1360?-c.1435); The post-Machaut generation of poet-musicians; Music in the 14th century Miracles de Nostre Dame; Guillaume de Machaut 1300-1377; The late medieval French lyric: with music and without; A pattern of patronage: Machaut, Froissart and the Houses of Luxembourg and Bohemia in the 14th century; Music and poetry at court: England and France in the late Middle Ages; Chaucer and music. Part III Musical Iconography: The birds, the bishop and the music of brass; Le fête de la guilde des Archers du Maître de Francfort (1493) et la musique des confréries. Part IV General Studies in Music, Language and Literature: The Devil's music; Le plurilinguisme au Moyen Age dans le contexte musical; D'où vient la créativité musicale? Le rôle de l'inspiration dans la musique médiévale; Index.

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Book SynopsisKraanerg by Iannis Xenakis is one of the most important works of the post-1950 era. James Harley, a leading Xenakis scholar, presents the genesis of Kraanerg, from the granting of the commission to the choreographer, to the selection of Xenakis as composer, to the premiere, recording, and subsequent presentations. The book is written with the benefit of access to sketches and recordings in the Xenakis Archives, allowing Harley to delve into the details of how this particular work came about. An overview of Xenakis''s life is provided, looking at his major works and important compositional techniques and accomplishments, as well as looking at the presenters of the work and other principles in the performance history. Harley presents analytical and critical discussions of Kraanerg''s music and reception, including the relationship of the score to the recorded parts. James Harley is a composer with first-hand experience of the interlocking fields of acoustic and electronic music that XenaTrade Review’James Harley's detailed account of one of Xenakis's most substantial compositions is an exemplary piece of scholarly reconstruction. With ample material on the work's biographical and technical background, and a thorough survey of its performance history and critical reception, a vivid picture emerges of those mid-twentieth-century years in which pioneering and uncompromising avant-garde enterprises like Xenakis's achieved a rare and relatively brief artistic momentum.’ Arnold Whittall, King’s College London, UKTable of ContentsContents: Introduction; Biography; Musical background to Kraanerg; The Kraanerg project; Kraanerg analysis; Reception; Performance history; Epilogue; Bibliography; CD track list; Index.

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Book SynopsisPatronage has long figured in our historical understanding of music and, on an academic level, has been the subject of intense research over the past thirty years. The articles gathered together in this volume look at patronage in its broadest sense: individual and traditional court patronage as well as patronage within states and organizations. The subject is further explored by articles which discuss the means of distribution of music, such as printing and the internet, and the inclusion of music in collaborative arts such as film. The articles consider both sacred and secular music and employ a range of different approaches from archival and social and cultural-historical, to ethnomusicological and quantitative-economical. Thematic connections figure strongly and attention is given to the prominent role of women and questions of feminine voice and feminine way. The scope of the articles ranges in time from the courts of ancient Mesopotamia, India and China to the new millennium, Table of ContentsContents: Introduction; Part I The State: New developments in the social history of music and musicians in ancient Iraq, Syria and Turkey, Sam Mirelman; Tradition and transition: the performing arts in medieval North India, Madhu Trivedi; Renaissance novellara: musical life in the Gonzaga hinterland, Iain Fenlon; Joseph Haydn and Beethoven between court and nobility, John A. Rice; The music programmes take shape, 1926-1927, Jennifer Doctor; ’A flutter in the orchestras’: the Ballets Russes and the Australian orchestral situation in the 1930s, Mark Carroll; ’Let us begin’: arts policy during the Kennedy administration, Donna M. Binkiewicz; Background: IRCAM’s conditions of existence, Georgina Born. Part II Court and Aristocracy: State sacrificial music in the Ming court, Joseph Sui Ching Lam; Ludovico Sforza as an ’emerging prince’: networks of musical patronage in Milan, Paul A. Merkley; Court and religious music (1): history of gagaku and shomyo, Steven G. Nelson; Les patronages aristocratiques face au modèle royal, David Hennebelle; Beyond bibliography: interpreting Hawaiian-language Protestant hymn imprints, Amy Ku’uleialoha-Stillman; Winaretta Singer, Princess Edmond de Polignac, Myriam Chimènes; Woman patrons and activists for modernist music: New York in the 1920s, Carol J. Oja. Part III Economic Forces: Blowing your horn in the new economy, ca.1550, John Kmetz; The composition and the production of the opera score, Beth L. Glixon and Jonathan E. Glixon; The country visit, Ian Woodfield; Creating desire on Tin Pan Alley, Daniel Goldmark; The Selznick studio, 'Spellbound', and the marketing of film music, Kyle S. Barnett; Entertainer vs artist: patronage and the negotiation of identity, Kelly M. Foreman; On the reproduction of the musical economy after the internet, Andrew Leyshon, Peter Webb, Shaun French, Nigel Thrift and Louise Crewe; Micro-independent record labels in the UK: discourse, DIY cultural production and the music industry, Rober

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Book SynopsisThis book presents together a number of path-breaking essays on different aspects of medieval music in France written by Manuel Pedro Ferreira, who is well known for his work on the medieval cantigas and Iberian liturgical sources. The first essay is a tour-de-force of detective work: an odd E-flat in two 16th-century antiphoners leads to the identification of a Gregorian responsory as a Gallican version of a seventh-century Hispanic melody. The second rediscovers a long-forgotten hypothesis concerning the microtonal character of some French 11th-century neumes. In the paper Is it polyphony? an even riskier hypothesis is arrived at: Do the origins of Aquitanian free organum lie on the instrumental accompaniment of newly composed devotional versus? The Cistercian attitude towards polyphonic singing, mirrored in musical sources kept in peripheral nunneries, is the subject of the following essay. The intellectual and sociological nature of the Parisian motet is the central concern of the Trade Review'... this is all readable, challenging material, hard to find otherwise.' Early Music ReviewTable of ContentsContents: The lamentation of Asterix: conclusit vias meas inimicus; The Cluny Gradual: its notation and melodic character; Is it polyphony?; New light on St Bernard's chant reform: Guido of Eu and the earliest Cistercian choirbooks; Early Cistercian polyphony: a newly-discovered source; Mesure et temporalité: vers l'ars nova; L'identité di motet parisien; Compositional calculation in Philippe de Vitry; Dufay in analysis, or - who invented the triad?; Proportions in ancient and medieval music; Indexes.

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Book SynopsisLike all fields of creative endeavour, music has long been caught up - voluntarily and otherwise - in matters political. Music has been used and abused, claimed and disowned, for propaganda purposes, as a vehicle for protest, as a means of articulating national, racial and sexual identities, and in the name of religious, courtly, party political and commercial imperatives. Scholarly interest in the political dimensions of music and music making has increased greatly in recent decades to the point where a consolidated overview has become indispensable to furthering our understanding of the forces at play. This timely four volume series brings together classic essays addressing the intersection of music and politics, in the broad sense of the word, written by leading international scholars over the past few decades. The essays, which encompass art and vernacular musics in western and non-western cultures, ancient and modern, are grouped together under the headings of patronage, ideologyTable of ContentsContents:

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Book SynopsisThe treatise on musica plana and musica mensurabilis written by Lambertus/Aristoteles is our main witness to thirteenth-century musical thought in the decades between the treatises of Johannes de Garlandia and Franco of Cologne. Most treatises on music of this century - except for Franco's treatise on musical notation - survive in only a single copy; Lambertus's Ars musica, extant in five sources, is thus distinguished by a more substantial and long-lasting manuscript tradition. Unique in its ambitions, this treatise presents both the rudiments of the practice of liturgical chant and the principles of polyphonic notation in a dense and rigorous manner like few music treatises of its time - a conceptual framework characteristic of Parisian university culture in the thirteenth century. This new edition of Lambertus's treatise is the first since Edmond de Coussemaker's of 1864. Christian Meyer's meticulous edition is displayed on facing pages with Karen Desmond's English translation, anTable of ContentsContents: Introduction, Christian Meyer, translated by Barbara Haggh-Huglo; Translator’s note, Karen Desmond; Edition and translation, Christian Meyer, editor, and Karen Desmond, translator; Critical and explanatory notes, Christian Meyer, translated by Barbara Haggh-Huglo; Indexes.

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Book SynopsisRobert P. Morgan is one of a small number of music theorists writing in English who treat music theory, and in particular Schenkerian theory, as part of general intellectual life. Morgan's writings are renowned within the field of music scholarship: he is the author of the well-known Norton volume Twentieth-Century Music, and of additional books relating to Schenkerian and other theory, analysis and society. This volume of Morgan's previously published essays encompasses a broad range of issues, including historical and social issues and is of importance to anyone concerned with modern Western music. His specially written introduction treats his writings as a whole but also provides additional material relating to the articles included in this volume.Table of ContentsContents: Introduction. Part I Schenkerian and Other Theory: Dissonant prolongation: theoretical and compositional precedents; Schenker and the theoretical tradition: the concept of musical reduction; Schenker and the 20th century: a modernist perspective; Musical time/musical space. Part II Music Analysis: Chopin’s modular forms; Circular form in the Tristan prelude; Ives and Mahler: mutual responses at the end of an era; Chasing the scent: the tonality in Liszt’s Blume and Duft; Two early Schoenberg songs: monotonality, multitonality, and schwebende Tonalität; ‘The things our fathers loved’: Charles Ives and the European tradition; On the analysis of recent music. Part III Music and Society: Tradition, anxiety, and the current musical scene; Secret languages: the roots of musical modernism; ‘A new musical reality’: futurism, modernism, and ‘the art of noises’; Rethinking musical culture: canonic reformulations in a post-tonal age. Index.

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Book SynopsisGet Started in Classical Music is a clear, concise yet comprehensive introduction to the world of classical music for the newcomer. It takes your listening experience as the starting point and fills in factual details along the way. New topics are introduced step by step and are always presented from the listener''s point of view. These topics include:- Listening to music: developing skills- What is classical music?- The architecture of music: forms and structures- Historical background: different periods and different styles- The instruments of the orchestra- Starting a collection of recorded musicExamples from well-known pieces are examined in a clear and non-technical way.Whether you dip into Get Started in Classical Music from time to time or read it straight through, you will feel that your musical horizons have been broadened and that you have gained the knowledge and confidence t

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Book SynopsisÊLeading TonesÊ is a glimpse into several aspects of the musical world. There are portions devoted to Leonard Slatkin''s life as a musician and conductor portraits of some of the outstanding artists with whom he has worked as well as anecdotes and stories both personal and professional. Much of the book discusses elements of the industry that are troubling and difficult during this first part of the 21st century. Auditions critics fiscal concerns and labor negotiations are all matters that today''s conductors must be aware of and this book provides helpful suggested solutions. ÊLeading TonesÊ is intended not only for musicians but also for the music lover who wishes to know more about what goes into being a conductor.

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Book SynopsisJoe Panzner is a lecturer in Music History at the Ohio State University and Capital University, USA.Trade ReviewThis smart, well-written book reveals deep and convincing connections (ontological, ethical, aesthetic, and political) between one of the twentieth century's most important philosophers and one of its most important composers – resonances that have been noted by others but never fully explored. Panzner helpfully explicates Deleuze's key ideas and draws on them to develop Cage’s philosophical position. Conversely, he shows how Cage exemplifies and expands Deleuze's aesthetics. * Christoph Cox, Professor of Philosophy, Hampshire College, USA *This book is a dazzling achievement; Joe Panzner shows how Cage’s ideas are in dialogue with continental philosophy and, in so doing, offers important new perspectives on his work, its performance, and its overall significance. * Rob Haskins, Associate Professor, Department of Music, University of New Hampshire, USA *As the prestige and productive power of Deleuze has transformed the Humanities, it is fascinating to see retrospectively Cage’s in-tuned-ness to the philosophical cutting edge that most of the English speaking world pretty much missed at the time. The Process that is the World brings the perplexing artistic character of John Cage into a philosophically “respectable” conversation with one of the most important Western philosophers since Aristotle in ways that strikingly illuminate their shared creative territory. Panzner’s skillful and compelling parsing of the richly resonant strands of thought that characterize both Cage and Deleuze adds significant depth to our understanding of both of them, and this expertly written work goes far in reminding us how significant John Cage really is. Panzner reminds us that the experiments and productions of musicians have always had an excess philosophical value, something not even philosophy can supply itself with. A brilliant calibration of these two highly esoteric thinkers that has the potential to open up new territories of correspondence between music and philosophy, The Process that is the World will surely mark one of the early and most significant moments in music’s conceptual turn towards Deleuze, and will instantly become an important touchstone in both Cage and Deleuze studies. * Brian Hulse, Associate Professor of Music Theory and Composition, College of William & Mary, USA *This book creates an utterly convincing link between experimental music and radical philosophy; or more broadly, between the boundaries of thought and the limits of artistic practice. The parallels between Cage and Deleuze that Panzner finds are uncanny: they will have you reading one through the eyes and ears of the other until you hear their work as the kind of collective assemblage both men loved. * Michael Pisaro, Composer/Professor, California Institute of the Arts, USA *Table of ContentsAcknowledgements Chapter One: “The Process That Is The World” (Introduction) Chapter Two: “It Is Not, It Becomes” (Works) Chapter Three: “A Mistake Is Beside the Point” (Ethics) Chapter Four: “Happy New Ears!” (Encounters) Chapter Five: “Through Many a Perilous Situation” (Performances) Chapter Six: “To Inhabit the World” (Politics) Bibliography Index

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Book SynopsisLegendary maestro Leonard Slatkin provides personal insights and offers his ideas to solve the current dilemmas of classical music.As the new millennium poses some of the greatest challenges to the relevance of the art form, Slatkin reflects on the modern evolution of classical music and presents ways for both music lovers and musicians alike to navigate these uncertain times. Classical Crossroads: The Path Forward for Music in the 21st-Century addresses a wide range of relevant and provocative topics such as performance in the era of COVID-19, shrinking audiences, the lack of classical music in public education, broken audition systems, technology replacing live concerts, and the lack of diversity in the classical music world. While the new millennium has provided great obstacles, Slatkin emphasizes that there are also new opportunitiesif there was ever a time for change in classical music, that time is now.

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Book SynopsisGolden Years of the National Symphony Orchestra: Stories and Photographs of Musicians and Maestros presents a rich and intimate perspective of the orchestra as it evolved in prominence and international expanse throughout the last 50 years. Through hundreds of stunning photographs shot by NSO violinist William Haroutounian, the tenure of seven NSO conductors, major guest artists, and NSO members are brought to life, giving a rare and exciting glimpse of musical life on stage, backstage, and on tour.Alongside these photographs are experiences from the members themselves, pieced together by Joanne Haroutounian. Humorous stories of mishaps during rehearsals and performances balance with some of the most historically significant moments in classical music historyfrom Mstislav Rostropovich's return to Russia with the NSO and sheer excitement of the mobs to the sudden death of Gina Bachauer minutes before she was scheduled to perform in Athens. The book memorializes this rich and varied history and will enrich an appreciation for concert life.

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Book SynopsisThe Concert Composer''s Business Handbook is written for composers of original musicmostly or completely within the world of concert or classical musicas a one-stop resource of information on earning income from music that they write. Drawing on a breadth of experience in the professional field, Stephen L. Rosenhaus addresses a variety of important topics, including: Copyright Types of income streams Performing rights organizations Promoting and presenting music Music publishing Contracts for composers Basics of finances

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Book SynopsisZubin Metha has created a body of work with the world's greatest orchestras including the Vienna Berlin Los Angeles and New York Philharmonics. In the course of his career he has gained the highest approbation in the international community: an honorary member of the Vienna State Opera and honorary conductor of the Vienna Munich and Los Angeles Philharmonics the Bavarian State Orchestra and Opera and the Teatro del Maggio Musicale Fiorentino he is also a recipient of the United Naions Lifetime Achievement Peace and Tolerance Award. And in this book he takes us with him along the road that brought him to the heights of success.ÞÊMy Life in MusicÊ is a frank and direct account of Mehta's entire musical life. From his childhood days in Bombay where he received his first musical education from his father Mehli Mehta and his journey at the tender age of 18 to Vienna to study music on through his entire professional career he shares with us an insider's view. We also learn everything about the private Zubin Mehta ä about his marriages his children his thoughts on music and politics especially in Israel where he is lifetime Music Director of the Israel Philharmonic.

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Book SynopsisLEONARD BERNSTEIN AT WORK: THE FINAL YEARS 1984-1990

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Book SynopsisUNLOCKING THE MASTERS: BEETHOVEN A LISTENER'S GUIDE TO HIS KEYBOARD MUSIC

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Book SynopsisMICHAEL RABIN: AMERCIA'S VIRTUOSO VIOLINIST - REVISED AND UPDATED

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Book SynopsisThe piano music of Maurice Ravel is among the most thrilling the most colorful and for pianists the most challenging of the repertoire. This book is about how performers and listeners can discover it and relate to it ä how it sounds and feels under the fingers and within the receptive imagination. But to write about those experiences to explore the background influences and impulses behind Ravel's music is to be engaged in a form of biography. Discovering the delicate melancholy of the ÊPavaneÊ and the ÊSonatineÊ the astounding virtuosity of ÊGaspard de la nuitÊ and the exotic tone painting of ÊMiroirs (Reflections)Ê leads to the question Who was the extraordinary person who created this? ÞHere are indispensable insights into the literary origins of ÊGaspard de la nuitÊ the derivation of the water imagery in ÊJeux d'eauÊ and the sensuous delights of ÊMiroirsÊ. The chapter on ÊValses nobles et sentimentalesÊ illuminates Ravel's meticulously controlled sense of irony. ÊLe tombeau de CouperinÊ is related to the impact of the First World War on his psyche and to the refuge he sought in the civilizing values of the age of Watteau and Couperin. Intimate and perceptive ÊReflectionsÊ is inescapably about the life of Maurice Ravel ä reflections by way of the piano music on an exceptionally private but immensely attractive man.

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Book SynopsisConducting an orchestra is something that is seen as well as heard but it is quite misunderstood when it comes to knowing what this person actually does for a living. This most mysterious of jobs is brought to life for the music lover as well as for the aspiring maestro in a new book by Leonard Slatkin.ÞDrawing on his own experiences on and off the podium Slatkin brings us into the world of the baton. He tells tales of some of the most fascinating people in the musical world including Frank Sinatra Leonard Bernstein and John Williams. He takes the reader to the great concert halls and orchestras soundstages in Hollywood and opera pits around the globe.ÞMr. Slatkin recounts his controversial appearance at the Metropolitan Opera his creation and direction of summer music festivals and a shattering concert experience that took place four days following 9/11. Life in the recording studio and on the road as well as health issues confronting the conductor provide an insider's glimpse into the private world of public figures.ÞCovering everything from learning how to read music to standing in front of an orchestra for the first time what to wear and how to deal with the press ÊConducting BusinessÊ is a unique look at a unique profession. ÞÊConducting BusinessÊ is a recipient of the 2013 ASCAP Deems Taylor Special Recognition Award.

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Book SynopsisLauded by Verdi Debussy and other music legends the celebrated conductor Arturo Toscanini raised the standards of orchestral and operatic performance over an astonishing 69 years on the podium. But as he did so he acquired a reputation as something of a tyrant who unleashed an explosive temper at musicians if rehearsals did not meet his expectations.ÞIn ÊThe Real ToscaniniÊ Cesare Civetta presents an intriguing collection of vivid one-of-a-kind interviews with artists who performed with Toscanini. A portrait of the inner workings of the maestro emerges through these extensive conversations conducted by the author over a period of 20 years together with other firsthand recollections. These accounts clarify Toscanini's philosophy musical style and techniques. They depict a man tormented by inner demons of anger and depression which were easily triggered by his frustration at being unable to produce the musical ideal in his mind's ear.ÞToscanini is also revealed as a vehement anti-Fascist and an unequivocal opponent of totalitarianism and racism ä he defied Mussolini and publically opposed Hitler. The book includes a comprehensive account of his 1936 inauguration of what is now known as the Israel Philharmonic in solidarity with Jewish refugee musicians.ÞToscanini comes through in this book as a tortured but deeply humane individual who strove to constantly improve ä a sincere and humble musician who was nevertheless the preeminent maestro of the 20th century.

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Book SynopsisÊRichard Wagner: The Lighter SideÊ appeals to classical music and opera enthusiasts in general but particularly the many thousands of members of the 135 Wagner Societies around the world. There are many books about every aspect of Wagner's life and works but none has focused on the trivia the interesting facts anecdotes and quotations about the man and his operas. For more than twenty years Terry Quinn has collected information on each of Wagner's 13 completed operas and the difficulties encountered in staging them; famous Wagnerian directors conductors and singers; key persons in the composer's life especially the women not to mention the dysfunctional Wagner family; Wagner's visits to London; the festival and theater he created in Bavaria; and a great deal more. Also included are interviews with current Wagnerian scholars.ÞÊRichard Wagner: The Lighter SideÊ contains more than 300 tidbits and features ranging from a few paragraphs to several pages. The light side of the book is immediately apparent via its lively headings as well as its fascinating tales of the fanatical enthusiasts who travel the world to see Wagner's operas performed.ÞIllustrations include photographs dozens of contemporary caricatures beautiful postage stamps on Wagnerian subjects and other reproductions of ephemera.

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Book SynopsisClaude Debussy was the father of the modern era in classical music. His innovations liberated Stravinsky Schoenberg and Bartìk to write their iconoclastic works and his harmonic inventions are still heard in American jazz. Though he was among the most compelling figures of the Belle »poque his life is little known to all but scholars; and of his considerable musical output only ÊPrelude to the Afternoon of a FaunÊ ÊLa merÊ and ÊClair de luneÊ are widely known.ÞHarvey Lee Snyder addresses this cultural neglect by presenting the composer and his music without jargon or biographical trivia in a richly detailed accurate narrative that reads like a novel. Here is the story of a poor unschooled Parisian boy swept by odd coincidences to the Paris Conservatory at age ten. Here is a brilliant man struggling to invent a tonal language capable of expressing his unique musical vision finding inspiration not in Bach and Beethoven but in Mallarm©'s poetry and the paintings of Whistler and Turner; a man determined to end two centuries of Germanic domination of European music. Here is a reclusive gentle man whose misguided love affairs ended in scandal and scorn. His hard work failed to end decades of poverty and debt but when he died in 1918 he was and has remained the foremost French composer of the twentieth century.

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Book SynopsisNikolay Rimsky-Korsakov is one of Russia's great musical figures. Although largely self-taught he became a professor at the Saint Petersburg Conservatory and one of the famed Mighty Handful of Russian nationalist composers. Works like ÊScheherazadeÊ and ÊCapriccio EspagnolÊ remain popular as does his textbook on orchestration. His influence extended from students like Stravinsky and Prokofiev to non-Russian composers such as Debussy Dukas and Ravel. Yet relatively little written about him is available outside Russia.ÞÊRimsky-Korsakov: Letters to His Family and FriendsÊ is a rare revealing look at the composer written by his granddaughter Tatiana. Featuring a wealth of correspondence and photographs from his family's archives this book provides new fascinating details about the composer's life work and relations with close friends and colleagues including Borodin Mussorgsky and Tchaikovsky. It also sheds new light on his wife Nadezhda Purgold an accomplished composer and pianist who helped her husband with his own compositions. Many letters involve Rimsky-Korsakov's other family members and important figures in art history literature and music of the late 19th and early 20th centuries.ÞFilled with material presented in English for the first time this book is an essential resource on Rimsky-Korsakov late romantic and early modern music and culture in Russia as it approached the end of an era.

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Book SynopsisTHE ANATOMY OF A NEW YORK DEBUT RECITAL

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Book SynopsisC. P. E.: A LISTENER'S GUIDE TO THE OTHER BACH

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Book SynopsisTo speak of Gerard Schwarz ä musician conductor festival organizer gig hopper educator television personality patron and proselytizer of the arts ä is to tell an exemplary American story.ÞYou could convey it exclusively in clich©s from his industrious ©migr© parents to his precocious childhood from his ardor and diligence as a prodigy trumpeter to his meteoric rise as a conductor from his unforeseen cross-country migration to the gradual construction of a world-class orchestra in a city formerly regarded as a cultural backwater from the halls of New York City's High School of Performing Arts to the digital instructor's chair of the All-Star Orchestra's Khan Academy course series.ÞYou could simply recite the numbers: over 300 new works premiered over 350 recordings in his discography 14 GRAMMY nominations five Emmy awards six ASCAP Awards and hundreds of other honors and laurels.ÞYou could dazzle and festoon and bewitch with talk of truth and beauty and the pursuit of ever-higher forms of artistic expression.ÞOr you could tell it Jerry's way.ÞÊBehind the BatonÊ is a quintessentially Schwarzian memoir: intrepid forthright risible subtly self-assured and entirely unpretentious. It offers an intimate inside look at a man whose immense talent is rivaled only by his humility and work ethic ä a man who for nearly fifty years has strived to leave every orchestra and musician he touched better than when he found them. Whether you're a classical music aficionado an orchestra initiate just cutting your teeth or an everyday reader interested in the remarkable story behind an extraordinary man ÊBehind the BatonÊ belongs on your nightstand.

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Book SynopsisPhilip Glass has, almost single-handedly, crafted the dominant sound of late-twentieth-century classical music. Yet in Words Without Music, his critically acclaimed memoir, he creates an entirely new and unexpected voice, that of a born storyteller and an acutely insightful chronicler, whose behind-the-scenes recollections allow readers to experience those moments of creative fusion when life so magically merged with art. From his childhood in Baltimore to his student days in Chicago and at Juilliard, to his first journey to Paris and a life-changing trip to India, Glass movingly recalls his early mentors, while reconstructing the places that helped shape his creative consciousness. Whether describing working as an unlicensed plumber in gritty 1970s New York or composing Satyagraha, Glass breaks across genres and re-creates, here in words, the thrill that results from artistic creation. Words Without Music ultimately affirms the power of music to change the world.Trade Review"Illuminating…[Glass] is always vigorous in defending his artistic choices and aesthetics. Glass's music may sound simple, but it revels in subtle complexity." -- Sudip Bose - Washington Post"Glass, a key figure of musical minimalism, was one of the first composers to reject a distinction between 'ethnic' music and Western classical music, and in this memoir he explains how he came to view a composition not as a linear narrative but as progressive rhythmic sequences." -- The New Yorker"Essential reading for anyone remotely interested in the evolution of the avant-garde during the past half-century…Words Without Music [is] an important contribution to cultural history." -- Steven G. Kellman - Dallas Morning News"Lively and colorful…. Glass is one of the most articulate composers around. Insight and practical common sense pervade his new book…. With a composer’s sense of form, Glass returns, in the final pages, to his youth, the subject that elicits his most evocative writing." -- Kyle Gann - New York Times Book Review"Well-supplied with droll observations and plainspoken assessments regarding the details of a career that has been as remarkable and noteworthy as any in American music—indeed, in American culture…. Honest and candid." -- Steve Smith - Boston Globe"Readers don’t have to like Glass’s music to find pleasure in this warm, unaffected, and deeply human book, but they may come away with an improved understanding of and a greater appreciation for both the music and its composer…. If a listener’s view of a composer is one of the things that shapes his or her perception of the music, an autobiography that alters the composer’s image should have the potential to change the way the music comes across. Words Without Music has done precisely that for me." -- David Hajdu - The Nation"Philip Glass has written a fascinating account of his life with recollections of family, teachers, and friends. From his childhood in Baltimore to his studies with Ravi Shankar and Nadia Boulanger and the collaborations with Robert Wilson, Allen Ginsburg, Godfrey Reggio, and Martin Scorsese, among others, Glass offers insights to his music and personal life. Words Without Music will be a pleasure to read, not only for musicians (although they will particularly enjoy it) but for anyone interested in the world of art." -- Paul Simon"I came to Philip Glass’s music very simply, without any critical prodding or guidance. I listened and was transfixed. I was excited to work with Philip on Kundun, and he exceeded my wildest expectations giving us a score that was genuinely transcendent. He’s exceeded my expectations again with this rich and beautifully written memoir. Who knew that he was as good a writer as he is a composer?" -- Martin Scorsese

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Book SynopsisMahler's life was a remarkably complex one, his success as a conductor continually overshadowed by his craving for recognition as a composer. Recognition which never came in his lifetime. In this biography, the author reveals how Mahler's personality, his extraordinary life and his music are inseparable. New light is shed on his strange relationship with Alma Mahler, his wife, and on his turbulent love affairs. In Vienna, where he directed the Opera, Mahler was a prime target for rumour mongers. Nothing he did, whether private or public, escaped the attention of a Vienna avid for details of his personal life. The author portrays vividly the conflict which arose from the demands made on Mahler by his enormously successful career, and his desperate desire to pursue the creation of great music. Illustrated with portraits of the people who made up Mahler's world and photographs of places associated with him, this book unfolds Mahler's story with impressive psychological insight. Includes a CD featuring a selection of recordings by the composer.

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Book SynopsisArguably the greatest of all piano virtuosi, Liszt was one of the few composers of his day who had the technique to perform his own compositions. A child prodigy pianist who could read music before he could recite the alphabet, Franz Liszt is one of the most outrageously gifted and most controversial figures in classical music. Unconventional in both his approach to composing and his personal life, he had a reputation for courting hostility and riding rough-shod over other people's feelings, particularly those of his musical peers. This lavishly illustrated book chronicles Liszt's life and times with the help of many rare photographs and contemporary prints. With numerous quotations from the people who knew him best, extracts from personal letters and diaries, this remarkable book gives an intimate picture of the composer's private life, and also investigates the complex religious and emotional forces which inspired his music. Includes a CD featuring a selection of recordings by the composer.

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