Art music, orchestral and formal music Books
Taylor & Francis Ltd Perspectives on the Performance of French Piano
Book SynopsisPerspectives on the Performance of French Piano Music offers a range of approaches central to the performance of French piano music of the nineteenth and twentieth centuries. The contributors include scholars and active performers who see performance not as an independent activity but as a practice enriched by a wealth of historical and analytical approaches. To underline the usefulness of contextual understanding for performance, each author highlights the choices performers must confront with examples drawn from particular repertoires and composers. Topics explored include editorial practice, the use of early recordings, emergent disciplines such as analysis-and-performance, and traditions passed down from teacher to student. Themes that emerge demonstrate the importance of editions as a form of communication, the challenges of notation, the significance of detail and of deeper continuity, the importance of performing and teaching traditions, and the influence of cross disciplinaryTrade Review’ ... a significant achievement that provides a number of penetrating insights into the performance practice of the French piano tradition... a timely reminder that scores rarely give us all the information that we need to create music, and that, as musicians, we always need to seek creative solutions to musical (and notational) questions. The collection draws together an impressive roster of pianists, performer scholars, and musicologists, each with a specialist insight into aspects of the French piano repertory and tradition ... this collection also usefully reminds us that a thorough examination of all the evidence available to us reveals that more than one interpretation may be valid (and exciting!) in performance. The real significance of this new volume, however, may lie in its potential as a pedagogic text. Despite the specific focus on French repertory, the book could be used within a teaching context to introduce students to a wide range of issues pertinent to contemporary Classical Music Studies and Performance Studies, including editing, approaching historical sources critically, using early recordings, and the application of analysis to informed performances’. Music and Letters
£45.99
Taylor & Francis Ltd Recomposing the Past Representations of Early
Book SynopsisRecomposing the Past is a book concerned with the complex but important ways in which we engage with the past in modern times. Contributors examine how media on stage and screen uses music, and in particular early music, to evoke and recompose a distant past. Culture, popular and otherwise, is awash with a stylise - sometimes contradictory - musical history. And yet for all its complexities, these representations of the past through music are integral to how our contemporary and collective imaginations understand history. More importantly, they offer a valuable insight into how we understand our musical present. Such representative strategies, the book argues, cross generic boundaries, and as such it brings together a range of multimedia discussion on the subjects of film (Lord of the Rings, Dangerous Liasions), television (Game of Thrones, The Borgias), videogame (Dragon Warrior, Gauntlet), and opera (Written on Skin, TavernerTable of ContentsIntroduction: Understanding the Present through the Past; the Past through the Present James Cook, Alexander Kolassa, and Adam Whittaker Part 1: Authenticity, Appropriateness, and Recomposing the Past Chapter 1: Representing Renaissance Rome: Beyond Anachronism in Showtimes The Borgias (2011) James Cook Chapter 2: Baroque à la Hitchcock: The Music of Dangerous Liaisons (1988) Mervyn Cooke Chapter 3: ‘Frame not my Lute’: The Musical Tudor Court on the Big Screen Daniela Fountain Chapter 4: It Ain’t Over ‘til King Arthur Sings: English Dramatick Opera on the Modern Stage Katherina Lindekens Part 2: Music, Space, and Place: Geography as History Chapter 5: Musical Divisions of the Sacred and Secular in 'The Hunchback of Notre Dame' Adam Whittaker Chapter 6: Celtic Music and Hollywood Cinema: Representation, Stereotype, and Affect Simon Nugent Chapter 7: David Munrow’s ‘Turkish Nightclub Piece’ Edward Breen Chapter 8: Little Harmonic Labyrinths: Baroque Musical Style on the Nintendo Entertainment System William Gibbons Part 3: Presentness and the Past: Dialogues between Old and New Chapter 9: Presentness and the Past in Contemporary British Opera Alexander Kolassa Chapter 10: Angels in the Archive: Animating the Past in 'Written on Skin' Maria Ryan Chapter 11: Werner Herzog and the Filmic Dark Arts: Myth, Truth, Music, and the Life of Carlo Gesualdo (1566–1613) Philip Weller Chapter 12: Medievalism, Music, and Agency in The Wicker Man (1973) Lisa Colton Chapter 13: Music in Fantasy Pasts: Neomedievalism and 'Game of Thrones' James Cook, Alexander Kolassa, and Adam Whittaker
£137.75
Taylor & Francis Ltd Hildegard von Bingens Ordo Virtutum
Book SynopsisThe Ordo Virtutum, Hildegard von Bingen's twelfth-century music-drama, is one of the first known examples of a large-scale composition by a named composer in the Western canon. Not only does the Ordo's expansive duration set it apart from its precursors, but also its complex imagery and non-biblical narrative have raised various questions concerning its context and genre. As a poetic meditation on the fall of a soul, the Ordo deploys an array of personified virtues and musical forces over the course of its eighty-seven chants. In this ambitious analysis of the work, Michael C. Gardiner examines how classical Neoplatonic hierarchies are established in the music-drama and considers how they are mediated and subverted through a series of concentric absorptions (absorptions related to medieval Platonism and its various theological developments) which lie at the core of the work's musical design and text. This is achieved primarily through Gardiner's musical network Table of Contents1. A Metaphysical Medieval Assemblage 2. Analytic Introduction 3. Deterritorialized Bodies 4. The Taking-Place of Prayer 5. On Reterritorialization
£128.25
Taylor & Francis Ltd Reeled In Preexisting Music in Narrative Film
Book SynopsisHow and why is pre-existing music used in films? What effects can its use have on films and their audiences? And what lasting impact can appropriation have on the music? Reeled In is a comprehensive exploration of these questions, considering the cinematic quotation of Beethoven symphonies, Beatles songs, and Herrmann scores alike in films ranging from the early sound era to the present day, and in every role from main title theme' to music playing in bar'. Incorporating a discussion of such factors as copyright and commerce alongside examination of texts and their effects, this broad study is a significant contribution to the scholarship on music in screen media, demonstrating that pre-existing music possesses unique attributes that can affect both how filmmakers construct their works and how audiences receive them, to an extent regardless of the music's style, genre, and so on. This book also situates the reception of music by film, and by audiences experiencing that music Table of Contents1. Production contexts and considerations 2. Intention and interpretation 3. Functions of musical reference 4. Post-existing music
£128.25
Taylor & Francis Ltd Schenkerian Analysis
Book SynopsisSchenkerian Analysis: Perspectives on Phrase Rhythm, Motive and Form, Second Edition is a textbook directed at all thosewhether beginners or more advanced studentsinterested in gaining understanding of and facility at applying Schenker's ideas on musical structure. It begins with an overview of Schenker's approach to music, and then progresses systematically from the phrase and its various combinations to longer and more complex works. Unlike other texts on this subject, Schenkerian Analysis combines the study of multi-level pitch organization with that of phrase rhythm (the interaction of phrase and hypermeter), motivic repetition at different structural levels, and form. It also contains analytic graphs of several extended movements, separate works, and songs. A separate instructor's manual provides additional advice and solutions (graphs) of all recommended assignments.This second edition has been revised to make the early chapters more accessTable of ContentsPART I. Concepts and Terminology / 1. Schenker’s Conception of Musical Structure: An Overview / 2. The Phrase and Parallel Phrases / 3. Phrase Rhythm and Phrase Expansion / 4. Contrasting Phrases / 5. Ternary (Rounded Binary) Form / PART II. Applications / 6. Baroque One-Part and Two-Part Forms (Bach) / 7. Ternary Form / 8. Sonata Form 1 / 9. Sonata Form 2: Motivic Development / 10. Music and Text
£58.99
Taylor & Francis Ltd Orlando Gibbons and the Gibbons Family of
Book SynopsisFirst published in 1999, this volume is the first full-length study to deal with the life and music of Orlando Gibbons since E.H. Fellowes's short book, originally published in 1923. John Harley investigates in detail the family and musical background from which Orlando Gibbons emerged, and gives a fascinating account of the activities of his father, William Gibbons, as a wait in Oxford and Cambridge. He traces, too, the activities of Orlando's brothers Edward, who was the master of the choristers at King's College, Cambridge and later at Exeter Cathedral; Ferdinando, who may have taken over from his father as head of the Cambridge waits, and who became a wait in Lincoln; and Ellis, who contributed two madrigals to Thomas Morley's collection of 1601, The Triumphs of Oriana. Attention naturally focuses principally on Orlando Gibbons. A full record is given of his remarkably youthful appointment as an organist of the Chapel Royal (he was probably less than twenty at the time) Trade Review'It is clearly the result of extensive archival research, which has yielded quite a lot of new information about the Gibbons family ... the result of a great deal of original research.' The Musical Times '...future generations of readers will be glad to find much fundamental material and secondary consideration aggregated agreeably into a single volume, and this book is to be welcomed as the first study of this major composer to have appeared for many years.' Early Music 'At last we have the outstanding book about Orlando Gibbons that reflects his stature...This book is indispensable to all who know his music and to those encountering it for the first time.' Cathedral Music ’...Harley is to be congratulated for having made considerable inroads into the study of this still under-appreciated music.’ Times Literary Supplement '... a welcome addition... There is no question that Harley had done a very useful service not only for English musicology but also, one would like to think, performance as well.' Seventeenth-Century News '... the first comprehensive discussion of Gibbons's music in many years...' Notes 'Its undoubted strength is the genealogical and archival matter relating to the extended Gibbons family, much of which is previously unpublished.' Music and Letters 'John Harley's study of Orlando Gibbons blends a high level of archival research with a sensitive and thorough discussion of all the known music by this major English composer... This study of Gibbons (...) will undoubtedly be the definitive one for a long time.' AlbionTable of ContentsPart 1. 1. The Gibbons Family. Part 2. 2. The Court Musician. 3. Orlando Gibbons’s Personality and Music. 4. Keyboard Music. 5. Consort Music. 6. Songs. 7. Anthems: Introduction. 8. Full Anthems. 9. Verse Anthems. 10. Liturgical Music. 11. Orlando Gibbons’s Death. Part 3. 12. Christopher Gibbons.
£32.99
Taylor & Francis Ltd The Cyclic Mass
Book SynopsisEngland in the fifteenth century was the cradle of much that would have a profound impact on European music for the next several hundred years. Perhaps the greatest such development was the cyclic cantus firmus Mass, and scholarly attention has therefore often been drawn to identifying potentially English examples within the many anonymous Mass cycles that survive in continental sources. Nonetheless, to understand English music in this period is to understand it within a changing nexus of two-way cultural exchange with the continent, and the genre of the Mass cycle is very much at the forefront of this. Indeed, the question of what is English' cannot truly be answered without also answering the question of what is continental'. This book seeks, initially, to answer both of these questions. Perhaps more importantly, it argues that a number of the works that have induced the most scholarly debate are best seen through the lens of intensive and long-term cultural exchange and Table of Contents1. The Mass cycle, insularity, and cultural exchange; 2. The rise of the Mass cycle; 3. Style and structure in the mature English Mass cycle; 4. Mass cycles between English and continental practice; 5. The Du cuer je souspier Mass; Conclusions and new directions: the strange disappearance of English musuc
£128.25
Taylor & Francis Ltd Status Quo Mighty Innovators of 70s Rock
Book SynopsisStatus Quo were one of the most successful, influential and innovative bands of the 1970s. During the first half of the decade, they wrote, recorded and performed a stream of inventive and highly complex rock compositions, developed 12 bar forms and techniques in new and fascinating ways, and affected important musical and cultural trends. But, despite global success on stage and in the charts, they were maligned by the UK music press, who often referred to them as lamebrained three-chord wonders, and shunned by the superstar Disk Jockeys of the era, who refused to promote their music. As a result, Status Quo remain one of the most misunderstood and underrated bands in the history of popular music. Cope redresses that misconception through a detailed study of the band's music and live performances, related musical and cultural subtopics and interviews with key band members. The band is reinstated as a serious, artistic and creative phenomenon of the 1970s scene and shown to be vitalTrade Review2020 Association for Recorded Sound Collections Awards for Excellence in Historical Recorded Sound Research - WinnerBest Historical Research in Recorded Rock and Popular MusicBest History Table of ContentsList of tables Acknowledgements Introduction Chapter 1. Quo Vadis Chapter 2. A New Recipe for Pye Chapter 3. Modus Vetus Chapter 4. Rockin’ All Over the Swirls Chapter 5. Praegressus Quo Chapter 6. Softer Ride or a Softer Side? Chapter 7. The Q Factor Bibliography Discography Index
£128.25
Taylor & Francis Ltd Alma Mahler and Her Contemporaries
Book SynopsisThis selective annotated bibliography places Alma Mahler with three other female composers of her time, covering the first generation of active female composers in the twentieth century. It uncovers the wealth of resources available on the lives and music of Mahler, Florence Price, Yuliya Lazarevna Veysberg, and Maria Teresa Prieto and supports emerging scholarship and inquiry on four women who experienced both entrenched sexual discrimination and political upheaval, which affected their lives and influenced composers of subsequent generations.Table of ContentsAcknowledgementsPostscriptIntroductionI. General Reference Books Historical Context BiographicalMusico-Analytical Scores and EditionsII. Alma Maria Schindler Mahler-WerfelReference Books Historical Context Biographical Musico-Analytical Analytic Essays and Articles Scores and Editions III. Florence Beatrice PriceReference Books Biographical Musico-AnalyticalAnalytic Essays and Articles Scores and Editions IV. Maria Teresa Prieto Fernandez de la LlanaReference Books Historical Context Biographical Musico-Analytical Scores and EditionsV. Yuliya Lazarevna VeysbergReference Books Historical Context Biographical Musico-Analytical Scores and EditionsIndex of Authors, Editors and Translators
£128.25
Taylor & Francis Ltd The Music of Franz Liszt
Book SynopsisMuch of Franz Liszt''s musical legacy has often been dismissed as ''trivial' or ''merely showy,'' more or less peripheral contributions to nineteenth-century European culture. But Liszt was a mainstream composer in ways most of his critics have failed to acknowledge; he was also an incessant and often extremely successful innovator. Liszt''s mastery of fantasy and sonata traditions, his painstaking settings of texts ranging from erotic verse to portions of the Catholic liturgy, and the remarkable self-awareness he demonstrated even in many of his most ''entertaining'' pieces: all these things stamp him not only as a master of Romanticism and an early Impressionist, but as a precursor of Postmodern ''pop.'' Liszt''s Music places Liszt in historical and cultural focus. At the same time, it examines his principal contributions to musical literature -- from his earliest operatic paraphrases to his final explorations of harmonic and formal possibilities. Liszt''s compositional metTable of Contents1. Liszt’s Apprenticeship: The Performer as Emerging Composer 2. Liszt Comes of Age: The Composer as Fantasist 3. Liszt Adapts and Transforms: The Fantasist/Composer as Re-composer 4. Liszt Orchestrates and "Explains": The Fantasist/(Re-)composer as Tone-Poet 5. Liszt and the Voice
£137.75
Taylor & Francis Ltd Routledge Handbook to Luigi Nono and Musical
Book SynopsisOf the post-war, post-serialist generation of European composers, it was Luigi Nono who succeeded not only in identifying and addressing aesthetic and technical questions of his time, but in showing a way ahead to a new condition of music in the twenty-first century. His music has found a listenership beyond the ageing constituency of contemporary music'. In Nono's work, the audiences of sound art, improvisation, electronic, experimental and radical musics of many kinds find common cause with those concerned with the renewal of Western art music. His work explores the individually and socially transformative role of music; its relationship with history and with language; the nature of the musical work as distributed through text, time, technology and individuals; the nature and performativity of the act of composition; and, above all, the role and nature of listening as a cultural activity. In many respects his music anticipates the new technological state of culture of the twenty-fTrade Review'Jonathan Impett’s substantial and comprehensive Handbook…offers a formidable combination of aesthetic empathy and technical clear-headedness.’Arnold Whittall, The Musical Times, AUTUMN 2019, Vol. 160, No. 1948Table of Contents1. Prolegomena: a Venetian Pre-biography 2. Accelerated Learning: Years of Study 1942-1950 3. Confronting Modernism: Darmstadt 4. Taking positions: song 5. ‘Docere e movere’: Il canto sospeso 6. Poetry and drama 7. Intolleranza 1960 8. New spaces: studio, street, factory 9. Manifestos 10. Al gran sole carico d’amore 11. Waves 12. Verso Prometeo 13. a tragedy of listening 14. Resonances 15. Possible worlds
£204.25
Taylor & Francis Ltd Singing Dante The Literary Origins of Cinquecento
Book SynopsisThis book takes its departure from an experiment presented by Vincenzo Galilei before his colleagues in the Florentine Camerata in about 1580. This event, namely the first demonstration of the stile recitativo, is known from a single later source, a letter written in 1634 by Pietro dei Bardi, son of the founder of the Camerata. In the complete absence of any further information, Bardi's report has remained a curiosity in the history of music, and it has seemed impossible to determine the true nature and significance of Galilei''s presentation. That, unfortunately, still remains true for the music, which is lost. Yet we know a crucial fact about this experiment, the poetic text chosen by Galilei: it was an excerpt from the Divine Comedy by Dante Alighieri, the Lament of Count Ugolino. Starting from this information the author examines the problem from another angle. Investigation of the perception of Dante's poetry in the sixteenth century, as well as a deeper enquiry into cinquecento pTrade Review’... fascinating scholarly discussion, based on every available snippet of information and a vast arsenal of literary sources...’. Min-Ad: Israel Studies in Musicology OnlineTable of ContentsIntroduction; I: The Ancient Theory of Poetics as Interpreted in the Cinquecento; 1: Performing Poetry in the Cinquecento and the Neglect of Dante; 2: Performing Epic Poems; 3: The Problem of Dante’s Comedy: Genre and Performance; II: The Sonic Effects of Italian Verse; 4: The ‘Sound of Words’ as a Quasi-musical Experience; 5: The ‘Sound of Verse’: Auditory Parameters; 6: Syllable Length in Music Theory; III: Galilei’s Monody; 7: Vincenzo Galilei’s Presentation of Dante; 8: The Rhythm of Verses and Ugolino’s Lament as an ‘Aria’; 9: Monody after Galilei
£123.50
Taylor & Francis Ltd Schubert
Book SynopsisThe collection of essays in this volume offer an overview of Schubertian reception, interpretation and analysis. Part I surveys the issue of Schubert's alterity concentrating on his history and biography. Following on from the overarching dualities of Schubert explored in the first section, Part II focuses on interpretative strategies and hermeneutic positions. Part III assesses the diversity of theoretical approaches concerning Schubert's handling of harmony and tonality whereas the last two parts address the reception of his instrumental music and song. This volume highlights the complexity and diversity of Schubertian scholarship as well as the overarching concerns raised by discrete fields of research in this area.Table of ContentsContents: Introduction. Part I History and Biography: Poor Schubert: images and legends of the composer, Christopher H. Gibbs; Franz Schubert and the peacocks of Benvenuto Cellini, Maynard Soloman; The peacock’s tale: Schubert’s sexuality reconsidered, Rita Steblin; Constructing a Victorian Schubert: music, biography and cultural values, David Gramit; Unfinished considerations: Schubert's ‘unfinished’ symphony in the context of his Beethoven project, John Gingerich. Part II Reception and Interpretation: Schubert’s Symphony in C, Robert Schumann; Schubert (1928), Theodor W. Adorno; Schubert’s promissory note: an exercise in musical hermeneutics, Edward T. Cone; Schubert and the sound of memory, Scott Burnham. Part III Harmony and Tonality: Tonality, Donald Francis Tovey; As wonderful as star clusters: instruments for gazing at tonality in Schubert, Richard L. Cohn; Three examples of functional chromatic mediant relations in Schubert, David Kopp; ‘Die junge Nonne’ (D. 828), David Damschroder with David Kopp. Part IV Instrumental Music: Schubert’s sonata form and Brahms’s first maturity, James Webster; Sonata form in Schubert: the first movement of the G-Major String Quartet, Op. 161 (D. 887), Carl Dahlhaus; On the subject of Schubert’s ‘unfinished’ symphony: was bedeutet die Bewegung?, Richard Kurth; Schubert’s homecoming, Nicholas Marston; Schubert’s sonata forms and the poetics of the lyric, Su Yin Mak. Part V Song: A romantic detail in Schubert’s Schwanengesang, Joseph Kerman; ‘Auf dem Flusse’: image and background in a Schubert song, David Lewin; Behind the scenes: die schöne Müllerin before Schubert, Susan Youens; The Schubert Lied: romantic form and romantic consciousness, Lawrence Kramer; The shadow of midnight in Schubert's ‘Gondelfahrer’ settings, David T. Bretherton. Name index.
£237.50
Taylor & Francis Ltd Haydn
Book SynopsisThis volume brings together a selection of the most stimulating and influential writing on Haydn and his music in the English language. Written by a range of established and younger scholars it probes a variety of aesthetic, biographical, compositional, performance and reception issues. A specially written introduction summarizes the significance of each essay, directs the reader to appropriate complementary material and seeks the common ground between the essays; to assist with consistent referencing the individual essays retain their original pagination. This representative compendium of Haydn research provides the opportunity to explore the intellectual diversity of recent scholarship and is an indispensable publication for students of Haydn, whether new or old, amateur or professional.Table of ContentsContents: Introduction. Part I Life and Legacy: The earliest biographies of Haydn, Vernon Gotwals; A patron among peers: dedications to Haydn and the economy of celebrity, Emily Green; The falling-out between Haydn and Beethoven: the evidence of the sources, James Webster; The consequences of presumed innocence: the 19th-century reception of Joseph Haydn, Leon Botstein. Part II Creative Impulses: ‘The true fundamentals of composition’: Haydn’s partimento counterpoint, Felix Diergarten; Haydn’s theater symphonies, Elaine R. Sisman; Haydn, Goldoni, and Il mondo della luna, Michael Brago; Engaging strategies in Haydn’s Opus 33 string quartets, Gretchen A. Wheelock; Of saints, name days, and Turks: some background on Haydn’s masses written for Prince Nikolaus II Esterházy, Jeremiah W. McGrann. Part III Aesthetic Frontiers: Haydn, Laurence Sterne, and the origins of musical irony, Mark Evan Bonds; Expressive ambivalence in Haydn’s symphonic slow movements of the 1770s, W. Dean Sutcliffe; Recalling the sublime: the logic of creation in Haydn’s Creation, Lawrence Kramer; Heroic Haydn, the occasional work and ‘modern’ political music, Nicholas Mathew. Part IV Enlightened Performance: On the absence of keyboard continuo in Haydn’s symphonies, James Webster; Haydn’s tempos in The Creation, Nicholas Temperley; Trends, accomplishment, deficiency in Haydn performance today, László Somfai; ‘Delivery, delivery, delivery!’ Crowning the rhetorical process of Haydn’s keyboard sonatas, Tom Beghin; Playing with art: musical arrangements as educational tools in van Swieten’s Vienna, Wiebke Thormählen. Name index.
£266.00
Taylor & Francis Ltd The Routledge Research Companion to Electronic
Book SynopsisThe theme of this Research Companion is ''connectivity and the global reach of electroacoustic music and sonic arts made with technology''. The possible scope of such a companion in the field of electronic music has changed radically over the last 30 years. The definitions of the field itself are now broader - there is no clear boundary between ''electronic music'' and ''sound art''. Also, what was previously an apparently simple divide between ''art'' and ''popular'' practices is now not easy or helpful to make, and there is a rich cluster of streams of practice with many histories, including world music traditions. This leads in turn to a steady undermining of a primarily Euro-American enterprise in the second half of the twentieth century. Telecommunications technology, most importantly the development of the internet in the final years of the century, has made materials, practices and experiences ubiquitous and apparently universally available - though some contributions to this voTable of ContentsPart 1: Global reach – local identities [1] Ricardo Dal Farra (and others): ‘Research-Creation in Latin American’ [2] Marc Battier and Lin-Ni Liao: 'Electronic Music in East Asia' [3] Leigh Landy: ‘The Three Paths: Cultural retention in contemporary Chinese electroacoustic music’ [4] Patrick Valiquet: ‘Technologies of Genre: Digital distinctions in Montreal’ [5] Hillegonda Rietveld: ‘Dancing in the Technoculture’ Part 2: Awareness, consciousness, participation [6] Pedro Rebelo and Rodrigo Cicchelli Velloso: ‘Participatory Sonic Arts: the Som de Maré project - towards a socially engaged art of sound in the everyday’ [7] Atau Tanaka and Adam Parkinson: ‘The Problems with Participation’ [8] Leah Barclay: ‘The Agency of Sonic Art in Changing Climates’ [9] Sally-Jane Norman: ‘Tuning and Metagesture After New Natures’ [10] Eduardo Miranda and Joel Eaton: ‘Music Neurotechnology: a natural progression’ Part 3: Extending performance and interaction [11] Simon Emmerson and Kenneth Fields: ‘Where are we? Extended Music Practice on the Internet’’ [12] Jonty Harrison: ‘Rendering the Invisible: BEAST and the performance practice of acousmatic music’ [13] Mick Grierson: ‘Creative Coding for Audiovisual Art: The CodeCircle Platform’
£185.25
Taylor & Francis Ltd The Enraged Musician: Hogarth's Musical Imagery
Book SynopsisMore than 70 works of Hogarth include musical references, and Jeremy Barlow's book is the first full-length work devoted to this aspect of his imagery. The first two chapters examine the evidence for Hogarth's interest in music and the problems of assessing accuracy, realism and symbolic meaning in his musical representations. Subsequent chapters show how musical details in his works may often be interpreted as part of his satirical weaponry; the starting point seems to have been his illustrations of the clamorous 'rough music' protest in Samuel Butler's immensely popular poem Hudibras. Hogarth's use of music for satirical purposes also has connections with a particular type of burlesque music in 18th-century England. It may be seen too in the roles played by his humiliated fiddlers or abject ballad singers. Each of the final two chapters focuses on a particular Hogarth subject: his paintings of a scene from a theatrical satire of music and society, The Beggar's Opera, and the print The Enraged Musician itself. The latter work draws together uses of musical imagery discussed previously and the book concludes with an analysis of its internal relations from a musical perspective. The book is lavishly illustrated with Hogarth's drawings, prints and paintings. Many other images are reproduced to provide contextual background. Several indices and appendices enhance the book's value as a reference tool: these include an annotated index of Hogarth's instruments, with photographs or other representations of the instruments he depicts; a detailed index of Hogarth's works with musical imagery; the texts and music for broadside ballads and single-sheet songs related to Hogarth's titles; 18th-century texts and street cries related to Hogarth's The Enraged Musician, and other musical examples indicated in the text. Also included is a facsimile of Bonnell Thornton's burlesque Ode on St Cæcilia's Day.Trade Review'It is extraordinary that this is the first book on Hogarth and music, when, as Jeremy Barlow points out, his art is filled with music and musicians. What Barlow is able to demonstrate is that the tensions in Hogarth's own art between morality and freedom, high art and the popular, and the life of the street and of the academy, are played out with powerful effect in his representations of music in all its forms. Barlow meticulously avoids the fallacy of assuming the 'truth' of Hogarth's views of London to show that music engaged the artist's intellect fully. This is a really important book and one of the most original to appear on the artist for a long time.' Professor David Bindman, Durning-Lawrence Professor of the History of Art, University College London, UK 'The principal readership will be from those whose interests lie in the works of Hogarth, relevant connected areas of art history, 18th-century London political and social history, and musicians with an interest in 18th-century London performance and repertory. The book makes an important contribution to the literature about 18th-century musical instruments and the evidence for their manner of performance. Particularly original is the treatment of 'popular' instruments in Chapter 3, which has not previously been covered in this way, or with this degree of scholarly seriousness. As well as containing substantial new material, the book examines previously explored topics from new perspectives and in greater depth.' Professor Donald Burrows, Music Department, The Open University, UK 'Barlow is familiar with the worlds of the musicologist (and musician), the historian and the art historian and draws on them with aplomb and skill.' Early Music Review 'For the first time this obviously important feature of Hogarth's work becomes the subject of a book-length study... the book will not only be of interest to Hogarth enthusiasts bu also to students of the history of music and popular culture.' Arlis '... AshgatTable of ContentsContents: Preface; Chronology; Five Hogarth series summarized; Hogarth and the musical scene; Music in Hogarth's scenes; Rough music; Burlesque music; Solo fiddlers; Ballad singers and ballads; The Beggar's Opera and Italian opera; Hogarth's The Enraged Musician; Annotated index of Hogarth's instruments and musical scores; Appendices; Bibliography; Indexes.
£130.00
Taylor & Francis Ltd International Who's Who in Classical Music 2019
Book SynopsisThe International Who’s Who in Classical Music 2019 is a vast source of biographical and contact information for singers, instrumentalists, composers, conductors, managers and more. Each entrant has been given the opportunity to update his or her information for the new improved 2019 edition. Each biographical entry comprises personal information, principal career details, repertoire, recordings and compositions, and full contact details where available. Appendices provide contact details for national orchestras, opera companies, music festivals, music organizations and major competitions and awards. International Who’s Who in Classical Music includes individuals involved in all aspects of the world of classical music: composers, instrumentalists, singers, arrangers, writers, musicologists, conductors, directors and managers. Key Features:- over 8,000 detailed biographical entries- covers the classical and light classical fields- includes both up-and-coming musicians and well-established names.This book will prove valuable for anyone in need of reliable, up-to-date information on the individuals and organizations involved in classical music.Table of ContentsPart 1: BiographiesPart 2: Directory Appendix A: Orchestras. Appendix B Opera Companies. Appendix C: Music Festivals. Appendix D: Music Organizations. Appendix E: Competitions and Awards.
£161.50
Cambridge University Press Camb Comp to the String Quartet Cambridge Companions to Music
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£29.44
Cambridge University Press thecambridgecompaniontotheorchestra
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£24.69
Cambridge University Press Bach The Goldberg Variations
Book SynopsisBach's spectacular Goldberg Variations represent a high point in the whole repertory of keyboard music, particularly for the harpsichord. This book takes a detailed look at their historical origins, what their exceptionally intricate plan is, what kind of impact they have had, and how their mysterious beauty has been created.Trade ReviewPeter Williams manages to pack in an extraordinary amount of information about the work's background, compositional techniques and structures, and reception history. His consideration of the work's relationships to a large amount of other music is particularly remarkable. The writing style is fresh and engaging and the material presented clearly and concisely. We can safely say that Williams's book will be the fundamental work on its subject for years to come.' Eighteenth-Century MusicTable of ContentsIntroduction; 1. Background and genesis; 2. Overall shape; 3. The movements; 4. Questions of reception; Appendix: the intended harpsichord.
£19.49
Cambridge University Press The Cambridge Companion to Rossini Cambridge Companions to Music
a huge range and FREE tracked UK delivery on ALL orders.
£24.69
Cambridge University Press Palestrina and the German Romantic Imagination Interpreting Historicism in NineteenthCentury Music Musical Performance and Reception
Book SynopsisFocusing on the reception of Palestrina, this bold interdisciplinary study explains how and why the works of a sixteenth-century composer came to be viewed as a paradigm for modern church music. It explores the diverse ways in which later composers responded to his works and style, and expounds a provocative model for interpreting compositional historicism. In addition to presenting insights into the works of Bruckner, Mendelssohn and Liszt, the book offers fresh perspectives on the institutional, aesthetic and ideological frameworks sustaining the cultivation of choral music in this period. This publication provides an overview and analysis of the relation between the Palestrina revival and nineteenth-century composition and it demonstrates that the Palestrina revival was just as significant for nineteenth-century culture as parallel movements in the other arts, such as the Gothic revival.Trade ReviewReview of the hardback: 'Palestrina and the German Romantic Imagination offers a comprehensive and in-depth analysis of a crucial phenomenon of Romantic musical life with which English-speaking readers may be only partially familiar. The book is to be recommended for its narrative breadth, its perceptive analytical insights, and its rich counterpoint of aesthetic theories and compositional practice of the Romantic era. It is a must-read for those music and cultural historians with an interest not only in nineteenth-century German intellectual life, but also in issues such as the creation of the modern musical canon and music historiography.' Nineteenth-Century Music ReviewTable of ContentsAcknowledgements; List of abbreviations; Introduction; 1. Historicism in nineteenth-century art, aesthetics and culture; 2. Romanticism and the problem of church music; 3. The Protestant Palestrina revival; 4. The Catholic Palestrina Revival; 5. Palestrina in the concert hall; 6. Interpreting the secondary discourse of nineteenth-century music; Notes; Bibliography; Index.
£37.99
Cambridge University Press Four Musical Minimalists La Monte Young Terry Riley Steve Reich Philip Glass 11 Music in the Twentieth Century Series Number 11
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£29.44
Cambridge University Press The Stravinsky Legacy 8 Music in the Twentieth
Book SynopsisStravinsky's music has had a profound impact on the development of twentieth-century music. In this book, Jonathan Cross explores the technical and aesthetic legacy of Stravinsky in relation to a broad range of composers. He also proposes a re-examination of Stravinsky's neoclassical music and Theodor Adorno's notorious critique of Stravinsky.Trade Review'This is a well-researched, densely thought and thought-provoking book. It is all too easy to take Stravinsky for granted at the end of the century, but Cross reminds us how long a shadow - and how many shadows - he has cast.' Music Teacher'Cross has succeeded brilliantly in unearthing the Hydra-like legacy of Stravinsky's innovations, expressed with a lucidity and succinctness that make the book an absolute pleasure to read.' Tempo'[a] thoughtful overview of the Stravinsky legacy …' Journal of the American Musicological SocietyTable of ContentsPart I. The Stravinsky Legacy: 1. Introduction: Stravinsky's modernism; 2. Block forms; 3. Structural rhythms; 4. Ritual theatres; 5. Minimal developments; Part II. Stravinsky Reheard: 6. A fresh look at Stravinsky analysis; 7. Conclusions: Stravinsky, Adorno and the problem of non-development.
£22.99
Cambridge University Press Perspectives on Mozart Performance 1 Cambridge Studies in Performance Practice Series Number 1
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£48.44
Cambridge University Press Music and Musicians in Renaissance Cities and Towns
Book SynopsisThis interdisciplinary collection examines musical culture in the towns and cities of Renaissance Europe and the New World. It aims to integrate musicological and urban-historical approaches in order to obtain a fuller understanding of the processes and circumstances which had an impact on Renaissance music and musicians.Trade Review'Dr Kisby has assembled an intimidating array of authorities and their contributions maintain a high level of scholarship.' Music and LettersTable of Contents1. Introduction: urban history, musicology and cities and towns in Renaissance Europe Fiona Kisby; 2. Music and urban culture in Austria - comparing profiles Reinhard Strohm; 3. Magnificence as civic image: music and ceremonial space in Early Modern Venice Iain Fenlon; 4. Secular music in the Burgh of Haddington, 1530–1640 John J. McGavin; 5. Civic subsidy and musicians in Southern France during the fourteenth and fifteenth centuries: a comparison of Montpellier, Toulouse and Avignon Gretchen Peters; 6. Masses, Morris and metrical psalms: music in the English parish, c. 1400–1600 Beat Kümin; 7. The role of religious guilds in the cultivation of ritual polyphony in England: the case of Louth, 1450–1550 Magnus Williamson; 8. Academic colleges in the Oxford community, 1400–1550 Beth Anne Lee-De Amici; 9. Music and court in Charles V's Valladolid, 1517–1539 Soterraña Aguirre Rincón; 10. Change and continuity in the Reformation period: church music in North German Towns, 1500–1600 Joachim Kremer; 11. Cathedral music, city and state: music in Reformation and political change at Christ Church cathedral, Dublin Barra Boydell; 12. Singers and scribes in the secular churches of Brussels Barbara Haggh; 13. Music and moonlighting: the cathedral choirmen of Early Modern England, 1558–1649 James Saunders; 14. Urban musical life in the European colonies: examples from Spanish America, 1530–1650 Egberto Bermúdez; Index.
£37.99
Cambridge University Press Musical Form in the Age of Beethoven
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£42.74
Cambridge University Press Brahms 2
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£29.44
Cambridge University Press Music in the German Renaissance Sources Styles and Contexts
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£36.09
Cambridge University Press German Music Criticism in the Late Eighteenth Century
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£29.44
Cambridge University Press Free Fantasia Musical Picturesque 6 New Perspectives in Music History and Criticism Series Number 6
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£48.44
Cambridge University Press Janacek Studies Cambridge Composer Studies
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£48.44
Cambridge University Press The Careers of British Musicians 17501850
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£37.99
Cambridge University Press Richard Strauss Man Musician Enigma
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£45.59
Cambridge University Press The Music of Harrison Birtwistle
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£37.99
Cambridge University Press Webern the Transformation Nature
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£37.99
Cambridge University Press Bach and the Riddle of the Number Alphabet
Book SynopsisIn 1947 Friedrich Smend published a study claiming that J. S. Bach used a natural-order alphabet (A = 1 to Z = 24) in his works. He demonstrated that Bach incorporated significant words into his music, and provided himself with a symbolic compositional theme. Here, Dr Tatlow investigates the plausibility of Smend's claims with new evidence, challenging Smend's conclusions.Trade Review'A miracle has come to pass: a book concerning Bach and number symbolism which is sensible, perceptive and scholarly.' John Butt, Music and Letters'Ruth Tatlow's book is not only one of the very few scientifically serious investigations into this overexploited subject area, but also the first ever critical analysis of Smend's number symbolical works and their premises.' Christoph Wolff, Bach-Jahrbuch'Tatlow shows with devastating clarity that from Luther's time to Bach's, the use of such numerical interpretation for Christian theological purposes was considered misguided at best, and heretical at worst.' Daniel Melamed, Journal of the American Musicological Society'… it is refreshing to see a scholar who is ready to remove Bach from the vacuum in which he is too often studied.' Jeanne Swack, Notes'Thanks to Dr Tatlow's researches, we now have a solid basis of fact for speculations as to the role of numerology, and in particular the number alphabet, in the music of Bach and his contemporaries.' Malcolm Boyd, The Times Literary SupplementTable of ContentsList of illustrations; Acknowledgements; Introduction; 1. Friedrich Smend; 2. Number alphabets; 3. The poetical paragram; 4. A musical paragram?; 5. Links to Bach; Appendixes; Bibliography; Index.
£37.99
Cambridge University Press The Music of Conlon Nancarrow
Book SynopsisConlon Nancarrow has written the most rhythmically complex music the world has ever known, so complex that it can only be realized on a mechanical player piano. His music has achieved international fame only recently, and this book details his life and compositional achievements.Trade Review'… excellent new title by Village Voice critic Kyle Gann, the first book on the composer and a compendious survey of his work.' WireTable of ContentsPreface; 1. The music: general considerations; 2. A biographical sketch; 3. Foreshadowings: the early works; 4. Blues years: the ostinato studies; 5. Isorhythm: the numbers game; 6. Canon: phase 1; 7. Stretching time: the acceleration studies; 8. Beyond counterpoint: the sound-mass canons; 9. Synthesizing a language; 10. After the player piano; Notes; Discography; Select bibliography; Scores; Index.
£24.99
Cambridge University Press Hugo Wolf and the Wagnerian Inheritance
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£36.09
Cambridge University Press Purcell Manuscripts
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£42.74
Cambridge University Press Orlando di Lasso Studies
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£37.99
Cambridge University Press Reading Renaissance Music Theory Hearing with the Eyes 14 Cambridge Studies in Music Theory and Analysis Series Number 14
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£25.64
Cambridge University Press Shostakovich Studies
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£48.44
Cambridge University Press Ives Studies
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£29.44
Cambridge University Press Gendering Musical Modernism
Book SynopsisThis book explores the work of three significant American composers of the twentieth century: Ruth Crawford, Marion Bauer and Miriam Gideon. It offers information on their lives and music and skilfully interweaves history and musical analysis in ways that both the specialist and the more general reader will find compelling.Trade Review"This important and provocative study should suggest new paths for feminist analysis." CHOICE Nov 2001"...Hisama's general project and specific interpretations effectively illustrate new ways of mapping the influence of gender on musical structure... stimulating and original perspective..." Elizabeth Crist, NotesTable of ContentsList of figures; List of tables; List of examples; Foreword Ian Bent; Acknowledgments; List of abbreviations; Note about technical terms; 1. Cultural analysis and post-tonal music; 2. The question of climax in Ruth Crawford's String Quartet, third movement; 3. Inscribing identities in Crawford's String Quartet, fourth movement; 4. The politics of contour in Crawford's 'Chinaman, Laundryman'; 5. Gender, sexuality, and performance in Marion Bauer's Toccata; 6. Musical sublimation in Bauer's 'Chromaticon'; 7. 'A Woman's Way of Responding to the World': Miriam Gideon's 'Night is My Sister'; 8. Feminist agency in Gideon's 'Esther'; Epilogue; Bibliography; Index.
£42.74
Cambridge University Press Chromatic Transformations 19C Music 17 Cambridge Studies in Music Theory and Analysis Series Number 17
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£48.44
Cambridge University Press Berlioz Studies
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£46.54
Cambridge University Press Music in EighteenthCentury Austria
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£36.09