Composers and songwriters Books
Cambridge University Press Mozart on the Stage Composers on the Stage
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£38.00
Cambridge University Press Handel on the Stage Composers on the Stage
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£98.80
Cambridge University Press Annotated Catalogue of Chopins First Editions
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£190.95
Cambridge University Press Wagner and the Romantic Hero
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£85.72
Cambridge University Press Bruckners Symphonies
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£75.00
Cambridge University Press The Cambridge Companion to Mendelssohn Cambridge Companions to Music
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£71.25
Cambridge University Press cambridgecompaniontoelgar
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£76.94
Cambridge University Press Ligeti Kurtg and Hungarian Music during the Cold War Music in the Twentieth Century Series Number 23
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£78.85
Cambridge University Press Handel Water Music and Music for the Royal Fireworks Cambridge Music Handbooks
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£71.65
Cambridge University Press Three Modes of Perception in Mozart The Philosophical Pastoral and Comic in Cos fan tutte Cambridge Studies in Opera
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£92.14
Cambridge University Press Luigi Nono A Composer in Context Music since 1900
Book SynopsisThe anti-fascist cantata Il canto sospeso, the string quartet Fragmente - Stille, an Diotima and the 'Tragedy of Listening' Prometeo cemented Luigi Nono's place in music history. In this study, Carola Nielinger-Vakil examines these major works in the context of Nono's amalgamation of avant-garde composition with Communist political engagement. Part I discusses Il canto sospeso in the context of all of Nono's anti-fascist pieces, from the unfinished FuÄik project (1951) to Ricorda cosa ti hanno fatto in Auschwitz (1966). Nielinger-Vakil explores Nono's position at the Darmstadt Music Courses, the evolution of his compositional technique, his penchant for music theatre and his use of spatial and electronic techniques to set the composer and his works against the diverging circumstances in Italy and Germany after 1945. Part II further examines these concerns and shows how they live on in Nono's work after 1975, culminating in a thorough analysis of Prometeo.Table of ContentsPreface and acknowledgements; Part I. Music and Memory: 1. Political and musical premises; 2. Il canto sospeso (1955–6); 3. Towards spatial composition; 4. Music to Die Ermittlung by Peter Weiss (1965); Part II. Music as Memory: 5. Towards other shores; 6. Fragmente - Stille, an Diotima (1979–80); 7. Prometeo. Tragedia dell'ascolto (1975–85).
£118.75
Cambridge University Press The Musical World of a Medieval Monk Admar de Chabannes in Eleventhcentury Aquitaine
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£62.70
Cambridge University Press Elgar Studies Cambridge Composer Studies
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£91.19
Cambridge University Press Edward Elgar Modernist 20 Music in the Twentieth Century Series Number 20
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£86.44
Cambridge University Press Boulez Music and Philosophy 27 Music in the Twentieth Century Series Number 27
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£75.00
Cambridge University Press The Symphony in Beethovens Vienna
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£54.15
Cambridge University Press The Cambridge Companion to the Beatles Cambridge Companions to Music
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£75.04
Cambridge University Press Gregorian Chant Cambridge Introductions to Music
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£71.25
Cambridge University Press J S Bach A Life in Music
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£80.09
Cambridge University Press Schumanns Late Style
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£85.72
Cambridge University Press The Cambridge Companion to Monteverdi Cambridge Companions to Music
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£79.93
Cambridge University Press The Cambridge Companion to Duke Ellington Cambridge Companions to Music
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£61.75
Cambridge University Press The Cambridge Handel Encyclopedia
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£173.85
Cambridge University Press The Renaissance Reform of Medieval Music Theory Guido of Arezzo between Myth and History
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£75.00
Cambridge University Press The Cambridge Companion to Bob Dylan Cambridge Companions to American Studies
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£71.25
Cambridge University Press The Cambridge Companion to Gilbert and Sullivan Cambridge Companions to Music
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£71.65
Cambridge University Press The Cambridge Companion to Sibelius Cambridge Companions to Music
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£24.69
Cambridge University Press Harrison Birtwistles Operas and Music Theatre Music since 1900
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£108.09
Cambridge University Press The Life of Haydn Musical Lives
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£75.00
Cambridge University Press The Other Worlds of Hector Berlioz Travels with the Orchestra
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£94.50
Cambridge University Press Margaret Bonds The Montgomery Variations and Du Bois Credo
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£16.19
Cambridge University Press Berlioz
Book SynopsisBerlioz's Symphonie fantastique attracts wide audiences and is acknowledged as a landmark of music history. This book situates the symphony within French Romanticism and considers influences, literary as well as musical, that shaped its conception. Richly detailed and accessibly written, it will appeal to music lovers, scholars, and students.Table of Contents1. Introduction, programme, outline; 2. Literary and musical romanticism; 3. Symphonie fantastique in Berlioz's lifetime; 4. First movement: 'Rêveries, passions'; 5. Second movement: 'Un bal'; 6. Third movement: 'Scène aux champs'; 7. Fourth movement: 'Marche au supplice'; 8. Fifth movement: 'Songe d'une nuit de Sabbat'; 9. The sequel; reception by composers; 10. Reception: Schumann and musical form; 11. Other approaches; Conclusion; Notes; Bibliography; Index.
£16.19
Cambridge University Press Alan Bush Modern Music and the Cold War
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£22.99
Cambridge University Press Schuberts String Quartets
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£80.75
Cambridge University Press Olivier Messiaens Catalogue doiseaux
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£21.99
Cambridge University Press Mozarts Operas and National Politics
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£80.75
Cambridge University Press Visions and Decisions
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£17.00
Cambridge University Press Instrumental Music in an Age of Sociability
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£25.64
Cambridge University Press Gerard Grisey and Spectral Music
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£80.75
Cambridge University Press CrossCultural Collaboration in Popular Music
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£47.49
Cambridge University Press Julie Reisserová 18881938
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£47.49
Cambridge University Press Outdoor Singing in Modern Britain
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£18.00
Cambridge University Press Hauntology Nostalgia and New Music
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£52.25
Cambridge University Press Wagners Melodies Aesthetics and Materialism in German Musical Identity
Book SynopsisSince the 1840s, critics have lambasted Wagner for lacking the ability to compose melody. But for him, melody was fundamental - 'music's only form'. This incongruity testifies to the surprising difficulties during the nineteenth century of conceptualizing melody. Despite its indispensable place in opera, contemporary theorists were unable even to agree on a definition for it. In Wagner's Melodies, David Trippett re-examines Wagner's central aesthetic claims, placing the composer's ideas about melody in the context of the scientific discourse of his age: from the emergence of the natural sciences and historical linguistics to sources about music's stimulation of the body and inventions for 'automatic' composition. Interweaving a rich variety of material from the history of science, music theory, music criticism, private correspondence and court reports, Trippett uncovers a new and controversial discourse that placed melody at the apex of artistic self-consciousness and generated problemTrade Review'Trippett's work dispels the myth that there is nothing new to be written about Richard Wagner. He delves into uncanny underworlds of nineteenth-century thought, and shows how they underpin Wagner's compositional ideas. Nascent technologies, speculation on melody and meaning, the acoustic reality of theatrical sound - all this is woven into an account of Wagner's evolution that is both startling and illuminating. A tremendous achievement.' Carolyn Abbate, Harvard University'Wagner sits at the centre of a veritable spider's web in this book, where the disparate threads of a practical and theoretical discourse about melody in the nineteenth century meet. Artistic creativity and the scientific spirit are spun together in a convincing image surprisingly close to discourses about music in the twenty-first century … Among recent studies about Wagner and his world, David Trippett's is one of the few with something genuinely original to say and should be read by anybody with a serious interest in the subject.' John Deathridge, King Edward Professor of Music, King's College London'Melody is famously elusive and resistant to analysis. Nineteenth-century theorists, more comfortable with the quantifiable parameters of harmony and meter, shied away from it. Trippett does not. He demonstrates that melody was a matter of vital importance and critical contention for musicians in the German cultural orbit, who sought to forge a distinct musical 'voice' with melodic virtues different from those of French and Italian music. Trippett impressively guides us through a discourse of melody that was dispersed across several different kinds of writing … The book offers a much needed intellectual and cultural context for Wagner's familiar obsessions with melody, text-music relationships, and the role of the singer-actor. But it goes beyond this: through close analysis of Wagner's compositions and writings, it provides fresh insights that challenge the composer's own narrative of how he arrived at his melodic ideals.' Dana Gooley, Brown University'As David Trippett has argued in his outstanding book, Wagner's Melodies, an Italianate model of the normative virtues of fine musical melody - as exemplified in bel canto, notably Bellini - was supplanted and rejected by Wagner (after a period of flirtation with it) precisely because it failed to enrich, augment, and deepen the special power of German words and ideas.' Leon Botstein, The Musical Quarterly'Notable music book of 2013.' Alex Ross, 'The Rest is Noise' blog'This is likely one of the first published attempts to draw connections between Wagner's aesthetics of expression and the nineteenth-century world of scientific inquiry, and the results are fascinating … Whether readers of Trippett's volume are interested in nineteenth-century German psychology, politics, scientific thought, legal history, or simply fresh thinking on Wagner's music, his conceptions of melodic writing, and his relationships with singers, there is a great deal to be found between the pages of this exciting book.' Kirsten S. Paige, MLA Notes'Trippett's book is more intellectual history than musicology or music criticism … Reporting at length on the results of his research into the state of certain sciences in Wagner's time while not losing sight of the composer's own tortuous engagement with language and melody, as well as with singers (Schroeder-Devriernt) and composers (Bellini and Liszt), Trippett has no difficulty in laying bare the paradox that is the work of art as material reality.' Arnold Whittall, Gramophone'Trippett tackles a fundamental paradox of music (and art) historiography: works of music are material reality, real products of a historical context, and yet, by virtue of their status as 'art', irreducible to that material reality … [His] materialist remodeling of Wagner is startlingly original … [and provides a] deeply intellectual investigation into Wagner's 'sonorous melodies' … This book should … be read by anyone with a serious interest in Wagner's sound.' The Wagner Journal'David Trippett has uncovered a well of untapped research potential in this book by focusing on the aesthetic and scientific contexts into which Wagner, and more specifically his theories of melody, fit … a consistently stimulating and revelatory read.' Brio'Just when you thought that there can't be anything more to say about Wagner comes the freshest, most learned and imaginative study in years … Despite the book's enormous discursive scope, it makes time for sharp cinematic close-ups, so that the reader often feels he or she is standing behind the composer's shoulder. And the camera frequently pans out to reveal the bigger picture of the nineteenth-century debate between idealism and materialism … It is extraordinary how often a bit of arcana can light up conventional wisdom and deliver galvanic jolts of insight and pleasure to the reader, as when property law illuminates Wagner's anxiety of melodic influence, or pre-Edisonian experiments in voice recording shed light on Wagner's struggles to notate recitatives in Lohengrin … There is no gainsaying the brilliance of Trippett's book: it is as audacious in design as it is formidable in execution. As an essay in historical hermeneutics, it is one of the most dramatic breakthrough texts since [Gary] Tomlinson's Music in Renaissance Magic.' Michael Spitzer, Nineteenth-Century Music Review'[An] often captivating and fascinating attempt to provide fresh insights into Richard Wagner's compositional practices and aesthetics productions … [Wagner's Melodies] combines wide-ranging and detailed scholarly reconstructions of some of the cultural contexts that framed the production and reception of Wagner's works in nineteenth-century Germany, with an intensely detailed, sometimes speculative intellectual analysis of the ways in which such re-framings hint at hidden layers of meaning in the aesthetic works themselves … Trippett's dogged perseverance in pursuing specific threads in these discursive webs … [is] fascinating and make[s] the book a diverting and absorbing read.' John E. Toews, British Journal of Aesthetics'[A]n account of Wagner's melodic compositional activity emerges that casts him in a new light, as bound up with issues of physiology, philology, and technology. The combination is fascinating, provocative, and entirely novel in the literature. Trippett's insights are illuminating and should appeal to both the historian and the philosopher … Wagner's Melodies is an exhaustively documented and historically grounded work of theoretical provocation, sure to become a standard in the field.' Andrew J. Mitchell, German Studies Review'Thoroughly original … Trippett reconstructs a polyphonic, virtual dialogue between diverse disciplines, from physics via chemistry to medicine, in which Wagner appears as a virtual rather than real participant, though one to be taken seriously … The book is an enormously illuminating study of discursive contexts from Wagner's theory and practice that reveals the intriguing proximity of Wagner's experiments to the materialist epistemology of contemporary natural science.' Hans-Joachim Hinrichsen, translated from WagnerspectrumTable of ContentsIntroduction; 1. German melody; 2. Melodielehre?; 3. Wagner in the melodic workshop; 4. Hearing voices: Wilhelmine Schröder-Devrient and the Lohengrin 'Recitatives'; 5. Vowels, voices, and 'original truth'; 6. Wagner's material expression; Excursus: Bellini's Sinnlichkeit and Wagner's Italy.
£104.00
Cambridge University Press George Frideric Handel Volume 1 16091725 Collected Documents Collected Documents of George Frideric Handel
Book SynopsisThe life and career of George Frideric Handel, one of the most frequently performed composers from the Baroque period, are copiously and intricately documented through a huge variety of contemporary sources. This multi-volume major publication is the most up-to-date and comprehensive collection of these documents. Presented chronologically in their original languages with English translations and with commentaries incorporating the results of recent research, the documents provide an essential and accessible resource for anyone interested in Handel and his music. As well as being an outstanding musician with a successful career as a composer of Italian operas and English oratorios, Handel was a well-known figure in his own lifetime, with an international reputation. In charting his activities in Germany, Italy and Britain, the documents also offer a valuable insight into broader eighteenth-century topics, such as court life, theatrical history, public concerts and competition between mTrade Review'A major contribution to furthering our knowledge of Handel.' BBC Music MagazineTable of ContentsPreface; Introduction; The Documents: 1609–83; 1685–99; 1701–6; 1706–7; 1708; 1709–10; 1710–11; 1711–12; 1712–13; 1713–14; 1714–15; 1715–16; 1716–17; 1717–18; 1718–19; 1719–20; 1720–21; 1721–22; 1722–23; 1723–24; 1724–25; Libraries and archives; Bibliography; Index of Handel's works; Index of persons; General index.
£158.65
Cambridge University Press Ligeti Kurtág and Hungarian Music during the Cold War
Book SynopsisDrawing on key elements from musical thought in inter-war Hungary, this 2007 book provides a unique perspective on the nation's musical heritage during the Cold War. Although Ligeti became part of the Western avant-garde after he left Hungary in 1956, archival sources illuminate his ongoing contact with Hungarian musicians, and their shifting perspective on his work.Trade ReviewReview of the hardback: 'In Beckles Willson's hands this whole scene comes to life and takes shape. … As for the musical discussions and evaluations, these, too, are often stimulating …' The Slavonic and East European ReviewTable of ContentsIntroduction; Part I: 1. After 1920: on land, language and music; 2. After 1945: a new empire forms; Part II: 3. After 1956: parted ways; 4. After 1968: Budapest, Kurtág, events; 5. After the west: Ligeti looks back; 6. After Budapest: out of Hungary?; Epilogue: on 'Hungary', and (our) longing for Moscow; Personalia.
£32.29
Cambridge University Press The Symphony in Beethovens Vienna
Book SynopsisAn original study of the history of the symphony in Vienna during Beethoven's lifetime, this 2006 book explores the context in which the composer worked. Based on an extensive study of the wider symphonic repertoire of the period and of the characteristics of musical life that shaped the changing fortunes of the genre, from manuscript and printed dissemination to concert life, David Wyn Jones provides a multi-faceted account of the development of the symphony in one of the most crucial periods in its history. The volume offers a wide perspective on musical development in the period, and will be of interest to musicologists and cultural historians. As well as dealing with unfamiliar works by Czerny, Eberl, Krommer, Reicha, Anton Wranitzky, Paul Wranitzky and others, it charts the changing reception of the symphonies of Haydn and Mozart, and offers insights into the symphonic careers of Beethoven and Schubert.Trade Review'… a worthy contribution to our newly broadening view of this pivotal moment in European music.' The Times Literary Supplement'This is an exemplary study, with valuable illustrations, tables and music examples; there are details of sources, thematic catalogues and modern editions, a bibliography and a good index.' Peter Branscombe, University of St Andrews'…David Wyn Jones has assembled an account that provides an excellent overview of the whole picture of symphonic writing in Vienna and its neighbourhood from the 1970s to the late 1820s, enabling Beethoven's symphonies to be seen in their more immediate context for the first time…and there is much excellent and original research embodied here. Yet the book remains very lucid and readable.' Music and Letters'Remarkable both for the uniquely accessible quality of writing and the depth of scholarship, The Symphony in Beethoven's Vienna by David Wyn Jones, Reader of Music at Cardiff University, is an excellent addition to the world of research on Beethoven's life and times for both the amateur and the more serious Beethoven scholar. …This book puts so many things into perspective that it seems each page leads to a new revelation. …I feel safe in saying this is a magnificent, rare look at the composers who were working in and around Vienna just prior to and during Beethoven's tenure in that city. It puts Beethoven into a unique historical context.' NotesTable of Contents1. Setting the scene; 2. Selling symphonies; 3. Performing symphonies; 4. A tale of two brothers: Anton and Paul Wranitzky; 5. Loose ends and false beginnings; 6. A rare and rarefied genre; 7. Beethoven and the decline of the symphony; 8. The reformulation of the symphony and Beethoven; List of sources, thematic catalogues and modern editions; Bibliography.
£37.99
Cambridge University Press Harmony in Haydn and Mozart
Book SynopsisThoughtful musicians seeking ways to deepen their understanding of how tonal music works will be drawn to this study focused on Haydn and Mozart, two masters from the Viennese Classical period. Schenkerian tools and an innovative approach to harmony are synthesised in penetrating analyses, and alternative analytical approaches are critiqued.Trade Review"In this highly specialized and uniquely reasoned book, Damschroder (Univ. of Minnesota) attempts to establish a logic for Haydn and Mozart's harmonic language." -W.E. Grim, ChoiceTable of ContentsPreface; Part I. Methodological Orientation: 1. Harmonic practice in the late eighteenth century: twelve excerpts from string quartets by Haydn and Mozart; 2. Anatomy of the I–II#–V two-part exposition: twelve keyboard sonatas by Haydn; 3. Composition in a minor key: six arias in G minor from operas by Mozart; 4. The happy ending: three sonata-rondos in D major from piano concertos by Haydn and Mozart; Part II. Masterpieces: 5. Haydn: Symphony No. 45 in F# Minor ('Farewell'), movement 2: in response to James Webster; 6. Haydn: String Quartet in G Minor (op. 20, no. 3), movement 3: in response to Robert O. Gjerdingen; 7. Mozart: String Quintet in C Major (K. 515), movement 1: in response to Kofi Agawu and Michael Spitzer; 8. Mozart: Don Giovanni (K. 527), Act I, Scene 13: Donna Anna's Recitative and Aria: in response to Carl Schachter; 9. Mozart: Symphony in G Minor (K. 550), movement 3, Trio: in response to Leonard B. Meyer; 10. Haydn: Symphony No. 96 in D Major ('Miracle'), movement 1: in response to Warren Darcy, James Hepokoski and Lauri Suurpää; Select bibliography; Index of works by Haydn and by Mozart; Index of names and concepts.
£37.99