Composers and songwriters Books
Cambridge University Press Edward Elgar Modernist 20 Music in the Twentieth Century Series Number 20
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£90.99
Cambridge University Press Boulez Music and Philosophy 27 Music in the Twentieth Century Series Number 27
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£97.19
Cambridge University Press The Symphony in Beethovens Vienna
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£57.00
Cambridge University Press The Cambridge Companion to the Beatles Cambridge Companions to Music
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£78.99
Cambridge University Press Gregorian Chant Cambridge Introductions to Music
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£75.00
Cambridge University Press J S Bach A Life in Music
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£89.77
Cambridge University Press Schumanns Late Style
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£101.63
Cambridge University Press The Cambridge Companion to Monteverdi Cambridge Companions to Music
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£94.71
Cambridge University Press The Cambridge Companion to Duke Ellington Cambridge Companions to Music
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£65.00
Cambridge University Press The Cambridge Handel Encyclopedia
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£183.00
Cambridge University Press The Renaissance Reform of Medieval Music Theory Guido of Arezzo between Myth and History
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£101.63
Cambridge University Press The Cambridge Companion to Bob Dylan Cambridge Companions to American Studies
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£75.00
Cambridge University Press The Cambridge Companion to Gilbert and Sullivan Cambridge Companions to Music
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£82.85
Cambridge University Press The Cambridge Companion to Sibelius Cambridge Companions to Music
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£25.99
Cambridge University Press Harrison Birtwistles Operas and Music Theatre Music since 1900
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£123.70
Cambridge University Press The Life of Haydn Musical Lives
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£101.63
Cambridge University Press The Other Worlds of Hector Berlioz Travels with the Orchestra
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£99.75
Cambridge University Press Margaret Bonds The Montgomery Variations and Du Bois Credo
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£17.09
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.
£17.09
Cambridge University Press Alan Bush Modern Music and the Cold War
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£28.47
Cambridge University Press The Cambridge Companion to Florence B. Price
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£22.99
Cambridge University Press Schuberts String Quartets
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£85.00
Cambridge University Press Olivier Messiaens Catalogue doiseaux
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£27.48
Cambridge University Press Visions and Decisions
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£21.54
Cambridge University Press Instrumental Music in an Age of Sociability
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£32.42
Cambridge University Press Gerard Grisey and Spectral Music
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£85.00
Cambridge University Press CrossCultural Collaboration in Popular Music
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£58.12
Cambridge University Press Julie Reisserová 18881938
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£58.12
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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£55.00
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.
£130.14
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.
£167.00
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.
£40.33
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.
£47.04
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.
£47.04
Cambridge University Press Bachs Numbers
Book SynopsisIn the eighteenth century the universal harmony of God's creation and the perfection of the unity (1:1) were philosophically, morally and devotionally significant. Ruth Tatlow employs theoretical evidence and practical demonstrations to explain how and why Bach used numbers in his published compositions.Trade Review'[This book] takes in all Bach's major collections and more, including the two Passions, three Oratorios and the B minor Mass. In sheer extent and richness of background, and number of works examined, Tatlow's book is a most original and impressive achievement that will need to be taken into account in future discussions of these fascinating compositions.' David Ledbetter, Early Music'For anyone who wishes to explore the logical pathways of Bach's genius, Tatlow's analysis gets to the heart of the aesthetic, theological and Pythagorean presuppositions underlying the Bachian concepts of 'Vollkommenheit', perfection through calculation; and 'Harmonie' … the harmony of proportion, here a mirror of divine order.' Gian Mario Benzing, translated from Corriere della Sera (La Lettura)'… Tatlow's approach to the subject matter is unique, and the vigorousness with which her methodology is applied has uncovered numerous new and unexpected facts. Bach scholarship cannot ignore her voice.' Yo Tomita, Music and Letters… Bach's Numbers clears the way for some promising new directions in Bach scholarship. Tatlow's work should be valued not only for what it suggests for future study, however, but for what it provides in its own right: a bold historical rendering of Bach's compositional process that forces us to view some of the composer's greatest works in a new light, and with deepened appreciation.' Robert L. Wells, Music AnalysisTable of ContentsPart I. Foundations: 1. Bach's numbers; 2. Symmetry, proportion and parallels; 3. Unity, proportions and universal harmony in Bach's world; 4. Bars, compositional planning and proportional parallelism; Part II. Demonstrations: 5. Three collections for strings; 6. Four in two collections for keyboard; 7. Two further collections for keyboard; 8. Two small late collections; 9. Two large late collections; 10. Collections of concertos; 11. Collections of organ works; 12. Great passions and cantatas; 13. Festive cut-and-paste projects: masses and oratorios; 14. Lost blueprints; Appendix 1. Chronological index of musical doctrine.
£37.37
Cambridge University Press Mozarts Music of Friends Social Interplay in the Chamber Works
Book SynopsisIn 1829 Goethe famously described the string quartet as 'a conversation among four intelligent people'. Inspired by this metaphor, Edward Klorman's study draws on a wide variety of documentary and iconographic sources to explore Mozart's chamber works as 'the music of friends'. Illuminating the meanings and historical foundations of comparisons between chamber music and social interplay, Klorman infuses the analysis of sonata form and phrase rhythm with a performer's sensibility. He develops a new analytical method called multiple agency that interprets the various players within an ensemble as participants in stylized social intercourse - characters capable of surprising, seducing, outwitting, and even deceiving one another musically. This book is accompanied by online resources that include original recordings performed by the author and other musicians, as well as video analyses that invite the reader to experience the interplay in time, as if from within the ensemble.Trade Review'Klorman's love of his subject is truly infectious. Drawing on many contemporary quotes he paints a very vivid and human historical backdrop. We eavesdrop on composers, players, listeners and commentators puzzling over the composition and performance of classical chamber music from its birth. This is a work of impressive scholarship with a broad and deep awareness of musical theory and commentary through the centuries, but, above all, it makes a persuasive case for a mode of musical analysis that puts at its center the composer's essential conception of the different parts in chamber music as multiple agents, affecting, surprising and even tussling with each other rhythmically, harmonically, contrapuntally and emotionally. In this way, reading his analyses can remind one of a good quartet rehearsal - a medium Klorman also knows very well from the quartet viola player's seat.' Roger Tapping, Juilliard String Quartet'To hear Mozart's chamber works on recordings, through mp3 players, or even in a concert hall is to experience them much differently than did listeners of the eighteenth century. As Klorman cogently explains, the primary intended audiences of these pieces were the performers themselves, for whom the notion of chamber music as a conversation was not merely a metaphor but an essential part of the artistic experience. Through penetrating historical and music analyses, Mozart's Music of Friends helps vivify this wonderful music in a manner that is refreshingly new - or, I should say, in a manner that is over 200 years old, but has too long been set aside and forgotten.' L. Poundie Burstein, Hunter College and the Graduate Center, City University of New York'Klorman fundamentally rethinks the social and behavioral bases for our understanding of a core repertoire. He works carefully through the logical implications of his key term, 'multiple agency', using it to illuminate our understanding not just of texture, but also of elements such as metre, phrase syntax, and even musical form itself. Highly readable, entertaining, and thought-provoking.' W. Dean Sutcliffe, University of Auckland'Effectively organized, beautifully written, and informed throughout by extraordinary musical intelligence and sensitivity, Mozart's Music of Friends is a major contribution to our understanding of Mozart's chamber music and of eighteenth-century music in general.' John Rice, Society for Eighteenth Century Music'Edward Klorman's superb monograph … is a remarkably original addition to the burgeoning music-theoretical literature on performance and analysis … Klorman's authorial style … expresses incisive analytical insights with a freewheeling and charming whimsy … The book overall is best regarded as an artistic statement, and a highly compelling one at that.' Roger Graybill, Music Theory Online'Edward Klorman has crafted a work that is a pleasure to experience; meticulously researched, eloquently written, and featuring elegant performances … This is a book one will want not only to read, but to own.' Robert S. Hatten, Music Theory Spectrum'The main text is exceptionally well written. It's a real pleasure to read … [and is] well laid out with attractive illustrations … It is a nice introduction to music theory and analysis for students, referring to a wide range of analytical concepts. That said, the author writes for a 'diverse readership' in addition to students of theory, including historical musicologist, performers and general enthusiasts. I am somewhat beguiled by its easy approachability.' Esther Cavett and Matthew Head, Eighteenth-Century Music'Engaging, entertaining, and thought-provoking, this volume is informed by scholarly zeal as well as by a keen musical sensibility as Klorman traces the sociable intricacies of Mozart's chamber-music textures from the dual standpoint of late eighteenth-century custom and present-day theoretical insight. The book thus makes a significant contribution to the Mozart literature, its usefulness enhanced by a wealth of quotations from pertinent sources as well as by an attractive, well-stocked website (mozartsmusicoffriends.com), where analytical videos help bring the author's multiple-agency scenarios to life.' Floyd Grave, Newsletter of the Mozart Society of America'The insights he brings to bear on Mozart's chamber repertory could only have been offered by someone with substantial background as a performer … The analytical chapters of this book are a tour de force … He is concerned to promote multiple readings and hearings of this music, which help us to celebrate this music's subversiveness, subtlety, and - let's face it - sheer fun.' Nancy November, Music and Letters'His scholarship and insightful historical and musical analyses are impressive throughout … Klorman undoubtedly succeeds in infusing analytical and music-historical scholarship with a performer's sensibility, integrating more closely these diverse forms of musical engagement.' Robin Stowell, The Strad'I am delighted to announce one of the most vivid and engaging books about Mozart's music in recent years.' Petra Petra, Ad Parnassum'By establishing a conversation between these disciplines [musicology, music theory, and performance], Klorman is aiming to rekindle the vivid sense of repartee that animated chamber musicians in the time of Mozart … Klorman's impressive accomplishment - to pull these different strains together and present them in clear, enjoyable prose - should interest musicians and scholars alike.' John Moran, Notes'Klorman is surely predestined to shed new light on this … area, not merely because he is an erudite and communicative scholar and at the same time an exquisite violist, but also because he has been pursuing this particular area of research for several years, so that this book represents the result of an encompassing and multi-faceted engagement with the interface of performance and analysis.' Christian Utz, Music Theory and Analysis'Ultimately, this book opens up the field of music analysis to an entirely new perspective, a perspective that is both historically grounded and experienced from a performer's point of view. This perspective is likely to leave a significant imprint on the field of music analysis in the years to come.' Giorgio Sanguinetti, Music Analysis'The sociability of music-making is one of its most highly desirable (and oft-forgotten) attributes, one that musicology has steadily begun to address (and long may that continue). Klorman's Mozart's Music of Friends is a prominent and very welcome landmark in this progress.' John Irving, Journal of the Royal Musical AssociationTable of ContentsForeword Patrick McCreless; Preface; Part I. Historical Perspectives: 1. The music of friends; 2. Chamber music and the metaphor of conversation; 3. Private, public, and playing in the present tense; Part II. Analytical Perspectives: 4. Analyzing from within the music: toward a theory of multiple agency; 5. Multiple agency and sonata form; 6. Multiple agency and meter; 7. An afternoon at skittles: analysis of the 'Kegelstatt' Trio, K. 498; Epilogue.
£43.30
Cambridge University Press Harrison Birtwistle Studies
Book SynopsisThis collection of essays represents current research on the music of Sir Harrison Birtwistle, reflecting the diversity of his music in terms of periods, genres, forms, techniques and related issues through a wide range of critical, theoretical and analytical interpretations and perspectives.Table of ContentsPreface David Beard, Kenneth Gloag and Nicholas Jones; 1. 'Let it drift': Birtwistle's late-modernist music dramas Arnold Whittall; 2. Mechanical song: Birtwistle's rhythmic imagination Philip Rupprecht; 3. Before the mask: Birtwistle's electronic music collaborations with Peter Zinovieff Tom Hall; 4. Birtwistle's 'eloquently gestural music' Kenneth Gloag; 5. 'The life of my music': what the sketches tell us David Beard; 6. The sound of Raasay: Birtwistle's Hebridean experience Nicholas Jones; 7. Birtwistle and the labyrinthine processional Edward Venn; 8. On taking a walk Aleksandra Vojčić; 9. Gigue machine and other gigs: Birtwistle in Europe and beyond Mark Delaere; 10. Of shadows and mirrors: reflections on Birtwistle in the new millennium Jonathan Cross; Appendix: a selected inventory of Birtwistle manuscripts acquired by the British Library in 2013 David Beard.
£37.37
Cambridge University Press Twelve PianoForte Sonatas of L Giustini di Pistoja
Book SynopsisIn 1732, Lodovico Giustini (1685â1743) published the first known pieces of music written specifically for the piano. This book, originally published in 1933, contains an edited facsimile of that first edition, with an introduction on Giustini's life and legacy. This book will be of value to anyone with an interest in music or the history of the piano.Table of ContentsTwelve piano-forte sonatas of L. Giustini di Pistoja.
£21.54
Cambridge University Press John Cage and David Tudor Correspondence On Interpretation And Performance Music since 1900
Book SynopsisMartin Iddon's book is the first volume to collect John Cage's complete correspondence with his closest collaborator, the pianist David Tudor. Iddon tackles the question of how much creative flexibility Tudor was granted when performing Cage's notorious indeterminate and chance-guided works, from Music of Changes to Variations II.Trade Review'… one is impressed by both Tudor's commitment and Iddon's persistence … Recommended. Upper-level undergraduates and above; general readers.' J. Behrens, ChoiceTable of Contents1. The music of chance; 2. Correspondence, 1951–3; 3. Determining the determinate; 4. Determining the indeterminate; 5. Correspondence, 1958–62; 6. (In)determining the indeterminate; 7. Correspondence, 1965–89; 8. 'Late' realizations; 9. Praxis and poiesis in indeterminate music.
£32.42
Cambridge University Press Harmony in Chopin
Book SynopsisChopin's oeuvre holds a secure place in the nineteenth-century repertoire, beloved by audiences, performers and aesthetes. In Harmony in Chopin, David Damschroder integrates Schenkerian structural analyses with his innovative perspective on harmony to analyse the composer's works and provide a new way to examine and understand their compositional style.Table of ContentsPreface; Part I. Methodological Orientation: The Mazurkas: 1. The architecture of a tonic pillar: twenty-seven regular tonic pillars from the mazurkas; 2. Between the tonic pillars: tonal trajectories in twenty-seven mazurkas; 3. Irregular pillars in the mazurkas: alternatives to the perfect authentic cadence; Part II. Masterpieces: 4. Étude in C Minor, op. 10, no. 12, in response to Graham H. Phipps; 5. Nocturne in C# Minor (op. 27, no. 1), in response to Felix Salzer; 6. Preludes in E Major and E Minor (op. 28, nos. 9 and 4), in response to Fred Lerdahl; 7. Prelude in G Minor (op. 28, no. 22), in response to Alison Hood; 8. Prelude in C# Minor (op. 45), in response to Jean-Jacques Eigeldinger and to Charles J. Smith; 9. Ballade in F Minor (op. 52), in response to Edward Laufer; 10. Barcarolle in F# Major (op. 60), in response to John Rink.
£37.37
Cambridge University Press Mozarts Requiem Reception Work Completion Music in Context
Book SynopsisPresenting a fresh interpretation of Mozart's Requiem, Simon P. Keefe redresses a longstanding scholarly imbalance whereby narrow consideration of the text of this famously incomplete work has taken precedence over consideration of context in the widest sense. Keefe details the reception of the Requiem legend in general writings, fiction, theatre and film, as well as discussing criticism, scholarship and performance. Evaluation of Mozart's work on the Requiem turns attention to the autograph score, the document in which myths and musical realities collide. Franz Xaver SÃssmayr's completion (1791â2) is also re-appraised and the ideological underpinnings of modern completions assessed. Overall, the book affirms that Mozart's Requiem, fascinating for interacting musical, biographical, circumstantial and psychological reasons, cannot be fully appreciated by studying only Mozart's activities. Broad-ranging hermeneutic approaches to the work, moreover, supersede traditionally limited discursTrade Review'It is astounding that Keefe opens up new ground in large areas … A far-reaching book … All in all, a first-class monograph, outstandingly produced and printed, which will be read cover to cover as well as used for reference.' Manfred Hermann Schmid, Mozart-Jahrbuch 2013Table of ContentsIntroduction: Mozart's Requiem in context; 1. The Requiem legend in the nineteenth and twentieth centuries; 2. Criticism and scholarship from 1800 to the present day; 3. The Requiem in performance; 4. Mozart's work on the Requiem: sounds and strategies; 5. After Mozart: the Requiem completion, 1791–2; 6. Modern completions of the Requiem; Epilogue: a Requiem for the future.
£23.74
Cambridge University Press The Operas of Maurice Ravel
Book SynopsisIn this comprehensive study, Emily Kilpatrick unites musical, literary, documentary and cultural perspectives to shed new light on Ravel's two operas, his working life and his compositional practice. The first study devoted to Ravel's operas, this book will be an invaluable resource for anyone who is interested in French music.Trade Review'… altogether this is a very fine piece of work, which anyone involved in performing either of Ravel's operas should read and re-read.' Roger Nichols, BBC Music Magazine'Scholars, singers, conductors, stage directors, and general readers hoping to gain a deeper understanding of the milieu in which these exquisite small operas were created will find illuminating insights and much to ponder.' Keith E. Clifton, Notes: The Quarterly Journal of the Music Library AssociationTable of ContentsPreface; Part I. Making Operas: 1. Introduction: 'a single act at the Opéra-Comique'; 2. Ravel's hour; 3. The Child and the impresarios; Part II. Words and Music: 4. The collaborative process; 5. Songs into operas; 6. 'This archaic attempt at a modern fantasy'; 7. A portrait of an opera-ballet; Part III. The Compositional Web: 8. The 'calling cards' of L'Heure espagnole; 9. From Carmen to Concepcion; 10. The 'big, small world' of L'Enfant et les sortilèges; 11. A child of his time; Afterword.
£37.37
Cambridge University Press Verdi and the Germans From Unification To The Third Reich 26 New Perspectives in Music History and Criticism Series Number 26
Book SynopsisThis seminal study of Giuseppe Verdi's German-language reception provides important new perspectives on German musical culture and nationalism from the mid-nineteenth century onwards. Kreuzer argues that the concept of Germany's musical supremacy, so dear to its nationalist cause, was continually challenged by the popularity of Italian opera, a genre increasingly epitomised by Verdi. The book traces the many facets of this Italian-German opposition in the context of intense historical developments from German unification in 1871 to the end of World War II and beyond. Drawing on an exceptionally broad range of sources, Kreuzer explores the construction of visual and biographical images of Verdi; the marketing, interpretation and adaptation of individual works; regional, social and religious undercurrents in German musical life; and overt political appropriations. Suppressed, manipulated and, not least, guiltily enjoyed, Verdi emerges as a powerful influence on German intellectuals' ideaTrade Review'Verdi and the Germans boldly explores new directions in the study of nationalism and music. Instead of focusing on the 'German-ness' of German composers, as has been done thus far, it looks at how Germans reacted to the most prominent non-German composer of the nineteenth century, Giuseppe Verdi. This long and fascinating story, told by Gundula Kreuzer with immense erudition and sharp insight, is well worth reading not only for musicologists, but also for cultural and social historians, as well as anybody interested in the tentacular hold of nationalism over minds, hearts and ears.' Emanuele Senici, University of Rome'Gundula Kreuzer has addressed a theme of capital importance in this book: the role of foreign cultures in creating a nation's self image. She could hardly have chosen a more appropriate reception study to interrogate this theme. In the course of her absorbing, and engagingly written, book she sheds light on Verdi and on German culture alike, and with an historical sweep which takes us to the Third Reich and beyond. Based on a careful trawl of journals and newspapers (the weight of research collapsed into her footnotes is truly impressive), Verdi and the Germans is scholarship of the very highest quality.' Jim Samson, Royal Holloway, University of London'Draws upon a wide and impressive range of documentary sources.' Opera'Kreuzer shows a courageous willingness to confront some uncomfortable truths. Her engrossing book is a vivid illustration of how music can be used in the service of politics and a warning that we ignore the significance of the arts at our peril.' Music and LettersTable of ContentsPreface; 1. Introduction: Italian opera and German historiography; 2. Verdi's Requiem and the anxious young Kaiserreich; 3. Maestro to Meister: Verdi purified; 4. The 'Verdi renaissance'; 5. Verdi in the Third Reich; 6. Epilogue: post-war Verdi; Appendix 1. Verdi's Requiem in German-language countries, 1875–1901; Appendix 2. Successful Verdi revivals in German-language theatres, 1901–51; Select bibliography.
£43.30
Cambridge University Press Pierre Boulez Studies
Book SynopsisPierre Boulez is acknowledged as one of the most important composers in contemporary musical life. This collection explores his works, influence, reception and legacy, featuring analysis of previously unpublished material, the historical context for Boulez's music and a final section examining the reception of his music in the United Kingdom.Trade Review'By bringing together a substantial amount of recent scholarship in a highly accessible format, this collection of essays should open up numerous avenues for exploration and have a significant impact on future research in this area. … The availability of groundbreaking scholarship that had previously only been published in other languages to the general English-speaking public will hopefully have an impact, broadening and refining understanding of his music. The diverse readership that this book targets through the accessibility of its content is clearly beneficial to its wider aim of disseminating scholarship on this relatively understudied repertoire.' Catherine Losada, Music Theory SpectrumTable of ContentsPreface; Part I. The Context of the Late 1940s and 1950s: 1. Pierre Boulez: composer, traveller, correspondent Edward Campbell; 2. Traces of an apprenticeship: Pierre Boulez's Sonatine (1946/1949) Susanne Gärtner; 3. Schoenberg vive Jessica Payette; Part II. The Evolution of a Style: 4. 'A score neither begins nor ends; at most it pretends to': fragmentary reflections on the Boulezian non finito Robert Piencikowski; 5. Serial organisation and beyond: cross-relations of determinants in Le Marteau sans maître and the dynamic pitch-algorithm of Constellation Pascal Decroupet; 6. 'Du Fond d'un Naufrage': the quarter-tone compositions of Pierre Boulez Werner Strinz; 7. Alea and the concept of the 'work in progress' Peter O'Hagan; 8. Casting new light on Boulezian Serialism: unpredictability and free choice in the composition of Pli selon pli – portrait de Mallarmé Erling E. Guldbrandsen; 9. Serial processes, agency and improvisation Joseph Salem; 10. Listening to doubles in stereo Jonathan Goldman; 11. Composing an improvisation at the beginning of the 1970s Paolo Dal Molin; Part III. Reception Studies: 12. Pierre Boulez in London: the William Glock years Peter O'Hagan; 13. Tartan from Baden-Baden: Boulez at the 1965 Edinburgh International Festival Edward Campbell; 14. Pierre Boulez and the suspension of narrative Arnold Whittall.
£43.30
Cambridge University Press The Cambridge Handel Encyclopedia
Book SynopsisGeorge Frideric Handel was born and educated in Germany, flourished in Italy, and chose to become British. One of the most cosmopolitan of the great composers, much of Handel's music has remained in the popular repertory since his lifetime, and a broad variety of his music theatre works from Italian operas to English oratorios have experienced a dramatic renaissance since the late twentieth century. A large number of publications devoted to Handel's life and music have appeared from his own time to the present day, but The Cambridge Handel Encyclopedia gathers the full range of present knowledge and leading scholarship into a single volume for convenient and illuminating reference. Packed with well over 700 informative and accessible entries, both long and short, this book is ideal for performers, scholars, students and music lovers who wish to explore the Handelian world.Trade Review'Scrupulous in its scholarship, with a breadth and richness of scope befitting its subject, The Cambridge Handel Encyclopedia is indeed 'the perfect Baedeker', as Christopher Hogwood avers in his engaging Foreword.' Richard Wigmore, Gramophone'[This book] achieves a small miracle in delivering an overview that drills deep into biography, social context and the music with wide-ranging ease and a commanding but approachable authority … What emerges is an impressive achievement, a multifaceted portrait of the composer and a kaleidoscopic perspective of the music's place in its own time and across the changing fashions and fads of the past two and a half centuries.' Classical Music'This is an outstanding book, in scope, in scholarship and in presentation. Its 88 contributors read like a roll-call of the great and good in the field of Handel studies. Not simply an essential resource for Handelians, but alluringly readable for the most innocent newcomer to the composer's world.' George Pratt, BBC Music Magazine'An incredible achievement! Articles are extensive, both well documented for scholars and eminently readable. No stone appears to have been left unturned and the result is an amazingly comprehensive A-Z of anyone and anything connected to the great master of the baroque and the legacy with which he has enriched our lives.' Harry Christophers, conductor of The Sixteen and artistic director of the Handel and Haydn Society, Boston'The Cambridge Handel Encyclopedia is remarkable: a well-researched, elegantly written, often times witty, cornecopia of Haendelian lore and miscellany.' William Christie, conductor'The Cambridge Handel Encyclopedia is a fitting tribute to one of the greatest composers. It is extremely comprehensive, dealing not only with the background to Handel's musical masterpieces, but also with his contemporaries, colleagues, friends and singers who performed in his operas and oratorios. 86 experts from a range of scholarly disciplines examine Handel's life and work from a wide variety of aspects, and the encyclopedia will serve to emphasise the composer's genius in such a wide range of musical styles. The editors are to be congratulated on producing such an indispensable adjunct to every musical library.' Sir Charles Mackerras, conductor'The Cambridge Handel Encyclopedia will be warmly welcomed by all Handelian scholars and performers. The descriptions of musical works are concise and to the point; the numerous biographical entries are especially interesting, and recreate the vivid and colourful musical worlds of Germany, Italy and London that formed the background to Handel's great works.' Paul McCreesh, conductor'What a glorious resource this book is! It is an absolute must for all lovers of Handel's music. It is a terrific mine of information about his music and the fascinating cast of characters who performed it.' Nicholas McGegan, conductor'The Cambridge Handel Encyclopedia will never gather dust on my bookshelf. The wealth of information that it contains is so enticing that frequent reference is inevitable, and it is impossible to restrict myself to a single topic of enquiry at any one time. Music lovers, performers and scholars should not be without this book.' Trevor Pinnock, harpsichordist, conductor and founder of the English Concert'This amazing enterprise runs to over eight hundred pages and contains some seven hundred articles, both long and short, covering Handel's life, music, people and places associated with him, performance style, performers and scholars … For both professionals and amateurs this book will form an admirable reference and it is a truly magnificent piece of scholarship.' Robert Hugill, Music and Vision'No stone seems to have been left unturned, including the little-known aspects of the composer's life and personality. The result is an amazingly comprehensive A-Z dictionary giving insight into every single aspect of Handel's life and work and covering virtually all areas of Handelian scholarship. Entries range from places, venues and people to, no doubt more importantly, the musical works themselves - concisely, but always pertinently analysed - not to forget most of the current aesthetic issues directly or indirectly related to them.' Antoine Capet, Cercles'The Cambridge Handel Encyclopedia … marks the reassessment of the last four decades and is hugely informative about how Handel played the London market, borrowed on the musical exchange, gave munificently and composed.' David Martin, Times Literary SupplementTable of ContentsPreface; Foreword Christopher Hogwood; A-Z general entries; Appendix 1. Worklist; Appendix 2. Chronology; Appendix 3. Handel's family tree; Appendix 4. Handel iconography; Appendix 5. Genealogical table of the ruling houses of Britain and Hanover; Appendix 6. Handel's music on CD and DVD; Appendix 7. An overview of fifty Handel performers, 1959–2009; Appendix 8. Handel organizations and websites; Select bibliography.
£52.20
Cambridge University Press The Cambridge Companion to the SingerSongwriter Cambridge Companions to Music
Book SynopsisMost often associated with modern artists such as Bob Dylan, Elton John, Don McLean, Neil Diamond, and Carole King, the singer-songwriter tradition in fact has a long and complex history dating back to the medieval troubadour and earlier. This Companion explains the historical contexts, musical analyses, and theoretical frameworks of the singer-songwriter tradition. Divided into five parts, the book explores the tradition in the context of issues including authenticity, gender, queer studies, musical analysis, and performance. The contributors reveal how the tradition has been expressed around the world and throughout its history to the present day. Essential reading for enthusiasts, practitioners, students, and scholars, this book features case studies of a wide range of both well and lesser-known singer-songwriters, from Thomas d'Urfey through to Carole King and Kanye West.Trade Review'… lead[s] the reader to analyse big themes in music: genre, race, gender, societal trends and industry machinations.' Jeanette Leach, Shindig!'There is emphasis on singer-songwriters from the LGBTQ community. Including detailed notes, this fascinating survey will have something for anyone interested in the topic.' R. D. Cohen, Choice'The editors are clear in their introduction that this companion is aimed both at readers who like and perform and engage with popular music and also at students and teachers and researchers involved with formal (and informal) study of popular music. By this token, implied themes such as gender and sexuality, race and politics emerge regularly throughout the work, and these are used to explain and illuminate the singing-songwriting creative act itself.' Stuart Hannabuss, Reference ReviewsTable of ContentsIntroduction Katherine Williams and Justin A. Williams; Part I. Establishing a Tradition: 1. The emergence of the singer-songwriter David R. Shumway; 2. Singer-songwriters of the German Lied Natasha Loges and Katy Hamilton; 3. Bill Monroe, bluegrass music, and the politics of authorship Mark Finch; 4. Singer-songwriters and the English folk tradition Allan F. Moore; 5. The Brill Building and the creative labour of the professional songwriter Simon Barber; 6. Forging the singer-songwriter at the Los Angeles Troubadour Christa Bentley; 7. The 'professional' singer-songwriter in the 1970s Michael Borshuk; Part II. Individuals: 8. Thomas D'Urfey Tōru Mitsui; 9. Leadbelly Josep Pedro; 10. Region and identity in Dolly Parton's songwriting Jada Watson; 11. Authorship and performance in the music of Elton John Phil Allcock; 12. Depicting the working class in the music of Billy Joel Joshua S. Duchan; 13. Musical gesture in the songs of Nick Drake Timothy Koozin; 14. Sampling and storytelling: Kanye West's vocal and sonic narratives Lori Burns, Alyssa Woods and Marc Lafrance; 15. James Blake, digital lion Madison Moore; 16. Outside voices and the construction of Adele's singer-songwriter persona Sarah Suhdolnik; 17. Joanna Newsom's 'Only Skin': authenticity, influence, and the relationship between 'new' and 'old weird America' Jo Collinson-Scott; Part III. Men and Women: 18. Gender, race, and the ma(s)king of 'Joni Mitchell' Kevin Fellezs; 19. Gender, genre, and diversity at Lilith Fair Jennifer Taylor; 20. Changing openness and tolerance towards LGBTQ singer-songwriters Katherine Williams; 21. Tori Amos as shaman Chris McDonald; 22. Gender identity, the queer gaze and female singer-songwriters Megan Berry; 23. The female singer-songwriter in the 1990s Sarah Boak; Part IV. Frameworks and Methods: 24. Reconciling theory and practice in the teaching of songwriting Mark Marrington; 25. Singer-songwriters and open mics Marcus Aldredge; 26. Singer-songwriter authenticity, the unconscious and emotions (feat. Adele's 'Someone Like You') Rupert Till; Part V. Global Perspectives: 27. Don McGlashan and local authenticity Nick Braae; 28. Italian Canzone d'autore and Greek Entecho tragoudi: a comparative overview Franco Fabbri and Ioannis Tsioulakis; 29. Singer-songwriters in the digital age Lucy Bennett.
£32.42
Cambridge University Press Boulez Music and Philosophy 27 Music in the Twentieth Century Series Number 27
Book SynopsisWhile acknowledging that Pierre Boulez is not a philosopher, and that he is wary of the potential misuse of philosophy with regard to music, this study investigates a series of philosophically charged terms and concepts which he uses in discussion of his music. Campbell examines significant encounters which link Boulez to the work of a number of important philosophers and thinkers, including Adorno, LÃvi-Strauss, Eco and Deleuze. Relating Boulez's music and ideas to broader currents of thought, the book illuminates a number of affinities linking music and philosophy, and also literature and visual art. These connections facilitate enhanced understanding of post-war modernist music and Boulez's distinctive approach to composition. Drawing on a wide range of previously unpublished documentary sources and providing musical analysis of a number of key scores, the book traces the changing musical, philosophical and intellectual currents which inform Boulez's work.Table of Contents1. Preparing the ground; 2. Early influences and movements; 3. Dialectic, negation and binary oppositions; 4. Boulez, Adorno and serial critique; 5. Deduction and the scientific model; 6. Serialism and structuralism; 7. Post-structuralist encounters; 8. Boulez, difference and repetition; 9. Expanding the virtual; 10. Continuity and discontinuity of space and time; Conclusion; Bibliography.
£30.44