Composers and songwriters Books
Taylor & Francis Music of Anthony Braxton The Excelsior Profile Series of American Composers
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Taylor & Francis Ltd International Whos Who in Music
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£228.00
Taylor & Francis Ltd International Whos Who in Music and Musicians Directory
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£209.00
Taylor & Francis Ltd Making it HUGE in Video Games
Book SynopsisMaking it HUGE in Video Games recounts the astonishing journey of an unassuming, middle-of-the-bell-curve young man, rising from mundane beginnings to scale the dizzying heights of artistic distinction and financial success in the worldwide video game industry.This is the story of Chance Thomas, a moderately talented musician who struggled and grew to compose original scores for some of the most well-known entertainment properties in the world. Detailed personal accounts and instructive side bars carry readers across the jagged peaks and valleys of an absolutely achievable career in video games. World-famous IP's get personal treatment here The Lord of the Rings, Marvel, Avatar, Dungeons & Dragons, Warhammer, DOTA 2, King Kong, The Settlers, and many more.Readers will discover unvarnished true stories about starting out, pitching and pursuing gigs, negotiating contracts, composing anTable of ContentsIntroductionAcknowledgementsChapter 01. Music Degree... What Now?Chapter 02. Quest for Glory and Grammy AwardsChapter 03. The Lord of the Rings, Part OneChapter 04. King KongChapter 05. Left BehindChapter 06. Academy AwardChapter 07. The Lord of the Rings, Part TwoChapter 08. EA GamesChapter 09. AvatarChapter 10. GDC, GANG, and GSCChapter 11. Warcraft and Other Peripheral Life SaversChapter 12. DOTA 2Chapter 13. Faeria and RoguebookChapter 14. Might & Magic and Combat of GiantsChapter 15. Rise and Fall of HUGEsoundChapter 16. WarhammerChapter 17. Swinging For The FencesChapter 18. Avatar 2Chapter 19. The SettlersChapter 20. Church MusicChapter 21. Securing the Future
£29.99
Taylor & Francis Ltd Britten Experienced
Book SynopsisWho writes the books we read about music that excites us, and why? Is classical music' all about class? Related questions underpin this partly polemical study, written by an academic who believes that the Humanities, to be really humane, must confront their methods and aims. Two recent studies of Benjamin Britten have specifically interested the author, who was educated in a world where the composer was a living subject of criticism and praise, his works reflecting values, worries and dramas that were not just about music'. Franklin's response is to question the recent writers, proposing that, like theirs, his own story conditioned when and how he experienced Britten. This he unfolds autobiographically in and around the discussion of specific works. Recalling his encounters with the composer as a schoolboy, as a student and opera-goer, and then as a teacher, he challenges recent assertions about Britten and modernism in the period.
£49.99
Taylor & Francis Ltd Female Composers Conductors Performers
Book SynopsisDrawing upon extensive archival research, interview material, and musical analysis, Female Composers, Conductors, Performers: Musiciennes of Interwar France, 19191939 presents an innovative study of women working as professional musicians in France between the two World Wars. Hamer positions the activities, achievements, and reception of women composers, conductors, and performers against a contemporary socio-political climate that was largely hostile to female professionalism. The musical styles and techniques of Marguerite Canal, Jeanne Leleu, Germaine Tailleferre, Yvonne Desportes, Elsa Barraine, and Claude Arrieu are discussed with reference to significant works dating from the interwar period. Hamer highlights the activities of Jane Evrard and her Orchestre féminin de Paris as well as the reception of the Orchestra of the Union des Femmes Professeurs et Compositeurs de Musique, a contemporary pro-suffrage organisation that was dedicated to defending the collective intereTable of ContentsList of Music Examples. Preface and Acknowledgements. List of Abbreviations. Part 1:The Contested Boundaries of Interwar musiciennes. Chapter 1: Conservative Politics and Domestic Ideals: The Social Position of musiciennes in Interwar France. Chapter 2:The Challenge of Professional musiciennes: The Education, Career Opportunities, and Reception of Women Musicians. Part 2: Women as Composers. Chapter 3: Early Female Winners of the Prix de Rome: Marguerite Canal and Jeanne Leleu. Chapter 4: In Les Six: The Case of Germaine Tailleferre. Chapter 5: Paul Dukas’s Female Composition Students: Elsa Barraine, Yvonne Desportes, and Claude Arrieu. Part 3: Women as Performers. Chapter 6:Women Conductors and All-Woman Orchestras. Chapter 7: On the Concert Platform: Women as Perfomers. Chapter 8: Conclusion. Bibliography. Index.
£128.25
Taylor & Francis Ltd Blixa Bargeld and Einsturzende Neubauten German
Book SynopsisAt the end of his life, Pierre Schaeffer commented that his musical and sound experiments had attempted to go beyond ''do-re-mi''. This had a direct bearing on EinstÃrzende Neubauten''s musical philosophy and work, with the musicians always striving to extend the boundaries of music in sound, instrumentation and purpose. The group are one of the few examples of ''rock-based'' artists who have been able to sustain a breadth and depth of work in a variety of media over a number of years while remaining experimental and open to development. Jennifer Shryane provides a much-needed analysis of the group''s important place in popular/experimental music history. She illustrates their innovations with found- and self-constructed instrumentation, their Artaudian performance strategies and textual concerns, as well as their methods of independence. EinstÃrzende Neubauten have also made a consistent and unique contribution to the development of the independent German Language Contemporary MusicTrade Review'... this book is an important contribution to the research of German popular music.' Popular MusicTable of ContentsPart I Context for Destruction; prologue1 Prologue: Being There/Not Being There; Chapter 1 Architecture, Angels and Utopia; Chapter 2 Kattrin’s Drum: Germany & Music – Identity, Politics & Memory; Chapter 3 Free to Make Noise; Chapter 4 Demonic Berlin; Part II Performing Destruction; prologue2 Prologue: ‘They were always quoting Artaud’; Chapter 5 Strategies against the Body; Chapter 6 Strategies against the Corner; Chapter 7 Strategies against the Voice; Chapter 8 Strategies against the Scream; Chapter 9 Strategies against the Text; Part III Performing Reconstruction; prologue3 Prologue: ‘We know we have witnesses’; Chapter 10 ‘A Small Utopia’; conclusion Conclusion ‘To infect others’ Einstürzende Neubauten Warten auf die Barbaren Jo Mitchell’s Reconstruction of Concerto for Voice and Machinery ‘She is Happy like Roadworks’;
£51.29
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 John Cage
Book SynopsisThis annotated bibliography uncovers the wealth of resources available on the life and music of John Cage, one of the most influential and fascinating composers of the twentieth-century. The guide will focus on documentary studies, archival resources, scholarly research, and autobiographical materials, and place the composer and his work in a larger context of postmodern philosophy, art and theater movements, and contemporary politics. It will support emerging scholarship and inquiry for future research on Cage, with carefully selected sources and useful annotations.Table of ContentsPrefaceAcknowledgementsChapter 1: John Cage: History and HistoriographyChapter 2: Catalog of Compositions by InstrumentationChapter 3: Sources and Reference MaterialsChapter 4: Biographical and Historical StudiesChapter 5: Work StudiesChapter 6: Cage in Connection to OthersChapter 7: Compositional Techniques and Aesthetic PhilosophyChapter 8: Political and Social PhilosophyIndex of Authors and EditorsWork IndexSubject Index
£128.25
Taylor & Francis Ltd The Routledge Research Companion to Modernism in
Book SynopsisModernism in music still arouses passions and is riven by controversies. Taking root in the early decades of the twentieth century, it achieved ideological dominance for almost three decades following the Second World War, before becoming the object of widespread critique in the last two decades of the century, both from critics and composers of a postmodern persuasion and from prominent scholars associated with the new musicology'. Yet these critiques have failed to dampen its ongoing resilience. The picture of modernism has considerably broadened and diversified, and has remained a pivotal focus of debate well into the twenty-first century. This Research Companion does not seek to limit what musical modernism might be. At the same time, it resists any dilution of the term that would see its indiscriminate application to practically any and all music of a certain period.In addition to addressing issues already well established in modernist studies such as aesthetics, Table of ContentsIntroduction Björn Heile and Charles Wilson Part I Foundations 1: The Birth of Modernism – Out of the Spirit of Comedy James R. Currie 2: What Was Contemporary Music? The New, the Modern and the Contemporary in the International Society for Contemporary Music (ISCM) Sarah Collins 3: Institutions, Artworlds, New Music Martin Iddon 4: Modernism and History David J. Code 5: Musical Modernity, the Beautiful and the Sublime Edward Campbell Part II Positions 6: Reactive Modernism J. P. E. Harper-Scott 7: Musical Modernism, Global: Comparative Observations Björn Heile 8: Musical Modernism and Exile: Cliché as Hermeneutic Tool Eva Moreda Rodríguez 9: Modernism: The People’s Music? Robert Adlington 10: Modernism for and of the Masses? On Popular Modernisms Stephen Graham 11: Times Like the Present: De-limiting Music in the Twenty-First Century Charles Wilson 12: The Composer as Communication Theorist M.J. Grant 13: How Does Modernist Music Make You Feel? Between Subjectivity and Affect Trent Leipert Part III Practices 14: Between Modernism and Postmodernism: Structure and Expression in John Adams, Kaija Saariaho and Thomas Adès Alastair Williams 15: Foundations and Fixations: Continuities in British Musical Modernism Arnold Whittall 16: The Balinese Moment in the Montreal New Music Scene as a Regional Modernism Jonathan Goldman 17: Vers une écriture liminale: Serialism, Spectralism and Écriture in the Transitional Music of Gérard Grisey Liam Cagney 18: Contemporary Opera and the Failure of Language Amy Bauer 19: ‘Es klang so alt und war doch so neu!’: Modernist Operatic Culture through the Prism of Staging 'Die Meistersinger von Nürnberg' Mark Berry 20: The Modernism of the Mainstream: An Early Twentieth-Century Ideology of Violin Playing Stefan Knapik
£204.25
Amsterdam University Press The Apollonian Clockwork: On Stravinsky
Book Synopsis‘I think my music deserves to be considered as a whole’, Igor Stravinsky remarked at the end of a long and restless career, and that is exactly what the authors of The Apollonian Clockwork do. In 1982, convinced that there is no essential difference between ‘early’ and ‘late’ Stravinsky, Louis Andriessen and Elmer Schönberger were the first to write a monograph on the composer which radically breaks with the habit of dividing his works into ‘Russian’, ‘neoclassical’ and ‘serial’. In an essay which continually shifts in its approach, style and perspective, the authors elaborate on their insight that a single, immutable compositional attitude underlies the whole of Stravinsky’s oeuvre. By this token the book not only offers an analysis of the composer’s protean work and artistry but takes example by it as well.Trade Review"If you have any abiding interest in 20th-century music, buy this book and read it at once. If music as culture means anything to you, buy this book. It made so little splash the first time around that I've hardly run into anyone who's aware of it. But any composer living would give his left arm to be assured that so witty, wise, creative, simpatico, and insightful a book would be written about him after his death. Richard Taruskin has aptly called it "The one book about Stravinsky Stravinsky would have liked." And, thanks to an editorial miracle, it has reappeared after some 15 years' unforgivable absence." Kyle Gann - Village VoiceTable of ContentsAcknowledgements - 10 Contents - 14 Translator's Note - 16 Preface - 18 Chapter I - 20 Chapter II - 82 Chapter III - 156 Chapter IV - 221 Chapter V - 274 List of Sources - 296 Index - 306
£57.90
Cambridge University Press Camb Comp to the String Quartet Cambridge Companions to Music
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£29.44
Cambridge University Press The Cambridge Companion to Mozart Cambridge Companions to Music
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£30.59
Cambridge University Press The Cambridge Companion to Bruckner Cambridge Companions to Music
Book SynopsisThis Companion provides an overview of the composer Anton Bruckner (1824â1896). Sixteen chapters by leading scholars investigate aspects of his life and works and consider the manner in which critical appreciation has changed in the twentieth century. The first section deals with Bruckner's Austrian background, investigating the historical circumstances in which he worked, his upbringing in Upper Austria, and his career in Vienna. A number of misunderstandings are dealt with in the light of recent research. The remainder of the book covers Bruckner's career as church musician and symphonist, with a chapter on the neglected secular vocal music. Religious, aesthetic, formal, harmonic, and instrumental aspects are considered, while one chapter confronts the problem of the editions of the symphonies. Two concluding chapters discuss the symphonies in performance, and the history of Bruckner-reception with particular reference to German Nationalism, the Third Reich and the appropriation of BTable of ContentsChronology; Part I. Background: 1. Introduction: a Catholic composer in the age of Bismarck John Williamson; 2. Musical life in Upper Austria in the mid-nineteenth century Andrea Harrandt; 3. Bruckner in Vienna Andrea Harrandt; Part II. Choral Music: 4. Bruckner's large sacred compositions Paul Hawkshaw; 5. Bruckner and the motet A. Crawford Howie; 6. Bruckner and secular vocal music A. Crawford Howie; Part III. The Symphonist: 7. The Brucknerian symphony: an overview John Williamson; 8. Bruckner's symphonies - a reinterpretation: the dialectic of darkness and light Derek B. Scott; 9. Programme symphony and absolute music John Williamson; 10. Bruckner editions: the revolution revisited Benjamin M. Korstvedt; 11. Bruckner and the symphony orchestra Julian Horton; 12. Between formlessness and formality: aspects of Bruckner's approach to symphonic form Benjamin M. Korstvedt; 13. Formal process as spiritual progress: the symphonic slow movements Margaret Notley; 14. Bruckner and Harmony Kevin Swinden; Part IV. Reception: 15. Conductors and Bruckner John Williamson; 16. The musical image of Bruckner Christa Brüstle.
£25.64
Cambridge University Press The Life of Elgar Musical Lives
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£22.99
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 Mozart on the Stage Composers on the Stage
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£24.99
Cambridge University Press Handels Oratorios 18C Thought
Book SynopsisIn this wide-ranging and challenging book, Ruth Smith shows that the words to Handel's oratorios reflect the events and ideas of their time and have far greater meaning than has hitherto been realized. She explores literature, music, aesthetics, politics and religion to reveal Handel's works as conduits for eighteenth-century thought and sensibility. She provides a full picure of Handel's librettists and shows how their oratorio texts express key moral-political preoccupations and engage with contemporary ideological debate. British identity, the need for national unity, the conduct of war, the role of government, the authority of the Bible, the purpose of literature, the effect of art - these and many more concerns are addressed in the librettos. The book thus enriches our understanding of Handel, his times, and the relationships between music and its intellectual contexts.Trade Review'Ruth Smith's stimulating and instructive study of Handel's Oratorios and Eighteenth-Century Thought offers a sweeping recontextualization of the repertory for which Handel is best known ... demonstrates the potential rewards of a truly crossdisciplinary study of Handel's oeuvre that takes into account the immensely dynamic world in which he lived. We can hope future studies will, like this one, draw on aesthetics, history, literature, politics, religion, and of course music to explore the full contexts and meanings of Handel's works.' Eighteenth-Century Studies'... a wealth of potential meaning is uncovered here which will enrich the work of future scholars.' Early Music Review'This is a book which, like the oratorios themselves, will both delight and instruct, bringing a new and fuller understanding of what those extraordinary works meant to their first audiences.' Kenneth Nott Musical Times'If ever there was a body of work which needed a fresh look, surely this is it, and this is what Ruth Smith offers in her lively and challenging book.' Musical Times'… highly interesting and suggestive book.' British Journal for Eighteenth-Century StudiesTable of ContentsIntroduction; Part I. English Origins of English Oratario: 1. Artistic norms; 2. The purpose of art; 3. Music, morals and religion; 4. The biblical sublime; 5. The survival of the epic; 6. The defence of Christianity; 7. Towards oratorio; Part II. The Patriot Libretto from the Excise Bill to the Jew Bill: Israelite Oratarios and English Politics: 8. Political events and political thought; 9. Allegorical politics; 10. Moral politics; 11. Esther to Athalia; 12. In time of war; 13. Images of government; 14. The conflict of public and private interests; 15. Coda: the end of Handel's Israelite oratorios; Appendices; Notes; Index.
£48.44
Cambridge University Press Performing Beethoven
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£22.99
Cambridge University Press Tippett Studies
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£40.84
Cambridge University Press Hugo Wolf and his Morike Songs
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£37.99
Cambridge University Press Mozarts Piano Sonatas
Book SynopsisMozart's piano sonatas form a richly diverse and significant part of his instrumental output and span much of his mature composing career, thereby representing a microcosm of the composer's changing style. Issues such as the conflicts of the works, their genesis and rhetoric are examined, resulting in a comprehensive cross-section of Mozart's comprehensive strategies.Trade Review'Irving's book functions in part as a ready reference guide. As well as a rundown on the sources for each sonata, particularly noteworthy for its attention to the evidence provided by ink shadings for Mozart's manner of compsoing, there is some interesting prefatory material that considers possible stylistic models for the Mozart sonatas.' W. Dean Sutcliffe, The Times Literary SupplementTable of ContentsPreface; Acknowledgements; Abbreviations; Part I. Contexts: 1. The solo sonata in context; 2. Stylistic models for Mozart's sonatas; Part II. Sources: 3 Six sonatas, K.279–84; 4. Three sonatas, K.309–11; 5. Four sonatas, K.330–2, K.333; 6. Fantasia and Sonata in C minor, K.475 and 457; 7. Later Viennese sonatas: K.533 and 494, K.545, K.570, K.576; 8. Fragments: Part III. Style: 9. Eighteenth-century views of sonata form; 10. Pre-compositional choices - the rhetorical inventio; 11. Dispositio: rhetoric and design; 12. The rhetorical elocutio; Notes, Select bibliography; Index.
£42.74
Cambridge University Press Johann Strauss and Vienna Operetta and the Politics of Popular Culture Cambridge Studies in Opera
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£22.99
Cambridge University Press Song on Record Volume 2
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£29.44
Cambridge University Press Purcell Manuscripts
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£42.74
Cambridge University Press Orlando di Lasso Studies
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Cambridge University Press Schenker Studies 2 Cambridge Composer Studies
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Cambridge University Press Haydn Studies Cambridge Composer Studies
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£41.79
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 Schubert Muller and Die schone
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£37.99
Cambridge University Press Schuberts Late Lieder Beyond the SongCycles
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£48.44
Cambridge University Press Louis Spohr A Critical Biography
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£42.74
Cambridge University Press Brittens Musical Language 17 Music in the Twentieth Century Series Number 17
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£25.64
Cambridge University Press Bach Interpretation Articulation Marks in Primary Sources of J S Bach Cambridge Musical Texts and Monographs
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Cambridge University Press Byrd Studies
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Cambridge University Press Purcell Studies Cambridge Composer Studies
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Cambridge University Press Mahler Studies
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Cambridge University Press Wagners Musical Prose Texts and Contexts New Perspectives in Music History and Criticism Series Number 3
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Cambridge University Press New Mattheson Studies
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Cambridge University Press Monteverdi
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Cambridge University Press Sibelius Studies Cambridge Composer Studies
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Cambridge University Press Hanns Eisler Political Musician
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Cambridge University Press Wagner and Russia Cambridge Studies in Russian Literature
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Cambridge University Press Schumann Dichterliebe Early Romantc Fragmentation of Desire 18 Cambridge Studies in Music Theory and Analysis Series Number 18
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Cambridge University Press Bruckner Studies Cambridge Composer Studies
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Cambridge University Press The Keyboard Sonatas of Domenico Scarlatti and EighteenthCentury Musical Style
W. Dean Sutcliffe investigates one of the greatest yet least understood repertories of Western keyboard music: the 555 keyboard sonatas of Domenico Scarlatti. Scarlatti occupies a position of solitary splendour in musical history. The sources of his style are often obscure and his immediate influence is difficult to discern. Further, the lack of hard documentary evidence has hindered musicological activity. Dr Sutcliffe offers not just a thorough reconsideration of the historical factors that have contributed to Scarlatti's position, but also sustained engagement with the music, offering both individual readings and broader commentary of an unprecedented kind. A principal task of this book is to remove the composer from his critical ghetto (however honourable) and redefine his image. In so doing it will reflect on the historiographical difficulties involved in understanding eighteenth-century musical style.
£42.74
Cambridge University Press Bruckners Symphonies Analysis Reception and Cultural Politics
Book SynopsisFew works in the nineteenth-century repertoire have aroused such extremes of hostility and admiration, or have generated so many scholarly problems, as Anton Bruckner's symphonies. In this 2004 book, Julian Horton seeks fresh ways of understanding the symphonies and the problems they have accrued by treating them as the focus for a variety of inter-disciplinary debates and methodological controversies. He isolates problematic areas in the works' analysis and reception, and approaches them from a range of analytical, historical, philosophical, literary, critical and psychoanalytical viewpoints. The symphonies are thus explored in the context of a number of crucial and sometimes provocative themes, including the political circumstances of the works' production, Bruckner and post-war musical analysis, issues of musical influence, the problem of editions, Bruckner and psychobiography, and the composer's controversial relationship to the Nazis.Trade ReviewReview of the hardback: 'Julian Horton has painstakingly explored Bruckner's symphonic output from assorted perspectives - historical, political and psychobiographical. The result is a fascinating reassessment of a unique musical universe. Horton's conclusions - that Bruckner's symphonies embody the conflicts between subjectivity and faith, artifice and innovation, bourgeois secularity and religious authority - are stimulatingly controversial. This is an important and provocative piece of scholarship.' LinkReview of the hardback: 'Horton's comprehensive grasp contrasts sharply with the dismissive, patronising or misguided comments of many previous writers' Classical MusicReview of the hardback: 'This is an impressive book and at times an inspiring one. The Bruckner JournalReview of the hardback: ' … important and fascinating …Horton presents his evidence carefully and skilfully …the presentation of the books is immaculate and up to CUP's very high standards … Julian Horton has made a most impressive contribution to what he rightly describers as the 'considerable scholarly impetus that has built up behind Bruckner in recent transatlantic musicology.' Music and LettersReview of the hardback: '… a highly valuable contribution to Bruckner scholarship …' Nineteenth-Century Music ReviewTable of Contents1. Introduction: the critical problem; 2. Bruckner and nineteenth-century Vienna: analysis and historical context; 3. Right-wing cultural politics and the Nazi appropriation of Bruckner; 4. Bruckner and musical analysis; 5. Bruckner and the construction of musical influence; 6. Analysis and the problem of the editions; 7. Psychobiography and analysis; 8. Epilogue: Bruckner and his contexts.
£37.99
Cambridge University Press Bach Handel Scarlatti 16851985
Book Synopsis1985 celebrated the 300th anniversary of the births of Bach, Handel and Scarlatti. This volume covers all three composers and contains essays from an international team of scholars. Some essays make a contribution towards a better understanding of one or other composer, but at least half of them are concerned with ideas connecting two or even all three of them. The essays are concerned with many aspects of the music - technical, chronological, critical, speculative, theoretical and (importantly) practical - and the distinguished contributors have often endeavoured to ask questions rather than jump to conclusions. Every essay makes fresh points and can open up new avenues for players and (in the broadest sense) students, especially in the present climate of wishing to return to 'authentic conditions of performance'.Table of Contents1. Handel and Music for the Earl of Carnarvon Graydon Beeks; 2. Aria and Ritornello: New Aspects of the Comparison Handel/Bach Paul Brainard; 3. Handel and Hanover Donald Burrows; 4. Muzio Clementi as an Original Advocate, Collector and Performer, in Particular of J. S. Bach and D. Scarlatti Stephen Daw; 5. Handel's Early London Copyists Winton Dean; 6. The 'Dotted Style' in Bach, Handel, and Scarlatti David Fuller; 7. The Mietkes, the Margrave and Bach Sheridan Germann; 8. Handel's 'Chandos' and Associated Anthems: An Introductory Survey Gerald Hendrie; 9.`Der Himmel weiss, wo these Sachen hingekommen sind': Reconstructing the Lost Keyboard Notebooks of the Young Bach and Handel Robert Hill; 10. Did J. S. Bach Compose the F minor Prelude and Fugue BWV 534? David Humphreys; 11. In Search of Bach the Organist Peter Le Hurry and John Butt; 12. Keyboard Technique and Articulation: Evidence for the Performance Practices of Bach, Handel and Scarlatti Mark Lindley; 13. Bach and Handel as Teachers of Thorough Bass Alfred Mann; 14. Tempo and Dynamic Indications in the Bach Sources: A Review of the Terminology Robert L. Marshall; 15. Bach, Handel, D. Scarlatti and the Toccata of the Late Baroque Giorgio Pestelli; 16. Does 'Well-Tempered' Mean 'Equal-Tempered'? Rudolf Rasch; 17. The B minor Mass - Perpetual Touchstone for Bach Research Hans-Joachim Schultze; 18. Remarks on the Compositions for Organ of Domenico Scarlatti Luigi Ferdinando Tagliavini; 19. Figurae in the Keyboard Works of Scarlatti, Handel and Bach: An Introduction Peter Williams.
£42.74