Music reviews and criticism Books
Ma Non Troppo Country Rock: Historia, Cultura, Artistas Y
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Ma Non Troppo Indie & Rock Alternativo: Historia, Cultura,
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Redbook Ediciones Jim Morrison & the Doors
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Martin Pearson Hip Hop Rising
£40.81
Taylor & Francis Ltd Contemporary Music and Spirituality
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Taylor & Francis Ltd Musicians Migratory Patterns
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Taylor & Francis Ltd Before and After Corroboree The Music of John Antill
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Taylor & Francis Grtrys Operas and the French Public From the Old Regime to the Restoration
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Taylor & Francis Ltd Magister Jacobus de Ispania Author of the Speculum musicae
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Taylor & Francis The Mystery of Chopins Prludes
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Taylor & Francis Legacies of Ewan MacColl
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Taylor & Francis Ltd The Singing of the Strasbourg Protestants 15231541
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Taylor & Francis Ltd The Routledge Companion to Embodied Music Interaction Routledge Companions
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Taylor & Francis Michael Costa Englands First Conductor
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Taylor & Francis The Routledge Companion to Philosophy and Music
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Taylor & Francis The Routledge Companion to Philosophy and Music
Book SynopsisThe Routledge Companion to Philosophy and Music is an outstanding guide and reference source to the key topics, subjects, thinkers and debates in philosophy and music. Over fifty entries by an international team of contributors are organised into six clear sections: general issues emotion history figures kinds of music music, philosophy and related disciplines The Routledge Companion to Philosophy and Music is essential reading for anyone interested in philosophy, music and musicology.Trade Review"Comprehensive and authoritative … readers will discover many excellent articles in this well-organized addition to a growing interdisciplinary field. Summing Up: Highly recommended" - CHOICE"… succeeds well in catching the wide-ranging strands of musical theorising and thinking, and performance, and an understanding of the various contexts in which all thistakes place." - Reference Reviews"A necessary book, one that those who are passionate about music and philosophy have long been awaiting. There is simply nothing like it." - Jerrold Levinson University of Maryland, USA"An intelligent and comprehensive overview of the Philosophy of Music, featuring contributions by many of the leading figures in the field. The editors have done a remarkable job soliciting topical and historical essays from both musically-minded philosophers and philosophically-minded musicians. It should become the standard reference work in the field." - Brian Kane, Yale University, USA"By bringing together in one volume the most up-to-date thinking from the best minds in the business, from all the relevant disciplines, Gracyk and Kania have provided an invaluable service not only to numerous scholars and their students, but equally to musicians and their audiences." - Guy Dammann, Guildhall School of Music and Drama, UK"This admirable volume will be welcomed by established philosophers of music and - especially - by those coming to the subject for the first time. The coverage of topics is ideal, while the contributors range from emerging talents to the biggest names in the field. An essential resource for anyone with an interest in the philosophy of music." - Aaron Ridley, University of Southampton, UK"Comprehensive and authoritative … readers will discover many excellent articles in this well-organized addition to a growing interdisciplinary field. Summing Up: Highly recommended" - CHOICE"… succeeds well in catching the wide-ranging strands of musical theorising and thinking, and performance, and an understanding of the various contexts in which all thistakes place." - Reference Reviews"A necessary book, one that those who are passionate about music and philosophy have long been awaiting. There is simply nothing like it." - Jerrold Levinson University of Maryland, USA"An intelligent and comprehensive overview of the Philosophy of Music, featuring contributions by many of the leading figures in the field. The editors have done a remarkable job soliciting topical and historical essays from both musically-minded philosophers and philosophically-minded musicians. It should become the standard reference work in the field." - Brian Kane, Yale University, USA"By bringing together in one volume the most up-to-date thinking from the best minds in the business, from all the relevant disciplines, Gracyk and Kania have provided an invaluable service not only to numerous scholars and their students, but equally to musicians and their audiences." - Guy Dammann, Guildhall School of Music and Drama, UK"This admirable volume will be welcomed by established philosophers of music and - especially - by those coming to the subject for the first time. The coverage of topics is ideal, while the contributors range from emerging talents to the biggest names in the field. An essential resource for anyone with an interest in the philosophy of music." - Aaron Ridley, University of Southampton, UK"A reader like me seeks an introduction that faithfully reviews the major topics, offers a critical perspective on the current controversies, provides resources for further study, and presents the material in clear language and at a level of sophistication appropriate to the discourse. In these respects, the editors have crafted an excellent collection." -Alfred I. Tauber, Boston University, USA Table of ContentsPart 1: General Issues 1. Definition Andrew Kania 2. Silence, Sound, Noise, and Music Jennifer Judkins 3. Rhythm, Melody, and Harmony Roger Scruton 4. Ontology Ben Caplan & Carl Matheson 5. Medium David Davies 6. Improvisation Lee B. Brown 7. Notation Stephen Davies 8. Performances and Recordings Andrew Kania & Theodore Gracyk 9. Authentic Performance Practice Paul Thom 10. Music and Language Ray Jackendoff 11. Music and Imagination Saam Trivedi 12. Understanding Music Erkki Huovinen 13. Style Jennifer Judkins 14. Aesthetic Properties Rafael de Clercq 15. Value Alan Goldman 16. Evaluating Music Theodore Gracyk 17. Appropriation and Hybridity James O. Young 18. Instrumental Technology Anthony Gritten Part 2: Emotion 19. Expression theories Jenefer Robinson 20. Arousalist Theories Derek Matravers 21. Resemblance theories Saam Trivedi 22. Music’s Arousal of Emotions Malcolm Budd Part 3: History 23. Classical aesthetic traditions of India, China, and the Middle East Stephen Blum & Peter Manuel 24. Antiquity and the Middle Ages Thomas J. Mathiesen 25. The Early Modern Period Jeanette Bicknell 26. Continental Philosophy and Music Tiger Roholt 27. Analytic Philosophy and Music Stephen Davies Part 4: Figures 28. Plato Stephen Halliwell 29. Rousseau Julia Simon 30. Kant Hannah Ginsborg 31. Schopenhauer Alex Neill 32. Nietzsche John M. Carvalho 33. Hanslick Thomas Grey 34. Gurney Malcolm Budd 35. Wagner Thomas Grey 36. Adorno Andy Hamilton Part 5: Kinds of Music 37. Popular Music John A. Fisher 38. Rock Allan F. Moore 39. Jazz Lee B. Brown 40. Song Jeanette Bicknell 41. Opera Paul Thom 42. Music and Motion Pictures Noël Carroll & Margaret Moore 43. Music and Dance Robynn Stilwell 44. Visual Music and Synesthesia Kathleen Higgins Part 6: Music, Philosophy, and Related Disciplines 45. Musicology Justin London 46. Music Theory and Philosophy Judith Lochhead 47. Composition Roger Scruton 48. Analysis Joseph Dubiel 49. Ethnomusicology Peter Manuel 50. Music and Politics James Currie 51. Sociology and Cultural Studies Anthony Kwame Harrison 52. Music and Gender Fred Everett Maus 53. Phenomenology and Music Bruce Ellis Benson 54. Music, Philosophy, and Cognitive Science Diana Raffman 55. Psychology of Music Eric Clarke 56. Music Education Philip Alperson. Index
£58.89
Taylor & Francis Ltd The Szymanowski Companion
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£128.25
Taylor & Francis Queerness in Heavy Metal Music
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Taylor & Francis Ltd Revisiting the Historiography of Postwar AvantGarde Music
This collection of essays delves into the historiographical traditions that have dominated how the stories of European postwar avant-garde music are told, seeking to approach commonplaces of that history writing from new perspectives. The contributors revisit subjects as varied as the impact of long-playing records on the emergence of open works, Messiaen's interest in non-European musical traditions, Xenakis's turn to information theory, Kagel's strategic invention of a new genre, Berio's dependence on funding from American foundations, and the ways in which figures like Boulez, Stockhausen, Pousseur, and Nono constructed their musical ancestries. Leading experts in their respective fields, the volume's authors have sought to rethink the historiography of European experimental music of the 1950s, 1960s, and 1970s in ways that resituate that small but influential milieu in broader historical and cultural contexts. In doing so, they suggest new directions and insights for students an
£37.99
Taylor & Francis Ltd The Music of Michael Nyman
Book SynopsisNyman''s rise to international prominence during the last three decades has made him one of the world''s most successful living composers. His music has nevertheless been criticized for its parasitic borrowing of other composers'' ideas and for its relentless self-borrowing. In this first book-length study in English, Pwyll ap SiÃn places Nyman''s writings within the general context of Anglo-American experimentalism, minimalism and post-minimalism, and provides a series of useful contexts from which controversial aspects of Nyman''s musical language can be more clearly understood and appreciated. Drawing upon terms informed by intertextual theory in general, appropriation and borrowing are first introduced within the context of twentieth-century art music and theory. Intertextual concepts are explained and their terms defined before Nyman''s musical language is considered in relation to a series of intertextual classifications and types. These types then form the basis of a more in-depTrade Review�This book tells the story of Nyman�s work, it reveals the sources and explains the processes of his compositional methodology. It uncovers and displays some of the items in his musical curiosity cabinet and ... presents us with the extended and eccentric ears that hear those enigmatic harmonies.� Robert Worby �Ap Siôn outlines large themes in this book with such mastery and clarity, and the sections on the experimental music tradition are handled extremely well.� Michael Nyman �Ap Siôn's line of argument is overall very clear, his research culture is oriented at the highest standard of both classical and critical musicology at the same time... The book has indeed the potential to become a standard work in the Nyman bibliography and will surely be a basis for further research and elaboration on the oeuvre of this authentic British composer.� NABMSA Newsletter �This is an illuminating and eminently interesting addition to the literature on the music of recent times, as well as a fine introduction to both Nyman and the issues associated with his work.� Music Theory Online �... [a] ground-breaking study ... it represents a substantial contribution to musicology ... the study succeeds in its illustration of the subtlety and sophistication of Nyman�s art of reworking. It also illuminates intertextuality, a topic as relevant to currents in postmodern music as it is to compositional strategies stretching back centuries across musical history.� Music and LettersTable of ContentsContents: Foreword; Introduction; Nyman 'on trial'; Man and boy: the early years; Texts in context; Mapping intertextuality in Nyman; Parallel universes: the Nyman-Greenaway soundtracks; Quotation in Nyman's neurological opera; Unchained melodies: intertextuality and inter-referentiality in the string quartets; The author returns: music at The Piano; Gene sequences and musical sequences: Facing Goya; Conclusion; Bibliography; Index.
£47.49
Taylor & Francis Ltd The Routledge Companion to Embodied Music
Book SynopsisThe Routledge Companion to Embodied Music Interaction captures a new paradigm in the study of music interaction, as a wave of recent research focuses on the role of the human body in musical experiences. This volume brings together a broad collection of work that explores all aspects of this new approach to understanding how we interact with music, addressing the issues that have roused the curiosities of scientists for ages: to understand the complex and multi-faceted way in which music manifests itself not just as sound but also as a variety of cultural styles, not just as experience but also as awareness of that experience.With contributions from an interdisciplinary and international array of scholars, including both empirical and theoretical perspectives, the Companion explores an equally impressive array of topics, including: Dynamical music interaction theories and concepts Expressive gestural interaction Table of ContentsIntroduction: What is Embodied Music Interaction? (Marc Leman, Micheline Lesaffre, and Pieter-Jan Maes) Part 1: Dynamical Music Interaction Theories and Concepts 1 The Interactive Dialectics of Musical Meaning Formation (Marc Leman) 2 Metrically Structured Time and Entrainment (Guy Madison, Fredrik Ullén, and Björn Merker ) 3 Participatory Sense-Making in Joint Musical Practice (Andrea Schiavio and Hanne De Jaegher) 4 Playing with the Beat: A Process-Oriented Approach to Studying Sensorimotor Synchronization in Early Childhood (Ana Almeida, Katie Overy, and Dorothy Miell) 5 The Merging of Musician and Musical Instrument: Incorporation, Presence, and Levels of Embodiment (Luc Nijs) 6 Music Knowledge Construction: Enactive, Ecological, and Biosemiotic Claims (Mark Reybrouck) Part 2: Expressive Gestural Interaction 7 Cognitive and Sensorimotor Resources for the Encoding of Expressiveness during Music Playing (Muzaffer Çorlu, Pieter-Jan Maes, and Marc Leman) 8 Beyond Emotion: Multi-Sensory Responses to Musical Expression (Giovanni De Poli, Maddalena Murari, Sergio Canazza, Antonio Rodà, and Emery Schubert) 9 Conveying Expressivity and Individuality in Keyboard Performance (Bruno Gingras) 10 The Resilience Approach to Studying Group Interaction in Music Ensemble (Donald Glowinski, Fabrizio Bracco, Carlo Chiorri, and Didier Grandjean) 11 Agency in Embodied Musical Interaction (Nikki Moran ) 12 Postures and Motion Shaping Musical Experience (Rolf Inge Godøy ) 13 The Communication of Emotions in Dance (Edith Van Dyck, Birgitta Burger, and Konstantina Orlandatou) Part 3: Social Music Interaction 14 Group Flow (Tom Cochrane) 15 Entrainment and Mutual Adaptation in Musical Movement and Dance (Tommi Himberg) 16 Embodied Expression through Entrainment and Co-Representation in Musical Ensemble Performance (Jennifer MacRitchie, Manuel Varlet, and Peter E. Keller) 17 Musical Performance as Joint Action (John Michael) 18 Do Jazz Improvizers Really Interact? The Score Effect in Collective Jazz Improvization (François Pachet, Pierre Roy, and Raphaël Foulon) 19 Gestural Interactions in Ensemble Performance (Davi Mota, Mauricio Loureiro, and Rafael Laboissière) 20 Interpersonal Coordination in Dyadic Performance (Marc R. Thompson, Georgios Diapoulis, Tommi Himberg, and Petri Toiviainen) 21 Embodied Social Synchronization in Children’s Musical Development (Leon van Noorden, Leen De Bruyn, Raven van Noorden and Marc, Leman) Part 4: Sociological and Anthropological Approaches 22 Embodied Interaction with "Sonic Agents": An Anthropological Perspective (Filippo Bonini Baraldi) 23 The Ethnography of Embodied Music Interaction (Martin Clayton) 24 Combat-Dancing, Cultural Transmission and Choreomusicology: The Globalization of Embodied Repertoires of Sound and Movement (Paul Mason) 25 The Hiplife Zone: Cultural Transformation Processes in African Music Seen from the Angle of Embodied Music Interactions (Dominik Phyfferoen, Koenraad Stroeken, and Marc Leman) 26 Crafting the Playing Body as an Infrastructure of "Immediate" and "Mediate" Embodied Music Cognition in an Academic Jazz Program (Eitan Wilf) 27 Brain-to-Brain Coupling and Culture as Prerequisites for Musical Interaction (Elvira Brattico and Peter Vuust) Part 5: Empowering Health and Well-Being 28 Coupling Music and Motion: From Special Education to Rehabilitation (Danilo Spada and Emmanuel Bigand) 29 Embodied Music Listening (Lars Ole Bonde) 30 Jymmin - The Medical Potential of Musical Euphoria (Thomas Hans Fritz) 31 Music in the Exercise and Sport Domain: Conceptual Approaches and Underlying Mechanisms (Costas I. Karageorghis, Panteleimon Ekkekakis, Jonathan M. Bird and Marcelo Bigliassi) 32 Monitoring Music and Movement Interaction in People with Dementia (Micheline Lesaffre, Bart Moens, and Frank Desmet) 33 Synchronization to Music as a Tool for Enhancing Non-Verbal Communication in People with Neurological Diseases (Nia Cason, Loris Schiaratura, and Séverine Samson) 34 Modifying Movement Optimization Processes with Music (Rebecca Schaefer and Scott T. Grafton) Part 6: Modeling Music Interaction 35 Modeling Music Interaction (Denis Amelynck) 36 Analyzing Complex Datasets Based on the Variability Framework, Distribution Analysis and Generalized Linear Modeling (Frank Desmet) 37 Removing Obstacles to the Analysis of Movement in Musical Performance: Recurrence, Mixed Models, and Surrogates (Alexander P. Demos and Roger Chaffin) 38 Dynamic Bayesian Networks for Musical Interaction (Baptiste Caramiaux, Jules Françoise, and Frédéric Bevilacqua) 39 Temporal Dependencies in the Expressive Timing of Classical Piano Performances (Maarten Grachten and Carlos Eduardo Cancino Chacón) 40 Interactions in Ensemble Music Performance: Empirical and Mathematical Accounts (Caroline Palmer and Anna Zamm) 41 Linking Movement Recurrence to Expressive Patterns in Music Performance (Euler C. F. Teixeira, Mauricio Loureiro, and Hani C. Yehia) Part 7: Music-Based Interaction Technologies and Applications 42 Designing Action–Sound Metaphors Using Motion Sensing and Descriptor-Based Synthesis of Recorded Sound Materials (Freìdeìric Bevilacqua, Norbert Schnell, Jules Françoise, Éric O. Boyer, Diemo Schwarz, and Baptiste Caramiaux) 43 Designing for the Subtle: A Systematic Approach Towards Expressivity in New Musical Interfaces (Nicolas d’Alessandro ) 44 Gestural Agency in Human-Machine Musical Interaction (Juan Ignacio Mendoza and Marc R. Thompson) 45 Gestural Musical Performance with Physiological Sensors, Focusing on the Electromyogram (Atau Tanaka and Miguel Ortiz) 46 Sonic Microinteraction in "the Air" (Alexander Refsum Jensenius) 47 Embodied Cognition and Digital Musical Instruments: Design and Performance (Joseph Malloch and Marcelo M. Wanderley)
£204.25
Cambridge University Press Situating Opera Period Genre Reception Cambridge Studies in Opera
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Cambridge University Press The Musical Language of Pierre Boulez Writings and Compositions Music since 1900
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Cambridge University Press The Sonata Cambridge Introductions to Music
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£19.99
Cambridge University Press The Sonata Cambridge Introductions to Music
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£58.00
Cambridge University Press Jazz Icons Heroes Myths and the Jazz Tradition
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£71.25
Cambridge University Press Music Subjectivity and Schumann
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Cambridge University Press A History of Music in the Czech Lands
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Cambridge University Press Fanny Hensel and Felix Mendelssohn in Context
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Cambridge University Press Interwar Symphonies and the Imagination
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Cambridge University Press Schuberts String Quartets
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Cambridge University Press Haydn and Mozart in the Long Nineteenth Century
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£71.25
Cambridge University Press Elisabeth Lutyens and Edward Clark
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Cambridge University Press AvantGarde on Record
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Cambridge University Press Instrumental Music in an Age of Sociability
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Cambridge University Press Gerard Grisey and Spectral Music
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Cambridge University Press Romantic Music Aesthetics
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Cambridge University Press Gypsy and the Broadway Musical Madwoman
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£47.49
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 Transformations of Musical Modernism
Book SynopsisModernism is key to Western art music yet remains poorly understood. This book offers new perspectives on transformations in recent composition, performance and musical thought. It recasts modernism as a whole, revealing both its connections to tradition and its contemporary vitality.Table of ContentsIntroduction Julian Johnson and Erling E. Guldbrandsen; Part I. Rethinking Modernism: 1. The lure of the sublime: revisiting the modernist project Susan McClary; 2. Return of the repressed: particularity in early and late modernism Julian Johnson; 3. Expressionism revisited: modernism beyond the twentieth century Arnold Whittall; 4. Erik Bergman, cosmopolitanism and the transformation of musical geography Björn Heile; 5. Sharing a stage: the growing proximity between modernism and popular music David Metzer; Part II. Rewriting Modernism: 6. Ritual and Eros in James Dillon's Come live with me Michael Cherlin; 7. Montage in modernity: scattered fragments, dynamic fragments Jean-Paul Olive; 8. Transformations of appearance: suddenness and the modernist fragment Marion Hestholm; 9. Rethinking Boulez: schemes, logics and paradigms of musical modernity Edward Campbell; 10. Remembrance and prognosis in the music of György Ligeti Peter Edwards; 11. Valentin Silvestrov and the symphonic monument in ruins Samuel Wilson; Part III. Replaying Modernism: 12. Playing with transformations: Boulez's Improvisation III sur Mallarmé Erling E. Guldbrandsen; 13. Performance as critique Arnulf Christian Mattes; 14. 'Unwrapping' the voice: Cathy Berberian and John Cage's Aria Francesca Placanica; 15. Radically idiomatic instrumental practice in works by Brian Ferneyhough Anders Førisdal; 16. The ethics of performance practice in complex music after 1945 Tanja Orning.
£21.84
Cambridge University Press Liszt in Context
Book SynopsisThis book explores the social, political, philosophical and professional currents that influenced Liszt's career. It reveals the rich contextual tapestry against which Liszt composed some of the most iconic, popular, and also contentious music of his time, and explains his importance to Romanticism and nineteenth-century European culture.Trade Review'one of the more valuable compendia of Liszt studies to appear in some time.' Patrick Rucker, GramophoneTable of ContentsPreface; Part I. People and Places: 1. Family background Adrienne Kaczmarczyk; 2. Teachers Paul Bertagnolli; 3. Paris Bryan Whitelaw; 4. Italy Anna Harwell Celenza; 5. Liszt and Wagner David Trippett; 6. The new German school James Deaville; 7. Weimar Joanne Cormac; 8. Liszt and his contemporaries Anne MacGregor; 9. Liszt in Hungary Lynn Hooker; Part II. Society thought and culture: 10. The 'War of the Romantics' David Larkin; 11. Visual art and artists Andrew Haringer; 12. Literature and literary heroes Jonathan Kregor; 13. Liszt, the women and the European salon culture of the nineteenth century Ulrike Müller; 14. Liszt as writer Dorothea Redepenning; 15. Patronage: the court Anna Harwell Celenza; 16. Liszt and the network of revolution Malou Haine and Bruno Moysan; 17. Liszt's national identity: What else is new? Shay Loya; 18. Liszt and religion Eftychia Papanikolaou; Part III. Performance and composition: 19. Pianos and piano builders Andrew Haringer; 20. Liszt on the road: The rise of the modern virtuoso pianist Christopher Gibbs; 21. Virtuosity Jonathan Kregor; 22. Improvisation Adrienne Kaczmarczyk; 23. Transcription Jonathan Kregor; 24. Liszt as conductor Donna M. Di Grazia; 25. Publishers Adrienne Kaczmarczyk; 26. Genre Joanne Cormac; Part IV. Reception and Legacy: 27. Pupils: Liszt as teacher Jonathan Kregor; 28. Critics James Deaville; 29. Lateness in context Shay Loya; 30. Liszt and the 20th and 21st centuries Dorothea Redepenning; 31. Life-writing Joanne Cormac; 32. Iconography Alan Davison; 33. Liszt in film Joanne Cormac; Index.
£24.99
Cambridge University Press The Cambridge Companion to the Eroica Symphony
Book SynopsisThis Companion provides orientation for those embarking on the study of Beethoven''s much-discussed Eroica Symphony, as well as providing fresh insights that will appeal to scholars, performers and listeners more generally. The book addresses the symphony in three thematic sections, on genesis, analysis and reception history, and covers key topics including political context, dedication, sources of the Symphony''s inspiration, ''heroism'' and the idea of a ''watershed'' work. Critical studies of writings and analyses from Beethoven''s day to ours are included, as well as a range of other relevant responses to the work, including compositions, recordings, images and film. The Companion draws on previous literature but also illuminates the work from new angles, based on new evidence and a range of approaches by twelve leading scholars in Beethoven research.Table of ContentsIntroduction Nancy November; Part I. Context and Genesis: 1. Beethoven and heroism in the age of revolutions Scott Burnham; 2. Beethoven's 'watershed'? Eroica's contexts and periodization Mark Ferraguto; 3. The symphony in Vienna and abroad around 1800 Erica Burrman; 4. Genesis and publication of the Eroica Federica Rovelli; Part II. Analytical Approaches: 5. Twentieth-century analytical approaches to the first movement William Drabkin; 6. Beethoven in the garden: the hero who practices resignation; or, the Eroica as 'late' work Vasili Byros; 7. Registering the Eroica Nicholas Marston; 8. After invention: traces and materials in the Eroica finale Elaine Sisman; Part III. Reception: 9. Who is the hero? The early reception of the Eroica Beate Angelika Kraus; 10. The Eroica in the nineteenth and twentieth centuries Leon Botstein; 11. Performing, arranging and rearranging the Eroica: then and now Nancy November; 12. The Eroica endures: Beethoven's Third Symphony in the twenty-first century Melanie Lowe.
£22.99
Cambridge University Press The Cambridge Companion to The Magic Flute
Book SynopsisSince its premiere in 1791, The Magic Flute has been staged continuously and remains, to this day, Mozart''s most-performed opera worldwide. This comprehensive, user-friendly, up-to-date critical guide considers the opera in a variety of contexts to provide a fresh look at a work that has continued to fascinate audiences from Mozart''s time to ours. It serves both as an introduction for those encountering the opera for the first time and as a treasury of recent scholarship for those who know it very well. Containing twenty-one essays by leading scholars, and drawing on recent research and commentary, this Companion presents original insights on music, dialogue, and spectacle, and offers a range of new perspectives on key issues, including the opera''s representation of exoticism, race, and gender. Organized in four sections ? historical context, musical analysis, critical approaches, and reception ? it provides an essential framework for understanding The Magic Flute and its extraordinary afterlife.Table of ContentsIntroduction Jessica Waldoff; Part I. Conception and Context: 1. German Opera in Mozart's Vienna Estelle Joubert; 2. 'The Magic Flute's' Libretto and German Enlightenment Theater Reform Martin Nedbal; 3. Emanuel Schikaneder and the Theater auf der Wieden Lisa de Alwis; 4. 'The Magic Flute' in 1791 Austin Glatthorn; Part II. Music, Text, and Action: 5. Music as Stage-Craft Julian Rushton; 6. Enduring Portraits: The Arias Laurel E. Zeiss; 7. 'All Together, Now'? Ensembles and Choruses in 'The Magic Flute' Nicholas Marston; 8. Musical Topics, Quotations, and References Mark Ferraguto; 9. Instrumentation, Magical and Mundane Emily I. Dolan and Hayley Fenn; 10. The Dialogue as Indispensable Catherine Coppola; 11. Music, Drama and Spectacle in the Finales John Platoff; III. Approaches and Perspectives: 12. Seeking Enlightenment in Mozart's 'Magic Flute' Richard Kramer; 13. Birdsong and Hieroglyphs: Exoticism and Enlightened Orientalism in 'The Magic Flute' Matthew Head; 14. Partial Derivatives: Sources, Types, and Tropes in 'The Magic Flute' Thomas Bauman; 15. Pamina, the Queen, and the Representation of Women Jessica Waldoff; 16. Blackness and Whiteness in 'The Magic Flute' – Reflections from Shakespeare Studies Adeline Mueller; IV. Reception, Interpretation, and Influence: 17. Zauberflöte: A Cultural Phenomenon in an Age of Revolution Ian Woodfield; 18. 'The Magic Flute' in Biography, Criticism, and Literature Simon P. Keefe; 19. The Elusive Compositional History of 'The Magic Flute' Daniel R. Melamed; 20. Staging 'The Magic Flute' Kate Hopkins; 21. Ingmar Bergman's Film Version of 'The Magic Flute' Dean Duncan.
£22.99
Cambridge University Press John Cage and Peter Yates
Book SynopsisThe correspondence between composer John Cage and Peter Yates represents the third and final part of Cage''s most significant exchanges of letters, following those with Pierre Boulez and with David Tudor. Martin Iddon''s book is the first volume to collect the complete extant correspondence with his critical friend, thus completing the ''trilogy'' of Cage correspondence published by Cambridge. By bringing together more than 100 letters, beginning in 1940 and continuing until 1971, Iddon reveals the dialogue within which many of Cage''s ideas were first forged and informed, with particular focus on his developing attitudes to music criticism and aesthetics. The correspondence with Yates represents precisely, in alignment with Cage''s fastidious neatness, the part of his letter writing in which he engages most directly with the last part of his famous tricolon, ''composing''s one thing, performing''s another, listening''s a third''.Trade Review'This is the third book that Martin Iddon has contributed to Arnold Whittall's influential series at Cambridge University Press … Iddon is a footnote virtuoso where every individual mentioned is given full details - helpfully on the page - and there are many examples of ingenious investigation.' Peter Dickinson, Musical OpinionTable of ContentsIntroduction; 1. John Cage to Peter Yates, undated [1940?]; 2. John Cage to Peter Yates, 1940; 3. John Cage to Peter Yates, 1941; 4. John Cage to Peter Yates, 1941; John Cage, 'Organized Sound' draft, 1941; Peter Yates, 'Organized Sound,' California Arts and Architecture (1941); 5. John Cage to Peter Yates, undated [1941]; 6. John Cage to Peter Yates, undated [ca. 1947]; 7. John Cage to Peter Yates, undated [ca. 1947]; 8. John Cage to Peter Yates, undated [ca. September 1948]; Peter Yates, 'Music,' Arts and Architecture (1948); 9. John Cage to Peter Yates, undated [ca. 1948; Peter Yates, 'Music,' Arts and Architecture (1948); Peter Yates, 'Music,' Arts and Architecture (1948); 10. John Cage to Peter Yates, undated [ca. 1948]; 11. John Cage to Peter Yates, undated [ca. 1948]; 12. John Cage to Peter Yates, undated [early 1949]; Peter Yates, 'Music,' Arts and Architecture (1949); 13. Peter Yates to John Cage, 1953; Peter Yates, 'Music,' Arts and Architecture (1953); 14. John Cage to Peter Yates, 1953; 15. Peter Yates to John Cage, 1953; Peter Yates, 'Pierre Boulez,' Arts and Architecture (1957); Peter Yates, 'A Collage of American Composers - Part 3,' Arts and Architecture (1959); Peter Yates, 'A Collage of American Composers - Part 4,' Arts and Architecture (1959); 16. Peter Yates to John Cage, 1959; 17. John Cage to Peter Yates, 1959; 18. Peter Yates to John Cage, 1959; 19. Peter Yates to John Cage, 1959; Peter Yates, 'Virgil Thomson and Horatio Parker,' Arts and Architecture (1959); 20. Peter Yates to John Cage, 1959; 21. Peter Yates to John Cage, 1959; 22. John Cage to Peter Yates, 1959; 23. Peter Yates to John Cage, 1960; 24. Peter Yates to John Cage, 1960; 25. John Cage to Peter Yates, undated [ca. 1960]; Peter Yates, 'Two Albums by John Cage - Part 1,' Arts and Architecture (1960); 26. Peter Yates to John Cage, 1960; 27. John Cage to Peter Yates, 1960; 28. Peter Yates to John Cage, 1960; Peter Yates, 'Two Albums by John Cage - Part 2,' Arts and Architecture (1960); 29. John Cage to Peter Yates, 1960; 30. Peter Yates to John Cage, 1960; 31. John Cage to Peter Yates, 1960; 32. Peter Yates to John Cage, 1960; 33. Peter Yates to John Cage, 1960; 34. John Cage to Peter Yates, 1960; 35. Peter Yates to John Cage, 1960; 36. John Cage to Peter Yates, 1960; 37. John Cage to Peter Yates, 1960; 38. Peter Yates to John Cage, 1960; 39. John Cage to Peter Yates, 1960; Peter Yates, 'Monday Mad on Tuesday,' Arts and Architecture (1960); Peter Yates, 'Music,' Arts and Architecture (1960); 40. John Cage to Peter Yates, 1961; 41. Peter Yates to John Cage, 1961; Peter Yates, 'American Experimental Tradition,' unpublished manuscript [ca. 1961]; 42. John Cage to Peter Yates, 1961; 43. John Cage to Peter Yates, 1961; 44. John Cage to Peter Yates, undated [1961]; 45. John Cage to Peter Yates, 1961; 46. John Cage to Peter Yates, 1961; 47. Peter Yates to John Cage, 1961; 48. John Cage to Peter Yates, 1961; 49. Peter Yates to John Cage, 1961; Peter Yates and John Whitney, 'Notes for Music,' unpublished manuscript [1961]; Peter Yates, 'Sound,' manuscript [1961]; 50. John Cage to Peter Yates, 1961; 51. Peter Yates to John Cage, 1961; 52. Peter Yates to John Cage, 1961; Peter Yates, 'A Lost Center,' manuscript [1961]; 53. John Cage to Peter Yates, 1961; 54. John Cage to Peter Yates, 1961; Peter Yates, 'A General Report,' Arts and Architecture (1962); 55. John Cage to Peter Yates, 1962; 56. John Cage to Peter Yates, 1962; Peter Yates, 'Silence by John Cage,' Arts and Architecture (1962); Peter Yates, review of John Cage, Silence, Notes: the Quarterly Journal of the Music Library Association (1962); Peter Yates, 'More Than Time,' Arts and Architecture (1962); Peter Yates, 'John Cage's Weekend in Los Angeles,' Arts and Architecture (1962); 57. John Cage to Frances and Peter Yates, 1962; Peter Yates, 'The American Artist,' manuscript written for the
£31.90
Cambridge University Press Music and the Sonorous Sublime in European
Book SynopsisA historically situated study of the relationship between music, sound and the sublime, this book embraces familiar works and composers, such as Handel, C. P. E. Bach, Haydn and Wagner, but also explores less familiar repertory and source material. Performers and audiences are also considered as agents and sites of sublime experience.Trade Review'... carefully presented ...' Agathe Sueur, translated from Revue de musicologieTable of ContentsSonorous sublimes: an introduction Sarah Hibberd and Miranda Stanyon; 1. Thunder or celestial harmony: French theological debates on the sonorous sublime Sophie Hache; 2. 'A pleasing rape': John Dennis, music and the queer sublime Matthew Head; 3. The idea of the past in eighteenth-century British music Suzanne Aspden; 4. C. P. E. Bach and the neoclassical sublime: revisions of a concept Keith Chapin; 5. Cherubini's Médée and sublime vengeance Sarah Hibberd; 6. When does the sublime stop? Cavatinas and quotations in Haydn's Seasons Elaine Sisman; 7. Counterfeits, contraltos and consonance in De Quincey's sublime Miranda Stanyon; 8. The consecration of sound: sublime musical creation in Haydn, Weber and Spohr Benedict Taylor; 9. Commanding performances: opera, surrogation and the royal sublime in 1848 Dana Gooley; 10. Wagner's sublime effects: bells, cannon and the perception of heavy sound David Trippett.
£23.74
Cambridge University Press The Cambridge History of Music Criticism
Book SynopsisA reference work for all those approaching music history through the lens of music criticism, from undergraduates to established scholars and professionals. As well as giving authoritative accounts of traditional regions such as Britain, France and Germany, the book substantially expands the timeframe, genre and geographical reach of the field.Trade Review'The Cambridge History of Music Criticism is an incredible resource in a field where much formal research is still to be done, and it will no doubt be an important springboard for further studies into this vast and fascinating topic.' Angus McPherson, LimelightTable of ContentsPart I. The Early History of Music Criticism: 1. Speaking of plainsong in the Middle Ages Christopher Page; 2. Music criticism in the Late-Medieval and Renaissance era Stefano Mengozzi; 3. Musical discourse in Italy 1500–1800 Carrie Churnside; 4. Music criticism in France before the Revolution Charles Dill; 5. Music criticism in Britain up to Burney Rebecca Herissone; 6. German Music criticism before 1800 Stephen Rose; Part II. The Rise of the Press: 7. French music criticism in the nineteenth century, 1789–1870 Mark A. Pottinger; 8. Gatekeeping, advocacy, reflection: overlapping voices in nineteenth-century British music criticism Leanne Langley; 9. Constructing a musical nation: German-language criticism in the nineteenth century Laura Tunbridge; 10. Music criticism in nineteenth-century Italy Alexandra Wilson; 11. Music criticism in Imperial Russia Emily Frey; Part III. Critical Influence and Influences: 12. Critiquing the canon: the role of criticism in canon formation Laura Hamer; 13. Comparing notes: recording and criticism Christopher Dingle; 14. The gender paradox: criticism of women and women as critics Laura Hamer; Part IV. Entering the Twentieth Century: 15. Music criticism in the United States and Canada up to the Second World War Mark McKnight; 16. Music criticism in Portugal: towards an overview Paulo F. de Castro; 17. Spanish music criticism in the twentieth century: writing music history in real time Eva Moreda Rodríguez; 18. Critical battlegrounds in the French Third Republic Delphine Mordey; 19. British music criticism, 1890–1945 Paul Watt; 20. Music criticism in Norway Per Dahl; 21. Aesthetic conservatism and politics in German music criticism, 1900–1945 Karen Painter; 22. Music criticism in Hungary until WWII Lynn M. Hooker; 23. The 'people' in Czech and Slovak music criticism Kelly St Pierre; Part V. New Areas: 24. Jazz criticism in America Mark Racz; 25. Catalysing Latin American identities: Alejo Carpentier's music criticism as a Cuban case study Caroline Rae; 26. Writing about popular music Simon Frith; 27. Working in the cool capitalism complex: the role of critics in the world music field Timothy D. Taylor; 28. Cultural anxieties, aspirational cosmopolitanism and capacity building: music criticism in Singapore Shzr Ee Tan; Part VI. Developments since the Second World War: 29. Music criticism in the USSR from Asafyev to Cherednichenko Peter J. Schmelz; 30. The Feuilleton and beyond: criticism in the Federal Republic of Germany and Austria after the Second World War Mark Berry; 31. Music criticism in Italy in the twentieth century Raffaele Pozzi; 32. Wider still and wider: British music criticism since the Second World War Christopher Dingle; 33. Music criticism in France since the Second World War Christopher Brent Murray; 34. Old divisions and new debates: music criticism in post-war America Sophie Redfern; 35. Stop the press? The changing media of criticism Christopher Dingle and Dominic McHugh.
£34.99
Cambridge University Press Music and Metamorphosis in GraecoRoman Thought
Where does music come from? What kind of agency does a song have? What is at the root of musical pleasure? Can music die? These are some of the questions the Greeks and the Romans asked about music, song, and the soundscape within which they lived, and that this book examines. Focusing on mythical narratives of metamorphosis, it investigates the aesthetic and ontological questions raised by fantastic stories of musical origins. Each chapter opens with an ancient text devoted to a musical metamorphosis (of a girl into a bird, a nymph into an echo, men into cicadas, etc.) and reads that text as a meditation on an aesthetic and ontological question, in dialogue with ''contemporary'' debates contemporary with debates in the Greco-Roman culture that gave rise to the story, and with modern debates in the posthumanities about what it means to be a human animal enmeshed in a musicking environment.
£31.90
Cambridge University Press Music and the moderni 13001350
Book SynopsisMusic theorists labelled the musical art of the 1330s and 1340s as ''new'' and ''modern''. A close reading of writings on music theory and the polyphonic repertory from the first half of the fourteenth century reveals a modern musical art that arose due to specific innovations in music notation. The French ars nova employed as its theoretical fundament a new system for arranging musical time proposed by the astronomer and mathematician Jean des Murs. Challenging prevailing accounts of the ars nova, this book presents the ''new art'' within the intellectual context of its time, revises the datings of Jean des Murs''s writings on music theory, and presents the intersection of theory and practice for a crucial era in the history of music. Through contemporaneous accounts, Desmond explores how individuals were involved in ''changing'' music in early fourteenth-century France, and the technical developments they pursued that precipitated this stylistic change.Trade Review'Karen Desmond's book places early fourteenth-century music and musical thought persuasively within their intellectual contexts. Equally at home in music theory, the history of musical style, palaeography, prosopography, astronomy, philosophy and a whole host of other fields of knowledge, she rises to the challenge of saying something substantially 'new' about the ars nova. Drawing all these intellectual threads masterfully together, Desmond's breath taking study will be the defining work on the subject for many years to come.' Christian Thomas Leitmeir, University of Oxford'[Karen Desmond gives] an exciting, revisionist account of this crucial period in medieval music history, offering a wealth of new insight into staple texts and works, and a model framework for engaging theory with other modes of intellectual practice. This book will make a significant intervention in the field of fourteenth-century music studies, with repercussions not only for music historians, but also for scholars of intellectual history.' Emma Dillon, King's College London'… [this book] alters our understanding of a crucial moment in music history. Drawing on a dazzling variety of evidence and leading the reader with grace through difficult terrain, the author rethinks what was new in the ars nova. To better see the new art as its contemporaries saw it, the author revises the datings of Jean des Murs's writings; relates his innovations to developments in astronomy and mathematics; elaborates on the key aesthetic concept of subtilitas; enhances our artistic appreciation of destabilized rhythmic phenomena; and explores the philosophical stakes behind the theoretical controversy, involving two different conceptions of time.' Official citation for 2019 Lewis Lockwood Award, AMS Awards Committee'… deeply engaging … Desmond is meticulous in her presentation of both the theory and the music and the result is a beautifully constructed example of musicological subtilias … Highly recommended.' Erik W. Goldstrom, The Journal of the Association of Anglican Musicians'Karen Desmond's excellent new book … proposes a new way of thinking about the ars nova of fourteenth-century French music … her account will prove an essential contribution to thinking about the period … Thanks to Karen Desmond's book, we can better see how the ars nova helped create a modern world in the fourteenth century and how it may still be part of that modern world today.' David Maw, Revue de musicologie'… the book is a rich cornucopia of materials … that engage the history of science and philosophy as well as musicology and music theory … Desmond has brilliantly teased out many strands relating to this multivalent term [ars nova] and has suggested many avenues for further research.' Lawrence Earp, Plainsong & Medieval Music'… there is no question about the importance of this book … Desmond's book has enhanced this reviewer's knowledge of the origins and impact of the ars nova immensely … [a] riveting expedition.' John N. Crossley, ParergonTable of Contents1. Introduction; 2. Subtilitas and the ars nova; 3. Jean des Murs, Quadrivial Scientist; 4. Arts old and new; 5. From trees to degrees; 6. Notational dots and the line of musical time; Epilogue; Appendix 1: list of transitional ars nova motets and concordances; Appendix 2: key dates in the biography of Jean des Murs; Appendix 3: key dates in the biography of Philippe de Vitry; Appendix 4: sources of Jean des Murs's notitia and conclusiones; Appendix 5: edition of Apta/Flos; Appendix 6: works list for Jean des Murs.
£31.90