Music: styles and genres Books

Book SynopsisFollowing the development of the German Lied after the nineteenth century – when it was widely known as the setting of Romantic poetry to music – this book explores the changing artistic scene in the early twentieth century, as rapid social, economic and environmental changes affected German cultural production. The Lied then faced not only a crisis of identity, but also a threat to its survival. This book considers the literary and musical ideas that both challenged and complemented each other as new directions in songwriting were developed across the modern period. The composers selected for their relevance in Lieder composition during this time illustrate not only the diversity of their musical thought but also a changing approach to the relationship between the poetic text and its musical counterpart. Hans Pfitzner represents the determination to maintain established tradition; subsequently, a chronological progression through the individuality of Paul Hindemith and social integrity of Hanns Eisler leads to the point where transformation of the genre can be said to have begun, with Arnold Schönberg. With the Lieder of Alban Berg and Anton Webern, the genre arrived at a point of convergence with the ideals of German modernism. This study offers new insights into the cultural significance of German songwriting in the first part of the twentieth century.Table of ContentsContents: Mapping Aesthetic and Cultural Boundaries – Landscaping German Song – Modernism: Exploring Convergence and Divergence – Genre: The Changing Identity and Function of the Lied – Musical Perspectives: Tradition and New Directions – Lieder Composers – Hans Pfitzner: Traditionalist or Regressive Modernist? – Hanns Eisler: The Lied as Medium for Heightened Social Awareness – Paul Hindemith: The Challenge of Rainer Maria Rilke’s Das Marienleben – Arnold Schönberg: Re-thinking Musical Interpretation of the Poetic Text – Alban Berg and Anton Webern: Refining and Redefining the Lied.

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Book SynopsisCe volume présente les contributions des cinquièmes Rencontres Internationales organisées à Lausanne par la Fondation harmoniques en septembre 2010. Il offre un regard panoramique et des études à plusieurs voix sur la variété des écoles de facture de piano et des styles pianistiques à l’époque de Chopin. C’est la conjonction de l’observation scientifique, de la connaissance des sources historiques et de la pratique artisanale qui constitue l’intérêt principal de ces communications. This volume comprises the proceedings of the fifth International Congress which was organised by the harmoniques foundation and held in Lausanne during September 2010. Through the juxtaposition of scientific observation, historical research and practical instrument-making in the assembled essays, an impressive diversity of piano making and playing encountered in Chopin’s time unfolds.Table of ContentsContenu : Florence Gétreau : Jeux de l’âme, variabilité et coloris pianistiques au temps de Chopin – Jean-Jacques Eigeldinger : Chopin ou l’œuvre en progrès. De l’improvisation à l’enseignement – Jeffrey Kallberg: Late Style, Last Style, and Chopin’s Waltz in A flat Major, op. 64 no. 3 – John Rink: Playing with the Chopin Sources – Hervé Audéon : L’œuvre pianistique de Fréderic Kalkbrenner (1785-1849) et ses rapports avec Frédéric Chopin (1810-1849) – Irène Minder-Jeanneret : Concerts publics ou productions privées ? Les lieux de musique de la pianiste et compositrice genevoise Caroline Boissier-Butini (1786-1836) dans le miroir de son professionnalisme – Hervé Audéon : À l’aube du romantisme musical : couleurs, effets et pédales dans l’œuvre pianistique de Daniel Steibelt (1765-1823) – Stephen Birkett: «Nourishment for the soul» or «a feast for the ear»? A comparative study of the Stein and Walter fortepiano actions – Uta Goebl-Streicher: Färbung, Schmelz, Schattierung oder starker Ton: Der Antagonismus zwischen Wiener und englischer Mechanik am Beispiel der Klavierbauerfamilie Streicher – Michael Latcham: Notes on the history of the Viennese piano, 1800 to 1830 – Stewart Pollens: The Restoration of a Fortepiano by Conrad Graf, ca. 1838, in the Collection of the Metropolitan Museum of Art – Jean-Claude Battault : La manufacture Ignace Pleyel & Cie entre 1830 et 1850 – Catherine Michaud-Pradeilles : Jean Henri Pape (1789-1875). Au bonheur des dames – Christopher Clarke: Affect in action: hammer design in French Romantic pianos – Jean Haury : Machines à faire les artistes.

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Book SynopsisAm Ende des 19. Jahrhunderts setzt sich die tschechische Gesellschaft intensiv mit neuen spirituellen Strömungen wie Theosophie, Anthroposophie und Okkultismus auseinander. Durch die Übersetzungen der Werke von Huysmans, Strauss, Nietzsche, Steiner und anderen einflußreichen europäischen Denkern gerät der Katholizismus immer stärker in den Konflikt mit der Moderne. Die Bewegung Katolická moderna versucht in Böhmen den Katholizismus zu erneuern. Zu den Mitarbeitern der Zeitschrift Nový život zählen wichtige tschechische Künstlerpersönlichkeiten. Auch die Autoren der Zeitschrift Moderní revue streben eine entsprechende Reform religiös ausgerichteter Kunst an. Die tschechische Musik dieser Zeit widerspiegelt die vielfältige Auseinandersetzung mit den neuen Denkrichtungen. Charakteristisch für die betreffenden Werke ist der Synkretismus in Form einer persönlichen Synthese aus verschiedenen Formen der Spiritualität. In diesem Kongressband werden neben den Beiträgen zu diesen Fragen bislang unbekannte Dokumente zur tschechischen Musik der Jahrhundertwende veröffentlicht und die Rezeptionswege von massgebenden Komponisten der Zeit (Dvořák, Janáček, Hába, Schulhoff, Novák, Martinů) untersucht. At the end of the 19th century, Czech society was preoccupied with new spiritual trends such as theosophy, anthroposophy, pantheism and occultism. The ideas of Schuré, Huysmans, Péladan, Renan, Strauss, Nietzsche, Steiner, Blavatsky and other influential European thinkers were compiled and made available thanks to numerous translations. At the same time, Catholicism was coming into increasing conflict with modernism. One of the attempts at its revival in Bohemia was represented by the movement Catholic Modernism. The contributors to the review Nový život (New Life) were distinct personalities of Czech cultural life. The authors of the magazine Moderní revue (Modern Review) strove for reform of religion-oriented arts too. Czech music of that period reflects the multifaceted encounters with the new intellectual trends. Works are characterised by syncretism, in the form of a personal synthesis of various types of spirituality. In addition, the congress proceedings comprise research into hitherto unknown documents dealing with Czech music at the turn of the 19th and 20th centuries, as well as the paths of reception of the foremost composers of the time (Dvořák, Janáček, Hába, Schulhoff, Novák, Martinů).Table of ContentsAus dem Inhalt/Contents: Roman Musil: Die geistigen Strömungen um die Revue Nový Život. Zu den Anfängen der Katholischen Moderne – Jarmila Doubravová: Dialogue with God (Janáček, Suk and Their Followers) – Roman Musil: Einige Anmerkungen zu den religiösen Themen in der bildenden Kunst des böhmischen ‘fin de siècle’ – Aleš Filip: Passionsthemen in der bildenden Kunst Böhmens und Mährens um 1900 – Sigrid Wiesmann: Religiöses Theater in unreligiöser Zeit – Jarmila Gabrielová: Dvořáks und Kvapils Rusalka und das Lebensgefühl des ‘fin de siècle’ – Harry Halbreich: Polní mše von Bohuslav Martinů – Jaroslav Mihule: Einige Bemerkungen zu den religiösen Aspekten im Werk von Bohuslav Martinů – Zuzana Vlčinská: Religious Aspects of Martinů’s Cantata Cycle Kytice – Siglind Bruhn: Musical Ekphrasis on a Puppet Drama of Death: Bohuslav Martinů’s Smrt Tintagilova / La Mort de Tintagiles after Maurice Maeterlinck – Jarmila Doubravová: Music on the Pages of Moderní revue or the Growth of Modern Czech Music – Graham Melville-Mason: The British View of Czech Contemporary Composers in the First Half of the 20th Century - A Preliminary Survey – Guy Erismann : L’Historicisme dans la musique tchèque, de la fin du XIXe siècle jusqu’à Martinů compris (1959) – Aleš Březina: Martinů und die tschechoslowakische Widerstandsbewegung in Paris – Graham Melville-Mason: Martinů in England – Michael Märker: Erwin Schulhoff und die Tradition – Jiři Mikuláš: Unbekannte Lieder von Erwin Schulhoff – Vlasta Reittererová: Alois Hába und tschechoslowakische Sektion der IGNM: Niederlagen und Siege – John K. Novak: Janáček’s Říkadla as a Compendium of his Compositional Style – Kateřina Maýrová: The Music Collections of the Czech Museum of Music Related to the Music History of the First Half of the 20th Century.

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Book SynopsisThis book is a pioneering attempt to explore the fascinating and hardly known realm of reciting poetry in medieval and Renaissance Italy. The study of more than 50 treatises on both music and poetry, as well as other literary sources and documents from the period between 1300 and 1600, highlights above all the practice of parlar cantando («speaking through singing» – the term found in De li contrasti, a fourteenth-century treatise on poetry) as rooted in the art of reciting verses. Situating the practice of parlar cantando in the context of late medieval poetic delivery, the author sheds new light on the origin and history of late Renaissance opera style, which their inventors called stile recitativo, rappresentativo or, exactly, parlar cantando. The deepest roots of the Italian tradition of parlar cantando are thus revealed, and the cultural background of the birth of opera is reinterpreted and revisited from the much broader perspective of what appears to be the most important Italian mode of music making between the age of Dante and Petrarch and the beginning of Italian opera around 1600.Table of ContentsContents: Poetry Recitation in the Italian Trecento – Different Types of Music for Delivering Poetry – From rudium inordinatum concinium to Professional Poetry Meant To Be Sung – Verse Reciting as Scholarly Discipline – Scansio: One Aspect of the Relation between Music and Poetic Text in Sixteenth Century Theory – Verse Structure in the Musical Setting of Selected Trecento Compositions – Text Underlay in Manuscripts of Trecento Music – Structure of Verse and musica contrafacta in the Trecento Music.

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Book SynopsisThe series Studien zur deutschen Literatur (Studies in German Literature) presents outstanding analyses of German-speaking literature from the early modern period to the present day. It particularly embraces comparative, cultural and historical-epistemological questions and serves as a tradition-steeped forum for innovative literary research. All submitted manuscripts undergo a double peer-review process.

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Book SynopsisWith The Archive of the Sing-Akademie zu Berlin. Catalogue a complete catalogue of the music archive of the Sing-Akademie zu Berlin is now available for the first time since the archive, which disappeared during World War II, was rediscovered in 1999. (The whole work is complete in English and German). Since 2001 the more than 260,000 pages of music manuscripts, copies and first prints (from 17th to early 19th cent.) were revised by two musicologists which compiled an index of shelf marks and an index of composers. Thus detailed searches in the holdings of the archive (which were filmed since 2002 in severeal parts on microfiche at K. G. Saur) are possible for the first time. The Catalogue lists 9,735 works of 1.008 different composers. It provides also a concordance signature – microfiche and therefore serves as a cumulated guide to the microfiche editions, all the more the registers have been revised and improved. The unique collection is introduced by a number of articles by the following musicologists: Axel Fischer (Archive of the Sing-Akademie, Berlin), Christoph Henzel (Hochschule für Musik, Würzburg), Klaus Hortschansky (University of Münster), Matthias Kornemann (Archive of the Sing-Akademie, Berlin), Ulrich Leisinger (Mozarteum, Salzburg), Mary Oleskiewicz (University of Massachusetts Boston), Ralph-J. Reipsch (Zentrum für Telemann-Pflege und -Forschung, Magdeburg), Tobias Schwinger (Berlin).

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Book SynopsisAt the conference Musicology 1966-2000: A Practical Program, on May 26, 1966, Jan LaRue speculated that computer analysis will become one of the most important directions in musicology for the next generation Having passed the year 2000, we have to realize that LaRue's prediction did not come true: neither for computer-assisted music analysis, nor for computer-applications in music research in general. This volume is intended to initiate a more critical discussion of computer-applications in music research and to present concepts, methods, and results of newest research in this area.

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Book SynopsisDiese Bibliographie bietet einen umfassenden Überblick über die Literatur zum Thema Kunstlied. Aufgenommen wurden selbständige Schriften, Zeitschriftenaufsätze, Artikel in Jahrbüchern, Festschriften, Kongreßberichten sowie Dissertationen. Die Arbeit ist in drei Teile gegliedert: Komponisten, Dichter und Sachbegriffe. Autoren- und Dichterverzeichnisse runden das Werk ab. This bibliography offers a comprehensive survey of publications on the theme art song, compiled from books, periodicals, yearbooks, commemorative publications, conference reports, and dissertations. The bibliography is divided into three sections: composers, poets, and general key words. Indexes of authors and poets complete the work.

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Book SynopsisThis collection of essays explores a wide range of topics current in the field of music theory, including analytical methodologies for pretonal, tonal, and post-tonal music, assessment of notation as a vehicle for interpreting compositional strategies in different repertoires, and employment of approaches informed by cognitive, aesthetic, and ethnomusicological studies of music. Authors reflect critically on challenges within their specific areas of expertise and probe directions in which advances can be made and difficulties overcome. The results of these investigations will benefit readers, from early career researchers to experienced scholars, whose interests not only intersect with the topics presented here but which also encompass broad methodological issues affecting music theory.Table of ContentsContents: Rebekah Woodward: Towards New Editing Methods for Transcribing the Polyphonic Notre Dame Conductus Repertory – Luca Bruno: A Methodological Approach Toward the Harmony of Sixteenth-Century Secular Polyphony – Denis Collins: John Bull’s «Art of Canon» and Plainsong-Based Counterpoint in the Late Renaissance – Byron Almén: Toward a Pluralism of Musical Cognitive Processes – Timothy Dwight Edwards: The Sinfonias of J. S. Bach as an Advanced Discourse on Harmony – Dimitar Ninov: Basic Formal Structures in Music: A New Approach – Dennis Cole: Incorporating Transcriptions and Notation: Pedagogical Issues for the World Music Ensemble – Elizabeth Lee: Music, Imagery, Meaning, and Emotion in Hugo Wolf’s «An eine Äolsharfe». An Analytical Triangulation via Schenkerian Analysis, the Theory of Musical Forces, and Cognitive Metaphor Theory – Simon Perry: Pitch-Notational Analysis: A Basis for an Approach to Understanding Harmonic Thinking in Common-Practice and Post Common-Practice Tonality – Miloš Zatkalik: Reconsidering Teleological Aspects of Nontonal Music – Leon Stefanija: Levers of Satire in Twentieth-Century Music.

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Book SynopsisThe subject of this book is the semantics of symphonic music from Beethoven to Mahler. Of fundamental importance is the realization that this music is imbued with non-musical, literary, philosophical and religious ideas. It is also clear that not only Beethoven, Schubert and Bruckner were crucial role models for Mahler, but also the musical dramatist Wagner and the programmatic symphony composers Berlioz and Liszt. At the same time a semantic musical analysis of their works reveals for the first time the actual inherent (poetic) quintessence of numerous orchestral works of the 19th Century.Trade Review«The most important study of Mahler for nearly two decades» (Music & Letters) «Floros can offer interpretations that would otherwise be impossible. Without the interpretation of symbols, no real progress in musicology is possible.» (Musical Borrowing)Table of ContentsContents: Beethoven and the new categories of symphonic music – Aspects of architectonics – Content and form – Musical themes and the «poetic conception» – Universality of the symphony: genres and characteristics – The symbol in music – Satanism and the Crucifix – Dall’ Inferno al Paradiso – Rhythmic leitmotivs – Characteristic Chord – Symbolic Sounds.

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Book Synopsis«(This book) is the first extensive study of the works of Antoni Szałowski, which provide a clear example of the adaptation of the principles of Neoclassicism and the norms of Nadia Boulanger. The heritage of the émigré composers – generally speaking not well known, scattered, or absent from national musical life for many years – requires a comprehensive research approach in order to restore it to its rightful place within Polish music. This is the direction taken in this work, where the monographic form is a fitting framework for the presentation of the characteristics, the context and the significance of Szałowski’s achievement – a subject never undertaken before.» (Prof. Dr. D. Jasińska, Adam Mickiewicz University of Poznań, Poland) «The structure of the book as a whole is logical and cohesive. The uniform approach to constructing chapters and subchapters is undoubtedly of great value. Each new section begins with a theoretical or historical introduction, depending on the topic discussed, and is then followed by the discussion of the issues raised. The reader gains the impression that the author is firmly grounded in the literature of the subject in its widest sense.» (Prof. Dr. T. Malecka, Academy of Music in Kraków, Poland)Table of ContentsContents: The sources and current state of research – The anthropological dimension of artistic development – Features of the artist’s personal subjectivity – The essence of creativity – Towards Neoclassicism – Mature Neoclassicism – Technical issues – Tonal-harmonic properties – Orchestral technique – Metro-rhythmics – Constructing the form – Aesthetics and technique – Antoni Szałowski and the school of Nadia Boulanger – The Neoclassicism of the Polish School – Catalogue of works by Antoni Szałowski.

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Book SynopsisThe Works of Richard Oschanitzky analyses the German-Romanian composer and pianist’s output in the context of Socialist Romania (1965 to 1979). By the means of music historiography, archive research and musicological analyses, the composer’s contributions to the symphonic/chamber jazz genres, pioneering role in ethno-jazz and film music scores are analysed. The book lays particular stress on Richard Oschanitzky’s attempt to find common ground between European academic music and American jazz, as exemplified in his symphonic jazz works. The Romanian edition of this book has raised awareness of the musical potential to be retrieved, resulting in additional audio-visual products, such as documentary films and new CD editions of his work. It has become part of the academic curriculum for the course History of Jazz, taught at the George Enescu University of Arts in Iaşi, Romania.Table of ContentsContents: Academic music and jazz between 1950 and 1980 – Jazz in Romania (1948-1963) – Richard Oschanitzky: pianist, arranger, orchestrator – Richard Oschanitzky’s compositions of academic music – Film music – Stage music – Ethno-jazz – Free jazz – Chamber jazz – Symphonic jazz.

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Book SynopsisThis book is based on the results of about forty years of work with one type of analysis of musical communication. It offers an elucidation of the meaning of music as, in addition to other factors, a fictive action and refers to the context of the intrapersonal, interpersonal and social aspects of communication. It does so against the background of the nearly unknown century-long history of Czech experimental aesthetics. At the same time it provides insights into a field of the humanities in the totalitarian era by referring to the roots of the method in the context of semiotics, aesthetics and cybernetics in the 1960s.Table of ContentsContents: Alban Berg – Artificial world – Bartók – Dialogue – Empathy – Fictive action – Imagination – Interpersional tendencies – Janáček – Semiotics – Shadow music – The Other – Czech experimental aesthetics.

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Book SynopsisOn the History of Rock Music follows the development of rock music from its origins up to the present time. It focuses on the relationship between the sound, improvisations and rhythms in particular styles, and gives specific attention to the development of rhythm. The beat-offbeat principle, polyrhythms and polymetrics are fundamental to rock rhythm patterns, which serve as archetypes for specific rhythms. An archetype is a prototype, a model, or an innate experience of a species. Using more than 250 score examples, the author identifies the characteristic rhythmic patterns in rock styles, ranging from rock and roll, hard rock and punk rock to alternative rock, indie rock and grind core.Trade Review«This study does not only offer a chronological and statistical overview of rhythm patterns in rock music, but also provides a useful comparative tool within a particularly new research approach in the study of specific rock music genres.» (Julijana Zhabeva Papazova I@J vol.6 no.1 2016)Table of ContentsContents: Alternative rock analysis – Archetype – Art rock – Black metal – Cover version – Death metal – Grind core – Hard core – Hard rock – Heavy metal – History – Improvisation – Indie rock – New wave – Punk rock – Rhythmic pattern – Rock and roll – Rock style – Speed metal – Thrash metal.

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Book SynopsisThe studies collected in this book fall into four chief thematic areas of research on Fryderyk Chopin’s life, stylistic changes, creative output, and musical reception. The first one is devoted to the origins of the composer’s artistic formation in the context of his connections with the Main School of Music at the Royal University of Warsaw. The second thematic area is tied to the problem of Chopin’s musical language and transformation of his individual style. The third group of studies concentrates on issues in Chopin’s musical aesthetics, while the fourth and final one is devoted to the questions of composer’s reception in the 19th-century musical culture in light of the practice of musical transcriptions at the time.Table of ContentsContents: Studies at the Main School of Music of the Royal University of Warsaw (1826-1829) – Teaching of Music Theory in Józef Elsner’s Class at the Royal University of Warsaw – On the Fragments of Music from the Last Sheet of the Autograph of the Trio in G Minor op. 8 – Stylistic Change: from Stile brillante to the Late ‘Synthetic Style’ – Harmony and Tonality – On the Tristan Chord – Contribution to Western European Romanticism – Imaginatio Crucis in the Last Song Melodia? – Polonaise: The Riddle of its Melodic Figure – Nineteenth-century Transcriptions of Masterworks – Nineteenth-century Transcriptions of the Polonaise in C sharp Minor op. 26 for Violin and Piano – On Jan Karłowicz’s Concept of Revolution in Musical Notation.

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Book SynopsisDer Autor präsentiert einen theoretischen Überblick zu wichtigen inhaltsbezogenen Themengebieten beim Einsatz von Liedern und Musik im interkulturell orientierten DaF-Unterricht. Im Zusammenhang mit der theoretischen Auseinandersetzung werden unterrichtsbezogene Beispiele aus der Praxis und für die Praxis vorgestellt. Das Buch hebt den Stellenwert von Liedern und Musik und ihren Beitrag zur Förderung der interkulturellen Kompetenz in der DaF-Didaktik hervor. Es untersucht das deutschsprachige Liedgut im Hinblick darauf, dass auch DaF-Lernende für neue musikalische Ausdrucksmöglichkeiten und neue Höreindrücke sensibilisiert werden.Die () Publikation ist die erste Bearbeitung in der gegenwärtigen polnischen Fremdsprachendidaktik (und eine der ersten der gegenwärtigen europäischen DaF-Didaktik), die sich umfassend und systematisch mit den Implikationen der Verwendung von Liedern und Musik im Sprachunterricht auseinandersetzt. Dieses Buch kann () als Lehrerhandbuch und als Wegweiser für reflexive Fremdsprachenlehrer fungieren, die in ihrem Unterricht das ästhetische, sprachliche und kulturelle Potenzial von Liedern und Musik im Lichte interkulturellen Lernens nutzen möchten.Prof. Przemyslaw E. Gebal, Universität Warschau

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Book SynopsisMusic is often defined as art for the ear, as the language of feeling, of the heart, as sound play, or as the science of composition. But music also conveys intellectual and emotional experiences, literary, religious, philosophical, social and political ideas. Countless composers encrypt contents in their music that can be deciphered by a variety of methods. This book is designed as an introduction to the basic questions of musical semantics and discusses Beethoven’s committed art, the core ideas of the «Ring of the Nibelung» and of the «Symphony of a Thousand», Wagner’s idea of a religion of art, the relation of music and poetry, the musico-literary conceptions of composers, the large field of program music and the history of the impact of Gustav Mahler.Trade ReviewAbout the German edition: «The book is written in Floros’ accustomed precise and exact style and is equipped with an exemplary scholarly apparatus. An indispensable handbook not only for musical semanticists but for anyone needing to be informed about current advances in the determination of the nature of music.» (International Review for the Aesthetics and Sociology of Music)Table of ContentsContents: The Concept of the Message in Music – Public and private Messages in Music – Richard Wagner’s Ring of the Nibelung – Wagner’s Idea of a Religion of Art – The Symphony of a Thousand – Basics of Program Music – 19th-Century Composer types – Music and Poetry – Berlioz’ Concept of the «Instrumental Drama» – Liszt’s Concept of the «Musical Epic» – Richard Strauss – Secret Program Music – On Gustav Mahler’s Wirkungsgeschichte – Music Must Become Language: On Hans Werner Henze – The Presence of All Eras: Messages through the Ages.

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Book SynopsisThis is the first monograph on the Polish composer Ignacy Jan Paderewski (1860–1941). It aspires to be part of the process of restoring his compositional legacy to European musical culture. Reinterpreting the legend surrounding the great Pole, the study is based on Paderewskis works that are listed in the Paderewski catalogue, but also includes sketches, unfinished pieces and student exercises. Raba’s analysis and interpretation of the composer’s work is carried out in formal-structural, stylistic-critical and aesthetic contexts, revising the image of the composer, that has been distorted in the historical reception of his œuvre.Table of ContentsContents: Paderewski‘s Compositional Output – Musical (Style) Analysis – Music of 19th and 20th Century – Polish Romantic Music – Modernism in Music – Paderewski-Chopin – Reception – Aesthetics – Piano Music – Opera – Symphonic Music.

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Book SynopsisOn the Music Front. Socialist-Realist Discourse on Music in Poland, 1948–1955 is a monograph on one of the key aspects of Poland’s musical culture during the Stalinist period. Among the many texts analysed in this book are addresses given by leading party officials, minutes of musical meetings and conferences, talks before informal ‘get-to-know-the-music’ concerts, and papers on aesthetics and music history. Detailed discussion is devoted to the musicological works of Zofia Lissa, to productions of Stanisław Moniuszko’s operas directed by Leon Schiller, to museum exhibitions on music history, and to the mega-production of the Polish Socialist-Realist film, Chopin’s Youth, directed by Aleksander Ford.Table of ContentsChapter 1 Introductory Issues Chapter 2 Discourse on Contemporary Music: A Hierarchy of Statements Chapter 3 Discourse on Aesthetics and Music Theory: Exegeses and Rationalized Legitimizations Chapter 4 Discourse on Music History: Hagiography and Legitimizing Narratives

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Book SynopsisThis book investigates the spectrum of meaning inherent in six orchestral works by Leoš Janáček. It codifies his compositional style, first through a thorough examination of its origins in folk music and speech-melody, then in discussions of the features of its melody and motivic techniques. His harmonic style and multiple organizations of tonality are examined in rich detail. The analysis section consists of the examination of each musical work’s musical elements, its affective and programmatic associations, as well as four narrative codes through which the listener discovers further meaning in the work: the hermeneutic code (which governs enigmas), the semic code of musical motives, the proairetic (formal) code, and the referential code (which draws on analogous passages from other pieces of music).Table of ContentsContents: Leoš Janáček – Czech music – Moravian folk music – Speech-melody – The Fiddler's Child – Taras Bulba – The Ballad of Blaník – Sinfonetta – The Danube Symphony – Violin Concerto – «Wanderings of a Soul» – Czech ethnomusicology – Quartal harmony – Whole-tone – Octatonisim – Roland Barthes – S/Z – Suspended tonality – Floating tonality – Affect – Narrative – Semiology.

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Book SynopsisBach and Tuning is strictly concerned with the identification of a historically accurate tuning paradigm that applies to the great majority of Johann Sebastian Bach’s music. Once Bach has his personal tuning aesthetic acknowledged, a new dimension of meaning is invoked in performance through the intended interplay of diverse musical intervals. This new narrative lays bare Bach’s mental calculations regarding his idealized intonation. Bach, the true chromatic composer of the Baroque, was the scion of a great music family. Likewise, Andreas Werckmeister was the bright star in a neighboring musical family, only a generation earlier. Bach and Tuning connects the valuable tuning contribution made by Werckmeister to Bach’s musical masterpieces.Table of ContentsThe Bach family phenomenon – Microtonal analysis – New spotlight on Buxtehude, Walther, Kirnberger, and Werckmeister – Exploring Thuringian cities – Cultural norms lived by Bach – Elizabeth Hehr’s translation of Werckmeister’s Musicalische Temperatur (1691)

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Book SynopsisTo grasp music in its depth dimension is an art that can be learned and perfected. Categories of formal analysis here play a subordinate role – at least as important it is to be consciously aware of timbres, dynamic processes, musical characters and expressions. Following general reflections about the art of listening, the volume in hand presents exemplary work analyses. The roster of composers introduced extends from Mozart to Bernstein, that of the genres discussed from the piano piece to the opera. A detailed register and a survey of the chief works referred to make this book an indispensable companion for both scholars and laymen. About the German edition of this book: «In Floros’ book all these details unite to form a magnificent mosaic. Individual works discussed meet us in an entirely new light, and we begin to decipher the language of music with a different set of tools.» (Helmut Peters)Table of ContentsListening: not merely an «inner vision» – Active Listening – Historical Aspects – Stirring and Calming Music – Emotional Listening – Psychological Categories – Exemplary Semantical Analyses – The list of composers adduced extends from Wolfgang Amadeus Mozart to Leonard Bernstein.

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Book SynopsisThis book is the first monographic study of nineteenth-century transcriptions of Chopin's music. The work is based on the quantitatively and qualitatively rich source material, which formed the basis for considerations from the perspective of social history, music analysis and aesthetics. Thanks to these multiple perspectives, as well as the time range and the source base, this study may contribute to the history of the reception of Chopin’s work in nineteenth-century culture; it may also prove significant in overcoming the attitude that aesthetically deprecates transcriptions and in adopting a different stance, regarding such adaptations as valuable texts of musical culture.Table of ContentsSources to the reception of Chopin’s music in the nineteenth century – Systematics of nineteenth-century transcriptions of works by Chopin – Transcriptions as a form of the manifestation of artistic values: Trivialmusik?

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Book SynopsisIt is the first monograph in which the concertos of all composers active in this field in the Republic of Venice in the years 1695–1740 are methodically discussed. The Venetian instrumental concerto from Vivaldi’s time is portrayed here through an extensive and thorough survey of the most complete and representative musical material that allowed for the making of conclusions as to its typology, form, style and technique. The concertos discussed here include 974 works by fifteen composers active in Venice, Brescia, Bergamo and Padua. Such an approach not only gives an exhaustive but also a more objective view on the history of the Baroque concerto in its Venetian variant. It shows Vivaldi’s work in a new and broad context, which allows us to better understand its unique character.Table of ContentsThis book discusses such issues, as genre typology, scoring, texture, form, tonal strategies, style, the use of polyphony, vocal influences, illustrative, programmatic, dance and extra-musical elements, borrowings, instrumental idiom and virtuosity.

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Book SynopsisDas Werk greift eine Thematik auf, die sich im Schnittfeld zwischen Soziologie, Theologie und Religionswissenschaft bewegt und ist dementsprechend interdisziplinär angelegt. Das Thema schließt eine Lücke in der Erforschung des Phänomens der Beatles und der Beatlemania, mithin eines für die 1960er Jahre prägnanten und eines die Folgezeit prägenden musikalischen, soziologisch-sozialkritischen und weltanschaulich-religiösen Impulses mit enormer Breitenwirkung. Beim Autor vereinen sich umfängliches Wissen über das Sujet und Passion. Man liest es dem Buch an, dass es von jemandem geschrieben wurde, der für das Thema brennt und sich über einen langen Zeitraum damit auseinandergesetzt hat. Im Rahmen seiner beruflichen Laufbahn kam es zu Begegnungen und Interviews mit Sir Paul McCartney, Linda McCartney, Yoko Ono, Pete Best, Donovan, Brian Wilson, Sir Ringo Starr, Olivia Harrison, Julian Lennon, Sean Ono Lennon, Tony Sheridan, Klaus Voormann und anderen Interviewpartner aus dem unmittelbaren Umfeld der Beatles, ohne die dieses Buch so nicht entstanden wäre. Ein Muss für die soziologische und religionswissenschaftliche Analyse der 1960er Jahre, aber natürlich auch für Beatles-Forscher und Musik-Fans gleichermaßen.

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Book SynopsisThis investigation of Polish, Jewish, and German sources demonstrates the roles of music in occupied Poland. Its former citizens had their access to music controlled by the Nazi Ministry of Propaganda. It was rationed as other goods, depending on racial (i.e. also legal) status. Official music performances served as a propagandistic tool to further divide the Nazi-segregated population. Music played clandestinely embodied resistance. It restored the sense of community and helped save musicians persecuted as Jews, like Władysław Szpilman. The documents analyzed in the monograph confirm the dehumanization of prospective victims, mixed with a narcissistic self-righteous view of Nazi songs and propaganda ultimately led to the organized presence of music in the Holocaust sites.Table of ContentsNazi pseudo-musicology – Occupied Poland – Holocaust – Music in Occupied Poland – Nazi propaganda – music as resistance

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Book Synopsis

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Book SynopsisMit diesen beiden Neuausgaben aus der beliebten Reihe Schott Student Edition setzen die Komponistinnen Amy Beach und Narcisa Freixas die Tradition erfolgreicher Klavier-Zyklen des 19. Jahrhunderts für junge Spieler:innen fort. Die Tänze und Charakterstücke eignen sich hervorragend für Unterricht und erste Vorspiele. Ausgewählt und herausgegeben wurden die fantasievollen Kompositionen von Melanie Spanswick, die das Repertoire um Fingersätze, Tempo- und Pedalangaben ergänzte und spielpraktische Anleitungen zu allen Stücken verfasste. Besetzung:pianoop. 25

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Book SynopsisFrom the Beatles to Beck, Sinatra to Sam Smith, a parade of era-defining artists have passed through the doors of the Capitol Records Tower, one of Hollywood’s most distinctive landmarks and home to one of the world’s most defining labels for the past 75+ years.To commemorate this extraordinary history of recorded music, TASCHEN presents this official account of Capitol Records, from its founding year of 1942 to today. With a foreword by Beck, essays by cultural historians and music and architecture critics, as well as hundreds of images from Capitol’s extensive archives, we follow the label’s evolution and the making of some of the greatest music of the 20th and 21st centuries. Through pop, rock, country, classical, soul, and jazz, the photographic and musical history includes the label’s most successful, cool, hip, and creative stars, as well as the one-hit wonders who had their all-too-brief moments in the spotlight.Along the way, we encounter the likes of Miles Davis, Nat King Cole, the Kingston Trio, and Frank Sinatra in Capitol’s first 20 years; the Beach Boys, the Band, and the Beatles in the 1960s; global rock magnets Pink Floyd, Wings, Steve Miller Band, Bob Seger, and Linda Ronstadt in the 1970s; Beastie Boys, Duran Duran, Radiohead, and Bonnie Raitt in the 1980s and 1990s; and such contemporary stars as Coldplay, Katy Perry, and Sam Smith. An unmissable milestone for music lovers, Capitol Records is a live and kicking celebration of the mighty giant of the industry that created the soundtrack to generations past, present, and future.

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Book SynopsisFollowing the success of Jazz Covers, this epic volume of groove assembles over 500 legendary covers from a golden era in Black music. Psychedelia meets Black Power, sexual liberation meets social conscience, and street portraiture meets fantastical cartoon in this dazzling anthology of visualized funk and soul. Gathering both classic and rare covers, the collection celebrates each artwork’s ability to capture not only a buyer’s interest, but an entire musical mood. Browse through and discover the brilliant, the bold, the outlandish and the sheer beautiful designs that fans rushed to get their hands on as the likes of Marvin Gaye, James Brown, Curtis Mayfield, Michael Jackson, and Prince changed the world with their unique and unforgettable sounds. Featuring interviews with key industry figures, Funk & Soul Covers also provides cultural context and design analysis for many of the chosen record covers.Trade Review“An essential record of the music, design and lifestyle of this era.” * Der Standard *“Iconic and long-forgotten album jackets… showing off the golden age of urban grooves.” * Boston Herald *“This is about as funky as a chicken with Ray-Bans watching Ferris Bueller while starring in a Rick James video.” * Record Collector *

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