Music Books
University of California Press Beyond Reason
Book Synopsis
£32.30
University of California Press The Composers Black Box Making Music in Cybernetic America
a huge range and FREE tracked UK delivery on ALL orders.
£64.00
University of California Press How Hip Hop Became Hit Pop
Book Synopsis
£64.00
University of California Press Music Streaming around the World
£64.00
John Wiley & Sons Inc The Eastman Theatre
Book SynopsisThe Eastman Theatre: Fulfilling George Eastman's Dream provides a stunning celebration of the history and renovation of the Eastman Theatre in Rochester, New York. The book is richly illustrated with period imagery as wellas breathtaking photographs by award-winning photographer Andy Olenick. Part one of the book presents the importance of music to George Eastman; part two traces the development of the Eastman School of Music; and part three bringsthe story to the present day, focusing on the Rochester Philharmonic Orchestra, the Eastman Theater, and the Eastman School of Music. Elizabeth Brayer lives in Rochester, NY. She has served on both the George Eastman Legacy and the Landscape committees at the George Eastman House, International Museum of Photography and Film. She writes about the history of central and Western New York State and is author of George Eastman: A Biography (University of Rochester Press).
£29.69
John Wiley and Sons Ltd The Blackwell History of Music in Britain Volume
Book SynopsisThe music of the sixteenth century has been rediscovered regularly since its composition. It was an especially fertile period for English music in particular, and to put the century in a historical and musicological perspective, this volume spans the era from 1485 to 1625, although in order to provide context and perspective the contributors range back to the middle of the fifteenth century and towards the end on the seventeenth. The book opens with a history of music and musicians in Tudor England, covering composition and performance, as well as the changing functions of music over the period. Two chapters are dedicated to sacred and church music. They cover the last years of Pre-Reformation England (especially the music of Fayrfax, Ashwell, Taverner, and the organ music of Redford, Preston and Rhys), the composers who span the charge to Anglicanism (for example Sheppard and Tallis) and those (such as Tye, Byrd, Morley, Weelkes, Hooper and Gibbons) who helped lay the foundations Table of ContentsIntroduction: the intellectual climate. 1. Composition. 2. Transmission. 3. Performance. 4. Reception: Roger Bray. 5. Sacred Music in Latin: Roger Bray. 6. Sacred Music in English: John Morehen. 7. Secular Song: Tim Carter. 8. Keyboard Music: Keith Elcombe. 9. Ensemble Music: John Harper. Index.
£162.85
Harvard University Press Purvarcika
Book SynopsisThe Samaveda contains the earliest tradition of music from India. It presents largely Rigvedic textual material in a form arranged for singing in the solemn Srauta ritual. This edition is based on manuscripts collected from all over India and Europe. B. R. Sharma presents the accented text, its Padapatha, and commentaries.
£71.36
Harvard University Press The Harvard Concise Dictionary of Music
Book Synopsis
£25.16
Harvard University Press Jump Jim Crow Lost Plays Lyrics and Street Prose
Book SynopsisBeginning in the 1830s, white actor Thomas Rice took to the stage as Jim Crow, and the ragged and charismatic trickster of black folklore entered—and forever transformed—American popular culture. Jump Jim Crow brings together for the first time the plays and songs performed in this guise and reveals how these texts code the complex use and abuse of blackness.Trade ReviewLhamon’s new Jump Jim Crow: Lost Plays, Lyrics, and Street Prose of the First Atlantic Popular Culture is a monumental labor of textual reconstruction matched by a long and extraordinary introduction. -- Robert Christgau * The Believer *Lhamon provides a superb follow-up to his outstanding Raising Cain: Blackface Performance from Jim Crow to Hip Hop. This study focuses on the character of Jim Crow (a ‘cultural collage’) as evolved largely by actor Thomas D. Rice (1806–1860), before the meaning of the name became chiseled in stone… At the heart of the book are expertly and thoroughly edited texts of thirteen songs, nine plays (including the never-published Otello), and two street prose versions of Jim Crow’s life. These, along with illustrations and a perceptive, many-layered, and lengthy analytical introduction, make for the most complete offering of primary sources and criticism available to lead readers toward an understanding of these complex texts, their coding, and the controversial figure of Jim Crow. -- D. B. Wilmeth * Choice *In the developing field of Atlantic proletarian studies, and the associated study of minstrelsy and the minstrel stage, Jump Jim Crow is a milestone. Lhamon’s discovery of and scholarship upon the songs and plays is admirably painstaking and in many ways groundbreaking. He has made it easier to imagine this early stage of minstrelsy as a confluence of free-floating vernacular material with the local struggles among urban proto-classes; cliques, gangs, parties, and publics in the 1820s and ’30s. He has, in other words, built foundations under Constance Rourke’s intuition of sixty years ago that Jim Crow belongs with Crockett and Fink on the frontier—literally and figuratively—of the market revolution. Much of what has been theorized or imagined about the popular culture of the 1830s and ’40s from Rourke onwards emerges with new freshness and clarity in these texts, and some that has not yet been either theorized or imagined. -- Robert Cantwell, author of Bluegrass Breakdown and When We Were GoodScholars are belatedly coming to realize that minstrelsy is the source of much that we value in American vernacular music and much that we abhor in views that many white Americans have held and still hold toward African Americans. If we are to begin to understand either of these consuming issues, we must address minstrelsy. The topic is, in brief, of immense social, political, and cultural importance. Lhamon is the first to do full justice to the life, work, and politics of T. D. Rice, the most important early blackface minstrel, and his book is the first to collect in one resource extant plays and lyrics by Rice, many of which Lhamon has rediscovered. This book makes an important and impressive contribution to the field. -- Dale Cockrell, author of Demons of Disorder and Pasticcio and Temperance Plays in AmericaTable of ContentsPreface List of Illustrations Introduction: An Extravagant and Wheeling Stranger Lateral Sufficiency Gumbo Cuff and the New York Desdemonas Change the Joke and Slip the Stereotype The Phases of Jim Crow's Runaway Stage Songs "Coal Black Rose" "The Original Jim Crow" "Jim Crow, Still Alive!!!" "Dinah Crow" "Jim Crow" (London) "De Original Jim Crow" "Jim Crow" (Boston) "All de Women Shout Loo! Loo!" "Clare de Kitchen" "Gombo Chaff" "Sich a Gitting Up Stairs" "Jim Crack Corn, or the Blue Tail Fly" "Settin' on a Rail, or, Racoon Hunt" Plays Oh! Hush! or, The Virginny Cupids! Virginia Mummy Bone Squash Flight to America The Peacock and the Crow Jim Crow in His New Place The Foreign Prince Yankee Notes for English Circulation Otello Street Prose "Life of Jim Crow" "A Faithful Account of the Life of Jim Crow the American Negro Poet" Notes Acknowledgments Index
£59.46
Harvard University Press Symphonic Aspirations German Music and Politics
Book SynopsisPainter examines the politicization of musical listening in Germany and Austria, showing how nationalism, anti-Semitism, liberalism, and socialism profoundly affected the experience of music. She draws on extensive writings on the symphony, particularly those of Mahler and Bruckner, to offer evidence that music can and did serve ideological ends.Trade ReviewFamiliar questions are addressed to freshly illuminating effect in Karen Painter’s Symphonic Aspirations: German Music and Politics, 1900–1945, one of the first books in English to take a wider historical view of the phenomenon of the politicization of classical music in Nazi Germany. -- Terry Teachout * Commentary *Table of ContentsIntroduction Part I: Tradition in a Modern Age: Bruckner and Mahler at the Fin de Siecle 1. Symphonic Idealism in Crisis 2. Symphonic Conventions of a World Past 3. Sensuality and Redemption Part II: The Politics of Tradition: Mahler and Bruckner, 1914-1933 4. Mahler's Progressive Legacy and the Aestheticization of Violence 5. Bruckner's Nationalist Legacy and the Aestheticization of Space Part III: Symphonic Traditions under National Socialism 6. Hindemith's Mathis der Maler Symphony and Symphony Ambitions under National Socialism 7. Symphonic Defeat Notes Index
£56.91
Harvard University Press Bach
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£37.36
Harvard University Press Three Songs Three Singers Three Nations
Book SynopsisGreil Marcus delves into three distinct episodes in the history of American commonplace song and shows how each one manages to convey the uncanny sense that it was written by no one. In these seemingly anonymous productions, we discover three different ways of talking about the United States, and three separate nations within its borders.Trade Review[This] volume find[s] Marcus doing what he does best: hearing what you didn’t hear or nailing precisely what you did. -- David Cantwell * New Yorker *[Marcus’s] book is a prose poem describing American popular culture’s embodiment in the media. -- Nigel Smith * Times Literary Supplement *[Three Songs, Three Singers, Three Nations is] wonderful: emblematic of Marcus’s interest in how words and melodies find truths that survive the centuries, or appear likely to… He just makes your spine tingle with the feeling he has for music and the things he can perceive in it. -- Danny Eccleston * Mojo *Superb. -- Rob Sheffield * Rolling Stone *Greil Marcus may be the single most influential American music critic of the past half century. A compelling stylist and seemingly omnivorous listener, reader, and viewer of Americana, he teases out echoes of American art and of U.S. history’s spiritual dimensions to find a depth in pop forms that few others seek as seriously… Brisk and brilliant. -- Josh Garrett-Davis * Los Angeles Review of Books *Three Songs, Three Singers, Three Nations is elegant and focused… [It] examines the commonplace as a subject and a way of being, as a language anyone might use and a way of listening that’s true to ordinary life and all its plainness, order, customs, and moments of the unexpected. The ordinary begins with performance, the singer’s work, and in Three Songs, Three Singers, Three Nations, Marcus is keenly attuned to the details of that work—to words but also to sounds, the way notes drop off, rhythms shift, the way a guitar (Wiley’s) can be ‘round, heavy, a stone that in an instant sinks to the bottom of a lake.’ …Few risk writing this way about music anymore; it’s alien, almost obscene to give inflection the weight of meaning it receives here. -- Robert Loss * Los Angeles Review of Books *Wildly, lyrically, Marcus writes in Three Songs of seemingly ‘authorless’ compositions—songs by no one that belong to everyone, that change as they appear and reappear with new interpreters… In this alluring mystico-musicology, songs bend singers to their disembodied will, not vice versa. -- Sara Marcus * New Republic *Greil Marcus walks a fine line between grand, romantic, almost dreamy poetic prose and analysis. The enterprise could easily have turned purple, but he does it with consummate skill: distinctive and readable, capturing the sense of a nation haunted by its songs. And the notion that the ultimate accolade might be an artist’s work acquiring anonymity is all the more resonant in an age of cheap fame. -- Steven Carroll * Sydney Morning Herald *Three Songs, Three Singers, Three Nations is a beautiful and hypnotic treatise about how songs journey from origin to ether, from nowhere to everywhere, from a single voice to a common one. As always, Marcus writes with an exhilarating musicality that posits the reader inside the notes, directly upon the sonic road itself, at once both visceral and transcendent. -- Carrie BrownsteinGreil Marcus remains pop’s most visionary writer, following the thread that flows like the ghostly Mississippi beneath America’s musical traditions. He’s always essential reading. -- Bruce Springsteen
£32.36
Harvard University Press Political Disappointment
Book SynopsisSara Marcus argues for the emancipatory potential of political disappointmentthe unrealized desire for liberation. Exploring literature and sound from Reconstruction to Black Power, from the Popular Front to second-wave feminism and the AIDS crisis, Marcus shows how moments of defeat have inspired new ensembles of art and activism.Trade ReviewMarcus’s dazzling close readings go a long way toward supporting the idea that political disappointment quite literally ‘found form’ in art, literature, and music, meaning as a place for these sentiments to lodge themselves. Marcus goes beyond merely placing the works in their historical contexts; she harvests historical contexts from within the works themselves. -- Lynne Feeley * The Nation *Marcus shows the ways in which Black activists and writers, in particular, have continued to express their political desires. In doing so, she draws our attention to the centrality of disappointment in American political life. -- Keeanga-Yamahtta Taylor * New Yorker *[This] book has the power to rouse readers out of their disenchantment long enough to consider how a variety of writers and artists since Reconstruction repurposed their sense of failure and frustration into new forms of artistic expression. -- Jennifer Ratner-Rosenhagen * Yale Review *In Political Disappointment, Marcus offers an alternative perspective on the mental state of society’s chronic political losers. The book looks at the tendency to dwell in thwarted desire but focuses less on the pathology in that dwelling than on its potential…Marcus is indeed a careful reader and an elegant theorist. -- Amber Husain * Bookforum *Political Disappointment is an abundant text, overflowing with Sara Marcus's considerable gifts. She is adept at presenting history and narrative with equal clarity; her writing is urgent but also optimistic. This is a book that is sometimes painful but never sacrifices hope or beauty. -- Hanif Abdurraqib, author of A Little Devil in AmericaSara Marcus captures a polyphonic chorus of disappointed voices from American radical history in order to illuminate the transformations that such disappointment made possible. In a time of frustrated grief, her work offers grounds for the kind of optimism we need now–one based in a rigorous examination of failure. -- Sarah Jaffe, author of Necessary Trouble and Work Won’t Love You BackIn an elegant but earned reversal of conventional wisdom, Sara Marcus presents a new reading of American political culture in which disappointment, not hope, assumes its pride of place. Striking chords much deeper than most contemporary critiques of ‘toxic optimism,’ Marcus’s musical writing plays the changes on all our political losses, moving us to the wordless place beyond them. -- Tavia Nyong’o, author of Afro-Fabulations: The Queer Drama of Black LifeSara Marcus beautifully and convincingly argues that the embrace of loss is the political technique of disappointment, while the possibility for dawn’s break in concert with our kindred—chosen or inherited, living or dead—is its gift. Political Disappointment is an incredible contribution, a needed tool, and a skillful act of caretaking. -- Shana L. Redmond, author of Everything Man: The Form and Function of Paul RobesonDisappointment haunts the American left. In this tour de force, Sara Marcus stares it down and discovers the generative possibilities that emerge from defeat. Whether it’s an Audre Lorde poem, a David Wojnarowicz painting, or the ‘sonic burrs’ in a Leadbelly song, Marcus reveals the solidarities generated by defeat and how they animated the freedom dreams of some of the twentieth century’s most enduring artists and activists. A stunning and timely cultural history. -- Alice Echols, author of Daring to Be Bad: Radical Feminism in America, 1967–1975In the perilous times we inhabit, both utopian and dystopian visions are resurgent in art and criticism alike. Drawing energies from both, Sara Marcus’s generous, capacious study also points beyond them, to how artistic work from Reconstruction’s failure forward spoke eloquently of disappointment—and thus of a stance able to face a moment’s limitation squarely as a means of envisioning next moves. In this book’s inspired retelling, music—both literal and literary—becomes central to US political history, for its unparalleled ability to body forth expressions of the very shape of time. -- Jennifer L. Fleissner, author of Maladies of the Will: The American Novel and the Modernity Problem
£30.56
Harvard University Press Essays on Medieval Music in Honor of David G.
Book SynopsisThis collection of essays presents a broad spectrum of current research that will interest students of medieval music, history, or culture. Topics include a comparison of early chant transmission in Rome and Jerusalem, the relationship between the earliest chant notation and prosodic accents, and conceptualizing rhythm in medieval music and poetry.
£32.36
Harvard University Press Harvard Dictionary of Music Second Edition
Book SynopsisA classic and invaluable reference work for over 30 years. Soon after its initial publication, the Harvard Dictionary of Music was firmly established as a standard and essential resource for everyone concerned with music. The product of exceptional scholarship, it was praised as being comprehensive, concise, authoritative, scholarly, and enjoyable.Trade ReviewExcellent before, the Harvard Dictionary is better now, and remains the ideal piano-top reference for every musician, whether dilettante, serious amateur or working professional…informative and reliable…holds its place at the top of its one-volume class. * The New York Times *Easily the best one-volume reference source of its kind. * Los Angeles Times *[A] highly satisfying book of musical knowledge, in which basic definitions are given with fine intellectual integrity, and musical facts are carefully separated from plausible deductions or theories. * Christian Science Monitor *Authoritative in its scholarship, comprehensive in its coverage, and commendably concise in its style…a treasurehouse of musical knowledge which should be an integral part of every music library. * Saturday Review Syndicate *The music book of the year. * Library Journal *
£52.66
Harvard University Press Just around Midnight Rock and Roll and the
Book SynopsisWhen Jimi Hendrix died, the idea of a black man playing lead guitar in a rock band seemed exotic. Yet ten years earlier, Chuck Berry had stood among the most influential rock and roll performers. Why did rock and roll become white? Jack Hamilton challenges the racial categories that distort standard histories of rock music and the 60s revolution.Trade ReviewFrom Little Richard and Chuck Berry to the Dominoes, Ike Turner, and Howlin’ Wolf, rock and roll’s founding figures were African American, yet ‘rock’ as we know and hear it now is coded white…In some of his sharpest passages, Hamilton shows how much rockism’s whiteness depended on [the] confining ideas of blackness…He contributes a new and valuable piece to a larger and still contentious project: the struggle against the essentialization of racial and ethnic identity. -- Colin Vanderburg * Los Angeles Review of Books *Ambitious and rewarding… Just around Midnight seeks to tell the story of [black] erasure [from rock ‘n’ roll], and it does so quite compellingly by bringing together artists and songs that our implicitly segregationist narratives have encouraged us to keep apart. -- Kevin J. H. Dettmar * Chronicle of Higher Education *Extraordinary…Hamilton doesn’t pretend to have all the answers in Just around Midnight but he asks all the right questions. It challenges so much of what we’ve taken for granted about rock and roll history that one reading won’t do…Any future book that deals with the social and racial aspects of popular music in the 20th century will have to contend with Just around Midnight. The bar has been raised. -- Adam Ellsworth * Arts Fuse *Brilliant…[A] valuable engagement with the unheard narrative of race in rock and roll. -- Emma Rees * Times Higher Education *To the age-old cries that ‘rock is dead,’ Jack Hamilton’s book says, ‘Think again!’ Just around Midnight considers the often-elided racial mythologies, cross-cultural intimacies, and racially-charged aesthetic obfuscations that haunt the foundations of American popular music culture. For anyone who remains easily seduced by the romance of Rock and Roll Hall of Fame canon-building, this book is a necessary read. -- Daphne Brooks, Yale UniversityThis new listening to the black-and-white racial politics of rock in the 1960s is full of rich insights, provocative thinking, and persuasive writing. As the revolutions of critical race and ethnic studies continue to reveal new generations of critics born in their wake, revisitations of rock history like this one will be crucial to rethinking the musical past. -- Josh Kun, University of Southern CaliforniaAs musically detailed as it is theoretically expansive, Just around Midnight reveals that popular music of the 1960s was defined by more vibrant interracial collaborations and more violent anti-black erasures than we could have imagined. This is a beautifully written and provocatively argued work of intellect, heart, and soul. -- Emily Lordi, University of Massachusetts AmherstAs Jack Hamilton makes clear in this exceptionally perceptive work, the most common way to talk about race in rock music is to not talk about it at all…Hamilton’s text is bold, sophisticated, and brilliant. For anyone looking for a book challenging conventional narratives of music history, this is a fantastic candidate. -- Joshua Friedberg * PopMatters *
£22.46
Harvard University Press IVI
Book Synopsis
£179.96
Harvard University, Department of Music,U.S. Massimo Puppieno
Book SynopsisIn this fifth volume of the series, Colin Slim provides a definitive edition of Massimo Puppieno, an opera from the middle years of Scarlatti's career. In his Introduction he discusses the opera and performance practices of the day.Trade ReviewFor the study of the history of music, the most important event of the 1970s has been the start of a critical edition of Alessandro Scarlatti’s operas, under the direction of Donald Jay Grout. -- Charles Rosen * New York Review of Books *[The edition is] warmly to be welcomed. A major musicological event. * Early Music *The editions are handsomely presented…this series performs a valuable service. * Notes *Historians and performers alike welcome the long-overdue edition of Scarlatti’s operas—an edition at once practical and unquestionably scholarly. * Opera Journal *Table of ContentsIntroduction MASSIMO PUPPIENO Atto Primo 1a. (Aria a 2 voci (Puppieno, Claudia) "Notte cara e bramata / Sposo caro 1b. e adorato" 2. Recitativo (Puppieno, Claudia) "Dall'Africa abbronzata" 3. Recitativo (Flavio, Puppieno, Claudia) "Cesare, non e pifi tempo" 4. Recitativo (Elio, Puppieno, Claudia) "Sovrano augusto ai cenni tuoi m'inchino" 5. Aria (Eli) "Vanne invitto, e di tua spada" 6. Recitativo (Puppieno, Flavio) "Flaviol"Signorl" 7. Aria (Flavio) "Le trombe suonino" 8. Recitativo (Puppieno, Elio, Claudia) "Elio fedel, tu con falange armata" 9. Aria (Puppieno) "Vago mio sole non lacrimar" 10. Recitativo (Elio, Claudia) "Claudia, non disperarl Giove, ch'e giusto" 11. Aria (Claudia) "La speranza che porte nel seno" 12. Recitative (Elio) "Con Claudia dentro di Roma" 13. Aria (Elio) "No, non so vivere lontano" 14. Aria (Sulpizia) "Son guerriera e sono amante" 15. Recitativo (Sulpizia, Gilbo) "Ascolta Gilbo. Jo voglio" 16. Aria (Gilbo) "Faro quanto poss'io" 17. Aria (Sulpizia) "Amor, che saetta" 18. Aria (Massimino) "Alba lucida, che dal Gange" 19. Recitativo (Decio, Massimino) "Monarca eccelso" 20. Aria (Massimino) "Chi mi spoglia il regio crine" 21. Recitativo (Decio) "Folle e costui, se crede" 22. Aria (Decio) "Chi alla patria e fedel" 23. Recitativo (Sulpizia, Gilbo) "Or che la Sorte, o Gilbo" 24. Aria (Sulpizia) "Coder spera il mio cor" 25. Recitative (Flavio, Gilbo, Sulpizia) "Che miro, o diol" 26. Aria (Flavio) "Mi sarai sempre caro" 27. Aria (Sulpizia) "Per servirti ho l'alma forte" 28. Aria (Puppieno) "Crudo ciel! Stelle avverse! Empio destino!" 29. Recitativo (Puppieno) "Ma che? Qual nuovo Anteo" 30. Aria (Claudia) "Sotto finta e rozza veste" 31. Recitative (Puppieno, Claudia) "Claudia? Claudia?" "Che scorgo? 0 Dio!" 32. Duetto (Claudia, Puppieno) "Coraggio mia vita / Mia speme gradita" 33. Recitative (Decio) "Mi tradisti, o Fortuna!" 34. Recitativo (Massimino, Decio) "Decio !"Mio reger" 35. Aria (Massimino) "Squarcero ii diadema dalla fronte" 36. Recitative (Claudia, Massimino, Puppieno) "Alto signer, se in te pieta s'annida" 37. Recitative (Claudia, Massimino) "Empi fermate! 0 Dei!" 38. Aria (Massimino) "Ti vincera coi baci" 39. Aria (Claudia) "Non mi parlar d'amere" 40. Recitative (Massimino, Claudia) "SI cruda sei" Atto Secondo 41. Aria (Sulpizia) "Speranze del core non mi tradite, no" 42. Recitativo (Gilbo, Sulpizia) "Signora a te anelante" 43. Recitative (Flavie, Gilbo, Sulpizia) "Floro svenuto?" 44. Recitative (Sulpizia, Flavio) "Flavio, che ti centurba?" 45. Aria (Flavio) "All'armi d'un bel volto" 46. Recitativo (Cube, Flavio, Sulpizia) "Signor, gran nuova arreco" 47. Recitativo (Elio, Plavio) "Rifiuto della morte" 48. Recitativo (Sulpizia, Elio, Gilbo, Flavio) "Son qui signor" 49. Aria (Flavie) "Se m'assiste la Fortuna" 50. Recitativo (Cilbe, Sulpizia, Elie) "Or che Flavio parti, costui lusinga" 51. Aria (Sulpizia) "No, non credo infida al riso" 52. Recitativo (Sulpizia, Gilbo, Elio) "Infida a me?" 53a. Aria (Elio) 'Piu non voglio al cor sespetti" 53b. Aria (Sulpizia) "Si, ch'e cieco il tuo Cupido" 54. Recitativo (Elie, Gilbo) "Cube amico, dehi Dimmi" 55. Aria (Elio) "Guidami Amore dove il piacere trovi ii mio cor" 56. Recitativo (Cube) "Povero amante, ei crede" 57. Aria (Cube) "Poveri amanti e sciocchi" 58. Aria (Puppieno) "Cieca Sorte, il giro instabile" 59. Recitativo (Puppieno) "Ecco dove condotto e un imperante!" 60. Aria (Puppiene) "Vivo sperando nel suo candor" 61. Recitativo (Claudia, Massimino, Puppieno) "Lasciami!"Questo no!" 62. Recitative (Decio, Claudia, Massimino) "Alto signer, ambasciator nemico" 63. Duetto (Massimino, Claudia) "Delle poma di quel seno / Avro il cor lieto e sereno" 64. Recitativo (Claudia) "0 stelle! E quando mai" 65. Aria (Claudia) "Mi combatte in mar d'affanni" 66. Recitativo (Decio, Elio, Flavio) "Nobil roman, con queste tue donzelle" 67. Aria (Flavio) "Assistimi o Destine" 68. Recitativo (Sulpizia, Elio) "Signor, in questi arnesi" 69. Recitative (Gilbo, Sulpizia, Flavie, Elie) "Un malan che vi pigli" 70. Aria (Massimino) "Di fulmini armato" 71. Aria (Massimino) "Voi che stupiti qui state" 72. Recitativo (Elio, Massimine, Flavio, Sulpizia, Gilbo) "Monarca eccelso, al cui fulmineo brando" 73. Aria (Sulpizia) "Quest'alma e questo core" 74. Recitative (Massimino, Flavie) "Tu ancor bella Domizia" 75. Recitative (Claudia, Massimino) "Invitto re, se un dure cor giammai" 76. Aria (Claudia) "Purche resti fra le pene" 77. Recitative (Massimine) "Con le vaghe denzelle" 78. Aria (Massimine) "Ruba ogni alma e l'incatena" 79. Aria (Puppieno) "Piangi la tua sventura" 80. Recitativo (Puppiene) 'Ma, e die? Questa mia salma" 81. Recitativo (Decio, Claudia, Puppieno) "Alba, ecco l'antro, dove" 82. Duetto (Claudia, Puppieno) "0 Numi superni I A voi sugli altari" Atto Terzo 83. Aria (Massimino) "Questo globo che rotondo" 84. Recitativo (Massimino, Sulpizia, Plavio) "Belle, perche si meste" 85. Aria (Flavio) "Anco Amor pescando Va" 86. Aria (Sulpizia) "Faccia Amore quanto puo" 87. Recitativo (Massimino, Sulpizia, Flavio) "Perche?" "Sacrai quest'alma" 88. Duetto (Flavio, Massimino) "A tanto onore / Vuo su quel labbro" 89. Recitativo (Sulpizia) "Va' pur: folle non sal" 90. Aria (Sulpizia) "Ardo, sospiro, e peno" 91. Recitativo (Elio, Sulpizia) "Sulpizia, ora comprendo" 92. Aria (Sulpizia) 'In amor poco, poco l'intendi" 93. Recitativo (Elio) "Ah! Se meco si sdegna" 94. Aria (Elio) "Con le donne che son belle" 95. Recitativo (Gilbo, Elio) "Felice incontro !"Amico" 96. Minuet (Elio) "Se ml gradisce il mio tesor" 97. Recitativo (Gilbo) "Che bel pezzo di semplice e costui" 98. Aria (Gilbo) "Porta un umore" 99. Aria (Puppieno) "Freddi sassi, che stillate" 100. Recitativo (Decio, Puppieno) "Cesare, non temer! Con Claudia ascoso" 101. Recitativo (Puppieno, Claudia) 'Claudial"Mio sposo!" 102. Duetto (Claudia, Puppieno) "Dormi, o caro, e in dolce oblio / Tu ancor posa amato bene" 103. Aria (Ombra di Gordiano) "Dormi o Puppieno, allor che veglia il Fato" 104. Recitativo (Puppieno, Claudia) "Cieli, Numi, che vidi? Claudial" 105. Aria (Claudia) "Spera, che la speranza" 106. Aria (Puppieno) "Voglio sperar, si, Si" 107. Duetto (Claudia, Puppieno) "Spera mio ben, th, si / Voglio sperar, Si, SI" 108. Recitativo (Elio, Decio) "To roman?" 'b roman" 109. Aria (Decio) "A tiranno si spietato" 110. Recitativo (Elio, Flavio) "Signor!"E questo il tempo" 111. Aria (Elio) "Vado per ritornar" 112. Recitativo (Sulpizia, Flavio, Elio) "Flavio min cor, e dove" 113. Recitativo (Gilbo, Sulpizia, Elio) "Elio, Sulpizia: presto" 114. Aria (Elio) "Si, bella, si" 115. Recitativo (Sulpizia) "Segui dunque d'amar, che avra tua fede" 116. Aria (Gilbo) "Caro signore" 117. Recitativo (Massimino, Elio) "Numi! Aita, son morto!" 118. Recitativo (Flavio, Elio) "Elio?" "Signor!" "Ho vinto!" 119. Recitativo (Massimino) "Dove sei traditrice? Una donzella" 120. Recitativo (Sulpizia, Gilbo) "Udisti? Akin trafitto" 121. Aria (Sulpizia) "Cento vezzi e cento frodi" 122. Recitativo (Gilbo) "Sulpizia, con parlare" 123. Aria (Gilbo) "E la voglia di prender la moglie" 124. Duetto (Eio, Decio) "Viva Puppieno, viva!" 125. Recitativo (Flavio) "Or che giace trafitto" 126. Recitativo (Sulpizia, Elio, Flavio, Gilbo) "Agli applausi sonori" 127. Aria (Elio) 'Fortunato io sarb tra le mie pene" 128. Recitativo (Sulpizia, Decio) "Non piu! Cesare viene" 129. Recitativo (Flavio, Decio, Elio, Gilbo, Puppieno) "Al Cesare di Roma!" 130. Aria (Claudia) "Dolce sposo, amato Nume" 131. Aria (Sulpizia) Viva ii Cesare di Roma!" Appendix. Additional and Alternative Numbers A1. Aria (Flavio) "Di trornbe guerriere" A2. Aria (Decio) "Ti daM la liberti" A3. Duetto (Massimino, Claudia) "Delle poma di quel seno I Avro il cor lieto e sereno" A4. Aria (Massimino) "Di due pupille i strali" Libretto Critical Notes are available from the Isham Memorial Library, Department of Music, Harvard University
£34.81
Harvard University, Department of Music,U.S. Gli Equivoci nel Sembiante
Book SynopsisGli Equivoci nel Sembiante (1679), Scarlatti's first opera, is a comedy of mistaken identities and amorous intrigue in the pastoral mode. It was one of the most popular works of the composer's career. In preparing the score, D'Accone compared the 6 extant manuscripts. His Introduction sketches the opera's history and discusses performance practice.Trade ReviewFor the study of the history of music, the most important event of the 1970s has been the start of a critical edition of Alessandro Scarlatti’s operas, under the direction of Donald Jay Grout. -- Charles Rosen * New York Review of Books *[The edition is] warmly to be welcomed. A major musicological event. * Early Music *The editions are handsomely presented…this series performs a valuable service. * Notes *Historians and performers alike welcome the long-overdue edition of Scarlatti’s operas—an edition at once practical and unquestionably scholarly. * Opera Journal *Table of ContentsIntroduction 1. Sinfoniia avanti L'Opera GLI EQUIVOCI NEL SEMBIANTE Atto Primo 2. Recitativo "Seguitemi, O speranze" 3. Aria (Euriilo) (1) "Un guerrier" (2) "Marte armato" 4. Recitativo "Se della notte" 5. Aria (Eurillo) (1) "Vieni, O bella" (2) "Vieni, O cara" 6. Recitativo "Ma die miro?" 7. Aria (Clori) (1) "Porto in seno" (2) "Sempre cresce in me" 8. Recitativo "Sospirato mio flume" 9. Duetto (Clori, Eurillo) "Tu fuggi, O crudele" 10. Aria (Eurillo) (1) 'Nuovo Tantalo d'amore" (2) "Qua! nuovo Icaro" 11. Recitativo "Ma qua! sento" 12. Aria (Eurillo) (1) "Serpe crudel" (2) "Cia con sembianza" 13. Recitativo "Ma no, quietati omai" 14. Aria (Lisetta) "E una regola" 15. Recitativo "0 Lisetta sei qui?' 16. Duetto (Lisetta, Eurillo) 'SI, si, ti voglio amar" 17. lecitativo "0 guarda che ostinato" 18. Aria (Lisetta) "Per me non so intendere" 19. Aria (C!ori) "Fredda tema" 20. Recitativo "Tal io misera amante" 21. Aria (Clori) (1) "A! dispetto" (2) "Di Cupido" 22. Recitativo "Ma che piu tardi" 23. Aria (Cod) "Dormi, 0 Clori" 24. Aria (Lisetta) "Mia sorella" 25. Recitativo "Ma zitto" 26. Aria (Clori) "Dormi, 0 Clori" 27. Recitativo "Ci ho aggiunto due parole" 28. Recitativo "Pur qui mi porta" 29. Aria (Eurillo) "0 mio ben" 30. Recitativo "Qua! foglio e quello?" 31. Aria (Eurillo) (1) "Se ho d'amar" (2) "Non voglio eco" 32. Recitativo "Occhi miei, che mirate?" 33. Aria (don) 'Torna, torna in liberta' 34. Recitativo "tih, sventurata me" 35. Aria (don) (1) "Lasciami sola a piangere' (2) "Lascia che in rivi flebi!i" 36. Recitativo "Clori, amata sorella" 37. Duetto (don, Lisetta) 'b spero" Atto Secondo 38. Sinfonia 39. Recitativo "Or col dardo" 40. Aria (Clori) "Vaghe rose" 41. Recitativo "Se non sapessi" 42. Aria (Clori) 'Cig!i alteri" 43. Duetto (don, Armindo) 'Ecco Eunillo ii crudel' 44. Aria (Armindo) "Pastorella tutta bella" 45. Recitativo "Mira con che baldanza" 46. Aria (Armindo) "Fanciuletta ritrosetta" 47. Recitativo "E di qual ie ti vanti" 48. Aria (Clori) (1) "Onde, ferro, fiamme e morte" (2) "Monti, baize, orride selve" 49. Recitativo "No, no da te non chieggio" 50. Recitativo 'Dove, dove si va?" 51. Aria (Lisetta) "Non tante covano ova" 52. Recitativo "Tu ti quereli a torte" 53. Duetto (Lisetta, Armindo) "T'amo, Lisetta, si" 54. Recitativo "Contentati di questo" 55. Recitativo "E passata assai meglio" 56. Aria (Lisetta) 'b non voglio star di sotto" 57. Aria con Violini (Clori) 'tin amante" 58. Recitativo "Qui m'aggiro d'intorno" 59. Aria (Cloni) (1) "Si, si, min ben" (2) "No, no, min ben" 60. Aria (Eurillo) "V'intendo, Si" 61. Recitativo "Mio con, tu sei l'offeso" 62. Aria (Eurillo) "Vanne a colei" 63. Recitativo "Eccomi, 0 mio diletto" 64. Duetto (Clori, Eunillo) "0, quanto mendace" 65. Recitativo "Cia che con tanto ardire" 66. Recitativo "E ancor non e finita" 67. Duetto (Cloni, Eunillo) "Cioisca ii nostro core" 68a. Aria (Eunil!o) "1! piacer non e piacere" 68b. Aria (Cloni) "II dolor non e dolore" 69. Recitativo "Or che dunque s'aspetta?" 70. Duetto (Clori, Eunillo) "Son deliri d'amore" 71. Recitativo "Costante e la mia Clori" 72. Aria (Eurilo) (1) "Cia che Amor non vuol" (2) "Cia che un nume vuol" 73. Recitativo 'Se fida e la mia Cbori" 74. Aria (Eurillo) "La speranza da vita" Atto Terzo 75. Aria (Lisetta) (1) To per gioco ii pescatore" (2) "Vo pescando e preda io sono" 76. Recitativo "Lisetta sconsolata" 77. Aria (Armindo) "Mi fai pur ridere" 78. Recitativo "Per fuggir col min bene" 79. Aria (Armindo) (1) "Nel mar della speme" (2) "Un'aura soave" 80. Recitativo "Buon di, buon dl" 81. Aria (Lisetta) (1) In son in gabbia" (2) "Son nella rete" 82. Recitativo "Tamo ancor io" 83. Aria (Armindo) "Cara semplicita" 84. Recitativo "Orsu, meglio e ch'io parta" 85. Aria (Clori) "Gelosia, tu che d'inganni" 86. Aria (Armindo) "Felicissimi contenti" 87. Recitativo "E perche temer tanto" 88. Aria (Clori) "Cieli, voi che ognor vedete" 89. Recitativo "Resister piu non posso" 90. Aria (Armindo) "Ma se al fin" 91. Duetto (Clori, Armindo) "Dunque, 0 caro" 92. Recitativo "Godrai? Godremo?" 93. Aria (Clori) (1) "Vaghi rivi" (2) "Aure fresche" 94. Recitativo "Ma qui giace dormendo" 95. Aria (don) (1) "Dormi pure sogna intanto" (2) "Dormi pur e il sogno sia" 96. Recitativo "Eurillo, onmai ti desta" 97. Aria (Eunillo) "Si sveni, s'uccida" 98. Recitativo "Eurillo, e qual furore" 99. Aria (Eurillo) "Stelle scoccate" 100. Recitativo "Eunillo, e come puoi" 101. Aria (Eurillo) "011, fermate" 102. Recitativo "Si, voglio secondar" 103. Recitativo "Son gil teco" 104. Recitativo "Ci voglio esser anch'io" 105. Duetto (Cloni, Eurillo) "Ecco l'alma ti dono" 106. Recitativo "Or via, che piu s'aspetta" 107. Quartetto (Cloni, Lisetta, Eurillo, Armindo) "O nozze fortunate" Appendix Libretto Critical Notes are available from the Isham Memorial Library, Department of Music, Harvard University, Cambridge, MA 02138
£44.16
Harvard University, Department of Music,U.S. Tigrane
Book SynopsisA tale of love and honor in the opera seria tradition, Tigrane was first performed at Naples in 1715. This edition of it will please performance groups and music historians alike.Trade ReviewFor the study of the history of music, the most important event of the 1970s has been the start of a critical edition of Alessandro Scarlatti’s operas, under the direction of Donald Jay Grout. -- Charles Rosen * New York Review of Books *[The edition is] warmly to be welcomed. A major musicological event. * Early Music *The editions are handsomely presented…this series performs a valuable service. * Notes *Historians and performers alike welcome the long-overdue edition of Scarlatti’s operas—an edition at once practical and unquestionably scholarly. * Opera Journal *Table of ContentsIntroduction TIGRANE Sinfonia Atto Primo Marcia Ballo Aria e coro (Tomiri)"Si rinovi in si bel giorno" Recitativo "OW Svavihi ii rogo" Recitativo stromentato "Folgore delle guerre" Aria e corn (Tomi4) "S'ho di gloria ii crine adorno" Recitativo "Questo trionfo, o Rep" Aria (Tomiri) "No,non star dubbioso" Recitativo "Ad un di voi, invitti Regi" Aria (Doraspe) "Semi ruanca la gloria d'amante" Recitativo "Gran Re, if leggo in fronte" Aria (Policare) "Al girar d'un suo bel guardo" Recitativo "0 del perso regnante teschio infelice" Aria concertata (Tigrane) "All'acquisto di gloria" Recitativo "Queste son pur le mura" Aria (Tigrane) "Piacer che egual non ha" Recitativo "Non v'e dubbio ch'ei t'ami" Recitativo stromentato "Senti, senti, gran Nome invitto" Aria (Meroe) "Dell'amante confido all'amore" Recitativo "Oronte, e quando fia" Aria (Policare) "Me felice, se lice che io speri" Recitativo "Quant'opra Amore" Aria (Oronte) "Splenda lieta ii too disegno" Recitativo "AFt! Dorilla" Aria (Meroe) "Prova eccelsa e di grandezza" Recitativo "Qui ne vengon i regi" Aria (Tomiri)" Quell'oggetto die sprezzate, che oltraggiate" Recitativo "Dunque fa d'uopo, o duce" Recitativo "Che superba arroganza!" Aria (Doraspe) "Al valor di questa spada" Recitativo "Ah! Che cosi potessi vincer la bella mia" Aria (Policare) "Un solo sospiro" Recitativo "Questo e ii loco giA eletto" Aria (Meroe) "Se l'amor sara contento" Recitativo "Illustre mago, e questo il low" Recitativo stromentato "Eccomi a rimarar di nuovo il sole" Aria (Meroe) "Bella costanza, costanza e fe" Recitativo "In qua! funesto, o Dio, intricato sentier" Aria (Tigrane) "Esser deggio come un scog!io" Recitativo "0 che sonno profondo" Recitativo stromentato "Da' ax--cu--cu--, da' cupi vortici" Recitativo stromentato "Di dove alberga !'orrendo Pluto" Duetto (Dorilla, Orcone) "Che pensare, che Pensare? Ca!do, caldo" Atto Secondo Marcia Ballo Sonata per la lotta Sonata per !a zuffa de' gladiatori Recitativo "Fine ai giochi s'imponga" Duetto (Policare, Doraspe) "Caro ben, mio do!ce amore" Recitativo "Dovea dunque il tuo sangue, incauto Duce" Aria (Tomiri) "Te'! dirO quand'io potrO" Recitativo "Chi sa? Forse del regno affar non lieve" Aria (Tigrane) "Perche amore non sgridi il mio core" Recitativo "Se fido e a me l'amante" Recitativo "Fido a te son piu che non pensi, o cara" Aria (Tigrane) "Ma qual cor se io giA te'l diede?" Recitativo "Quanto piacer ml reca" Aria (Tomiri)"Con la gloria ancor l'amore" Recitativo "Vanne nemica mia" Aria (Meroe) "Son ge!osa, e sono amante" Aria e recitativo (Oronte) "L'osservanza di fede e d'onore" Recitativo "Oronte, i miei campioni" Recitativo "Aprasi il bagno" Recitativo "De! nostro e tao valor" Aria (Doraspe) "Mostri all'opre" Recitativo "Duce, amico U voglio" Aria (Policare) "Se mai ti punse il cor" Recitative, "Tra il grave dolor mio" Aria (Tigrane) "Vedi onor se son costante" Ritornello Recitativo "Lasciatemi qui sola" Recitativo "Sola Tomiri!" Recitativo "A tue voci son pronto" Aria (Tigrane) "Reo ml credi e pur son fido" Redtativo "Cara, giacche mi desti" Aria (Torniri)"Contrastano in petto l'onore, l'affetto" Recitativo "Bela Egizia, un regnante brama" Aria (Meroe) "lo son contenta di mia fortuna" Recitativo "Si, si tra le mie speranze" Aria (Policare) "Care pupil!e belle" Recitativo "Sarei grosso animale" Aria e recitativo (Dorilla) "Ich bin Lipaber" Duetto (Dorilla, Orcone) "Vanno alcune a procacciarsi" Recitativo "Signori, che aspettate?" Aria (Orcone) "Pensa che ii core salta" Recitativo "Tu troppo H trasfonni!" Duetto (Dorilla, Orcone) "Tu m'hai tutto raffreddato" Atto Terzo Duetto e recitativo (Tomiri, Policare) "Quanto fiero" Recitativo "Ecco l'egizia" Recitativo "Fiero mb traditor" Aria (Ti&ane) "E delitto l'apparenza" Redtativo "hi qual cupo ocean" Aria (Policare) "Sfoga pur tuo giusto sdegno" Recitativo "Reina, io H compiango" Aria (Doraspe) "Pa che mora ii fellone" Recitativo "Del tradimento, Egizia, del traditor, che did?" Aria (Meroe) "Salvera nel tuo diletto" Recitativo "0 Dio! Chi sa se tutto fedel sapra ridir" Aria (Tomiri) "Tad onor pEt non t'ascolto" Aria (Tigrane) "Della sorte, S e la morte" Recitativo "Idol mio, tanto amore mai non credel" Recitativo "(A tempo io giungo.)" Duetto (Meroe, Tomiri)"Giacche sdegni la clemenza" Recitativo "Vanne pur, che a ragione" Aria (Tigrane) "fl fiero aspetto d'orrenda morte" Recitativo "Dunque, gia risolvesti" Ma (Meroe) "Sussurrando il venticello" Recitativo "Reina... Che reina?" Aria (Tomiri) "Si si, l'irtdegno cada" Recitativo "Agitata mia mente" Aria (Policare) "Chi ml dice spera?" Recitativo "Ovidio, Oviclio un chiacchierone?" Aria (Orcone) "Cancaron, cancaronazV' Recitativo "Onbe! Ch'em desit vO?" Aria (Dorilla) "Dof la sta la innamora" Recitativo "Qui non ci voglion tante ciancianfruscole!" Duetto (Dorifia, Orcone) "Che dolcezza, che allegrezza" Recitativo "Le maschere son qui" Ballo Menuet Recitativo "Siamo nel punto estremo" Coro e recitativo "Mora, mora Tigrane" Aria (Tigrane) "Lieto, costante e forte" Recitativo "Ferma, ferma!" Recitativo "Reina, questo foglio da' confini qui giunto" Recitativo "Gran novella, gran novella, Reina" Coro "Viva e regni la fede e l'amore" Libretto Critical Notes are available from the Islam Memorial Library, Department of Music, Harvard University, Cambridge, MA 02138
£47.56
Harvard University Press La Statira
Book SynopsisLa Statira was first performed in Rome in January 1690. The opera, with libretto by Cardinal Ottoboni, recounts the story of Alexander the Great's defeat of Darius, King of Persia, and his love for Statira, daughter of Darius. In his Introduction, William Holmes sketches the opera's history and discusses performance questions.Trade ReviewFor the study of the history of music, the most important event of the 1970s has been the start of a critical edition of Alessandro Scarlatti’s operas, under the direction of Donald Jay Grout. -- Charles Rosen * New York Review of Books *[The edition is] warmly to be welcomed. A major musicological event. * Early Music *The editions are handsomely presented…this series performs a valuable service. * Notes *Historians and performers alike welcome the long-overdue edition of Scarlatti’s operas—an edition at once practical and unquestionably scholarly. * Opera Journal *Table of ContentsIntroduction LA STATIRA Sinfonia avanti l'alzar della tenda Atto Primo Recitativo accompagnato "Notte, nofte serena" Aria (Oronte) (1) "Ho di selce la costanza" (2) "Non procuro di gioire" Recitativo "Ma qua! hero rimbombo" Aria (Alessandro) "Invitti guerrieri" Recitativo "Cia de! gran Tauro Monte" Aria (Alessandro) (1) "Poiche avete, vaghe stelle" (2) "Poiche Cintia col suo !ume" Sinfonia di trombe Recitativo accompagnato "Crudo cie!o, empio fato" Recitativo accompagnato "Dario, Dario mio re" Recitativo "E qual tragica scena" Aria (Statira) "Si, si, che la morte invoco" Aria (Perinto) "lo non son di quei campioni" Recitativo "Mira Signor" Aria (Demetrio) (1) "Conso!ati non piangere" (Statira) (2) "Al duol si e reso immobile" Recitativo "Duce, acconsenti ahneno" Aria (Perinto) "Son di genic, allegro" Recitativo "Quivi il grande A!essandro" Aria (Campaspe) (1) "Belta che piace" (2) "Volto che alletta" Recitativo "Compatisco ii tuo caso" Aria (Campaspe) "Spezza l'arco" Recitativo "A me confida il tutto" Aria (Oronte) "Mai non cede saggio cor" Recitativo "Sperar in che mi resta" Aria (Apelle) (1) "Mi consiglio col mio core" (2) "Cerco invano de! pensiere" Recitativo "Cosi, cosI si tratta un re" Aria (Statira) "Cran tonante" Recitativo "Signor, quanto m'impose" Aria (Alessandro) "La clemenza nel cot" Recitativo "Se due saline reali" Aria (Statira) "Preparatevi miei lutni" Recitativo "Dell'Eufrate alle sponde" Aria (Alessandro) (1) "Ancor non so risolvermi" (2) "Ancor vorrei resistere" Recitativo "Indarno m'affatico" Aria (Dexnetrio) "Voglio, voglio sperare" Recitativo "Persiani, ancor tardate" Aria (Perinto) "Bisogna piangere men che si pub" Atto Secondo Recitativo "Viddi, O Apelle" Duetto (Alessandro, Apelle) "Se t'offendo mi perdona" Recitativo "Da che carco d'allori" Aria (Campaspe) (1) "Dovrb per inia rivale" (2) "SI tendon nile sventure" Recitativo "Vincer armato in campo" Aria (Apelle) "Esser potrai crudele" Recitativo "L'aver sciolti dai ceppi" Aria (Alessandro) "Soffrirb tanto dolore" Recitativo "Senza di te, Campaspe" Aria (Campaspe) "Son menzogneri e instabili" Recitativo "Qua! sembiante a me noto" Aria (Statira) "Giusto flume" Recitativo "Fra le sciagure mie" Aria (Oronte) "Son felice fra martin" Recitativo "Quanto vaga a me sembra" Aria (Apelle) "Se t'appaga quel sembiante" Aria (Campaspe) "Resista chi pub" Recitativo "Torna, torna, Alessandro" Aria (Campaspe) "Punir, punir ti voglio" Recitativo "Di regia sposa ii nodo" Aria (Alessandro) "Chi a volo troppo alto" Recitativo "Ma tu, per ciii mi e forza soffrir" Aria (Apelle) "Questo e ii premio che si deve" Recitativo "Mio nume. Mio conforto" Aria (Campaspe) "Sdegnato mnio core" Recitativo "Mi par che non sia poco" Aria (Demetrio) "A voi dimando il cot" Recitativo "Or che lungi dal fasto" Aria (Statira) "Quei sospir" Recitativo "CosI vedrb nel condensato duolo" Ritornello Recitativo "Eccola appunto" Atto Terzo Aria (Alessandro) "Tiranno, e che pretendi" Recitativo "Solo ottera la palma" Aria (Alessandro) "Vinto sono e del nume bendato" Aria (Apelle) "Ti lusinghi e speni invano" Recitativo "Amai Campaspe e l'amo" Recitativo "Amico, e qual sciagura" Recitativo "E tu, ma, oh Dio" Aria (Campaspe) "T'offesi ben mio" Recitativo "Mi schernisci di piu?" Aria (Oronje) (1) "Deh, sospendi H ferro" (2) "Non tentar ingiusto fat p" Recitativo "Devo crederti, O cara" Aria (Campaspe) "Si, si caro, tua sarO" Arietta (Apelle) "Lasciami, che alla morte" Recitativo "Vivi, e vivi per me" Aria (Apelle) "Si, si, bella, vieni a me" Redtativo "Vanne, O crude!" Duetto (Campaspe, Apelle) "Pace, pace mio core" Recitativo "Ii geloso regnante con bel pretesto" Aria (Peririto) "Non v'e rimedio" Recitativo "Nulla posso capir" Recitativo "Ancor, Prence, rifletto" Aria (Demetrio) "Gran cimento al tuo gran core" Recitativo "Chi !a remora fu" Aria (Statira) "Punjr coi favori e bella vendetta" Recitativo "Campaspe a te si rese pietosa" Aria (Alessandro) (1) "Dai colpi d'un guardo" (2) "Chi porta nel petto" Recitativo "Chi if rapporta, O Sire" Aria (Apelle) "Vago raggio di speranza" Recitativo "Signor, Signor, vicina e gia la principessa" Aria (Alessandro) "Se min nume e quel bel volto" Recitativo "Questa e la volta, affe" Redtativo "OIa, fermate il passo" Aria (Statira) "Dei tuoi dolori porto nel seno" Redtativo "Da che lungi ag!i amori" Aria (Demetrio) "Casta Dea, fo voto e giuro" Recitativo "Parmi di maggior luce" Recitativo "Al tuo sovrano aspetto" Aria (Staff ra) "Que!la fe che mi giurasti" Recitativo "Sotto mentite spoglie" Aria (Oronte) "Cor avvezzo a pianger sempre" Recitativo "Ecco vergato i! foglio" Recitativo "Ferma le piante, riverito regnante" Aria (Campaspe) "Se mi comparte il cielo" Aria (Diana) "Viva pur I'arco e gli strali" Recitativo "lo son Diana" Aria (Diana) "Dolce invidia ancor dei numi" Recitativo "Adesso ai tuoi voleri" Aria (Alessandro) (1) "Si, che vivo sol per te" (Apelle) (2) "Si, che spiro per te sol" Appendix "Chi a volo troppo" (58) "Cor avvezzo" (109) Libretto Critical Notes are available from the Islam Memorial Library, Department of Music, Harvard University, Cambridge, Massachusetts, 02138
£50.11
Princeton University Press Shaping Jazz
Book SynopsisThere are over a million jazz recordings, but only a few hundred tunes have been recorded repeatedly. Why did a minority of songs become jazz standards? Why do some songs--and not others--get rerecorded by many musicians? Shaping Jazz answers this question and more, exploring the underappreciated yet crucial roles played by initial production and mTrade ReviewFinalist for the 2014 George R. Terry Book Award, Academy of Management "The thesis of this multilayered, impressive scholarly study is that jazz is shaped by the processing of the recorded product from its geographical region, its reception and active participant audience, social structure, and its marketing and diffusion... The multiple graphs and charts serve as important sources for understanding the global aspects and diffusion of this innovative musical form."--Choice "One of the most enjoyable things about this book is that it demonstrates the importance and historically contingent nature of social categories... Other people who study product and organizational categories would do well to emulate his concern for concrete phenomena... His sensitivity to time and place are critical to the insights he draws from his research, insights that have wide applicability outside the early jazz recording industry."--Heather A. Haveman, Administrative Science Quarterly "The entire book rewards the reading, both for what it tells us substantively about a major art form and what it tells us theoretically about processes of legitimation, diffusion, and canonization."--Gabriel Rossman, American Journal of Sociology "The author should be commended on the depth and scope of the work... In summary, Phillips sheds considerable light on the formation of jazz, its dissemination, its institutions, musicians and geography, and does so with a variety of analysis tools and unique historical data."--Journal of Economic LiteratureTable of ContentsAcknowledgments ix Introduction - Sociological Congruence and the Shaping of Recorded Jazz 1 Chapter 1 The Puzzle of Geographical Disconnectedness 13 Chapter 2 Further Exploring the Salience of Geography 40 Chapter 3 Sociological Congruence and the Puzzle of Early German Jazz 53 Chapter 4 Sociological Congruence and Record Company Comparative Advantage 77 Chapter 5 The Sociological Congruence of Record Company Deception 103 Chapter 6 The Sociological Congruence of Identity Sequences and Adoption Narratives 120 Chapter 7 Pulling It Together and Stretching It Beyond 137 Appendix 159 Notes 169 References 187 Index 203
£36.00
Princeton University Press Reflections on the Musical Mind
Book SynopsisWhat's so special about music? We experience it internally, yet at the same time it is highly social. Music engages our cognitive/affective and sensory systems. We use music to communicate with one another--and even with other species--the things that we cannot express through language. Music is both ancient and ever evolving. Without music, our woTrade Review"Complex though the subject is, Schulkin writes with the general reader in mind, balancing and contextualizing scientific particularities with cross-disciplinary discussions of musicology, wider aesthetics and philosophy in an accessible, highly readable style. At 178 pages, it is a compact book, but a wise and welcome one too, on every page a fresh line of enquiry and a reaching towards an understanding of the importance of the brain to our appreciation of music and of music to our sense of ourselves."--Michael Quinn, Classical Music "For neuroscientist Jay Schulkin, music provides an enjoyable but at times testing workout for the brain, much as sport does for the body. Indeed, for him, listening to music is a microcosm of living one's life. In Reflections on the Musical Mind, he reminds us that we live in a world of uncertainty, always needing to predict the future with imprecise, or absent, information. So evolution has honed us to make judgments based on aesthetics, and to find slight deviations from the familiar--especially in music--both interesting and attractive."--New Scientist "This book presents an enormous amount of information about music and biology in a concise, well ordered, and readable manner... [H]e has produced a detailed picture of what functions enable music to have the powerful role it has in our lives both individually and socially. His love of music and the science behind it jumps from the pages and should be read by anyone interested in where the field currently stands."--Jeff Gottlieb, Quarterly Review of BiologyTable of ContentsForeword vii Preface xi Introduction 1 Chapter 1 Music and the Brain An Evolutionary Context 18 Chapter 2 Bird Brains, Social Contact, and Song 37 Chapter 3 Human Song Dopamine, Syntax, and Morphology 62 Chapter 4 Musical Expectations, Probability, and Aesthetics 87 Chapter 5 Musical Expression, Memory, and the Brain 119 Chapter 6 Development, Music, and Social Contact 140 Chapter 7 Music and Dance 156 Conclusion Music and Well-Being 172 Notes 179 References 201 Index 249
£43.20
Princeton University Press Banding Together How Communities Create Genres
Book SynopsisWhy do some music styles gain mass popularity while others thrive in small niches? Banding Together explores this question and reveals the attributes that together explain the growth of twentieth-century American popular music. Drawing on a vast array of examples from sixty musical styles--ranging from rap and bluegrass to death metal and South TexTrade ReviewOne of Choice's Outstanding Academic Titles for 2012 "Banding Together is an essential read for fans of popular music, thanks in no small part to Lena's wealth of music knowledge, as the book draws together the studies of music communities and music genres into a coherent whole."--Martin James, Times Literary Supplement "This book should be required reading for anyone interested in the role of music--all music--in culture. Although Lena's focus is on the rise of 20th-century American popular idioms, the questions she asks are appropriate for and applicable to a number of significant canons... A significant contribution to the literature."--Choice "Sociologists of music, as well as musical practitioners and fans, will find in Banding Together an engaging story about the commonalities shared by a variety of musical genres, despite their inherent stylistic differences. Through its wealth of examples, the book puts flesh on the otherwise counterintuitive contention that artistic creativity is a collective endeavor. Yet it goes beyond this well-established sociological observation to demonstrate how these musical art-worlds share a strikingly unified developmental grammar."--Amir Goldberg, American Journal of Sociology "Lena demonstrates a remarkable scope of knowledge in American popular music. Integrating it with a wide research body in cultural sociology, she delivers a delightful reading for sociologists who are popular music fans. The clear analysis, rich examples and insightful observations should make this book a staple in music sociology and indeed in cultural sociology as a whole."--Motti Regev, SociologicaTable of ContentsAcknowledgments ix Chapter 1: Music Genres 1 What Is a Theory of Sociocultural Classification? 4 What Are Genre Forms and How Are They Identified? 8 Organizations and Money 10 Genre Ideals and Style 15 What Genres Are Not 20 Outline of the Book 22 Chapter 2: Three Musics, Four Genres: Rap, Bluegrass, and Bebop Jazz 27 Avant-garde Genres 28 Scene-based Genres 33 Industry-based Genres 41 Traditionalist Genres 46 After the Tradition 52 Conclusion 55 Chapter 3: Music Trajectories 65 Two Genre Trajectories 69 Scene-based Origins 74 IST Trajectories 76 On Genre Trajectories 84 Inhibiting Factors on Musical Trajectories 86 Absorption into Other Musics, Other Streams 86 Niche Music 91 The Racist Organization of Musical Production 98 Conclusion 109 Chapter 4: The Government-purposed Genre 117 Attributes of Government-purposed Genres 119 China 120 Chile 128 Nigeria 132 Serbia 136 Conclusion 139 Chapter 5: On Classification Systems 145 Classification in Music 146 Toward a Model of Classification Systems 156 On Science, Markets, and Memory 160 The Future of Music 164 In Closing 168 Notes 171 References 205 Index 233
£27.00
Princeton University Press Franz Schubert and His World
Book SynopsisDuring his short lifetime, Franz Schubert (1797-1828) contributed to a wide variety of musical genres, from intimate songs and dances to ambitious chamber pieces, symphonies, and operas. The essays and translated documents in Franz Schubert and His World examine his compositions and ties to the Viennese cultural context, revealing surprising and ovTrade Review"The historical background provided by these essays often sheds light on the music. A thorough index makes this a valuable reference work as well as a good read."--Stephen Matthews, The SchubertianTable of ContentsPreface and Acknowledgments vii Permissions and Credits xvii Schubert: The Nonsense Society Revisited 1 RITA STEBLIN Excerpts from Beytrage zur Bildung fur Junglinge, 1817-1818 39 ANTON VON SPAUN AND JOHANN MAYRHOFER TRANSLATED, INTRODUCED, AND ANNOTATED BY DAVID GRAMIT "Those of us who found our life in art": The Second-Generation 67 Romanticism of the Schubert-Schober Circle, 1820-1825 JOHN M. GINGERICH Schubert's Kosegarten Settings of 1815: A Forgotten Liederspiel 115 MORTEN SOLVIK The Queen of Golconda, the Ashman, and the Shepherd on a Rock: Schubert and the Vienna Volkstheater 157 LISA FEURZEIG Liszt on Schubert's Alfonso und Estrella 183 INTRODUCED AND TRANSLATED BY ALLAN KEILER Schubert's Freedom of Song, If Not Speech 201 KRISTINA MUXFELDT Schubert's Tombeau de Beethoven: Decrypting the Piano Trio in E-flat Major, Op. 100 241 CHRISTOPHER H. GIBBS Schubert in History 299 LEON BOTSTEIN Index 349 Notes on Contributors 363
£28.80
Princeton University Press The Musical as Drama
Book SynopsisDerived from the colorful traditions of vaudeville, burlesque, revue, and operetta, the musical has blossomed into America's most popular form of theater. Scott McMillin has developed a fresh aesthetic theory of this underrated art form, exploring the musical as a type of drama deserving the kind of critical and theoretical regard given to ChekhovTrade ReviewWinner of the 2007 George Jean Nathan Award for Dramatic Criticism "A scholarly work, with good supporting bibliographic footnotes, this book merits serious study... Highly recommended."--Choice "Scott McMillin is giving musicals the respect they deserve. If you want to know how a car is constructed, you might consult a Chilton's vehicle manual. If you want to know how a pie is constructed, you might consult the Fanny Farmer Cookbook. If you want to know how a musical is constructed, you might consult The Musical as Drama by Scott McMillin. This adoring yet studious book dissects familiar musicals as if they were biology frogs and academically discusses their skeletal and muscular systems."--Eve Lichtgarn, Westside Chronicle "Rarely does a book come along that seems to elegantly summarize what has come before while taking its subject to the next level. The Musical as Drama is just such a book. ...This volume encapsulates an entire career's reflection on the nature and structure of musical theater...This well-written, lucid, and effective book should serve as a fine addition to the expanding scholarship on America's musical theater."--Elizabeth A. Wells, Notes "Staunchly defending a much-maligned genre, McMillin sets his sights high... Even if one disagrees with some of his tastes and arguments, his defense of the musicals of the last half-century is convincing and, appropriately, an entertaining one."--Heather Heckman, Screening the Past "McMillin's specific examples are at once astute and persuasive and somehow obvious (and I mean this as the highest compliment). Anyone who reads this book (and all with even a passing interest in musical theatre should) will constantly be struck with a 'Why didn't I think of that?' feeling."--Stacy Wolf, Text & PresentationTable of ContentsList of Illustrations vii Preface ix CHAPTER ONE: Integration and Difference 1 CHAPTER TWO: The Book and the Numbers 31 CHAPTER THREE:Character and the Voice of the Musical 54 CHAPTER FOUR: The Ensemble Effect 78 CHAPTER FIVE: The Drama of Numbers 102 CHAPTER SIX: The Orchestra 126 CHAPTER SEVEN: Narration and Technology: Systems of Omniscience 149 CHAPTER EIGHT: What Kind of Drama Is This? 179 Bibliography 213 Index 221
£23.75
Princeton University Press Music as Thought
Book SynopsisBefore the nineteenth century, instrumental music was considered inferior to vocal music. Kant described wordless music as "more pleasure than culture," and Rousseau dismissed it for its inability to convey concepts. But by the early 1800s, a dramatic shift was under way. Purely instrumental music was now being hailed as a means to knowledge and emTrade Review"A fascinating new book."--Alex Ross, The New Yorker "This is a cogent and well-illustrated account of the theoretical basis for the changes in how instrumental music was listened to in the early decades of the 19th century. Bonds clarifies complex material and piles up evidence to make a convincing case for a 'revolution in listening.'"--Patricia Howard, Currents "Philosophical discussion of music can easily become dense, but Bonds presents his arguments and evidence in a clear, discernible manner such that readers with little exposure to the philosophical issues of the time period can follow his reasoning and come away illuminated by a first-hand account concerning the reception of the symphony in the first quarter of the nineteenth century."--John Stine, Music Research ForumTable of ContentsAcknowledgments xi Introduction xiii List of Abbreviations xxi PROLOGUE: An Unlikely Genre: The Rise of the Symphony 1 CHAPTER ONE: Listening with Imagination: The Revolution in Aesthetics 5 From Kant to Hoffmann 6 Idealism and the Changing Perception of Perception 10 Idealism and the New Aesthetics of Listening 22 CHAPTER TWO: Listening as Thinking: From Rhetoric to Philosophy 29 Listening in a Rhetorical Framework 30 Listening in a Philosophical Framework 33 Art as Philosophy 37 CHAPTER THREE: Listening to Truth: Beethoven's Fifth Symphony 44 The Infinite Sublime 45 History as Knowing 50 The Synthesis of Conscious and Unconscious 53 Organic Coherence 55 Beyond the Sublime 57 CHAPTER FOUR: Listening to the Aesthetic State: Cosmopolitanism 63 The Communal Voice of the Symphony 63 The Imperatives of Individual and Social Synthesis 68 The State as Organism 71 Schiller's Idea of the Aesthetic State 73 Goethe's Pedagogical Province 75 CHAPTER FIVE: Listening to the German State: Nationalism 79 German Nationalism 79 The Symphony as a "German" Genre 88 The Performance Politics of the Music Festival 92 The Symphony as Democracy 99 EPILOGUE: Listening to Form: The Refuge of Absolute Music 104 Notes 117 Bibliography 153 Index 167
£23.75
Princeton University Press Carlos Ch225vez and His World
Book SynopsisCarlos Chavez (1899-1978) is the central figure in Mexican music of the twentieth century and among the most eminent of all Latin American modernist composers. An enfant terrible in his own country, Chavez was an integral part of the emerging music scene in the United States in the 1920s. His highly individual style--diatonic, dissonant, contrapuntTrade Review"An insightful volume."--William Robin, The New York TimesTable of ContentsPreface ix Acknowledgments xvii Permissions and Credits xviii PART 1 CHAVEZ'S MUSICAL WORLD Chavez, Modern Music, and the New York Scene 2 CHRISTINA TAYLOR GIBSON The Pan/American Modernisms of Carlos Chavez and Henry Cowell 28 STEPHANIE N. STALLINGS "The heartbeat of an intense life": Mexican Music and Carlos Chavez's Orquesta Sinfonica de Mexico, 1928-1948 46 RICARDO MIRANDA Carlos Chavez's Symphonies 62 JULIAN ORBON, TRANSLATED, INTRODUCED, AND ANNOTATED BY LEONORA SAAVEDRA Carlos Chavez and Silvestre Revueltas: Retracing an Ignored Dialogue 76 ROBERTO KOLB-NEUHAUS Aaron Copland, Carlos Chavez, and Silvestre Revueltas 99 HOWARD POLLACK PART II BIOGRAPHICAL AND ANALYTICAL PERSPECTIVES Chavez and the Autonomy of the Musical Work: The Piano Music 112 LUISA VILAR-PAYA Carlos Chavez and the Myth of the Aztec Renaissance 134 LEONORA SAAVEDRA Non-Repetition and Personal Style in the Inventions and Solis 165 AMY BAUER Music and the Marketplace: On the Backstory of Carlos Chavez's Violin Concerto178 DAVID BRODBECK PART III CHAVEZ'S GREATER WORLD Carlos Chavez and the Mexican "Vogue," 1925-1940 204 HELEN DELPAR Carlos Chavez and Paul Strand 220 JAMES KRIPPNER Masters Carlos Chavez and Miguel Covarrubias: A Puppet Show 237 ANTONIO SABORIT, TRANSLATED BY REBECCA LEVI The Literary Affinities and Poetic Friendships of Carlos Chavez 255 SUSANA GONZALEZ AKTORIES, TRANSLATED BY REBECCA LEVI The Composer as Intellectual: Carlos Chavez and El Colegio Nacional 273 ANA R. ALONSO-MINUTTI Portraits of Carlos Chavez: Testimonies of Collaboration 295 ANNA INDYCH-LOPEZ The Modernist Invention of Mexico: Carlos Chavez, the Mexican Revolution, and the Cultural Politics of Music 306 LEON BOTSTEIN Index 339 Notes on the Contributors 357
£28.80
Princeton University Press The Politics of Opera A History from Monteverdi
Book SynopsisTrade Review"Shortlisted for the Laura Shannon Prize in Contemporary European Studies, Nanovic Institute, University of Notre Dame""Winner of the 2018 PROSE Award in Music & the Performing Arts, Association of American Publishers""Winner of the 2018 Presidential Excellence Award for Distinguished Scholarship, Baruch College, City University of New York""One of the Evening Standard Best Books of 2017 (chosen by Anne McElvoy)""The Politics of Opera: A History from Monteverdi to Mozart has boldly placed Machiavelli and early modern political theory at the center of the early history of opera, reflecting creatively on the ways in which the reverberations of the great Florentine realist reached even into the musical realm. . . . Cohen has demonstrated that the history of opera is connected to the history of political theory, but operatic masterpieces also acquire new layers of political meaning as they encounter new generations and newly fraught political circumstances."---Larry Wolff, New York Review of Books"This subtly insightful book helps readers experience these timeless masterpieces anew." * Foreign Affairs *"Surprises await even the well-informed operaphile." * Opera News *"A fascinating study of opera's musicology, performance history, and the political operatives who were pulling the artistic strings." * New York Journal of Books *"Delving into the world of composers such as Monteverdi, Lully, Rameau and Mozart, the author reveals how operas, through story lines, symbols, harmonies and musical motifs, have spoken of politics--sometimes loudly, sometimes sotto voce." * Opera America *"[A] first-rate scholarly work . . . that is both instructive in itself and methodologically and conceptually valuable for other periods and, indeed, media."---Jeremy Black, Foreign Policy Research Institute"Mitchell Cohen has written a very erudite book that takes us down the highways and, especially, the byways of European political thought in the early modern period. . . . The persevering reader will find much instruction and new insight into some old favourites."---Tim Blanning, Literary Review"Operas, the author argues, change their political meanings according to their setting, and the deep research and clear prose here hit a high C."---Anne McElvoy, The Evening Standard"Suffice it to say, when Mitchell Cohen sees and hears an opera, he sees and hears a lot. To you, it may seem primarily a piece of music or a piece of lyric theater. For him, it reveals layer upon layer, politically, socially, and historically. . . . Cohen is very good at getting under the skin of a piece and gauging the environment in which it was created. At the same time, he realizes that a really good work of art transcends time and space. . . . A book such as Cohen’s may not be for everyone--whose is?--but it is certainly for some."---Jay Nordlinger, The Weekly Standard"How should the history of political thought be written? . . . [A bold] step has been taken by Mitchell Cohen in his new book. Cohen, a political scientist who is also a music lover, is equally interested in the place of music in politics (metaphors of harmony, for instance) and the place of politics in music. . . . [His book] discusses not only the political context of operas and what is said openly in their librettos but, more unusually, the music as well—changing keys, recurrent motifs, and their emotional associations. . . . He often impresses."---Peter Burke, Common Knowledge
£31.50
Princeton University Press RimskyKorsakov and His World
Book SynopsisTrade Review"Rimskii-Korsakov and His World is to be welcomed not just for the many riches within it, but for its implicit call to continue the work of reconsidering the composer to whom it is so devoted."---Philip Ross Bullock, Slavonic and East European Review
£74.80
Princeton University Press RimskyKorsakov and His World
Book SynopsisTrade Review"Rimskii-Korsakov and His World is to be welcomed not just for the many riches within it, but for its implicit call to continue the work of reconsidering the composer to whom it is so devoted."---Philip Ross Bullock, Slavonic and East European Review
£28.80
Princeton University Press The Italian Madrigal Volume III
Book Synopsis
£124.10
Princeton University Press The Politics of Opera
Book SynopsisTrade Review"Shortlisted for the Laura Shannon Prize in Contemporary European Studies, Nanovic Institute, University of Notre Dame""Winner of the 2018 PROSE Award in Music & the Performing Arts, Association of American Publishers""Winner of the 2018 Presidential Excellence Award for Distinguished Scholarship, Baruch College, City University of New York""One of the Evening Standard Best Books of 2017 (chosen by Anne McElvoy)"
£22.50
Princeton University Press Believing in Opera
Book SynopsisTrade Review"One comes away more fully understanding what lies behind the work of the people he has chosen... Believing in Opera is an impressive achievement, reflecting great credit on one of the finest music critics in the business."--Patrick Smith, Opera News "This book is an eloquent, persuasive celebration of the exciting achievements of contemporary opera production and design."--Anthony Arblaster, Opera "An engrossing. maddening, important book, which should be required reading for operagoers of every stripe."--Max Loppert, Opera "Clearly a laudable, novel and timely enterprise, the fruit of which adds significantly to our knowledge."--Christopher Wintle, Times Literary Supplement "For the eager, curious opera lover, this is a valuable account of the recent past, a map of territory conquered, which will serve as a guide to future pleasures."--Sir Jeremy Isaacs, The Guardian "Sutcliffe's book is hugely worthwhile... a feast of material craving assent and disputation. It will be read with recognition and pleasure by anyone wanting to test their own impressions against those of an impassioned advocated of the shock of the new."--Patrick Carnegy, The Spectator "Anyone seriously interested in the future of opera, whether they are in Mr. Sutcliffe's camp or not, should read this book."--Michael Kennedy, Sunday Telegraph "This specialized, sturdily bound, thoroughly indexed book will arouse the interest of general and professional opera lovers."--Choice "Believing in Opera is an impressive achievement, reflecting great credit on one of the finest music critics in the business."--Opera NewsTable of ContentsAcknowledgmentsForeword1Believing in opera12Peter Brook and theatrical opera173Theory of interpretation374A repertoire of classics535The design matrix796Patrice Chereau: revolutionary classicism997Ruth Berghaus: Marx, feminism and the absurd1258David Alden: expressionist shock1659Peter Sellars: Americanizing everything19510Richard Jones: burlesque profundities22711Graham Vick: neo-realism and emotion26112Albery, Pimlott, Cairns: British expressionism29113A line of renewal: from Hall to Pountney31714Brian McMaster's eclectic imports35515Frankfurt and after: from Neuenfels to Decker3771621st-century opera: going for a song413Appendix: Buhnenreform (Theatre Reform)427Postscript433Index437
£58.50
Princeton University Press Jan225ceks Operas A Documentary Account
Book SynopsisTrade Review"A splendid achievement, and one to send the reader back to the music with new enthusiasm."--The Times Literary SupplementTable of Contents*FrontMatter, pg. i*Contents, pg. vii*List of Illustrations, pg. ix*Preface, pg. xi*Notes for the Reader, pg. xv*Map, pg. xviii*Chronology of Janecek's Life and Works, pg. xix*1. Sarka, pg. 1*2. The Beginning of a Romance, pg. 21*3. Jenufa, pg. 41*4. Fate, pg. 108*5. The Excursions of Mr Broucek, pg. 161*6. Kaf'a Kabanova, pg. 248*7. The Cunning Little Vixen, pg. 282*8. The Makropulos Affair, pg. 304*9. From the House of the Dead, pg. 326*Epilogue, pg. 343*Chronologies of Janacek's Operas, pg. 344*Glossary of Names and Terms, pg. 359*List of Sources, pg. 367*Bibliography, pg. 378*General Index, pg. 389*Index of Janacek's works, pg. 399
£52.20
Princeton University Press The Galitzin Quartets of Beethoven Opp. 127 132
Book SynopsisThis study is an analysis of the first three of Beethoven's late quartets, Opp. 127, 132, and 130, commissioned by Prince Nikolai Galitzin. The five late quartets, usually considered as a group, were written in the same period as the Missa solemnis and the Ninth Symphony, and are among the composer's most profound musical statements. Daniel K. L. CTrade Review"Daniel Chua's new study ... is perhaps the closest reading of these works to emerge in recent years. The author gives a thoughtful account of the music, and identifies with precision many of the interpretive difficulties associated with it. Moreover, he refuses to give up trying to understand them when these difficulties seem insurmountable."--The Times Literary SupplementTable of ContentsCHAPTER ONE Introduction 3 CHAPTER TWO Motifs, Counterpoint, and Form: The Quartet in E6 Major, Op. 127 11 CHAPTER THREE Unity and Disunity: The First Movement of the Quartet in A Minor, Op. 132 54 CHAPTER FOUR Rhythm, Time, and Space: The Last Four Movements of Op. 132 107 CHAPTER FIVE Cadences and Closure: The Middle Movements of Op. 130 163 CHAPTER SIX Doubles and Parallels: The First Movement of Op. 130 and the Grosse Fuge, Op. 133 201 CHAPTER SEVEN Conclusion 245 NOTES 249 BIBLIOGRAPHY 273 INDEX 283
£36.00
Princeton University Press The Science and Art of Renaissance Music
Book SynopsisAs a distinguished scholar of Renaissance music, James Haar has had an abiding influence on how musicology is undertaken, owing in great measure to a substantial body of articles published over the past three decades. Collected here for the first time are representative pieces from those years, covering diverse themes of continuing interest to him and his readers: music in Renaissance culture, problems of theory as well as the Italian madrigal in the sixteenth century, the figures of Antonfrancesco Doni and Giovanthomaso Cimello, and the nineteenth century''s views of early music.In this collection, the same subject is seen from several angles, and thus gives a rich context for further exploration. Haar was one of the first to recognize the value of cultural study. His work also reminds us that the close study of the music itself is equally important. The articles contained in this book show the author''s conviction that a good way to address large problems is to begin by foTrade ReviewAn Outstanding Book by the Gustavus Meyers Center for the Study of Human Rights in North America for 1998Table of ContentsPrefaceEditor's PrefaceBibliographical AbbreviationsCh. 1A Sixteenth-Century Attempt at Music Criticism3Ch. 2The Courtier as Musician: Castiglione's View of the Science and Art of Music20Ch. 3Cosimo Bartoli on Music38Ch. 4The Frontispiece of Gafori's Practica Musicae (1496)79Ch. 5False Relations and Chromaticism in Sixteenth-Century Music93Ch. 6Zarlino's Definition of Fugue and Imitation121Ch. 7Lessons in Theory from a Sixteenth-Century Composer149Ch. 8Josquin as Interpreted by a Mid-Sixteenth-Century German Musician176Ch. 9The Note Nere Madrigal201Ch. 10The "Madrigale Arioso": A Mid-Century Development in the Cinquecento Madrigal222Ch. 11Giovanthomaso Cimello as Madrigalist239Ch. 12Notes on the Dialogo della Musica of Antonfrancesco Doni271Ch. 13A Gift of Madrigals to Cosimo I: The Ms. Florence, Bibl. Naz. Centrale, Magl. XIX, 130300Ch. 14The Libraria of Antonfrancesco Doni323Ch. 15Berlioz and the "First Opera"353Ch. 16Music of the Renaissance as Viewed by the Romantics366Index of Names383
£49.30
Princeton University Press The Structure of Recognizable Diatonic Tunings
Book SynopsisIn a comprehensive work with important implications for tuning theory and musicology, Easley Blackwood, a distinguished-composer, establishes a mathematical basis for the family of diatonic tunings generated by combinations of perfect fifths and octaves. Originally published in 1986. The Princeton Legacy Library uses the latest print-on-demand teTable of Contents*FrontMatter, pg. i*Contents, pg. v*Preface, pg. ix*Chapter I. Fundamental Properties of Musical Intervals, pg. 3*Chapter II. The Diatonic Scale in Pythagorean Tuning, pg. 22*Chapter III. Names and Distributional Patterns of the Diatonic Intervals, pg. 31*Chapter IV. Extended Pythagorean Tuning, pg. 49*Chapter V. The Diatonic Scale in Just Tuning, pg. 67*Chapter VI. Extended Just Tuning, pg. 91*Chapter VII. Musical Examples in Just Tuning, pg. 129*Chapter VIII. The Diatonic Scale in Meantone Tuning, pg. 154*Chapter IX. Extended Meantone Tuning, pg. 165*Chapter X. The General Family of Recognizable Diatonic Tunings, pg. 193*Chapter XI. Equal Tunings and Closed Circles of Fifths, pg. 221*Chapter XII. The Diatonic Equal Tunings, pg. 261*Index, pg. 315
£40.50
Princeton University Press Turkish Folk Music from Asia Minor
Book SynopsisThis book is a substantial and thorough musicological analysis of Turkish folk music. It reproduces in facsimile Bartok's autograph record of eighty seven vocal and instrumental peasant melodies of the Yuruk Tribes, a nomadic people in southern Anatolia. Bartok's introduction includes his annotations of the melodies, texts, and translations and estTable of Contents*Frontmatter, pg. i*Contents, pg. v*List of Plates, pg. vii*Editor's Preface, pg. 1*Preface, pg. 29*Introduction to Part One, pg. 33*Music Examples, pg. 63*Notes to the Melodies, pg. 181*Introduction to Part Two, pg. 195*Texts and Translations, pg. 215*Notes to the Texts, pg. 251*Bibliography, pg. 253*Afterword, pg. 255*Appendix: Lexicographical Index of Turkish Vocal 271 Melodies, pg. 271*Index of First Lines, pg. 281*General Index, pg. 285
£999.99
Princeton University Press Music of the Spheres and the Dance of Death
Book SynopsisThe roots and evolution of two concepts usually thought to be Western in origin-musica mundana (the music of the spheres) and musica humana (music's relation to the human soul)-are explored. Beginning with a study of the early creeds of the Near East, Professor Meyer-Baer then traces their development in the works of Plato and the Gnostics, and inTable of Contents*Frontmatter, pg. i*Preface, pg. vii*Photographic Sources, pg. xi*Contents, pg. xiii*List of Illustrations, pg. xvii*Introduction to Part One, pg. 2*I. Theories of the Cosmos in Antiquity, pg. 7*II. The Hellenistic Period, pg. 20*III. The Early Christian Centuries, pg. 29*IV. The Early Works of Art, pg. 42*V. Tonal Theories of Music of the Spheres, pg. 70*VI. The Emergence of Celestial Musicians in Christian Iconography, pg. 87*VII. Late Medieval Writings and Dante's Paradise, pg. 116*DANCING ANGELS AND THE DANCE OF THE BLESSED, pg. 130*SINGING ANGELS, pg. 138*ANGEL ORCHESTRAS, pg. 143*ANGELS OF THE PSALTER, pg. 173*ANGELS' INSTRUMENTS - REAL OR IMAGINARY?, pg. 183*IX. Renaissance and Humanism, pg. 188*X. Two Offshoots of the Idea of the Music of the Spheres, pg. 203*Introduction to Part Two, pg. 218*XI. Music as a Symbol of Death in Antiquity, pg. 224*XII. Later Greek Concepts and the Hellenistic Period, pg. 242*XIII. The Christian Era the Development of Early Medieval Images, pg. 270*XIV. Later Medieval Images: The Dance of Death, pg. 291*XV. The Fifteenth-Century Mystics, pg. 313*XVI. Survivals of Earlier Images, pg. 320*Conclusion: Survivals in Contemporary Musical Concepts, pg. 337*Appendix I. EXCERPTS FROM FIRST CHAPTER OF LETTER ON HARMONY ADDRESSED TO ARCHBISHOP RATHBOD OF TREVES BY REGINO OF PRUM, pg. 349*Appendix II. EXCERPTS FROM THE HYMN "NATURALIS CONCORDIA VOCUM CUM PLANETIS" ("NATURAL HARMONY OF THE TONK AND THE PLANETS"), pg. 351*Appendix III. THE MUSIC IN DANTE'S COSMOS, pg. 352*Appendix IV. A NOTE ON THE SINGERS OF THE GHENT ALTAR, pg. 357*Appendix V. REAL OR IMAGINARY INSTRUMENTS: AN EXAMINATION OF THE BEATUS MANUSCRIPTS AND THE UTRECHT PSALTER, pg. 360*Index, pg. 365
£49.30
Princeton University Press William Billings of Boston EighteenthCentury Composer
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£113.90
John Wiley and Sons Ltd David Bowie
Book Synopsis* A sympathetic and critical study of one of the enduring stars of popular music: a global superstar. * This culturally sensitive re-reading of the life, image and music of David Bowie offers a detailed understanding of his importance to modern times.Trade Review"This work stands out in its ability to not only explore the roots of Bowie's star image but also to recognise them throughout his career. Stevenson treats Bowie's career as a totality, as a spectrum rather than distinct periods or disparate images or transofrmations. This is what sets this work apart, and what marks Stevenson's book as worthy of serious consideration" Popular Music "Nick Stevenson paints a fascinating portrait of David Bowie. We see Bowie change with his times, we see him refracted through social, and we see him reflected in the fantasies of his fans. This is a thought-provoking study of one of pop's most intriguing icons." John Street, University of East Anglia "At last, an intelligent book about David Bowie which elucidates his exotic appeal and pays tribute to his long standing capacity to be one step ahead of the pack in “reading” popular culture. This is a notable contribution to the growing literature on celebrity culture." Chris Rojek, Nottingham Trent UniversityTable of ContentsAcknowledgements. Introduction: David Boie in the Age of Celebrity. 1. Bowie in the Sixties: The Making of a Star. 2. Postmodern Bowie. 3. Commodifying Bpowie. 4. Bohemian Bowie. 5. Bowie Fans. Conclusion: David Bowie Today. David Bowie Discography. Bibliography. Index.
£999.99
John Wiley and Sons Ltd Music and Politics
Book SynopsisIt is common to hear talk of how music can inspire crowds, move individuals and mobilise movements. We know too of how governments can live in fear of its effects, censor its sounds and imprison its creators. At the same time, there are other governments that use music for propaganda or for torture.Trade Review"No, this is not another book about Sting, Bono and St Bob doing their good works while singing of the world's troubles. Rather, it is a serious, intelligent and surprisingly comprehensive study of the complex interplay between music and politics ... This is a meticulously researched book, which makes a powerful case for the enduring importance of music and its vital role in politics."Sydney Morning Herald "Unearths a submerged tradition in political thought that gives music a central place. Exploring the politics of the star rating system, the ability of musical events such as Rock Against Racism to stir people into political action, censorship and music policy and the role of the musician as political advocate, Street argues that whenever music inspires collective thought and action, it becomes a political act."The Age "Dives into this world of power, influence and catchy choruses with gusto. Music and Politics is a great book. Readable, provocative and incredibly informative, Street walks the tightrope between academic and fan."R2 Magazine"No other scholar is better positioned or as well equipped as Street to tease out the manifold ties that bind together the musical and the political."Music and Letters"A thought-provoking analysis of the role of music in shaping how we see the world and how we organise ourselves. Whether music truly is politics, and politics music, is a matter of contention. What is clear is the political power of music as a force in our lives."Songlines "A must read for scholars interested in music as well as politics, and also for those music lovers who are willing to learn more about topical participatory events of wester popular music like Woodstock, Rock Against Racism and Live 8."Journal of Contemporary European Studies"John Street's Music and Politics is splendid. Drawing deftly on a unique blend of encyclopedic knowledge about popular music and mastery of political theories, Street helps us see how music matters, why culture counts, and how political affiliation emerges out of public processes and private practices."George Lipsitz, author of Footsteps in the Dark: The Hidden Histories of Popular Music "From ancient Athens to Zimbabwe; from Amnesty International and A+ albums to white supremacists and the songs of the Wombles; John Street confronts the serious and the silly. Blending passions of a pop fan with the skepticism of the scholarly critic, this book offers an indispensable guide to how musicians make politics and politicians manipulate music."Keith Negus, University of London "With a breadth and depth that one would expect to find in an edited collection, John Street's Music and Politics argues for expansive definitions of music and the political without inflating them beyond all meaning. The book problematizes all the intricacies of the relationship between the two, even as it interrogates the crucial connections that make them inseparable."Reebee Garofalo, University of MassachusettsTable of ContentsList of Tables Acknowledgements Introduction Making connections Chapter 1 Sound barriers: censoring music Chapter 2 Falling on deaf ears? Music policy Chapter 3 Striking a chord: from political communication to political representation Chapter 4 All together now: music as political participation Chapter 5 Fight the power: music as mobilisation Chapter 6 ‘Invisible republics': making music, making history Chapter 7 Sounding good: the politics of taste Chapter 8 Politics as music: the sound of ideas and ideology Chapter 9 One more time with feeling: music as political experience Conclusion Repeat and fade Bibliography
£16.14
John Wiley and Sons Ltd Current of Music
Book SynopsisA major new book in the Polity series of publications which make available Adorno's previously unpublished writings. This volume comprises some of Adorno's most important writings on music and radio and deals with themes for which he is particularly well known, such as the critique of the culture industry.Trade Review‘Scrupulously reconstructed by Robert Hullot-Kentor, Adorno's bold and ambitious attempt to write a critical physiognomy of radio music is both a document of its time and provocation to ours.' Martin Jay, University of California, BerkeleyTable of ContentsPreface: Prolegomenon to a Reconstruction of Current of Music - Second Salvage. Acknowledgments. 1 Radio Physiognomics. 2 A Social Critique of Radio Music. 3 The Radio Symphony: An Experiment in Theory. 4 Analytical Study of the NBC Appreciation Hour. 5 'What a Music Appreciation Hour Should Be. Plans for a music education program, Radio Broadcasts on WNYC and Drafts. 6 'On Popular Music' : Draft Material and Text. 7 Musical Analyses of Hit Songs. Further material:. A The Radio Voice. B Memorandum on Lyrics in Popular Music. C Experiment on: Preference for Material or Treatment of two Popular Songs. D The Problem of Experimentation in Music Psychology. E Note on Classification. F On the Use of Elaborate Personal Interviews for the Princeton Radio Research Project. G The Problem of a New Type of Human Being. H Some Remarks on a Propaganda Publication of NBC. I Theses about the Idea and Form of Collaboration of the Princeton Radio Research Project.. Discography. Index of names
£58.50
John Wiley and Sons Ltd PopRock Music
Book SynopsisPop music and rock music are often treated as separate genres but the distinction has always been blurred. Motti Regev argues that pop-rock is best understood as a single musical form defined by the use of electric and electronic instruments, amplification and related techniques.Trade Review"Spirited, thought-provoking and replete with original perspectives that use music as a prism for understanding cultural politics and cross-border impact on traditional art forms." The Hindu "A very fine piece of work, which makes an original contribution both to our understanding of popular music and to our understanding of the global cultural order. It provides a new perspective on how sounds are produced, circulated and experienced." John Street, University of East Anglia "In this highly original book, Professor Regev considers how exploring pop-rock both taps and enriches sociological theory. Regev�s study is both empirically nuanced and theoretically sophisticated. It illuminates music as a fundamental and dynamic material of social life. As Regev shows, pop-rock�s emergence is nothing less than the re-figuration of world culture." Tia DeNora, Exeter University "Motti Regev expertly provides a much needed take on pop-rock, the field(s) in which it is produced and enjoyed, and its global diffusion. He uses the case of pop-rock to cast empirical light on aesthetic cosmopolitanism and artistic legitimation. The result is a book that is highly informative and refreshingly engaging." Professor Timothy Dowd, Emory University "This is an exceedingly important book. It really does move the fields of music and sociology on by showing how the figurative musical world we live in today is literally a musical world." Journal of World Popular MusicTable of ContentsPreface vii 1 Theories and Concepts 1 Aesthetic Cosmopolitanism: A Theoretical Framework 4 Characterizing Aesthetic Cosmopolitanism 6 Theoretical Framework 9 Rock, Pop, and Popular Music 17 Structure of the Book 23 Methodological Note 26 2 Expressive Isomorphism 28 Pop-Rock Styles and Genres 32 Pop-Rock Divas 33 Rock Auteurs 35 Progressive Rock 37 Punk and Metal 38 Electronic Dance Music 40 Hip-Hop 41 Ethnic Rock/New Folk 43 Dominance of the Musical Public Sphere 46 Legitimation Discourse 50 Ritual Classification: Tradition vs. Pop-Rock 52 Ritual Periodization: The “Birth of Rock” 54 3 A Field of Cultural Production 57 Working of the Field 59 Production of Meaning 61 Pop-Rock’s Ideology of Art 65 Mechanisms of Change and Innovation 75 Avant-Gardism 76 Commercialism 78 The Spiral of Expansion 80 Structure of the Field 83 National (Sub-) Fields of Pop-Rock Music 87 4 Long-Term Event of Pop-Rockization 91 Events 93 The Musical Event 95 The Historical Musical Event of Pop-Rock 96 Agency 97 Early “Pre-History” 106 Consecrated Beginning 108 Consolidation and Rise to Dominance 113 Diversification, Internationalization, Glorification 117 5 Aesthetic Cultures 123 Subcultural Scenes to Aesthetic Cultures 126 Aesthetic Cultures 129 Forms of Pop-Rock Knowledge 131 Early Participation 133 Global Microstructures 136 Internet Platforms 138 The Pop-Rock Intelligentsia 142 Indie/Alternative Pop-Rock 142 Alternative Pop-Rock on the Web 146 An Extended Case: Israeli Cognoscenti 148 6 Sonic Vocabularies, Spaces, and Bodies 158 Sonic Vocabularies 161 Tones and Timbres 162 Museme Stacks and Strings 165 Global Electro-Amplified Soundscapes 168 Aesthetic Cosmopolitan Bodies 172 Actants of Intercultural Phenomenological Proximity 177 References 180 Index 195
£49.50
John Wiley and Sons Ltd PopRock Music
Book SynopsisPop music and rock music are often treated as separate genres but the distinction has always been blurred. Motti Regev argues that pop-rock is best understood as a single musical form defined by the use of electric and electronic instruments, amplification and related techniques. The history of pop-rock extends from the emergence of rock''n''roll in the 1950s to a variety of contemporary fashions and trends rock, punk, soul, funk, techno, hip hop, indie, metal, pop and many more. This book offers a highly original account of the emergence of pop-rock music as a global phenomenon in which Anglo-American and many other national and ethnic variants interact in complex ways. Pop-rock is analysed as a prime instance of ''aesthetic cosmopolitanism'' that is, the gradual formation, in late modernity, of world culture as a single interconnected entity in which different social groupings around the world increasingly share common ground in their aesthetic perceptions, expressive forTrade Review"Spirited, thought-provoking and replete with original perspectives that use music as a prism for understanding cultural politics and cross-border impact on traditional art forms." The Hindu "A very fine piece of work, which makes an original contribution both to our understanding of popular music and to our understanding of the global cultural order. It provides a new perspective on how sounds are produced, circulated and experienced." John Street, University of East Anglia "In this highly original book, Professor Regev considers how exploring pop-rock both taps and enriches sociological theory. Regev�s study is both empirically nuanced and theoretically sophisticated. It illuminates music as a fundamental and dynamic material of social life. As Regev shows, pop-rock�s emergence is nothing less than the re-figuration of world culture." Tia DeNora, Exeter University "Motti Regev expertly provides a much needed take on pop-rock, the field(s) in which it is produced and enjoyed, and its global diffusion. He uses the case of pop-rock to cast empirical light on aesthetic cosmopolitanism and artistic legitimation. The result is a book that is highly informative and refreshingly engaging." Professor Timothy Dowd, Emory University "This is an exceedingly important book. It really does move the fields of music and sociology on by showing how the figurative musical world we live in today is literally a musical world." Journal of World Popular MusicTable of ContentsPreface vii 1 Theories and Concepts 1 Aesthetic Cosmopolitanism: A Theoretical Framework 4 Characterizing Aesthetic Cosmopolitanism 6 Theoretical Framework 9 Rock, Pop, and Popular Music 17 Structure of the Book 23 Methodological Note 26 2 Expressive Isomorphism 28 Pop-Rock Styles and Genres 32 Pop-Rock Divas 33 Rock Auteurs 35 Progressive Rock 37 Punk and Metal 38 Electronic Dance Music 40 Hip-Hop 41 Ethnic Rock/New Folk 43 Dominance of the Musical Public Sphere 46 Legitimation Discourse 50 Ritual Classification: Tradition vs. Pop-Rock 52 Ritual Periodization: The “Birth of Rock” 54 3 A Field of Cultural Production 57 Working of the Field 59 Production of Meaning 61 Pop-Rock’s Ideology of Art 65 Mechanisms of Change and Innovation 75 Avant-Gardism 76 Commercialism 78 The Spiral of Expansion 80 Structure of the Field 83 National (Sub-) Fields of Pop-Rock Music 87 4 Long-Term Event of Pop-Rockization 91 Events 93 The Musical Event 95 The Historical Musical Event of Pop-Rock 96 Agency 97 Early “Pre-History” 106 Consecrated Beginning 108 Consolidation and Rise to Dominance 113 Diversification, Internationalization, Glorification 117 5 Aesthetic Cultures 123 Subcultural Scenes to Aesthetic Cultures 126 Aesthetic Cultures 129 Forms of Pop-Rock Knowledge 131 Early Participation 133 Global Microstructures 136 Internet Platforms 138 The Pop-Rock Intelligentsia 142 Indie/Alternative Pop-Rock 142 Alternative Pop-Rock on the Web 146 An Extended Case: Israeli Cognoscenti 148 6 Sonic Vocabularies, Spaces, and Bodies 158 Sonic Vocabularies 161 Tones and Timbres 162 Museme Stacks and Strings 165 Global Electro-Amplified Soundscapes 168 Aesthetic Cosmopolitan Bodies 172 Actants of Intercultural Phenomenological Proximity 177 References 180 Index 195
£17.09
John Wiley and Sons Ltd Popular Music as Promotion
Book Synopsis'Business-as-usual' has been transformed across the music industries in the post-CD age. Against widespread hype about the purported decline of the major music labels, this book provides a critique of the ways these companies have successfully adapted to digital challenges and what is at stake for music makers and for culture.Trade Review"This is a truly excellent book. Based on a wealth of original research, including interviews with music and brand personnel, plus analysis of trade magazines and conventions, it makes a powerful argument about the way popular music has become subsumed under branding and advertising. Important." Jason Toynbee, formerly of The Open University "Leslie Meier asks hard questions about what music is for, at a time when corporate brands own, produce and distribute what we listen to. Her analysis of contemporary licensing, digital marketing and artist-brands brings new depth and subtlety to the ongoing tensions between art and commerce. Popular Music as Promotion makes a valuable contribution to critical scholarship on our thoroughly promotional culture." Melissa Aronczyk, Rutgers UniversityTable of ContentsAcknowledgements Introduction: Popular Music, Branding, and Promotional Culture 1 From Commodities to Commercials? The Rise of Promotion in the Music Industries 2 Capitalizing on Music: From Sound Recordings to 'Artist-Brands' 3 Brands: The New Gatekeepers 4 'Flexible' Capitalism and Popular Music: Branding Culture, Designing 'Difference' 5 Conclusions Notes References Index
£16.14
John Wiley & Sons Inc Notes from the Green Room Coping with Stress and
Book SynopsisMost people who sing or play a musical instrument get nervous when having to perform in public, whether in school, at a church recital, before friends or guests, or before a paying public. This text discusses how to overcome these often debilitating jitters.Trade Review"Notes from the Green Room is a welcome and unique addition to theliterature on performance anxiety for both musicians andclinicians. Educational and practical, it will inspire a variety ofpossible therapeutic approaches." (Alice G. Brandfonbrener, M.D.,Rehabilitation Institute of Chicago) "Drs. Salmon and Meyer are expert psychologists who haveexplored the roots of performance anxiety (and suggest measures forits alleviation) in a way extremely helpful to both students andaccomplished performers who 'nervousness' prevents them from fullrealizing their potential on stage or even on less formaloccasions." (Robert Parris, professor of music, George WashingtonUniversity) "These talented and knowledgeable authors offer musicians a veryclear description of the mechanisms involved in performance anxietyand suggest concrete ideas for channeling the negative aspects ofanxiety into a positive force. Especially effective are the casehistories offering real life examples of musicians dealing with thestresses and strains of performance. This should be requiredreading for all musicians!" (Gail J. Berenson, professor of piano,chair keyboard division, Ohio University School of Music) "A superb job? beyond the notably obvious beneficialimplications built into this book for musicians, the authors havecompiled a thorough and comprehensive treatise which deals withevery facet of anxiety and stress management for performers,regardless of their discipline . . . this work should be obligatoryreading." (Lee Bash, chair, Department of Fine & PerformingArts, Bellarmine College and director, Kentucky Governor's Schoolfor the Arts) "Notes from the Green Room is a superb study of musicalperformance anxiety. Beginning students, seasoned performers, andteachers can all benefit from the practical help it provides. Itwill certainly become required reading for all my students." (JamesKibbie, University of Michigan School of Music) "Performers, as well as the growing group of professionalstreating performance anxiety, should have this important book ontheir reference shelves." (Alan Grishman, performance anxietyconsultant, musician)Table of Contents1. The Performer. 2. The Psychology of Coping with Performance Stress. 3. The Whole Performer. 4. Stress and Performing. 5. The Nature of Anxiety. 6. Getting Help for Stress and Anxiety. 7. The Cognitive Side of Performing. 8. Basic Stress Management Skills. 9. Anxiety and Stress in Perspective.
£999.99
