Music Books

Book SynopsisThe first extended account of the Associated Board of the Royal Schools of Music. The Associated Board of the Royal Schools of Music, better known as ABRSM, has influenced the musical lives and tastes of millions of people since it conducted its first exams in 1890. This ground-breaking history explores how ABRSM became such a formative influence and looks at some of the consequences resulting from its pre-eminent position in British musical life. Particular emphasis is given to how free ABRSM has been to impose its musical view of things and to what extent its exams respond to the circumstances and musical preferences of its customers. The book's exploration of how ABRSM has negotiated music's changing social, educational and cultural landscape casts fresh light on the challenges facing music education today. David Wright's comprehensive history of the Board from its origins in 1889 to the present day represents a significant and original investigation. Not only is it the first extended account of ABRSM, but it sets the institution and its work firmly within its historical and cultural context. ABRSM's exams were exported all across the Empire, and this study shows how both exams and examiners made a telling cultural contribution to the idea of the 'British World'. It relates the exams to changing historical perceptions about musical education as well as to attitudes about the value of music as a social and recreational activity. By demonstrating the impact of the Board's commercial success in dominating the grade exam market, the book shows how this has had significant consequences for the organization of British musical training and for the formation andsustaining of a particular sort of British musical culture. Before his retirement, David Wright was Reader in the Social History of Music at the Royal College of Music, London.Trade ReviewCandid and critical but never harsh, Wright's book was written with the full cooperation of the Board and goes well beyond a standard institutional history, taking us behind committee doors and offering insights into musical life beyond the conservatoire . This book is rich in interpretation and analysis and . is a splendid example of just how interesting and insightful an institutional history can be. * NORTH AMERICAN BRITISH MUSIC STUDIES ASSOCIATION, Autumn 2013 *An endlessly fascinating book. * MUSIC TEACHER *[A] most perceptive, well-organised and concentrated work, revealing the wide scope of the British and Imperial cultural worlds from which the Associated Board emerged in 1889 in response to the admirable Victorian ethos of self-improvement and its thirst for formal qualification. * MUSICAL TIMES *The book is rich in detail - anecdotes, statistics, source references, quotations and a detailed bibliography and index - and offers a comprehensive history of the Board together with an examination of its continued significant place in British culture and musical life. * THE CROSS-EYED PIANIST BLOG *Table of ContentsIntroduction: the Context for a History Music Exams and Victorian Society Competing for Candidates: TCL, ABRSM and the Society of Arts The ABRSM Idea and the First Exams, 1889-91 The Early History, 1892-1920 The ABRSM and the 'British World' The Inter-War Years The ABRSM in Wartime The Post-War ABRSM Too Much Success: the 1960s and 1970s The Reconstitution: 1983-5 Reconnecting with its Market: the Smith Years, 1983-1992 Redefining its Role: the Morris Years, 1993-2009 Appendix I: Speech and Drama Exams Appendix II: ABRSM Personalia, 1889-2009

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Book SynopsisAlthough Elgar achieved fame, status and recognition in his lifetime, his earnings did not match the standard of living to which he aspired. The late nineteenth century was a propitious time for British composers. But while the demand from music publishers for their works grew substantially, the copyright and royalty terms were such that even successful composers couldnot achieve the levels of earnings enjoyed by other creative artists such as authors, painters and dramatists. However, in the early twentieth century, new sources of earnings emerged, notably performing fees, broadcasting fees and royalties from record sales. Unlike other leading contemporary British composers, who also held prestigious, salaried positions, Elgar was, by his own volition, a freelance composer who relied entirely on the precarious earnings from his works, supplemented by conducting fees and a brief tenure at Birmingham University. As a result, although Elgar achieved fame, status and recognition in his lifetime, both nationally and internationally, his earnings did not match the standard of living to which he aspired. This lack of money, exacerbated by too much expenditure, was a constant source of worry, complaint and frustration to Elgar, even though he had become a beneficiary fromthe new sources of income in the twentieth century. Elgar's Earnings investigates whether Elgar's complaints about a lack of money can be justified by the facts. Drawing on hitherto neglected primary sources, especially the Novello Business Archive, John Drysdale examines the relatively poor terms offered by music publishers to composers of serious music in general and Elgar in particular and explores the reasons why successful painters and authors, such as G. B. Shaw, could obtain much better terms. This comparative analysis enriches our understanding of the economic and social forces at work in nineteenth and early twentieth century Britain and shows how Elgar, despite his insecure financial position, helped to establish the profession of the English composer, to the lasting benefit of future generations. JOHN DRYSDALE is a musicologist and former investment banker.Trade ReviewA fascinating book ... I commend this book to anyone interested in how composers of the time earned an income. * SPIRITED MAGAZINE, ENGLISH MUSIC FESTIVAL *This study widens our understanding of the place of Elgar's music in terms of social, cultural and economic context ... Drysdale's excellent analysis of Elgar's earnings shows the benefits that economically-focused studies of composers bring to the more contextual understanding of the life decisions and artistic choices they made. * MUSICAL TIMES, December 2013 *Drysdale [...] should be congratulated on adding a new chapter in Elgar studies. * MUSICAL OPINION *This is a rare, maybe even unique, book. [...] An unexpected, revealing, and truly fascinating book and one which I recommend wholeheartedly. * ELGAR SOCIETY JOURNAL *Table of ContentsIntroduction Opportunities for British Composers Authors, Painters and Composers Novello and the Music Publishing Business Novello, Royalties and Copyrights to 1914 and the 1904 Royalty Agreement Novello, Royalties and Copyrights 1914 to 1934 and other Music Publishers Royalties and Copyrights on Elgar's Major Works Elgar's Performing Fees and George Bernard Shaw Elgar's Earnings from Broadcasting, Recording and Conducting A Matter of Wills Epilogue Appendix

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Book SynopsisSeparating fact from fiction, this book explores how the legendary violinist challenged the very notion of what it meant to be a musician. Our inherited image of Nicolo Paganini as a 'demonic violinist' has never been analysed in depth. What really made him 'demonic'? This book investigates the legend of Paganini. Separating fact from fiction, it explains how the virtuoso violinist challenged the very notion of what it meant to be a musician. Mai Kawabata considers Paganini's performance innovations, violin techniques and musical ethos in the light of contemporary attitudes towards musicand the supernatural, gender, sexuality, violence, heroism and masculinity as well as conceptions of power. The many perceptions of Paganini as demonic - Faust, magician, devil, rake/libertine, Napoleon - were inter-related but not equivalent. A swirl of cultural factors coalesced in the performer to create that phenomenon of Romanticism, a larger-than-life Gothic villain. Kawabata shows how the idea of virtuosity spiralled out of control, acquiring a potent, overwhelmingly negative aura in the process, as the mythology surrounding Paganini outlived and outgrew the man to monstrous proportions. An appendix brings together late nineteenth-century British press and literature coverage of Paganini that contributed to the developing myth surrounding the now famous composer and performer. MAI KAWABATA is Lecturer in Music at the University of East Anglia and a professional violinist.Trade ReviewThe wealth of primary source materials, the original approach to the subject matter, and the convincing analyses of Paganini's music and performance style make this book a valuable contribution to the Paganini literature. * MUSIC AND LETTERS *Fascinating. * MUSICAL TIMES *Table of ContentsIntroduction 'Demonic' Violinist, Magical Virtuosity Hypereroticism and Violence Sovereignty, Domination, and Conquest Paganini's Legacies Epilogue: Paganinian Mythology Appendix: Paganiniana in the British Press (1840-1900) Bibliography

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Book SynopsisSound has been used for thousands of years to help improve health and wellbeing. In "Sounding the Mind of God", Lyz Cooper brings ancient knowledge together with easy to digest 'new' science to demonstrate how sound can be used in an easy way to make positive changes to your life. This book contains a range of simple, fun exercises which include the use of the voice, Himalayan singing bowls, chimes, drums and more. If you are in need of a quick pick-me-up, try the 'sonic caffeine' exercises - or if you need a stress buster, how about some 'sonic hot chocolate'?Trade Review'Sounding the Mind of God' is well-researched, easy to understand and fun! (Dr Manjir Samanta-Laughton Author of Punk Science.) This book is as much about our psychology as it is about working therapeutically with harmonious sound sources - the voice and its overtones, Himalayan and crystal bowls and various drums. (James D'Angelo Author of several sound healing books including 'Healing with the Voice'.) Lyz Cooper in 'Sounding the Mind of God' has gathered a lot of wisdom both ancient and modern and shown us how sound energy has both healing power and the ability to make us clearer in our thinking and performance of everyday tasks. (Fred Alan Wolf PhD Author of many books and audio courses including Dr. Quantum's Little Book of Big Ideas.)

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Book SynopsisIn Japanese the term Karaoke means, literally, empty orchestra. This book addresses the complexity of this social craze, exploring its emergence in post-war Japan, its development and spread across the world to become a phenomenon that constantly evolved to keep pace with changes in technology and culture.

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Book SynopsisComposing Apartheid is the first book ever to chart the musical world of a notorious period in world history, apartheid South Africa. It explores how music was produced through, and was productive of, key features of apartheid's social and political topography.The collection of essays is intentionally broad, and the contributors include historians, sociologists and anthropologists, as well as ethnomusicologists, music theorists and historical musicologists.The essays focus on a variety of musics (jazz, music in the Western art tradition, popular music) and on major composers (such as Kevin Volans) and works (Handel's Messiah). Musical institutions and previously little-researched performers (such as the African National Congress' troupe-in-exile Amandla) are explored.The writers (from South Africa, the UK and US) move well beyond their subject matter, intervening in debates on race, historiography and postcolonial epistemologies and pedagogies.Trade ReviewThis is one of the best books to have emerged from South African musicology in the last decade... It opens up a new level of discourse about music during the apartheid era: a level on which the theoretical, the ethical, the historical and the aesthetic play against each other in newly meaningful ways. Roger Parker, Cambridge University, UKTable of ContentsIntroduction: Grant Olwage Chapter 1: Back to the Future? Idioms of ‘displaced time’ in South African composition Christine Lucia Chapter 2: Apartheid’s Musical Signs: Reflections on black choralism, modernity and race-ethnicity in the segregation era Grant Olwage Chapter 3: Discomposing Apartheid’s Story: Who owns Handel? Christopher Cockburn Chapter 4: Kwela’s White Audiences: The politics of pleasure and identification in the early apartheid period Lara Allen Chapter 5: Popular Music and Negotiating Whiteness in Apartheid South Africa Gary Baines Chapter 6: Packaging Desires: Album covers and the presentation of apartheid Michael Drewett Chapter 7: Musical Echoes: Composing a past in/for South African jazz Carol A. Muller Chapter 8: Singing Against Apartheid: ANC cultural groups and the international anti-apartheid struggle Shirli Gilbert Chapter 9: ‘Nkosi Sikelel’ iAfrika’: Stories of an African anthem David Coplan and Bennetta Jules-Rosette Chapter 10: Whose ‘White Man Sleeps’ Aesthetics? and politics in the early work of Kevin Volans Martin Scherzinger Chapter 11: State of Contention: Recomposing apartheid at Pretoria’s State Theatre, 1990-1994. A personal recollection Brett Pyper Chapter 12: Decomposing Apartheid: Things come together Ingrid Byerly Chapter 13: Arnold van Wyk’s Hands Stephanus Muller

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Book SynopsisTexts and translation of all Debussy's songs with valuable notes. This completely revised second edition of The Poetic Debussy contains the most recent discoveries in the composer's oeuvre, including a number of hitherto unknown songs. The texts of all Debussy's songs, both in the original French and with revised English translations on the facing page, are collected in chronological order, with notes and location of sources. In addition, Margaret Cobb has brought together a fascinating selection of Debussy's letters which have poetic refences, and has updated the notes on those twenty-six compositions based on or inspired by literary texts. This work will prove an invaluable aid to performers, scholars and students, as it contains the texts, with translations, of the full output of Debussy's songs, describes his works derived from literary sources, and includes important background material.Trade ReviewAn invaluable volume. * MUSICAL TIMES *A useful compilation that will more than adequately serve performers and programme builders. * TIMES LITERARY SUPPLEMENT *The translations...read with flow that occasionally rivals the verse itself...the work is a valuable addition to the literature on Claude Debussy. * NOTES *

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Book SynopsisA catalogue of music manuscripts from the fourteenth to the twentieth centuries in the Houghton Library and the Eda Kuhn Loeb Music Library. Includes descriptions of works by Bach, Liszt, Mahler, Mozart, Purcell, Schoenberg, Schubert, Strauss, Wagner, and many others.

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Book SynopsisWith its five thematic sections covering genres from cantorial to classical to klezmer, this pioneering multi-disciplinary volume presents rich coverage of the work of musicians of Jewish origin in the Polish lands. It opens with the musical consequences of developments in Jewish religious practice: the spread of hasidism in the eighteenth century meant that popular melodies replaced traditional cantorial music, while the greater acculturation of Jews in the nineteenth century brought with it synagogue choirs. Jewish involvement in popular culture included performances for the wider public, Yiddish songs and the Yiddish theatre, and contributions of many different sorts---technical and commercial as well as creative---in the interwar years. Chapters on the classical music scene cover Jewish musical institutions, organizations, and education; individual composers and musicians; and a consideration of music and Jewish national identity. One section is devoted to the Holocaust as reflected in Jewish music, and the final section deals with the afterlife of Jewish musical creativity in Poland, particularly the resurgence of interest in klezmer music. The essays in this collection do not attempt to to define what may well be undefinable---what ‘Jewish music’ is. Rather, they provide an original and much-needed exploration of the activities and creativity of ‘musicians of the Jewish faith’.CONTRIBUTORS: Eliyana R. Adler, Michael Aylward, Sławomir Dobrzański, Paula Eisenstein-Baker, Beth Holmgren, Sylwia Jakubczyk-Ślęczka, Daniel Katz, James Loeffler, Michael Lukin, Filip Mazurczak, Bożena Muszkalska, Julia Riegel, Ronald Robboy, Robert Rothstein, Joel E. Rubin, Adam J. Sacks, Amanda (Miryem-Khaye) Seigel, Eleanor Shapiro, Carla Shapreau, Tamara Sztyma, Bella Szwarcman-Czarnota, Joseph Toltz, Maja Trochimczyk, Magdalena Waligórska, Bret Werb, Akiva Zimmerman Trade Review"The essays in Jews and Music-Making in the Polish Lands offer rich examinations of a vast and under-studied scholarly terrain. [...] Future scholarship that embraces both the particularity of the Polish-Jewish context and the broad resonance of its themes will best advance the admirable work of this volume’s editors and contributors."J. Mackenzie Pierce, Music and LettersReviews"This is an essential contribution to the fields of musicology, ethnomusicology, Jewish studies, cultural studies, and European studies. The publication indeed explores Jews and music-making in Poland that is engaging and accessible."Mark Kligman, Yearbook of Traditional MusicTable of ContentsIntroduction François Guesnet, Benjamin Matis, and Antony Polonsky PART I. CANTORIAL AND RELIGIOUS MUSIC A Chestnut, a Grape, and a Pack of Lions: A Shabbos in Płock with a Popular Synagogue Singer in the Early Nineteenth Century Daniel Katz Moshe Koussevitzky (1899–1966) in Vilna, Warsaw, and Russia Akiva Zimmerman The Art of Cantorial Singing in the Polish Territories Bożena Muszkalska PART II. JEWS IN POPULAR MUSICAL CULTURE IN POLAND Musical Afterthoughts on Shmeruk’s Mayufes Bret Werb Servant Romances: Eighteenth-Century Yiddish Lyric and Narrative Folk Songs Michael Lukin Broder Singers: Forerunners of the Yiddish Theatre Amanda (Miryem-Khaye) Seigel Gimpel’s Theatre, Lwów: The Sounds of a Popular Yiddish Theatre Preserved on Gramophone Records, 1904–1913 Michael Aylward The Polish Tin Pan Alley—A Jewish Street Robert Rothstein On the Dance Floor, on the Screen, on the Stage. Popular Music in the Interwar Period: Polish, Jewish, Shared Tamara Sztyma The Jews in the Band: Anders Army’s Special Troupes Beth Holmgren Szpilman, Bajgelman, and Barsht: The Legacy of an Extended Polish Jewish Klezmer Family Joel E. Rubin Władysław Szpilman’s Post-War Career in Poland Filip Mazurczak Abraham Ellstein’s Film Scores: Some Less Obvious Sources Ronald Robboy PART III. JEWS IN THE POLISH CLASSICAL MUSIC SCENE The ‘Lust Machine’: Recording and Selling the Jewish Nation in the Late Russian Empire James Loeffler Leo Zeitlin and the Flourishing of Jewish Art Music in Early 1920s Vilna Paula Eisenstein-Baker ‘Jewish musicians are the crowning achievements of foreign nations’: Jewish Identity and Yiddish Nationalism in the Writings of Menachem Kipnis Julia Riegel Ostbahnhof Berlin: Jewish Music Students of East European Origin at the Berlin Conservatory, 1918–1933 Adam J. Sacks Jewish Music Institutions and Organizations in Interwar Galicia Sylwia Jakubczyk-Ślęczka Jewish Composers of Polish Music after 1939: A Story in Lists and Numbers Maja Trochimczyk Tadeusz Zygfryd Kassern’s American Years Sławomir Dobrzański PART IV. THE HOLOCAUST REFLECTED IN JEWISH MUSIC ‘My song, you are my strength’: Personal Repertories of Polish and Yiddish Songs from Young Survivors of the Łódź Ghetto Joseph Toltz Singing Their Way Home Eliyana R. Adler The Nazi-Era Confiscation of Wanda Landowska’s Musical Collection and Its Aftermath Carla Shapreau Music as a ‘Paper Bridge’ between Generations before and after the Holocaust Bella Szwarcman-Czarnota PART V. KLEZMER IN POLAND TODAY The Klezmer Revival in Poland as a Contact Zone Magdalena Waligórska The Sound of Change: Performing ‘Jewishness’ in Small Polish Towns Ellie Shapiro

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Book SynopsisThe impact of global capital and foreign investment on local communities is being felt in major cities across the world. Since the 2012 Olympics was awarded to the British capital, East London has been at the heart of the largest and most all-encompassing top-down urban regeneration strategy in civic history. At the centre of this has been the local government, Newham Council, and their daring proposal: an "Arc of Opportunity" for developers to transform 1,412 hectares of Newham. This proposal was outlined in a short film, London's Regeneration Supernova, and shown to foreign developers and businesses at the 2010 Shanghai World Expo. While the sweeping changes to East London have been keenly felt by locals, the symbolism and practicalities of these changes - for the local area, and the world alike - are overdue serious investigation. Regeneration Songs is about how places are turned into simple stories for packaged investment opportunities, how people living in those places relate to those stories, and how music and art can render those stories in many different ways. The book will also include a download code to obtain the related musical project, Music for Masterplanning - in which musicians from East London soundtracked London's Regeneration Supernova - and a 32-page glossy insert detailing the artists involved.

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Book SynopsisIn Justify My Love, Ryann Donnelly explores sex and gender in one of the most widely consumed art forms of our age — the music video. Through an autobiographical reckoning with the author’s life in a band and collaboration with past lovers, and a close analysis of the erotic iconography of music videos, Justify My Love tells the subversive history of this medium, from the inception of MTV in 1981 through to the 2010s. Covering everything from Lady Gaga and Beyonce to Nine Inch Nails and George Michael, Justify My Love shows how subversion became mainstream, and how marginalized voices shaped some of the biggest music videos of the last thirty years.Trade Review"A tender and corporeal autobiography of what it means to express yourself as a female musician when everything feels bound by the playful but taut restrictions of love, sex and power... a (very good) Girl In A Band story and a theory book." — Hannah Ewens, Noisey

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Book SynopsisFolk-Songs of the South: Collected Under the Auspices of the West Virginia Folk-Lore Society is a collection of ballads and folk-songs from West Virginia. First published in 1925, this resource includes narrative and lyric songs that were transmitted orally, as well as popular songs from print sources.Through 186 ballads and songs and 26 folk tunes, this collection archives a range of styles and genres, from English and Scottish ballads to songs about the Revolutionary and Civil Wars, the opening of the American West and boat and railroad transportation. It includes children’s play-party and dance music, songs from African American singers, and post–Civil War popular music. The original introduction by Cox contains vibrant portraits of the singers he researched, with descriptions of performance style and details about personalities and attitudes.With an introduction by Alan Jabbour, this edition renews the importance of this text as a piece of scholarship, revealing Cox’s understanding of the workings of tradition across time and place and his influence upon folk-song research.

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Book SynopsisAs a constantly evolving and developing industry, the music business environment continues to establish new standards in terms of operational efficiency, dynamics between the different parties involved in the professional cycles, and constructing and performing methodologies in the process of achieving the desired results that all the participants in the music world have to adapt to in order to establish a sustainable career.Hence, the main purpose of this book is to provide practical advice suitable to both aspiring music professionals and artists that need detailed guidance in the process of developing the basis of a fruitful, promising, and sustainable profile, not only in terms of business performance, but psychologically as well.

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Book SynopsisThis Volume II of the Proceedings of the Worldwide Music Conference 2021 continues the line of publications of the first volume in a highly interdisciplinary mode. This time, we offer eight chapters that provide the in-depth study of music in four large sub-fields: mathematics, language and theory of narrative, evolution and perception, and, finally, sociology. The first chapter, by Roman Ruditsa, is devoted to the study of structural pitch organization. This is based upon a formal logical interpretation of the idea of pitch. The chapter contains formal definitions of such objects as tones, intervals, and interval systems and a demonstration of the logical relationships that exist between them. The second chapter, in the same mathematical venue, by Celina Richter and Stefan E. Schmidt, revisits the millennial question of the essence of an interval, using highly advanced mathematical language, the categories of monoid and the algebraic theory of measurement. The next block is dedicated to language and narrative; the first chapter is by Vincent Meelberg. Here, the reader will find fascinating developments in the ongoing deliberations on this elusive category. The name of Trevor Rawbone, perhaps, does not need an introduction to those involved with cognitive studies of music. This time, his chapter deals with the idea of the language of musical thought, which shifts the traditional discussion of language into a very new dimension. Carlos Almada begins a new section in the book, the one dedicated to evolution and perception. He begins with Darwin and takes us through the exciting path of development of the science of evolution, which he masterfully connects to his model of derivative analysis of music. The question of psycho-physiological foundation of the ethnic hearing, raised in the chapter by Аlla V. Toropova and Irina N. Simakova, is a difficult one. The idea of ethnic character of music had been a part of traditional musicology and usually was expressed in specific language of humanities. The chapter by Daniil Shutko on the theoretical ideas of the legendary professor of St. Petersburg conservatory, Dr. Tatiana Bershadskaya, was difficult to put into any category. Her concept of music was truly universal and interdisciplinary. At the same time, the concept and Shutko’s description are as closely focused on music theory in a narrow and precise sense as possible. The art and culture of consumption of wine in correlation with the choice of music for listening is a theme for a true connoisseur. It becomes even more intriguing when the authors, Diego Pérez-Fuertes, Emma Juaneda-Ayensa and Cristina Olarte-Pascual, add to the discussion the special circumstance of the pandemic and the way human spirit meets this challenge in the most graceful way.

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Book SynopsisChapter 1. Research Questions and Description of the Research Plan.- Chapter 2. Basic Terms Definition.- Chapter 3. Findings.- Chapter 4. Conclusion and Discussion.

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Book Synopsis1. Introduction.- Part 1: Theorising global music history, theorising global musicology.- 2. ‘Alternative modernities: exploring the contexts of Latin American professional musicians in the 19th and 20th centuries’.- 3.‘“Order structure” of musicology: can there be a “global musicology”?’.- 4. ‘Half a Century of Musicology in Tunisia: A Prosopographical Study’.- Part 2: Local ‘pieces of a puzzle’.- 4. ‘Music in Brazil or Brazilian Music? The construction of musical nationalism during Brazil’s First Republic (1889-1930)’.- 5. ‘Reading Becoming to Being Filipino: Music in Manila’s Newspapers 1860-1940’.- 6. ‘South African opera: Representations of societal transformation’.- Part 3. Circumventing the West?.- 7. ‘Ludpig and a hostel: canonical afterlives in prismatic play’.- 8. ‘Writing and re-writing music histories: mentality changes in Romanian musicology’.- 9. ‘Afro Sino Music Pedagogy: Towards a Trans-Diasporic Method’.

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Book SynopsisStreifzug durch die Geschichte der Musik. Carl Dahlhaus und Norbert Miller erläutern, wie sich die traditionelle Opernform und der neue sinfonische Stil seit 1770 gegenseitig befruchten. Die Geschichte dieser Symbiose ist die Geschichte der klassisch-romantischen Musik als eine einheitliche Epoche. An ausgewählten Ereignissen werden die Umbrüche ebenso wie die kaum merkbaren Veränderungen sichtbar gemacht. Der zweite Band setzt in der Epochenmitte bei den Opern Webers und Spontinis ein. In Kapiteln über Rossinis Pariser Karriere, über Meyerbeer und die grand opéra, über Berlioz' und Schumanns Versuche einer "Opéra de concert" und über Verdis und Wagners musiktheatralische Neuerungen gehen die Autoren der Ästhetik der romantischen Oper und der Idee der symphonischen Dichtung auf den Grund.

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Book SynopsisMusik bewegt sich in der Zeit und darin gleicht sie unserem Leben. Ausgehend von diesem Gedanken schreibt der Autor eine mitreißende und kompakte Geschichte der westlichen Musik von ihren Anfängen bis ins 21. Jahrhundert der Komponisten, Interpreten und Zuhörer. An 24 Stationen der Geschichte hält er inne und betrachtet anhand der Komponisten, ihrer Werke und des gesellschaftlichen Umfelds die sich wandelnden Vorstellungen darüber, was Musik ist und wofür sie gemacht wird.

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Book SynopsisLeben und Werk des Schöpfers von "Der Kaiser von Atlantis". Viktor Ullmann gilt als Galionsfigur der in den 1980er-Jahren einsetzenden »reanimata«-Bewegung. Diese brachte vom NS-Regime verfolgte und nach dem Krieg vergessene Komponisten und ihr Werk wieder ins kulturelle Bewusstsein der Gegenwart. Die umfassende Biografie ist eine Darstellung seines Leben und Schaffens, das eine unverwechselbare Handschrift erkennen lässt: hochdifferenzierte Harmonik, unkonventionelle Kontrapunktik und eine eigenwillige Rätselhaftigkeit.

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Book SynopsisWas ist eigentlich das Wesen der Musik? Und woher rührt ihre große Bedeutung? Seit der Antike haben Komponisten wie Rameau, Wagner und Strawinskij, Philosophen wie Aristoteles, Nietzsche und Adorno sowie Schriftsteller wie Heine, Stendhal und Thomas Mann immer wieder ihre eigenen Thesen formuliert. Fubini greift alle wegweisenden Ansätze auf und gibt einen lebendigen Überblick.

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Book SynopsisNeue Sicht auf Anton Bruckner. Zu Lebzeiten erst spät gewürdigt, zählt der Komponist heute zu den großen und einflussreichen Symphonikern des 19. Jahrhunderts. Die Meinungen über Bruckners Werke gingen von Anfang an auseinander. Die widersprüchlichen Standpunkte zu seiner Person und seinem Schaffen setzen sich bis heute fort. Das ausführliche Handbuch zu Leben, Werk und Rezeption erleichtert den Zugang zu dem kontrovers rezipierten Komponisten und vermittelt neue Perspektiven jenseits von Stereotypen.

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Book SynopsisGender, das kulturell konstruierte Geschlecht mittlerweile eine relevante Kategorie in der Betrachtung der Musikgeschichte und -kultur. Das Lexikon vereint zum ersten Mal genderrelevante Themenfelder der Musik und ihrer Geschichte in einem kompakten Lese- und Nachschlagewerk. Ein historischer Teil bietet überraschende Einblicke in die Musikgeschichte vom Mittelalter bis zur Gegenwart. Der lexikalische Teil beinhaltet Sachartikel zu den Schlagworten der musikwissenschaftlichen Genderforschung sowie Personenartikel zu ausgewählten Frauen aus zentralen Bereichen der Musikgeschichte.

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Book SynopsisDie Neue Musik seit 1945. Das Lexikon zeigt, jenseits von ästhetischen Wertungen, den großen Facettenreichtum der Neuen Musik. In einem breit aufgefächerten lexikalischen Teil werden die Verästelungen der neueren und neuesten Musikgeschichte umfassend erläutert: mit Sachartikeln u.a. zu Theorie, Formen und Gattungen, Instrumenten und Ensembles, Regionen, Medien, Interpretation und Aufführung. Darüber hinaus stellen namhafte Autoren in neun Essays die musikgeschichtlichen Zusammenhänge dar und reflektieren Grundfragen der Neuen Musik. Der Horizont des Bandes reicht einerseits über den europäischen Kontext, andererseits auch über den der musikalischen Avantgarde deutlich hinaus.Trade Review“… widmen sich auf höchst lesenswerte Weise wesentlichen Aspekten der neuen Musik ... das Buch sei hiermit nachdrücklich empfohlen.” (Burkhard Kinzler, in: Forum Musikbibliothek, Jg. 37, Heft 2, Juli 2016)“... das Lexikon Neue Musik wird definitiv eine Pflichtlektüre für alle Musikwissenschaftler, Komponistinnen, Interpreten und Interessierte.” (Rebekka Meyer, in: Dissonance, Heft 9, 2016)

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Book SynopsisZum 150. Geburtstag von Richard Strauss. Er zählt zu den bedeutendsten Komponisten vor und nach 1900. Tondichtungen wie Till Eulenspiegel , aber auch Opern wie der Rosenkavalier werden heute vielerorts weiterhin gespielt. Zum Jubiläumsjahr bietet das Handbuch ein differenziertes Bild des Komponisten, macht mit der aktuellen Forschung bekannt und lädt zugleich dazu ein, alle Seiten von Richard Strauss kennenzulernen: auch den Komponisten von Liedern, Kammer- und Chormusik; den Dirigenten, den Musikfunktionär, den Geschäftsmann und den Privatmann.

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Book SynopsisFormale Aspekte der Musik lexikalisch erfasst. In über 1.000 Artikeln, über 550 Notenbeispielen sowie rund 300 Grafiken und Tabellen stellt das Lexikon Form und Formung der Musik vom Mittelalter bis zur Gegenwart vor. Nachschlagen lassen sich z. B. Abspaltung, Affektenlehre, Begleitung, Entsprechung, Fortspinnung, Motiv, Ostinato, Symmetrie, Variation u. v. m. Mehr als 150 Stücke werden komplett analysiert und in eigens dafür entwickelten Diagrammen übersichtlich dargestellt. Die Verweisstruktur ermöglicht ein systematisches Arbeiten mit dem durchgehend vierfarbig gestalteten Werk. Ein unentbehrlicher Begleiter durch Musikunterricht, Studium und Beruf.

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Book SynopsisNeuer Blick auf das Phänomen Beethoven. Der Autor entwirft in seiner erfolgreichen Biografie, die für den Pulitzerpreis nominiert war, ein detailreiches Bild vom Leben und Werk des großen Komponisten. Er zeichnet die musikalische Entwicklung Beethovens nach und legt ein besonderes Augenmerk auf die historischen, politischen und kulturellen Hintergründe. Jedes Kapitel wird mit einem kurzen Überblick über die wichtigsten biografischen Ereignisse eingeleitet, bevor die Musik des jeweiligen Zeitabschnitts mit Verweisen auf Skizzenbücher und Autografe vorgestellt wird. Vielfältige Einsichten für Experten und Interessierte.

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Book SynopsisGlücklich am kaiserlichen Hof und mit neuen Plänen. Der renommierte Mozartforscher Christoph Wolff verwirft das weit verbreitete Bild von Mozarts letzten Lebensjahren voller Finanzsorgen und Todesahnungen. vor der Pforte meines Glückes , schrieb Mozart in einem Brief von 1790, zwei Jahre nach seiner Ernennung zum Komponisten der kaiserlich-königlichen Kammermusik . Aus dieser Sicht heraus, beginnend mit den drei Sinfonien des Sommers 1788, zeigt Wolff in Mozarts Werken und Fragmenten neue Ansätze und schlägt einen neuen Blick auf den Komponisten vor.

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Book SynopsisDieses Lexikon ist ein Novum der Musikliteratur. Erstmals werden alle wichtigen Texte zur Musiktheorie und Musikästhetik in lexikalischer Form von internationalen Spezialisten beschrieben und für die Wissenschaft und Praxis leichter zugänglich gemacht.Dieses Lexikon erstellt einen Kanon von ca. 250 bedeutenden musiktheoretischen Werken, Kompositions-, Harmonie- und Formenlehren, Instrumental- und Gesangsschulen, musikästhetischen Abhandlungen, historischen Darstellungen und künstlerischen Autobiographien und bietet, nach Autoren sortiert, in einzelnen Werkartikeln alles Wissenswerte zu Quellen, Entstehung, Inhalt und Würdigung des jeweiligen Werkes.Band 2 und 3, herausgegeben von Melanie Wald-Fuhrmann und Felix Wörner, werden die musikästhetischen Werke innerhalb und außerhalb Europas darstellen. Trade Review“... Dieses Buch darf in keiner Bibliothek mit musiktheoretischem Bereich fehlen; es wird die Beschäftigung mit Textquellen nicht nur erheblich vereinfachen, sondern auch den Wissensstand um Geschichte und Inhalte der Musiktheorie auf eine neue Ebene heben. Für interessierte und engagierte Musiktheoriedozierende ist dieser Band ein Muss, Studierenden dieses Fachbereichs sei er sehr ans Herz gelegt.” (Burkhard Kinzler, in: Forum Musikbibliothek, Jg. 39, Heft 3, November 2018)Table of ContentsEinleitung.- Artikel.- Register

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Book SynopsisDieses Lexikon ist ein Novum der Musikliteratur. Erstmals werden alle wichtigen Texte zur Musiktheorie und Musikästhetik in lexikalischer Form von internationalen Spezialisten beschrieben und für die Wissenschaft und Praxis leichter zugänglich gemacht. – In diesem zweiten Band wird ein umfangreiches Corpus von rund 450 primär europäischen und nordamerikanischen musikästhetischen Texten von der Antike bis zur Gegenwart vorgestellt. Neben im engeren Sinne ästhetischen und musikästhetischen Schriften wie etwa Immanuel Kants „Kritik der Urteilskraft“ (1790), Eduard Hanslicks „Vom Musikalisch-Schönen“ (1854) und Zofia Lissas „Ästhetik der Filmmusik“ (1964) finden viele andere Textformen Berücksichtigung: Denn auch die Bibel, frühneuzeitliche Erziehungsliteratur, Komponisten wie Robert Schumann und John Cage, Dichter wie Ovid und E.T.A. Hoffmann oder Romanautoren wie Dorothea Schlegel und Honoré de Balzac haben auf ihre Weise über Musik nachgedacht. Die Artikel sind alphabetisch nach Autoren geordnet und bieten grundlegende Informationen zum Originaltext, Darstellung des Inhalts und einen Kommentar, der den Text in seine jeweilige Zeit und die relevanten Diskurse einordnet sowie seine Bedeutung und Rezeption darlegt.Table of ContentsEinleitung.- Artikel.- Register.

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Book SynopsisDie Oper gehört seit vierhundert Jahren zu den stabilsten Kulturinstitutionen Europas. Weder Revolutionen noch Wirtschaftskrisen haben daran etwas geändert. Im 19. Jahrhundert wird die Oper schließlich zu einem internationalen Phänomen. Zur Institution Oper gehören nicht nur die Bühnenvorstellung und alles, was zu ihrer Organisation notwendig ist, sondern auch die Sänger und nicht zuletzt das Publikum. So kommen in diesem Buch das italienische Impresario-System, die fahrenden Schauspieltruppen, die Stadttheater, die Hof- und Staatstheater ebenso in den Blick wie etwa die Reisebedingungen und die Gagen der Sänger, die Eintrittspreise und die Logenhierarchie in der Oper sowie die rechtlichen Aspekte des Opernbetriebs. Der Bogen spannt sich vom 17. Jahrhundert bis hin zu den Entwicklungen der Gegenwart.Trade Review“... bietet einen diachronen Überblick über die Produktions- und Rezeptionsbedingungen des Musikdramas von seiner Entstehung um 1600 bis ins 20. Jahrhundert. ... Das Buch öffnet mit einer spannenden Episode aus der Frühzeit der Opern ... eignet sich somit sowohl für ein Publikum von Spezialisten, die sich über unbekannte Anekdoten und besondere Aspekte der Opernproduktion freuen werden, als auch für ein breiteres Publikum, das sich fundiert und umfassend über die Oper vor dem Hintergrund ihrer historischen Produktionsbedingungen informieren möchte.” (Alessandra Origgi, in: Germanisch-Romanische Monatsschrift, Jg. 68, Heft 1, 2018)“… fasst es in einer beeindruckend materialreichen, stringent aufbereiteten, schlüssig strukturierten Studie zusammen, die ihresgleichen sucht. Ein Standardwerk.” (Christoph Vratz, in: Opernwelt, Februar 2017)“… ist reich an Informationen und Einblicken und stellt Bekanntes und Erahntes in einen neuen Zusammenhang. Daher unbedingt empfehlenswert.” (Opera Lounge, operalounge.de, Juli 2017)Table of ContentsI Sichtweisen.- II Rahmenbedingungen (Geld und Münzen; Reisen).- III Organisationsformen (Unternehmeroper; Hof-und Staatsoper).- IV Rechtsfragen- V Die Sänger 277.- VI Autoren.- VII Das Opernpublikum.- Anmerkungen. Literaturhinweise- Register

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Book SynopsisOper fasziniert und wie! Aber wie wird Oper gemacht : komponiert, gesungen, dirigiert, inszeniert? In diesem Buch schildern Sänger, Dirigenten, Komponisten und Regisseure im Gespräch mit Richard Lorber ihre persönlichen Erlebnisse bei der Opernarbeit. Sie erklären ihre künstlerischen Anschauungen, verraten ihre musikalischen Vorlieben und berichten von ihrer Arbeitsweise. Dabei ermöglichen sie Einblicke in eine höchst lebendige Kunstform, als die sich das Musiktheater im 21. Jahrhundert mehr denn je erweist. Zu Wort kommen Stars des Opernlebens wie Jonas Kaufmann, Cecilia Bartoli oder Christian Thielemann, legendäre Persönlichkeiten wie Nikolaus Harnoncourt oder Michael Gielen, Erneuerer des Musiktheaters wie Hans Neuenfels oder Peter Konwitschny, Komponisten, die das Singen auf der Bühne um originelle Formen erweitert haben wie Manfred Trojahn oder Wolfgang Rihm.Trade Review“... Was für ein Glück, möchte man beim Lesen des Buchs von Richard Lorber sagen, dass es die Oper bis heute geschafft hat zu existieren. ...Lorbers Sammlung von Interviews macht Lust auf Oper. Der WDR-Redakteur, Musikkritiker und Dramaturg hat hier ein Kaleidoskop im Umgang mit dem Therna Oper aus unterschiedlichen Perpektiven aufgefächert...” (Sabine Kreter, in: das Orchester, Januar 2017)Table of ContentsVorwort.- Interviews

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Book SynopsisDie vorliegende Lebenschronik Richard Wagners, die erste seit Jahrzehnten, zeichnet Leben und Schaffen umfangreich Tag für Tag, Monat für Monat, Jahr für Jahr in seinem wechselvollen Gang mit allen Höhen und Tiefen auf. Die Datenfolgen werden angereichert durch zahlreiche Eigenzitate Wagners, durch Zeugnisse von Freunden und Zeitgenossen sowie durch Einbindung in wichtige Zeitereignisse. Wagners Entwicklung, spannungsvoll zwischen Kunst und Politik, Theater und Revolution gelagert, wird an seinen einzelnen Lebensstationen, seinen musiktheatralischen Werken und seinen kunstästhetischen wie kunstpolitischen Schriften umfangreich dokumentiert. Die Chronik kann so auch als neue Biographie Wagners gelten.

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