Theory of music and musicology Books
Taylor & Francis The Craft of Contemporary Commercial Music
Book SynopsisThe role of the commercial composer has grown to include a wide range of new responsibilities. Modern composers not only write music, but also often need to perform, record, and market their own works. The Craft of Contemporary Commercial Music prepares todayâs music students for their careers by teaching them to compose their own music, produce it professionally, and sell it successfully. The textbook integrates three areas of concentrationâmusic theory and composition, audio engineering, and music businessâallowing students to understand and practice how to successfully navigate each stage of a scoreâs life cycle from concept to contract. Students will learn how to: Translate musical ideas into scores utilizing music theory and composition techniques Transform scores into professional audio through the production stages of tracking, sequencing, editing, mixing, mastering, and bouncing Market works to prospective clients The textboo
£62.69
Taylor & Francis Vocal Music and Contemporary Identities
Book SynopsisLooking at musical globalization and vocal music, this collection of essays studies the complex relationship between the human voice and cultural identity in 20th- and 21st-century music in both East Asian and Western music. The authors approach musical meaning in specific case studies against the background of general trends of cultural globalization and the construction/deconstruction of identity produced by human (and artificial) voices. The essays proceed from different angles, notably sociocultural and historical contexts, philosophical and literary aesthetics, vocal technique, analysis of vocal microstructures, text/phonetics-music-relationships, historical vocal sources or models for contemporary art and pop music, and areas of conflict between vocalization, ethnicity, and cultural identity. They pinpoint crucial topical features that have shaped identity-discourses in art and popular musical situations since the1950s, with a special focus on the past two decades. The volume Table of Contents1. Introduction: Voice, Identities, and Reflexive Globalization in Contemporary Music Practices Christian Utz and Frederick Lau Part 1: Global Perspectives on the Voice 2. Presence and Ethicity of the Voice Dieter Mersch 3. The Rediscovery of Presence: Intercultural Passages through Vocal Spaces between Speech and Song Christian Utz 4. Imagining the Other’s Voice: On Composing across Vocal Traditions Sandeep Bhagwati Part 2: Voices of/in Art Music 5. Voice, Culture, and Ethnicity in Contemporary Chinese Compositions Frederick Lau 6. Narrative, Voice, and Reality in the Operas by Hosokawa Toshio and Mochizuki Misato Fuyuko Fukunaka 7. Reconsidering Traditional Vocal Practices in Contemporary Korean Music Heekyung Lee 8. Escaped from Paradise? Construction of Identity and Elements of Ritual in Vocal Works by Helmut Lachenmann and Giacinto Scelsi Jörn Peter Hiekel 9. The Notation and Use of the Voice in Non-Semantic Contexts: Phonetic Organization in the Vocal Music of Dieter Schnebel, Brian Ferneyhough, and Georges Aperghis Erin Gee Part 3: Voices of/in Popular Music and Media Art 10. A "Digital Opera" at the Boundaries of Transnationalism: Human and Synthesized Voices in Zuni Icosahedron’s The Memory Palace of Matteo Ricci Samson Young 11. "Voices of the Mainstream:"Red Songs and Revolutionary Identities in the People’s Republic of China Andreas Steen 12. Asagi’s Voice: Learning How to Desire with Japanese visual-kei Oliver Seibt 13. Voicing Body, Voicing Seoul: Vocalization, Body, and Ethnicity in Korean Popular Music Michael Fuhr 14. Afterword: Giving Voice to Difference Nicholas Cook
£43.99
Taylor & Francis Ltd Musicological Identities
Book SynopsisNo music scholar has made as profound an impact on contemporary thought as Susan McClary, a central figure in what has been termed the ''new musicology''. In this volume seventeen distinguished scholars pay tribute to her work, with essays addressing three approaches to music that have characterized her own writings: reassessing music''s role in identity formation, particularly regarding gender, sexuality, and race; exploring music''s capacity to define and regulate perceptions and experiences of time; and advancing new modes of analysis more appropriate to those aspects and modes of musicking ignored by traditional methods. Contributors include, in overlapping categories, many fellow pioneers, current colleagues, and former students, and their essays, like McClary''s own work, address a wide range of repertories ranging from the established canon to a variety of popular genres. The collection represents the generational arrival of the ''new'' musicology into full maturity, dividing faTrade Review'Rose Rosengard Subotnik was awarded the 2009 Slim Award (best article by scholar beyond early stages) by the AMS for her contribution to Musicological Identities: "Shoddy Equipment for Living?: Deconstructing the Tin Pan Alley Song,". Anyone still uncertain of Susan McClary's impact on musicology is warmly recommended to seek out this stimulating collection of essays. It is a remarkable tribute, not simply as an illustration of affection from two generations of musical scholars, but as an indication of how confidently and unapologetically the social meanings of music are now foregrounded. McClary was among the first to attempt to tease out such meanings, and inspired others to do likewise. The breadth of scholarship on display here is representative of the changed musicological landscape she helped to bring about.' Derek B. Scott, University of Leeds, UK ’[There is] diversity and openness... in many aspects of the book: in the range of musics and methodologies, in the willingness of scholars to interrogate their assumptions. In these qualities I detect a confident and mature discipline, one that goes far beyond appropriation or imitation of other disciplines to give something back to the humanities. Grown-up musicology? I think so.’ Journal of the Society for Musicology in IrelandTable of ContentsContents: Tribute to Susan McClary, Rose Rosengard Subotnik; Introduction, Steven Baur, Raymond Knapp and Jacqueline Warwick. Part I Musical Identities: Gender Sexuality and Race: Value and meaning in The Magic Flute, Lawrence Kramer; Whirling fanatics: orientalism, politics, and religious rivalry in western operatic representation of the orient, Nasser Al-Taee; Reveling in the rubble: where is the love?, George Lipsitz; 'Waltz me round again Willie': gender, ideology and the waltz in the Gilded Age, Steven Baur; 'And the colored girls sing': backup singers and the case of the Blossoms, Jacqueline Warwick; The universe will tell you what it needs: being, time, Sondheim, Paul Attinello. Part II Music and Temporality: Making time - the soundtrack and narrative time, Daniel Goldmark; Sleights of time in the music of Cassandra Wilson, Charles Hiroshi Garrett; Temporal turntables: on temporality and corporeality in dance culture, Stan Hawkins; Resisting the sublime: loose synchronization in La Belle et la Bête and The Dark Side of Oz, John Richardson; Of railroads, Beethoven and Victorian modernity, Ruth A. Solie; Marking time in Pacific Overtures: reconciling East, West and history within the theatrical now of a Broadway musical, Raymond Knapp. Part III Reinventing Analysis: 3 little essays on evanescence, Mitchell Morris; Gender sonics: the voice of Patsy Cline, Richard Leppert; Shoddy equipment for living? Deconstructing Tin Pan Alley song, Rose Rosengard Subotnik; Musicology beyond the score and the performance: making sense of the creak on Miles Davis's 'Old Folks', David Atke; Uninvited: gender, schizophrenia and Alanis Morissette, Robert Walker; Index.
£47.49
Taylor & Francis Ltd Artistic Practice as Research in Music Theory
Book SynopsisArtistic Practice as Research in Music: Theory, Criticism, Practice brings together internationally renowned scholars and practitioners to explore the cultural, institutional, theoretical, methodological, epistemological, ethical and practical aspects and implications of the rapidly evolving area of artistic research in music. Through various theoretical positions and case studies, and by establishing robust connections between theoretical debates and concrete examples of artistic research projects, the authors discuss the conditions under which artistic practice becomes a research activity; how practice-led research is understood in conservatoire settings; issues of assessment in relation to musical performance as research; methodological possibilities open to music practitioners entering academic environments as researchers; the role of technology in processes of musical composition as research; the role and value of performerly knowledge in music-analytical enquiry; issues in relatiTable of ContentsContents: Introduction, Mine DoÄŸantan-Dack. Part I Institutional and Critical Perspectives: Performing research: some institutional perspectives, Nicholas Cook; Practising research, playing with knowledge, Celia Duffy and Stephen Broad; Artistic research and music scholarship: musings and models from a continental European perspective, Darla Crispin; Determination and negotiation in artistic practice as research in music, Anthony Gritten. Part II Disciplinary and Methodological Issues: Practice-based music research: lessons from a researcher’s personal history, Jane W. Davidson; Following performance across the research frontier, Kathryn Whitney; The (f)utility of performance analysis, John Rink; Imaginary workspaces: creative practice and research through electroacoustic composition, John Young. Part III Specific Projects: The role of the musical instrument in performance as research: the piano as a research tool, Mine DoÄŸantan-Dack; Creating new music for a redesigned instrument, Christopher Redgate; Improvisations towards an origin: the steel cello and the bow chime, Adrian Palka; FLAT TIME/sounding, David Toop; Index.
£43.99
Taylor & Francis Ltd Hildegard von Bingens Ordo Virtutum
Book SynopsisThe Ordo Virtutum, Hildegard von Bingen's twelfth-century music-drama, is one of the first known examples of a large-scale composition by a named composer in the Western canon. Not only does the Ordo's expansive duration set it apart from its precursors, but also its complex imagery and non-biblical narrative have raised various questions concerning its context and genre. As a poetic meditation on the fall of a soul, the Ordo deploys an array of personified virtues and musical forces over the course of its eighty-seven chants. In this ambitious analysis of the work, Michael C. Gardiner examines how classical Neoplatonic hierarchies are established in the music-drama and considers how they are mediated and subverted through a series of concentric absorptions (absorptions related to medieval Platonism and its various theological developments) which lie at the core of the work's musical design and text. This is achieved primarily through Gardiner's musical network Table of Contents1. A Metaphysical Medieval Assemblage 2. Analytic Introduction 3. Deterritorialized Bodies 4. The Taking-Place of Prayer 5. On Reterritorialization
£128.25
Taylor & Francis Critical Essays in Popular Musicology
Book SynopsisCritical Essays in Popular Musicology is an essential reference work which reproduces in facsimile form many of the most important and innovative journal articles and papers in the field, along with an introductory overview by the editor Allan Moore. The volume is designed to improve access to the most significant, concise English-language writing, which articulates and demonstrates some of the key constituents of a popular musicology. It avoids those pieces which have been published in other collections. The essays are divided into two parts - those that articulate the key questions of popular musicology, which discuss contexts for addressing texts, and those that demonstrate the discipline in practice, which actually address those texts. This is a valuable volume for libraries expanding their collections in musicology and popular music studies and will provide scholars and graduate students with a convenient and authoritative reference source.Trade Review'...an exceptional collection of writings from the emerging field of popular music studies...a useful reference source...' Fontes Artis MusicaeTable of ContentsContents: Introduction; Part I Contexts for Addressing Texts: Theory: 'Black music', 'Afro-American music', and 'European music', Philip Tagg; A theory of musical competence, Gino Stefani; Can we get rid of the 'popular' in popular music?, a virtual symposium with contributions from the international advisory editors of Popular Music, Various; Browsing musical spaces: categories and the musical mind, Franco Fabbri; The high analysis of low music, Dai Griffiths; Second thoughts on a rock aesthetic: The Band, Andrew Chester; Why I'll never teach rock 'n' roll again, Sean MacCann; Authenticity as authentication, Allan Moore; Intertextuality and hypertextuality in recorded popular music, Serge Lacasse; From refrain to rave: the decline of figure and the rise of ground, Philip Tagg; What does it mean to analyse popular music?, Adam Krims; Music Theory: The formation of a musical style:early rock, Ronald Byrnside; Toward a theory of popular harmony, Peter K. Winkler; On aeolian harmony in contemporary popular music, Alf Björnberg; The so-called 'flattened seventh' in rock, Allan Moore ; Making sense of rock's tonal systems, Walter Everett; Incongruity and predictability in British dance-band music of the 1920s and 1930s, Derek B. Scott; Rhythm, rhyme and rhetoric in the music of Public Enemy, Robert Walser. Part II Addressing Texts: Fantastic remembrance in John Lennon's 'Strawberry Fields Forever' and 'Julia', Walter Everett; The Rutles and the use of specific models in musical satire, John R. Covach; The aesthetics of music video: an analysis of Madonna's 'Cherish', Carol Vernallis; 'Gently tender': the Incredible String Band's early albums, Charlie Ford; Cathy's homecoming and the other world: Kate Bush's 'Wuthering Heights', Nicky Losseff; Pulp, pornography and spectatorship: subject matter and subject position in Pulp's 'This is Hardcore', Nicola Dibben; Glamour and evasion: the fabulous ambivalence of the Pet Shop Boys, Fred E. Maus; Vicars of 'wannabe': authenticity and the Spice Girls, Elizabeth Eva Leach ; Oh Boy! (Oh Boy!): mutual desirability and musical structure in the buddy group, Barbara Bradby; Name index.
£43.99
Taylor & Francis Ltd The Digital Musician
Book SynopsisThe Digital Musician, Third Edition is an introductory textbook for creative music technology and electronic music courses. Written to be accessible to students from any musical background, this book examines cultural awareness, artistic identity and musical skills, offering a system-agnostic survey of digital music creation. Each chapter presents creative projects that reinforce concepts, as well as case studies of real musicians and discussion questions for further reflection. This third edition has been updated to reflect developments in an ever-changing musical landscapemost notably the proliferation of mobile technologiescovering topics such as collaborative composition, virtual reality, data sonification and digital scores, while encouraging readers to adapt to continuous technological changes. With an emphasis on discovering one's musical voice and identity, and tools and ideas that are relevant in any musical situation, The Digital Musician is sure to Trade Review"The third edition of The Digital Musician brings this superb textbook up to date, with new information and a revised structure that provides clarity and insight. Andrew Hugill invites readers to consider the essential question of what it is to be a musician working with digital technologies. The Digital Musician is the only book that approaches the subject in such a fundamentally holistic manner. It should be on every reading list of every university music course."—Paul Jackson, Director of Music and Performance, Anglia Ruskin University, UK"The Digital Musician is a thorough introduction to creative music technologies, written for the twenty-first century musician. It provides not only a practical survey of the techniques but also a panorama of the aesthetics and ideas that surround digital music making. This is recommended reading for anyone ready to jump into the field but not yet acquainted with its fundamentals."—Victor Lazzarini, Dean of Arts, Celtic Studies, and Philosophy, Maynooth University, Ireland"Andrew Hugill's panoramic view of twenty-first century music enables readers to find their unique place in our changing world and to understand where others are coming from—even the weird ones! The Digital Musician presents a thoughtful survey for newcomers while filling in foundations for more experienced readers."—Jeffrey M. Morris, Associate Professor, Department of Performance Studies, Texas A&M UniversityTable of ContentsIntroduction: The Digital Musician / PART I: AURAL AWARENESS / Chapter 1: Hearing and Listening / Chapter 2: Listening to Music / Chapter 3: Exploring Sound / PART II: MUSICAL CREATIVITY / Chapter 4: Working with Digital Audio / Chapter 5: Shaping Sounds / Chapter 6: Organizing Sound / Chapter 7: Composing Music / PART III: PERFORMANCE ABILITY / Chapter 8: Instruments / Chapter 9: Performing / Chapter 10: Musicianship / Chapter 11: Media / PART IV: CULTURAL KNOWLEDGE / Chapter 12: Cultural Context / Chapter 13: Critical Engagement / Chapter 14: Understanding Digital Music / PART V: REAL-WORLD SKILLS / Chapter 15: The Digital World
£52.24
Taylor & Francis Ltd Boy Bands and the Performance of Pop Masculinity
Book SynopsisBoy Bands and the Performance of Pop Masculinity provides a history of the boy band from the Beatles to One Direction, placing the modern male pop group within the wider context of twentieth- and twenty-first-century popular music and culture. Offering the first extended look at pop masculinity as exhibited by boy bands, this volume links the evolving expressions of gender and sexuality in the boy band to wider economic and social changes that have resulted in new ways of representing what it is to be a man.The popularity of boy bands is unquestionable, and their contributions to popular music are significant, yet they have attracted relatively little study. This book fills that gap with chapters exploring the challenges of defining the boy band phenomenon, its origins and history from the 1940s to the present, the role of management and marketing, the performance of gender and sexuality, and the nature of fandom and fan agency. Throughout, the author illuminates the wTable of ContentsIntroduction / Chapter One. Definitions: What Constitutes a Boy Band? / Chapter Two. From Barbershop to Mainstream Pop / Chapter Three. Constructing the Product / Chapter Four. Marketing and Promotion / Chapter Five. Weapons of Mass Seduction: Performing Pop Masculinity / Chapter Six. Fandom, Texts and Practices / Chapter Seven. Breaking Up, Making Up and Moving On
£39.99
Taylor & Francis Music Fundamentals
Book SynopsisMusic Fundamentals: A Balanced Approach, Third Edition combines a textbook and integrated workbook with an interactive website for those who want to learn the basics of reading music. Intended for students with little or no prior knowledge of music theory, it offers a patient approach to understanding and mastering the building blocks of musical practice and structure. Musical examples range from Elvis Presley songs to Filipino ballads to Beethoven symphonies, offering a balanced mixture of global, classical, and popular music.The new edition includes: Additional vocabulary features and review exercises Additional musical selections and 1-, 2-, or 3-hand rhythmic exercises The addition of guitar tablature A revised text design that more clearly designates the different types of exercises and makes the Workbook pages easier to write on An improved companion website with added mobile functionaTable of ContentsModule 1 - Basics of Pitch Module 2 - Basics of Rhythm Module 3 - Basics of Rhythm: Extending Duration, Anacrusis, Rests Module 4 - Accidentals Module 5 - Rhythm: Simple Meter Expanded Module 6 - Major Scale Module 7 - Major Scale Key Signatures Module 8 - Rhythm: Compound Meter Module 9 - Minor Scale Module 10 - Intervals Module 11 - Traids Module 12 - Rhythm: Compound Meter Expanded Module 13 - Triads: Roman Numerals Module 14 - Inversions of Triads Module 15 - Seventh Chords Module 16 - Form in Music Appendix 1 - Musical Terms Appendix 2 - Acoustics Appendix 3 - C Clefs (Alto and Tenor) Appendix 4 - Modes Appendix 5 - Other Seventh Chords (Major, Minor, Half Diminished, Diminished) Appendix 6 - Basic Guitar Chords
£96.99
Taylor & Francis Ltd Theory Essentials for Todays Musician Textbook
Book SynopsisTheory Essentials for Today's Musician offers a review of music theory that speaks directly and engagingly to modern students. Rooted in the tested pedagogy of Theory for Today's Musician, the authors have distilled and reorganized the concepts from the thirty-three chapters of their original textbook into twenty-one succinct, modular chapters that move from the core elements of harmony to further topics in form and 20th-century music. A broad coverage of topics and musicals stylesincluding examples drawn from popular musicis organized into four key parts: Basic Tools Chromatic Harmony Form and Analysis The 20th Century and Beyond Theory Essentials features clear and jargon-free (yet rigorous) explanations appropriate for students at all levels, ensuring comprehension of concepts that are often confusing or obscure. An accompanying workbook proviTable of ContentsPART ONE: BASIC TOOLSChaper 1: Elements of Diatonic Harmony Chapter 2: Cadences and Harmonic RhythmChapter 3: The Outer-Voice Framework/Embellishing Tones Chapter 4: Part Writing and Chorale Analysis I Chapter 5: Part Writing and Chorale Analysis II Chapter 6: Part Writing and Chorale Analysis III PART TWO: CHROMATIC HARMONYChapter 7: Secondary FunctionChapter 8: Modulation IChapter 9: Mixing Modes Chapter 10: Altered Pre-Dominants and Dominants Chapter 11: Modulation IIChapter 12: Harmonic Extensions and Chromatic Techniques PART THREE: FORM AND ANALYSISChapter 13: Melodic Form Chapter 14: Contrapuntal Forms Chapter 15: Small FormsChapter 16: Sonata FormChapter 17: RondoPART FOUR: THE 20TH CENTURY AND BEYONDChapter 18: Syntax and Vocabulary Chapter 19: New Tonal Methods Chapter 20: Non-Serial AtonalityChapter 21: Serial Atonality Appendix A: Scales and Intervals Appendix B: Rhythm Appendix C: Basic Harmonic Structures Appendix D: Part-Writing Guidelines
£147.25
Taylor & Francis Ltd Song Means Analysing and Interpreting Recorded
Book SynopsisThe musicological study of popular music has developed, particularly over the past twenty years, into an established aspect of the discipline. The academic community is now well placed to discuss exactly what is going on in any example of popular music and the theoretical foundation for such analytical work has also been laid, although there is as yet no general agreement over all the details of popular music theory. However, this focus on the what of musical detail has left largely untouched the larger question - so what? What are the consequences of such theorization and analysis? Scholars from outside musicology have often argued that too close a focus on musicological detail has left untouched what they consider to be more urgent questions related to reception and meaning. Scholars from inside musicology have responded by importing into musicological discussion various aspects of cultural theory. It is in that tradition that this book lies, although its focus is slightly different.Trade ReviewA Choice Outstanding Academic Title for 2012 'Moore’s methodology is clear and easy to follow... [His] discussion of how listeners react to recordings is just as strong as his discussion of melodic modes. Summing Up: Highly recommended. Lower-division undergraduates through faculty and professionals.' Choice 'Song Means is an astonishing achievement, and an exceptionally important book. Drawing on more than 20 years of his own writing on popular music, but synthesising and developing it in a quite remarkable way, Allan Moore accomplishes what seems almost impossible: a completely engaging, beautifully clear, authoritative, and undogmatic account of musical meaning across a huge range of pop songs. Written in direct, accessible and uncomplicated language, but tackling fundamental questions of musical meaning and the nature of musical materials, the book is rooted in Moore's own encyclopaedic knowledge of popular music set in a sophisticated conceptual framework. This is a landmark in the musicology of pop, and a book that will have a profound impact on how people think about, and understand, the most globally pervasive form of music of our times: the pop song.' Eric F. Clarke FBA, Heather Professor of Music, St Aldate's, University of Oxford, UK 'Song Means is firmly recommended for academic music libraries and any collections with an orientation toward popular music, theory, or analysis.' ARSC (Association for Recorded Sound Collections) '... for anyone interested in the academic analysis of a field of music that has profoundly influenced - some might say defined - whole generations, this book sets a benchmark that [...] will last for a long time.' Journal on the Art of Record Production '...Song Means is a worthy and important addition to the popular music scholarship canon.' Music Theory On-LineTable of ContentsList of Figures and Tables, List of Music Examples, General Editor’s Preface, Acknowledgements, 1 Methodology, 2 Shape, 3 Form, 4 Delivery, 5 Style, 6 Friction, 7 Persona, 8 Reference, 9 Belonging, 10 Syntheses, 11 Questions, Bibliography, Index of Recordings Cited, Index of Names and Topics
£39.99
Taylor & Francis Ltd Routledge Handbook to Luigi Nono and Musical
Book SynopsisOf the post-war, post-serialist generation of European composers, it was Luigi Nono who succeeded not only in identifying and addressing aesthetic and technical questions of his time, but in showing a way ahead to a new condition of music in the twenty-first century. His music has found a listenership beyond the ageing constituency of contemporary music'. In Nono's work, the audiences of sound art, improvisation, electronic, experimental and radical musics of many kinds find common cause with those concerned with the renewal of Western art music. His work explores the individually and socially transformative role of music; its relationship with history and with language; the nature of the musical work as distributed through text, time, technology and individuals; the nature and performativity of the act of composition; and, above all, the role and nature of listening as a cultural activity. In many respects his music anticipates the new technological state of culture of the twenty-fTrade Review'Jonathan Impett’s substantial and comprehensive Handbook…offers a formidable combination of aesthetic empathy and technical clear-headedness.’Arnold Whittall, The Musical Times, AUTUMN 2019, Vol. 160, No. 1948Table of Contents1. Prolegomena: a Venetian Pre-biography 2. Accelerated Learning: Years of Study 1942-1950 3. Confronting Modernism: Darmstadt 4. Taking positions: song 5. ‘Docere e movere’: Il canto sospeso 6. Poetry and drama 7. Intolleranza 1960 8. New spaces: studio, street, factory 9. Manifestos 10. Al gran sole carico d’amore 11. Waves 12. Verso Prometeo 13. a tragedy of listening 14. Resonances 15. Possible worlds
£204.25
Cambridge University Press thecambridgecompaniontotheorchestra
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£24.69
Cambridge University Press Reading Opera between the Lines Orchestral Interludes and Cultural Meaning from Wagner to Berg 8 New Perspectives in Music History and Criticism Series Number 8
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£32.29
Cambridge University Press The Improvisation of Musical Dialogue A Phenomenology of Music
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£21.84
Cambridge University Press Schenkers Interpretive Practice 11 Cambridge Studies in Music Theory and Analysis Series Number 11
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£33.24
Cambridge University Press Music Theory in the Age of Romanticism
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£37.99
Cambridge University Press Music Theory Nat Order Renaiss 20C
Book SynopsisIn exploring ways in which music theory has represented and employed natural order since the scientific revolution, this volume asks some fundamental questions not only about nature in music theory, but also the nature of music theory.Trade Review"...the variety and high-quality of the nine articles in this volume are impressive indeed...The excellent essays which form this volume, although focused specifically on music and music theory, are case studies of the universal tendency to substantiate ideology by means of appeals to "nature" and "natural order" and, as such, are certainly of general interest." Renaissance QuarterlyTable of ContentsPart I. The Disenchantment and Re-enchantment of Music: 1. Vincenzo Galilei, modernity and the division of nature Daniel Chua; 2. 'Tis nature's voice': music, natural philosophy and the hidden world in seventeenth-century England Linda Phyllis Austern; 3. The 'gift of nature': musical 'instinct' and musical cognition in Rameau David Cohen; 4. Nietzsche, Riemann, Wagner: when music lies Leslie David Blasius; Part II. Natural Forms - Forming Nature: 5. The second nature of sonata form Scott Burnham; 6. August Halm's two cultures as nature Alexander Rehding; 7. Seduced by notation: Oettingen's topography of the major-minor system Suzannah Clark; Part III. Constructions of Identity: 8. The gendered eye: music analysis and the scientific outlook in German early Romantic music theory Ian Biddle; 9. On the primitives in music theory: the savage and subconscious as sources of analytical authority Peter A. Hoyt.
£37.99
Cambridge University Press Perspectives on Mozart Performance 1 Cambridge Studies in Performance Practice Series Number 1
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£48.44
Cambridge University Press Roger Norths the Musicall Grammarian 1728
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£22.99
Cambridge University Press Musical Form in the Age of Beethoven
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£42.74
Cambridge University Press German Music Criticism in the Late Eighteenth Century
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£29.44
Cambridge University Press Absolute Music Construction Meaning 4 New Perspectives in Music History and Criticism Series Number 4
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£22.99
Cambridge University Press Bach and the Riddle of the Number Alphabet
Book SynopsisIn 1947 Friedrich Smend published a study claiming that J. S. Bach used a natural-order alphabet (A = 1 to Z = 24) in his works. He demonstrated that Bach incorporated significant words into his music, and provided himself with a symbolic compositional theme. Here, Dr Tatlow investigates the plausibility of Smend's claims with new evidence, challenging Smend's conclusions.Trade Review'A miracle has come to pass: a book concerning Bach and number symbolism which is sensible, perceptive and scholarly.' John Butt, Music and Letters'Ruth Tatlow's book is not only one of the very few scientifically serious investigations into this overexploited subject area, but also the first ever critical analysis of Smend's number symbolical works and their premises.' Christoph Wolff, Bach-Jahrbuch'Tatlow shows with devastating clarity that from Luther's time to Bach's, the use of such numerical interpretation for Christian theological purposes was considered misguided at best, and heretical at worst.' Daniel Melamed, Journal of the American Musicological Society'… it is refreshing to see a scholar who is ready to remove Bach from the vacuum in which he is too often studied.' Jeanne Swack, Notes'Thanks to Dr Tatlow's researches, we now have a solid basis of fact for speculations as to the role of numerology, and in particular the number alphabet, in the music of Bach and his contemporaries.' Malcolm Boyd, The Times Literary SupplementTable of ContentsList of illustrations; Acknowledgements; Introduction; 1. Friedrich Smend; 2. Number alphabets; 3. The poetical paragram; 4. A musical paragram?; 5. Links to Bach; Appendixes; Bibliography; Index.
£37.99
Cambridge University Press Reading Renaissance Music Theory Hearing with the Eyes 14 Cambridge Studies in Music Theory and Analysis Series Number 14
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£25.64
Cambridge University Press Ernst Kurth Selected Writings
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£48.44
Cambridge University Press Theory Analysis and Meaning in Music
Book SynopsisThere have been far-reaching changes in the way that music theorists and analysts view their discipline. Without seeking to impose an explicit redefinition of either analysis or theory, the contributors explore the limits of both. Essays on the language of analysis and theory combine with studies of works by Debussy, Schoenberg, Birtwistle and Boulez.Table of ContentsPreface; Acknowledgements; Contributors; Part I. Languages: 1. Metaphor in Roger Scruton's aesthetics of music Naomi Cumming; 2. Competing myths: the American abandonment of Schenker's organicism Robert Snarrenberg; 3. Rehabilitating the incorrigible Marion A. Guck; Part II. Decisions: 4. Criteria of correctness in music theory and analysis Jonathan Dunsby; 5. Ambiguity in tonal music: a preliminary study Kofi Agawu; 6. Systems and strategies: functions and limits of analysis Anthony Pople; Part III. Texts: 7. Debussy's significant connections: metaphor and metonymy in analytical method Craig Ayrey; 8. Music as text: Mahler, Schumann and issues in analysis Robert Samuels; 9. The obbligato recitative: narrative and Schoenberg's Five Orchestral Pieces, Op. 16 Alan Street; 10. Music theory and the challenge of modern music: Birtwistle's Refrains and Choruses Jonathan Cross; 11. Répons: phantasmagoria or the articulation of space? Alastair Williams; Bibliography; Index.
£37.04
Cambridge University Press Schenker Studies 2 Cambridge Composer Studies
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£22.99
Cambridge University Press Chromatic Transformations 19C Music 17 Cambridge Studies in Music Theory and Analysis Series Number 17
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£48.44
Cambridge University Press Scientific Method in Ptolemys Harmonics
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£37.99
Cambridge University Press Schenkers Argument Music Theory 9 Cambridge Studies in Music Theory and Analysis Series Number 9
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£35.14
Cambridge University Press The Musical Dilettante A Treatise on Composition by J F Daube 3 Cambridge Studies in Music Theory and Analysis Series Number 3
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£46.54
Cambridge University Press Brittens Musical Language 17 Music in the Twentieth Century Series Number 17
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£25.64
Cambridge University Press Aesthetics Art Musical Compositn Selected Writings of Johann Georg Sulzer and Heinrich Christoph Koch 7 Cambridge Studies in Music Theory and Analysis Series Number 7
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£42.74
Cambridge University Press Music and Conceptualization
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£32.29
Cambridge University Press Analyzing Popular Music
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£37.99
Cambridge University Press Mendelssohns Musical Education A Study and Edition of His Exercises in Composition Cambridge Studies in Music
Book SynopsisThis book is a study and critical edition of Mendelssohn's composition exercise book from his early period of study with Carl Friedrich Zelter (1819â1821). The workbook illustrates in considerable detail the young musician's struggle to master the rules of part writing and principles of counterpoint. Much of Zelter's systematic teaching method is grounded in the eighteenth-century theoretical tradition of Berlin; not surprisingly, the exercises bear the stamp of the music of J. S. Bach, which heavily influenced such Berlin musicians as C. P. E. Bach, C. F. C. Fasch, Marpurg, Kirnberger, Zelter and Mendelssohn. There is little doubt that the historicist attitude of the mature Mendelssohn â as seen in his efforts to revive the works of Bach and Handel and in his propensity toward strict contrapuntal techniques in his own music â was conditioned by these studies with Zelter. The publication of the workbook sheds new light on the early development of one ofthe most important nineteenth-cenTable of ContentsPart I: 1. Figured and Fundamental Bass Exercises; 2. Der 'plane' Choralgesang; 3. Der 'verziehrte' Gesang; 4. Gellert Chorales; 5. Invertible Counterpoint; 6. Two-Part Canon; 7. Preliminary Fugal Exercises; 8. Two-Part Fugue; 9. Three-Part Fugue and Canon; 10. Some Unknown Juvenilia of Mendelssohn; 11. Summary; Select Bibliography; Part II: Inventory of Oxford, Bodleian MS Margaret Deneke Mendelssohn C. 43; Critical Commentary; The Zelter-Mendelssohn Exercise Book.
£32.29
Cambridge University Press Schenker Studies
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£37.99
Cambridge University Press The Virtuoso Liszt 13 New Perspectives in Music History and Criticism Series Number 13
Book SynopsisThe greatest virtuoso career in history - that of Franz Liszt - has been told in countless biographies. But what does that career look like when viewed from the perspective of European cultural history? In this study Dana Gooley examines the world of discussion, journalism, and controversy that surrounded the virtuoso Liszt, and reconstructs the multiple symbolic identities that he fulfilled for his enthusiastic audiences. Gooley's work is based on extensive research into contemporary periodicals - well-known and obscure journals and newspapers - as well as letters, memoirs, receipts and other documents that shed light on Liszt's concertising activities. Emphasising the virtuoso's contradictions, the author shows Liszt being constructed as a model aristocrat and a model bourgeois, as a German nationalist and a Hungarian nationalist, as a sensitive romantic artist and a military dictator, as a greedy entrepreneur and as a leading force for humanitarian charity.Trade Review'CUP is to be warmly applauded for its stalwart and enterprising series New Perspectives in Music History and Criticism … this is an historically and contextually rich exposition, elucidating aspects we think we already understand. Gooley's approach, while rigorous and erudite, makes few demands on the reader as regards technical know-how. The author's priorities are those of the thinking pianist, culturally inquisitive non-musician and alert listener.' Classical Music'… a responsible piece of historical and interpretative writing, a valuable contribution to our understanding of Liszt and the forces that made his remarkable career possible.' The Times Literary SupplementTable of ContentsAcknowledgements; Note on periodical citations; Introduction: A virtuoso in context; 1. Liszt, Thalberg, and the Parisian publics; 2. Warhorses: virtuosity, violence, and the cult of Napoleon; 3. The cosmopolitan as nationalist; 4. Liszt and the German nation, 1840–43; 5. Anatomy of 'Lisztomania': the Berlin episode; Bibliography; Works cited.
£33.24
Cambridge University Press Poetry and the Romantic Musical Aesthetic
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£36.09
Cambridge University Press Postmodernism in Music Cambridge Introductions to Music
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£22.99
Cambridge University Press Literary Modernism and Musical Aesthetics
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£37.99
Cambridge University Press Berliozs Orchestration Treatise A Translation and Commentary Cambridge Musical Texts and Monographs
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£132.05
Cambridge University Press Esthetics of Music
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£18.99
Cambridge University Press The Science of Harmonics in Classical Greece
Book SynopsisHarmonics was the most important branch of Greek musical theory, and its ideas were still vigorously debated in the Renaissance. This 2007 book, written by a leading specialist on ancient music, concentrates particularly on the theorists' methods and purposes and the controversies that their various approaches to the subject provoked.Trade ReviewReview of the hardback: 'This is a fine, important book from one of the pillars of Greek musical scholarship, and should be carefully digested to the last footnote by every serious student of the subject.' MnemosyneReview of the hardback: 'The significance of Harmonics in Classical Greece - which displays all the features needed to become a classic for both studies in Classics and in musicology - does not only regard ancient philosophical and scientific studies. Indeed it sheds light on important aspects for medieval musicologists and for 16th and 17th -century debates, marked by a return to the ancient, even thanks to the Latin translation of Plutarch's De musica published by Carlo Valgulio in 1507.' Nuncius: Journal of the History of ScienceReview of the hardback: 'Barker has written an important book for anyone interested in ancient Greek music theory and its relationship with other intellectual activities of the time, such as philosophy and the empirical or mathematical sciences.' Bryn Mawr Classical ReviewTable of ContentsPart I. Preliminaries: Introduction; 1. Beginnings, and the problem of measurement; Part II. Empirical Harmonics: 2. Empirical harmonics before Aristoxenus; 3. The early empiricists in their cultural and intellectual contexts; 4. Interlude on Aristotle's account of a science and its methods; 5. Aristoxenus: the composition of the Elementa harmonica; 6. Aristoxenus: concepts and methods in Elementa harmonica Book 1; 7. Elementa harmonica Books 2-3: the science reconsidered; 8. Elementa harmonica Book 3 and its missing sequel; 9. Contexts and purposes of Aristoxenus' harmonics; Part III. Mathematical Harmonics: 10. Pythagorean harmonics in the fifth century: Philolaus; 11. Developments in Pythagorean harmonics: Archytas; 12. Plato; 13. Aristotle on the harmonic sciences; 14. Systematising mathematical harmonics: the Sectio canonis; 15. Quantification under attack: Theophrastus' critique; Postscript: The later centuries.
£48.44
Cambridge University Press Roger Norths The Musicall Grammarian 1728 Cambridge Studies in Music
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£97.85
Cambridge University Press Ernst Kurth Selected Writings 2 Cambridge Studies in Music Theory and Analysis Series Number 2
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£99.75
Cambridge University Press Aesthetics and the Art of Musical Composition in the German Enlightenment Selected Writings of Johann Georg Sulzer and Heinrich Christoph Koch 7 Music Theory and Analysis Series Number 7
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£99.75