Search results for ""Joseph Horowitz" "Classical Music in America""
WW Norton & Co Dvoraks Prophecy
Book SynopsisA provocative interpretation of why classical music in America “stayed white”—how it got to be that way and what can be done about it.
£22.79
WW Norton & Co You Have More Influence Than You Think
Book SynopsisAn original investigation of our hidden potential to persuade, and how to wield it wisely.Trade Review"... Vanessa Bohns... presents great insights on the many ways in which we influence the people around us, and the implications this has for how we interact at work, in our personal lives and in society at large. A must read..." -- Books to Read on Vacation - London Business School think"Bohns reveals an enormously empowering secret: In many situations, we don’t recognize the great influence we possess." -- Robert Cialdini, New York Times bestselling author of Influence and Pre-suasion"The sense of reciprocity may also explain why positive feedback can be such a powerful tool in the workplace. A study by researchers at technology company Intel and Duke University in the US showed that verbal praise was more effective at increasing productivity than cash bonuses. ‘People generally don’t realise that something so small could have such a big impact,’ explains Vanessa Bohns, a professor of social psychology at Cornell University, US, and author of You Have More Influence Than You Think." -- BBC Worklife"Unlike other books on this subject, which tend to focus on how we can increase our influence, Bohns tries to explain how we can employ the influence we already possess but might not appreciate we have." -- Business Books Roundup September - Financial Times"In 1893, Czech composer Antonin Dvorák prophesied a “great and noble” future for classical music in America based on “negro melodies”. His prophecy failed to materialise — but here, in a blend of analysis and polemic, Joseph Horowitz challenges the standard narrative to give African-American composers the recognition they deserve." -- Best Books of 2021: Classical Music - Financial Times
£21.84
Harvard University Press The Joy of Playing the Joy of Thinking
Book SynopsisThe Joy of Playing, the Joy of Thinking brings together two sensitive minds in an exhilarating conversation on the arts. Charles Rosen, concert pianist and pioneering musicologist, and writer Catherine Temerson range widely—from musical aesthetics to tales of the great composers, the development of modernism, and the need to play.Trade ReviewHere one really finds oneself in Rosen’s presence, as he starts to spin a line of thought as elegant as any Bellini cantilena. -- Simon Callow * New York Review of Books *Rosen shares absorbing anecdotes relating to his studies with Moriz Rosenthal, who had been a student of Liszt, and the time that he inadvertently offended Stravinsky by asking about an assumed printer’s error in a score…It is just the thing for those missing the camaraderie of post-concert chat. -- Claire Jackson * BBC Music Magazine *Charles Rosen was a rarity among musicians; he excelled equally at the highest levels of performance and scholarship. This book presents the best kind of intellectual conversation: elevated, wide-ranging, impossible to predict, and sometimes very funny indeed. You’ll wish you could have joined in. -- Tim Page, Professor at the Annenberg School of Journalism and Thornton School of Music, University of Southern California, and winner of the 1997 Pulitzer Prize for CriticismI devoured this scintillating little book with pleasure. What I most appreciate is Charles Rosen’s keen awareness of history—not just of music, but of concurrent literature and visual art. His capacity and readiness to apply the past to understandings of the present is a gift increasingly rare today. -- Joseph Horowitz, author of Classical Music in America and Conversations with ArrauFew could produce such lucid formulations as Charles Rosen, especially in the course of dialogue. A spellbinding conversationalist, he exemplifies the well-rounded humanist no longer common in public discourse. His colleague Catherine Temerson asks carefully crafted questions. No one else could have created this exquisite book. -- Susan McClary, author of Feminine Endings: Music, Gender, and Sexuality and Conventional Wisdom: The Content of Musical FormA surprising treasure. Catherine Temerson’s perceptive questions reveal new insights from Charles Rosen. One comes away from reading the book with the same sense of intellectual excitement and energy that defined an evening’s conversation with the master pianist himself. -- Jeffrey Kallberg, author of Chopin at the Boundaries: Sex, History, and Musical Genre
£17.06
The University of Chicago Press American Orchestras in the Nineteenth Century
Book SynopsisStudies of concert life in nineteenth-century America have generally been limited to large orchestras and the programs we are familiar with today. But as this book reveals, audiences of that era enjoyed far more diverse musical experiences than this focus would suggest. To hear an orchestra, people were more likely to head to a beer garden, restaurant, or summer resort than to a concert hall. And what they heard weren't just symphonic worksprograms also included opera excerpts and arrangements, instrumental showpieces, comic numbers, and medleys of patriotic tunes. This book brings together musicologists and historians to investigate the many orchestras and programs that developed in nineteenth-century America. In addition to reflecting on the music that orchestras played and the socioeconomic aspects of building and maintaining orchestras, the book considers a wide range of topics, including audiences, entrepreneurs, concert arrangements, tours, and musicians' unions. The authors also show that the period saw a massive influx of immigrant performers, the increasing ability of orchestras to travel across the nation, and the rising influence of women as listeners, patrons, and players. Painting a rich and detailed picture of nineteenth-century concert life, this collection will greatly broaden our understanding of America's musical history.Trade Review“This superb collection of essays breaks new ground. The scholarship by preeminent scholars relies on new archival sources. The volume’s contribution to the history of music in America is unique. Readers in many fields will benefit from Spitzer’s collection: an encounter with the extent of amateur concert life, the history of musicians’ unions and touring ensembles, and the origins of today’s professional orchestras in Chicago, Cincinnati, and New York. The richness and variety of concert repertoire in America, much of it forgotten, come alive. Playing and listening to orchestral music in nineteenth-century America assume a significance long underestimated. This is a long overdue contribution to understanding music within urban and public culture in America before 1900.” -- Leon Botstein, Bard College“To a remarkable degree, the ‘symphony orchestra’ is an American invention, distinct from the pit orchestras of Europe. And yet our knowledge of nineteenth-century American orchestras remains amazingly incomplete. Surely this volume will help build momentum toward an adequate understanding of a vital, even heroic chapter in American cultural history.” -- Joseph Horowitz, author of Classical Music in America: A History“Highly recommended.” * Choice * “The text in toto presents a sweeping view of orchestras from about the second quarter of the nineteenth century to the end of the century; it is a more complex and diverse view than one might gather from standard music histories. . . . [It] describes in compelling detail how the orchestral movement got started and managed to become, in the opinion of some, ‘the cornerstone of America’s musical culture in the twentieth century.’ It is highly recommended, especially for conductors, orchestral musicians, and nineteenth-century specialists.” * Music Reference Services Quarterly * “If this collection of essays is any indication, we can rest assured that scholarship on nineteenth-century American music has sprung to life and will remain relevant well into the future. From cover to cover, it draws a detailed blueprint of the complex world of orchestral music and musicians across the century and constructs a sturdy foundation upon which to build new understandings of orchestras then and now.” * Journal of the Society for American Music * “This collection of diverse essays reflects well the fits and starts of American orchestra development. . . . While American orchestras’ leadership is beyond question, the path by which they reached it is shown to be much less direct and far more compelling.” * Journal of American History *Table of ContentsList of IllustrationsIntroduction: Toward a History of American Orchestras in the Nineteenth CenturyDeane L. RootI. Ubiquity and DiversityThe Ubiquity and Diversity of Nineteenth-Century American OrchestrasJohn SpitzerI.1. Building the American Symphony Orchestra: The Nineteenth-Century Roots of a Twenty-First-Century Musical InstitutionMark ClagueI.2. Modeling Music: Early Organizational Structures of American Women’s OrchestrasAnna-Lise P. SantellaI.3. American Orchestras and Their Unions in the Nineteenth CenturyJohn SpitzerII. The Orchestra and the American CityOrchestras: Local versus NationalJohn SpitzerII.1. Invisible Instruments: Theater Orchestras in New York, 1850–1900John GrazianoII.2. Beethoven and Beer: Orchestral Music in German Beer Gardens in Nineteenth-Century New York CityJohn Koegel and Jonas WestoverII.3. Performances to “Permanence”: Orchestra Building in Late Nineteenth-Century CincinnatiKaren AhlquistII.4. Critic and Conductor in 1860s Chicago: George P. Upton, Hans Balatka, and Cultural CapitalismJames DeavilleII.5. Amateur and Professional, Permanent and Transient: Orchestras in the District of Columbia, 1877–1905 Patrick WarfieldIII. Conductors, Promoters, PatronsMarketing the American OrchestraJohn SpitzerIII.1. Bernard Ullman and the Business of Orchestras in Mid-Nineteenth-Century New YorkBethany S. GoldbergIII.2. John Sullivan Dwight and the Harvard Musical Association Orchestra: A Help or a Hindrance?Mary Wallace DavidsonIII.3. The Leopold Damrosch Orchestra, 1877–78: Background, Instrumentation, Programming, and Critical ReceptionOra Frishberg SalomanIII.4. Gender and the Germanians: “Art-Loving Ladies” in Nineteenth-Century Concert LifeNancy NewmanIV. America and EuropeOrchestras: American and EuropeanJohn SpitzerIV.1. “A Concentration of Talent on Our Musical Horizon”: The 1853–54 American Tour by Jullien’s Extraordinary OrchestraKatherine K. PrestonIV.2. Ureli Corelli Hill: His European Travels and the Creation of the New York PhilharmonicBarbara HawsV. Orchestral RepertoryOrchestral Repertory: Highbrow and LowbrowJohn SpitzerV.1.Orchestral Programs in Boston, 1842–55, in European PerspectiveWilliam WeberV.2. Theodore Thomas and the Cultivation of American MusicBrenda Nelson-StraussV.3. Thinking about Serious Music in New York, 1842–82Adrienne Fried BlockAfterword: Coming of AgeRonald G. WaltersBibliographyContributorsIndex
£41.80
WW Norton & Co Classical Music in America
Book Synopsis“A splendid read, at once disturbing and illuminating.”—GramophoneTrade Review"This formidable book... shows how American classical music became a 'performance culture,' an ersatz-European showplace for celebrity virtuosos, rather than a native-born genre." The New Yorker "As a comprehensive, convincing analysis of the contemporary dilemma... and a riveting portrait of the century and a half of events and personalities which brought it about, Mr Horowitz's account would be hard to beat." The Economist "...Horowitz's important and in many ways provocative new book..." David Nicholls, The Times Literary Supplement"
£999.99
Rowman & Littlefield The Crisis of Classical Music in America
Book SynopsisThe Crisis of Classical Music in America by Robert Freeman focuses on solutions for the oversupply of classically trained musicians in America, problem that grows ever more chronic as opportunities for classical musicians to gain full-time professional employment diminishes year upon year. An acute observer of the professional music scene, Freeman argues that music schools that train our future instrumentalists, composers, conductors, and singers need to equip their students with the communications and analytical skills they need to succeed in the rapidly changing music scene. This book maps a broad range of reforms required in the field of advanced music education and the organizations responsible for that education.Featuring a foreword by Leonard Slatkin, music director of the Detroit Symphony Orchestra, The Crisis of Classical Music in America speaks to parents, prospective and current music students, music teachers and professors, department deans, university presidents and provostTrade ReviewAs its title suggests, this book exposes a serious situation, one Freeman is especially qualified to address. A graduate of Harvard and Princeton, he served as director of the prestigious Eastman School of Music, president of New England Conservatory, and dean of the College of Fine Arts, University of Texas. But he is also a successful performer, so he is able to offer an insightful assessment of the world of classical music as a professional musician as well as an academic insider. He examines in depth how universities and conservatories are graduating numerous fine performers, conductors, and music scholars who endure arduous training only to find, upon graduation, that few job opportunities exist. Freeman issues a clarion call for honesty and realism from the educators and other stakeholders who help music students decide where and what to study and what to expect. Thinking outside the box, he offers constructive advice for everyone from parents and students to deans and provosts who seek to improve conditions. He also suggests ways of enhancing music’s benefit to society. This is an invaluable resource for potential and current music students, music professors, administrators, and professional performers. Summing Up: Essential. All readers. * CHOICE *If you’re planning on going to music school or if you’re the parent of a child who is thinking of majoring in music, I’d highly suggest reading this book. And if you’re on the faculty or in administration at a music school, I strongly recommend that you read this book. Changes in the way we do things need to be made, and Dr. Freeman’s recommendations would be a great place to start. * Classical Music Today *[Freeman] is undoubtedly one of the most respected and influential scholars to provide insights on the past, present, and future of classical music education in American colleges. . . .Freeman’s writing is accessible to readers both inside and outside of academia. Some of the issues discussed in the book are quite personal (growing up in a musical family) and specific to the schools where Freeman worked (certain curriculum reforms). This book benefits, however, from Freeman’s experience and positions in professional classical music circles in America, and is valuable documentation of the development of classical music education in this country. Compared to other available books on classical music education (many of which focus on teaching methodology or the educational perspectives involved in sustaining a performing career), Freeman’s book provides more well-rounded insights. Lay audience members who are interested in the classical music industry and music education in the United States, as well as prospective professional musicians, will find this book extremely informative. * Notes: Quarterly Journal of the Music Library Association *Freeman is the most complete ‘package’ of musician/educator/administrator I know. He understands the issues in greater depth and with greater clarity than the majority of his colleagues. Perhaps annoyingly to some, he doesn’t hesitate to articulate improvements that would make any musical institution work more efficiently, economically and with greater impact on the constituencies and communities they serve. Yet, in one chapter of the book he describes his own education, 'the better for the reader to identify my own prejudices on the subject.'. . . .Most of Freeman’s chapters profer advice, respectively to parents, students, faculty, deans, provosts and presidents, and foundations. When parents wonder if their child can really make a living as a musician, Freeman says, 'You can if, while still a student, you can begin to compare your own unique skill set with those of your competitors.' These are of course life lessons and, if I may say, refreshingly retold. * Performing Arts Monterey Bay *Along with wisdom that only a leader like him can have, I like much of what he says in passing. For example, he points out that though music is more widely disseminated than ever before and more people are studying it, the range before and more people are studying it, the range of interpretation has actually narrowed . The standards are higher than ever, but few are willing to take risks or put much personality into their playing. He also mentions that music historians (his training) have contributed to that by narrowing interpretive possibilities. He says that in any style or period 'there is a broader latitude of dynamic, articulative, and agogic possibilities' than the musical notation can possibly indicate. . . .[Robert] has pointed out problems in a very convincing way–as only a top music educator could do. For that he deserves our thanks. * American Record Guide *Any involved in music or music education will find fascinating and revealing this survey revealing how an overabundance of classically-trained musicians in America is causing employment issues for all. It considers the underlying causes of the dilemma, maintains that music schools need to include wider education if they are to succeed in changing the poor results for classically-trained musicians after graduation, and it considers a range of reforms in education. * Midwest Book Review *It is crucial that we begin to reexamine the mission of traditional classical music education. As I tour the country and meet hundreds of young aspiring singers, it’s disheartening to ponder how few will actually be able to earn a living in their chosen profession. Who better than Robert Freeman, whom I have known since I studied piano with his aunt as a child, to take an honest look at how we educate musicians and offer solutions for making the arts more relevant today? -- Renee FlemingRobert Freeman, from his vantage point as performer, scholar, and educator offers some hard truth in The Crisis of Classical Music in America, his comprehensive, quasi-autobiographical study of music in America. He focuses especially on a false promise made by our schools and conservatories – their claim that they are properly preparing young musicians for the music careers at hand. Freeman insists that the “everyone can be a star” approach must end, that training with opportunity. This new paradigm, so effectively introduced by Freeman while he was director of the Eastman School, requires new thinking―practical, realistic, tough, but thanks to the author’s inveterate optimism, confident. -- John Harbison, Pulitzer Prize-winning composer, Professor of Music, MITRobert Freeman’s long and distinguished career at the highest levels of music making and teaching enable him to give a clear-eyed account of a world that has changed irrevocably. Everyone who participates in that world should pay close attention to his observations and advice. -- Don M. Randel, trumpeter, president, Andrew W Mellon Foundation and president emeritus, University of ChicagoNo music educator has been more prescient or humane than Bob Freeman in confronting the myriad challenges of our transitional moment in American musical culture. -- Joseph Horowitz, Music Critic and HistorianAmerica’s university music schools and free-standing conservatories are turning out more and better musicians than ever before. Sadly, talented young people hoping to make lifetime careers in music are finding it increasingly difficult to secure employment that yields a decent livelihood. Robert Freeman, who has given a great deal of thought to this dilemma, now offers his imaginative and educationally sound ideas on improving the situation. -- Bryce Jordan, flutist, president emeritus, Pennsylvania State UniversityRobert Freeman is a thought leader in music education, having led three of America’s most distinguished arts institutions. America’s music schools and conservatories are the best in the world, as evidenced by the glut of foreign students who compete for a place in one of them. The irony is that this comes at the moment of the almost complete demise of public school arts education in the United States. Major arts institutions in America–symphony orchestras and opera companies–are fighting for their very survival. It is a truly Dickensian moment, the best and the worst of times. What is the future for professional musicians in America? The Crisis of Classical Music in America offers important advice for parents of students contemplating a musical career; for those students as they prepare for a college degree; for music faculty; and ultimately for the deans, provosts, and presidents of our institutions of higher learning. This is a must read for anyone who cares about the future of music in America. -- James Moeser, organist, chancellor emeritus, University of North Carolina at Chapel HillThis book delivers on its core premise, which is to offer a critique of contemporary musical training and education and advice on improved approaches. But it is also autobiography, wide-ranging social commentary, and a critique of American higher education. All of this is delivered by one of the most important living leaders in music and music education―a genuine authority, an active thinker always, a senior statesman who observes on the basis of rich experience, but is not trapped by the past. It is a valuable book. -- Larry R. Faulkner, , president emeritus, University of Texas at AustinTable of ContentsAcknowledgments Foreword by Leonard Slatkin Preface Chapter 1: The Winds of Change Chapter 2: Where Did Musical Education Come From? Chapter 3: My Education Chapter 4: Advice for Parents: Should Your Child Play the Cello? Chapter 5: Advice for College Music Students: What’s Your Goal … Really? Chapter 6: Advice for Music Professors: Should All Your Students Aim for Carnegie Hall? Should They All Teach at Harvard? Chapter 7: Advice for Music Deans: Building Education Programs Appropriate for the New Century Chapter 8: Advice for Provosts and Presidents: Who Should Lead Your Music School and How Should that Person Lead? Chapter 9: Advice for Foundation Directors and Civic Leaders: What Do We Do to Balance the Supply of and Demand for Professionally Trained Musicians? Chapter 10: Epilogue Appendix I: How to Evaluate Music Faculty Appendix II: Convocation Address by Robert Freeman Index About the Author
£99.00
