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Books > Arts & Architecture > Music > Western music, periods & styles > General
What is a sonata? Literally translated, it simply means
'instrumental piece'. It is the epitome of instrumental music, and
is certainly the oldest and most enduring form of 'pure' and
independent instrumental composition, beginning around 1600 and
lasting to the present day. Schmidt-Beste analyses key aspects of
the genre including form, scoring and its social context - who
composed, played and listened to sonatas? In giving a comprehensive
overview of all forms of music which were called 'sonatas' at some
point in musical history, this book is more about change than about
consistency - an ensemble sonata by Gabrieli appears to share
little with a Beethoven sonata, or a trio sonata by Corelli with
one of Boulez's piano sonatas, apart from the generic designation.
However, common features do emerge, and the look across the
centuries - never before addressed in a single-volume survey -
opens up new and significant perspectives.
inch....this work is likely to become a standart work very quickly
and is to be recommended to all schools where recorder studies are
undertaken inch. (Oliver James, Contact Magazine) A novel and
comprehensive approach to transferring from the C to F instrument.
430 music examples include folk and national songs (some in two
parts), country dance tunes and excerpts from the standard treble
repertoire ofBach, Barsanti, Corelli, Handel, Telemann, etc. An
outstanding feature of the book has proved to be Brian Bonsor's
brilliantly simple but highly effective practice circles and
recognition squares designed to give, in only a few minutes,
concentrated practice on the more usual leaps to and from each new
note and instant recognition of random notes. Quickly emulating the
outstanding success of the descant tutors, these books are very
popular even with those who normally use tutors other than the
Enjoy the Recorder series.
Drawing on a range of contemporary performance documentation,
including concert programmes, newspaper reviews and periodical
reports, this book addresses what it refers to as the Philharmonic
'myth': the notion that London experienced a period of orchestral
inactivity between the departure of Haydn in 1795 and the founding
of the Philharmonic Society some eighteen years later. The book
illustrates that, far from constituting a radical new departure in
patterns of London concert life, the Philharmonic Society built on
the growing interest in orchestral music evident over the preceding
years. At the same time, it suggests that the deliberate adoption
of orchestral repertory marked the first institutional articulation
of a professional opposition to the traditional dominance of
fashionable Italian opera, and that the Philharmonic might
therefore be seen to reflect the emergence of important new strands
in musical, artistic and cultural leadership.
What makes a classical song a song? In a wide-ranging 2004
discussion, covering such contrasting composers as Brahms and
Berberian, Schubert and Kurtag, Jonathan Dunsby considers the
nature of vocality in songs of the nineteenth and twentieth
centuries. The essence and scope of poetic and literary meaning in
the Lied tradition is subjected to close scrutiny against the
backdrop of 'new musicological' thinking and music-theoretical
orthodoxies. The reader is thus offered the best insights available
within an evidence-based approach to musical discourse. Schoenberg
figures conspicuously as both songsmith and theorist, and some
easily comprehensible Schenkerian approaches are used to convey
ideas of musical time and expressive focus. In this work of
scholarship and theoretical depth, Professor Dunsby's highly
original approach and engaging style will ensure its appeal to all
practising musicians and students of Romantic and modern music.
Voices Found: Free Jazz and Singing contributes to a wave of voice
studies scholarship with the first book-length study of free jazz
voice. It pieces together a history of free jazz voice that spans
from sound poetry and scat in the 1950s to the more recent wave of
free jazz choirs. The author traces the developments and offers a
theory, derived from interviews with many of the most important
singers in the history of free jazz voice, of how listeners have
experienced and evaluated the often unconventional vocal sounds
these vocalists employed. This theory explains that even audiences
willing to enjoy harsh sounds from saxophones or guitars often
resist when voices make sounds that audiences understand as
not-human. Experimental poetry and scat were combined and
transformed in free jazz spaces in the 1960s and 1970s by vocalists
like Yoko Ono (in solo work and her work with Ornette Coleman and
John Stevens), Jeanne Lee (in her solo work and her work with
Archie Shepp and Gunter Hampel), Leon Thomas (in his solo work as
well as his work with Pharoah Sanders and Carlos Santana), and Phil
Minton and Maggie Nicols (who devoted much of their energy to
creating unaccompanied free jazz vocal music). By studying free
jazz voice we can learn important lessons about what we expect from
the voice and what happens when those expectations are violated.
This book doesn't only trace histories of free jazz voice, it makes
an attempt to understand why this story hasn't been told before,
with an impressive breadth of scope in terms of the artists
covered, drawing on research from the US, Canada, Wales, Scotland,
France, The Netherlands, and Japan.
Using an approach to music informed by T. W. Adorno, this book
examines the real-world, political significance of seemingly
abstracted things like musical and literary forms. Re-assessing
music in James Joyce, Ezra Pound and Sylvia Townsend Warner, this
book re-shapes temporal, aesthetic and political understandings of
modernism, by arguing that music plays a crucial role in ongoing
attempts to investigate language, rational thought and ideology
using aesthetic forms.
Following the successful volumes of Song on Record, this 1991 book
surveys all the recordings of major choral works from the
Monteverdi Vespers to Britten's War Requiem. Discussion of the
various interpretations on record is preceded, in each chapter, by
informed criticism of the work concerned, including - where
appropriate - a clarification of editions, revisions, etc. (all the
many changes in Messiah are, for instance, described in detail).
The coverage of recordings is exhaustive and its value is enhanced
by detailed discographies, with numbers of each recording. Each
contributor is an authority within his or her specialist area and,
collectively, their insights and observations make the book
invaluable to record collectors, music lovers and all with an
interest in changing tastes and styles of musical performance.
The music of Haydn, Mozart and Beethoven forms a cornerstone of the
modern repertoire, but very little is known about the context in
which these composers worked. This volume of twelve essays by
leading international scholars considers some of the musical
traditions and practices of this little-understood period of music
history. Beginning with the early decades of the eighteenth
century, the volume documents selected aspects of musical life and
style from the late Baroque period through to the early years of
the nineteenth century. The four main areas covered in this
exploration of music history are orchestral music, sacred music,
opera and keyboard music. Georg Reutter (Haydn's teacher), Antonio
Salieri (Mozart's colleague) and Woelffl (a rival of Beethoven) are
just three of the period's prominent musicians who are discussed at
length.
This book contains the first complete translation in English of E. T. A. Hoffmann’s major musical writings, complementing the well-known Tales. It offers, therefore, a long-awaited opportunity to assess the thought and influence of one of the most famous of all writers on music and the musical links with his fiction. Containing the first complete appearance in English of Kreisleriana, it reveals a masterpiece of imaginative writing whose title is familiar to musicians (from Robert Schumann’s piano cycle) and whose profound humour and irony can now be fully appreciated. This volume offers translations aiming at the greatest fidelity to Hoffmann, as well as musical accuracy in the reviews. David Charlton’s three introductory essays provide extensive information on the background to Romantic music criticism; on the origins and internal structure of Kreisleriana; and on Hoffmann and opera. A concluding essay by the late Friedrich Schnapp lists Hoffmann’s planned reviews and those mistakenly attributed to him.
(Piano Collection). Contains nearly every piece of piano music
Debussy wrote in this giant, 488-page, comb-bound book. Includes:
Children's Corner, Deux arabesques, complete Etudes, Pour le piano,
complete Preludes, Suite bergamasque, plus 27 other pieces.
What makes a classical song a song? In a wide-ranging 2004
discussion, covering such contrasting composers as Brahms and
Berberian, Schubert and Kurtag, Jonathan Dunsby considers the
nature of vocality in songs of the nineteenth and twentieth
centuries. The essence and scope of poetic and literary meaning in
the Lied tradition is subjected to close scrutiny against the
backdrop of 'new musicological' thinking and music-theoretical
orthodoxies. The reader is thus offered the best insights available
within an evidence-based approach to musical discourse. Schoenberg
figures conspicuously as both songsmith and theorist, and some
easily comprehensible Schenkerian approaches are used to convey
ideas of musical time and expressive focus. In this work of
scholarship and theoretical depth, Professor Dunsby's highly
original approach and engaging style will ensure its appeal to all
practising musicians and students of Romantic and modern music.
James Hogg's Jacobite Relics - originally commissioned by the
Highland Society of London in 1817 - is an important addition to
The Collected Works of James Hogg. It created a canon for the
Jacobite song which had an enormous influence on subsequent
collections, and was of great importance in defining the
relationship between the Scottish song tradition and its Romantic
editors and collectors. From the first publication of the Relics in
1819 the majority of scholars have argued about how many of them
were authored or at least substantially altered by Hogg. Professor
Murray Pittock has conducted extensive research in this area since
1987, and has identified many previously neglected or unknown
sources from which Hogg would have worked as he developed his
collection. He has identified contemporary 17th- and 18th-century
sources for the majority of the songs in the edition. This has
implications not only for Hogg's integrity as a writer, but for our
understanding of the history of the Scottish song as a whole. The
introduction to volume one includes the crucial issue of Hogg's
relationship to the Jacobite song tradition, and the place of the
Relics within Hogg's career and personal context, facilitating
further interpretations of Hogg's range of creative strategies.
Considerable annotation accurately communicates the context of the
songs and Hogg's relationship to the textuality of Jacobite
culture. The introduction to volume two deals with the genesis of
the text and Hogg's relationship with the Highland Society. This
volume will be available from November 2002.
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Beethoven, A Life
(Paperback)
Jan Caeyers; Foreword by Daniel Hope; Translated by Brent Annable
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R699
Discovery Miles 6 990
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Ships in 12 - 17 working days
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The authoritative Beethoven biography, endorsed by and produced in
close collaboration with the Beethoven-Haus Bonn, is timed for the
250th anniversary of Beethoven's birth. With unprecedented access
to the archives at the Beethoven House in Bonn, renowned Beethoven
conductor and scholar Jan Caeyers expertly weaves together a deeply
human and complex image of Beethoven-his troubled youth, his
unpredictable mood swings, his desires, relationships, and
conflicts with family and friends, the mysteries surrounding his
affair with the "immortal beloved," and the dramatic tale of his
deafness. Caeyers also offers new insights into Beethoven's music
and its gradual transformation from the work of a skilled craftsman
into that of a consummate artist. Demonstrating an impressive
command of the vast scholarship on this iconic composer, Caeyers
brings Beethoven's world alive with elegant prose, memorable
musical descriptions, and vivid depictions of Bonn and Vienna-the
cities where Beethoven produced and performed his works. Caeyers
explores how Beethoven's career was impacted by the historical and
philosophical shifts taking place in the music world, and
conversely, how his own trajectory changed the course of the music
industry. Equal parts absorbing cultural history and lively
biography, Beethoven, A Life paints a complex portrait of the
musical genius who redefined the musical style of his day and went
on to become one of the great pillars of Western art music.
(Transcribed). 20 studies for the classical guitar written by
Beethoven's contemporary, Fernando Sor. Revised, edited and
fingered by the great classical guitarist Andres Segovia. These
essential repertoire pieces continue to be used by teachers and
students to build solid classical technique.
The music of Haydn, Mozart and Beethoven forms a cornerstone of the modern repertoire, but very little is known about the context in which these composers worked. Beginning with the early decades of the eighteenth century, the essays in this volume consider some of the musical traditions and practices of this little understood period of music history. Four main areas are covered: orchestral music, sacred music, opera and keyboard music.
The search for the origins of language was one of the most pressing philosophical issues of the eighteenth century. It has escaped notice, however, that music figured prominently in that search. This study analyzes reflections on music and music theory as they appear within the logical and narrative structure of texts by, for example, Rousseau, Diderot, Rameau and Condillac, and considers the ways in which music facilitates links between language and meaning, between conceptions of an original society and an ideal social order.
In this wide-ranging and challenging book, Ruth Smith shows that the words of Handel's oratorios reflect the events and ideas of their time and have far greater meaning than has hitherto been realized. She sheds new light on the oratorio librettists and explores literature, music, aesthetics, politics and religion to reveal Handel's texts as conduits for eighteenth-century thought and sensibility. This book enriches our understanding of Handel, his times, and the relationships between music and its intellectual contexts.
This innovative book examines the place and practice of musical life in eighteenth-century England among the upper classes. Focusing on the home, it shows how domestic music-making was shaped by socio-cultural forces while itself contributing to socio-cultural formation. Particular attention is given to visual representations of music in eighteenth-century paintings, drawings and prints. Other documentary material analyzed includes the music of the period, instruction manuals, tracts on education, courtesy and conduct books, sermons, diaries, letters and memoirs, fictional writing and journalism. Through these media the author examines the role played by construction, the human body via questions of physicality and sexuality in dancing, its agency in defining and replicating dominant ideologies of the family and its use in establishing and maintaining social and cultural boundaries.
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Dowani, 3 Tempi Play Along Offers/Dowani, 3 Tempi Play Along Bietet/Dowani, 3 Tempi Play Along Vous Offre
- A. Vivaldi, Concerto for Violin, Strings and Basso Continuo Op. 3 No. 6, Rv 356 in a Minor
(English, German, French, Paperback, Multilingual)
Antonio Vivaldi
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R500
R405
Discovery Miles 4 050
Save R95 (19%)
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Ships in 10 - 15 working days
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Dowani 3 Tempi Play Along is an effective and time-tested method of
practicing that offers more than conventional play-along editions.
Dowani 3 Tempi Play Along enables you to learn a work
systematically and with accompaniment at different tempi. The first
thing you hear on the CD is the concert version in a first-class
recording with solo instrument and orchestral, continuo, or piano
accompaniment. Then the piano or harpsichord accompaniment follows
in slow and medium tempo for practice purposes with the solo
instrument heard softly in the background at a slow tempo. Finally,
you can play at the original tempo to the accompaniment of an
orchestra, piano, or basso continuo. All versions appearing on the
CD were recorded live by renowned soloists, accompanists, and
orchestras. There are no synthesised sounds in a Dowani edition!
Melopoetics, the study of the multifarious relations between music
and literature, has emerged in recent years as an increasingly
popular field of interdisciplinary inquiry. In this volume, noted
musicologists and literary critics explore diverse topics of shared
concern such as literary theory as a model for musical criticism,
genre theories in literature and music, the criticism and analysis
of texted music and the role of aesthetic, historical and cultural
understanding in concepts of text/music convergence. These fourteen
essays - united here not by a common ideology but by common subject
matter - demonstrate how musical and literary scholarship can
combine forces effectively on the common ground of contemporary
critical theory and interpretive practice. The concluding essay by
interdisciplinary historian Hayden White locates this ambitious
enterprise of contemplating 'music and text' in the larger context
of intellectual history.
Following the successful volumes of Song on Record, this book
surveys all the recordings of major choral works from the
Monteverdi Vespers to Britten's War Requiem. Discussion of the
various interpretations on record is preceded, in each chapter, by
informed criticism of the work concerned, including--where
appropriate--a clarification of editions, revisions, etc. (all the
many changes in Messiah are, for instance, described in detail).
The coverage of recordings is exhaustive and its value is enhanced
by a detailed discography, with up-to-date numbers of each
recording. Each contributor is an authority within his or her
specialist area and collectively, their insights and observations
of leading music critics make the book invaluable to record
collectors, music lovers and anyone with an interest in changing
tastes and styles of musical performance. Alan Blyth, formerly with
The Times (London) is now the music critic of The Daily Telegraph.
He is on the editorial board of Opera, the editor of the
three-volume Opera on Record and two-volume Song on Record (CUP),
as well as author of Remembering Britten and Introduction to
Wagner's Ring.
Hearing Rhythm and Meter: Analyzing Metrical Consonance and
Dissonance in Common-Practice Period Music is the first book to
present a comprehensive course text on advanced analysis of rhythm
and meter. This book brings together the insights of recent
scholarship on rhythm and meter in a clear and engaging
presentation, enabling students to understand topics including
hypermeter and metrical dissonance. From the Baroque to the
Romantic era, Hearing Rhythm and Meter emphasizes listening,
enabling students to recognize meters and metrical dissonances by
type both with and without the score. The textbook includes
exercises for each chapter and is supported by a full-score
anthology. PURCHASING OPTIONS Textbook (Print Paperback):
978-0-8153-8448-9 Textbook (Print Hardback): 978-0-8153-8447-2
Textbook (eBook): 978-1-351-20431-6 Anthology (Print Paperback):
978-0-8153-9176-0 Anthology (Print Hardback): 978-0-367-34924-0
Anthology (eBook): 978-1-351-20083-7
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