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Books > Arts & Architecture > Music > Western music, periods & styles > General
Provides examples that instructors can readily apply in their
teaching, enabling deeper inclusion of Black composers in the music
theory curriculum on a practical level This book includes
discussion of a wide variety of genres, including: jazz and popular
music (including R&B, funk, and pop), string quartets, piano
pieces, concertos, symphonies, and art songs Addresses Black
composers and musicians working in a wide range of musical styles,
including classical and popular works
'A magnificent treasury . . . a fascinating tour de force.'
Observer 'Year of Wonder is an absolute treat - the most
enlightening way to be guided through the year.' Eddie Redmayne
Classical music for everyone - an inspirational piece of music for
every day of the year, celebrating composers from the medieval era
to the present day, written by award-winning violinist and BBC
Radio 3 presenter Clemency Burton-Hill. Have you ever heard a piece
of music so beautiful it stops you in your tracks? Or wanted to
discover more about classical music but had no idea where to begin?
Year of Wonder is a unique celebration of classical music by an
author who wants to share its diverse wonders with others and to
encourage a love for this genre in all readers, whether complete
novices or lifetime enthusiasts. Clemency chooses one piece of
music for each day of the year, with a short explanation about the
composer to put it into context, and brings the music alive in a
modern and playful way, while also extolling the positive
mindfulness element of giving yourself some time every day to
listen to something uplifting or beautiful. Thoughtfully curated
and expertly researched, this is a book of classical music to keep
you company: whoever you are, wherever you're from. 'The only
requirements for enjoying classical music are open ears and an open
mind.' Clemency Burton-Hill Playlists are available on most
streaming music platforms including Apple Music and Spotify.
Richard Wagner: A Research and Information Guide is an annotated
bibliography concerning both the nature of primary sources related
to the composer and the scope and significance of the secondary
sources which deal with him, his compositions, and his influence as
a composer and performer.
Wagner's Ring addresses fundamental concerns that have faced
humanity down the centuries, such as power and violence, love and
death, freedom and fate. Further, the work seems particularly
relevant today, addressing as it does the fresh debates around the
created order, politics, gender, and sexuality. In this second of
two volumes on the theology of the Ring, Richard Bell argues that
Wagner's approach to these issues may open up new ways forward and
offer a fresh perspective on some of the traditional questions of
theology, such as sacrifice, redemption, and fundamental questions
about God. A linchpin for Bell's approach is viewing the Ring in
the light of the Jesus of Nazareth sketches, which, he argues,
confirms that the artwork does indeed address questions of
Christian theology, for those inside and outside the church.
(Ensemble Collection). This classic series of duets for like
instruments is recognizable to nearly everyone who has ever studied
an instrument. The wealth of material supplements musical
development and provides a rich experience for growing musicians.
Duet playing is often a student's first form of ensemble experience
- technique, tone quality, intonation and balance are introduced as
students do one of the things they enjoy most - making music with a
friend. And duet playing leads easily and naturally to competent
performance in larger ensembles. (Vol. I Easy to Medium, Vol. 2
Medium to Advanced)
In Chamber Music: An Extensive Guide for Listeners, Lucy Miller
Murray transforms her decades of program notes for some of the
world's most distinguished artists and presenters into the go-to
guide for the chamber music novice and enthusiast. Offering
practical information on the broad array of chamber music works
from the Classical, Romantic, and Modern periods-and an artful
selection from the Baroque period of Johann Sebastian Bach's
works-Chamber Music: An Extensive Guide for Listeners is both the
perfect reference resource and chamber music primer for listeners.
Covering over 500 works, Murray surveys in clear and simple
language the historical and musical impact of some 130 composers-20
of them living. Notably, Chamber Music includes the complete string
quartets of Beethoven, Bartok, and Shostakovich, as well as 35
piano trios of Haydn. It also provides critical information and
assessments of works by composers not nearly so well known, both
past and present. Entries appear in alphabetical order by composer,
and, in every instance, give a brief introduction to the composer's
life and work. Of particular interest are the brief spotlight
contributions, from well-known figures in the chamber music world,
who focus on the performance experience or offer special knowledge
of the works. This work is an ideal introduction and reference for
students and scholars, new listeners, and enthusiasts of the
chamber music tradition in Western music. Special contributors
include: * Charles Abramovic * James Bonn * Michael Brown * Eugene
Drucker * James Dunham * Daniel Epstein * Ralph Evans * Jeremy Gill
* Jake Heggie * Paul Katz * Bert Lucarelli * Stuart Malina * Robert
Martin * Peter Orth * Jann Pasler * Susan Salm * David Shifrin *
Peter Sirotin/Ya-Ting Chang * Arnold Steinhardt * Kenneth Woods *
David Yang * Phillip Ying
Thomas Salmon (1647-1706) is remembered today for the fury with
which Matthew Locke greeted his first foray into musical writing,
the Essay to the Advancement of Musick (1672), and the
near-farcical level to which the subsequent pamphlet dispute
quickly descended. Salmon proposed a radical reform of musical
notation, involving a new set of clefs which he claimed, and Locke
denied, would make learning and performing music much easier. The
incident has tended to be passed over rather briefly in the
scholarly literature, but beneath the unedifying invective employed
by Salmon, Locke and their supporters, serious and novel statements
were being made about what constituted musical knowledge and what
was the proper way to acquire it. This volume is the first
published scholarly edition of Salmon's writings on notation,
previously available only in microfilm and online facsimiles. A
second volume to follow will present Salmon's writings on pitch -
previously only available mostly in manuscript.
Composed at while returning from a concert trip to Italy, this
setting of the Latin hymn text was possibly heard for the first
time on 21 March of 1767 at the Kloster Seeon in Bavaria. The vocal
score offered here is a newly engraved one in a very easy-to-read
and convenient format designed for choruses, carefully edited by
Richard W. Sargeant, Jr
A group of resourceful kids start "solution-seekers.com," a website
where "cybervisitors" can get answers to questions that trouble
them. But when one questioner asks the true meaning of Christmas,
the kids seek to unravel the mystery by journeying back through the
prophecies of the Old Testament. What they find is a series of "S"
words that reveal a "spectacular story!" With creative characters,
humorous dialogue and great music, The "S" Files is a children's
Christmas musical your kids will love performing.
Music and Performance Culture in Nineteenth-Century Britain: Essays
in Honour of Nicholas Temperley is the first book to focus upon
aspects of performance in the broader context of nineteenth-century
British musical culture. In four Parts, 'Musical Cultures',
'Societies', 'National Music' and 'Methods', this volume assesses
the role music performance plays in articulating significant trends
and currents of the cultural life of the period and includes
articles on performance and individual instruments; orchestral and
choral ensembles; church and synagogue music; music societies;
cantatas; vocal albums; the middle-class salon, conducting; church
music; and piano pedagogy. An introduction explores Temperley's
vast contribution to musicology, highlighting his seminal
importance in creating the field of nineteenth-century British
music studies, and a bibliography provides an up-to-date list of
his publications, including books and monographs, book chapters,
journal articles, editions, reviews, critical editions,
arrangements and compositions. Fittingly devoted to a significant
element in Temperley's research, this book provides scholars of all
nineteenth-century musical topics the opportunity to explore the
richness of Britain's musical history.
Carlos Kleiber (1930-2004) was the greatest conductor of his
generation. His reputation is legendary, and yet astonishingly, in
his five decades on the podium, he conducted only 89 concerts, some
600 opera performances, and produced 12 recordings. How did someone
who worked so little compared to his peers achieve so much? Between
his relatively small output and well-known aversion to publicity,
many came to regard Kleiber as reclusive and remote, bordering on
unapproachable. But in 1989 a conducting student at Stanford
University wrote him a letter, and an unusual thing occurred: the
world-renowned conductor replied. And so began a 15-year
correspondence, study, and friendship by mail. Drawing heavily on
this decade-and-a-half exchange, Corresponding with Carlos is the
first English-language biography of Kleiber ever written. Charles
Barber offers unique insights into how Kleiber worked based on
their long and detailed correspondence. This biography by one
friend of another considers, among other matters, Kleiber's
singular aesthetic, his playful and often erudite sense of humor,
his reputation for perfectionism, his much-studied baton technique,
and the famous concert and opera performances he conducted. Comic
and compelling, Corresponding with Carlos explores the great
conductor's musical lineage and the contemporary contexts in which
he worked. It repudiates myths that inevitably crop up around
genius and reflects on Kleiber's contribution to modern musical
performance. This biography is ideal for musicians, scholars, and
anyone with a special love of the great classical music tradition.
The classical record business gained a new lease on life in the
1980s when period instrument performances of baroque and classical
music began to assume a place on the stage. This return to the past
found its complement in the musical ascension of the American
minimalists, in particular the music of Steve Reich, Philip Glass,
and John Adams, and smaller specialty labels that focused on
experimental composers like John Cage. During this period of
change-of classical music's transition of looking both forward and
back-Rob Haskins served as a reviewer for The American Record
Guide, tracing these evolutions while also attending to works
emerging from within the mainstream of classical music performance
and composition. Classical Listening: Two Decades of Reviews of
Reviews from The American Record Guide collects the several hundred
reviews produced since Rob Haskins's start in the mid-1990s. A
performer and musicologist, Haskins writes delightful, cogent
reviews that unapologetically reflect his personal experience,
musical interests, and professional background, emphasizing the
value of subjectivity in music criticism. Witty, provocative, and
eloquent, Haskins's book reads like a diary of personal experience
even as it addresses important topics as diverse as historical
performance practice and the aesthetics of contemporary music. It
is also a perfect guide to buying or listening for the classical
music devotee seeking an informed opinion on the breadth of
remarkable recordings available. Record collectors, students and
scholars of early and contemporary music, and performers,
professionals, and general music lovers will find this collection
an invaluable resource as they trace the reception of recordings in
the last twenty years of classical music performance.
Follow a multi-faceted journey by an improviser and a musicosopher,
Eric Antoni, from the cobbled streets of Paris to the Far East.
Musical Mosaic lays coherent excursus of the author's
thought-provoking collection of anecdotes. With the absence of
lengthy verbiage of a political-social-economic nature, the book is
full of compassionate truthful descriptions of persons and
experiences and written with total objectivity, brevity,
originality, and musical creativity as inspired by the sense of
tonality, throughout the history of music in Europe, since
Monteverdi, and all over the world nowadays. As a text that is
"musico-sophical" instead of being "musico-logical," it is inspired
by the founder of phenomenology, Edmund Husserl (1859-1938), and
his philosophical seizure of consciousness. It discusses the
author's journey in the world of music and describes "musical
consciousness" and the ways in which it moves and works within us.
The book presents to the readers the author's account of the
composers he met along the way (Slamet Sjukur, Giacinto Scelsi) and
the composers who are currently active (Jean-Francois Laporte,
Pierre Michaud, Myriam Boucher, George Benjamin), along with
historical narratives that center around Monteverdi, Bach, Ravel,
Debussy, and Bartok. It underlines the interrogations held by
today's musicians in light of yesterday's mutations. With this
book, the author would like to reach out to composers, performers,
and music lovers and contribute towards opening them to the scope
of experimentation in music and in the world of sound, all of which
keep on becoming more expansive and more intensely conscious.
Richard Wagner: A Research and Information Guide is an annotated
bibliography concerning both the nature of primary sources related
to the composer and the scope and significance of the secondary
sources which deal with him, his compositions, and his influence as
a composer and performer.
This volume illuminates musical connections between Britain and the
continent of Europe, and Britain and its Empire. The
seldom-recognized vitality of musical theatre and other kinds of
spectacle in Britain itself, and also the flourishing concert life
of the period, indicates a means of defining tradition and identity
within nineteenth-century British musical culture. The objective of
the volume has been to add significantly to the growing literature
on these topics. It benefits not only from new archival research,
but also from fresh musicological approaches and interdisciplinary
methods that recognize the integral role of music within a wider
culture, including religious, political and social life. The essays
are by scholars from the USA, Britain, and Europe, covering a wide
range of experience. Topics range from the reception of Bach,
Mozart, and Liszt in England, a musical response to Shakespeare,
Italian opera in Dublin, exoticism, gender, black musical
identities, British musicians in Canada, and uses of music in
various theatrical genres and state ceremony, and in articulating
the politics of the Union and Empire.
An in-depth study of the life of Sir Hamilton Harty (1879-1941),
pianist, composer and conductor of the Halle Orchestra, who
arguably made Manchester the most important focus for music in
Britain in his day. Sir Hamilton Harty (1879-1941) is best known as
the conductor of the Halle Orchestra, who arguably made Manchester
the most important focus for music in Britain in his day. This book
chronicles and analyses Harty's illustrious career, from his
establishment as London's premiere accompanist in 1901 to his years
as a conductor between 1910 and 1933, first with the LSO and then
with the Halle, to his American tours of the 1930s. Tragically,
Harty died from cancer in 1941 at the age of only 61. This book
also looks at Harty's life as a composer of orchestral and chamber
works and songs, notably before the First World War. Although
Harty's music cleaved strongly to a late nineteenth-century musical
language, he was profoundly influenced during his days in Ulster
and Dublin by the Irish literary revival. A great exponent of
Mozart and especially Berlioz, Harty was also a keen exponent of
British music and an active supporter of American composers such as
Gershwin. Harty's role in the exposition of standard and new
repertoire and his relationship with contemporary composers and
performers are also examined, against the perspective of other
important major British conductors such as Sir Thomas Beecham,
Malcolm Sargent and Sir Henry Wood. Additionally, the book analyses
the debates Harty provoked on the subjects of women orchestral
players, jazz, modernism, and the music of Berlioz. JEREMY DIBBLE
is Professor of Music at Durham University and author of John
Stainer: A Life in Music(The Boydell Press, 2007) and monographs on
C. Hubert H. Parry, Charles Villiers Stanford and Michele Esposito.
Women, Music, Culture: An Introduction, Third Edition is the first
undergraduate textbook on the history and contributions of women in
a variety of musical genres and professions, ideal for students in
Music and Gender Studies courses. A compelling narrative,
accompanied by 112 guided listening experiences, brings the world
of women in music to life. The author employs a wide array of
pedagogical aides, including a running glossary and a comprehensive
companion website with links to Spotify playlists and supplementary
videos for each chapter. The musical work of women throughout
history-including that of composers, performers, conductors,
technicians, and music industry personnel-is presented using both
art music and popular music examples. New to this edition: An
expansion from 57 to 112 listening examples conveniently available
on Spotify. Additional focus on intersectionality in art and
popular music. A new segment on Music and #MeToo and increased
coverage of protest music. Additional coverage of global music.
Substantial updates in popular music. Updated companion website
materials designed to engage all learners. Visit the author's
website at www.womenmusicculture.com
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