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Books > Arts & Architecture > Music > Western music, periods & styles > General
Gila Flam offers a penetrating insider's look at a musical culture
previously unexplored---the song repertoire created and performed
in the Lodz ghetto of Poland. Drawing on interviews with survivors
and on library and archival materials, the author illustrates the
general themes of the Lodz repertoire and explores the nature of
Holocaust song. Most of the songs are presented here for the first
time. "An extremely accurate and valuable work. There is nothing
like it in either the extensive holocaust literature or the
ethnomusicology literature." -- Mark Slobin, author of Chosen
Voices: The Story of the American Cantorate
Approaches the topic of classical music in the GDR from an
interdisciplinary perspective, questioning the assumption that
classical music functioned purely as an ideological support for the
state. Classical music in the German Democratic Republic is
commonly viewed as having functioned as an ideological support or
cultural legitimization for the state, in the form of the so-called
"bourgeois humanist inheritance." The largenumbers of professional
orchestras in the GDR were touted as a proof of the country's
culture. Classical music could be seen as the polar opposite of
Americanizing pop culture and also of musical modernism, which was
decried as formalist. Nevertheless, there were still musical
modernists in the GDR, and classical music traditions were not only
a prop of the state. This collection of new essays approaches the
topic of classical music in the GDR from an interdisciplinary
perspective, presenting the work of scholars in a number of
complementary disciplines, including German Studies, Musicology,
Aesthetics, and Film Studies. Contributors to this volume offer a
broad examination of classical music in the GDR, while also
uncovering nonconformist tendencies and questioning the assumption
that classical music in the GDR meant nothing but (socialist)
respectability. Contributors: Tatjana Boehme-Mehner, Martin Brady,
Lars Fischer, Kyle Frackman, Golan Gur, Peter Kupfer, Albrecht von
Massow, Carola Nielinger-Vakil, Jessica Payette, Larson Powell,
Juliane Schicker, Martha Sprigge, Matthias Tischer, Jonathan L.
Yaeger, Johanna Frances Yunker Kyle Frackman is Assistant Professor
of Germanic Studies at the University of British Columbia. Larson
Powell is Professor of German at the University of Missouri-Kansas
City.
Twenty-eight titles, including Adieu To The Piano, Bagatelle,
Contra-Dance, Fur Elise, Minuet In G, Rondo In C, Sonata
Pathetique, and Turkish March.
"What can be done about the state of classical music?" Lawrence
Kramer asks in this elegant, sharply observed, and beautifully
written extended essay. Classical music, whose demise has been
predicted for at least a decade, has always had its staunch
advocates, but in today's media-saturated world there are real
concerns about its viability. "Why Classical Music Still Matters"
takes a forthright approach by engaging both skeptics and music
lovers alike.
In seven highly original chapters, "Why Classical Music Still
Matters" affirms the value of classical music--defined as a body of
nontheatrical music produced since the eighteenth century with the
single aim of being listened to--by revealing what its values are:
the specific beliefs, attitudes, and meanings that the music has
supported in the past and which, Kramer believes, it can support in
the future.
"Why Classical Music Still Matters" also clears the air of old
prejudices. Unlike other apologists, whose defense of the music
often depends on arguments about the corrupting influence of
popular culture, Kramer admits that classical music needs a
broader, more up-to-date rationale. He succeeds in engaging the
reader by putting into words music's complex relationship with
individual human drives and larger social needs. In prose that is
fresh, stimulating, and conversational, he explores the nature of
subjectivity, the conquest of time and mortality, the harmonization
of humanity and technology, the cultivation of attention, and the
liberation of human energy.
Hungarian composer and musician Zoltan Kodaly (1882-1967) is best
known for his pedagogical system, the Kodaly Method, which has been
influential in the development of music education around the world.
Author Anna Dalos considers, for the first time in publication,
Kodaly's career beyond the classroom and provides a comprehensive
assessment of his works as a composer. A noted collector of
Hungarian folk music, Kodaly adapted the traditional heritage
musics in his own compositions, greatly influencing the work of his
contemporary, Bela Bartok. Highlighting Kodaly's major music
experiences, Dalos shows how his musical works were also inspired
by Brahms, Wagner, Debussy, Palestrina, and Bach. Set against the
backdrop of various oppressive regimes of twentieth-century Europe,
this study of Kodaly's career also explores decisive, extramusical
impulses, such as his bitter experiences of World War I, Kodaly's
reception of classical antiquity, and his interpretation of the
male and female roles in his music. Written by the leading Kodaly
expert, this impressive work of historical and musical insight
provides a timely and much-needed English-language treatment of the
twentieth-century composer.
The Piano Player: British Classics presents 20 iconic pieces of
British classical music, specially arranged for intermediate piano
solo. The collection includes the theme from Enigma Variations by
Edward Elgar and Vaughan Williams' Fantasia on a Theme by Thomas
Tallis alongside music by Rachel Portman, Benjamin Britten, Howard
Goodall and more, as well as traditional classics from across the
British Isles. All the books in The Piano Player series feature a
collectible pull-out print of the stunning cover artwork by the
20th century British painter Edward Bawden, alongside some of the
greatest classical music ever written, specially arranged for the
intermediate pianist.
Where would classical music be without the orchestra? Whether they
are of the symphony or chamber variety, every orchestra is made up
of a group of musicians playing together as one body to bring the
music of the great composers to life. This handy reference guide
from Classic FM takes you on a whistle-stop tour of the greatest
orchestras at home and abroad, stopping off to explore the world of
orchestral instruments, as well as making plenty of musical
recommendations along the way. The orchestra is one of the
cornerstones of classical music, beloved of music lovers around the
world. Packed full of essential information, this pocket-sized
handbook explores the make-up and functions of the different
sections, from strings to percussion, as well as some of the
greatest orchestras around the world and the incredible music that
they perform. Classic FM's Handy Guides are a fun and informative
set of introductions to standout subjects within classical music,
each of which can be read and digested in one sitting: a perfect
collectible series whether you're new to the world of classical
music or an aficionado.
The image of Vienna as a musical city is a familiar one. This book
explores the history of music in Vienna, focussing on three
different epochs, 1700, 1800 and 1900. The image of Vienna as a
musical city is a familiar one. Vienna has long been associated
with many of the most significant composers in Western music - from
Haydn, Mozart, Beethoven and Schubert, through the Strauss family,
Brahms, Bruckner and Wolf, to Mahler, Lehar, Schoenberg and Webern.
Today, venerable institutions like the Vienna Philharmonic
Orchestra, the Staatsoper and the Vienna Boys' Choir, together with
the shared pride of residents and visitors in its musical
inheritance, ensure that the image of a musical city is undimmed.
This book explores the history of music in Vienna, focussing on
three different epochs, 1700, 1800 and 1900, an approach which
allows the very different relationships between music and society
that existed in each of these periods to be distinguished.
Patronage, social function and audience are key considerations, set
within wider political and cultural developments. The volume is
populated by emperors, princes, performers, publishers and writers
as well as composers, and deals with institutional and commercial
characteristics alongside representative individual works. Music in
Vienna focusses on the political and social role of music,
broadening our understanding of the city as a musical capital. It
will appeal to a wide readership, including music historians and
political, cultural and social historians, as well as the
interested general reader. DAVID WYN JONES is Professor of Music at
Cardiff University.
Community music projects always spread harmony... don't they? When
players in Stockwell Park Orchestra fear they may be getting out of
touch with the community, they invite children from two nearby
schools to join them for a season. Supercilious, rich Oakdean
College pupils have never mixed with the rough Sunbridge Academy
kids, and when things go missing and rumours spread, the situation
threatens to turn ugly. DCI Noel Osmar has to tread carefully:
after all, he's off duty. Step forward, Carl the trombonist. Can
music heal social rifts? Who has been stealing and why? And will
the orchestra's newly-composed fanfare turn out to be fantastic...
or farcical? Praise for The Stockwell Park Orchestra Series: "I was
charmed... a very enjoyable read." Marian Keyes "Friendly insults
between musicians, sacrosanct coffee-and-biscuit breaks, tedious
committee meetings: welcome to the world of the amateur orchestra."
BBC Music Magazine "...a witty and irreverent musical romp, full of
characters I'd love to go for a pint with. I thoroughly enjoyed
getting to know the Stockwell Park Orchestra and can't wait for the
next book in the series." Claire King, author of The Night Rainbow
"Sharp, witty and richly entertaining." Lev Parikian, author of Why
Do Birds Suddenly Disappear? "With its retro humour bordering on
farce, this novel offers an escape into the turbulent (and bonkers)
world of the orchestra." Isabel Costello, author of Paris Mon Amour
"...a very funny tale of musical shenanigans set in the febrile
atmosphere of the Stockwell Park Orchestra" Ian Critchley
Malcolm Forsyth (1936-2011) was a musical legend: a much-loved
composer, performer, teacher, and mentor. Reflections on Malcolm
Forsyth presents a captivating and approachable portrait of one of
Canada's finest modern composers. Readers will discover both public
and private sides to the man and gain fresh insights from critical
assessments of a broad range of Forsyth's compositions, his
continuing popular appreciation, and his lasting influence on the
next generation of musicians and music scholars. Drawing from the
perspectives of leading scholars, composers, and musicians, as well
as on those of family, friends, students, and colleagues,
Reflections on Malcolm Forsyth honours the rich life and cultural
significance of this exceptional creative mind. It is important
reading for music students and researchers, professional
performers, and anyone who loves contemporary music. Contributors:
Tommy Banks, Allan Gordon Bell, Nora Bumanis, Robin Elliott, Amanda
Forsyth, Valerie Forsyth, Allan Gilliland, Carl Hare, Mary I.
Ingraham, Edward Jurkowski, Ryan McClelland, John McPherson,
Fordyce C. (Duke) Pier, Roxane Prevost, Kathy Primos, Tanya
Prochazka, Leonard Ratzlaff, Rayfield Rideout, Robert C. Rival,
Julia Shaw, Dale Sorensen, Christopher Taylor
Conducting Opera discusses operas in the standard repertory from
the perspective of a conductor with a lifetime of experience
performing them. It focuses on Joseph Rescigno's approach to
preparing and performing these masterworks in order to realize what
opera can uniquely achieve: a fusion of music and drama resulting
in a whole that is greater than the sum of its parts.Opening with a
chapter discussing his performance philosophy, Rescigno then covers
Mozart's most-performed operas, standards of the bel canto school
including Rossini's Il barbiere di Siviglia, five of Verdi's works
including La traviata, a selection of Wagner's compositions
followed by French Romantic operas such as Bizet's Carmen,
Puccini's major works, and finally four operas by Richard Strauss.
A useful appendix contains a convenient guide to the scores
available online. Conducting Opera includes practical advice about
propelling a story forward and bringing out the drama that the
music is meant to supply, as well as how to support singers in
their most difficult moments. Rescigno identifies particularly
problematic passages and supplies suggestions about how to navigate
them. In addition, he provides advice on staying true to the
several styles under discussion.
Stravinsky in the Americas explores the "pre-Craft" period of Igor
Stravinsky's life, from when he first landed on American shores in
1925 to the end of World War II in 1945. Through a rich archival
trove of ephemera, correspondence, photographs, and other
documents, eminent musicologist H. Colin Slim examines the
twenty-year period that began with Stravinsky as a radical European
art-music composer and ended with him as a popular figure in
American culture. This collection traces Stravinsky's rise to
fame-catapulted in large part by his collaborations with Hollywood
and Disney and marked by his extra-marital affairs, his grappling
with feelings of anti-Semitism, and his encounters with
contemporary musicians as the music industry was emerging and
taking shape in midcentury America. Slim's lively narrative records
the composer's larger-than-life persona through a close look at his
transatlantic tours and domestic excursions, where Stravinsky's
personal and professional life collided in often-dramatic ways.
Richard Taruskin's sweeping collection of essays distills a half
century of professional experience, demonstrating an unparalleled
insider awareness of relevant debates in all areas of music
studies, including historiography and criticism, representation and
aesthetics, musical and professional politics, and the sociology of
taste. Cursed Questions, invoking a famous catchphrase from Russian
intellectual history, grapples with questions that are never
finally answered but never go away. The writings gathered here form
an intellectual biography that showcases the characteristic wit,
provocation, and erudition that readers have come to expect from
Taruskin, making it an essential volume for anyone interested in
music, politics, and the arts.
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