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.

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.

Learn about the world's greatest classical compositions and musical traditions in The Classical Music Book. Part of the fascinating Big Ideas series, this book tackles tricky topics and themes in a simple and easy to follow format. Learn about Classic Music in this overview guide to the subject, brilliant for novices looking to find out more and experts wishing to refresh their knowledge alike! The Classical Music Book brings a fresh and vibrant take on the topic through eye-catching graphics and diagrams to immerse yourself in. This captivating book will broaden your understanding of Classical Music, with: - More than 90 pieces of world-famous music - Packed with facts, charts, timelines and graphs to help explain core concepts - A visual approach to big subjects with striking illustrations and graphics throughout - Easy to follow text makes topics accessible for people at any level of understanding The Classical Music Book is a captivating introduction to music theory, crucial composers and the impact of seminal pieces, aimed at adults with an interest in the subject and students wanting to gain more of an overview. Here you'll discover more than 90 works by famous composers from the early period to the modern day, through exciting text and bold graphics. Your Classical Music Questions, Simply Explained From Mozart to Mendelssohn, this fresh new guide goes beyond your typical music books, offering a comprehensive guide to classical music history and biography. If you thought it was difficult to learn about music theory, The Classical Music Book presents key information in a clear layout. Explore the main ideas underpinning the world's greatest compositions and musical traditions, and define their importance to the musical canon and into their wider social, cultural, and historical context. The Big Ideas Series With millions of copies sold worldwide, The Classical Music Book is part of the award-winning Big Ideas series from DK. The series uses striking graphics along with engaging writing, making big topics easy to understand.

(Essential Elements Guitar). The songs in Hal Leonard's Essential Elements Guitar Ensemble series are playable by multiple guitars. Each arrangement features the melody (lead), a harmony part, and a bass line. Chord symbols are also provided if you wish to add a rhythm part. For groups with more than three or four guitars, the parts may be doubled. Play all of the parts together, or record some of the parts and play the remaining part along with your recording. All of the songs are printed on two facing pages, so no page turns are required. This series is perfect for classroom guitar ensembles or other group guitar settings. Includes 15 hits arranged for three or more guitarists: Aqualung * Behind Blue Eyes * Crazy Train * Fly like an Eagle * Free Bird * Hey Jude * Into the Great Wide Open * Low Rider * Maggie May * Oye Como Va * Proud Mary * Smoke on the Water * Start Me Up * We Will Rock You * You Really Got Me.

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.

In 1893 the composer Antonin Dvorak prophesied a "great and noble" school of American classical music based on the searing "negro melodies" he had excitedly discovered since arriving in the United States a year before. But while Black music would found popular genres known the world over, it never gained a foothold in the concert hall. Joseph Horowitz ranges throughout American cultural history, from Frederick Douglass and Huckleberry Finn to Gershwin's Porgy and Bess and the work of Ralph Ellison, searching for explanations. Challenging the standard narrative for American classical music fashioned by Leonard Bernstein and Aaron Copland, he looks back to literary figures-Emerson, Melville and Twain-to ponder how American music can connect with a "usable past". The result is a new paradigm, that makes room for Black composers, including Harry Burleigh, Nathaniel Dett, William Dawson and Florence Price, to redefine the classical canon.

Clean engravings of 12 of the most often sung French art songs are included. Each book comes with a CD with piano accompaniments recorded by Laura Ward, and instructive pronunciation lessons recorded by a native French speaker. The enhanced CD also includes tempo adjustment software for CD-ROM computer use.

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.

Performers include: * Early music ensembles, such as Chapelle Royale, Lionheart, Sequentia, and the Tallis Scholars * Singers Dietrich Fischer-Dieskau, Renee Fleming, and Joan Sutherland * Cellist Yo-Yo Ma * Pianists Pierre-Laurent Aimard, Malcolm Bilson, and Artur Rubenstein * The Berlin Philharmonic, the Chicago Symphony Orchestra, and the London Symphony Orchestra * Conductors Pierre Boulez, John Eliot Gardiner, James Levine, and Michael Tilson Thomas * String quartets, such as the Concord String Quartet and the Tokyo String Quartet * Jazz artists Louis Armstrong, Duke Ellington, and Dizzy Gillespie

Uncovering Music of Early European Women (1250 - 1750) brings together nine chapters that investigate aspects of female music-making and musical experience in the medieval and early modern periods. Part I, "Notes from the Underground," treats the spirituality of women in solitude and in community. Parts II and III, "Interlude" and "Music for Royal Rivals," respond to Joan Kelly's famous feminist question and suggest that women of a certain stature did have a Renaissance. Part IV, "Serenissime Sirene," plays with the notion of the allure of music and its risks in Venice during the Baroque. The process of uncovering requires close listening to women's creative endeavors in an ongoing effort to piece together equitably the terrain of early music. Contributors include: Cynthia J. Cyrus, Claire Fontijn, Catherine E. Gordon, Laura Jeppesen, Eva Kuhn, Anne MacNeil, Jason Stoessel, Elizabeth Randell Upton, and Laurence Wuidar. An invaluable book for college students and scholars interested in the social and cultural meanings of women in early music.

(Schott). "Clarinettissimo" is an ideal supplement and a further tutor book to the standard work "The Jolly Clarinet," but can also used independently of it. The two volumes contain a balanced collection of classical and entertaining pieces, combined with technical exercises in all keys to provide an excellent foundation for learning play the clarinet properly. Playing is made even more fun with the addition of numerous duos and pieces for singing to and playing around with, all featured on the accompanying CD.

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.

A companion to the Classic FM series Francesca Caccini. Barbara Strozzi. Elisabeth Jacquet de la Guerre. Marianna Martines. Fanny Hensel. Clara Schumann. Lili Boulanger. Elizabeth Maconchy. Since the birth of classical music, women who dared compose have faced a bitter struggle to be heard. In spite of this, female composers continued to create, inspire and challenge. Yet even today so much of their work languishes unheard. Anna Beer reveals the highs and lows experienced by eight composers across the centuries, from Renaissance Florence to twentieth-century London, restoring to their rightful place exceptional women whom history has forgotten.

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.

This classic of cowboy lore including illustrations by cowboy artist William Moyers, first published in 1976, is now available only from the University of New Mexico Press.

"A beautiful job, exact, comprehensive and witty. Should remain a basic history of the subject for many years to come."Edward Abbey

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.

The book aims to be a guide through the little universe which is the working place of the man who writes music. As such it talks predominantly to the layman, although the expert composer may also find some stimulation in it... From the center of basic theory the discussion will spread out into all the realms of experience which border the technical aspects of composing, such as aesthetics, sociology, philosophy, and so on.

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.

This book is a survey of the critical reaction to Beethoven's music as it appeared in the major musical journals, French as well as German, of his day, and represents the first book-length history of Beethoven reception. The author discusses the philosophical and analytical implications of these reviews - by, among others, Hoffmann, A. B. Marx and Berlioz - and reassesses what has come to be the accepted view of a nineteenth- century musical aesthetics rooted in Romantic Idealism. Wallace sees Beethoven's critics as in fact providing a link between two apparently antithetical approaches to music: the eighteenth-century emphasis on expression and extra-musical interpretation and the nineteenth-century emphasis on absolute' music and formal analysis. This book thus provides, in addition to a carefully documented study of Beethoven's critical reception, a re-evaluation of his oeuvre and its significance in music history. An index of all reviews cited is provided, and a further appendix contains the quoted material in its original language. 'Robin Wallace's book is an important addition to the literature in the field, providing a detailed, yet concisely presented examination of the critical reception of Beethoven in contemporary musical periodicals.' -- Music and Letters 'Beethoven's Critics contains a wealth of fascinating information about the ways in which the composer's contemporaries and the following generation performed, heard, studied and evaluated his music.' -- Classical MusicThis book is a survey of the critical reaction to Beethoven's music as it appeared in the major musical journals, French as well as German, of his day, and represents the first book-length history ofBeethoven reception. The author discusses the philosophical and analytical implications of these reviews - by, among others, Hoffmann, A. B. Marx and Berlioz - and reassesses what has come to be the accepted view of a nineteenth- century musical aesthetics rooted in Romantic Idealism. Wallace sees Beethoven's critics as in fact providing a link between two apparently antithetical approaches to music: the eighteenth-century emphasis on expression and extra-musical interpretation and the nineteenth-century emphasis on absolute' music and formal analysis. This book thus provides, in addition to a carefully documented study of Beethoven's critical reception, a re-evaluation of his oeuvre and its significance in music history. An index of all reviews cited is provided, and a further appendix contains the quoted material in its original language. 'Robin Wallace's book is an important addition to the literature in the field, providing a detailed, yet concisely presented examination of the critical reception of Beethoven in contemporary musical periodicals.' -- Music and Letters 'Beethoven's Critics contains a wealth of fascinating information about the ways in which the composer's contemporaries and the following generation performed, heard, studied and evaluated his music.' -- Classical Music