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Books > Music > Western music, periods & styles > General
Putting forward an extensive new argument for a humanities-based
approach to big-data analysis, The Music in the Data shows how
large datasets of music, or music corpora, can be productively
integrated with the qualitative questions at the heart of music
research. The author argues that as well as providing objective
evidence, music corpora can themselves be treated as texts to be
subjectively read and creatively interpreted, allowing new levels
of understanding and insight into music traditions. Each chapter in
this book asks how we define a core music-theory topic, such as
style, harmony, meter, function, and musical key, and then
approaches the topic through considering trends within large
musical datasets, applying a combination of quantitative analysis
and qualitative interpretation. Throughout, several basic
techniques of data analysis are introduced and explained, with
supporting materials available online. Connecting the empirical
information from corpus analysis with theories of musical and
textual meaning, and showing how each approach can enrich the
other, this book provides a vital perspective for scholars and
students in music theory, musicology, and all areas of music
research.
Disaster Songs as Intangible Memorials in Atlantic Canada draws on
a collection of over 600 songs relating to Atlantic Canadian
disasters from 1891 up until the present and describes the
characteristics that define them as intangible memorials. The book
demonstrates the relationship between vernacular memorials -
informal memorials collectively and spontaneously created from a
variety of objects by the general public - and disaster songs. The
author identifies the features that define vernacular memorials and
applies them to disaster songs: spontaneity, ephemerality,
importance of place, motivations and meaning-making, content, as
well as the role of media in inspiring and disseminating memorials
and songs. Visit the companion website: www.disastersongs.ca.
Classical Concert Studies: A Companion to Contemporary Research and
Performance is a landmark publication that maps out a new
interdisciplinary field of Concert Studies, offering fresh ways of
understanding the classical music concert in the twenty-first
century. It brings together essays, research articles, and case
studies from scholars and music professionals including musicians,
music managers, and concert designers. Gathering both historical
and contemporary cases, the contributors draw on approaches from
sociology, ethnology, musicology, cultural studies, and other
disciplines to create a rich portrait of the classical concert's
past, present, and future. Based on two earlier volumes published
in German under the title Das Konzert (The Concert), and with a
selection of new chapters written for the English edition, this
companion enables students, researchers, and practitioners in the
classical and contemporary music fields to understand this emerging
field of research, go beyond traditional disciplinary boundaries
and methodologies, and spark a renaissance for the classical
concert.
The author is a drummer with experience in a variety of musical
genres and contexts, with emphasis on rock and related styles. This
auto ethnographic Element presents the author's philosophy of
playing drum kit. The text explains how playing drum kit matters to
this musician and may resonate with others to whom making music
matters in similar ways. The Element contains audio files of music
in which the author plays drum kit in the ensemble settings
described. There are photos of the author's drums and of him
drumming. Based on June Boyce-Tillman's non-religious model of
holistic spirituality and Tim Ingold's notion of correspondences,
the author describes how playing drum kit enables him to experience
transcendence - the magical nexus at which Materials, Construction,
Values/Culture and Expression meet. Each of these domains, and the
magic derived from their combination, is illustrated through
examples of the author's live and recorded musical collaborations.
Classical Recording: A Practical Guide in the Decca Tradition is
the authoritative guide to all aspects of recording acoustic
classical music. Offering detailed descriptions, diagrams, and
photographs of fundamental recording techniques such as the Decca
tree, this book offers a comprehensive overview of the essential
skills involved in successfully producing a classical recording.
Written by engineers with years of experience working for Decca and
Abbey Road Studios and as freelancers, Classical Recording equips
the student, the interested amateur, and the practising
professional with the required knowledge and confidence to tackle
everything from solo piano to opera.
This is the first volume to explore the reception of the
Pythagorean doctrine of cosmic harmony within a variety of
contexts, ranging chronologically from Plato to 18th-century
England. This original collection of essays engages with
contemporary debates concerning the relationship between music,
philosophy, and science, and challenges the view that Renaissance
discussions on cosmic harmony are either mere repetitions of
ancient music theory or pre-figurations of the 'Scientific
Revolution'. Utilizing this interdisciplinary approach, Renaissance
Conceptions of Cosmic Harmony offers a new perspective on the
reception of an important classical theme in various cultural,
sequential and geographical contexts, underlying the continuities
and changes between Antiquity, the Middle Ages and the Renaissance.
This project will be of particular interest within these emerging
disciplines as they continue to explore the ideological
significance of the various ways in which we appropriate the past.
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.
Selected from authoritative sources by musicologist and organist
Rollin Smith, this compilation features such famous works as J. S.
Bach's "Pastorale, BWV 590"; Couperin's "Chaconne in F"; and
Handel's "Concerto No. 13," "The Cuckoo and the Nightingale." Other
well-known selections include compositions by Brahms, Gounod,
Haydn, Liszt, Mendelssohn, Vierne, and Widor.
What is it like to work as a classical musician today? How can we
explain ongoing gender, racial, and class inequalities in the
classical music profession? What happens when musicians become
entrepreneurial and think of themselves as a product that needs to
be sold and marketed? Gender, Subjectivity, and Cultural Work
explores these and other questions by drawing on innovative,
empirical research on the working lives of classical musicians in
Germany and the UK. Indeed, Scharff examines a range of timely
issues such as the gender, racial, and class inequalities that
characterise the cultural and creative industries; the ways in
which entrepreneurialism - as an ethos to work on and improve the
self - is lived out; and the subjective experiences of precarious
work in so-called 'creative cities'. Thus, this book not only adds
to our understanding of the working lives of artists and creatives,
but also makes broader contributions by exploring how precarity,
neoliberalism, and inequalities shape subjective experiences.
Contributing to a range of contemporary debates around cultural
work, Gender, Subjectivity, and Cultural Work will be of interest
to scholars and students in the fields of Sociology, Gender and
Cultural Studies.
The Classical Music Encylopedia, now fully updated, traces the
development of Western music from medieval times through to the
twenty-first century. Each chapter begins with an Introduction to
the era, followed by an A to Z of the key composers and musicians
of the era, with an expert's recommended recording for each entry.
Within these, the musical greats - from Mozart to Stravinksy - have
more extensive entries. The Styles and Forms sections discuss the
many different styles of music, from the earliest notation to the
minimalism of the twentieth century, while the development of each
era's Instruments is also extensively investigated. Written by many
of the world's leading experts in the field, this invaluable
encyclopedia is comprehensive, easy-to-use and highly informative -
an essential guide for readers of all levels.
(Piano). 23 piano works from the French musician and composer Yann
Tiersen (b. 1970). Includes 6 songs from Amelie (Comptine D'ete No.
2, La Dispute, Sua Le Fil, La Valse D'Amelie, Comptine D'un Autre
Ete: L'Apres-Midi, Le Moulin).
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Women and Music in Ireland
(Hardcover)
Laura Watson, Ita Beausang, Jennifer O'Connor-Madsen; Contributions by Laura Watson, Jennifer O'Connor-Madsen, …
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R2,146
Discovery Miles 21 460
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Ships in 12 - 17 working days
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Explores the world of women's professional and amateur musical
activity as it developed on and beyond the island of Ireland. In a
story which spans several centuries, the book highlights
representative composers and performers in classical music, Irish
traditional music, and contemporary art music whose contributions
have been marginalised in music narratives. As well as
investigating the careers of public figures, this edited collection
brings attention to women who engaged with and taught music in a
variety of domestic settings. It also shines a spotlight on women
who worked behind the scenes to build infrastructures such as
festivals and educational institutions which remain at the heart of
the country's musical life today. The book addresses and
reconsiders ideas about the intersections of music, gender, and
Irish society, including how the national emblem of the harp became
recast as a symbol of Irish womanhood in the twentieth century. The
book is divided into four parts. Part 1 surveys women musicians in
Irish society of the eighteenth and nineteenth centuries. Part 2
discusses women and practice in Irish traditional music. Part 3
studies gaps and gender politics in the history of
twentieth-century women composers and performers. Part 4 situates
discourses of women, gender, and music in the twenty-first century.
The book's contributors encompass musicologists, cultural
historians, composers, and performers.
For students learning the principles of music theory, it can often
seem as though the tradition of tonal harmony is governed by
immutable rules that define which chords, tones, and intervals can
be used where. Yet even within the classical canon, there are
innumerable examples of composers diverging from these foundational
"rules." Drawing on examples from composers including J.S. Bach,
Mozart, Beethoven, Schubert, Mendelssohn, Chopin, Brahms, and more,
Bending the Rules of Music Theory seeks to take readers beyond the
basics of music theory and help them to understand the inherent
flexibility in the system of tonal music. Chapters explore the use
of different rule-breaking elements in practice and why they work,
introducing students to a more nuanced understanding of music
theory.
Putting forward an extensive new argument for a humanities-based
approach to big-data analysis, The Music in the Data shows how
large datasets of music, or music corpora, can be productively
integrated with the qualitative questions at the heart of music
research. The author argues that as well as providing objective
evidence, music corpora can themselves be treated as texts to be
subjectively read and creatively interpreted, allowing new levels
of understanding and insight into music traditions. Each chapter in
this book asks how we define a core music-theory topic, such as
style, harmony, meter, function, and musical key, and then
approaches the topic through considering trends within large
musical datasets, applying a combination of quantitative analysis
and qualitative interpretation. Throughout, several basic
techniques of data analysis are introduced and explained, with
supporting materials available online. Connecting the empirical
information from corpus analysis with theories of musical and
textual meaning, and showing how each approach can enrich the
other, this book provides a vital perspective for scholars and
students in music theory, musicology, and all areas of music
research.
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
The history of music at the Maison royale de Saint-Louis at
Saint-Cyr - the famous convent school founded by Madame de
Maintenon and established by Louis XIV in 1686 as a royal
foundation - is both rich and intriguing; its large repertory of
music was composed expressly for young female voices by important
composers working within significant contemporary musical genres:
liturgical chant, sacred motets, theatrical music, and cantiques
spirituels. While these genres reflect contemporary styles and
trends, at the same time the works themselves were made to conform
to the sensibilities and abilities of their intended performers.
Even as Jean-Baptiste Moreau's music for Jean Racine's biblical
tragedies Esther and Athalie shows a number of similarities to
contemporary tragedies lyriques, it departs from that more public
genre in its brevity, generally simpler solo writing, and the
integral use of the chorus. The musical style of the choral numbers
closely parallels that of other choral music in the repertory at
Saint-Cyr. The liturgical chant sung in the church was composed by
Guillaume-Gabriel Nivers, and is an example of plain-chant musical,
a type of new ecclesiastical composition written during the
seventeenth and eighteenth centuries, primarily for female
religious communities in France. The large repertory of petits
motets (short sacred Latin pieces for solo voice), mostly composed
by Nivers and Louis-Nicolas Clerambault, are simpler and more
restrained than works by their contemporaries. A close study of the
motets reveals much about changes to musical style and performance
practices at Saint-Cyr during the eighteenth century. The cantique
spirituel, a song with a spiritual text in the vernacular French
language, played a significant role in both the education and
recreation of the girls at Saint-Cyr. Cantiques composed for the
girls vary widely in terms of their style and difficulty, ranging
from simple strophic melodies to more sophisticated works in the
style of contemporary airs. In all cases, the stylistic features of
the music for Saint-Cyr reflect a careful consideration of the
needs and capabilities of the young singers of the school, as well
as an awareness of the rigorous requirements of Madame de
Maintenon, who kept a close watch over the propriety of all things
relating to the piety, behavior, and image of her charges.
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Hans Richter
(Hardcover)
Christopher Fifield
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R1,771
R1,539
Discovery Miles 15 390
Save R232 (13%)
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Ships in 12 - 17 working days
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Christopher Fifield's remarkable study explores the personality,
life and work of a conductor who influenced and inspired the
leading composers, singers and instrumentalists of his day. The
Austro-Hungarian Hans Richter (1843-1916) was the first
career-conductor to gain international fame. His first appointment
was to Budapest, and he went on to dominate music-making in Vienna,
Bayreuth, London, Manchester (withthe Halle Orchestra) and other
towns and cities in Britain and Europe between 1865 and 1912.
Richter gave first performances of works by Wagner, Brahms, Elgar,
Bruckner, Tchaikovsky, Stanford and Parry and helped to further the
careers of Dvorak, Sibelius, Bartok and Glazunov. Christopher
Fifield's remarkable study explores the personality, life and work
of a conductor who influenced and inspired the leading composers,
singers and instrumentalists of his day. Originally published in
1993, this revised and expanded edition contains extensive new
material in the form of Richter's conducting books. Translated and
reproduced in full, they detail every one of the 4,351 public
performances Richter gave in a professional life spanning 47 years.
Drawing on Richter's own diaries, the book also presents his
correspondence with many contemporary composers (Wagner in
particular) and performers. Fifield's biography of this seminal
figure provides a revealing insight into British and European music
and concert life during the long nineteenth century. CHRISTOPHER
FIFIELD is a conductor, music historian, lecturer and
broadcaster.He is the editor and author of the Letters and Diaries
of Kathleen Ferrier and Max Bruch: His Life and Works, both
published in new editions by The Boydell Press. He has also written
Ibbs & Tillett - The rise andfall of a Musical Empire and The
German Symphony between Beethoven and Brahms.
Originally published in 1973. Folk-life and folk-culture, usually
the preserve of the scholar, have been brought vividly and
entertainingly to life in these recollections and stories of one
man's life in the Irish countryside. This book tells the life story
of John Maguire, who died in 1975, including over 50 of the songs
he sang, with full musical transcriptions. He was a fine singer,
firmly within the Irish tradition, and his songs are the record of
a people, their history and traditions, their joys and sufferings,
their comedies and tragedies. John Maguire's fascinating story,
skilfully and unobtrusively collated by Robin Morton, is full of
material that will interest singers and students of folksongs. His
songs and music will be of value to all those interested in
traditional music and song.
What is it like to work as a classical musician today? How can we
explain ongoing gender, racial, and class inequalities in the
classical music profession? What happens when musicians become
entrepreneurial and think of themselves as a product that needs to
be sold and marketed? Gender, Subjectivity, and Cultural Work
explores these and other questions by drawing on innovative,
empirical research on the working lives of classical musicians in
Germany and the UK. Indeed, Scharff examines a range of timely
issues such as the gender, racial, and class inequalities that
characterise the cultural and creative industries; the ways in
which entrepreneurialism - as an ethos to work on and improve the
self - is lived out; and the subjective experiences of precarious
work in so-called 'creative cities'. Thus, this book not only adds
to our understanding of the working lives of artists and creatives,
but also makes broader contributions by exploring how precarity,
neoliberalism, and inequalities shape subjective experiences.
Contributing to a range of contemporary debates around cultural
work, Gender, Subjectivity, and Cultural Work will be of interest
to scholars and students in the fields of Sociology, Gender and
Cultural Studies.
Originally published in 1977. The Travellers, from those living in
bow-tents and horse-drawn caravans to those dwelling in motor
caravans and permanent homes, are an important source of
traditional music. Their society means that songs that have died
out in more settled communities are preserved among them. Ewan
MacColl and Peggy Seeger, widely known as two of the founding
singers of the British and American folk revivals, here display a
vast fund of folklore scholarship around the songs of British
travelling people. Resulting from extensive collecting in southern
and southeastern England and central and northeastern Scotland in
the 1960s and 70s, this book contains 130 songs with music and
comprehensive notes relating them to folkloristic and historical
points of interest. It includes traditional ballads and ballads of
broadside origin, bawdy, tragic and humorous songs about love, work
and death. Most are in English or in Scots dialect with four in
Anglo-Romani.
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