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Books > Music > Western music, periods & styles > General
Contemporary Christian music has an increasing yet controversial
influence on church worship today. This book discusses the topic
from a biblical viewpoint and makes a case for using contemporary
music in worship -- with theological integrity.
Sam Morgenstern's classic anthology, now thoroughly updated with
new selections and commentary reflecting recent music scholarship.
This piece needs no introduction. It has been arranged here for 2
alto saxophones and piano and this new sound adds even more
excitement to the original. The piano part remains in the original
key and saxes play the famous melodic lines above the steady bass.
The saxes and piano alternate melodic sections with the piano
adding newly composed, stylistically accurate counter melodies.
Contents: Haydn Sonatas: C major, G major, D major, C# minor, E
minor * Mozart Sonatas: C major (K. 565), F major (K. 280), F major
(K. 332), G major (K. 283), A major (K. 331) * Beethoven Sonatas: G
minor, Op. 49, No. 1; G major, Op. 49, No. 2; G major, Op. 79; E
major, Op. 14, No. 1; G major, Op. 14, No. 2.
In New York and London during World War I, the performance of
lieder--German art songs--was roundly prohibited, representing as
they did the music and language of the enemy. But as German
musicians returned to the transatlantic circuit in the 1920s, so
too did the songs of Franz Schubert, Hugo Wolf, and Richard
Strauss. Lieder were encountered in a variety of venues and
media--at luxury hotels and on ocean liners, in vaudeville
productions and at Carnegie Hall, and on gramophone recordings,
radio broadcasts, and films. Laura Tunbridge explores the renewed
vitality of this refugee musical form between the world wars,
offering a fresh perspective on a period that was pervaded by
anxieties of displacement. Through richly varied case studies,
Singing in the Age of Anxiety traces how lieder were circulated,
presented, and consumed in metropolitan contexts, shedding new
light on how music facilitated unlikely crossings of nationalist
and internationalist ideologies during the interwar period.
Johann Joachim Quantz's On Playing Flute has long been recognized
as one of the most significant and in-depth treatises on
eighteenth-century musical thought, performance practice, and
style. This classic text of Baroque music instruction goes far
beyond an introduction to flute methods by offering a comprehensive
program of studies that is equally applicable to other instruments
and singers.
The work is comprised of three interrelated essays that examine the
education of the solo musician, the art of accompaniment, and forms
and style. Quantz provides detailed treatment of a wide range of
subjects, including phrasing, ornamentation, accent, intensity,
tuning, cadenzas, the role of the concertmaster, stage deportment,
and techniques for playing dance movements. Of special interest is
a table that relates various tempos to the speed of the pulse,
which will help today's musicians solve the challenge of playing
authentic performance tempos in Baroque music. This edition
includes 224 musical examples from Quantz's original text and
features a new introduction by translator Edward R. Reilly that
considers recent scholarship on Quantz's significant role in
eighteenth-century musical activity.
On Playing the Flute vividly conveys the constancy of musical life
over time and remains a valuable guide for contemporary musicians.
On March 10, 1948, world-renowned composer and pianist Ernst von
Dohnanyi (1877 1960) embarked for the United States, leaving Europe
for good. Only a few years earlier, the seventy-year-old Hungarian
had been a triumphant, internationally admired musician and leading
figure in Hungarian musical life. Fleeing a political smear
campaign that sought to implicate him in intellectual collaboration
with fascism, he reached American shores without a job or a home. A
Wayfaring Stranger presents the final period in Dohnanyi's
exceptional career and uses a range of previously unavailable
material to reexamine commonly held beliefs about the musician and
his unique oeuvre. Offering insights into his life as a teacher,
pianist, and composer, the book also considers the difficulties of
emigre life, the political charges made against him, and the
compositional and aesthetic dilemmas faced by a conservative
artist. To this rich biographical account, Veronika Kusz adds an
in-depth examination of Dohnanyi's late works-in most cases the
first analyses to appear in musicological literature. This
corrective history provides never-before-seen photographs of the
musician's life in the United States and skillfully illustrates
Dohnanyi's impact on European and American music and the culture of
the time.
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
A new, complete method of instruction for the Recorder. Includes
exercises, revisions, trill charts, ornaments and embellishments,
duets, trios, and quartets.
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.
The famous Hungarian composer fills his pieces with skillful,
fascinating rhythms that shifts accents and speeds. The
breathtaking disorder and turbulence of the keys in "Desordre"
shows us Ligeti's enthusiasm for central African music, which would
become his signature.
(Schott). Grieg's "Lyric Pieces" are among the most popular piano
pieces ever written. Works such as "Papillon," "Fairy-Dance" and
"To Spring" have become "cult pieces" in the repertoire of domestic
music-making. It is a delightful challenge for the modern performer
to realize the delicate musical balance between a simple folk
tradition and the Romantic urge of expressiveness.
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