Domestic Devotions in Early Modern Italy illuminates the vibrancy of spiritual beliefs and practices which profoundly shaped family life in this era. Scholarship on Catholicism has tended to focus on institutions, but the home was the site of religious instruction and reading, prayer and meditation, communal worship, multi-sensory devotions, contemplation of religious images and the performance of rituals, as well as extraordinary events such as miracles. Drawing on a wide range of sources, this volume affirms the central place of the household to spiritual life and reveals the myriad ways in which devotion met domestic needs. The seventeen essays encompass religious history, the histories of art and architecture, material culture, musicology, literary history, and social and cultural history. Contributors are Erminia Ardissino, Michele Bacci, Michael J. Brody, Giorgio Caravale, Maya Corry, Remi Chiu, Sabrina Corbellini, Stefano Dall'Aglio, Marco Faini, Iain Fenlon, Irene Galandra Cooper, Jane Garnett, Joanna Kostylo, Alessia Meneghin, Margaret A. Morse, Elisa Novi Chavarria, Gervase Rosser, Zuzanna Sarnecka, Katherine Tycz, and Valeria Viola.

ROMAIJV HOLLANDS ESSAYS ON MUSIC IOW fc. ROMAIN ROLLAWS ESSAYS ON MUSIC ALLEN, TOWNE HEATH, JVC. NEW YORK THE ESSAYS, The Place of Music in General History Lulty Gretry Gluck and Alceste, and Mozart According to His Let ters are from Some Musicians of Former Days Henry Holt ir Co., 1915 The Origins of Eighteenth-Century Classic Style, A Musi cal Tour to Eighteenth-Century Italy A Musical Tour to Eight eenth-Century Germany Telemann A Forgotten Master Metas tasioi The Forerunner of Gluck and the - first part of the essay on Handel, The Man from A Musical Tour Through the Land of the Past Henry Holt 6-Co., 1922 the second part of the essay on Han del, The Musician pom Handel Henry Holt 6-Co., 1916 Ber lioz Wagner A Note on Siegfried and Tristan, Hugo Wolf and Camille Saint-Saens from Musicians of Today Henry Holt Co., 1915 Portrait of Beethoven in his Thirtieth Year from Beethoven the Creator Harper 6-Eros., 1929. Table of Contents Publisher s Note 1. The Place of Music in General History S 2. Lully 19 The Man The Musician The Grandeur and Popularity of Lully s Art 3. The Origins of Eighteenth-Century Classic Style 50 4. A Musical Tour to Eighteenth-Century Italy 69 5. A Musical Tour to Eighteenth-Century Germany 95 6. Telemann A Forgotten Master 121 7. Gretry 145 8. Metastasio The Forerunner of Gluck 166 9. Gluck and Alceste 179 10. Handel 213 The Man The Musician 11. Mozart According to His Letters 245 12. Portrait of Beethoven in his Thirtieth Year 262 13. Berlioz 284 14. Wagner 320 A Note on Siegfried and Tristan 15. Hugo Wolf 341 16. Camille Saint-Saens 362 Publishers Note THIS VOLUME is a distillation of five different books on music by Romain Rolland, all of them now out of printand three of them out of circulation for about three decades. It embraces some of the finest writing on music by Holland and y perhaps as an inevitable corollary, it represents some of the best musical writing of our generation. Few writers on music anywhere and in any period brought to their task Hollands seemingly inexhaustible reservoir of culture, Ms im mense musical scholarship., his sensitive understanding of the psychology of genius, his enviable, possibly unique, gift for making past epochs and musical personalities long dead live palpitantly and vividly for us. That such treasurable writing on music should be out of the reach of the average music lover that, indeed, so many music lovers of our day should be un aware of its very existence seemed an insufferable situation crying for remedy. The preparation of this volume for publication brought back to mind the all-too-few occasions upon which I had the oppor tunity to meet and speak to Rolland. The first time was in 1932. Though he was sixty-six years old and in poor health, he seemed to have retained a healthy balance and an almost youthful tolerance. His musical tastes were still expansive. If he had violent prejudices of any kind, he did not reveal them. It seemed that he preferred to speak only of his enthusiasms and his enthusiasms for music were still many and varied. He stitt had an extraordinary attachment for the music of the seven teenth and eighteenth centuries, about which he had written so many brilliant essays. Jet his passion for the very old did ix x Romain Rolands Essays on Music not obfuscate his enthusiasm for the very new. If he was now too tired and too sick to hear new scores or to study them, he hadcertainly lost none of his curiosity about them. At the time I first met him he was preoccupied with the subject of Beethoven, about whom he had completed two vol umes of what he hoped would be a definitive study. It was his lifes ambition to see this monument to Beethoven completed, and he jealously conserved his time and energy for that task. In his old age he found solace and comfort and happiness in the company of Beethovens music...

Long associated with the pejorative cliches of the drug-trafficking trade and political violence, contemporary Colombia has been unfairly stigmatized. In this pioneering study of the Miami music industry and Miami's growing Colombian community, Maria Elena Cepeda boldly asserts that popular music provides an alternative common space for imagining and enacting Colombian identity. Using an interdisciplinary analysis of popular media, music, and music video, Cepeda teases out issues of gender, sexuality, race, ethnicity, and transnational identity in the Latino/a music industry and among its most renowned rock "en espanol," pop, and "vallenato" stars.

Musical ImagiNation provides an overview of the ongoing Colombian political and economic crisis and the dynamics of Colombian immigration to metropolitan Miami. More notably, placed in this context, the book discusses the creative work and media personas of talented Colombian artists Shakira, Andrea Echeverri of Aterciopelados, and Carlos Vives. In her examination of the transnational figures and music that illuminate the recent shifts in the meanings attached to Colombian identity both in the United States and Latin America, Cepeda argues that music is a powerful arbitrator of memory and transnational identity.

(Amadeus). The New York Philharmonic, from Bernstein to Maazel continues the story of America's oldest orchestra as told in Howard Shanet's Philharmonic: A History of New York's Orchestra . That volume ended with the 1970-71 season, just before the arrival of Pierre Boulez as music director. Obviously, much has happened since. This book begins, however, with a retrospective account of the controversial last years of the tenure of Dimitri Mitropoulos and the ascendancy of Leonard Bernstein to the music directorship. Having been a Philharmonic assistant conductor during Bernstein's tenure, and an inveterate Philharmonic watcher ever since, the author brings some personal insights to the story as well as moments of humor. A sub-theme of the book concerns the way the Philharmonic and its music directors have been treated by the New York press, the Times in particular. Howard Taubman's attacks on Mitropoulos, Harold Schonberg's on Bernstein, and Donal Henahan's on Zubin Mehta are all covered here, as are the writings of various critics on those and other conductors, and on the orchestra itself. The New York Philharmonic is the only orchestra ever to undertake a foreign tour solely on the initiative of its musicians, without benefit or support from management. How this came about is chronicled, as are the opening of Lincoln Center, the Parks Concerts, Promenades, Prospective Encounters, Rug Concerts, tours, and, of course, the subscription seasons. John Canarina shows how the New York Philharmonic weathered extraordinary ups and downs during this period, while remaining a vital component of New York's cultural life.

This collection is a unique exploration of the heritage and legacy of the Canterbury Sound: a signature style emerging in the 1960s that draws upon psychedelic music, progressive rock, jazz and pop to capture the real and imagined interactions between people, place and music. The volume recounts the stories, and explores the significance, of the Canterbury Sound as heritage, ongoing legacy and scene. Originating from the experiences and ethnographic research of the three editors, all of whom have lived and worked in Canterbury, the book brings together reflections, stories, and critical insights from well-known musicians, researchers, DIY archivists and fans to explore the Canterbury Sound as an inter-generational phenomenon and a source of cultural identity. Associated with acts like Caravan, Soft Machine, Gong, Robert Wyatt and Kevin Ayers, this romanticised scene has a special place in popular music culture. Chapters examine the emergence of the Canterbury Sound and the associated scene, including the legacies of key figures in forming the Canterbury Sound aesthetic, the documentation of the scene (online and off) and contemporary scenes within the city, which continues to attract and inspire young people.

How and why do listeners come over time to 'feel the nation' through particular musical works? This book develops a comparative analysis of the relationship between western art music, nations and nationalism. It explores the influence of emergent nations and nationalism on the development of classical music in Europe and North America and examines the distinctive themes, sounds and resonances to be found in the repertory of each of the nations. Its scope is broad, extending well beyond the period 1848-1914 when national music flourished most conspicuously. The interplay of music and nation encompasses the oratorios of Handel, the open-air music of the French Revolution and the orchestral works of Beethoven and Mendelssohn and extends into the mid-twentieth century in the music of Prokofiev, Shostakovich and Copland. The book addresses the representation of the national community, the incorporation of ethnic vernacular idioms into art music, the national homeland in music, musical adaptations of national myths and legends, the music of national commemoration and the canonisation of national music. Bringing together insights from nationalism studies, musicology and cultural history, it will be essential reading not only for musicologists but for cultural historians and historians of nationalism as well. MATTHEW RILEY is Reader in Music at the University of Birmingham. The late ANTHONY D. SMITH was Professor Emeritus of Nationalism andEthnicity at the London School of Economics.

(Book). Jazz fans get the inside story of New York's legendary club. At age 83, Lorraine Gordon is a jazz icon who has lived more than a few lives: downtown bohemian, uptown grande dame, music business pioneer, wife, lover, mother, and finally at a point when most women her age were just settling into grandmotherhood owner of the most famous jazz club in the world, the Village Vanguard. The trajectory of her journey has been remarkable. The details are a Jackson Pollock-like swirl of fierce colors shot through with larger-than-life creative figures: not just jazz figures but luminaries from every point on the political, social and entertainment spectrum: from Mike Nichols, Elaine May, Miles Davis and Thelonious Monk to Lenny Bruce, Norman Mailer and Barbra Streisand. * The legendary Village Vanguard has been an international jazz mecca since 1935. According to New York Magazine, "A musician hasn't truly arrived in the jazz world until he's played at the 'Carnegie Hall of Cool, ' the Village Vanguard." * There have been over 100 "Live at the Village Vanguard" recordings by premier artists from John Coltrane to Wynton Marsalis.

This volume sets out to explore the world of domestic devotions and is premised on the assumption that the home was a central space of religious practice and experience throughout the early modern world. The contributions to this book, which deal with themes dating from the fifteenth to the eighteenth century, tell of the intimate relationship between humans and the sacred within the walls of the home. The volume demonstrates that the home cannot be studied in isolation: the sixteen essays, that encompass religious history, the histories of art and architecture, material culture, literary history, and social and cultural history, instead point individually and collectively to the porosity of the home and its connectedness with other institutions and broader communities. Contributors: Dotan Arad, Kathleen Ashley, Martin Christ, Hildegard Diemberger, Marco Faini, Suzanna Ivanic, Debra Kaplan, Marion H. Katz, Soyeon Kim, Hester Lees-Jeffries, Borja Franco Llopis, Alessia Meneghin, Francisco J. Moreno Diaz del Campo, Cristina Osswald, Kathleen M. Ryor, Igor Sosa Mayor, Hanneke van Asperen, Torsten Wollina, and Jungyoon Yang.

Facsimile reprint of the 1888 edition. "Celebrated singing performer of the last [18th] century: including an account of her introduction to public life, her professional engagements in London and Dublin and her various adventures and intrigues with well-known men of quality and wealth, carefully compiled and edited from the best and most authentic records extant."

Covering four decades of music history, this engaging book explores a genre of pop music that has been overlooked, under-reported, and ineffectively characterized—but which nevertheless remains immensely popular. The very qualities that made glam unusual and undervalued are now being reintroduced into our culture through video, music, and cyber and computer mediums, while artists such as Lady Gaga have made glam popular once more. Carefully explaining this misunderstood genre, The Twisted Tale of Glam Rock explores glam's attraction and the reasons it has endured. With the help of copious examples, the book covers the style from the pre-glam British invasion of 1964-69 through the classical glam era (1970-75); the metamorphosis into glam goth, glam metal, and glam new-romanticism (1976-90); and the style's reemergence (1990-present). It provides a theoretical basis for musicians' attraction to this highly visual and theatrical form of pop music and sets glam in a historical context, following the format through MTV, videos, and vibrant stage and theatre presentations. Finally, the book explores the hybridization of glam with other styles, illustrating how the genre has progressively reemerged as a premier form of performance pop.

A History of Russian Music Being An Account Of The Rise And Progress Of The Russian School Of Composers, With A Survey Of Their Lives And A Description Of Their Works. By M. Montagu-Nathan. Originally published in 1914. Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. Obscure Press are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork. Contents include: Introduction, Part 1- The Pre-nationalists. Volkoff- Berezovsky, Bortniansky and Verstovsky, Glinka "A life for the czar," Russian and Ludmilla, Dargomijsky, The stone guest and the five, Seroff and Lvoff. Part 2 - The nationalists. Balakireff, Cesar cui, Borodin, Moussorgsky, Boris Goudounoff, Khovantchina, The last phase, Rimsky Korsakoff. Part 3- The decline of nationalism. Glazounoff, Liadoff and liapounoff, Arensky, Tchaikovsky Rubinstein and the eclectics, Taneieff. Part 4- The present movement. Rachmaninoff, Gliere and Ippolitoff-Ivanoff, Scriabin, Vassilenko and grechaninoff, Akimenko Tcherepnin and Rebikoff, Steinberg Medtner and Catoire, Stravinsky, Operatic and concert enterprises, Appendix I, Appendix II.

From Ani DiFranco to Bob Dylan to Woodie Guthrie, American folk music comprises a truly diverse and rich tradition—one that's almost impossible to define in broad terms. This book explains why folk music is still highly relevant in the digital age. From indigenous music to Pete Seeger and Bruce Springsteen singing "This Land Is Your Land" side-by-side at the pre-inaugural concert for our first African American president, folk music has been at the center of America's history. Thomas Jefferson wooed his bride-to-be with fiddle playing. Stephen Foster captured the mood of our country in transition. The Carter Family adapted music from across the pond to Appalachia. Paul Robeson carried folk music of many lands to the world stage. Woody Guthrie's dust bowl ballads spoke to the common man, while Sixties protest music put folk on the map, following the Kingston Trio's hit, "Tom Dooley." Folk music has evolved with America's changing landscape, celebrating its multi-cultural traditions. From Irish step dancers to rap, parlor songs to Dixieland, blues to classical, Discovering Folk Music presents the genre as surprisingly diverse, every bit the product of our national melting pot. Demonstrating continuing relevance of folk music in our everyday lives, the book spotlights an amazing array of personalities, with special emphasis on the folk revival era when Dylan, Baez, Odetta, and Peter, Paul and Mary sang out. These and others influenced such contemporary performers as Shawn Colvin and Ani DiFranco. Those on today's "fringes of folk" scene continue to look to these deep roots while embracing alternative sounds. Included are interviews with such legendary artists as Janis Ian, Tom Paxton, and Jean Ritchie. Nora Guthrie, Woody's daughter, also weighs in. Discovering Folk Music is a ground-breaking look at 21st-century folk music in our rapidly changing digital world, family friendly while ripe for rediscovery by the Woodstock generation.

Unique and exciting, this ethnographic study is the first to address a little-known subculture, which holds a fascination for many. The first decade of the twenty-first century has displayed an ever increasing fixation with vampires, from the recent spate of phenomenally successful books, films, and television programmes, to the return of vampire-like style on the catwalk. Amidst this hype, there exists a small, dedicated community that has been celebrating their interest in the vampire since the early 1990s. The London vampire subculture is an alternative lifestyle community of people from all walks of life and all ages, from train drivers to university lecturers, who organise events such as fang fittings, gothic belly dancing, late night graveyard walks, and 'carve your own tombstone'.Mellins presents an extraordinary account of this fascinating subculture, which is largely unknown to most people. Through case study analysis of the female participants, "Vampire Culture" investigates women's longstanding love affair with the undead, and asks how this fascination impacts on their lives, from fiction to fashion. "Vampire Culture" includes photography from community member and professional photographer SoulStealer, and is an essential read for students and scholars of gender, film, television, media, fashion, culture, sociology and research methods, as well as anyone with an interest in vampires, style subcultures, and the gothic.

The Forty-Eight Preludes and Fugues of J.S .Bach By Cecil Gray Originally published in 1934, this is an exhaustive examination of one of Bach's greatest works. Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. Obscure Press are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

In the World War II era, big bands and swing music reached the heights of popularity with soldiers as well as friends and loved ones back home. Many entertainers such as Glenn Miller also served in the military, or supported the war effort with bond drives and entertaining the troops at home and abroad. In addition to big band and swing music, musicals, jazz, blues, gospel and country music were also popular. Chapters on each, along with an analysis of the evolution of record companies, records, radios, and television are included here, for students, historians, and fans of the era.

Includes a timeline of the music of the era, an appendix of the Broadway and Hollywood Musicals, 1939-1945, and an appendix of Songs, Composers, and lyricists, 1939-1945. An extensive discography and bibliography, along with approximately 35 black and white photos, complete the volume.

Piano GUIDED Sigh t Re ading A Ne v Approach to Piano Studv by LEONHARD E EUTSCH NELSON-HALL COMPANY CHIC AG O Acknowledgements For the constructive criticism and final editing of my manu script I wish to express my gratitude and appreciation to Miss Lillian Cooper, New York City. For the patient reading of the first drafts and helpful suggestions my thanks go to the late Mrs. Sophia Steinbach, New York City Miss Ruth Norden, New York City and Mr. Mrs. Horace Champney, Yellow Springs, Ohio. Finally, I have to thank Crown Publishers for the last retouches. For their adherence to my ideas abroad and in this country I thank my former Vienna colleagues and co-workers Dr. Alexander Klahr, New York City Mr. Victor Popper, Evans ton, Illinois Mrs. Maria Treuer, Yellow Springs, Ohio and Dr. Margaret Wolf, Brooklyn, N. Y. I feel greatly indebted to my wife, Mrs. Danica Deutsch, for her most active support of my work from its very beginning. She also assisted me in applying experiences from her own field, including her study of left-eyedness, to the psychological and emotional problems of my students. LEONHARD DEUTSCH Table of Contents Foreword xi The Story of the Sight-Reading Method 3 The Problems of Sight-Reading 13 What is the correct way to practice sight-reading 14 How is the ability to practice sight-reading in this - man-ner developed 15 What is the effect of sight-reading exercises 17 The Basis of Pianistic Skill 19 1. Musical Ear and Manual Dexterity 19 What is musical ear 20 How is musical ear developed 22 What is manual dexterity 25 How does manual skill develop 26 2. Notes and Keys 27 Why is the alphabetical method, applied to music reading, ineffective 29 How to break away frompiecemeal reading 31 3. Time and Rhythm 32 Why are the usual expedients ineffective 32 How does a student learn to keep time 33 vn TABLE OF CONTENTS 4. Fingering 34 Unnecessary finger marks 36 Complicated fingering 36 5. Velocity 38 How does repetition work 39 How does the dissecting method work 41 How is velocity developed 42 6. Finger Agility and Technical Exercises 43 The piano hand 44 Planning of finger movements 45 Relaxation 47 Finger control 48 7. Expressive Playing 49 Colorful tone or colorful performance 49 The sources of expressive playing 50 Analytical approach 50 Romantic approach 51 Psychological approach 52 8. Pianistic Memory 53 What is pianistic memory 54 How is pianistic memory developed 55 Sight-Reading versus Repertoire 57 Rich study material 58 Approaching the whole 58 Concentrated effort 60 How does natural talent develop 61 Building up talent by means of instruction 62 Gypsy method 63 Self-Instruction 64 Sight-reading program, 67 Repertoire Study 73 VIII TABLE OF CONTENTS Suggestions for the Teacher 76 1. Guiding Your Student 79 2. New Students and Problem Students 82 3. Elementary Instruction 88 Melody 89 Bass parts 91 Fingering and hand positions 91 Touch and expression 92 Sharps and flats 92 Chords 93 Jumps 93 Playing with both hands 94 Time values 95 Embellishments 96 Rhythmical subdivision 96 4. Study Material 98 5. Homework 99 6. Playing by Ear and Written Exercises 100 7. Approach to Children 101 Ear training 102 Special handicaps 103 Maturity level of the child 104 Ambition 105 IX Foreword A NEW approach to piano study Why the reader may well ask. Hasnt the old approach produced hundreds and thousands of excellent pianists True, for such successfulstudents, usually professional mu sicians, no change is necessary but for the others, less fortunate, the legions of lay musicians, playing the piano can acquire a new meaning. Formerly the non-professional pianist had the same mission as the virtuoso to share his musicianship with an audience. And usually he was just as eager for publicity. He labored many hours over technical exercises and spent years building a reper toire of pieces carefully prepared for performance. Nowadays such toil hardly seems worth while...

Music of the Baduy People of Western Java: Singing is a Medicine by Wim van Zanten is about music and dance of the indigenous group of the Baduy, consisting of about twelve-thousand people living in western Java. It covers music for rice rituals, for circumcisions and weddings, and music for entertainment. The book includes many photographs and several discussed audio-visual examples that can be found on DOI: 10.6084/m9.figshare.c.5170520. Baduy are suppposed to live a simple, ascetic life. However, there is a shortage of agricultural land and there are many temptations from the changing world around them. Little has been published on Baduy music and dance. Wim van Zanten's book seeks to fill this lacuna and is based on short periods of fieldwork from 1976 to 2016.

These lively, informative essays, all related to music, are as accessible as a chatty bedside reader. A central theme is listener response, and the techniques and structures that mold it. The story starts with sound waves, the ear, and the brain. Did song come before speech? Was it a factor in evolution? Some think singing helps complete the wiring of that organic work-in-progress, the infant brain. Check out the frequency doubling that built our familiar scale. Learn where the word 'organizing' came from. Follow development of the instruments as they achieved volume, accurate intonation, range, and consistent timbre. There is criticism, but little disparagement. Any willing audience deserves respect. Musical examples come from Tin Pan Alley as often as the opera. Whether at a jazz club or the concert hall, the writer cannot hide his impatience with artists seeking to educate or intimidate. Music can be recreation or vocation. Does your instrument match your personality or some physical attribute? We instantly distinguish a bell, a piano, and a guitar; why not a clarinet, flute, or violin? What does the conductor do? A Language of Emotion embraces such matters. The relatively imprecise science of Psychology examines music working its magic. We all have favorites. Is it hype and marketing and peer influence, or do our choices make personal statements? Music, politics, religion, and social forces are twisted threads in the fabric of civilization. Nothing reflects the spirit of an era better than the works of its most creative individuals. In most cases, they blend smoothly in sequence. Monteverdi, Beethoven, and Stravinsky, to name just three, clearly got ahead of the curve and helped define the world around them.