The Amadeus Quartet, which was active from 1948 until 1987 when its viola player Peter Schidlof died, is probably the most famous and distinguished string quartet of the 20th century. It played to a wide variety of audiences on innumerable occasions in all the major countries of the world, and produced a galaxy of recordings, many of which are still available. The intensity of its music-making was breathtaking. Muriel Nissel, the author of Married to the Amadeus, is the wife of Siegmund Nissel, the second violinist. Her book tells the extraordinary and moving story of the Quartet, with its many triumphs and its periodic setbacks and traumas, from the inside for the forty years from its inception during the time after the Second World War up to the 1980s. She reveals how it moulded the lives of the four players and their wives and families in unexpected ways, and how they all became inextricably involved in this unique joint enterprise. The fashion in which work and family life interacted was crucial to the Quartet's survival.She returned to her professional life as a statistician when the children went to school and describes how difficult it was in the 1960s for a married woman with children to achieve equal status with men at work; and she tells of the problems she also had to face at home finding satisfactory ways of caring for her family. Remarkably, the four members of the Quartet remained unchanged throughout. They each of them had exceptional qualities. Norbert Brainin, the first violin, Siegmund Nissel and Peter Schidlof, all refugees from Vienna, had first met in internment camps in Britain in 1940. Martin Lovett, the cellist, joined them not long after the war, at a moment when the musical climate was sympathetic to chamber music and the record industry was booming. They never looked back. Nobody who has read Muriel Nissel's absorbing book will ever be able to listen to a string quartet again without being aware of the immense commitment such a group demands of the players and of their families too, and of the longstanding emotional, aesthetic and organizational complexities it entails.

Der Band vereint vierzehn Beitrage zu Theorie und Praxis im zeitgenoessischen (Musik-)Theater fur Kinder und Jugendliche. Neben WissenschaftlerInnen kommen ExpertInnen aus der Theaterpraxis wie Oper- und TheaterpadagogInnen, SchauspielerInnen und TheaterverlegerInnen zu Wort. Die Beitrage geben Einblick in Produktions- und Vermittlungsprozesse an Theaterhausern wie der Oper Frankfurt, dem Staatstheater Mainz sowie in Kulturprojekten an Schulen und im oeffentlichen Raum. Die Abhandlungen diskutieren kulturelle Teilhabe und Partizipation, Formen kultureller und asthetischer Bildung sowie aktuelle Inszenierungen. Mit Blick auf die Corona-Krise stellt das Buch auch Moeglichkeiten des digitalen Theaters fur Kinder und Jugendliche vor.

"Popular Music in Theory "provides a critical introduction to the key theoretical issues which arise in the study of contemporary popular music.

This book is organized in a way that shows how popular music is created across a series of relationships that link together industry and audiences, producers and consumers. Starting from the dichotomy between production and consumption which characterizes much work on popular culture, Negus explores the equally significant social processes that intervene between and across the production-consumption divide, examining the ways that popular music is mediated by a series of technological, cultural, historical, geographical and political factors. This broad framework provides signposts to various tracks taken by the sounds and images of popular music, and also highlights distinctive theoretical routes into the study of contemporary popular music.

This volume is intended mainly for undergraduate and postgraduate students taking courses in sociology, media and communication studies, and cultural studies. However, it will also appeal to those who enjoy thinking and talking about popular music and who might like to delve a little deeper.

Diese Festschrift ist dem Musikwissenschaftler Jurgen Maehder anlasslich seines 70. Geburtstags gewidmet und versammelt Beitrage internationaler Wissenschaftlerinnen und Wissenschaftler. Mit fokussiert der Band Forschungsfelder des Jubilars, die seine wissenschaftliche Vita nicht nur begleitet haben, sondern von ihm auch wesentlich gepragt worden sind. Sein Blick auf das Phanomen Musiktheater hat viele in ihrem akademischen Leben nachhaltig beeinflusst: seine Doktorandinnen und Doktoranden ebenso wie langjahrige Weggefahrten in den unterschiedlichen Communitys der Opernforschung. Ein Grossteil dieser Kolleginnen und Kollegen ist in der vorliegenden Festgabe vertreten.

Gustav Mahler war ein ungemein energischer Kunstler. Sein berufliches Leben verbrachte er meistens intensiv probend und dirigierend. Seine recht abenteuerliche "aussere" Biographie liest sich wie ein Roman. Daneben existiert eine nicht weniger vielschichtige "innere" Biographie. Diese ist gepragt von literarischer Bildung, Religiositat und Weltanschauung im weitesten Sinne, aber auch Fragen der AEsthetik, die hier unter dem Begriff der Spiritualitat vereint sind. Sie bildet den geistigen Hintergrund fur seine Kompositionen. Der Band prasentiert die Ergebnisse einer Tagung in Hamburg zu dieser Thematik. Daneben enthalt er Beitrage uber Mahlers Beziehungen zu zwei Zeitgenossen: dem nahezu gleichaltrigen Edward Elgar und dem mehr als eine Generation jungeren Erich Wolfgang Korngold.

Am 15. September 1680 fand die feierliche Translation der Reliquien der Katakombenheiligen Sergius, Bacchus, Hyacinthus und Erasmus im Kloster St. Gallen statt. Als Director musicae bekam der Stiftsorganist Pater Valentin Muller (Molitor) die Aufgabe, die Musik fur die Feier zu verfassen. 1681 wurde ein Teil des dafur komponierten Repertoires unter dem Titel Missa una cum tribus Mottetis in Solemni Translatione SS. MM. Sergii, Bacchi, Hyacinthi et Erasmi ab octo vocibus concertantibus, et 7. Instrumentis, sed tantium quatuor necessariis in Monasterio S. Galli decantata herausgegeben. Der im Kloster St. Gallen produzierte Musikdruck enthalt ein vollstandiges Ordinarium missae (Kyrie, Gloria, Credo, Sanctus und Agnus Dei) sowie drei Motetten. Grandios ist die aufwendige Besetzung mit zwei vierstimmigen Choeren sowie einem reichen, dem Festcharakter angemessenen Instrumentarium. Die Musik stellt damit ein wertvolles Zeugnis des benediktinischen Musikrepertoires dar, wie es im Kloster St. Gallen in der zweiten Halfte des 17. Jahrhunderts gepflegt wurde. Der vorliegende Band enthalt die vollstandige kritische Ausgabe der 1681 erschienenen Werke von Pater Valentin Muller (Molitor) sowie eine historische Einleitung.

Following Roy Newsome's highly acclaimed study Brass Roots: One Hundred Years of Brass Bands and their Music, this book takes up the story of bands and their development from the 1930s to the start of the new millennium. Brass band contests continued to play a significant role in the twentieth century, and this new book contains a detailed consideration of both local and regional contests and larger-scale national events such as the British Open and the National Brass Band Championships. As in previous times, the repertoire of bands has been greatly influenced by these contests. Newsome explores competition works, but also the development of an increasing number of concerto-style works intended for concert performance. One of the keys to the continuing popularity and success of the banding movement has been the creation of school and youth brass bands. Sections of the book devoted to younger generations of band players examine the changes that have taken place in such bands. There is also an investigation of the impact of radio, television and commercial recording on the brass band industry. The book also contains a wealth of information about leading bands and band personalities, and concludes with an overview of the spread of interest in British-style banding overseas.

Komponieren - im Sinne eines Entwerfens und Entwickelns von Musik als Schreibvorgang und gedanklicher Prozess - ist direkt verbunden mit einem jeweils spezifischen neuzeitlichen Kunstlerbild und Kunstbegriff. Dieser Band hat zum Ziel, die musikalische Skizzenforschung aus der unmittelbaren Verbindung zur philologischen Erschliessung von Werkgenesen zu loesen und in den groesseren Kontext einer Schreib- und Kreativitatsforschung zu stellen. Bezogen auf die drei Schwerpunkte Schriftbildlichkeit, Rekonstruktion des musikalischen Denkens und interdisziplinarer Methodendiskurs werden neue Ansatze fur die Musik des langen 19. Jahrhunderts diskutiert. UEbergeordnet soll der Band dazu beitragen, das Studium der Skizzen als eine als Problemgeschichte des Komponierens zu definierenden Kulturgeschichte musikalischen Schaffens formulieren zu koennen.

Seit den 1960er Jahren steigt in Europa die Zahl der judischen Kulturerbeprojekte. Im Gedenken an die Schoa suchen Nichtjuden die Relikte der Vergangenheit zu bewahren und lassen dabei nicht selten die gegenwartigen judischen Gemeinden ausser Acht. Die Autorinnen unterziehen diese Praxis des "authorized heritage" einer kritischen Betrachtung. Mit Blick auf das judische Kulturerbe Musik enthullen sie vor dem Hintergrund aktueller Debatten um kulturelle Nachhaltigkeit die Gefahren von Konstruktion, kultureller Aneignung und Instrumentalisierung des Erbes. Mit der Diskussion innerjudischer Nachhaltigkeitskonzepte, flankiert von philosophischen Thesen zum Erbe und zur Verantwortung fur den Anderen, werden Denkanstoesse fur einen neuen, zukunftsorientierten Umgang mit judischem Kulturerbe gegeben.

On December 15, 1944, Maj. Alton Glenn Miller, commanding officer of the Army Air Force Band (Special), boarded a plane in England bound for France with Lt. Col. Norman Francis Baessell. Somewhere over the English Channel the plane vanished. No trace of the aircraft or its occupants has ever been found. To this day Miller, Baessell, and the pilot, John Robert Stuart Morgan, are classified as missing in action. Weaving together cultural and military history, Glenn Miller Declassified tells the story of the musical legend Miller and his military career as commanding officer of the Army Air Force Band during World War II. After a brief assignment to the Army Specialist Corps, Miller was assigned to the Army Air Forces Training Command and soon thereafter to Supreme Headquarters, Allied Expeditionary Force, in the UK. Later that year Miller and his band were to be transferred to Paris to expand the Allied Expeditionary Forces Programme, but Miller never made it. Miller's disappearance resulted in numerous conspiracy theories, especially since much of the information surrounding his military service had been classified, restricted, or, in some cases, lost. Dennis M. Spragg has gained unprecedented access to the Miller family archives as well as military and government documents to lay such theories to rest and to demonstrate the lasting legacy and importance of Miller's life, career, and service to his country.

As interest in popular music has increased, so the need for better ways of studying it has become more urgent. It is the author's contention that popular music can be properly understood only through an interdisciplinary method, and this book aims to demonstrate this through a critical analysis of issues and approaches in a variety of areas, ranging from the political economy of popular music through its history and ethnography to its semiology, aesthetics and ideology. The focus of the book is on Anglo-American popular music of the last two hundred years, more especially of the 20th century. In Part One the author outlines a "historical map" of this field, offering on the way a constructive critique of existing musical histories, of T.W.Adorno's pessimistic picture of music in 20th century "mass culture", and of various theories of musical production and reproduction in contemporary capitalist societies. Part Two turns to the analysis of popular music, looking in turn at approaches drawn from musicology, from folkloristics, anthropology and cultural studies, from structuralism and semiology, and from aesthetics, ideological analysis and psychoanalysis. Throughout the book the char

Dance Music of the French Baroque brings together information on rhythm from the interrelated fields of music, dance, poetry, rhetoric, and philosophy. Part I is devoted to the various factors involved in dance rhythms, including tempos, rhythmic feet, dance steps, declamation of lyrics, instrumental articulation, and performance of ornaments.

Part II describes in alphabetic order the fifteen most frequently encountered dances of the period and identifies the most typical performance of each in relation to the factors discussed in Part I. With reference to numerous illustrations and musical examples, it clearly conveys the manner in which the allemandes, bourees, chaconnes, gigues, etc., may be executed. This practical book presents a myriad of information in a form that is easy to use yet as graceful as the dances it describes."

Can music be a curse? Here is an alternate history of online politics and new technology from the perspective of listening, typing, composing, and shared hearing. Emile Frankel presents a rigorous account of a world felt to be in crisis. The aesthetic and tonal ramifications for such feelings are twisted within the oppressive online structures mediating new music. The legacies of Silicon Valley digitalism, 4chan, Less Wrong, and Chaos Magic are compared to the magical thinking which underlies stochastic composition, and the aesthetics of deconstructed club music. Despite a pessimistic account of Accelerationism and reactionary philosophy, Frankel's spirited writing is full of hope. Hearing the Cloud considers the communal online conversations we engage in daily as profound acts of defiance. Sweet, lithe, oily, and honest music is shown to be an important source of togetherness.

Remarkable for their precocity, these early works exhibit the qualities for which Mozart's concertos are justly celebrated: keyboard mastery, experimentation with texture, and a natural sensitivity to form and balance. This convenient, inexpensive compilation features the Triple Concerto No. 7 in F (K. 242), Concerto No. 8 in C (K. 246), Concerto No. 9 in E-flat (K. 271), and the Double Concerto No. 10 in E-flat (K. 365). Reproduced from the authoritative Breitkopf & Härtel edition. New Introduction.

In diesem Arbeitsbuch werden die Wege der 1959 in Westfalen geborenen und heute v.a. in Berlin lebenden Judith Kuckart zuruckverfolgt - und zwar in den Gattungen Prosa, Theater, Hoer-Feature und Film sowie im Bereich Tanz: In all diesen Gattungen hat die Kunstlerin seit den 1980er Jahren ein umfassendes OEuvre entwickelt. Im vorliegenden Band werden erstmals alle ihre Schaffensbereiche thematisiert und in ihren Zusammenhangen betrachtet. Dies geschieht mittels wissenschaftlicher Essays, kunstlerischer und persoenlicher Kurzbeitrage sowie ausfuhrlicher Gesprache mit Judith Kuckart. Ihr kunstlerisches Leben und Werk wird auf diese Weise in seinen vielfaltigen Aspekten erfasst und der wissenschaftlichen und kulturellen OEffentlichkeit prasentiert.

Peace, Love, Unity, and Respect. Cultural liberation and musical innovation. Pyrotechnics, bottle service, bass drops, and molly. Electronic dance music has been a vital force for more than three decades now, and has undergone transformation upon transformation as it has taken over the world. In this searching, lyrical account of dance music culture worldwide, Matthew Collin takes stock of its highest highs and lowest lows across its global trajectory. Through firsthand reportage and interviews with clubbers and DJs, Collin documents the itinerant musical form from its underground beginnings in New York, Chicago, and Detroit in the 1980s, to its explosions in Ibiza and Berlin, to today's mainstream music scenes in new frontiers like Las Vegas, Shanghai, and Dubai. Collin shows how its dizzying array of genres--from house, techno, and garage to drum and bass, dubstep, and psytrance--have given voice to locally specific struggles. For so many people in so many different places, electronic dance music has been caught up in the search for free cultural space: forming the soundtrack to liberation for South African youth after Apartheid; inspiring a psychedelic party culture in Israel; offering fleeting escape from--and at times into--corporatization in China; and even undergirding a veritable "independent republic" in a politically contested slice of the former Soviet Union. Full of admiration for the possibilities the music has opened up all over the world, Collin also unflinchingly probes where this utopianism has fallen short, whether the culture maintains its liberating possibilities today, and where it might go in the future.