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Books > Arts & Architecture > Music > Theory of music & musicology
This book offers a series of essays that show the integrated role
that musical structure (including harmony, melody, rhythm, meter,
form, and musical association) plays in making sense of what
transpires onstage in musicals. Written by a group of music
analysts who care deeply about musical theater, this collection
provides new understanding of how musicals are put together, how
composers and lyricists structure words and music to complement one
another, and how music helps us understand the human relationships
and historical and social contexts. Using a wide range of musical
examples, representing the history of musical theater from the
1920s to the present day, the book explores how music interacts
with dramatic elements within individual shows and other pieces
within and outside of the genre. These essays invite readers to
consider issues that are fundamental both to our understanding of
musical theater and to the multiple ways we engage with music.
Shortly after Wolfgang Amadeus Mozart's death, his widow Constanze
sent a manuscript copy of one of his most beloved operas, Die
Zauberfloete, to the court of the Elector of Cologne. It was
eventually published by Nicolaus Simrock in 1814 as the first
full-score edition. However, the question still remains as to why
this early copy in her possession diverges from Mozart's autograph
in so many libretto details. The Authentic Magic Flute Libretto:
Mozart's Autograph or the First Full-Score Edition? investigates
the origin and claim to authenticity of the first full-score
edition of Die Zauberfloete, drawing attention to the close bond
between words and music. Michael Freyhan brings the subtlety of the
first edition word setting to the attention of scholars, musicians,
and opera-lovers, setting out the evidence for its authenticity and
detailing the quest, pursued in 15 countries, for the earliest
possible historical sources. Freyhan examines the differences
between the first edition and the autograph, discussing the quality
of the word-setting-supported by 32 musical examples-and evaluating
the relationship of the two texts in terms of language and
literature. The following chapters discuss the early history of the
autograph, focusing on four alleged owners, its market value, and
the misleading catalogue numbering systems seen on the first page.
Details of the performance and publication history of the first
edition text are followed by a new perspective on the disputed
authorship of the libretto, in light of the possible existence of
two authentic texts. A concluding chapter discusses Mozart's
sketches and working methods, while an appendix traces the
character and career of Karl Ludwig Giesecke, one of the writers
who claimed ownership of the opera's libretto. The book also
includes several photos and the complete first edition libretto, in
German and with literal English translation, providing a
side-by-side text comparison with the autograph text.
Musica ficta is the practice of sharpening or flattening certain notes to avoid awkard intervals in medieval and Renaissance music. This collection gathers Margaret Bent's influential writings on this controversial subject from the past thirty years. Bent analyses what scholarship has produced in the last thirty years, and corrects and clarifies her own positions.
Drawing generously from four centuries of Italian, German and
French art song, Exploring Art Song Lyrics embraces the finest of
the literature and presents the repertoire with unprecedented
clarity and detail. Each of the over 750 selections comprises the
original poem, a concise English translation, and an IPA
transcription which is uniquely designed to match the musical
setting. Enunciation and transcription charts are included for each
language on a single, easy to read page. A thorough discussion of
the method of transcription is provided in the appendix. With its
wide-ranging scope of repertoire, and invaluable tools for
interpretation and performance, Exploring Art Song Lyrics is an
essential resource for the professional singer, voice teacher, and
student.
Schoenberg's Op.23 for solo piano, written between 1920 and 1923,
represented a move from his atonal music of the preceding twelve
years to 12-note music. In this analysis of the five pieces which
make up Op.23, Kathryn Bailey discusses the ways in which
Schoenberg clearly explores new ideas in these pieces in the
context of his old style. Op.23 marked the development of a new way
of organizing pitches and establishing centres of gravity in the
absence of tonality; but it was also an extension of what had gone
before. While moving on from Op.23 was not a big step for
Schoenberg, it represented a climacteric in the history of musical
composition. It was a long time before anyone outside of
Schoenberg's circle would be able to see past the revolutionary
idea of composing from a single pre-determined arrangement of the
12 notes of the chromatic scale to notice that in most ways this
New Music answered the same conditions and fulfilled the same
expectations that music had for generations.
Reveals new and previously unknown biographical material about an
important figure in 19th-century American architecture and music
Jacob Wrey Mould is not a name that readily comes to mind when we
think of New York City architecture. Yet he was one-third of the
party responsible for the early development of Central Park in New
York. To this day, his sculptural reliefs, tile work, and
structures in the Park enthrall visitors. Mould introduced High
Victorian architecture to NYC, his fingerprint most pronounced in
his striking and colorful ornamental designs and beautiful
embellishments found in the carved decorations and mosaics at the
Bethesda Terrace. Resurfacing the forgotten contributions of Mould,
Hell on Color, Sweet on Song presents a study of this 19th-century
American architect and musical genius. Jacob Wrey Mould, whose
personal history included a tie to Africa, was born in London in
1825 and trained there as an architect before moving to New York in
1852. The following year, he received the commission to design All
Souls Unitarian Church. Nicknamed "the Church of the Holy Zebra,"
it was the first building in America to display the mix of colorful
materials and Medieval Italian inspiration that were characteristic
of High Victorian Gothic architecture. In addition to being an
architect and designer, Mould was an accomplished musician and
prolific translator of opera librettos. Yet anxiety over money and
resentment over lack of appreciation of his talents soured Mould's
spirit. Unsystematic, impractical, and immune from maturity, he
displayed a singular indifference to the realities of architecture
as a commercial enterprise. Despite his personal shortcomings, he
influenced the design of some of NYC's revered landmarks, including
Sheepfold, the Metropolitan Museum of Art, the American Museum of
Natural History, the City Hall Park fountain, and the Morningside
Park promenade. From 1875-1879, he worked for Henry Meiggs, the
"Yankee Pizarro," in Lima, Peru. Resting on the foundation of
Central Park Docent Lucille Gordon's heroic efforts to raise from
obscurity one of the geniuses of American architecture and a
significant contributor to the world of music in his time, Hell on
Color, Sweet on Song sheds new light on a forgotten genius of
American architecture and music. Funding for this book was provided
by: Furthermore: a program of the J. M. Kaplan Fund
This book provides a broad introduction to the scientific and
psychological study of music, exploring how music is processed by
our brains, affects us emotionally, shapes our personal and
cultural identities, and can be used in therapeutic and educational
contexts. Why are some people tone deaf and others musical savants?
What do our musical preferences say about our personality and the
culture in which we were raised? Why do certain songs remind us so
strongly of particular people, places, or events? How can music be
therapeutically used to help those with autism, Parkinson's, and
other medical conditions? The Science and Psychology of Music: From
Beethoven at the Office to Beyonce at the Gym answers these and
other questions. This book provides a broad and accessible
introduction to the fascinating field of music psychology. Despite
its name, music psychology includes a number of fields, including
neuroscience, psychology, social psychology, sociology, and health.
Through a collection of thematically organized chapters, readers
will discover how our brains recognize elements of music, how music
can affect us and shape our identities, and the many real-world
applications for such information. Explores a topic that is of
great interest to both psychology students and the general public
through accessible and engaging content Provides a conceptual
framework for readers and through a multi-part format allows them
to focus their attention on their particular areas of interest
Furthers readers' understanding of how music can affect our
wellbeing as it includes both our physical and psychological health
Reflects the subject knowledge of contributing experts in a wide
variety of academic disciplines
First published in 2000. Routledge is an imprint of Taylor &
Francis, an informa company.
In recent years Hugo Riemann's ideas have thoroughly captured the
music-theoretical imagination, both in the United States and
abroad. Neo-Riemannian theory has proven particularly adept at
explaining features of chromatic music where other theoretical
approaches have failed, and thereby established itself as the
leading theoretical approach of our time. The Oxford Handbook of
Neo-Riemannian Music Theories brings together an international
group of leading proponents of Riemannian and neo-Riemannian theory
for a thoroughgoing exploration of the music-analytical,
systematic, and historical aspects of this important new field. The
volume elucidates key aspects of the field, draws connections
between Riemann's original ideas and current thought, and suggests
new applications and avenues for further study. A number of essays
suggest connections to other fields of inquiry, such as cognitive
and mathematical music theory, as well as applications in the field
of metric or melodic analysis. The selection of essays is
complemented by several of Hugo Riemann's key original texts, many
of which appear in English translation for the first time, and is
rounded off by a glossary of key concepts for easy reference.
Reform, Notation and Ottoman Music in Early 19th Century Istanbul:
EUTERPE presents the first complete set of transcription and
edition of Euterpe (1830) from Byzantine neumatic notation into the
modified staff notation used by classical Turkish music and is
accompanied by a substantial examination of the related historical,
theoretical and musical topics. Through a series of Ottoman/Turkish
classical vocal music compositions that can be dated to the 18th
and 19th centuries, Euterpe and related sources reinforce a much
broader picture of musical practice and transmission in which we
clearly see that the Greek and Turkish traditions are linked.
Reform, Notation and Ottoman Music in Early 19th Century Istanbul
is presented in two parts: historical discussion and musical
analysis, and complete transcription and edition of Euterpe. This
book will appeal to music scholars and university students
interested in minorities, cosmopolitanism in the Middle East and
Balkans, the relationship between music and national identity,
musical notation, classical Ottoman/Turkish music, Byzantine music,
and, most significantly, ethnomusicology.
Created for introductory courses in basic music theory and harmonic
practice, Part 1 of this self-paced, auto-instructional standalone
text that comes in two volumes has become a "classic" in the field.
Since the students work independently through the programmed format
of the text, instructors can concentrate on the more creative
aspects of their course. From the wealth of clearly laid-out
lessons and exercises, students receive continual feedback and
reinforcement as they work through the sequence at their own pace.
Note: A set of musical examples on compact discs is available with
each of the volumes if you order the ISBN's listed below, . ISBN
0205691056 / 9780205691050 Harmonic Materials in Tonal Music: A
Programmed Course, Part 1 with Audio CD *Package consists of:
0205629717 / 9780205629718 Harmonic Materials in Tonal Music: A
Programmed Course, Part 1 0205629725 / 9780205629725 Audio CD for
Harmonic Materials in Tonal Music, Part 1 ISBN 020563818X /
9780205638185 Harmonic Materials in Tonal Music: A Programmed
Course, Part 2 with CD *Package consists of 020562975X /
9780205629756 Harmonic Materials in Tonal Music: A Programmed
Course, Part 2 0205629768 / 9780205629763 CD for Harmonic Materials
in Tonal Music, Part 2
In Western Civilization Mathematics and Music have a long and interesting history in common, with several interactions, traditionally associated with the name of Pythagoras but also with a significant number of other mathematicians, like Leibniz, for instance. Mathematical models can be found for almost all levels of musical activities from composition to sound production by traditional instruments or by digital means. Modern music theory has been incorporating more and more mathematical content during the last decades. This book offers a journey into recent work relating music and mathematics. It contains a large variety of articles, covering the historical aspects, the influence of logic and mathematical thought in composition, perception and understanding of music and the computational aspects of musical sound processing. The authors illustrate the rich and deep interactions that exist between Mathematics and Music.
Manchester Beethoven studies presents ten original chapters by
scholars with close ties to the University of Manchester. It throws
new light on many aspects of Beethoven’s life and works, with a
special emphasis on early or little-known compositions such as his
concert aria Erste Liebe, his String Quintet Op. 104 and his
folksong settings. Biographical elements are prominent in a
wide-ranging reassessment of his religious attitudes and beliefs,
while Charles Hallé, founder of the Manchester-based Hallé
Orchestra, is revealed to have been a tireless and energetic
promoter of Beethoven’s music in the later nineteenth century. --
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This monograph offers a comprehensive study of the topos of the
malmariee or the unhappily married woman within the
thirteenth-century motet repertory, a vocal genre characterized by
several different texts sounding simultaneously over a foundational
Latin chant. Part I examines the malmariee motets from three
vantage points: (1) in light of contemporaneous canonist views on
marriage; (2) to what degree the French malmariee texts in the
upper voices treat the messages inherent in the underlying Latin
chant through parody and/or allegory; and (3) interactions among
upper-voice texts that invite additional interpretations focused on
gender issues. Part II investigates the transmission profile of the
motets, as well as of their refrains, revealing not only
intertextual refrain usage between the motets and other genres, but
also a significant number of shared refrains between malmariee
motets and other motets. Part II furthermore offers insights on the
chronology of composition within a given intertextual refrain
nexus, and examines how a refrain's meaning can change in a new
context. Finally, based on the transmission profile, Part II argues
for a lively interest in the topos in the 1270s and 1280s, both
through composition of new motets and compilation of earlier ones,
with Paris and Arras playing a prominent role.
Released in 1986, Hunters and Collectors' album Human Frailty is
one of the most important Australian albums of the last two decades
of the twentieth century. It was pivotal in the group's career and
marked the group's move into pub rock. It is unashamedly concerned
with love and desire. The album challenged traditional
understandings of Australian masculinity while playing music to
predominantly male audiences. No other Australian group would have
dared, or indeed been able, to get their audience to roar 'You
don't make me feel like a woman anymore,' the culminating line off
Hunan Frailty's first track, and the first single taken from the
album, "Say Goodbye". The second track on the album, "Throw Your
Arms Around Me" has become an Australian standard, an anthem sung
drunkenly more by women than men, in pubs, at weddings and similar
occasions. Human Frailty is an album that transcended the critical
categories of its time.
Sound Inventions is a collection of 34 articles taken from
Experimental Musical Instruments, the seminal journal published
from 1984 through 1999. In addition to the selected articles, the
editors have contributed introductory essays, placing the material
in cultural and temporal context, providing an overview of the
field both before and after the time of original publication. The
Experimental Musical Instruments journal contributed extensively to
a number of sub-fields, including sound sculpture and sound art,
sound design, tuning theory, musical instrument acoustics, timbre
and timbral perception, musical instrument construction and
materials, pedagogy, and contemporary performance and composition.
This book provides a picture of this important early period,
presenting a wealth of material that is as valuable and relevant
today as it was when first published, making it essential reading
for anyone researching, working with or studying sound.
A Key Stage 3 book designed for pupils who find music theory
difficult to understand and remember. The content is differentiated
at three levels to cater for differing abilities and experience,
and a corresponding teacher's resource pack is also available.
All normal human beings alive in the last fifty thousand years
appear to have possessed, in Mark Turner's phrase, "irrepressibly
artful minds." Cognitively modern minds produced a staggering list
of behavioral singularities--science, religion, mathematics,
language, advanced tool use, decorative dress, dance, culture,
art--that seems to indicate a mysterious and unexplained
discontinuity between us and all other living things. This brute
fact gives rise to some tantalizing questions: How did the artful
mind emerge? What are the basic mental operations that make art
possible for us now, and how do they operate? These are the
questions that occupy the distinguished contributors to this
volume, which emerged from a year-long Getty-funded research
project hosted by the Center for Advanced Study in the Behavioral
Sciences at Stanford. These scholars bring to bear a range of
disciplinary and cross-disciplinary perspectives on the
relationship between art (broadly conceived), the mind, and the
brain. Together they hope to provide directions for a new field of
research that can play a significant role in answering the great
riddle of human singularity.
This pathbreaking study reveals Purcell's extensive use of symmetry
and reversal in his much-loved trio sonatas, and shows how these
hidden structural processes make his music multilayered and
appealing. Purcell's trio sonatas are among the cornerstones of
Baroque chamber music. The composer himself unassumingly described
them as "a just imitation of the most famed Italian masters."
However, analysis of their underlying structuresreveals that
Purcell's modesty hides a highly original blend of Italian models,
complex English traditional compositional devices, and his own near
obsession with compositional and contrapuntal technique. Alon
Schab'spathbreaking Sonatas of Henry Purcell: Rhetoric and Reversal
begins with an overview of the two sets of sonatas and their
sources, their movement types, and some of the basic compositional
and rhetorical procedures they demonstrate. The book's main part
highlights several covert structures that are not necessarily heard
but are consistent and played an important part in the
compositional process. Symmetry, both temporal and spatial, governs
much ofthese underlying structures. Beneath the surface of his
studies in Italian style, Purcell created intricate correspondences
between the micro and macro levels of the works, as well as unities
of proportions and, above all, impressive mirrorlike structures.
Schab's book opens an important window to seventeenth-century
compositional technique and offers further evidence of Purcell's
use of advanced compositional techniques in works that aimed to be
pleasurable for the amateur and excitingly thought-provoking for
the professional. Alon Schab is a lecturer at the University of
Haifa.
In this newly revised book On Sonic Art, Trevor Wishart takes a
wide-ranging look at the new developments in music-making and
musical aesthetics made possible by the advent of the computer and
digital information processing. His emphasis is on musical rather
than technical matters. Beginning with a critical analysis of the
assumptions underlying the Western musical tradition and the
traditional acoustic theories of Pythagoras and Helmholtz, he goes
on to look in detail at such topics as the musical organization of
complex sound-objects, using and manipulating representational
sounds and the various dimensions of human and non-human utterance.
In so doing, he seeks to learn lessons from areas (poetry and
sound-poetry, film, sound effects and animal communication) not
traditionally associated with the field of music.
About the Author
Trevor Wishart is a composer, living and working in the North of
England. His musical works cover a wide range, from environmental
music events staged in spe
Prince's position in popular culture has undergone only limited
academic scrutiny. This book provides an academic examination of
Prince, encompassing the many layers of his cultural and creative
impact. It assesses Prince's life and legacy holistically,
exploring his multiple identities and the ways in which they were
manifested through his recorded catalogue and audiovisual personae.
In 17 essays organized thematically, the anthology includes a
diverse range of contributions - taking ethnographic,
musicological, sociological, gender studies and cultural studies
approaches to analysing Prince's career.
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