How did the tumult caused by German composer Richard Wagner result in the first modernist painting? In the first full-length book dedicated to the study of Edouard Manet and music, art historian Therese Dolan demonstrates that the 1862 painting Music in the Tuileries represents the progressive musical culture of his time, heretofore read by scholars predominantly through the words of Charles Baudelaire. Dolan sees in this painting's radical style the conceptual shift to modernism in both painting and music, a transition that, she convincingly argues, received a strong impetus from Manet's Music in the Tuileries and Wagner's controversial Tannhauser, which premiered the previous year. Supplemental to analysis of the painting, Dolan incorporates discussion of texts by Theophile Gautier, Champfleury, and Baudelaire who are represented in the painting. This book incorporates studies of the major artistic, literary, and musical figures of nineteenth-century France. It represents an important contribution to an understanding of French culture in the third quarter of the nineteenth century, a period of intense literary, artistic, and musical activity that formed the crucible for modernism.

What are the key topics that define Romantic violin playing? This book discusses key issues (and barriers) of putting into practice nineteenth-century violin performing practices. It deals with a number of well-known problems concerning romantic performance including the widely perceived 'gap' between scholarship and the act of performance. Taking account of a modernist revolution in performing practices and aesthetic thought in the twentieth century, the book focuses on key topics to define romantic violin playing. Practically-focused chapters discuss key aspects of performing practice evidence. The book then moves into a case-study phase to discuss examples from the author's long experience. It concludes with practical advice and exercises to enable students to begin experimenting with the assimilation of such practices into their own performance. In this way, the proposed structure aims to be a 'handbook' proper. The handbook ends by looking to the future and suggesting practical ways for violinists to adopt what has been discussed in the text. The continued centrality of nineteenth-century music in contemporary concert life makes the importance of the topic self-evident.

The viola da gamba was a central instrument in European music from the late 15th century well into the late 18th. In this comprehensive study, Bettina Hoffmann offers both an introduction to the instrument -- its construction, technique and history -- for the non-specialist, interweaving this information with a wealth of original archival scholarship that experts will relish. The book begins with a description of the instrument, and here Hoffmann grapples with the complexity of various names applied to this and related instruments. Following two chapters on the instrument's construction and ancestry, the core of the book is given to a historical and geographical survey of the instrument from its origins into the classical period. The book closes with a look at the revival of interest in the 19th and 20th centuries.

The German-Jewish emigre composer Stefan Wolpe was a vital figure in the history of modernism, with affiliations ranging from the Bauhaus, Berlin agitprop and the kibbutz movement to bebop, Abstract Expressionism and Black Mountain College. This is the first full-length study of this often overlooked composer, launched from the standpoint of the mass migrations that have defined recent times. Drawing on over 2000 pages of unpublished documents, Cohen explores how avant-garde communities across three continents adapted to situations of extreme cultural and physical dislocation. A conjurer of unexpected cultural connections, Wolpe serves as an entry-point to the utopian art worlds of Weimar-era Germany, pacifist movements in 1930s Palestine and vibrant art and music scenes in early Cold War America. The book takes advantage of Wolpe's role as a mediator, bringing together perspectives from music scholarship, art history, comparative literature, postcolonial studies and recent theories of cosmopolitanism and diaspora.

Professionalisation was a key feature of the changing nature of work and society in the nineteenth century, with formal accreditation, registration and organisation becoming increasingly common. Trades and occupations sought protection and improved status via alignment with the professions: an attempt to impose order and standards amid rapid social change, urbanisation and technological development. The structures and expectations governing the music profession were no exception, and were central to changing perceptions of musicians and music itself during the long nineteenth century. The central themes of status and identity run throughout this book, charting ways in which the music profession engaged with its place in society. Contributors investigate the ways in which musicians viewed their own identities, public perceptions of the working musician, the statuses of different sectors of the profession and attempts to manipulate both status and identity. Ten chapters examine a range of sectors of the music profession, from publishers and performers to teachers and military musicians, and overall themes include class, gender and formal accreditation. The chapters demonstrate the wide range of sectors within the music profession, the different ways in which these took on status and identity, and the unique position of professional musicians both to adopt and to challenge social norms.

- Emphasis on hearing musical forms is pedagogically effective and unique among form textbooks - Offers a complete course package, with workbook pages included in the Textbook, while the accompanying Anthology makes full scores of pieces covered in the book easily available - Offers clear and accessible explanations that are up to date with current scholarship

Offers an overall assessment of Berlioz's musical achievement as we approach the bicentary of his birth in 2003. This is a full-length musical study of the composer taking into account the rediscovered "Messe solennelle", and discusses all aspects of his work, with emphasis on a few more popular pieces. The first section consists of a comprehensive biography of his musical works, tracing shifting patterns of productivity, approaches to genre, and the contrast between works which are aesthetically progressive or retrospective. The second section considers aspects of Berlioz's musical style, building upon earlier studies by the author and other scholarship; topics include Berlioz's practice of self-borrowing, his use of programmes and texts, characteristic rhetorical devices, and an emotional language. The third section takes four categories of works - song-forms, sacred music, symphonic works, and dramatic works - for more substantial analysis of selected passages and an overall critical assessment. This book is intended for students and the general readers interested in the life and music of Berlioz.

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

Today Georges Bizet is most immediately recognized as the composer of the acclaimed opera Carmen. One of the most frequently performed operas for over a century, Carmen explores concepts such as the femme fatale and murderous jealousy with vivacity, color, and a wealth of melody. Yet it is only one act in Bizet's story. In Bizet, renowned musicologist Hugh Macdonald goes beyond the composer's most famous opera to take an in-depth look at his entire life and oeuvre. In so doing, Macdonald identifies a number of previously unknown pieces by Bizet, assembling the first comprehensive catalogue of the composer's work. Incorporating these little-known pieces with a thorough reading of primary sources, Macdonald considers the latest in Bizet scholarship to create a complete biography of the composer. Revealing the true extent of Bizet's work as arranger and transcriber, Macdonald sheds light on the composer's complex relationships with his contemporaries, and traces the strange misrepresentation of Bizet's work by French publishers and opera houses in the 1880s, when Carmen rose to worldwide popularity ten years after the composer's early death. The first biography of Bizet in the Master Musicians series in nearly four decades, Bizet will be essential reading for students and scholars of nineteenth-century opera, as well as for Carmen devotees and opera fans.

Claudio Monteverdi: A Research and Information Guide is an annotated bibliography that navigates the vast scholarly resources on the composer with the most updated compilation since 1989. Claudio Monteverdi transformed and mastered the principal genres of his day and his works influenced generations of musicians and other artists. He initiated one of the most important aesthetic debates of the era by proposing a new relationship between poetry and harmony. In addition to scholarship by musicologists and music theorists, Monteverdi's music has attracted attention from literary scholars, cultural historians, and critical theorists. Research into Monteverdi and Renaissance and early baroque studies has expanded greatly, with the field becoming more complex as scholars address such issues as gender theory, feminist criticism, cultural theory, new criticism, new historicism, and artistic and popular cultures. The guide serves both as a foundational starting point and as a gateway for future inquiry in such fields as court culture, opera, patronage, and Italian poetry.

The Quatuor pour la fin du temps (Quartet for the End of Time) is among the best-known compositions by Olivier Messiaen (1908-92). Like virtually all of his works, it combines the striking technical achievement of Messiaen's rich and attractive musical style with a deeply felt theological inspiration - in this case from the apocalyptic events described in the Book of Revelation, leading to the end of Time itself. Composed while Messiaen was a prisoner-of-war and premiered under extraordinary conditions in Stalag VIIIA in 1941, the work retains a powerful immediacy that has made it a favourite of performers and audiences alike. Anthony Pople's book provides an introduction to Messiaen's style through an examination of this great work, showing how it came to be composed and giving an in-depth assessment of each of its eight movements.

Two early twentieth-century operas -- Debussy's Pelleas et Melisande (1902) and Bartok's Duke Bluebeard's Castle (1911) -- transformed the traditional major/minor scale system into a new musical language. This new language was based almost exclusively on interactions between folk modalities and their more abstract symmetrical transformations. Elliott Antokoletz reveals not only the new musical language of these operas, but also the way in which they share a profound correspondence with the growing symbolist literary movement as reflected in their libretti. In the symbolist literary movement, authors reacted to the realism of nineteenth-century theatre by conveying meaning by suggestion, rather than direct statement. The symbolist conception included a new interest in psychological motivation and consciousness manifested itself in metaphor, ambiguity, and symbol.
In this groundbreaking study, Antokoletz links the new musical language of these two operas with this symbolist conception and reveals a direct connection between the Debussy and Bartok operas. He shows how the opposing harmonic extremes serve as a basis for the dramatic polarity between real-life beings and symbols of fate. He also explores how the libretti by Franco-Belgian poet Maurice Maeterlinck (Pelleas et Melisande) and his Hungarian disciple Bela Balazs (Duke Bluebeard's Castle) transform the internal concept of subconscious motivation into an external one, one in which fate controls human emotions and actions.
Using a pioneering approach to theoretical analysis, Antokoletz, explores the new musico-dramatic relations within their larger historical, social psychological, philosophical, and aesthetic contexts.

In Sonata Fragments, Andrew Davis argues that the Romantic sonata is firmly rooted, both formally and expressively, in its Classical forebears, using Classical conventions in order to convey a broad constellation of Romantic aesthetic values. This claim runs contrary to conventional theories of the Romantic sonata that place this nineteenth-century musical form squarely outside inherited Classical sonata procedures. Building on Sonata Theory, Davis examines moments of fracture and fragmentation that disrupt the cohesive and linear temporality in piano sonatas by Chopin, Brahms, and Schumann. These disruptions in the sonata form are a narrative technique that signify temporal shifts during which we move from the outer action to the inner thoughts of a musical agent, or we move from the story as it unfolds to a flashback or flash-forward. Through an interpretation of Romantic sonatas as temporally multi-dimensional works in which portions of the music in any given piece can lie inside or outside of what Sonata Theory would define as the sonata-space proper, Davis reads into these ruptures a narrative of expressive features that mark these sonatas as uniquely Romantic.

A plethora of biographical accounts of some of the contemporary composers and musicians at the turn of the twentieth century.

Over the course of an astonishingly long career, Elliott Carter has engaged with many musical developments of the twentieth and now twenty-first centuries from his early neo-classic music of the interwar period, to his modernist works of conflict and opposition in the 1960s and 1970s, to the reshaping of a modernist aesthetic in his latest compositions. Elliott Carter Studies throws new light on these many facets of Carter's extensive musical oeuvre. This collection of essays presents historic, philosophic, philological and theoretical points of departure for in-depth investigations of individual compositions, stylistic periods in Carter's output and his contributions to a variety of genres, including vocal music, the string quartet and the concerto. The first multi-authored book to appear on Carter's music, it brings together new research from a distinguished team of leading international Carter scholars, providing the reader with a wide range of perspectives on an extraordinary musical life."

This investigation offers new perspectives on Giuseppe Verdi's attitudes to women and the functions which they fulfilled for him. The book explores Verdi's professional and personal relationship with women who were exceptional within the traditional socio-sexual structure of patria potesta, in the context of women's changing status in nineteenth-century Italian society. It focusses on two women; the singers Giuseppina Strepponi, who supported and enhanced Verdi's creativity at the beginning of his professional life and Teresa Stolz, who sustained his sense of self-worth at its end. Each was an essential emotional benefactor without whom Verdi's career would not have been the same. The subject of the Strepponi-Verdi marriage and the impact of Strepponi's past deserve further detailed and nuanced discussion. This book demonstrates Verdi's shifting power-balance with Strepponi as she sought to retain intellectual self-respect while his success and control increased. The negative stereotypes concerning operatic 'divas' do not withstand scrutiny when applied either to Strepponi or to Stolz. This book presents a revisionist appraisal of Stolz through close examination of her letters. Revealing Stolz's value to Verdi, they also provide contemporary operatic criticism and behind-the-scenes comment, some excerpts of which are published here in English for the first time.

- Emphasis on hearing musical forms is pedagogically effective and unique among form textbooks - Offers a complete course package, with workbook pages included in the Textbook, while the accompanying Anthology makes full scores of pieces covered in the book easily available - Offers clear and accessible explanations that are up to date with current scholarship For the ANTHOLOGY: - Provides full scores to accompany the examples addressed in the text, creating a convenient package for instructors - This edition has been updated with 8 new pieces, bringing in additional composers

Michael Christoforidis is widely recognized as a leading expert on one of Spain's most important composers, Manuel de Falla. This volume brings together both new chapters and revised versions of previously published work, some of which is made available here in English for the first time. The introductory chapter provides a biographical outline of the composer and characterisations of both Falla and his music during his lifetime. The sections that follow explore different facets of Falla's mature works and musical identity. Part II traces the evolution of his flamenco-inspired Spanish style through contacts with Claude Debussy, Maurice Ravel and Igor Stravinsky, while Part III explores the impact of post-World War I modernities on Falla's musical nationalism. The final part reflects on aspects of Falla's music and the politics of Spain in the 1930s and 1940s. Situating his discussion of these aspects of Falla's music within a broader context, including currents in literature and the visual arts, Christoforidis provides a distinctive and original contribution to the study of Falla as well as to the wider fields of musical modernism, exoticism, and music and politics.

The recent resurgence of experimental music has given rise to a more divergent range of practices than has previously been the case. The Ashgate Research Companion to Experimental Music reflects these recent developments by providing examples of current thinking and presenting detailed case studies that document the work of contemporary figures. The book examines fourteen current practitioners by interrogating their artistic practices through annotated interviews, contextualized by nine authored chapters which explore central issues that emerge from and inform these discussions. Whilst focusing on composition, the book also encompasses related aspects of performance, improvisation and sonic art. The interviews all explore how the selected artists work, focusing on the processes involved in developing their recent projects, set against more general aesthetic concerns. They aim to shed light on the disparate nature of current work whilst seeking to find possible points of contact. Many of the practitioners are active in areas that span disciplines, such as composition and improvisation, and the book explores the interaction of these activities in the context of their work. The other chapters consider a range of issues pertinent to recent developments in the genre, including: definitions of experimentalism and its relationship with a broader avant garde; experimentalism and cultural change; notation and its effect on composition; realising open scores; issues of notation and interpretation in live electronic music; performing experimental music; improvisation and technology; improvisation and social meaning; instrumentalizing objects; visual artists' relationships to experimental music; working across interdisciplinary boundaries; listening and the soundscape; working methods, techniques and aesthetics of recent experimental music.

Shortly after Chopin's death in 1849, Franz Liszt wrote the first full-length biography of his fellow composer. As one of Chopin's friends, Liszt created a unique biography that allows the reader to experience the world of Chopin through the memories of one of his most adamant supporters. This translation is the starting volume of Janita Hall-Swadley's The Collected Writings of Franz Liszt, the very first production of Liszt's entire literary collection in English. In addition to the English translation of Liszt's Gesammelte Schriften, collected and edited by Lina Ramann and published in Germany in 1880/83, each volume contains a Foreword written by a scholar and expert on Liszt and that volume's topic. New research and perspectives in the field of Liszt studies are presented in the introduction to each book in the series, and the translations themselves are enhanced with annotations in accordance with modern standards of musicological research. In Volume 1, Liszt provides insight into Chopin's early childhood and musical development, the cultural traditions and customs that inspired the polonaises and mazurkas, and the final days and hours of the composer before he died. Liszt also offers the reader a psychological view of the composer that had not been seriously undertaken by anyone prior to Liszt. Although Liszt offered what some scholars regard as perhaps an idealized image of the composer, readers will enjoy the personal anecdotes and memories that only one close to the late composer could have known. Liszt even takes on the sensitive topic of the love affair between Chopin and the great French woman writer George Sand, much to the displeasure of the former's family. The Collected Writings of Franz Liszt: Volume 1: F. Chopin includes a thorough discussion of Liszt as an author and the tainted past that surrounded his writings beginning in the 1930s. The much neglected topic of Liszt s relationship with his publishers is explored, and the critical questionnaires that Liszt had sent to Chopin s sister in preparation for writing the biography are included. Finally, a discussion of the professional and personal relationship between Chopin and Liszt is provided, making this volume a valuable addition to the study of both composers."

Eroticism in Early Modern Music contributes to a small but significant literature on music, sexuality, and sex in sixteenth- and seventeenth-century Europe. Its chapters have grown from a long dialogue between a group of scholars, who employ a variety of different approaches to the repertoire: musical and visual analysis; archival and cultural history; gender studies; philology; and performance. By confronting musical, literary, and visual sources with historically situated analyses, the book shows how erotic life and sensibilities were encoded in musical works. Eroticism in Early Modern Music will be of value to scholars and students of early modern European history and culture, and more widely to a readership interested in the history of eroticism and sexuality.

Despite recent interest in music-making in the so-called 'provinces', the idea still lingers that music-making outside London was small in scale, second-rate and behind the times. However, in Newcastle upon Tyne, the presence of a nationally known musician, Charles Avison (1709-1770), prompts a reassessment of how far this idea is still tenable. Avison's life and work illuminates many wider trends. His relationships with his patrons, the commercial imperatives which shaped his activities, the historical and social milieu in which he lived and worked, were influenced by and reflected many contemporary movements: Latitudinarianism, Methodism, the improvement of church music, the aesthetics of the day including new ideas circulating in Europe, discussions of issues such as gentility, and the new commercialism of leisure. He can be considered as the notional centre of a web of connections, both musical and non-musical, extending through every part of Britain and into both Europe and America. This book looks at these connections, exploring the ways in which the musical culture in the north-east region interacted with, and influenced, musical culture elsewhere, and the non-musical influences with which it was involved, including contemporary religious, philosophical and commercial developments, establishing that regional centres such as Newcastle could be as well-informed, influential and vibrant as London.

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.

Mabel Daniels (1877-1971): An American Composer in Transition assesses Daniels within the context of American music of the first half of the twentieth century. Daniels wrote fresh sounding works that were performed by renowned orchestras and ensembles during her lifetime but her works have only recently begun to be performed again. The book explains why works by Daniels and other women composers fell out of favor and argues for their performance today. This study of Daniels's life and works evinces transition in women's roles in composition, the professionalization of women composers, and the role that Daniels played in the institutionalization of American art music. Daniels's dual role as a patron-composer is unique and expressive of her transitional status.

The culture of insurgents in early modern Europe was primarily an oral one; memories of social conflicts in the communities affected were passed on through oral forms such as songs and legends. This popular history continued to influence political choices and actions through and after the early modern period. The chapters in this book examine numerous examples from across Europe of how memories of revolt were perpetuated in oral cultures, and they analyse how traditions were used. From the German Peasants' War of 1525 to the counter-revolutionary guerrillas of the 1790s, oral traditions can offer radically different interpretations of familiar events. This is a 'history from below', and a history from song, which challenges existing historiographies of early modern revolts.