First published in 1994. Routledge is an imprint of Taylor & Francis, an informa company.

An urgently needed guide to understanding medieval music to be used as a text for the university undergraduate, graduate students in music and interdisciplinary medieval studies, and for the professional musicologist and medievalist. This book will also be appreciated by everyone interested in early music. Nancy van Deusen's The Cultural Context of Medieval Music addresses the mental landscape surrounding music that, especially, was sung and experienced in the Middle Ages. Largely anonymous in its composition, and apparently lacking the motivation of fame and commerce, music within a well thought-out system of education served a purpose that goes far beyond casual entertainment or personal professional advancement. Offering experience through performance, music exemplified the basic principles not only of the material and possible measurements of the visible world-such as of objects, relationships, and movement-but also of the invisible materials of sound and time, making it an ideal medium for working with unseen substances such as concepts, imaginations, and ideas. St. Augustine in the late fourth century reinforced the importance of music for the process of learning when he wrote that nothing could be truly understood without music. This book shows how this, in fact, is the case-a message of great relevance today.

Adorno's aesthetics are one of the most important philosophical analyses of the 20th century, but their development remains unclear. Adorno, Aesthetics, Dissonance is the first book to provide a detailed study of how Adorno's thinking of aesthetics developed and to show the different dimensions that came together to make it uniquely powerful. Principal among these dimensions are his intense interest in music and his historical and materialist approach. In addition, by studying how Adorno's aesthetics arose through interactions with different thinkers, particularly Kracauer, Horkheimer, and Schoenberg, it becomes clear that his thought changes in its relation to dialectics. As a result, Adorno's thinking comes to broaden the understanding of aesthetics to include the sphere of sensuality, and in doing so transforms both aesthetics and dialectics through a notion of dissonance, which in turn has substantial implications for the relation of his thinking to praxis.

Vaughan Williams's famous romance for solo violin and orchestra is given new life in this beautiful arrangement. For the first time, violinists can perform the original solo line as part of a string quartet, while also joining the other players for the longer tutti sections. Perfect as a rehearsal tool in preparation for a larger-scale orchestral concert, the arrangement is also ideal for performance in a chamber recital.

Vaughan Williams's famous romance for solo violin and orchestra is given new life in this beautiful arrangement, which features the original solo line as part of a string sextet. Perfect as a rehearsal tool in preparation for a larger-scale orchestral concert, the arrangement is also ideal for performance in a chamber recital.

The most widely used piano technique book ever written, The Virtuoso Pianist was designed to develop agility and strength in all the fingers as well as flexibility of the wrists. Exercises are sequenced so that in each successive exercise, the fingers are rested from the fatigue caused by the previous one. Translated from the original French, this Masterwork edition includes the complete Exercises 1-60 and is clearly engraved for easy reading. Hanon's original introduction is included. He recommends that a student have at least one year of experience before starting this book.
A General MIDI disk is available separately (Item #5715). The disk contains varied styles of accompaniments including pop, classical and jazz for Exercises 1-20.

This volume, part of Greenwood's continuing series of Bio-Bibliographies in Music, provides a concise bibliographic guide to the life and career of Otto Luening. While the music of this American composer, educator, conductor, and flutist has been performed throughout the northeastern United States, his work has received little attention outside of this region. With its extensive treatment of his life and career, this book will help to bring Luening's important compositions and his contributions to American music to the attention of a much wider audience. Ralph Hartsock divides Luening's work into four main sections, each covering a specific aspect of Luening's career. The volume begins with a brief biography of the subject and is followed by a complete listing of Luening's works and performances through 1989. Prepared with the assistance of Luening himself, this section arranges its information in chronological order, and includes basic bibliographical data as well as information on the premiere of each piece and selected performances. A comprehensive discography, arranged alphabetically by title, cites both commercially produced and selected privately released recordings. Also included is a pair of annotated bibliographies, covering the years from 1921 to 1989. One contains citations of material written by Luening, while the other details the hundreds of articles written about him. The work concludes with a pair of appendixes that catalog Luening's compositions alphabetically by title and according to genre. This work will be a valuable reference source for courses in contemporary music and American music, and a worthwhile addition to the collections of public, college, and university libraries.

Offers histories of music drama beginning with Wagner's Parsifal and then looking at works by Arnold Schoenberg, Richard Strauss, Luigi Dallapiccola, Luigi Nono and Hans Werner Henze. This book is both a telling of operatic histories 'after' Richard Wagner, and a philosophical reflection upon the writing of those histories. Historical musicology reckons with intellectual and cultural history, and vice versa. The 'after' of the title denotes chronology, but also harmony and antagonism within a Wagnerian tradition. Parsifal, in which Wagner attempted to go beyond his achievement in the Ring, to write 'after' himself,is followed by two apparent antipodes: the strenuously modernist Arnold Schoenberg and the aestheticist Richard Strauss. Discussion of Strauss's Capriccio, partly in the light of Schoenberg's Moses und Aron, reveals amore 'political' work than either first acquaintance or the composer's 'intention' might suggest. Then come three composers from subsequent generations: Luigi Dallapiccola, Luigi Nono, and Hans Werner Henze. Geographical context is extended to take in Wagner's Italian successors; the problem of political emancipation in and through music drama takes another turn here, confronting challenges and opportunities in more avowedly 'politically engaged' art. A final section explores the world of staging opera, of so-called Regietheater, as initiated by Wagner himself. Stefan Herheim's celebrated Bayreuth production of Parsifal, and various performances of Lohengrin are discussed, before looking back to Mozart (Don Giovanni) and forward to Alban Berg's Lulu and Nono's Al gran sole carico d'amore. Throughout, the book invites us to consider how we might perceive the aesthetic and political integrity of the operatic work 'after Wagner'. After Wagner will be invaluable to anyone interested in twentieth-century music drama and its intersection with politics and cultural history. It will also appeal to those interested in Richard Wagner's cultural impact on succeeding generations of composers. MARK BERRY is Senior Lecturer in Music at Royal Holloway, University of London.

In addition, "The Tone Clock" contains a broad selection of Peter Schat's polemical writings, embracing historical, political, aesthetic and environmental perspectives. His book is not just of interest to composers, but it also provides a valuable insight for anyone interested in the development of twentieth-century music.
Peter Schat, a former pupil of Pierre Boulez, exposes more than a new theory of music in "The Tone Clock." Although he is a long-experienced serialist composer, in devising and using his tone clock system he has reached the clarity and simplicity which comprise two of his major compositional aims. His book, profusely illustrated with clearly analysed musical examples, will enable other composers to achieve similar aims in their own way, while remaining faithful to their own musical personalities.
A former pupil of Pierre Boulez, Peter Schat is a well-known Dutch contemporary serialist composer.

Published for the first time: a rich epistolary dialogue revealing one master teacher's power to shape the cultural canon and one great composer's desire to embed himself within historical narratives. Nadia Boulanger and Igor Stravinsky began corresponding in 1929 when Stravinsky sought someone to supervise the musical education of his younger son, Soulima. Boulanger accepted the position and began what would prove to be a warmand lasting dialogue with the Stravinsky family. For fifty years, Boulanger exchanged letters with Igor Stravinsky. An additional 140 letters exist written to Boulanger from Stravinsky's immediate family: his wife Catherine, hismother Anna, and his sons Theodore and Soulima. Nadia Boulanger and the Stravinskys: A Selected Correspondence makes available a rich selection from this many-sided dialogue. The letters are published here in English translation (most for the first time in their entirety or at all). The little-known French originals are available on the book's companion website. The letters allow us to follow the conversation shared between Boulanger andthe Stravinskys from 1929 until 1972, the year following Igor Stravinsky's death. Through the words they exchanged, we see Boulanger and Stravinsky transition from respectful colleagues to close friends to, finally, distant icons, with music serving always as a central topic. These letters are a testament to one master teacher's power to shape the cultural canon and one composer's desire to embed himself within historical narratives. Their words touch upon matters professional and personal, musical and social, with the overall narrative reflecting the turmoil of life during the twentieth century and the fragility of artists hoping to leave their mark on the modernist period. Kimberly A. Francis is Associate Professor of Music at the University of Guelph, Canada.

This hauntingly beautiful piece, arranged for flute and piano by the composer, is extracted from Rutter's large-scale work Visions. The expressive solo line features long phrases and a quasi-improvised section, making it an ideal concert work for intermediate to advanced flautists.

What do Wagner's operas really mean? How much room do they leave for different perspectives? In this fresh and inventive book, James Treadwell lays open the rich possibilities for interpretation offered across the full range of Wagner's art. Focussing steadily on Wagner's music, dramas and prose writings, rather than on questions of biography or influence, the book carefully traces the tensions and uncertainties embedded within the composer's central themes. The result is a new and vivid depiction of the essential character of Wagner's work. Addressing both general Wagner enthusiasts and more scholarly students of music, Treadwell identifies and pursues the habitual concerns of Wagner's operas and writings: enchantment, seduction, heroism, victory, transcendence and sacredness. While Wagner's work repeatedly and urgently sets itself to deny various or ambiguous interpretations, the operas themselves are nevertheless far more intricate and conflicted than this denial allows for. In this altered light, the dimensions of Wagner's art are unexpectedly extended, and its enduring vitality is refreshingly reasserted. James Treadwell was lecturer and junior research fellow at the University of Oxford, and assistant professor of English at McGill University.

Mirrors of Heaven or Worldly Theaters? Venetian Nunneries and Their Music explores the dynamic role of music performance and patronage in the convents of Venice and its lagoon from the sixteenth century to the fall of Venice around 1800. Examining sacred music performed by the nuns themselves and by professional musicians they employed, author Jonathan E. Glixon considers the nuns as collective patrons, of both musical performances by professionals in their external churches-primarily for the annual feast of the patron saint, a notable attraction for both Venetians and foreign visitors-and of musical instruments, namely organs and bells. The book explores the rituals and accompanying music for the transitions in a nun's life, most importantly the ceremonies through which she moved from the outside world to the cloister, as well as liturgical music within the cloister, performed by the nuns themselves, from chant to simple polyphony, and the rare occasions where more elaborate music can be documented. Also considered are the teaching of music to both nuns and girls resident in convents as boarding students, and entertainment-musical and theatrical-by and for the nuns. Mirrors of Heaven, the first large-scale study of its kind, contains richly detailed appendices featuring a calendar of musical events at Venetian nunneries, details on nunnery organs, lists of teachers, and inventories of musical and ceremonial books, both manuscript and printed. A companion website supplements the book's musical examples with editions of complete musical works, which are brought to life with accompanying audio files.

These four splendid anthems were composed for the coronation of George II in October 1727 and have since retained a position at the heart of the English choral tradition. The popular anthem Zadok the priest has been performed at all subsequent coronations, and Handel's other contributions to the royal occasion - Let thy hand be strengthened, The King shall rejoice, and My heart is inditing - have the same majestic grandeur, with affecting contrasts between different sections of the sacred texts. The editor, Clifford Bartlett, has corrected various inconsistencies in Handel's score, and complete details of sources and editorial method, additional performance notes, and a critical commentary can be viewed in the companion full score available on hire. This continuo part is also available as part of the wind set.

Music and musical entertainments are here shown to be used for different ends, by both monarch and courtiers. Queen Elizabeth I (1558-1603) had a strong reputation for musicality; her court musicians, Thomas Tallis and William Byrd, even suggested that music was indispensable to the state. But what roles did music play in Elizabethan court politics? How did a musical image assist the Queen in projecting her royal authority? What influence did her private performances have on her courtships, diplomatic affairs, and relationships with courtiers? To what extent did Elizabeth control court music, or could others appropriate performances to enhance their own status and achieve their ambitions? Could noblemen, civic leaders, or even musicians take advantage of Elizabeth's love of music to present their complaints and petitions in song? This book unravels the connotations surrounding Elizabeth's musical image and traces the political roles of music at the Elizabethan court. It scrutinizes the most intimate performances within the Privy Chamber, analyses the masques and plays performed in the palaces, and explores the grandest musical pageantry of tournaments, civic entries, and royal progresses. This reveals how music served as a valuable means for both the tactful influencing of policies and patronage, and the construction of political identities and relationships. In the late Tudor period music was simultaneously a tool of authority for the monarch and an instrumentof persuasion for the nobility. KATHERINE BUTLER is a Senior Lecturer at Northumbria University, Newcastle.

The spectacular revival of serious music in England is a chief feature of the history of British culture from the turn of the twentieth century and after. For some two centuries the art form had stagnated in England, which was referred to, notoriously, by a German commentator as 'the land without music'. But then came a great renaissance. In the three linked essays that make up this book, Keith Alldritt, the most recent biographer of Vaughan Williams, examines the several phases and genres of this revival. A number of composers including Gustav Holst, Arnold Bax and William Walton contributed to the renewal. But this book presents the renaissance as centrally a continuity of enterprise, sometimes of riposte, running from Elgar to Vaughan Williams and then to Benjamin Britten. Their concern was with music at its most serious, though not unceasingly humourless. All three explored music's frontier with philosophy. They also probed the psychological impact of the unprecedently violent and destructive century in which they practised their art. Going beyond musicological comment, England Resounding essays insights into the historical, geopolitical and personal events that elicited the major works of these three great composers.

Appropriately, this work written on the year of the 100th birthday of Frank Martin, is the first English language resource dealing with work by and about the Swiss composer. Charles King provides access to a great deal of critical substantive writing about Martin's work and to the considerable body of writing by the composer himself. Many of the most important writings, derived from articles, lectures, letters, program notes and interviews, are now collected into several monographs in French with some parts in English and German, all of which have been indexed here. Comprehensive coverage is given to articles in English, and excellent work written in German, French, Dutch, and Italian has been highlighted also. The volume consists of a biography of Martin, a cataloging of the composer's works and performances, and a 229-item discography followed by two separate bibliographies that list writings by and about Martin. Two appendixes and an index complete the work. As the only comprehensive introduction in English to Frank Martin and his work, this reference will assist future researchers and stimulate the interest and curiosity of others to learn more of this composer's life and work.

Combining approaches from reception studies and historical musicology, this book demonstrates how the representation of music at exhibitions drew the press and public into debates about music's role in society. International exhibitions were among the most significant cultural phenomena of the late nineteenth century. These vast events aimed to illustrate, through displays of physical objects, the full spectrum of the world's achievements, from industry and manufacturing, to art and design. But exhibitions were not just visual spaces. Music was ever present, as a fundamental part of these events' sonic landscape, and integral to the visitor experience. This book explores music at international exhibitions held in Australia, India, and the United Kingdom during the 1880s. At these exhibitions, music was codified, ordered, and all-round 'exhibited' in manifold ways. Displays of physical instruments from the past and present were accompanied by performances intended to educate or to entertain, while music was heard at exhibitors' stands, in concert halls, and in the pleasure gardens that surrounded the exhibition buildings. Music was depicted as a symbol of human artistic achievement, or employed for commercial ends. At times it was presented in nationalist terms, at others as a marker of universalism. This book argues, by interrogating the multiple ways that music was used, experienced, and represented, that exhibitions can demonstrate in microcosm many of the broader musical traditions, purposes, arguments, and anxieties of the day. Its nine chapters focus on sociocultural themes, covering issues of race, class, public education, economics, and entertainment in the context of music, tracing these through the networks of communication that existed within the British Empire at the time.

Noted music education and arts activist Charles Fowler has inspired music educators for more than 60 years. In this reader, editor Craig Resta brings together the most important of Fowler's writings from the journal Musical America for new generations of readers. Here, Fowler speaks to timeless critical advocacy issues from creativity in the classroom, to funding, to reform, to gender and race in music education. The articles are both research-based and practical, and helpful for many of the most important concerns in school-based advocacy and scholarly inquiry today. Resta offers critical commentary with compelling background to these timeless pieces, placing them in a context that clarifies the benefit of their message to music and arts education. Fowler's words speak to all who have a stake in music education: students, teachers, parents, administrators, performers, community members, business leaders, arts advocates, scholars, professors, and researchers alike. Valuing Music in Education is ideal for everyone who understands the critical role of music in schools and society.

Vaughan Williams wrote Symphony No. 8 between 1953 and 1955 while in his eighties. It is his shortest symphony and considered by many to be his least serious. Aside from a few sombre moments, the symphony is optimistic in mood and displays Vaughan Williams's love for exotic and colourful combinations of instruments with a percussion sections that, he said, employs "all the 'phones and 'spiels known to the composer". For this newly engraved edition, editor David Lloyd-Jones has consulted all extant sources and materials to create a score matching the composer's intentions. The full score is completed with Textual Notes and Preface, and accompanying orchestral parts are available on hire.

A History of Western Choral Music explores the various genres, key composers, and influential works essential to the development of the western choral tradition. Author Chester L. Alwes divides this exploration into two volumes which move from Medieval music and the Renaissance era up to the 21st century. Volume II begins at the transition from the Classical era to the Romantic, with an examination of the major genres common to both periods. Exploring the oratorio, part song, and dramatic music, it also offers a thorough discussion of the choral symphony from Beethoven to Mahler, through to the present day. It then delves into the choral music of the twentieth century through discussions of the major compositional approaches and philosophies that proliferated over the course of the century, from impressionism to serialism, neo-classicism to modernism, minimalism, and the avant-garde. It also considers the emerging tendency towards nationalistic composition amongst composers such as Bartok and Stravinsky, and discusses in great detail the contemporary music of the United States, and Great Britain. Framing discussion within the political, religious, cultural, philosophical, aesthetic, and technological contexts of each era, A History of Western Choral Music offers readers specialized insight into major composers and works while providing a cohesive understanding of choral music's place in Western history.

Early in his career, the composer Arnold Schoenberg maintained correspondence with many notable figures: Gustav Mahler, Heinrich Schenker, Guido Adler, Arnold Rose, Richard Strauss, Alexander Zemlinsky, and Anton von Webern, to name a few. In this volume of Oxford's Schoenberg in Words series, Ethan Haimo and Sabine Feisst present English translations of the entirety of Arnold Schoenberg's early correspondence, from the earliest extant letters in 1891 to those written in the aftermath of the controversial premieres of his String Quartet No. 1, Op. 7, and the Kammersymphonie, Op. 9. The letters provide a wealth of information on many of the crucial stages in Schoenberg's early career, offering invaluable insights into his daily life and working habits. New details emerge about his activities at Wolzogen's Buntes Theater in Berlin, his frequently confrontational interactions with his first publisher (Dreililien Verlag), the reactions of friends and critics to the premieres of his works, his role in the founding of the Vereinigung schaffender Tonkunstler, his activities as a teacher, and his (all too often unsuccessful) attempts to convince musicians to perform his music. Presented alongside the editors' extensive running commentary, the more than 300 letters in this volume create a vivid picture of the young Schoenberg and his times.