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The Heroic in Music (Hardcover)
Beate Kutschke, Katherine Butler; Contributions by Beate Kutschke, Katherine Butler, Roman Hankeln, …
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R2,460
Discovery Miles 24 600
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Ships in 12 - 17 working days
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Reconstructs the socio-political history of the heroic in music
through case studies spanning the middle ages to the twenty-first
century The first part of this volume reconstructs the various
musical strategies that composers of medieval chant, Renaissance
madrigals, and Baroque operas, cantatas or oratorios employed when
referring to heroic ideas exemplifying their personal moral and
political values. A second part investigating the eighteenth and
nineteenth centuries expands the previous narrow focus on
Beethoven's heroic middle period and the cult of the virtuoso. It
demonstrates the wide spectrum of heroic positions - national,
ethnic, revolutionary, bourgeois and spiritual - that filtered not
only into 'classical' large-scale heroic symphonies and virtuoso
solo concerts, but also into chamber music and vernacular dance
music. The third part documents the forced heroization of music in
twentieth-century totalitarian regimes such as Nazi-Germany and the
Soviet Union and its consequences for heroic thinking and musical
styles in the time thereafter. Final chapters show how recent
rock-folk and avant-garde musicians in North America and Europe
feature new heroic models such as the everyday hero and the
scientific heroine revealing new confidence in the idea of the
heroic.
In Early Modern times, techniques of assembling, compiling and
arranging pre-existing material were part of the established
working methods in many arts. In the world of 18th-century opera,
such practices ensured that operas could become a commercial
success because the substitution or compilation of arias fitting
the singer's abilities proved the best recipe for fulfilling the
expectations of audiences. Known as "pasticcios" since the
18th-century, these operas have long been considered inferior
patchwork. The volume collects essays that reconsider the
pasticcio, contextualize it, define its preconditions, look at its
material aspects and uncover its aesthetical principles.
During the 17th and 18th century musicians' mobilities and
migrations are essential for the European music history and the
cultural exchange of music. Adopting viewpoints that reflect
different methodological approaches and diversified research
cultures, the book presents studies on central scopes, strategies
and artistic outcomes of mobile and migratory musicians as well as
on the transfer of music. By looking at elite and non-elite
musicians and their everyday mobilities to major and minor centers
of music production and practice, new biographical patterns and new
stylistic paradigms in the European East, West and South emerge.
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