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This volume looks at the creative work of the great avant-gardist
John Cage from an exciting interdisciplinary perspective, exploring
his activities as a composer, performer, thinker, and artist.
The essays in this collection grew out of a pivotal gathering
during which a spectrum of participants including composers, music
scholars, and visual artists, literary critics, poets, and
filmmakers convened to examine Cage's extraordinary artistic
legacy. Beginning with David Bernstein's introductory essay on the
reception of Cage's music, the volume addresses topics ranging from
Cage's reluctance to discuss his homosexuality, to his work as a
performer and musician, and his forward-looking, provocative
experimentation with electronic and other media. Several of the
essays draw upon previously unseen sketches and other source
materials. Also included are transcripts of lively panel
discussions among some of Cage's former colleagues. Taken together,
this collection is a much-needed contribution to the study of one
of the most significant American artists of the twentieth century.
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Vivaldi (Paperback)
Marc Pincherle; Translated by Christopher Hatch
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R584
R510
Discovery Miles 5 100
Save R74 (13%)
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Ships in 10 - 15 working days
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At the present time Vivaldi's music is enjoying a renewed life. His
music is played in the concert halls and on the radio, and has been
extensively recorded. Public interest in the composer is
tremendous; yet until recently there has not been any book in
English to which the reader could turn for information on his life
and work. Marc Pincherle's book fills this need perfectly. His aim
is to present the life and music of Vivaldi to those generally
musical readers who do not claim specialized knowledge. He has made
wide use of contemporary writings which are delightfully evocative
of the Venice in which Vivaldi lived and worked. He follows the
events of the composer's life and then proceeds to a detailed
consideration of his music, discussing Vivaldi the violinist, the
symphonist, the composer of concertos, of opera and of sacred
music. Finally he describes the incalculable influence that Vivaldi
exercised on Italian, French, English, and German composers, and
most especially on the music of Bach.
In recent decades, increased specialization has sharply separated
music theory from historical musicology. "Music Theory and the
Exploration of the Past" brings together a group of essays--written
by theorists and musicologists--that seek to bridge this gap. This
collection shows that music theory can join forces with historical
musicology to produce a more humanistic form of musical
scholarship.
In nineteen essays dealing with musical theories from the twelfth
to the twentieth century, two recurring themes emerge. One is the
need to understand the historical circumstances of the writing and
reception of theory, a humanistic approach that gives theory a
place within social and intellectual history. The other is the
advantages of applying contemporaneous theory to the music of a
given period, thus linking theory to the history of musical styles
and structures. The periods given principal attention in these
essays are the Renaissance, the years around 1800, and the
twentieth century.
Abundantly illustrated with musical examples, "Music Theory and the
Exploration of the Past" offers models of new practical
applications of theory to the analysis of music. At the same time,
it raises the broader question of how historical knowledge can
deepen the understanding of an art and of systematic writings about
that art.
This volume looks at the creative work of the great avant-gardist
John Cage from an exciting interdisciplinary perspective, exploring
his activities as a composer, performer, thinker, and artist.
The essays in this collection grew out of a pivotal gathering
during which a spectrum of participants including composers, music
scholars, and visual artists, literary critics, poets, and
filmmakers convened to examine Cage's extraordinary artistic
legacy. Beginning with David Bernstein's introductory essay on the
reception of Cage's music, the volume addresses topics ranging from
Cage's reluctance to discuss his homosexuality, to his work as a
performer and musician, and his forward-looking, provocative
experimentation with electronic and other media. Several of the
essays draw upon previously unseen sketches and other source
materials. Also included are transcripts of lively panel
discussions among some of Cage's former colleagues. Taken together,
this collection is a much-needed contribution to the study of one
of the most significant American artists of the twentieth century.
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