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The definitive survey, combining current scholarship with a vibrant
narrative. Carefully informed by feedback from dozens of scholars,
it remains the book that students and teachers trust to explain
what's important, where it fits and why it matters. Peter
Burkholder weaves a compelling story of people, their choices and
the western musical tradition that emerged. From chant to hip-hop,
he connects past to present to create a context for tomorrow's
musicians.
These nineteen essays by a leading scholar of Italian Renaissance music provide a corpus of significant research into Italian music and music theory of the late sixteenth and early seventeenth centuries. The essays further illuminate the interaction between music theory and practice and between the humanist revival of antiquity and modern ideals of expression in the decades around 1600.
Performers include: * Early music ensembles, such as Chapelle
Royale, Lionheart, Sequentia, and the Tallis Scholars * Singers
Dietrich Fischer-Dieskau, Renee Fleming, and Joan Sutherland *
Cellist Yo-Yo Ma * Pianists Pierre-Laurent Aimard, Malcolm Bilson,
and Artur Rubenstein * The Berlin Philharmonic, the Chicago
Symphony Orchestra, and the London Symphony Orchestra * Conductors
Pierre Boulez, John Eliot Gardiner, James Levine, and Michael
Tilson Thomas * String quartets, such as the Concord String Quartet
and the Tokyo String Quartet * Jazz artists Louis Armstrong, Duke
Ellington, and Dizzy Gillespie
The definitive survey, combining current scholarship with a vibrant
narrative. Carefully informed by feedback from dozens of scholars,
it remains the book that students and teachers trust to explain
what's important, where it fits and why it matters. Peter
Burkholder weaves a compelling story of people, their choices and
the western musical tradition that emerged. From chant to hip-hop,
he connects past to present to create a context for tomorrow's
musicians.
The definitive survey, combining current scholarship with a vibrant
narrative. Carefully informed by feedback from dozens of scholars,
it remains the book that students and teachers trust to explain
what's important, where it fits, and why it matters. Peter
Burkholder weaves a compelling story of people, their choices, and
the western musical tradition that emerged. From chant to hip-hop,
he connects past to present to create a context for tomorrow's
musicians.
The definitive survey, combining current scholarship with a vibrant
narrative. Carefully informed by feedback from dozens of scholars,
it remains the book that students and teachers trust to explain
what's important, where it fits and why it matters. Peter
Burkholder weaves a compelling story of people, their choices and
the western musical tradition that emerged. From chant to hip-hop,
he connects past to present to create a context for tomorrow's
musicians.
Vincenzo Galilei, the father of the astronomer Galileo, was a
guiding light of the Florentine Camerata. His Dialogue on Ancient
and Modern Music, published in 1581 or 1582 and now translated into
English for the first time, was among the most influential music
treatises of his era. Galilei is best known for his rejection of
modern polyphonic music in favor of Greek monophonic song. The
treatise sheds new light on his importance, both as a musician who
advocated a new philosophy of music history and theory based on an
objective search for the truth, and as an experimental scientist
who was one of the founders of modern acoustics.
Performers include: * Early music ensembles, such as Chapelle
Royale, Lionheart, Sequentia, and the Tallis Scholars * Singers
Dietrich Fischer-Dieskau, Renee Fleming, and Joan Sutherland *
Cellist Yo-Yo Ma * Pianists Pierre-Laurent Aimard, Malcolm Bilson,
and Artur Rubenstein * The Berlin Philharmonic, the Chicago
Symphony Orchestra, and the London Symphony Orchestra * Conductors
Pierre Boulez, John Eliot Gardiner, James Levine, and Michael
Tilson Thomas * String quartets, such as the Concord String Quartet
and the Tokyo String Quartet * Jazz artists Louis Armstrong, Duke
Ellington, and Dizzy Gillespie
Performers include: * Early music ensembles, such as Chapelle
Royale, Lionheart, Sequentia, and the Tallis Scholars * Singers
Dietrich Fischer-Dieskau, Renee Fleming, and Joan Sutherland *
Cellist Yo-Yo Ma * Pianists Pierre-Laurent Aimard, Malcolm Bilson,
and Artur Rubenstein * The Berlin Philharmonic, the Chicago
Symphony Orchestra, and the London Symphony Orchestra * Conductors
Pierre Boulez, John Eliot Gardiner, James Levine, and Michael
Tilson Thomas * String quartets, such as the Concord String Quartet
and the Tokyo String Quartet * Jazz artists Louis Armstrong, Duke
Ellington, and Dizzy Gillespie
This essential summation of Palisca's life work was nearly finished
by his death in 2001, and it was brought to completion by Thomas J.
Mathiesen.
'Music and Ideas in the Sixteenth and Seventeenth Centuries' shows
Claude Palisca at the height of his powers, discussing the
relationships between musical style and history, the influence of
humanism on the revival of music theory, and competing notions of
style.
First published in Rome in 1555, Nicola Vicentino's treatise was
one of the most influential music theory texts of the sixteenth
century. This translation by Maria Rika Maniates is the first
English-language edition of Vicentino's important work. Unlike most
early theorists, Vicentino did not simply summarize the practice of
his time. His aim was to change how composers wrote and how
musicians thought about music. His best-known contribution is the
adaptation of the ancient Greek chromatic and enharmonic genera to
modern polyphonic practice. But he also expressed the avant garde's
position on the relation between music and the subject matter and
feelings of a secular or sacred text. He challenged the view that
part-writing had always to conform to the rules of counterpoint,
asserting that license was permissible in order to express the
feelings of a verbal text. In this he anticipated the manifestos of
Vincenzo Galilei and Claudio Monteverdi. Maniates' introduction
discusses Vicentino's life and work, the sources of his ideas in
earlier theoretical literature, and the contemporary humanists from
whom he may have learned..
This book is not meant to be a comprehensive account of
Monteverdi's life and works. What it sets out to do is to study
certain aspects of his music and environment which have been
insufficiently stressed in most of the existing books about him and
to offer fresh views about some of his more familiar works. In "The
Man as seen through his Letters," Denis Arnold and Nigel Fortune
provide translations of some forty letters, linked by interpretive
commentary, in which the composer's ideas, methods, and approach to
composition and other musical matters are clearly revealed. Two
chapters on "The Musical Environment" discuss Monteverdi in
relation to his teachers, colleagues, and pupils. Monteverdi as
thinker and musician is discussed in chapters on the
Artusi-Monteverdi controversy, the prima prattica and the seconda
prattica, and the madrigal guerrieri, et amorosi. Two further
chapters treat Monteverdi as operatic composer, dealing with his
first opera and the opera orchestra of his time. The book has a
comprehensive bibliography, including a guide to the available
editions of the music.
Zarlino’s Le Istitutioni harmoniche, published in 1558, is one of
the most influential music treatises of all time. To his
contemporaries it revealed the secrets of composition he had
learned from Adrian Willaert, who brought to Italy the polyphonic
art of the Netherlands. To the modern scholar Zarlino’s treatise
illumines the compositional technique of the golden age of vocal
polyphony. The essence of this art is contained in Part III, “The
Art of Counterpoint,” which is here translated into English for
the first time.
A Welsh adaptation of A History of Western Music (fourth edition),
which provides a comprehensive guide to Western music to the end of
the twentieth century. Accompanying the main narrative are
contemporary comments, bibliographies, musical examples and
black-and-white illustrations. Suitable for Key Stage 4 music
pupils, and all those interested in music. (ACCAC)
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