SINGER AND ACCOMPANIST The Performance of Fifty Songs SINGER AND ACCOMPANIST The Performance of Fifty Songs by GERALD MOORE METHUEN CO. LTD. LONDON 36 Essex Street, Strand, W. C. 2 To ENID PREFACE IT has not been my intention in the following pages to attempt critical analyses of the fifty songs under review although an analytical note may occasionally have crept in but rather to explain how the execu tants might sing and play them above all to suggest lines they could think along when practising, rehearsing, and performing them. I hope the word suggest 5 will be noted. I have used it advisedly for there are many roads to heaven and while I am confident that my road will not lead to destruction, I do not claim that it is the only way. Let him who disagrees with my ideas make his own investigation and find out what suits him best. I shall be happy if this book has this stimulating effect. I believe that equal consideration has been given to the two partners, but if more attention than is usual in a book on song interpret ation has been bestowed on the accompaniment I make no apology it has been done for the good of the song and should prove of ultimate benefit to the singer. There is no law, human or divine said Ernest Newman in 1907, c to compel the composer to limit his expressiveness to the voice alone. The Schubert, Wolf, Faure songs to mention three composers at random included here can be called great songs. To the question What are Beethovens Mailied, Rachmaninoffs Spring Waters, Hahns Offrande doing in such distinguished company 5 I would answer that the first song presents difficulties to the singer a the second teases the pianist, while the Hahn song is intriguing if only forits wide dissimilarity to the undeniably finer settings of the same poem by Debussy and Faur6. The only rule I observed when selecting my fifty songs was that they should be interesting interesting either for their intrinsic worth or for the problems they pose for the singer or the accompanist or both partners. The reader who is indulgent enough to imagine there is any benefit to be reaped by a study of this book, should dip into it rather than attempt to read it steadily from cover to cover. Let him see which of these songs he possesses and then after numbering the bars on his score to help him follow me on my wanderings through the song have his music beside him as he reads. He will thus be in a much better vii Vlll SINGER AND ACCOMPANIST position to laugh with me or at me to see how unerringly I hit the nail on the head or how lamentable is my aim. To two great friends I would like to express my deep gratitude to Mr. L. A. G. Strong for his encouragement and patience ever since he approached me with the idea of this book, and to Mr. Alec Robertson for his invaluable and constructive criticism on its completion. ACKNOWLEDGEMENTS i WISH to express my thanks to Miss Astra Desmond and to Messrs. Richard Capell, Martin Cooper, and Ernest Newman for permission to quote from their writings to Mr. G. Bernard Brophy for his trouble and kindness in the selection of gramophone records to Noel Douglas Ltd., publishers, for allowing me to reprint the excerpt from Monsieur Croche 5 and finally to all the publishers enumerated at the end of each song for their generous co-operation in allowing me to reprint so many musical illustrations. London 1953 G. M...

Rhythmanalysis displays all the characteristics which made Lefebvre one of the most important Marxist thinkers of the twentieth century. In the analysis of rhythms -- both biological and social -- Lefebvre shows the interrelation of space and time in the understanding of everyday life.With dazzling skills, Lefebvre moves between discussions of music, the commodity, measurement, the media and the city. In doing so he shows how a non-linear conception of time and history balanced his famous rethinking of the question of space. This volume also includes his earlier essays on "The Rhythmanalysis Project" and "Attempt at the Rhythmanalysis of Mediterranean Towns."

These 17 essays covers all aspects of Bernard Stiegler's work, from poststructuralism, anthropology and psychoanalysis to his work on the politics of memory, 'libidinal economy', technoscience and aesthetics, keeping a focus on his key theory of technics throughout. Stiegler brings together key concepts from Plato, Freud, Derrida and Simondon to argue that the human is 'invented' through technics rather than a product of purely biological evolution. Stiegler is a thinker at the forefront of our contemporary concerns with consumerism, technology, inter-generational division, political apathy and economic crisis. His ambitious project is to go beyond these sources of social distress to uncover and examine precisely 'what makes life worth living'. Contributors include: Stephen Barker, University of California Irvine and translator of Steigler; Richard Beardsworth, American University of Paris and translator of Stiegler; Miguel de Beistegui; University of Warwick; Marc Crepon, Ecole normale superieure and co-founder of Stiegler's think tank, Ars Industrialis and Daniel Ross, co-director of 'The Ister', the award-winning film on Heidegger, and translator of Stiegler.

Marcel Mauss' 'Essai sur le don' (1923--4) has become one of the central non-philosophical references of contemporary French philosophy. Deleuze (and Guattari) and Derrida, to cite only two, engage with the concept of the gift explicitly and repeatedly. Gerald Moore shows how the problematic of the gift drives and illuminates the last century of French philosophy. By tracing the creation of the gift as a concept, from its origins in philosophy and the social sciences, right up to the present, Moore shows its central importance for a poststructuralist understanding of the relation between philosophy and politics.

This wonderfully comprehensive anthology of African poetry has been expanded to include ninety-nine poets from twenty-seven countries, thirty-one of whom appear for the first time.

Equally wide-ranging is the content of the poetry itself: war songs and political protests jostle with poems about human love, African nature and the surprises that life offers; all are represented in these rich and colourful pages.

This book addresses the current state of climate change predictions, and how climate change will affect conservation and use of crop germplasm, both "ex situ" and "in situ." In addition, specific examples of germplasm research related to climate change threats are highlighted. Such activities need to take place under a regime of access to and use of germplasm through international conventions and treaties.

One of the most influential Marxist theorists of the twentieth century, Henri Lefebvre pioneered the study of the modern state in an age of accelerating global economic integration and fragmentation. Shortly after the 1974 publication of his landmark book The Production of Space, Henri Lefebvre embarked on one of the most ambitious projects of his career: a consideration of the history and geographies of the modern state through a monumental study that linked several disciplines, including political science, sociology, geography, and history. State, Space, World collects a series of Lefebvre's key writings on the state from this period. Making available in English for the first time the as-yet-unexplored political aspect of Lefebvre's work, it contains essays on philosophy, political theory, state formation, spatial planning, and globalization, as well as provocative reflections on the possibilities and limits of grassroots democracy under advanced capitalism. State, Space, World is an essential complement to The Production of Space, The Urban Revolution, and The Critique of Everyday Life. Lefebvre's original and prescient analyses that emerge in this volume are urgently relevant to contemporary debates on globalization and neoliberal capitalism.

SINGER AND ACCOMPANIST The Performance of Fifty Songs SINGER AND ACCOMPANIST The Performance of Fifty Songs by GERALD MOORE METHUEN CO. LTD. LONDON 36 Essex Street, Strand, W. C. 2 To ENID PREFACE IT has not been my intention in the following pages to attempt critical analyses of the fifty songs under review although an analytical note may occasionally have crept in but rather to explain how the execu tants might sing and play them above all to suggest lines they could think along when practising, rehearsing, and performing them. I hope the word suggest 5 will be noted. I have used it advisedly for there are many roads to heaven and while I am confident that my road will not lead to destruction, I do not claim that it is the only way. Let him who disagrees with my ideas make his own investigation and find out what suits him best. I shall be happy if this book has this stimulating effect. I believe that equal consideration has been given to the two partners, but if more attention than is usual in a book on song interpret ation has been bestowed on the accompaniment I make no apology it has been done for the good of the song and should prove of ultimate benefit to the singer. There is no law, human or divine said Ernest Newman in 1907, c to compel the composer to limit his expressiveness to the voice alone. The Schubert, Wolf, Faure songs to mention three composers at random included here can be called great songs. To the question What are Beethovens Mailied, Rachmaninoffs Spring Waters, Hahns Offrande doing in such distinguished company 5 I would answer that the first song presents difficulties to the singer a the second teases the pianist, while the Hahn song is intriguing if only forits wide dissimilarity to the undeniably finer settings of the same poem by Debussy and Faur6. The only rule I observed when selecting my fifty songs was that they should be interesting interesting either for their intrinsic worth or for the problems they pose for the singer or the accompanist or both partners. The reader who is indulgent enough to imagine there is any benefit to be reaped by a study of this book, should dip into it rather than attempt to read it steadily from cover to cover. Let him see which of these songs he possesses and then after numbering the bars on his score to help him follow me on my wanderings through the song have his music beside him as he reads. He will thus be in a much better vii Vlll SINGER AND ACCOMPANIST position to laugh with me or at me to see how unerringly I hit the nail on the head or how lamentable is my aim. To two great friends I would like to express my deep gratitude to Mr. L. A. G. Strong for his encouragement and patience ever since he approached me with the idea of this book, and to Mr. Alec Robertson for his invaluable and constructive criticism on its completion. ACKNOWLEDGEMENTS i WISH to express my thanks to Miss Astra Desmond and to Messrs. Richard Capell, Martin Cooper, and Ernest Newman for permission to quote from their writings to Mr. G. Bernard Brophy for his trouble and kindness in the selection of gramophone records to Noel Douglas Ltd., publishers, for allowing me to reprint the excerpt from Monsieur Croche 5 and finally to all the publishers enumerated at the end of each song for their generous co-operation in allowing me to reprint so many musical illustrations. London 1953 G. M...

Rythmanalysis displays all the characteristics which made Lefebvre one of the most important Marxist thinkers of the twentieth century. In the analysis of rhythms--both biological and social--Lefebvre shows the interrelation of space and time in the understanding of everyday life. With dazzling skills, Lefebvre moves between discussions of music, the commodity, measurement, the media and the city. In doing so he shows how a non-linear conception of time and history balanced his famous rethinking of the question of space. This volume also includes his earlier essays on "The Rhythmanalysis Project" and "Attempt at the Rhythmanalysis of Mediterranean Towns."