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In the early 20th century, a new and distinctive concept of the
audience rose to prominence. The audience was seen as a mass -- a
large collection of people mostly unknown to one another -- that
was unified through exposure to media. This construct offered a
pragmatic way to map audiences that was relevant to industry,
government, and social theorists. In a relatively short period of
time, it became the dominant model for studying the audience.
Today, it is so pervasive that most people simply take it for
granted.
USE LAST TWO PARAGRAPHS ONLY FOR GENERAL CATALOGS... Recently,
media scholars have reopened inquiry into the meaning of
"audience." They question the utility of the mass audience concept,
characterizing it as insensitive to differences among audience
members inescapably bound up with discredited notions of mass
society, or serving only a narrow set of industrial interests. The
authors of this volume find that these assertions are often false
and unwarranted either by the historical record or by contemporary
industry practice.
Instead, they argue for a rediscovery of the dominant model by
summarizing and critiquing the very considerable body of literature
on audience behavior, and by demonstrating different ways of
analyzing mass audiences. Further, they provide a framework for
understanding the future of the audience in the new media
environment, and suggest how the concept of mass audience can
illuminate research on media effects, cultural studies, and media
policy.
In the early 20th century, a new and distinctive concept of the
audience rose to prominence. The audience was seen as a mass -- a
large collection of people mostly unknown to one another -- that
was unified through exposure to media. This construct offered a
pragmatic way to map audiences that was relevant to industry,
government, and social theorists. In a relatively short period of
time, it became the dominant model for studying the audience.
Today, it is so pervasive that most people simply take it for
granted.
USE LAST TWO PARAGRAPHS ONLY FOR GENERAL CATALOGS... Recently,
media scholars have reopened inquiry into the meaning of
"audience." They question the utility of the mass audience concept,
characterizing it as insensitive to differences among audience
members inescapably bound up with discredited notions of mass
society, or serving only a narrow set of industrial interests. The
authors of this volume find that these assertions are often false
and unwarranted either by the historical record or by contemporary
industry practice.
Instead, they argue for a rediscovery of the dominant model by
summarizing and critiquing the very considerable body of literature
on audience behavior, and by demonstrating different ways of
analyzing mass audiences. Further, they provide a framework for
understanding the future of the audience in the new media
environment, and suggest how the concept of mass audience can
illuminate research on media effects, cultural studies, and media
policy.
This volume offers a new view of Joseph Haydn's instrumental music.
It argues that many of Haydn's greatest and most characteristic
instrumental works are 'through-composed' in the sense that their
several movements are bound together into a cycle. This cyclic
integration is articulated, among other ways, by the 'progressive'
form of individual movements, structural and gestural links between
the movements, and extramusical associations. Central to the study
is a detailed and comprehensive analysis of the 'Farewell'
Symphony, No. 45 in F sharp minor (1772). The analysis is
distinguished by its systematic use of different methods (Toveyan
formalism, Schenkerian voice leading, Schoenbergian developing
variation) to elucidate the work's overall coherence. The work's
unique musical processes, in turn, suggest an interpretation of the
entire piece (not merely the famous 'farewell' finale) in terms of
the familiar programmatic story of the musicians' wish to leave
Castle Eszterhaza. In a book which relates systematically the
results of analysis and interpretation, Professor Webster
challenges the concept of 'classical style' which, he argues has
distorted our understanding of Haydn's development, and he stresses
the need for a greater appreciation of Haydn's early music and of
his stature as Beethoven's equal.
This collection of essays, presented by an internationally known
team of scholars, explores the world of Vienna and the development
of opera buffa in the second half of the eighteenth century.
Although today Mozart remains one of the most well-known figures of
the period, the era was filled with composers, librettists, writers
and performers who created and developed opera buffa. Among the
topics examined are the relationship of Viennese opera buffa to
French theatre; Mozart and eighteenth-century comedy; gender,
nature and bourgeois society on Mozart's buffa stage; as well as
close analyses of key works such as Don Giovanni and Le nozze di
Figaro.
The three Mozart/Da Ponte operas offer a inexhaustible
wellspring for critical reflection, possessing a complexity and
equivocation common to all great humane works. They have the
potential to reflect and refract whatever locus of contemporaneity
may be the starting point for enquiry. Thus, even postmodern and
postmillennial concerns, far from seeming irrelevant to these
operas, are instead given new perspectives by them, while the music
and the dramatic situations have the multivalency to accept each
refreshed palette of interpretation without loss of their essential
character. These operas seem perennially new. In exploring the
evergreen qualities of Don Giovanni and Le Nozze di Figaro, the
authors of this book do not shun approaches that have foundations
in established theory, but refract them through such problems as
the tension between operatic tradition and psychological realism,
the coexistence of multiple yet equal plots, and the antagonism
between the tenets of tradition and the need for
self-actualization. In exploring such themes, the authors not only
illuminate new aspects of Mozart's operatic compositions but also
probe the nature of musical analysis itself.
Masterful essays honoring the great pianist and critic Charles
Rosen, on masterpieces from Bach and Beethoven to Chopin, Verdi,
and Stockhausen. Charles Rosen, the pianist and man of letters, is
perhaps the single most influential writer on music of the past
half-century. While Rosen's vast range as a writer and performer is
encyclopedic, it has focused particularly on theliving "canonical"
repertory extending from Bach to Boulez. Inspired in its liveliness
and variety of critical approaches by Charles Rosen's challenging
work, Variations on the Canon offers original essays by some of the
world's most eminent musical scholars. Contributors address such
issues as style and compositional technique, genre, influence and
modeling, and reception history; develop insights afforded by close
examination of compositional sketches; and consider what language
and metaphors might most meaningfully convey insights into music.
However diverse the modes of inquiry, each essay sheds new light on
the works of those composers posterity has deemed central to the
modern Western musical tradition. Contributors: Pierre Boulez,
Scott Burnham, Elliott Carter, Robert Curry, Walter Frisch, David
Gable, Philip Gossett, Jeffrey Kallberg, Joseph Kerman, Richard
Kramer, William Kinderman, Lewis Lockwood, Sir Charles Mackerras,
Robert L. Marshall, Robert P. Morgan, Charles Rosen, Julian
Rushton, David Schulenberg, Laszlo Somfai, Leo Treitler, James
Webster, and Robert Winter. Robert Curry is principalof the
Conservatorium High School and honorary senior lecturer in the
Centre for Medieval Studies, University of Sydney; David Gable is
Assistant Professor of Music at Clark-Atlanta University; Robert L.
Marshall is Louis, Frances, and Jeffrey Sachar Professor Emeritus
of Music at Brandeis University.
From the scorching center of Earth's core to the outer limits of
its atmosphere, from the gradual process of erosion that carved the
Grand Canyon to the earth-shaking fury of volcanoes and
earthquakes, this fascinating book -- inspired by the award-winning
Hall of Planet Earth at New York City's American Museum of Natural
History -- tells the story of the evolution of our planet and of
the science that makes it work. With the same exuberance and
expertise they brought to the creation of the Hall of Planet Earth,
co-curators Edmond A. Mathez and James D. Webster offer a guided
tour of Earth's dynamic, 4.6-billion-year history.
Including numerous full-color photographs of the innovative
exhibit and helpful, easy-to-understand illustrations, the authors
explore the major factors in our planet's evolution: how Earth
emerged from the swirling dusts of a nascent solar system; how an
oxygen-rich, life-sustaining atmosphere developed; how continents,
mountain ranges, and oceans formed; and how earthquakes and
volcanic eruptions alter Earth's surface. Traversing geologic time
and delving into the depths of the planet- -- beginning with
meteorites containing minuscule particles that are the solar
system's oldest known objects, and concluding with the unusual
microbial life that lives on the chemical and thermal energy
produced by sulfide vents in the ocean floor -- "The Earth Machine"
provides an up-to-date overview of the central theories and
discoveries in earth science today. By incorporating stories of
real-life fieldwork, Mathez and Webster explain how Earth is
capable of supporting life, how even the smallest rocks can hold
the key to explaining the formation of mountains, and how
scientists have learned to read nature's subtle clues and interpret
Earth's ever-evolving narrative.
This is a new release of the original 1923 edition.
Title: Travels through the Crimea, Turkey and Egypt; performed
during the years 1825-28, including particulars of the last illness
and death of the Emperor Alexander, and of the Russian conspiracy
in 1825. (Memoir of Mr. J. W.).Publisher: British Library,
Historical Print EditionsThe British Library is the national
library of the United Kingdom. It is one of the world's largest
research libraries holding over 150 million items in all known
languages and formats: books, journals, newspapers, sound
recordings, patents, maps, stamps, prints and much more. Its
collections include around 14 million books, along with substantial
additional collections of manuscripts and historical items dating
back as far as 300 BC.The HISTORY OF TRAVEL collection includes
books from the British Library digitised by Microsoft. This
collection contains personal narratives, travel guides and
documentary accounts by Victorian travelers, male and female. Also
included are pamphlets, travel guides, and personal narratives of
trips to and around the Americas, the Indies, Europe, Africa and
the Middle East. ++++The below data was compiled from various
identification fields in the bibliographic record of this title.
This data is provided as an additional tool in helping to insure
edition identification: ++++ British Library Webster, James;
Noronha, Garcia de; 1830. 2 vol.; 8 . 1046.k.23.
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