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Black Sea Sketches is a portrait of some of the diverse musical
cultures surrounding the Black Sea and in its hinterlands. Its six
separate chapters follow a very broad trajectory from close-ups of
traditional music (chapters 1-4) towards wide-angle studies of art
music (chapters 5-6), and each of them opens windows to big,
border-crossing themes about music and place. A wide variety of
repertoires is discussed: ancient layers of polyphonic music,
bardic songs, traditional music from the coasts and mountains, the
sacred music of Islam and Orthodox Christianity, the art music of
Europe and West Asia, and present-day popular music 'scenes'. The
usual practice is for each chapter to begin with a Black Sea
coastal location before reaching out into the hinterlands. The
result is a collection of six relatively discrete essays on
different locations and topics, but with underlying thematic
continuities, and offering a wide-ranging commentary on cultural
difference. Firmly grounded in ethnographic and documentary
research, this is an important study for scholars and researchers
of Ethnomusicology, as also of Caucasian and Russian/East European
Studies.
Music in Cyprus draws its authors from both sides of the divided
island to give a rounded picture of musical culture from the
beginning of the British colonial period (1878-1960) until today.
The book crosses conventional scholarly divides between musicology
and ethnomusicology in order to achieve a panorama of music,
culture and politics. Shared practices of traditional music and
dance are outlined, and the appropriation of those practices by
both communities in the aftermath of the de facto division of the
island is examined. Art music (European and Ottoman) is also
discussed, both in terms of the structures of musical life and the
creative praxes of composers, and there is an account of the early
stages of a popular music industry. The authors consider such
questions as: What is the role of different musics in defining
national, regional, social and cultural identities in Cyprus? How
do Cypriot alterities illuminate European projects of modernity?
And what has been the impact of westernization and modernization
(and, conversely, of orientalization) on music in Cyprus? The book
will be of interest to students and academics working not only in
both historical musicology and ethnomusicology, but also in the
history and anthropology of Cyprus and of the entire
Greek-Anatolian region.
Music in Cyprus draws its authors from both sides of the divided
island to give a rounded picture of musical culture from the
beginning of the British colonial period (1878-1960) until today.
The book crosses conventional scholarly divides between musicology
and ethnomusicology in order to achieve a panorama of music,
culture and politics. Shared practices of traditional music and
dance are outlined, and the appropriation of those practices by
both communities in the aftermath of the de facto division of the
island is examined. Art music (European and Ottoman) is also
discussed, both in terms of the structures of musical life and the
creative praxes of composers, and there is an account of the early
stages of a popular music industry. The authors consider such
questions as: What is the role of different musics in defining
national, regional, social and cultural identities in Cyprus? How
do Cypriot alterities illuminate European projects of modernity?
And what has been the impact of westernization and modernization
(and, conversely, of orientalization) on music in Cyprus? The book
will be of interest to students and academics working not only in
both historical musicology and ethnomusicology, but also in the
history and anthropology of Cyprus and of the entire
Greek-Anatolian region.
Black Sea Sketches is a portrait of some of the diverse musical
cultures surrounding the Black Sea and in its hinterlands. Its six
separate chapters follow a very broad trajectory from close-ups of
traditional music (chapters 1-4) towards wide-angle studies of art
music (chapters 5-6), and each of them opens windows to big,
border-crossing themes about music and place. A wide variety of
repertoires is discussed: ancient layers of polyphonic music,
bardic songs, traditional music from the coasts and mountains, the
sacred music of Islam and Orthodox Christianity, the art music of
Europe and West Asia, and present-day popular music 'scenes'. The
usual practice is for each chapter to begin with a Black Sea
coastal location before reaching out into the hinterlands. The
result is a collection of six relatively discrete essays on
different locations and topics, but with underlying thematic
continuities, and offering a wide-ranging commentary on cultural
difference. Firmly grounded in ethnographic and documentary
research, this is an important study for scholars and researchers
of Ethnomusicology, as also of Caucasian and Russian/East European
Studies.
This selection of essays represents a wide cross-section of the
papers given at the Tenth International Conference on
Nineteenth-Century Music held at the University of Bristol in 1998.
Sections include thematic groupings of work on musical meaning,
Wagner, Liszt, musical culture in France, music and nation, and
women and music.
This selection of essays represents a wide cross-section of the
papers given at the Tenth International Conference on
Nineteenth-Century Music held at the University of Bristol in 1998.
Sections include thematic groupings of work on musical meaning,
Wagner, Liszt, musical culture in France, music and nation, and
women and music.
Combining practitioner insight with academic background, this book
offers a useful framework on retail strategy with unusual breadth
and depth. It communicates contemporary retail thought from the
perspectives of both senior international retailers and expert
observers. It is structured around four sections: retailing in an
international context; chapters from faculty at Templeton College
in Oxford outlining the key issues with review questions,
discussion topics, assignments and further reading; in-depth
interviews with senior executives in the world's major retailers
conducted by the Oxford Institute of Retail Management (each case
is backed up by company and sector information to demonstrate the
changing retail and global environment); and a summary and overview
with further exercises assignments and recommended reading.The book
is designed for both students and executives needing to understand
the complexities of the latest global developments and thinking.
The Late Romantic Era treats the period bounded by the 1848
revolutions and the outbreak of World War I. It examines several
musical dimensions of the bourgeois cultural ascendancy of the
second half of the 19th century - the growth of independent
institutions of music-making, the consolidation of a standard
classical repertory and the emergence of increasingly specific
repertories of popular music, professional and amateur. Single
chapters on particular countries or regions are framed by pairs of
chapters on Vienna, Paris and the German cities. In an opening
chapter Dr Samson places the later geographical surveys within a
thematic context which embraces social and economic change,
political ideology and the climate of ideas.
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Liszt and Virtuosity (Hardcover)
Robert Doran; Contributions by David Keep, Dolores Pesce, Jim Samson, Jonathan Dunsby, …
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R3,464
Discovery Miles 34 640
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Ships in 12 - 17 working days
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A new and wide-ranging collection of essays by leading
international scholars, exploring the concept and practices of
virtuosity in Franz Liszt and his contemporaries. In the annals of
music history, few figures have dominated the discussion of
virtuosity as much as Franz Liszt. A flamboyant performer whose
hair-raising technical feats at the piano created a sense of
awe-inspiring excitement andan icon whose star power radiated far
beyond the realm of music, Liszt was, along with his early model,
Paganini, among the first major performer-composers to define
himself principally by virtuosity. Featuring new essays by an
international group of preeminent scholars, Liszt and Virtuosity
offers a reevaluation of the concept and practices of virtuosity as
shaped and defined in Liszt's multifaceted oeuvre, as well as a
reconsiderationof Liszt's relation to other major and lesser-known
musical figures, including Czerny, Schubert, Chopin, Brahms,
Debussy, and Marie Jaëll. Set in the context of larger trends
within the fields of music history, musicanalysis, intellectual
history, and performance studies, these capacious explorations
demonstrate that Liszt's uniqueness and significance resided in his
ability to transform virtuosity into a revolutionary musical force,
pushingthe piano aesthetic to the limits of sound and poetic
meaning.
Why study music? How much practical use is it in the modern world?
This introduction proves how studying music is of great value both
in its own terms and also in the post-university careers
marketplace. The book explains the basic concepts and issues
involved in the academic study of music, draws attention to vital
connections across the field and encourages critical thinking over
a broad range of music-related issues. - Covers all main aspects of
music studies, including topics such as composition, opera, popular
music, and music theory - Provides a thorough overview of a hugely
diverse subject, from the history of early music to careers in
music technology, giving a head-start on the areas to be covered on
a music degree - New to 'neume'? Need a reminder about 'ripping'? -
glossaries give clear definitions of key musical terms - Chapters
are carefully structured and organized enabling easy and quick
location of the information needed
Jim Samson interweaves biographical and musical commentary to produce a well-rounded portrait of Chopin the man and the musician. Incorporating the most recent research, Samson addresses such questions as pedagogy, musical influences, and pianistic idiom. He examines the composer's mature musical style, considers his unique approach to the genres of nineteenth-century piano music, and investigates the nature of his compositional process as revealed through manuscripts and early printed scores. In reading the book we begin to understand why this frail and fastidious musician from Warsaw, whose music is so immensely refined and innovatory, has captured the imagination of generations of music lovers the world over.
This comprehensive overview of music in the nineteenth century
draws on the most recent scholarship in the field. It avoids mere
repertory surveys, focusing instead on issues which illuminate the
subject in novel and interesting ways. The book is divided into two
parts (1800-1850 and 1850-1900), each of which approaches the major
repertory of the period by way of essays investigating the
intellectual and socio-political history of the time. The music
itself is discussed in five central chapters within each part,
amplified by essays on topics such as popular culture, nationalism,
genius, and the emergent concept of an avant-garde. The book
concludes with an examination of musical styles and languages
around the turn of the century. The addition of a detailed
chronology and extensive glossaries makes this the most informed
reference book on nineteenth-century music currently available.
Why study music? How much practical use is it in the modern world?
This introduction proves how studying music is of great value both
in its own terms and also in the post-university careers
marketplace. The book explains the basic concepts and issues
involved in the academic study of music, draws attention to vital
connections across the field and encourages critical thinking over
a broad range of music-related issues. - Covers all main aspects of
music studies, including topics such as composition, opera, popular
music, and music theory - Provides a thorough overview of a hugely
diverse subject, from the history of early music to careers in
music technology, giving a head-start on the areas to be covered on
a music degree - New to 'neume'? Need a reminder about 'ripping'? -
glossaries give clear definitions of key musical terms - Chapters
are carefully structured and organized enabling easy and quick
location of the information needed
This book is about three sets of etudes by Liszt: the Etude en
douze exercices (1826), its reworking as Douzes grandes etudes
(1837), and their reworking as Douzes etudes d'execution
transcendante (1851). At the same time it is a book about
nineteenth-century instrumental music in general, in that the three
works invite the exploration of features characteristic of the
early Romantic era in music. These include: a composer-performer
culture, the concept of virtuosity, the significance of
recomposition, music and the poetic, and the consolidation of a
musical work-concept. A central concern is to illuminate the
relationship between the work-concept and a performance- and
genre-orientated musical culture. At the same time the book
reflects on how we might make judgements of the 'Transcendentals',
of the Symphonic Poem Mazeppa (based on the fourth etude), and of
Liszt's music in general.
This second volume of essays in Chopin Studies contains Chopin
research by twelve leading scholars. Three main topics are
addressed: reception history, aesthetics and criticism, and
performance studies. The first four chapters investigate certain
images associated with Chopin during his lifetime and after his
death: Chopin as classical composer, as salon composer, as
modernist, as 'otherwordly', as androgyne. The next four essays
contextualize and define aspects of his musical language, including
narrative stuctures, baroque affinities, progressive tendencies and
functional ambiguity. The last four deal with analysis and source
study as related to performance, structure and expression, tempo
rubato and 'authentic' interpretation. The book ends with a
thumbnail sketch of Chopin as revealed in a recently discovered
diary for 1847-8.
This second volume of essays in Chopin Studies contains Chopin
research by twelve leading scholars. Three main topics are
addressed: reception history, aesthetics and criticism, and
performance studies. The first four chapters investigate certain
images associated with Chopin during his lifetime and after his
death: Chopin as classical composer, as salon composer, as
modernist, as 'otherwordly', as androgyne. The next four essays
contextualize and define aspects of his musical language, including
narrative stuctures, baroque affinities, progressive tendencies and
functional ambiguity. The last four deal with analysis and source
study as related to performance, structure and expression, tempo
rubato and 'authentic' interpretation. The book ends with a
thumbnail sketch of Chopin as revealed in a recently discovered
diary for 1847-8.
The decades from 1900 to 1920 saw important changes in the very
language of music. Traditional tonal organization gave way to new
forms of musical expression and many of the foundations of modern
music were laid. Samson first explores tonal expansion in the music
of such nineteenth-century composers as Liszt and Wagner and its
reinterpretation in the music of Debussy, Busoni, Bartok, and
Stravinsky. He then traces the atonal revolution, revealing the
various paths taken by Schoenberg and his followers and describing
their very different stylistic development.
Chopin's four ballades are widely regarded as being among the most significant extended works for solo piano of the nineteenth century. In an illuminating discussion, Jim Samson combines history and analysis to provide a comprehensive picture of these popular piano works, investigating the social and musical background to Chopin's music, evaluating the many printed editions of the ballads before considering their critical reception and the differing interpretations of well-known nineteenth- and twentieth-century pianists.
This Companion is designed to provide the enquiring music lover with helpful insights into a musical style that recognizes no contradictions between the accessible and the sophisticated, between the popular and the significant.
The lasting popularity of Chopin's music has reached `from salon to slum'. He captured and expressed the spirit of the age of Romanticism, its ardour and idealism, its longing and restlessness, its love of spontaneity, with an authority his contemporaries immediately recognized and which successive generations have admired and loved. Much of the Chopin literature in English is biographical, but this book is a critical study of the music itself and of the creative process which is central to the life of any composer. Professor Samson provides a detailed analysis of the style and structure of the music in the light of recent Chopin scholarship on the one hand and recent analytical methods on the other. The early chapters deal mainly with the sources and the characteristic profile of Chopin's musical style, relating his music to a wider context in social and stylistic history. Later chapters look rather at the structure of his music and how it functions, with many examples highlighting the discussion.
Chopin's four ballades are widely regarded as being amongst the
most significant extended works for solo piano of the nineteenth
century. In an illuminating discussion, Jim Samson combines history
and analysis to provide the reader with a comprehensive picture of
these popular piano works. He begins by investigating the social
and musical background to Chopin's unique style. He describes the
manuscript sources and evaluates the many subsequent printed
editions, then considers the critical reception of the ballades and
the differing interpretations of well-known nineteenth- and
twentieth-century pianists. The final two chapters examine the
music of all four works analytically. There is a clearly presented
formal synopsis of each ballade in turn, followed by a discussion
of the works collectively which explores Chopin's own conception of
the title 'ballade' and how it may be understood as a musical
genre.
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