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Pierre Boulez was appointed to the College de France in 1976, with
the chair devoted to 'Invention, technique and language in Music',
and he held his position until 1995. The publication of his
extraordinary College de France lectures, his most significant
writings from the 1970s to the 1990s, will make a major
contribution to the discussion in English about Boulez's aesthetic
legacy. His goal in Lecons de musique is to express his conception
of musical language, laid out over the course of nearly twenty
years of lecturing. He is thinking about the possible paths musical
thought could take, as well as the musical legacy of the past In
addition to composers, music historians, theorists, and music
students, this book will be invaluable to those interested in the
history and aesthetics of 20th century music, musical
manifestations of artistic modernism, the history of ideas, and
French intellectual and cultural history. Faber have been Pierre
Boulez's publisher since 1986 - previous books include
Orientations, Boulez on Music Today and Boulez on Conducting.
'Boulez's achievements in changing every part of the fabric of
classical musical culture all over the world are indelible.' Tom
Service, Guardian
Showcases the energy and diversity of the young field of music
semiology, appealing to readers who want to explore the meaning of
music in our lives. The Dawn of Music Semiology showcases the work
of nine leading musicologists, inspired by the work of Jean-Jacques
Nattiez, the founding father of music semiology. Now entering its
fifth decade as Nattiez enters his eighth,music semiology, or music
semiotics, is still a young, vibrant field, and this book reflects
its energy and diversity. It appeals to readers wanting to explore
the meaning of music in our lives and to understand the ways of
appreciating the complexities that lie behind its simple beauty and
direct impact on us. Following a preface by Pierre Boulez and an
introduction by the editors, nine chapters discuss the latest
thinking about general considerations such as music and gesture,
the psychology of music, and the role of ethnotheory. The volume
offers new research on topics as diverse as modeling folk
polyphony, spatialization in the Darmstadt repertoire, Schenker's
theory of musical content, compositional modernism from Wagner to
Boulez, current music theory terminology, and Maderna's use of folk
music in serial composition. CONTRIBUTORS: Kofi Agawu, Simha Arom,
Rossana Dalmonte, Irene Deliege, Jonathan Dunsby, Jonathan Goldman,
Nicolas Meeus, Jean Molino, Arnold Whittall Jonathan Dunsby is
Professor of Music Theory at the Eastman School of Music,
University of Rochester. Jonathan Goldman is Professor of
Musicology at the University of Montreal.
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Liszt and Virtuosity (Hardcover)
Robert Doran; Contributions by David Keep, Dolores Pesce, Jim Samson, Jonathan Dunsby, …
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R4,015
Discovery Miles 40 150
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Ships in 10 - 15 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 Jaƫll. 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.
What makes a classical song a song? In a wide-ranging 2004
discussion, covering such contrasting composers as Brahms and
Berberian, Schubert and Kurtag, Jonathan Dunsby considers the
nature of vocality in songs of the nineteenth and twentieth
centuries. The essence and scope of poetic and literary meaning in
the Lied tradition is subjected to close scrutiny against the
backdrop of 'new musicological' thinking and music-theoretical
orthodoxies. The reader is thus offered the best insights available
within an evidence-based approach to musical discourse. Schoenberg
figures conspicuously as both songsmith and theorist, and some
easily comprehensible Schenkerian approaches are used to convey
ideas of musical time and expressive focus. In this work of
scholarship and theoretical depth, Professor Dunsby's highly
original approach and engaging style will ensure its appeal to all
practising musicians and students of Romantic and modern music.
What makes a classical song a song? In a wide-ranging 2004
discussion, covering such contrasting composers as Brahms and
Berberian, Schubert and Kurtag, Jonathan Dunsby considers the
nature of vocality in songs of the nineteenth and twentieth
centuries. The essence and scope of poetic and literary meaning in
the Lied tradition is subjected to close scrutiny against the
backdrop of 'new musicological' thinking and music-theoretical
orthodoxies. The reader is thus offered the best insights available
within an evidence-based approach to musical discourse. Schoenberg
figures conspicuously as both songsmith and theorist, and some
easily comprehensible Schenkerian approaches are used to convey
ideas of musical time and expressive focus. In this work of
scholarship and theoretical depth, Professor Dunsby's highly
original approach and engaging style will ensure its appeal to all
practising musicians and students of Romantic and modern music.
Pierrot lunaire (1912) is one of the most important music theater works ever written. This is the first guide in English to a work that continues to be performed, broadcast, and recorded worldwide. The book describes the artistic environment around the turn of the century from which Pierrot emerged, and discusses Schoenberg's working methods and intentions in composition. In a clear and imaginative description of the work itself, the author takes each of the twenty-one melodramas in turn, considering both the music and the narrative. The text of all twenty-one poems is provided in German and in a new English translation by Andrew Porter.
Performing Music unravels some of the mysteries of musical performance. It discusses in a non-technical language the knowledge and attitudes that performers need. The lay reader gains a unique insight into how performers think, and what they think about. The book offers a sustained but compact argument in a rich and entertaining narrative.
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