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Following methods known to have been adopted by Bach himself, the
exercises provided in chorale harmonization are graded in such a
way as to encourage the student to develop both technique and
imagination within a closely-defined framework. The instrumental
counterpoint section is based on Bach's two-and three-part
Inventions. By close analysis the author helps the reader to
recognize the procedures Bach adopted in various musical
situations. The exercises are taken largely from Bach's keyboard
works.
The damage done by hatred and prejudice -- based on race, sexual
orientation, religion, or gender -- runs very deep. The damage is
often invisible, but it simmers beneath the surface anyway. In Race
and Prayer, Malcolm Boyd and Chester Talton have collected poems,
prayers, and prose that bring the anger and frustration to light,
and ultimately, they hope, to a place of reconciliation and
healing.
Race and Prayer is divided into five sections: Suffering and
Anger; Prejudice and Hatred; Diversity; Reconciliation and Healing;
and Growth in Understanding and Sharing. Contributors to this
collection range in age from teenagers to the elderly, and include
men and women from a wide variety of racial and ethnic backgrounds,
all of whom speak honestly of their own experiences, heartbreaks,
and hopes. Twelve cartoons from three-time Pulitzer Prize winner
Paul Conrad, editorial cartoonist at the Los Angeles Times, add to
the power of this collection.
Rouget de Lisle's famous anthem, La marseillaise, admirably
reflects the confidence and enthusiasm of the early years of the
French Revolution. But the effects on music of the Revolution and
the events that followed it in France were more far-reaching than
that. Hymns, chansons and even articles of the Constitution set to
music in the form of vaudevilles all played their part in
disseminating Revolutionary ideas and principles; music education
was reorganized to compensate for the loss of courtly institutions
and the weakened maitrises of cathedrals and churches. Opera, in
particular, was profoundly affected, in both its organization and
its subject matter, by the events of 1789 and the succeeding
decade. The essays in this book, written by specialists in the
period, deal with all these aspects of music in Revolutionary
France, highlighting the composers and writers who played a major
role in the changes that took place there. They also identify some
of the traditions and genres that survived the Revolution, and look
at the effects on music of Napoleon's invasion of Italy.
Traditional musicology has tended to see the Spanish eighteenth
century as a period of decline, but this 1998 volume shows it to be
rich in interest and achievement. Covering stage genres, orchestral
and instrumental music and vocal music (both sacred and secular),
it brings together the results of research on such topics as opera,
musical instruments, the secular cantata and the villancico and
challenges received ideas about how Italian and Austrian music of
the period influenced (or was opposed by) Spanish composers and
theorists. Two final chapters outline the presence of Spanish
musical sources in the New World.
In the middle of the turbulent 1960s Malcolm Boyd's Are You Running
With Me, Jesus? appeared on the scene and broke the mold from which
devotional texts had previously been made. Boyd's prayers engaged
traditional Christian themes with a decidedly contemporary
voice—honest, direct, insightful—while at the same time taking
on issues of everyday concern: personal freedom, racial justice,
sexuality. Billed by its original publisher as a collection of
“prayers for all of us today who are finding it harder and harder
to pray,” this landmark book has influenced generations of
Christians and seekers. This fortieth anniversary edition promises
to celebrate its impact and make it available to further
generations.
Traditional musicology has tended to see the Spanish 18th century
as a period of decline, but this volume shows it to be rich in
interest and achievement. Covering stage genres, orchestral and
instrumental music, and vocal music (both sacred and secular), it
brings together the results of much recent research on such topics
as opera, musical instruments, the secular cantata and the
villancico, and challenges received ideas about how Italian and
Austrian music of the period influenced (or was opposed by) Spanish
composers and theorists. Two final chapters outline the presence of
Spanish musical sources in the New World.
The Brandenburg Concertos represent a pinnacle in the history of the Baroque concerto, as well as being among the most universally admired of all Bach's works. This fascinating new guide places the concertos in their historical context, investigates their sources, traces their origins and discusses the changing traditions of performance that have affected the way listeners have understood them since Bach's time. The work's rich instrumentarium is carefully described, and a substantial chapter considers each concerto individually, revealing those aspects of their style and structure that make this group of works a unique and towering landmark in the history of the genre.
Traditional musicology has tended to see the Spanish eighteenth
century as a period of decline, but this volume shows it to be rich
in interest and achievement. Covering stage genres, orchestral and
instrumental music and vocal music (both sacred and secular), it
brings together the results of much recent research on such topics
as opera, musical instruments, the secular cantata and the
villancico, and challenges received ideas about how Italian and
Austrian music of the period influenced (or was opposed by) Spanish
composers and theorists. Two final chapters outline the presence of
Spanish musical sources in the New World.
Published in its first edition in 1983, Boyd's treatment of this
canonical composer is essential reading for students, scholars, and
everyone interested in Baroque music. In this third edition,
biographical chapters alternate with commentary on the works, to
demonstrate how the circumstances of Bach's life helped to shape
the music he wrote at various periods. We follow Bach as he travels
from Arnstadt and Muhlhausen to Weimar, Cothen, and finally
Leipzig, these journeys alternating with insightful discussions of
the great composer's organ and orchestral compositions. As well as
presenting a rounded picture of Bach, his music, and his posthumous
reputation and influence, Malcolm Boyd considers the sometimes
controversial topics of "parody" and arrangement, number symbolism,
and the style and meaning of Bach's late works. Recent theories on
the constitution of Bach's performing forces at Leipzig are also
present. The text and the appendixes (which include a chronology,
personalia, bibliography, and a complete catalogue of Bach's works)
were thoroughly revised in this edition to take account of more
recent research undertaken by Bach scholars, including the gold
mine of new information uncovered in the former USSR.
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