|
Showing 1 - 5 of
5 matches in All Departments
The idea of a global history of music may be traced back to the
Enlightenment, and today, the question of a conceptual framework
for a history of music that pays due attention to global
relationships in music is often raised. But how might a historical
interpretation of those relationships proceed? How should it
position, or justify, itself? What would 'Western music' look like
in an account of music history that aspires to be truly global? The
studies presented in this volume aim to promote post-European
historical thinking. They are based on the idea that a global
history of music cannot be one single, hegemonic history. They
rather explore the paradigms and terminologies that might describe
a history of many different voices. The chapters address historical
practices and interpretations of music in different parts of the
world, from Japan to Argentina and from Mexico to India. Many of
these narratives are about relations between these cultures and the
Western tradition; several also consider socio-political and
historical circumstances that have affected music in the various
regions. The book addresses aspects that Western musical
historiography has tended to neglect even when looking at its own
culture: performance, dance, nostalgia, topicality, enlightenment,
the relationships between traditional, classical, and pop musics,
and the regards croises between European, Asian, or Latin American
interpretations of each other's musical traditions. These studies
have been derived from the Balzan Musicology Project Towards a
Global History of Music (2013-2016), which was funded by the
International Balzan Foundation through the award of the Balzan
Prize in Musicology to the editor, and designed by music historians
and ethnomusicologists together. A global history of music may
never be written in its entirety, but will rather be realised
through interaction, practice, and discussion, in all parts of the
world.
The idea of a global history of music may be traced back to the
Enlightenment, and today, the question of a conceptual framework
for a history of music that pays due attention to global
relationships in music is often raised. But how might a historical
interpretation of those relationships proceed? How should it
position, or justify, itself? What would 'Western music' look like
in an account of music history that aspires to be truly global? The
studies presented in this volume aim to promote post-European
historical thinking. They are based on the idea that a global
history of music cannot be one single, hegemonic history. They
rather explore the paradigms and terminologies that might describe
a history of many different voices. The chapters address historical
practices and interpretations of music in different parts of the
world, from Japan to Argentina and from Mexico to India. Many of
these narratives are about relations between these cultures and the
Western tradition; several also consider socio-political and
historical circumstances that have affected music in the various
regions. The book addresses aspects that Western musical
historiography has tended to neglect even when looking at its own
culture: performance, dance, nostalgia, topicality, enlightenment,
the relationships between traditional, classical, and pop musics,
and the regards croises between European, Asian, or Latin American
interpretations of each other's musical traditions. These studies
have been derived from the Balzan Musicology Project Towards a
Global History of Music (2013-2016), which was funded by the
International Balzan Foundation through the award of the Balzan
Prize in Musicology to the editor, and designed by music historians
and ethnomusicologists together. A global history of music may
never be written in its entirety, but will rather be realised
through interaction, practice, and discussion, in all parts of the
world.
In this valuable collection of essays, published to coincide with
the tercentenary of Handel's birth, Reinhard Strohm examines the
relationship between Handel's great operas and the earlier European
Baroque tradition, focusing on the Italian school, to which they
are so crucially indebted. Handel's immediate heritage included the
figures of Scarlatti, Gasparini and Vivaldi; this book establishes
that context, concentrating on contemporary operatic practice, and
proceeds to analyse three of Handel's best-known works. It shows
how they elaborate and develop the style and method of the Italian
operatic theatre, embracing previous traditions and synthesizing
them with a new and exciting accentuation.
This is a detailed and comprehensive survey of music in the late
middle ages and early Renaissance. By limiting its scope to the 120
years which witnessed perhaps the most dramatic expansion of our
musical heritage, the book responds, in the 1990s, to the
tremendous increase in specialised research and public awareness of
that period. Three of the four main Parts (I, II, IV) describe the
development of polyphony and its cultural contexts in many European
countries, from the successors of Machaut (d. 1377) to the
achievements of Josquin des Prez and his contemporaries working in
Renaissance Italy around 1500. Part III, by contrast, illustrates
the musical life of the institutions, and musical practices outside
the realm of composed polyphony that were traditional and common
all over Europe. The book proposes fresh views in each chapter,
discussing dozens of musical examples adducing well-known and
hitherto unknown documents, and referring to and evaluating the
most recent scholarship in the field.
Dramma per musica-the most usual term for Italian serious opera
from the seventeenth to the early nineteenth century-was a modern,
enlightened form of theater that presented a unified, artistically
designed, dramatic enactment of human stories, expressed by the
voice and underscored by the orchestra. This book by one of the
world's most eminent musicologists illustrates the diversity of
this baroque art form and explains how it has given us opera as we
know it. Reinhard Strohm introduces the concept and history of
dramma per musica and then examines the contemporary reception and
environment of this operatic tradition, analyzing its social and
repertorial patterns and comparing it to theories on the roles of
French spoken drama and Italian libretto reform. In describing the
principles observed by poets, composers, and performers, Strohm
discusses such central concepts of theory and practice as
verisimilitude, decorum, gesture, and rhetoric. He also decodes
various works, including Handel's Ariodante, operas by Hasse, and
stage works featuring the Earl of Essex. Throughout the book,
Strohm surveys the traditions of the spoken theater and pays
special attention to the subject matter of the librettos, as well
as to drama theory, stage action, patronage, political history, and
ideology. His account covers opera houses in Rome, Naples, Venice,
Hamburg, Dresden, Vienna, Madrid, London, and Warsaw, as he follows
one character of the dramatic tradition across the European stages
for more than two centuries. Authoritative and enlightening, this
book reveals how dramma per musica forms a vital part of our
theatrical and musical heritage.
|
You may like...
LSD
Labrinth, Sia, …
CD
R213
R71
Discovery Miles 710
Loot
Nadine Gordimer
Paperback
(2)
R398
R330
Discovery Miles 3 300
Loot
Nadine Gordimer
Paperback
(2)
R398
R330
Discovery Miles 3 300
|