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An outstanding anthology in which notable musicians, artists,
scientists, thinkers, poets, and more-from Gustavo Dudamel and
Carrie Mae Weems to Ruth Bader Ginsburg and Paul Muldoon-explore
the influence of music on their lives and work Contributors
include: Laurie Anderson Jamie Barton Daphne A. Brooks Edgar
Choueiri Jeff Dolven Gustavo Dudamel Edward Dusinberre Corinna da
Fonseca-Wollheim Frank Gehry James Ginsburg Ruth Bader Ginsburg
Jane Hirshfield Pico Iyer Alexander Kluge Nathaniel Mackey Maureen
N. McLane Alicia Hall Moran Jason Moran Paul Muldoon Elaine Pagels
Robert Pinsky Richard Powers Brian Seibert Arnold Steinhardt Susan
Stewart Abigail Washburn Carrie Mae Weems Susan Wheeler C. K.
Williams Wu Fei What happens when extraordinary creative
spirits-musicians, poets, critics, and scholars, as well as an
architect, a visual artist, a filmmaker, a scientist, and a
legendary Supreme Court justice-are asked to reflect on their
favorite music? The result is Ways of Hearing, a diverse collection
that explores the ways music shapes us and our shared culture.
These acts of musical witness bear fruit through personal essays,
conversations and interviews, improvisatory meditations, poetry,
and visual art. They sound the depths of a remarkable range of
musical genres, including opera, jazz, bluegrass, and concert music
both classical and contemporary. This expansive volume spans styles
and subjects, including Pico Iyer's meditations on Handel, Arnold
Steinhardt's thoughts on Beethoven's Grosse Fuge, and Laurie
Anderson and Edgar Choueiri's manifesto for spatial music. Richard
Powers discusses the one thing about music he's never told anyone,
Daphne Brooks draws sonic connections between Toni Morrison and
Cecile McLorin Salvant, and Ruth Bader Ginsburg reveals what she
thinks is the sexiest duet in opera. Poems interspersed throughout
further expand how we can imagine and respond to music. Ways of
Hearing is a book for our times that celebrates the infinite ways
music enhances our lives.
For several decades, Scott Burnham has sought to bring a ready ear
and plenty of humanistic warmth to musicological inquiry. Sounding
Values features eighteen of his essays on mainstream Western music,
music theory, aesthetics and criticism. In these writings, Burnham
listens for the values-aesthetic, ethical, intellectual-of those
who have created influential discourse about music, while also
listening for the values of the music for which that discourse has
been generated. The first half of the volume confronts pressing
issues of historical theory and aesthetics, including intellectual
models of tonal theory, leading concepts of sonata form,
translations of music into poetic meaning, and recent rifts and
rapprochements between criticism and analysis. The essays in the
second half can be read as a series of critical appreciations,
engaging some of the most consequential reception tropes of the
past two centuries: Haydn and humor, Mozart and beauty, Beethoven
and the sublime, Schubert and memory.
A. B. Marx was one of the most important German music theorists of
his time. Drawing on idealist aesthetics and the ideology of
Bildung, he developed a holistic pedagogical method as well as a
theory of musical form that gives pride of place to Beethoven. This
volume offers a generous selection of the most salient of his
writings, the majority presented here in English for the first
time. It features Marx's oft-cited but little understood material
on sonata form, his progressive program for compositional pedagogy
and his detailed critical analysis of Beethoven's 'Eroica'
Symphony. These writings thus deal with issues that fall directly
among the concerns of mainstream theory and analysis in the last
two centuries: the relation of form and content, the analysis of
instrumental music, the role of pedagogy in music theory, and the
nature of musical understanding.
A. B. Marx was one of the most important German music theorists of his time. This volume offers a generous selection of the most salient of his writings, the majority presented in English for the first time. It features the oft-cited but little understood material on sonata form, his progressive program for compositional pedagogy and his detailed critical analysis of Beethoven's Eroica Symphony. These writings thus deal with issues that fall directly among the concerns of mainstream theory and analysis in the past two centuries.
An outstanding anthology in which notable musicians, artists,
scientists, thinkers, poets, and more-from Gustavo Dudamel and
Carrie Mae Weems to Ruth Bader Ginsburg and Paul Muldoon-explore
the influence of music on their lives and work Contributors
include: Laurie Anderson Jamie Barton Daphne A. Brooks Edgar
Choueiri Jeff Dolven Gustavo Dudamel Edward Dusinberre Corinna da
Fonseca-Wollheim Frank Gehry James Ginsburg Ruth Bader Ginsburg
Jane Hirshfield Pico Iyer Alexander Kluge Nathaniel Mackey Maureen
N. McLane Alicia Hall Moran Jason Moran Paul Muldoon Elaine Pagels
Robert Pinsky Richard Powers Brian Seibert Arnold Steinhardt Susan
Stewart Abigail Washburn Carrie Mae Weems Susan Wheeler C. K.
Williams Wu Fei What happens when extraordinary creative
spirits-musicians, poets, critics, and scholars, as well as an
architect, a visual artist, a filmmaker, a scientist, and a
legendary Supreme Court justice-are asked to reflect on their
favorite music? The result is Ways of Hearing, a diverse collection
that explores the ways music shapes us and our shared culture.
These acts of musical witness bear fruit through personal essays,
conversations and interviews, improvisatory meditations, poetry,
and visual art. They sound the depths of a remarkable range of
musical genres, including opera, jazz, bluegrass, and concert music
both classical and contemporary. This expansive volume spans styles
and subjects, including Pico Iyer's meditations on Handel, Arnold
Steinhardt's thoughts on Beethoven's Grosse Fuge, and Laurie
Anderson and Edgar Choueiri's manifesto for spatial music. Richard
Powers discusses the one thing about music he's never told anyone,
Daphne Brooks draws sonic connections between Toni Morrison and
Cecile McLorin Salvant, and Ruth Bader Ginsburg reveals what she
thinks is the sexiest duet in opera. Poems interspersed throughout
further expand how we can imagine and respond to music. Ways of
Hearing is a book for our times that celebrates the infinite ways
music enhances our lives.
It is a common article of faith that Mozart composed the most
beautiful music we can know. But few of us ask why. Why does the
beautiful in Mozart stand apart, as though untouched by human
hands? At the same time, why does it inspire intimacy rather than
distant admiration, love rather than awe? And how does Mozart's
music create and sustain its buoyant and ever-renewable effects? In
"Mozart's Grace," Scott Burnham probes a treasury of passages from
many different genres of Mozart's music, listening always for the
qualities of Mozartean beauty: beauty held in suspension; beauty
placed in motion; beauty as the uncanny threshold of another
dimension, whether inwardly profound or outwardly transcendent; and
beauty as a time-stopping, weightless suffusion that comes on like
an act of grace.
Throughout the book, Burnham engages musical issues such as
sonority, texture, line, harmony, dissonance, and timing, and
aspects of large-scale form such as thematic returns,
retransitions, and endings. Vividly describing a range of musical
effects, Burnham connects the ways and means of Mozart's music to
other domains of human significance, including expression,
intimation, interiority, innocence, melancholy, irony, and renewal.
We follow Mozart from grace to grace, and discover what his music
can teach us about beauty and its relation to the human spirit. The
result is a newly inflected view of our perennial attraction to
Mozart's music, presented in a way that will speak to musicians and
music lovers alike.
Bringing together reception history, music analysis and
criticism, the history of music theory, and the philosophy of
music, "Beethoven Hero" explores the nature and persistence of
Beethoven's heroic style. What have we come to value in this music,
asks Scott Burnham, and why do generations of critics and analysts
hear it in much the same way? Specifically, what is it that fosters
the intensity of listener engagement with the heroic style, the
often overwhelming sense of identification with its musical
process? Starting with the story of heroic quest heard time and
again in the first movement of the "Eroica" Symphony, Burnham
suggests that Beethoven's music matters profoundly to its listeners
because it projects an empowering sense of self, destiny, and
freedom, while modeling ironic self-consciousness.
In addition to thus identifying Beethoven's music as an
overarching expression of values central to the age of Goethe and
Hegel, the author describes and then critiques the process by which
the musical values of the heroic style quickly became the
controlling model of compositional logic in Western music criticism
and analysis. Apart from its importance for students of Beethoven,
this book will appeal to those interested in canon formation in the
arts and in music as a cultural, ethical, and emotional force--and
to anyone concerned with what we want from music and what music
does for us.
It is a common article of faith that Mozart composed the most
beautiful music we can know. But few of us ask why. Why does the
beautiful in Mozart stand apart, as though untouched by human
hands? At the same time, why does it inspire intimacy rather than
distant admiration, love rather than awe? And how does Mozart's
music create and sustain its buoyant and ever-renewable effects? In
Mozart's Grace, Scott Burnham probes a treasury of passages from
many different genres of Mozart's music, listening always for the
qualities of Mozartean beauty: beauty held in suspension; beauty
placed in motion; beauty as the uncanny threshold of another
dimension, whether inwardly profound or outwardly transcendent; and
beauty as a time-stopping, weightless suffusion that comes on like
an act of grace. Throughout the book, Burnham engages musical
issues such as sonority, texture, line, harmony, dissonance, and
timing, and aspects of large-scale form such as thematic returns,
retransitions, and endings. Vividly describing a range of musical
effects, Burnham connects the ways and means of Mozart's music to
other domains of human significance, including expression,
intimation, interiority, innocence, melancholy, irony, and renewal.
We follow Mozart from grace to grace, and discover what his music
can teach us about beauty and its relation to the human spirit. The
result is a newly inflected view of our perennial attraction to
Mozart's music, presented in a way that will speak to musicians and
music lovers alike.
Few composers even begin to approach Beethoven's pervasive
presence in modern Western culture, from the concert hall to the
comic strip. Edited by a cultural historian and a music theorist,
"Beethoven and His World" gathers eminent scholars from several
disciplines who collectively speak to the range of Beethoven's
importance and of our perennial fascination with him.
The contributors address Beethoven's musical works and their
cultural contexts. Reinhold Brinkmann explores the
post-revolutionary context of Beethoven's "Eroica" Symphony, while
Lewis Lockwood establishes a typology of heroism in works like
Fidelio. Elaine Sisman, Nicholas Marston, and Glenn Stanley discuss
issues of temporality, memory, and voice in works at the threshold
of Beethoven's late style, such as "An die Ferne Geliebte," the
Cello Sonata op. 102, no. 1, and the somewhat later Piano Sonata
op. 109. Peering behind the scenes into Beethoven's workshop,
Tilman Skowroneck explains how the young Beethoven chose his
pianos, and William Kinderman shows Beethoven in the process of
sketching and revising his compositions.
The volume concludes with four essays engaging the broader
question of reception of Beethoven's impact on his world and ours.
Christopher Gibbs' study of Beethoven's funeral and its aftermath
features documentary material appearing in English for the first
time; art historian Alessandra Comini offers an illustrated
discussion of Beethoven's ubiquitous and iconic frown; Sanna
Pederson takes up the theme of masculinity in critical
representations of Beethoven; and Leon Botstein examines the
aesthetics and politics of hearing extramusical narratives and
plots in Beethoven's music.
Bringing together varied and fresh approaches to the West's most
celebrated composer, this collection of essays provides music
lovers with an enriched understanding of Beethoven--as man,
musician, and phenomenon.
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Delon (Paperback)
Scott Burnham
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R144
Discovery Miles 1 440
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Ships in 10 - 15 working days
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Roadsworth (Paperback, No)
Bethany Gibson; Foreword by Scott Burnham
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R725
R595
Discovery Miles 5 950
Save R130 (18%)
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Ships in 12 - 17 working days
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Winner, Design Edge Regional Design AwardIn October 2001, paint was
spilled on the streets of Montreal. A stark, primitive bike symbol,
looking suspiciously like the one the city used to designate a bike
path; a giant zipper, pulled open down the centre line of the
street on a busy commuter route; the footprint of a giant, stomping
through the city while people slept. Inspired by a desire for
adventure and galvanized by a loathing of car culture, Roadsworth
got down with an idea that had been incubating. The time had come
for him to articulate his artistic vision, to challenge the notion
of "public" space and whose right it is to use it. By 2004,
Roadsworth had pulled off close to 300 pieces of urban art on the
streets of Montreal. In the fall, he was charged with 51 counts of
public mischief. It seemed to signal the end of his career. Instead
the citizens of Montreal and lovers of his work from around the
world rallied their support. A year later he was let off with a
slap on the wrist. Since then, Roadsworth has developed as an
artist, continuing to intervene in public spaces and to travel the
world, executing commissioned work for organizations such as Cirque
de Soleil, The Lost O (cycled over in le tour de France), and for
municipalities, exhibitions, and arts festivals. In this playful
and sometimes subversive book, featuring more than 200
reproductions of his unmistakable work, Roadsworth takes the urban
landscape and turns its constituent elements on their heads, both
indicting our culture's excesses and celebrating what makes us
human (lest we forget).
For several decades, Scott Burnham has sought to bring a ready ear
and plenty of humanistic warmth to musicological inquiry. Sounding
Values features eighteen of his essays on mainstream Western music,
music theory, aesthetics and criticism. In these writings, Burnham
listens for the values-aesthetic, ethical, intellectual-of those
who have created influential discourse about music, while also
listening for the values of the music for which that discourse has
been generated. The first half of the volume confronts pressing
issues of historical theory and aesthetics, including intellectual
models of tonal theory, leading concepts of sonata form,
translations of music into poetic meaning, and recent rifts and
rapprochements between criticism and analysis. The essays in the
second half can be read as a series of critical appreciations,
engaging some of the most consequential reception tropes of the
past two centuries: Haydn and humor, Mozart and beauty, Beethoven
and the sublime, Schubert and memory.
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