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Author: Henry Pleasants
Publisher:
ISBN:
Category :
Languages : en
Pages : 180
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Book Description
Author: Henry Pleasants
Publisher:
ISBN:
Category :
Languages : en
Pages : 180
Get Book Here
Book Description
Author: Peter Dickinson
Publisher: Boydell Press
ISBN: 9780851159027
Category : Biography & Autobiography
Languages : en
Pages : 240
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Book Description
A mine of information for both general and specialist readers about the life and work of one of America's greatest composers.
Author: Arved Mark Ashby
Publisher: Boydell & Brewer
ISBN: 1580461433
Category : Music
Languages : en
Pages : 417
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Book Description
The debate over modernist music has continued for almost a century: from Berg's Wozzeck and Webern's Symphony Op.21 to John Cage's renegotiation of musical control, the unusual musical practices of the Velvet Underground, and Stanley Kubrick's use of Ligeti's Lux Aeterna in the epic film 2001. The composers discussed in these pages -- including Bartók, Stockhausen, Bernard Herrmann, Steve Reich, and many others -- are modernists in that they are defined by their individualism, whether covert or overt, and share a basic urge toward redesigning musical discourse. The aim of this volume is to negotiate a varied and open middle ground between polemical extremes of reception. The contributors sketch out the possible significance of a repertory that in past discussions has been deemed either meaningless or beyond describable meaning. With an emphasis on recent aesthetics and contexts -- including film music, sexuality, metaphor, and ideas of a listening grammar -- they trace the meanings that such works and composers have held for listeners of different kinds. None of them takes up the usual mandate of "educated listening" to modernist works: the notion that a person can appreciate "difficult" music if given enough time and schooling. Instead the book defines novel but meaningful avenues of significance for modernist music, avenues beyond those deemed appropriate or acceptable by the academy. While some contributors offer new listening strategies, most interpret the listening premise more loosely: as a metaphor for any manner of personal and immediate connection with music. In addition to a previously untranslated article by Pierre Boulez, the volume contains articles (all but one previously unpublished) by twelve distinctive and prominent composers, music critics, and music theorists from America, Europe, Australia, and South Africa: Arved Ashby, Amy Bauer, William Bolcom, Jonathan Bernard, Judy Lochhead, Fred Maus, Andrew Mead, Greg Sandow, Martin Scherzinger, Jeremy Tambling, Richard Toop, and Lloyd Whitesell. Arved Ashby is Associate Professor of Music at the Ohio State University.
Author: David John Lu
Publisher: Lexington Books
ISBN: 9780739104583
Category : Biography & Autobiography
Languages : en
Pages : 336
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Book Description
Arguing that the policies that Matsuoko Yosuke pursued as Japan's foreign minister in 1940-41 were profoundly influential on the course of history for Japan and the United States, Lu (emeritus, history and Japanese studies, Bucknell U.) provides a biography of the American- educated Japanese official that focuses on the causes and development of the policies he pursued. Matsuoko's relationship with the U.S. is characterized as one of "love-hate" and his policies towards the United States are viewed as ill considered. His policies towards China are viewed with considerably more charity. Annotation copyrighted by Book News, Inc., Portland, OR
Author: Nat Shapiro
Publisher: Springer Science & Business Media
ISBN: 1461596270
Category : Music
Languages : en
Pages : 428
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Book Description
Writing about music-about what it is and what it means-is akin to describing the act of love. Somehow, the reduction of the experience to an unblushingly detailed exposition of how, where, when, and why who does what to whom, from prelude to resolu tion, loses everything in the translation. The other extreme, the one wherein the writer, in desperation, resorts to metaphor (with or without benefit of meter and rhyme), most often results in im agery that is banal, vulgar, inane, obscure, pretentious, and almost always insufferably romantic. To achieve good and accurate writing about music is as rare an accomplishment as expert wine-tasting, lion-taming, diamond-cut ting, truffie-finding and (if one just happens to be an unconverted Mohican brave) deer-tracking. Only the intuitive, the pure, the sensual, and the intrepid need apply. Professional musicians often evidence a fixed tendency either to rudely ignore or else to actively despise those of us who bravely try to understand, define, and describe their art. To many composers and instrumentalists, those outsiders (nonmusicians) who have the temerity to discuss anything more abstract than the digital dexterity of a fiddler, the particular vanity of a conductor, or the wage scales for overtime recording sessions are judged worthy only of contempt or-at the most-patronizing tolerance. "Music means itself," insists one of the contributors to the collection that follows, and many practitioners of the art of organ ized sound would prefer to leave it at that.
Author: Brian Cherney
Publisher: Wilfrid Laurier Univ. Press
ISBN: 0889209227
Category : Biography & Autobiography
Languages : en
Pages : 418
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Book Description
John Weinzweig (1913–2006) was the pre-eminent Canadian composer of his generation. Influenced by European modernists such as Stravinsky, Berg, and Webern, he was the first Canadian composer to employ serialism, thereby bringing a spirit of innovation to mid-twentieth-century Canadian music. A forceful advocate for modern Canadian composition, Weinzweig played a key role in the founding of the Canadian League of Composers and the Canadian Music Centre during a buoyant and expansive period for the arts in Canada. He was an influential force as a teacher of composition, first with the Royal Conservatory of Music and later with the University of Toronto’s music faculty. This first comprehensive study of Weinzweig since his death consists of new essays by composers, theorists, and musicologists. It deals with biographical aspects (the social context of early-twentieth-century Toronto, his activism, his teaching, his early scores for CBC Radio dramas), analyzes his compositional processes and his output (his approach to serialism, his instrumental practice, the presence of jazz elements, the vocal works, the divertimenti), and examines various evaluations of his music (his own – in letters, interviews, talks, and writings – plus those of critics and scholars, of listeners, and of performers). The essays are framed by the co-editors’ portrait/assessment of Weinzweig and a brief personal memoir. Much of the content draws on new research in the extensive Weinzweig Fonds at Library and Archives Canada in Ottawa. Included at the end of the book are a [http://www.wlupress.wlu.ca/General/beckwith-cherney-list-of-works-discography.pdf List of Works by John Weinzweig by Kathleen McMorrow and a Discography by David Olds] both available here as pdfs. Supplementing the volume is an audio CD of extracts (some in their first public release), ranging from a 1937 student work to a song cycle of 1994. Read the [http://www.wlupress.wlu.ca/General/beckwith-cherney-cd-notes.pdf Notes and Texts for the CD.]
Author: Robert Fink
Publisher: Robert Martin Fink
ISBN: 0912424141
Category : Bone flute
Languages : en
Pages : 114
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Book Description
Author: William L Cahn
Publisher: Routledge
ISBN: 1134955944
Category : Music
Languages : en
Pages : 126
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Book Description
Most musicians focus on learning technique (learning how to play an instrument), rather than on developing an individual, unique voice. Creative Music Making focuses on the creative development of musicians from all levels of experience and in all styles of music. Based on the author's experience leading workshops for performers around the world, the easy-to-follow exercises in this text will enable any musician--from beginner to professional--to improve creativity and self-expression. Creative Music Making will open the ears of all musicians, vocalists or instrumentalists, in classical, popular, or jazz styles, to a world of new possibilities.
Author: Christophe Levaux
Publisher: Univ of California Press
ISBN: 0520968085
Category : Music
Languages : en
Pages : 272
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Book Description
Rising out of the American art music movement of the late 1950s and 1960s, minimalism shook the foundations of the traditional constructs of classical music, becoming one of the most important and influential trends of the twentieth century. The emergence of minimalism sparked an active writing culture around the controversies, philosophies, and forms represented in the music’s style and performance, and its defenders faced a relentless struggle within the music establishment and beyond. Focusing on how facts about music are constructed, negotiated, and continually remodeled, We Have Always Been Minimalist retraces the story of these battles that—from pure fiction to proven truth—led to the triumph of minimalism. Christophe Levaux’s critical analysis of literature surrounding the origins and transformations of the stylistic movement offers radical insights and a unique new history.
Author: Mary Natvig
Publisher: Routledge
ISBN: 1351547089
Category : Music
Languages : en
Pages : 220
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Book Description
Unlike their colleagues in music theory and music education, teachers of music history have tended not to commit their pedagogical ideas to print. This collection of essays seeks to help redress the balance, providing advice and guidance to those who teach a college-level music history or music appreciation course, be they a graduate student setting out on their teaching career, or a seasoned professor having to teach outside his or her speciality. Divided into four sections, the book covers the basic music history survey usually taken by music majors; music appreciation and introductory courses aimed at non-majors; special topic courses such as women and music, music for film and American music; and more general issues such as writing, using anthologies, and approaches to teaching in various situations. In addition to these specific areas, broader themes emerge across the essays. These include how to integrate social history and cultural context into music history teaching; the shift away from the 'classical canon'; and how to organize a course taking into consideration time constraints and the need to appeal to students from a diverse range of backgrounds. With contributions from both teachers approaching retirement and those at the start of their careers, this volume provides a spectrum of experience which will prove valuable to all teachers of music history.
