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Author: W.J Baltzell
Publisher: BoD – Books on Demand
ISBN: 3752405325
Category : Fiction
Languages : en
Pages : 458
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Book Description
Reproduction of the original: A Complete History of Music by W.J Baltzell
Author: R. J. Stove
Publisher: ISI Books
ISBN:
Category : Education
Languages : en
Pages : 156
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Book Description
R. J. Stove's A Student's Guide to Music History is a concise account, written for the intelligent lay reader, of classical music's development from the early Middle Ages onwards. Beginning with a discussion of Hildegard von Bingen, a twelfth-century German nun and composer, and the origins of plainchant, Stove's narrative recounts the rise (and ever-increasing complexity) of harmony during the medieval world, the differences between secular and sacred music, the glories of the contrapuntal style, and the origins of opera. Stove then relates the achievements of the high baroque period, the very different idioms that prevailed during the late eighteenth century, and the emergence of Romanticism, with its emphasis upon the artist-hero. With the late nineteenth century came a growing emphasis on musical patriotism, writes Stove, especially in Spain, Hungary, Russia, Bohemia, Norway, Denmark, Finland, and the United States. A final section discusses the trends that have characterized music since 1945. Stove's guide also singles out eminent composers for special coverage, including Palestrina, Monteverdi, Handel, Bach, Haydn, Mozart, Beethoven, Schubert, Wagner, Verdi, Brahms, Debussy, Richard Strauss, Sibelius, and Messiaen. As a brief orientation to the history and countours of classical music, A Student's Guide to Music History is an unparalleled resource.
Author: Michael Miller
Publisher: Penguin
ISBN: 1440636370
Category : Music
Languages : en
Pages : 340
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Book Description
A beautifully composed journey through music history! Music history is a required course for all music students. Unfortunately, the typical music history book is dry and academic, focusing on rote memorization of important composers and works. This leads many to think that the topic is boring, but bestselling author Michael Miller proves that isn’t so. This guide makes music history interesting and fun, for both music students and older music lovers. • Covers more than Western “classical” music—also includes non-Western music and uniquely American forms such as jazz • More than just names and dates—puts musical developments in context with key historical events
Author: Mary Richards
Publisher: National Geographic Books
ISBN: 0500652473
Category : Juvenile Nonfiction
Languages : en
Pages : 0
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Book Description
A global history of music for children, celebrating how and why we make music. Embark on a musical journey around the world to meet the diverse cast of composers, musicians, and performers who are famous for making the music we love. From Johann Sebastian Bach to Billie Eilish, Hildegard of Bingen to DJ Kool Herc, Wolfgang Mozart to Miriam Makeba, musicians come from many different times and places and introduce music from a wide variety of genres. Why do we make music? How does music affect our brains and emotions? These are just some of the fascinating questions addressed in A History of Music for Children, which looks at music’s transnational and boundary-breaking qualities. All over the world and throughout time, music has been recorded and passed down through different oral traditions and forms of notation. It has always been a powerful catalyst for change and connecting people. And what might the future of music hold? Exploring the technology used to listen to and create music, the authors imagine new possibilities such as computer-generated compositions and robot musicians. Woven into this absorbing narrative is a stellar cast of musicians, including Mozart and his sister Maria Anna, Clara Schumann, Maria Callas, Bob Dylan, Ravi and Anoushka Shankar, David Bowie, Nina Simone, Charlie Parker, Kraftwerk, John Cage, Beyonce´, and Mali griot Toumani Diabaté, among others. This book even includes a playlist of songs that you can listen to as you read.
Author: W.J Baltzell
Publisher: BoD – Books on Demand
ISBN: 3752405325
Category : Fiction
Languages : en
Pages : 458
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Book Description
Reproduction of the original: A Complete History of Music by W.J Baltzell
Author: Louis Charles Elson
Publisher:
ISBN:
Category : Music
Languages : en
Pages : 328
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Book Description
Author: W. J. Baltzell
Publisher: DigiCat
ISBN:
Category : Music
Languages : en
Pages : 351
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Book Description
"A Complete History of Music for Schools, Clubs, and Private Reading" is a great source of information on the history of music from ancient times to publishing. This work aims to give an overall picture of how music evolved in the world. It traces the development of the musical art across different countries. Broken into 60 lessons, it will be great both as a class manual and as a reader's companion.
Author: James A. Keene
Publisher: Glenbridge Publishing Ltd.
ISBN: 0944435661
Category : Education
Languages : en
Pages : 450
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Book Description
Keene provides a detailed account of music instruction in colonial and nationalized America from the 1600s to the end of the 1960s. (Music)
Author: James A. Davis
Publisher: Routledge
ISBN: 1317023501
Category : Education
Languages : en
Pages : 222
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Book Description
The Music History Classroom brings together essays written by recognized and experienced teachers to assist in the design, implementation, and revision of college-level music history courses. This includes the traditional music history survey for music majors, but the materials presented here are applicable to other music history courses for music majors and general education students alike, including period classes, composer or repertory courses, and special topics classes and seminars. The authors bring current thought on the scholarship of teaching and learning together with practical experience into the unique environment of the music history classroom. While many of the issues confronting teachers in other disciplines are pertinent to music history classes, this collection addresses the unique nature of musical materials and the challenges involved in negotiating between historical information, complex technical musical issues, and the aesthetics of performing and listening. This single volume provides a systematic outline of practical teaching advice on all facets of music history pedagogy, including course design, classroom technology, listening and writing assignments, and more. The Music History Classroom presents the 'nuts-and-bolts' of teaching music history suitable for graduate students, junior faculty, and seasoned teachers alike.
Author: Winton James Baltzell
Publisher: Library of Alexandria
ISBN: 1465614761
Category : Fiction
Languages : en
Pages : 494
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Book Description
When we think of Music we have in mind an organization of musical sounds into something definite, something by design, not by chance, the product of the working of the human mind with musical sounds and their effects upon the human sensibilities. So long as man accepted the various phenomena of musical sounds as isolated facts, there could be no art. But when he began to use them to minister to his pleasure and to study them and their effects, he began to form an art of music. The story of music is the record of a series of attempts on the part of man to make artistic use of the material which the ear accepts as capable of affording pleasure and as useful in expressing the innermost feelings. The raw material of music consists of the sounds considered musical, the human voice, various musical instruments and the use of this material in such ways as to affect the human sensibilities; that is, to make an impression upon the hearer which shall coincide with that of the original maker of the music who gives to his feelings expression in music. We find in music, as in other branches, that man tries to reduce phenomena to order and to definite form. The mass of musical material is vague, incoherent, disorganized. Man seeks to devise ways to use it intelligibly, and to promote esthetic pleasure. If musical sounds are to be combined simultaneously or successively, this combination should be in accordance with design, not haphazard, just as the builder of the house or the temple puts together his material according to a regular plan. Those who have been leaders in the Art of Music have labored in two ways: to extend the limits of expression in music, and to find the means to contain that expression. At one period stress is laid on making music expressive, at another on the medium for conveying expression to others, the latter being comprehended in the term Form. In connection with this statement, the student will do well to remember that every period of great intellectual activity, social or political, reacted upon music and the other arts; to illustrate, we need but refer to the formal, even artificial character of the music of the period preceding the French Revolution and the freedom and vigor imparted by the spirit of Romanticism which followed in the wake of that great political movement, a difference strikingly illustrated in the music of Haydn and Beethoven, Clementi and Schumann. There is also a constant action and reaction of the various racial streams of power such as the Aryan on the Semitic, East upon the West, Latin upon the Teuton, Folk-music upon the Scholastic.
Author: Esther M. Morgan-Ellis
Publisher: Taylor & Francis
ISBN: 1040016812
Category : Education
Languages : en
Pages : 236
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Book Description
At a time of transformation in the music history classroom and amid increasing calls to teach a global music history, Navigating Stylistic Boundaries in the Music History Classroom adds nuance to the teaching of varied musical traditions by examining the places where they intersect and the issues of musical exchange and appropriation that these intersections raise. Troubling traditional boundaries of genre and style, this collection of essays helps instructors to denaturalize the framework of Western art music and invite students to engage with other traditions—vernacular, popular, and non-Western—on their own terms. The book draws together contributions by a wide range of active scholars and educators to investigate the teaching of music history around cases of stylistic borders, exploring the places where different practices of music and values intersect. Each chapter in this collection considers a specific case in which an artist or community engages in what might be termed musical crossover, exchange, or appropriation and delves deeper into these concepts to explore questions of how musical meaning changes in moving across worlds of practice. Addressing works that are already widely taught but presenting new ways to understand and interpret them, this volume enables instructors to enrich the perspectives on music history that they present and to take on the challenge of teaching a more global music history without flattening the differences between traditions.
