Since the mid-twentieth century, Zoltn Kodly's child-developmental philosophy for teaching music has had significant positive impact on music education around the world, and is now at the core of music teaching in the United States and other English speaking countries.
Wedding the American oral storytelling tradition with progressive music journalism, Mitch Myers' The Boy Who Cried Freebird is a treatise on the popular music culture of the twentieth century.
This is the tenth in a series of monographs--Shaping American Lutheran Church Music--published by the Center for Church Music, Concordia University Chicago, River Forest, Illinois.
This pathbreaking work reveals the pivotal role of music--musical works and musical culture--in debates about society, self, and culture that forged European modernity through the "e;long nineteenth century.
Whilst the greatest effort has been made to ensure the quality of this text, due to the historical nature of this content, in some rare cases there may be minor issues with legibility.
For his 2007 critically acclaimed 33 1/3 series title, Let's Talk About Love, Carl Wilson went on a quest to find his inner Celine Dion fan and explore how we define ourselves by what we call good and bad, what we love and what we hate.
Bella Ciao is the album that kick-started the Italian folk revival in the mid-1960s, made by Il Nuovo Canzoniere Italiano, a group of researchers, musicians, and radical intellectuals.
Jewish Music and Modernity demonstrates how borders between repertories are crossed and the sound of modernity is enriched by the movement of music and musicians from the peripheries to the center of modern culture.
Exposes the roots of 18th-century musical cosmopolitanism through an investigation of exchanges and collaborations between musicians and dancers from the two major national musical traditions in the early years of the century.
The liturgical chant sung in the churches of Southern Italy between the ninth and thirteenth centuries reflects the multiculturalism of a territory in which Romans, Franks, Lombards, Byzantines, Normans, Jews, and Muslims were all present with various titles and political roles.
In the late nineteenth and early twentieth centuries, American authors pioneered a mode of musical writing that quite literally resounded beyond the printed page.
This book traces the emergence of the orchestra from 16th-century string bands to the "e;classical"e; orchestra of Haydn, Mozart, Beethoven, and their contemporaries.
Mystical Love in the German Baroque: Theology, Poetry, Music identifies the cultural and devotional conventions underlying expressions of mystical love in poetry and music of the German baroque.
Richly ethnographic and a compelling read, After the Dance, the Drums Are Heavy is a study of carnival, politics, and the musical engagement of ordinary citizens and celebrity musicians in contemporary Haiti.
Koza Dabasa explores Okinawa's island culture and its ghosts of war through the lens of Nenes, a four-woman pop group that draws on the distinctiveness and exoticism of Okinawan musical tradition.
With their insistence that form is a dialectical process in the music of Beethoven, Theodor Adorno and Carl Dahlhaus emerge as the guardians of a long-standing critical tradition in which Hegelian concepts have been brought to bear on the question of musical form.
Revisits Australian rock band silverchair's globally successful debut album Frogstomp (1995) and asserts that the band is not an imitation of American grunge nor an emblem of Gen X angst.
The universally acclaimed and award-winning Oxford History of Western Music is the eminent musicologist Richard Taruskin's provocative, erudite telling of the story of Western music from its earliest days to the present.
Cleverly marketed by their original manager as the bad boys of rock, the Rolling Stones have survived dalliances with the devil, drug busts, and the death of founding member Brian Jones to become the world's longest-running rock and roll band.
The first comprehensive biography of any American woman musician born before the Civil War brings to life a composer whose story is both old-fashioned and strikingly modern.
A tale of forbidden love and inevitable death, the medieval legend of Tristan and Isolde recounts the story of two lovers unknowingly drinking a magic potion and ultimately dying in one another's arms.
Why would Gustav Mahler (1860-1911), modernist titan and so-called prophet of the New Music, commit himself time and again to the venerable sonata-allegro form of Mozart and Beethoven?
