First published in 1988, this book attempts to tackle the problem of how to write about art, culture, and the issues of postmodernism in a style appropriate to what is being claimed.
First published in 1988, this book attempts to tackle the problem of how to write about art, culture, and the issues of postmodernism in a style appropriate to what is being claimed.
Music-Dance explores the identity of choreomusical work, its complex authorship and its modes of reception as well as the cognitive processes involved in the reception of dance performance.
Music-Dance explores the identity of choreomusical work, its complex authorship and its modes of reception as well as the cognitive processes involved in the reception of dance performance.
Composing for Voice: Exploring Voice, Language and Music, Second Edition, elucidates how language and music function together from the perspectives of composers, singers and actors, providing an understanding of the complex functions of the voice pedagogically, musicologically and dramatically.
Composing for Voice: Exploring Voice, Language and Music, Second Edition, elucidates how language and music function together from the perspectives of composers, singers and actors, providing an understanding of the complex functions of the voice pedagogically, musicologically and dramatically.
Helie Salomon's Scientia artis musice (1274), is a practical manual devoted to basic concepts, psalmody, vocal pedagogy, the musical hand in singing, clefs as indicators of the tone (mode) to which a piece belongs, and practical instruction in the singing of four-voice parallel organum.
Helie Salomon's Scientia artis musice (1274), is a practical manual devoted to basic concepts, psalmody, vocal pedagogy, the musical hand in singing, clefs as indicators of the tone (mode) to which a piece belongs, and practical instruction in the singing of four-voice parallel organum.
This significant volume moves music-historical research in the direction of deconstructing the national grand narratives in music history, of challenging the national paradigm in methodology, and thinking anew about cultural traffic, cultural transfer and cosmopolitanism in the musical past.
This significant volume moves music-historical research in the direction of deconstructing the national grand narratives in music history, of challenging the national paradigm in methodology, and thinking anew about cultural traffic, cultural transfer and cosmopolitanism in the musical past.
The Ordo Virtutum, Hildegard von Bingen's twelfth-century music-drama, is one of the first known examples of a large-scale composition by a named composer in the Western canon.
The Ordo Virtutum, Hildegard von Bingen's twelfth-century music-drama, is one of the first known examples of a large-scale composition by a named composer in the Western canon.
This book, first published in 1943, sets forth the history of the rise and development of the states of princely India from the end of the eighteenth century until the beginning of nineteenth.
This book, first published in 1943, sets forth the history of the rise and development of the states of princely India from the end of the eighteenth century until the beginning of nineteenth.
Professionalisation was a key feature of the changing nature of work and society in the nineteenth century, with formal accreditation, registration and organisation becoming increasingly common.
Professionalisation was a key feature of the changing nature of work and society in the nineteenth century, with formal accreditation, registration and organisation becoming increasingly common.
As a book on allusion, this has interest for both the traditional literary or cultural historian and for the modern student of textuality and readership positions.
As a book on allusion, this has interest for both the traditional literary or cultural historian and for the modern student of textuality and readership positions.
The 1909 arrival of Serge de Diaghilev's Ballets Russes in Paris marked the beginning of some two decades of collaboration among litterateurs, painters, musicians, and choreographers, many not native to France.
The 1909 arrival of Serge de Diaghilev's Ballets Russes in Paris marked the beginning of some two decades of collaboration among litterateurs, painters, musicians, and choreographers, many not native to France.
Drawing upon the rich heterogeneity of Denis Diderot's texts-whether scientific, aesthetic, philosophic or literary-Andrew Clark locates and examines an important epistemological shift both in Diderot's oeuvre and in the eighteenth century more generally.
Drawing upon the rich heterogeneity of Denis Diderot's texts-whether scientific, aesthetic, philosophic or literary-Andrew Clark locates and examines an important epistemological shift both in Diderot's oeuvre and in the eighteenth century more generally.
This book studies the ways Hardy writes about music, and argues that this focus allows for a close and varied investigation of the affective dimensions of his poetry and fiction, and his recurrent preoccupations with time, community and love.
This book studies the ways Hardy writes about music, and argues that this focus allows for a close and varied investigation of the affective dimensions of his poetry and fiction, and his recurrent preoccupations with time, community and love.
After the imposition of Gregorian chant upon most of Europe by the authority of the Carolingian kings and emperors in the eighth and ninth centuries, a large number of repertories arose in connection with the new chant and its liturgy.
After the imposition of Gregorian chant upon most of Europe by the authority of the Carolingian kings and emperors in the eighth and ninth centuries, a large number of repertories arose in connection with the new chant and its liturgy.
Extending the critical discussion which has focused on the hymns of Isaac Watts as an influence on Emily Dickinson's poetry, this study brings to bear the hymnody of Dickinson's female forbears and contemporaries and considers Isaac Watts's position as a Dissenter for a fuller understanding of Dickinson's engagement with hymn culture.
Extending the critical discussion which has focused on the hymns of Isaac Watts as an influence on Emily Dickinson's poetry, this study brings to bear the hymnody of Dickinson's female forbears and contemporaries and considers Isaac Watts's position as a Dissenter for a fuller understanding of Dickinson's engagement with hymn culture.
By the late-sixteenth century, Augsburg was one of the largest cities of the Holy Roman Empire, boasting an active musical life involving the contributions of musicians like Jacobus de Kerle, Hans Leo Hassler, and Gregor Aichinger.
