The ars antiqua began to be mentioned in writings about music in the early decades of the fourteenth century, where it was cited along with references to a more modern "e;art"e;, an ars nova.
The ars antiqua began to be mentioned in writings about music in the early decades of the fourteenth century, where it was cited along with references to a more modern "e;art"e;, an ars nova.
The relationship between music and painting in the Early Modern period is the focus of this collection of essays by an international group of distinguished art historians and musicologists.
The relationship between music and painting in the Early Modern period is the focus of this collection of essays by an international group of distinguished art historians and musicologists.
The 1990s work of six British composers forms the focus of this collection of essays, arising from a conference that took place at University of Surrey Roehampton in February 1999.
The 1990s work of six British composers forms the focus of this collection of essays, arising from a conference that took place at University of Surrey Roehampton in February 1999.
As shown by the ever-increasing volume of recordings, editions and performances of the vast repertory of secular cantatas for solo voice produced, primarily in Italy, in the second half of the seventeenth century and the first half of the eighteenth century, this long neglected genre has at last 'come of age'.
As shown by the ever-increasing volume of recordings, editions and performances of the vast repertory of secular cantatas for solo voice produced, primarily in Italy, in the second half of the seventeenth century and the first half of the eighteenth century, this long neglected genre has at last 'come of age'.
Analysing over 100 recordings from 1945-1975, this book examines twentieth-century baroque performance practice as evinced in all the commercially available recordings of J.
Analysing over 100 recordings from 1945-1975, this book examines twentieth-century baroque performance practice as evinced in all the commercially available recordings of J.
Research in the 20th and 21st centuries into historical performance practice has changed not just the way performers approach music of the 17th and 18th centuries but, eventually, the way audiences listen to it.
Research in the 20th and 21st centuries into historical performance practice has changed not just the way performers approach music of the 17th and 18th centuries but, eventually, the way audiences listen to it.
The late 17th century through to the end of the 18th century saw rapid progress in the development of woodwind instruments and the composition of a vast body of music for those instruments.
The late 17th century through to the end of the 18th century saw rapid progress in the development of woodwind instruments and the composition of a vast body of music for those instruments.
The grotesque is one of art's most puzzling figures - transgressive, comprising an unresolveable hybrid, generally focussing on the human body, full of hyperbole, and ultimately semantically deeply puzzling.
The grotesque is one of art's most puzzling figures - transgressive, comprising an unresolveable hybrid, generally focussing on the human body, full of hyperbole, and ultimately semantically deeply puzzling.
Our image of Beethoven has been transformed by the research generated by a succession of scholars and theorists who blazed new trails from the 1960s onwards.
Our image of Beethoven has been transformed by the research generated by a succession of scholars and theorists who blazed new trails from the 1960s onwards.
Between 1958 and 2002, Luciano Berio wrote fourteen pieces entitled Sequenza, along with several versions of the same work for different instruments, revisions of the original pieces and also the parallel Chemins series, where one of the Sequenzas is used as the basis for a new composition on a larger scale.
Between 1958 and 2002, Luciano Berio wrote fourteen pieces entitled Sequenza, along with several versions of the same work for different instruments, revisions of the original pieces and also the parallel Chemins series, where one of the Sequenzas is used as the basis for a new composition on a larger scale.
This collection of essays by scholars of nineteenth- and early twentieth-century French music has been assembled in homage to the influential and inspirational French musicologist Fran's Lesure who died in 2001.
This collection of essays by scholars of nineteenth- and early twentieth-century French music has been assembled in homage to the influential and inspirational French musicologist Fran's Lesure who died in 2001.
This book, the first of its kind, is a study of Bolognese instrumental music during the height of the city's musical activity in the late seventeenth century.
This book, the first of its kind, is a study of Bolognese instrumental music during the height of the city's musical activity in the late seventeenth century.
In 1853 Robert Schumann identified fully-formed compositional mastery in the young Brahms, who nevertheless in the years following embarked on a period of intensive further study, producing, among other works, the neo-baroque Sarabande and Gavotte.
In 1853 Robert Schumann identified fully-formed compositional mastery in the young Brahms, who nevertheless in the years following embarked on a period of intensive further study, producing, among other works, the neo-baroque Sarabande and Gavotte.
Imaginative analytical and critical work on British music of the early twentieth century has been hindered by perceptions of the repertory as insular in its references and backward in its style and syntax, escaping the modernity that surrounded its composers.
Imaginative analytical and critical work on British music of the early twentieth century has been hindered by perceptions of the repertory as insular in its references and backward in its style and syntax, escaping the modernity that surrounded its composers.
Under his real name, Bruce Montgomery (1921-1978) wrote concert music and the scores for almost 50 feature films, including some of the most enduring British comedies of the twentieth century, amongst them a number in the series started by Doctor in the House and the first six Carry On films.
Under his real name, Bruce Montgomery (1921-1978) wrote concert music and the scores for almost 50 feature films, including some of the most enduring British comedies of the twentieth century, amongst them a number in the series started by Doctor in the House and the first six Carry On films.
Charles Avison's Essay on Musical Expression, first published in 1752, is a major contribution to the debate on musical aesthetics which developed in the course of the 18th century.
Charles Avison's Essay on Musical Expression, first published in 1752, is a major contribution to the debate on musical aesthetics which developed in the course of the 18th century.
Charles Hall as one of the leading musicians of the nineteenth century and intimate with almost all of the great composers and performers of his time, as well as a friend of the Royal Family and known as much as a pianist and chamber musician as a conductor, in London, throughout the country and abroad, in addition to Manchester.
Charles Hall as one of the leading musicians of the nineteenth century and intimate with almost all of the great composers and performers of his time, as well as a friend of the Royal Family and known as much as a pianist and chamber musician as a conductor, in London, throughout the country and abroad, in addition to Manchester.
