,In a word, I shall endeavour to show how our music, having been originally a shell-fish, with its restrictive skeleton on the outside and no soul within, has been developed by the inevitable laws of evolution, through natural selection and the survival of the fittest, into something human, even divine, with the strong, logical skeleton of its science inside, the fair flesh of God-given beauty outside, and the whole, like man himself, animated by a celestial, eternal spirit.
,In a word, I shall endeavour to show how our music, having been originally a shell-fish, with its restrictive skeleton on the outside and no soul within, has been developed by the inevitable laws of evolution, through natural selection and the survival of the fittest, into something human, even divine, with the strong, logical skeleton of its science inside, the fair flesh of God-given beauty outside, and the whole, like man himself, animated by a celestial, eternal spirit.
Filling a significant gap in current scholarship, the fourteen original essays that make up this volume individually and collectively reflect on the relationship between music and Orientalism in the British Empire over the course of the long nineteenth century.
Filling a significant gap in current scholarship, the fourteen original essays that make up this volume individually and collectively reflect on the relationship between music and Orientalism in the British Empire over the course of the long nineteenth century.
The north-east of England in the eighteenth century was a region where many different kinds of musical activity thrived and where a wide range of documentation survives.
The north-east of England in the eighteenth century was a region where many different kinds of musical activity thrived and where a wide range of documentation survives.
The tercentenary of Marc-Antoine Charpentier's death in 2004 stimulated a surge of activity on the part of performers and scholars, confirming the modern assessment of Charpentier (1643-1704) as one of the most important and inventive composers of the French Baroque.
The tercentenary of Marc-Antoine Charpentier's death in 2004 stimulated a surge of activity on the part of performers and scholars, confirming the modern assessment of Charpentier (1643-1704) as one of the most important and inventive composers of the French Baroque.
Nicholas Lanier (1588-1666) was not only the first person to hold the office of Master of the Music to King Charles I, he was also a practising painter, a friend of Rubens, Van Dyck and many other artists of his time, and one of the very first great art collectors and connoisseurs.
Nicholas Lanier (1588-1666) was not only the first person to hold the office of Master of the Music to King Charles I, he was also a practising painter, a friend of Rubens, Van Dyck and many other artists of his time, and one of the very first great art collectors and connoisseurs.
Nicholas Medtner (1880-1951) has always been a neglected figure in the history of Russian music, and yet his friend Rachmaninoff considered him the greatest of contemporary composers.
Nicholas Medtner (1880-1951) has always been a neglected figure in the history of Russian music, and yet his friend Rachmaninoff considered him the greatest of contemporary composers.
Selected from papers given at the third biennial conference on Music in Nineteenth-Century Britain, this volume, in common with its two predecessors, reflects the interdisciplinary character of the topic.
Selected from papers given at the third biennial conference on Music in Nineteenth-Century Britain, this volume, in common with its two predecessors, reflects the interdisciplinary character of the topic.
This selection of essays represents a wide cross-section of the papers given at the Tenth International Conference on Nineteenth-Century Music held at the University of Bristol in 1998.
This selection of essays represents a wide cross-section of the papers given at the Tenth International Conference on Nineteenth-Century Music held at the University of Bristol in 1998.
When Olivier Messiaen died in 1992, the prevailing image was of a man apart; a deeply religious man whose only sources of inspiration were God and Nature and a composer whose music progressed along an entirely individual path, artistically impervious to contemporaneous events and the whims both of his contemporaries and the critics.
When Olivier Messiaen died in 1992, the prevailing image was of a man apart; a deeply religious man whose only sources of inspiration were God and Nature and a composer whose music progressed along an entirely individual path, artistically impervious to contemporaneous events and the whims both of his contemporaries and the critics.
This volume takes an interdisciplinary approach to studying a wide range of subjects associated with the creation, performance and reception of 'opera' in varying social and historical contexts from the eighteenth to the twentieth centuries.
This volume takes an interdisciplinary approach to studying a wide range of subjects associated with the creation, performance and reception of 'opera' in varying social and historical contexts from the eighteenth to the twentieth centuries.
Matthew Head explores the cultural meanings of Mozart's Turkish music in the composer's 18th-century context, in subsequent discourses of Mozart's significance for 'Western' culture, and in today's (not entirely) post-colonial world.
Matthew Head explores the cultural meanings of Mozart's Turkish music in the composer's 18th-century context, in subsequent discourses of Mozart's significance for 'Western' culture, and in today's (not entirely) post-colonial world.
Listeners, performers, students and teachers will find here the analytical tools they need to understand and interpret musical evidence from the baroque era.
Listeners, performers, students and teachers will find here the analytical tools they need to understand and interpret musical evidence from the baroque era.
The traditional approach to the study of Goethe and Schubert is to place them in opposition to one another, both in terms of their life experiences and in relation to the nineteenth-century Lied.
The traditional approach to the study of Goethe and Schubert is to place them in opposition to one another, both in terms of their life experiences and in relation to the nineteenth-century Lied.
