Exploring the ideas of consensus, resistance and rupture, this book contributes an important and nuanced reflection to the current debate on modernism in music.
First published in 2001, this work provides detailed information taken from the 'Programmes-as-Broadcast' daily log of output held at the BBC Written Archives Centre in Caversham.
The Centro Latinoamericano de Altos Estudios Musicales (CLAEM) in Buenos Aires operated for less than a decade, but by the time of its closure in 1971 it had become the undeniable epicenter of Latin American avant-garde music.
American director Robert Altman (1925-2006) first came to national attention with the surprise blockbuster M*A*S*H (1970), and he directed more than thirty feature films in the subsequent decades.
In this fascinating social history of music in Los Angeles from the 1880s to 1940, Catherine Parsons Smith ventures into an often neglected period to discover that during America's Progressive Era, Los Angeles was a center for making music long before it became a major metropolis.
The emergence of music printing and publishing in the early 16th century radically changed how music was circulated, and how the musical source (printed or manuscript) was perceived, and used in performance.
Music, Sexuality and the Enlightenment explains how Mozart's music for Le nozze di Figaro, Don Giovanni and CosA fan tutte 'sounds' the intentions of Da Ponte's characters and their relationships with one another.
Screening Generation X: The Politics and Popular Memory of Youth in Contemporary Cinema examines popular representations of Generation X in American and British film.
Drawing on recent ideas that explore new environments and the changing situations of composition and performance, Simon Emmerson provides a significant contribution to the study of contemporary music, bridging history, aesthetics and the ideas behind evolving performance practices.
Materials and Techniques of Post-Tonal Music, Fifth Edition provides the most comprehensive introduction to post-tonal music and its analysis available.
Nineteenth Century Chamber Music proceeds chronologically by composer, beginning with the majestic works of Beethoven, and continuing through Schubert, Spohr and Weber, Mendelssohn, Schumann, Brahms, the French composers, Smetana and Dvorak, and the end-of-the-century pre-modernists.
It is a truth widely acknowledged that, while part of a uniquely diverse and vibrant musical environment, the achievements of home-grown British instrumentalists in the nineteenth century gave little cause for national pride.
This volume is a comprehensive and detailed survey of music and musical life of the entire Soviet era, from 1917 to 1991, which takes into account the extensive body of scholarly literature in Russian and other major European languages.
The motet was unquestionably one of the most important vocal genres from its inception in late twelfth-century Paris through the Counter-Reformation and beyond.
In Staging Scenes from the Operas of Donizetti and Verdi, veteran opera director William Ferrarapresents a detailed, practical exploration of the staging of twenty-one scenes from two of opera's most beloved composers.
Looking at schools and universities, it is difficult to pinpoint when education, teaching and learning started to haemorrhage purpose, aspiration and function.
Maurice Durufle (1902-1986) is best known as composer of the hauntingly beautiful and moving Requiem of 1947, and as organist during his long tenure at the church of Saint-Etienne-du-Mont in Paris.
This compact introduction to the life and works of composer Elliott Carter provides a fresh perspective on one of the most significant American composers of the twentieth and twenty-first centuries.
Examining, for the first time, the compositions of Johann Joseph Fux in relation to his contemporaries Bach and Handel, The Musical Discourse of Servitude presents a new theory of the late baroque musical imagination.
Censorship had an extraordinary impact on Alban Berg's opera Lulu, composed by the Austrian during the politically tumultuous years spanning 1929 to 1935.
Claudio Monteverdi is now recognized as the towering figure of a critical transitional moment of Western music history: relentless innovator in every genre within chamber, church and theatre music; self-proclaimed leader of a 'new dispensation' between words and their musical expression; perhaps even 'Creator of Modern Music'.
The leading textbook in jazz improvisation, Creative Jazz Improvisation, Fifth Edition represents a compendium of knowledge and practice resources for the university classroom, suitable for all musicians looking to develop and sharpen their soloing skills.
This collection of essays is the first book-length study of music history and cosmopolitanism, and is informed by arguments that culture and identity do not have to be viewed as primarily located in the context of nationalist narratives.
The appearance of the solo voice in church music in 1602, in Lodovico da Viadana's Cento concerti ecclesiastici, initiated a development that would soon parallel secular solo song.
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.
Teaching Electronic Music: Cultural, Creative, and Analytical Perspectives offers innovative and practical techniques for teaching electronic music in a wide range of classroom settings.
School and Amateur Orchestras is devoted to a discussion of school and amateur orchestras and consideration of instruments that are normally associated with them.
In this groundbreaking, historically-informed semiotic study of late eighteenth-century music, Stephen Rumph focuses on Mozart to explore musical meaning within the context of Enlightenment sign and language theory.
