Originally published in 1943 and subsequently as a revised and enlarged edition in 1978, Musical Instruments has long been held in high regard, not only for its erudition, but for its originality of approach.
Weida Wang explores how Western classical music (WCM) has become increasingly popular in China, framing the industry as a complex entity intricately embedded within China's political landscape, cultural economy, and cultural industries.
Antonio Vivaldi, bekannt als der „rote Priester“ von Venedig, war mehr als nur ein Komponist – er war ein visionärer Musiker, der die Barockmusik revolutionierte.
Sigismund von Neukomm war weit mehr als nur ein Schüler von Joseph Haydn – er war ein musikalischer Weltbürger, dessen Kompositionen von Europa bis Südamerika reichten und Kulturen miteinander verbanden.
This book contains sixteen essays on Venetian music in its last great period, stretching from the second half of the 17th century to the fall of the Republic in 1797.
This volume gathers together twelve essays on the composer's music, reflecting the author's interests in aesthetic and psychological issues, the sacred works, methods of structural analysis, and the problems of making critical editions.
When this volume was originally published in 1954 it was the first complete history of the Bach family from the 16th Century miller Veit to Wilhelm Friedrich Ernst (1759-1845), Johann Sebastian's grandson.
Edvard Grieg, der bedeutendste Komponist Norwegens, schuf eine einzigartige Verbindung zwischen den Klängen seiner Heimat und den Idealen der europäischen Romantik.
Niccolò Paganini – ein Name, der bis heute mit unvergleichlicher Virtuosität, mystischen Legenden und der Faszination des Übernatürlichen verbunden ist.
Originally published in 1970 this collection of essays by a renowned international musicologist is both imaginative in scope and authoritative in scholarship.
Whenhe was a young seminarian, the teacher in Luigi Giussanis singing class playeda recording of an aria from a Donizetti opera, Spirto gentil (Gentle spirit,you once shone in my dreams, but after, I lost you forever.
Providing a thorough introduction to both choral and instrumental conducting, this textbook offers a complete package of teaching, study, and assessment materials to support a single-semester foundational conducting course.
Originally published in 1943 and subsequently as a revised and enlarged edition in 1978, Musical Instruments has long been held in high regard, not only for its erudition, but for its originality of approach.
Originally published in 1970 this collection of essays by a renowned international musicologist is both imaginative in scope and authoritative in scholarship.
Barocke Musik – geistliche wie weltliche – wurde im Zuge der Kolonialisierung von Europäern nach Südamerika gebracht und verbreitete sich dort in verschiedenen Kontexten.
This volume gathers together twelve essays on the composer's music, reflecting the author's interests in aesthetic and psychological issues, the sacred works, methods of structural analysis, and the problems of making critical editions.
Martha Feldman's exploration of sixteenth-century Venetian madrigals centers on the importance to the Venetians of Ciceronian rhetorical norms, which emphasized decorum through adherence to distinct stylistic levels.
This study reassesses Cage's multifaceted practice from a transdisciplinary perspective, using text as a premise for his musical, visual, lingual, and museal compositions.
An award-winning account of the importance of semiotic play in Classic instrumental music, including that of Mozart, Haydn, and BeethovenOf all the repertories of Western Art music, none is as explicitly listener-oriented as that of the late eighteenth and early nineteenth centuries.
In this collection of essays Mary Cyr explores some of the written and unwritten performance conventions that applied to French and English music of the 17th and early 18th centuries.
Paul Wranitzky, ein Zeitgenosse von Größen wie Haydn, Mozart und Beethoven, erlebte in seiner Zeit großen Ruhm, geriet jedoch im Laufe der Geschichte fast in Vergessenheit.
Anna Magdalena Bach wird oft nur als die Frau an der Seite eines der größten Komponisten der Geschichte wahrgenommen – doch ihre Rolle ging weit über die eines stillen Beobachters hinaus.
