Just as our society delights in citations, quotations, and allusions in myriad contexts, not least in popular song, late medieval poets and composers knew well that such references could greatly enrich their own works.
An innovative and incisive reassessment of a seminal figure in nineteenth-century musical life, through a fresh consideration of his aesthetic, critical, and autobiographical writings.
This book is an invaluable chronicle of an exuberant time of artistic exploration and experimentation populated by now legendary figures such as John Cage, Morton Feldman, Cornelius Cardew, Terry Riley, Julius Eastman, David Tudor, and many others who were part of this under-known chapter of late 20th century music history.
Bringing together reception history, music analysis and criticism, the history of music theory, and the philosophy of music, Beethoven Hero explores the nature and persistence of Beethoven's heroic style.
The classical music of Iraq, known as Iraqi Maqam, features classical and vernacular poetry sung by a virtuoso soloist and accompanied by a small instrumental ensemble.
What does a one hour contemporary orchestral piece by Georg Friedrich Haas have in common with a series of glitch-noise electronic tracks by Pan Sonic?
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.
For students learning the principles of music theory, it can often seem as though the tradition of tonal harmony is governed by immutable rules that define which chords, tones, and intervals can be used where.
Philip Glass and Robert Wilson's most celebrated collaboration, the landmark opera Einstein on the Beach, had its premiere at the Avignon Festival in 1976.
Based on interviews, conversations, and observations drawn from extensive field research, Jazz in Contemporary China: Shifting Sounds, Rising Scenes explores the current developments and conditions of Chinese jazz.
The first significant publication devoted entirely to Trevor Jones's work, The Screen Music of Trevor Jones: Technology, Process, Production, investigates the key phases of his career within the context of developments in the British and global screen-music industries.
Jazz in Socialist Ha Noi: Improvisations between Worlds examines the germination and growth of jazz under communist rule-perceived as the "e;music of the enemy"e; and "e;ideologically decadent"e;-in the Vietnamese capital of Ha Noi.
This annotated bibliography uncovers the wealth of resources available to prospective researchers and supports emerging scholarship and inquiry into the life and music of this Czech composer.
Described by New York Times critic John Rockwell as "e;one of the best non-famous composers this country has to offer,"e; Ben Johnston reconceives familiar idioms--ranging from neoclassicism and serialism to jazz and southern hymnody--using just intonation.
This book studies the uses of orality in Italian society, across all classes, from the fifteenth to the seventeenth century, with an emphasis on the interrelationships between oral communication and the written word.
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.
Thomas Ravenscroft is best-known as a composer of rounds owing to his three published collections: Pammelia and Deuteromelia (both 1609), and Melismata (1611), in addition to his harmonizations of the Whole Booke of Psalmes (1621) and his original sacred works.
Sir Andrzej Panufnik was born in Warsaw and studied in the newly independent Poland in the 1930s, as well as in Vienna and Paris just before the outbreak of the Second World War.
In this boldly innovative book, renowned musicologist Susan McClary presents an illuminating cultural interpretation of the Italian madrigal, one of the most influential repertories of the Renaissance.
The operatic culture of late eighteenth-century Naples represents the fullest expression of a matrix of creators, practitioners, theorists, patrons, and entrepreneurs linking aristocratic, public and religious spheres of contemporary society.
