The music of Alec Wilder (1907-1980) blends several American musical traditions, such as jazz and the American popular song, with classical European forms and techniques.
Brahms in the Priesthood of Art: Gender and Art Religion in the Nineteenth-Century German Musical Imagination explores the intersection of gender, art religion (Kunstreligion) and other aesthetic currents in Brahms reception of the nineteenth and early twentieth centuries.
An exemplary investigation into music and sustainability, Singing and Survival tells the story of how music helped the Rapanui people of Easter Island to preserve their unique cultural heritage.
From the prizewinning Jewish Lives series, a fresh appreciation of the great musical figure that gives him his due as composer as well as conductor Leonard Bernstein stood at the epicenter of twentieth-century American musical life.
Nineteenth-Century Choral Music is an in-depth examination of the rich repertoire of choral music and the cultural phenomenon of choral music making throughout the period.
In The Composer as Intellectual, musicologist Jane Fulcher reveals the extent to which leading French composers between the World Wars were not only aware of but also engaged intellectually and creatively with the central political and ideological issues of the period.
Edward MacDowell's European Piano Music is a critical study of the piano music that MacDowell composed during his European sojourn (1876-1888), steeped in reception history and with a special emphasis of programmaticism.
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.
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.
Representing nearly thirty years of research by one of the leading scholars in the field, this series of in-depth studies examines selected aspects of the music of the great Spanish composer in the late Renaissance, Tom Luis de Victoria.
Winner of the Nicholas Bessaraboff PrizeMusical repertory of great importance and quality was performed on viols in sixteenth- and early seventeenth-century England.
Double Lives: Film Composers in the Concert Hall is a collection of fifteen essays dealing with 'iconic' film composers who, perhaps to the surprise of many fans of film music, nevertheless maintained lifelong careers as composers for the concert hall.
From the prizewinning Jewish Lives series, a fresh appreciation of the great musical figure that gives him his due as composer as well as conductor Leonard Bernstein stood at the epicenter of twentieth-century American musical life.
Long remembered chiefly for its modernist exhibitions on the South Bank in London, the 1951 Festival of Britain also showcased British artistic creativity in all its forms.
Building on ideas first advanced by Arnold Schoenberg and later developed by Erwin Ratz, this book introduces a new theory of form for instrumental music in the classical style.
George Whitefield Chadwick (1854-1931), composer, organist, conductor, and director of the New England Conservatory in Boston, was one of America's most prolific musical authority in the later 19th and early 20th century.
Interpreting Music is a comprehensive essay on understanding musical meaning and performing music meaningfully-"e;interpreting music"e; in both senses of the term.
In this wide-ranging set of original essays, musicologist and organist Russell Stinson investigates Johann Sebastian Bach's compositions for the organ, opening up a wealth of perspectives on the stylistic orientation and historical context of these timeless masterpieces.
The German church cantata of the eighteenth century was the culmination of a long tradition of Lutheran "e;sermon music"e; that used the proclamation, amplification, and interpretation of scripture to teach and persuade the listener.
For the greater part of the twentieth century, Ibbs and Tillett's concert agency was to the British music industry what Marks and Spencer is to the world of the department store.
