Charles Hall as one of the leading musicians of the nineteenth century and intimate with almost all of the great composers and performers of his time, as well as a friend of the Royal Family and known as much as a pianist and chamber musician as a conductor, in London, throughout the country and abroad, in addition to Manchester.
Charles Hall as one of the leading musicians of the nineteenth century and intimate with almost all of the great composers and performers of his time, as well as a friend of the Royal Family and known as much as a pianist and chamber musician as a conductor, in London, throughout the country and abroad, in addition to Manchester.
The first book devoted to the composer Charles Villiers Stanford (1852-1924) since 1935, this survey provides the fullest account of his life and the most detailed appraisal of his music to date.
The first book devoted to the composer Charles Villiers Stanford (1852-1924) since 1935, this survey provides the fullest account of his life and the most detailed appraisal of his music to date.
This volume brings together twenty-two of the most diverse and stimulating journal articles on classical and romantic performing practice, representing a rich vein of enquiry into epochs of music still very much at the forefront of current concert repertoire.
This volume brings together twenty-two of the most diverse and stimulating journal articles on classical and romantic performing practice, representing a rich vein of enquiry into epochs of music still very much at the forefront of current concert repertoire.
Composers, performers, listeners, critics and theorists all play vital roles in the creation of music culture; yet often each group can appear to hold widely divergent views of a musical work's aims and effects.
Composers, performers, listeners, critics and theorists all play vital roles in the creation of music culture; yet often each group can appear to hold widely divergent views of a musical work's aims and effects.
Written against the academically dominant but simplistic romanticization of popular music as a positive force, this book focuses on the 'dark side' of the subject.
Written against the academically dominant but simplistic romanticization of popular music as a positive force, this book focuses on the 'dark side' of the subject.
The substantial collection of notations of seventeenth-century Ottoman instrumental music made by Demetrius Cantemir is both a record of compositions of considerable intrinsic interest and a historical document of vital importance, representing as it does one of the most comprehensive accounts of any Middle Eastern repertoire before the widespread adoption of Western notation in the twentieth century.
The substantial collection of notations of seventeenth-century Ottoman instrumental music made by Demetrius Cantemir is both a record of compositions of considerable intrinsic interest and a historical document of vital importance, representing as it does one of the most comprehensive accounts of any Middle Eastern repertoire before the widespread adoption of Western notation in the twentieth century.
D,at de S,rac (1872-1921) is best known for his piano music but his compositions included orchestral and vocal works, including opera, cantata and incidental music.
D,at de S,rac (1872-1921) is best known for his piano music but his compositions included orchestral and vocal works, including opera, cantata and incidental music.
The study of opera in the second half of the eighteenth century has flourished during the last several decades, and our knowledge of the operas written during that period and of their aesthetic, social, and political context has vastly increased.
The study of opera in the second half of the eighteenth century has flourished during the last several decades, and our knowledge of the operas written during that period and of their aesthetic, social, and political context has vastly increased.
Simone Kr,ger provides an innovative account of the transmission of ethnomusicology in European universities, and explores the ways in which students experience and make sense of their musical and extra-musical encounters.
Simone Kr,ger provides an innovative account of the transmission of ethnomusicology in European universities, and explores the ways in which students experience and make sense of their musical and extra-musical encounters.
Fado, often described as 'urban folk music', emerged from the streets of Lisbon in the mid-nineteenth century and went on to become Portugal's 'national' music during the twentieth.
Fado, often described as 'urban folk music', emerged from the streets of Lisbon in the mid-nineteenth century and went on to become Portugal's 'national' music during the twentieth.
Ewe dance-drumming has been extensively studied throughout the history of ethnomusicology, but up to now there has not been a single study that addresses Ewe female musicians.
Ewe dance-drumming has been extensively studied throughout the history of ethnomusicology, but up to now there has not been a single study that addresses Ewe female musicians.
This collection of essays provides vivid new insights into Poulenc's world, his particular rapport with painters, writers and fellow musicians, and with the socialte who promoted his music through their salons.
This collection of essays provides vivid new insights into Poulenc's world, his particular rapport with painters, writers and fellow musicians, and with the socialte who promoted his music through their salons.
After decades of stagnation during the reign of his father, the 'Barracks King', the performing arts began to flourish in Berlin under Frederick the Great.
After decades of stagnation during the reign of his father, the 'Barracks King', the performing arts began to flourish in Berlin under Frederick the Great.
