The Lost Tradition of Dvork's Operas: Myth, Music, and Nationalism examines Antonn Dvork's operas, specifically Jakobn and Rusalka, from a critical standpoint, focusing on such criteria as tonal structures, thematic material and motives, subject matter, Czech folklore and musical influences, textual language, nationalism, characters, compositional history, performance history, and reception.
The Modern Castrato: Gaetano Guadagni and the Coming of a New Operatic Age chronicles the career of the most significant castrato of the second half of the eighteenth-century.
This collection of the most beautiful 100 easy original compositions for piano presented by Schott contains a selection of works that accompany every pupil in the first years of his or her piano lessons.
Written from the perspective of a scholar and performer, Traditional Music and Irish Society investigates the relation of traditional music to Irish modernity.
The Russian school of violin playing produced many of the twentieth century's leading violinists - from the famed disciples of Leopold Auer such as Jascha Heifetz, Nathan Milstein, and Mischa Elman to masters of the Soviet years such as David Oistrakh and Leonid Kogan.
In a spellbinding account of her two-year teaching stint and travels in China, Woronov provides, through numerous anecdotes, insight into the everyday life of the modern Chinese people.
Set against the backdrop of Jim Crow, Night Train to Nashville takes readers behind the curtain of one of music's greatest untold stories during the era of segregation and Civil Rights.
More than simply a paragon of Brazilian samba, Dona (Lady) Ivone Lara's 1981 Sorriso Negro (translated to Black Smile) is an album deeply embedded in the political and social tensions of its time.
Walsh's book should be a vade mecum for anyone who would teach the Carmina Burana on any level and be of considerable value in general to medievalists, comparatists, and those in related disciplines.
Puerto Rico's rich musical history is chronicled in Donald Thompson's translated texts, a history that is often unavailable to those who do not read Spanish easily.
The Routledge Handbook of Asian Music: Cultural Intersections introduces Asian music as a way to ask questions about what happens when cultures converge and how readers may evaluate cultural junctures through expressive forms.
Disaster Songs as Intangible Memorials in Atlantic Canada draws on a collection of over 600 songs relating to Atlantic Canadian disasters from 1891 up until the present and describes the characteristics that define them as intangible memorials.
This is the tenth in a series of monographs--Shaping American Lutheran Church Music--published by the Center for Church Music, Concordia University Chicago, River Forest, Illinois.
For female pop stars, whose star bodies and star performances are undisputedly the objects of a sexualized external gaze, the process of ageing in public poses particular challenges.
Black Hands, White House documents and appraises the role enslaved women and men played in building the US, both its physical and its fiscal infrastructure.
Thirty years of collecting and 15 years of research have resulted in this discography that features all known recordings, transcriptions, and films made by Cole until 1950, when his jazz style faded away, and a selection of his later jazz-related trio sides.
Born of an Anglican mother and a Jewish father who disdained religion, Kaplan knew little of her Judaic roots and less about her famed great-grandfather until beginning her research, more than twenty years ago.
DIY House Shows and Music Venues in the US is an interdisciplinary study of house concerts and other types of DIY ("e;do- it- yourself"e;) music venues and events in the United States, such as warehouses, all- ages clubs, and guerrilla shows, with its primary focus on West Coast American DIY locales.
This book, first published in 1987, sets out to examine and extend our understanding of Australian popular culture, and to counter the long-established, traditional criticism bewailing its lack.
