Music, Sexuality and the Enlightenment explains how Mozart's music for Le nozze di Figaro, Don Giovanni and CosA fan tutte 'sounds' the intentions of Da Ponte's characters and their relationships with one another.
Music, Sexuality and the Enlightenment explains how Mozart's music for Le nozze di Figaro, Don Giovanni and CosA fan tutte 'sounds' the intentions of Da Ponte's characters and their relationships with one another.
Musical Rhythm in the Age of Digital Reproduction presents new insights into the study of musical rhythm through investigations of the micro-rhythmic design of groove-based music.
Musical Rhythm in the Age of Digital Reproduction presents new insights into the study of musical rhythm through investigations of the micro-rhythmic design of groove-based music.
The conversations generated by the chapters in Music's Immanent Future grapple with some of music's paradoxes: that music of the Western art canon is viewed as timeless and universal while other kinds of music are seen as transitory and ephemeral; that in order to make sense of music we need descriptive language; that to open up the new in music we need to revisit the old; that to arrive at a figuration of music itself we need to posit its starting point in noise; that in order to justify our creative compositional works as research, we need to find critical languages and theoretical frameworks with which to discuss them; or that despite being an auditory system, we are compelled to resort to the visual metaphor as a way of thinking about musical sounds.
The conversations generated by the chapters in Music's Immanent Future grapple with some of music's paradoxes: that music of the Western art canon is viewed as timeless and universal while other kinds of music are seen as transitory and ephemeral; that in order to make sense of music we need descriptive language; that to open up the new in music we need to revisit the old; that to arrive at a figuration of music itself we need to posit its starting point in noise; that in order to justify our creative compositional works as research, we need to find critical languages and theoretical frameworks with which to discuss them; or that despite being an auditory system, we are compelled to resort to the visual metaphor as a way of thinking about musical sounds.
Building on the insights of the first volume on Music and Gesture (Gritten and King, Ashgate 2006), the rationale for this sequel volume is twofold: first, to clarify the way in which the subject is continuing to take shape by highlighting both central and developing trends, as well as popular and less frequent areas of investigation; second, to provide alternative and complementary insights into the particular areas of the subject articulated in the first volume.
Building on the insights of the first volume on Music and Gesture (Gritten and King, Ashgate 2006), the rationale for this sequel volume is twofold: first, to clarify the way in which the subject is continuing to take shape by highlighting both central and developing trends, as well as popular and less frequent areas of investigation; second, to provide alternative and complementary insights into the particular areas of the subject articulated in the first volume.
Perspectives on the Performance of French Piano Music offers a range of approaches central to the performance of French piano music of the nineteenth and twentieth centuries.
Perspectives on the Performance of French Piano Music offers a range of approaches central to the performance of French piano music of the nineteenth and twentieth centuries.
Alfred Schnittke (1934-1998) was arguably the most important Russian composer since Shostakovich, and his music has generated a great deal of academic interest in the years since his death.
Alfred Schnittke (1934-1998) was arguably the most important Russian composer since Shostakovich, and his music has generated a great deal of academic interest in the years since his death.
How does one go about writing the history of musical composition in the late twentieth century when, on the one hand, so much of it seems impossibly fractured and disassociated, and, on the other, there has been so little certainty about what the notion of 'music history' might entail under the critiques of post-modernism?
How does one go about writing the history of musical composition in the late twentieth century when, on the one hand, so much of it seems impossibly fractured and disassociated, and, on the other, there has been so little certainty about what the notion of 'music history' might entail under the critiques of post-modernism?
It is the contention of the editors and contributors of this volume that the work carried out by Gilles Deleuze, where rigorously applied, has the potential to cut through much of the intellectual sedimentation that has settled in the fields of music studies.
It is the contention of the editors and contributors of this volume that the work carried out by Gilles Deleuze, where rigorously applied, has the potential to cut through much of the intellectual sedimentation that has settled in the fields of music studies.
In recent years, scholars and musicians have become increasingly interested in the revival of musical improvisation as it was known in the Renaissance and Baroque periods.
In recent years, scholars and musicians have become increasingly interested in the revival of musical improvisation as it was known in the Renaissance and Baroque periods.
TchaikovskyEs Sixth Symphony (1893), widely recognized as one of the worldEs most deeply tragic compositions, is also known for the mystery surrounding its hidden programme and for TchaikovskyEs unexpected death nine days after its premiere.
TchaikovskyEs Sixth Symphony (1893), widely recognized as one of the worldEs most deeply tragic compositions, is also known for the mystery surrounding its hidden programme and for TchaikovskyEs unexpected death nine days after its premiere.
The study of musical composition has been marked by a didactic, technique-based approach, focusing on the understanding of musical language and grammar -harmony, counterpoint, orchestration and arrangement - or on generic and stylistic categories.
The study of musical composition has been marked by a didactic, technique-based approach, focusing on the understanding of musical language and grammar -harmony, counterpoint, orchestration and arrangement - or on generic and stylistic categories.
In recent years the music of minimalist composers such as La Monte Young, Terry Riley, Steve Reich and Philip Glass has, increasingly, become the subject of important musicological reflection, research and debate.
In recent years the music of minimalist composers such as La Monte Young, Terry Riley, Steve Reich and Philip Glass has, increasingly, become the subject of important musicological reflection, research and debate.
The symphony retained its primacy as the most prestigious large-scale orchestral form throughout the first half of the twentieth century, particularly in Britain, Russia and the United States.
The symphony retained its primacy as the most prestigious large-scale orchestral form throughout the first half of the twentieth century, particularly in Britain, Russia and the United States.
In The Discourse of Musicology, Giles Hooper considers a number of issues central to recent debates about the nature and direction of contemporary musicology.
In The Discourse of Musicology, Giles Hooper considers a number of issues central to recent debates about the nature and direction of contemporary musicology.
