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.
The New Bruckner provides a valuable study of Bruckner's music, focusing on the interaction of biography, textual scholarship, reception history and analysis.
The New Bruckner provides a valuable study of Bruckner's music, focusing on the interaction of biography, textual scholarship, reception history and analysis.
More than forty years after the composer's death, the music of Roberto Gerhard (1896-1970) continues to be recorded and performed and to attract international scholarly interest.
More than forty years after the composer's death, the music of Roberto Gerhard (1896-1970) continues to be recorded and performed and to attract international scholarly interest.
This volume provides the first printed critical edition of The Praise of Musicke (1586), keeping the original text intact and accompanied by an analytical commentary.
This volume provides the first printed critical edition of The Praise of Musicke (1586), keeping the original text intact and accompanied by an analytical commentary.
Mattias Lundberg investigates the historical role of a deviant psalm-tone, the tonus peregrinus, focusing on its applications in polyphonic music within all major branches of Western liturgy.
Mattias Lundberg investigates the historical role of a deviant psalm-tone, the tonus peregrinus, focusing on its applications in polyphonic music within all major branches of Western liturgy.
Since the beginning of the twentieth century, the cross-pollenization of world musical materials and practices has accelerated precipitously, due in large part to advances in higher-speed communications and travel.
Since the beginning of the twentieth century, the cross-pollenization of world musical materials and practices has accelerated precipitously, due in large part to advances in higher-speed communications and travel.
