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.
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 research presented in this volume is very recent, and the general approach is that of rethinking popular musicology: its purpose, its aims, and its methods.
The research presented in this volume is very recent, and the general approach is that of rethinking popular musicology: its purpose, its aims, and its methods.
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 double bass - the preferred bass instrument in popular music during the 1960s - was challenged and subsequently superseded by the advent of a new electric bass instrument.
The double bass - the preferred bass instrument in popular music during the 1960s - was challenged and subsequently superseded by the advent of a new electric bass instrument.
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.
The use of irony in music is just beginning to be defined and critiqued, although it has been used, implied and decried by composers, performers, listeners and critics for centuries.
The use of irony in music is just beginning to be defined and critiqued, although it has been used, implied and decried by composers, performers, listeners and critics for centuries.
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.
Mozart's piano sonatas are among the most familiar of his works and stand alongside those of Haydn and Beethoven as staples of the pianist's repertoire.
