Twentieth-Century Music Theory and Practice, Edward Pearsall
Автор: Cook Название: The Cambridge History of Twentieth-Century Music ISBN: 1107631998 ISBN-13(EAN): 9781107631991 Издательство: Cambridge Academ Рейтинг: Цена: 6970.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание: The Cambridge History of Twentieth-Century Music, first published in 2004, is an appraisal of the development of music in the twentieth century from the vantage-point of the twenty-first. This wide-ranging book traces the progressive fragmentation of the European `art` tradition, and its relocation as one tradition among many at the century`s end.
Описание: Addresses the relationship between categories of music and categories of people, particularly how certain ways of organizing sounds becomes integral to how we perceive ourselves and how we feel connected to some people and disconnected from others.
Автор: Golab, Maciej Название: Musical modernism in the twentieth century ISBN: 3631629184 ISBN-13(EAN): 9783631629185 Издательство: Peter Lang Рейтинг: Цена: 9971.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание: This book offers a fresh discussion of the methodology of music historiography. So far historiographical methodology has always depended on other fields within humanities (especially on history) to a degree where it moved the focus of its thought away from the musical work’s structure and away from the musical work itself. Musical Modernism in the Twentieth Century looks at musical structures in its cultural context, using different methodological models for the interpretation of the subsequent phases of the twentieth-century musical modernism.
Описание: There is a strong tradition of literary analyses of the musical artwork. Simply put, all musicology - any writing about music - is an attempt at making analogies between what happens within the world of sound and language itself. This study considers this analogy from the opposite perspective: authors attempting to structure words using musical forms and techniques. It's a viewpoint much more rarely explored, and none of the extant studies of novelists' musical techniques have been done by musicians. Can a novel follow the form of a symphony and still succeed as a novel? Can musical counterpoint be mimicked by words on a page? Alan Shockley begins looking for answers by examining music's appeal for novelists, and then explores two brief works, a prose fugue by Douglas Hofstadter, and a short story by Anthony Burgess modeled after a Mozart symphony. Analyses of three large, emblematic attempts at musical writing follow. The much debated 'Sirens' episode of James Joyce's Ulysses, which the author famously likened to a fugue, Burgess' largely ignored Napoleon Symphony: A Novel in Four Movements, patterned on Beethoven's Eroica, and Joyce's Finnegans Wake, which Shockley examines as an attempt at composing a fully musicalized language. After these three larger analyses, Shockley discusses two quite recent brief novels, William Gaddis' novella Agape Agape and David Markson's This is not a novel, proposing that each of these confounding texts coheres elegantly when viewed as a musically-structured work. From the perspective of a composer, Shockley offers the reader fresh tools for approaching these dense and often daunting texts.
Описание: This book explores the web of pitch relations that generates the musical language of non-serialized twelve-tone music and supplies both the analytical materials and methods necessary for analyses of a vast proportion of the 20th century musical repertoire. Composers discussed include Ives, Stravinsky, Bartok, Messiaen, Cage, Debussy, and Copland.
Описание: Employing an interview with English-born (1943) and Australia-domiciled composer Roger Smalley as a kind of cantus firmus, this book incorporates critical commentary on the composer`s major works in a chronological narrative that engages with issues of central relevance to Smalley`s generation.
Описание: 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? One of the most productive ways forward is to pursue case studies involving single composers whose music reflects several aspects of recent activity. This enables the discussion of broad issues in a relatively focussed way whilst avoiding the pitfalls of traditional narrative histories and the centrifugal tendencies of the relativistic approach that some have called for. The music of the English-born (1943) and Australia-domiciled composer Roger Smalley is ideal material for such a study, because of his involvement with and response to an unusually large number of the myriad concerns and practices of post-1950s composition, including post-serial constructivism; parody; electro-acoustic composition and the electronic modification of conventionally-produced sound; Moment Form; aleatorism; minimalism; the use of non-Western resources (Aboriginal and South-East Asian sonorities); neo-Romanticism; and, arguably, the 'new classicism', as well as a brief flirtation with rock music in the late '60s. Employing an interview with the composer as a kind of cantus firmus, the book - the first extended single-author study of Smalley's music to be published - incorporates critical commentary on the composer's major works in a chronological narrative that engages with broad issues of central relevance to Smalley's generation, such as the process of learning the craft of composition in the early '60s; the motivation behind the adoption of certain technical and aesthetic positions; the effects on technical and aesthetic orientation of both the changing relationships between composer, performer, and audience and technological change; and the distinction betwe
Автор: Omojola, Bode Название: Yoruba music in the twentieth century ISBN: 1580464939 ISBN-13(EAN): 9781580464932 Издательство: Wiley Рейтинг: Цена: 5226.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание: Drawing on extensive field research conducted over the course of two decades, Bode Omojola examines traditional and contemporary Yoruba genres of music.
Описание: This book explores the web of pitch relations that generates the musical language of non-serialized twelve-tone music and supplies both the analytical materials and methods necessary for analyses of a vast proportion of the 20th century musical repertoire. Composers discussed include Ives, Stravinsky, Bartok, Messiaen, Cage, Debussy, and Copland.
In Jazz Transatlantic, Volume I, renowned scholar Gerhard Kubik takes the reader across the Atlantic from Africa to the Americas and then back in pursuit of the music we call jazz. This first volume explores the term itself and how jazz has been defined and redefined. It also celebrates the phenomena of jazz performance and uncovers hidden gems of jazz history. The volume offers insights gathered during Kubik's extensive field work and based on in-depth interviews with jazz musicians around the Atlantic world. Languages, world views, beliefs, experiences, attitudes, and commodities all play a role. Kubik reveals what is most important--the expertise of individual musical innovators on both sides of the Atlantic, and hidden relationships in their thoughts.
Besides the common African origins of much vocabulary and structure, all the expressions of jazz in Africa share transatlantic family relationships. Within that framework, musicians are creating and re-creating jazz in never-ending contacts and exchanges. The first of two volumes, Jazz Transatlantic, Volume I examines this transatlantic history, sociolinguistics, musicology, and the biographical study of personalities in jazz during the twentieth century. This volume traces the African and African American influences on the creation of the jazz sound and traces specific African traditions as they transform into American jazz. Kubik seeks to describe the constant mixing of sources and traditions, so he includes influences of European music in both volumes. These works will become essential and indelible parts of jazz history.
In Jazz Transatlantic, Volume II, renowned scholar Gerhard Kubik extends and expands the epic exploration he began in Jazz Transatlantic, Volume I. This second volume amplifies how musicians influenced by swing, bebop, and post-bop influenced musicians in Africa from the end of World War II into the 1970s were interacting with each other and re-creating jazz. Much like the first volume, Kubik examines musicians who adopted a wide variety of jazz genres, from the jive and swing of the 1940s to modern jazz. Drawing on personal encounters with the artists, as well as his extensive field diaries and engagement with colleagues, Kubik looks at the individual histories of musicians and composers within jazz in Africa. He pays tribute to their lives and work in a wider social context.
The influences of European music are also included in both volumes as it is the constant mixing of sources and traditions that Kubik seeks to describe. Each of these groundbreaking volumes explores the international cultural exchange that shaped and continues to shape jazz. Together, these volumes culminate an integral recasting of international jazz history.
Автор: Fargion Название: Taarab Music in Zanzibar in the Twentieth Century ISBN: 0754655547 ISBN-13(EAN): 9780754655541 Издательство: Taylor&Francis Рейтинг: Цена: 22968.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание: The musical genre of taarab is played for entertainment at weddings and other festive occasions all along the Swahili Coast in East Africa. In this study Janet Topp Fargion traces the development of the genre in Zanzibar, from the late nineteenth century to the end of the twentieth.
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