How are we to assess the current popularity of period instruments and early-music performance? For musicians and audiences alike, the "historical authenticity" movement has increasingly influenced the performance of classical music. It has given us, claims Peter Kivy, "new and rewarding ways of listening to our musical reportory (as well as silly, vulgar, and unrewarding ones)." He believes that theory now overrules the ear in arguing for and justifying particular aesthetic decisions.
In his customary engaging style, Kivy here mounts a philosophical inquiry into the desirability of using or re-creating historical performance. "Authenticity has become so widely accepted," he writes, "that why it should be accepted has become an unasked, indeed a forgotten question among the converted." In "How to Be Authentic," the first section of his book, he examines four different kinds of authenticity; in the second part, "Why to Be Authentic," he suggests how to evaluate them. Discussing issues that he cares about passionately, Kivy provides ammunition for both camps—those who follow authentic performance practice and those who do not.
It is his hope that this book provides the groundwork for dialogue between mucisians and philosophers. "I look forward to that," he says, "and to being, when it comes, in the thick of things."
Автор: Hajara Amoni Njidda Название: Performing Authenticities and Nation Building in Nigeria ISBN: 3487160137 ISBN-13(EAN): 9783487160139 Издательство: Gazelle Book Services Рейтинг: Цена: 7291.00 р. Наличие на складе: Поставка под заказ.
Описание: After the devastating civil war which lasted over 30 months (July 1967 January 1970), the then head of state and commander in chief of the armed forces of the Federal Republic of Nigeria, General Yakubu Gowon initiated a national festival for the main purposes of reintegration and reconciliation between ethnic nationalities that fought on the opposing sides during the war. It was an opportunity to use culture to heal the wounds of the war by uniting the people but as time went by, it became a forum for creativity, talent hunt and cultural promotion. The thrust of this publication is to examine the festival from the perspectives of performing authenticity, cultural nationalism, nation building and national identification which was continued to be shaped by prevailing socio-political as well as economic conditions.
Описание: This book studies the working efficacy of Leonard Cohen`s song Hallelujah in the context of today`s network culture. Especially as recorded on YouTube, k.d. lang`s interpretation(s) of Cohen`s Hallelujah embody, acoustically and visually/viscerally, what Nietzsche named the `spirit of music`. Today.
Автор: Godlovitch, Stan Название: Musical Performance ISBN: 0415191297 ISBN-13(EAN): 9780415191296 Издательство: Taylor&Francis Рейтинг: Цена: 6123.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Автор: Godlovitch, Stan Название: Musical Performance ISBN: 0415191289 ISBN-13(EAN): 9780415191289 Издательство: Taylor&Francis Рейтинг: Цена: 22202.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Автор: Kuijken Barthold Название: Notation is Not the Music ISBN: 0253010608 ISBN-13(EAN): 9780253010605 Издательство: Wiley EDC Рейтинг: Цена: 5146.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание: Written by a leading authority and artist of the historical transverse flute, The Notation Is Not the Music offers invaluable insight into the issues of historically informed performance and the parameters—and limitations—of notation-dependent performance. As Barthold Kuijken illustrates, performers of historical music should consider what is written on the page as a mere steppingstone for performance. Only by continual examination and reexamination of the sources to discover original intent can an early music practitioner come close to authentic performance.
In his new concluding chapter, Peter Kivy advances his argument on behalf of a distinctive intellectual and musical character of opera before Mozart. He proposes that happy endings were a musical—as opposed to a dramatic—necessity for opera during this period and that Mozart's Idomeneo is properly enjoyed and judged only when listeners are attuned to its seventeenth and eighteenth-century forebears.
What makes a musical work profound? What is it about pure instrumental music that the listener finds attractive and rewarding? In addressing these questions, Peter Kivy continues his highly regarded exploration of the philosophy of musical aesthetics. He considers here what he believes to be the most difficult subject of all—"just plain music; music unaccompanied by text, title, subject, program, or plot; in other words, music alone."
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