Music in the Western World
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|Author||: Piero Weiss,Richard Taruskin|
|Editor||: Schirmer Books|
Pt. 1. The heritage of antiquity -- pt. 2. The Middle Ages -- pt. 3. The Renaissance -- pt. 4. The Baroque -- pt. 5. The pre-classical period -- pt. 6. The classical period -- pt. 7. The later nineteenth century : romanticism and other preoccupations -- pt. 8. The twentieth century -- pt. 9. The recent, past, and the present.
|Author||: Class of 1955 Professor of Music Richard Taruskin,Richard Taruskin|
|Editor||: Oxford University Press, USA|
With two separate volumes on the 20th century. The final volume (v.6) is given over entirely to resources: a lengthy chronology, a checklist of books in English, lists of musical examples in order of appearance and by composer, and a comprehensive index. Annotation 2004 Book News, Inc., Portland, OR (booknews.com).
|Author||: Peter Manuel|
|Editor||: Oxford University Press on Demand|
Reflecting the growing interest in popular music from the developing world, this book examines all major non-Western musical styles, from increasingly familiar genres like reggae and salsa, to the lesser-known regional styles of Africa, the Middle East, Latin America and Asia.
|Author||: Milo Arlington Wold,Edmund Cykler|
|Author||: Stuart Isacoff|
From the critically acclaimed author of Temperament, a narrative account of the most defining moments in musical history—classical and jazz—all of which forever altered Western culture "A fascinating journey that begins with the origins of musical notation and travels through the centuries reaching all the way to our time.”—Semyon Bychkov, chief conductor and music director of the Czech Philharmonic The invention of music notation by a skittish Italian monk in the eleventh century. The introduction of multilayered hymns in the Middle Ages. The birth of opera in a Venice rebelling against the church’s pious restraints. Baroque, Romantic, and atonal music; bebop and cool jazz; Bach and Liszt; Miles Davis and John Coltrane. In telling the exciting story of Western music’s evolution, Stuart Isacoff explains how music became entangled in politics, culture, and economics, giving rise to new eruptions at every turn, from the early church’s attempts to bind its followers by teaching them to sing in unison to the global spread of American jazz through the Black platoons of the First World War. The author investigates questions like: When does noise become music? How do musical tones reflect the natural laws of the universe? Why did discord become the primary sound of modernity? Musical Revolutions is a book replete with the stories of our most renowned musical artists, including notable achievements of people of color and women, whose paths to success were the most difficult.
|Author||: Stuart Isacoff|
Few music lovers realize that the arrangement of notes on today’s pianos was once regarded as a crime against God and nature, or that such legendary thinkers as Pythagoras, Plato, da Vinci, Galileo, Kepler, Descartes, Newton and Rousseau played a role in the controversy. Indeed, from the time of the Ancient Greeks through the eras of Renaissance scientists and Enlightenment philosophers, the relationship between the notes of the musical scale was seen as a key to the very nature of the universe. In this engaging and accessible account, Stuart Isacoff leads us through the battles over that scale, placing them in the context of quarrels in the worlds of art, philosophy, religion, politics and science. The contentious adoption of the modern tuning system known as equal temperament called into question beliefs that had lasted nearly two millenia–and also made possible the music of Beethoven, Schubert, Chopin, Debussy, and all who followed. Filled with original insights, fascinating anecdotes, and portraits of some of the greatest geniuses of all time, Temperament is that rare book that will delight the novice and expert alike.
|Author||: Matthew Gelbart|
|Editor||: Cambridge University Press|
We tend to take for granted the labels we put to different forms of music. This study considers the origins and implications of the way in which we categorize music. Whereas earlier ways of classifying music were based on its different functions, for the past two hundred years we have been obsessed with creativity and musical origins, and classify music along these lines. Matthew Gelbart argues that folk music and art music became meaningful concepts only in the late eighteenth and early nineteenth centuries, and only in relation to each other. He examines how cultural nationalism served as the earliest impetus in classifying music by origins, and how the notions of folk music and art music followed - in conjunction with changing conceptions of nature, and changing ideas about human creativity. Through tracing the history of these musical categories, the book confronts our assumptions about different kinds of music.
|Author||: Richard Taruskin|
|Editor||: Oxford University Press|
The universally acclaimed and award-winning Oxford History of Western Music is the eminent musicologist Richard Taruskin's provocative, erudite telling of the story of Western music from its earliest days to the present. Each book in this superlative five-volume set illuminates-through a representative sampling of masterworks-the themes, styles, and currents that give shape and direction to a significant period in the history of Western music. Music in the Early Twentieth Century , the fourth volume in Richard Taruskin's history, looks at the first half of the twentieth century, from the beginnings of Modernism in the last decade of the nineteenth century right up to the end of World War II. Taruskin discusses modernism in Germany and France as reflected in the work of Mahler, Strauss, Satie, and Debussy, the modern ballets of Stravinsky, the use of twelve-tone technique in the years following World War I, the music of Charles Ives, the influence of peasant songs on Bela Bartok, Stravinsky's neo-classical phase and the real beginnings of 20th-century music, the vision of America as seen in the works of such composers as W.C. Handy, George Gershwin, and Virgil Thomson, and the impact of totalitarianism on the works of a range of musicians from Toscanini to Shostakovich
|Author||: Paul F. Kisak|
This 2 volume set gives a synopsis of more than 500 of these Great Books of The Western World by 161 authors which originally consisted of over 6 feet of books in 54 volumes.The Great Books of Western The Western World are books that are thought to constitute an essential foundation in the literature of Western culture. Specified sets of great books typically range from 100 to 150, though they differ according to purpose and context. For instance, some lists are built to be read by undergraduates in a college semester system (130 books, Torrey Honors Institute), some are compiled to be sold as a single set of volumes (500 books, Mortimer Adler), while some lists aim at a thorough literary criticism (2,400 books, Harold Bloom).The great books are those that tradition, and various institutions and authorities, have regarded as constituting or best expressing the foundations of Western culture (the Western canon is a similar but broader designation); derivatively the term also refers to a curriculum or method of education based around a list of such books. Mortimer Adler lists three criteria for including a book on the list:* the book has contemporary significance; that is, it has relevance to the problems and issues of our times;* the book is inexhaustible; it can be read again and again with benefit; "This is an exacting criterion, an ideal that is fully attained by only a small number of the 511 works that we selected. It is approximated in varying degrees by the rest." * the book is relevant to a large number of the great ideas and great issues that have occupied the minds of thinking individuals for the last 25 centuries. The Great Books of the Western World is a hardcover 60-volume collection (originally 54 volumes) of the books on the great books list (about 517 individual works). Many of the books in the collection were translated into English for the first time.This book is designed to be a state of the art, superb academic reference work and provide an overview of the topic and give the reader a structured knowledge to familiarize yourself with the topic at the most affordable price possible.The accuracy and knowledge is of an international viewpoint as the edited articles represent the inputs of many knowledgeable individuals and some of the most current knowledge on the topic, based on the date of publication.
|Author||: Joshua S. Walden|
|Editor||: Cambridge University Press|
This volume assembles leading scholars to provide a comprehensive study of representation in music from the nineteenth century to today.
|Author||: Georgina Born,David Hesmondhalgh|
|Editor||: Univ of California Press|
"[Western Music and Its Others] will be taken as an important book signalling a new turn within the field. It takes the best features of traditional, rigorous scholarship and brings these to bear upon contemporary, more speculative questions. The level of theoretical sophistication is high. The studies within it are polemical and timely and of lasting scholarly value."--Will Straw, co-editor of Theory Rules: Art as Theory/ Theory and Art "The great value of this collection lies in the wealth of questions that it raises--questions that together crystallize the recent concerns of musicology with force and clarity. But it also lies in the authors' resistance to the easy 'postmodernist' answers that threaten to turn new musicology prematurely grey. The editors' comprehensive, intellectually adventurous introduction exemplifies the sort of eager yet properly skeptical receptivity to scholarly innovation that fosters lasting disciplinary reform. It alone is worth the price of the book." --Richard Taruskin, author of Stravinsky and the Russian Traditions: A Biography of the Works Through " Mavra" "When cultural-studies methods first appeared in musicology 15 years ago, they triggered a storm of polemics that sometimes overshadowed the important issues being raised. As the canon wars recede, however, scholars are finding it possible to focus on the concerns that led them to cultural criticism in the first place: the study of music and its political meanings. Western Music and Its Others brings together leading musicologists, ethnomusicologists, and specialists in film and popular music to explore the ways European and North American musicians have drawn on or identified themselves in tension with the musical practices of Others. In a series of essays ranging from examination of the Orientalist tropes of early 20th-century Modernists to the tangled claims for ownership in today's World Music, the authors in this collection greatly advance both our knowledge of specific case studies and our intellectual awareness of the complexity and urgency of these problems. A timely intervention that should help push music studies to the next level." --Susan McClary, author of Conventional Wisdom: The Content of Musical Form (2000) "This collection provides a sophisticated model for using theory to interrogate music and music to interrogate theory. The essays both take up and challenge the dominance of notions of representation in cultural theory as they explore the relevance of the concepts of hybridity and otherness for contemporary art music. Sophisticated theory, erudite scholarship and a very real appreciation for the specificities of music make this a powerful and important addition to our understanding of both culture and music." --Lawrence Grossberg, author of Dancing in Spite of Myself
|Author||: Bruce Cole,Adelheid M. Gealt|
|Editor||: Simon and Schuster|
Traces the history of Western art from its classical roots up to the present day, and integrates the works of each period with the history, values, and ideals that gave birth to them
|Author||: Walter Frisch|
|Editor||: W. W. Norton|
Nineteenth-century music in its cultural, social, and intellectual contexts. Music in the Nineteenth Century examines the period from the Congress of Vienna in 1815 to the advent of Modernism in the 1890s. Frisch traces a complex web of relationships involving composers, performers, publishers, notated scores, oral traditions, audiences, institutions, cities, and nations. The book's central themes include middle-class involvement in music, the rich but elusive concept of Romanticism, the cult of virtuosity, and the ever-changing balance between musical and commercial interests. The final chapter considers the sound world of nineteenth-century music as captured by contemporary witnesses and early recordings. Western Music in Context: A Norton History comprises six volumes of moderate length, each written in an engaging style by a recognized expert. Authoritative and current, the series examines music in the broadest sense--as sounds notated, performed, and heard--focusing not only on composers and works, but also on broader social and intellectual currents.
|Author||: Richard Taruskin|
|Editor||: Oxford University Press, USA|
The universally acclaimed and award-winning Oxford History of Western Music is the eminent musicologist Richard Taruskin's provocative, erudite telling of the story of Western music from its earliest days to the present. Each book in this superlative five-volume set illuminates-through a representative sampling of masterworks-the themes, styles, and currents that give shape and direction to a significant period in the history of Western music. In Music in the Nineteenth Century , Richard Taruskin offers a panoramic tour of this magnificent century in the history music. Major themes addressed in this book include the romantic transformation of opera, Franz Schubert and the German lied, the rise of virtuosos such as Paganini and Liszt, the twin giants of nineteenth-century opera, Richard Wagner and Giuseppe Verdi, the lyric dramas of Bizet and Puccini, and the revival of the symphony by Brahms. Laced with brilliant observations, memorable musical analysis, and a panoramic sense of the interactions between history, culture, politics, art, literature, religion, and music, this book will be essential reading for anyone who wishes to understand this rich and diverse period.
|Author||: Frank Edward MANUEL,Fritzie Prigohzy Manuel,Frank Edward Manuel|
|Editor||: Harvard University Press|
This masterly study has a grand sweep. It ranges over centuries, with a long look backward over several millennia. Yet the history it unfolds is primarily the story of individuals: thinkers and dreamers who envisaged an ideal social order and described it persuasively, leaving a mark on their own and later times. The roster of utopians includes men of all stripes in different countries and eras--figures as disparate as More and Fourier, the Marquis de Sade and Edward Bellamy, Rousseau and Marx. Fascinating character studies of the major figures are among the delights of the book. Utopian writings run the gamut from fictional narratives to theoretical treatises, from political manifestos to constitutions for a new society. The Manuels have structured five centuries of utopian invention by identifying successive constellations, groups of thinkers joined by common social and moral concerns. Within this framework they analyze individual writings, in the context of the author's life and of the socio-economic, religious, and political exigencies of his time. Concentrating on innovative works, they highlight disjunctures as well as continuities in utopian thought from the Renaissance through the twentieth century. Witty and erudite, challenging in its interpretations and provocative in the questions it poses, the Manuels' anatomy of utopia is an adventure in ideas.
|Author||: Hon-Lun Yang,Michael Saffle|
|Editor||: University of Michigan Press|
'China and the West: Music, Representation, and Reception' is the first book to explore how Chinese and Western musical materials and traditions-those involving instruments, melodies, rhythms, staged diversions (including operas and musical comedies), concert works, film scores, and digital recordings of several kinds-have gradually moved closer together and become increasingly accepted, as well as exploited, in Asia as well as Europe and North America. Although aimed in large part at a scholarly audience, China and the West should appeal to general readers of many kinds: those interested in politics, cultural history and theory, gender studies, sociology, theater, and media studies as well as musical composition and performance of 'classical' as well as traditional and popular kinds
|Author||: Roger Osborne|
|Editor||: Random House|
Ever since the attacks of 11th September, western leaders have described a world engaged in 'a fight for civilization'. But what do we mean by civilization? We believe in a western tradition of openness and freedom that has produced a good life for many millions of people and a culture of enormous depth and creative power. But the history of our civilisation is also filled with unspeakable brutality - for every Leonardo there is a Mussolini, for every Beethoven symphony a concentration camp, for every Chrysler building a My Lai massacre. How can we come to the defence of a civilisation whose benefits seem so questionable? In this ambitious and important book Roger Osborne shows that we can only truly understand our civilization by re-examining and confronting our past, with all its glories and catastrophes. Sweeping in its scope and comprehensive in its coverage, Civilzation tells the story of the western world from its origins to the present. At such a dangerous time in the world's history, this brilliant book is required reading.
|Author||: John Mcgrath,Kathleen Martin|
This book focuses on the forces of social change and what they have meant in the lives of the people caught in the middle of them from medieval times through our current era of globalization.
|Author||: Paul Henry Lang|
|Editor||: W. W. Norton & Company|
A comprehensive history of occidental music focuses on the function of music as an expression of the spirit and artistic life of each age