Music In 1853

Author: Hugh Macdonald
Editor: Boydell Press
ISBN: 1843837188
Size: 11,30 MB
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No one composer is at the centre of this fascinating story, but a larger picture emerges of a shift in musical scenery, from the world of the innocent Romanticism of Berlioz and Schumann to the more potent musical politics of Wagner, and of his antidote (as many saw him), Brahms.

The Life And Music Of Teresa Carre O 1853 1917

Author: Anna Kijas
Editor: A-R Editions, Inc.
ISBN: 089579876X
Size: 19,52 MB
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The Life and Music of Teresa Carreño (1853–1917): A Guide to Research is an essential reference on the extant primary sources, secondary literature, compositions, and recordings for scholars, students, musicians, or any interested in the life and career of Teresa Carreño, a Venezuelan-born pianist and composer. This guide is divided into three sections: (1) Life—includes a biography that examines Carreño’s career from her early performances as a musical prodigy through her years as a mature and internationally acclaimed artist in the 1910s, and a chronology; (2) Work—consists of annotated entries about manuscripts, early and modern editions, concert programs, piano rolls, and sound recordings; (3) Writings—consists of annotated entries about correspondence written to or by Carreño between 1873 and 1917, and primary and second literature published between 1862 and 2016. This is an important reference that brings forward the latest research on Carreño in a single volume.

Dwight S Journal Of Music

Author: John Sullivan Dwight
Size: 16,73 MB
Format: PDF, Docs
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The Shawm

Author: William Batchelder Bradbury
Size: 11,59 MB
Format: PDF, ePub
Read: 854

Absolute Music

Author: Mark Evan Bonds
Editor: Oxford University Press
ISBN: 019938472X
Size: 11,74 MB
Format: PDF, Kindle
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What is music, and why does it move us? From Pythagoras to the present, writers have struggled to isolate the essence of "pure" or "absolute" music in ways that also account for its profound effect. In Absolute Music: The History of an Idea, Mark Evan Bonds traces the history of these efforts across more than two millennia, paying special attention to the relationship between music's essence and its qualities of form, expression, beauty, autonomy, as well as its perceived capacity to disclose philosophical truths. The core of this book focuses on the period between 1850 and 1945. Although the idea of pure music is as old as antiquity, the term "absolute music" is itself relatively recent. It was Richard Wagner who coined the term, in 1846, and he used it as a pejorative in his efforts to expose the limitations of purely instrumental music. For Wagner, music that was "absolute" was isolated, detached from the world, sterile. His contemporary, the Viennese critic Eduard Hanslick, embraced this quality of isolation as a guarantor of purity. Only pure, absolute music, he argued, could realize the highest potential of the art. Bonds reveals how and why perceptions of absolute music changed so radically between the 1850s and 1920s. When it first appeared, "absolute music" was a new term applied to old music, but by the early decades of the twentieth century, it had become-paradoxically--an old term associated with the new music of modernists like Schoenberg and Stravinsky. Bonds argues that the key developments in this shift lay not in discourse about music but rather the visual arts. The growing prestige of abstraction and form in painting at the turn of the twentieth century-line and color, as opposed to object-helped move the idea of purely abstract, absolute music to the cutting edge of musical modernism. By carefully tracing the evolution of absolute music from Ancient Greece through the Middle Ages to the twentieth-century, Bonds not only provides the first comprehensive history of this pivotal concept but also provokes new thoughts on the essence of music and how essence has been used to explain music's effect. A long awaited book from one of the most respected senior scholars in the field, Absolute Music will be essential reading for anyone interested in the history, theory, and aesthetics of music.

Ethnic Music On Records

Author: Richard K. Spottswood
Editor: University of Illinois Press
ISBN: 9780252017254
Size: 12,16 MB
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Songs By Victor Mass 1822 1884 Including Chants Bretons 1853 And Songs By Georges Bizet 1838 1875 Including Feuilles D Album 1867

Author: David Tunley
Editor: Routledge
ISBN: 1135549508
Size: 18,32 MB
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First Published in 1995. Routledge is an imprint of Taylor & Francis, an informa company.

Nineteenth Century Chamber Music

Author: Stephen Hefling
Editor: Routledge
ISBN: 1135887616
Size: 17,97 MB
Format: PDF, Docs
Read: 145

First Published in 2004. Routledge is an imprint of Taylor & Francis, an informa company.

Opera On The Road

Author: Katherine K. Preston
Editor: University of Illinois Press
ISBN: 9780252070020
Size: 16,93 MB
Format: PDF, ePub, Mobi
Read: 925

"Leads the reader on an operatic tour of pre-Civil War America in this cultural study of what was an almost ubiquitous art form. It covers orchestral and choral musicians as well as stars, impresarios, business methods, repertories, advertising techniques, itineraries, sizes of companies, and methods of travel." -- Publisher's description

A Brahms Reader

Author: Michael Musgrave
Editor: Yale University Press
ISBN: 9780300091991
Size: 14,33 MB
Format: PDF, Mobi
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Johannes Brahms (1833-1897) was prominent not only as a composer but as a pianist, conductor, editor, scholar, collector, and friend of many notables. He was also, in private, an articulate critic, connoisseur of other arts, and traveler. In this enlightening book, the eminent Brahms scholar Michael Musgrave presents a comprehensive and original account of the composer’s private and professional lives. Drawing on an array of documentary materials, Musgrave weaves together diverse strands to illuminate Brahms’s character and personality; his outlook as a composer; his attitudes toward other composers; his activities as pianist and conduct∨ his scholarly and cultural interests; his friendships with Robert and Clara Schumann and others; his social life and travel; and critical attitudes toward his music from his own time to the present. The book quotes extensively from Brahms’s own words and those of his circle. Musgrave mines the composer’s letters, reminiscences of his contemporaries, early biographies, reviews, and commentary by friends, critics, and scholars to create an unparalleled source of information about Brahms. The author sets the materials in context, identifies sources in detail, includes a glossary of information on principal individuals, and notes recent research on the composer. This engaging biographical work, with a gallery of illustrations, will appeal to general music lovers as well as to scholars with a special interest in Brahms.