Nascondi1
Glenn Stanley
The Cambridge Companion to Beethoven
Cambridge: Cambridge U.P., 2000
This Companion, first published in 2000, provides a comprehensive view of Beethoven and his work. The first part of the book presents the composer as a private individual, as a professional, and at the work-place, discussing biographical problems, Beethoven's professional activities when not composing and his methods as a composer. In the heart of the book, individual chapters are devoted to all the major genres cultivated by Beethoven and to the elements of style and structure that cross all genres. The book concludes by looking at the ways that Beethoven and his music have been interpreted by performers, writers on music, and in the arts, literature, and philosophy. The essays in this volume, written by leading Beethoven specialists, maintain traditional emphases in Beethoven studies while incorporating other developments in musicology and theory.
Vedi indicePart I. A Professional Portrait:
1. Biographical considerations and chronology Glenn Stanley
2. Beethoven at work, musical activist and thinker Glenn Stanley
3. The compositional act: sketches and autographs Barry Cooper
Part II. Style and Structure:
4. 'The spirit of Mozart from Haydn's hands': Beethoven's musical inheritance Elaine Sisman
5. Phrase, period, theme Roger Kamien
6. 'The sense of an ending': goal-directedness in Beethoven's music Nicholas Marston
Part III. Genres:
7. The piano music: concertos, sonatas, variations, small forms William Kinderman
8. Beethoven's chamber music with piano: seeking unity in mixed sonorities Mark Kaplan
9. Manner, tone, and tendency in Beethoven's chamber music for strings John Daverio
10. Sound and structure in Beethoven's orchestral music Leon Botstein
11. Beethoven's songs and vocal style Amanda Glauert
12. Beethoven's essay in opera: historical, text-critical, and interpretative issues in Fidelio Michael Tusa
13. Beethoven's sacred and liturgical compositions: songs, oratorio, masses Birgit Lodes
Part IV. Reception:
14. 'With a Beethoven-like sublimity': Beethoven in the works of other composers Margaret Notley
15. Beethoven's music in performance: historical perspectives Alain Frogley
16. The four ages of Beethoven: musicians (and a few others) on Beethoven Scott Burnham
17. Beethoven at large: reception in literature, the arts, philosophy, and politics David Dennis.
2
Kevin J. H. Dettmar
The Cambridge Companion to Bob Dylan
Cambridge: Cambridge University Press, 2009
A towering figure in American culture and a global twentieth-century icon, Bob Dylan has been at the centre of American life for over forty years. The Cambridge Companion to Bob Dylan brings fresh insights into the imposing range of Dylan's creative output. The first Part approaches Dylan's output thematically, tracing the evolution of Dylan's writing and his engagement with American popular music, religion, politics, fame, and his work as a songwriter and performer. Essays in Part II analyse his landmark albums to examine the consummate artistry of Dylan's most accomplished studio releases. As a writer Dylan has courageously chronicled and interpreted many of the cultural upheavals in America since World War II. This book will be invaluable both as a guide for students of Dylan and twentieth-century culture, and for his fans, providing a set of new perspectives on a much-loved writer and composer. (da sito Cambridge University Press)
Vedi indiceChronology
Introduction Kevin J. H. Dettmar
Part I. Perspectives:
1. Bob Dylan and the Anglo-American tradition David Yaffe
2. Bob Dylan and 'The Great Recession' Michael Denning
3. Bob Dylan as songwriter Anthony DeCurtis
4. Bob Dylan as performer Alan Light
5. Bob Dylan and collaboration Martin Jacobi
6. Bob Dylan and gender politics Barbara O'Dair
7. Bob Dylan and religion R. Clifton Spargo and Anne Ream
8. Bob Dylan and the Academy Lee Marshall
9. Bob Dylan as cultural icon David Shumway
Part II. Landmark Albums:
10. The Freewheelin' Bob Dylan (1963) Eric Bulson
11. Bringing It All Back Home (1965) Jean Tamarin
12. Highway 61 Revisited (1965) Robert Polito
13. Blonde on Blonde (1966) Michael Coyle and Debra Rae Cohen
14. The Basement Tapes (1967
1975) Alex Abramovich
15. Blood on the Tracks (1975) Carrie Brownstein
16. Infidels (1983) Jonathan Lethem
17. Love and Theft (2001) Eric Lott
Works cited.
3
Trevor Herbert, John Wallace
The Cambridge Companion to Brass Instruments
Cambridge: Cambridge University Press, 1997
This Companion covers many diverse aspects of brass instruments and in such detail. It provides an overview of the history of brass instruments, and their technical and musical development. Although the greatest part of the volume is devoted to the western art music tradition, with chapters covering topics from the medieval to the contemporary periods, there are important contributions on the ancient world, non-western music, vernacular and popular traditions and the rise of jazz. Despite the breadth of its narrative, the book is rich in detail, with an extensive glossary and bibliography. The editors are two of the most respected names in the world of brass performance and scholarship, and the list of contributors includes the names of many of the world's most prestigious scholars and performers on brass instruments. da sito (Cambridge University Press)
Vedi indiceList of illustrations
Notes on the contributors
Preface
Acknowledgements
Nomenclatures
Introduction Trevor Herbert and John Wallace
1. Lip-vibrated instruments of the ancient and non-western world Margaret Sarkissian
2. How brass instruments work Arnold Myers
3. Design, technology and manufacture before 1800 Robert Barclay
4. Brass instruments in art music in the Middle Ages Keith Polk
5. The cornett Bruce Dickey
6. 'Sackbut': the early trombone Trevor Herbert
7. The trumpet before 1800 Edward H. Tarr
8. The horn in the Baroque and Classical periods Thomas Hiebert
9. Design, technology and manufacture since 1800 Arnold Myers
10. Keyed brass Ralph T. Dudgeon
11. The low brass Clifford Bevan
12. Brass in the modern orchestra Simon Wills
13. Brass bands and other vernacular brass traditions Trevor Herbert
14. Playing, learning and teaching brass Ralph T. Dudgeon, Phillip Eastop, Trevor Herbert and John Wallace
15. The post-classical horn Robert Evans
16. Jazz, improvisation and brass Roger T. Dean
17. Brass solo and chamber music from 1800 John Wallace
18. Frontiers or byways? Brass instruments in avant-garde music Simon Wills
Glossary
Notes
Select bibliography
Index
4
Nick Collins, Julio d'Escrivan
The Cambridge Companion to Electronic Music
Cambridge: Cambridge University Press, 2007
Musicians are always quick to adopt and explore new technologies. The fast-paced changes wrought by electrification, from the microphone via the analogue synthesiser to the laptop computer, have led to a wide diversity of new musical styles and techniques. Electronic music has grown to a broad field of investigation, taking in historical movements such as musique concrète and elektronische musik, and contemporary trends such as electronic dance music and electronica. A fascinating array of composers and inventors have contributed to a diverse set of technologies, practices and music. This book brings together some novel threads through this scene, from the viewpoint of researchers at the forefront of the sonic explorations empowered by electronic technology. The chapters provide accessible and insightful overviews of core topic areas and uncover some hitherto less publicised corners of worldwide movements. Recent areas of intense activity such as audiovisuals, live electronic music, interactivity and network music are actively promoted. da sito (Cambridge University Press)
Vedi indiceChronology
Introduction Nick Collins and Julio d'Escriván
Part I. Electronic Music in Context:
1. The origins of electronic music Andrew Hugill
2. Electronic music and the studio Margaret Schedel
3. Live electronic music Nicolas Collins
4. A history of programming and music Ge Wang
Artists' Statements I: Laurie Spiegel
Yasunao Tone
John Oswald
Mathias Gmachl (Farmer's Manual)
Erdem Helvacioglu
Pauline Oliveros
Chris Jeffs
Rodrigo Sigal
Mira Calix
Denis Smalley
Seong-Ah Shin
Carsten Nicolai
Warren Burt
Max Mathews
Part II. Electronic Music in Practice:
5. Interactivity and live computer music Sergi Jordà
6. Algorithmic composition Karlheinz Essl
7. Live audiovisuals Amy Alexander and Nick Collins
8. Network music Julian Rohrhuber
9. Electronic music and the moving image Julio d'Escriván
10. Musical robots and listening machines Nick Collins
Artists' Statements II: Kevin Saunderson
Kanta Horio
Donna Hewitt
Alejandro Vinao
Bubblyfish
Barry Truax
Lukas Ligeti (Burkina Electric)
Christina Kubisch
Murat Ertel
Adina Izarra
Cybork
Francis Dhomont
David Behrmann
Kevin Blechdom (Kristin Erickson)
Karlheinz Stockhausen
George E. Lewis
Part III. Analysis and Synthesis:
11. Computer generation and manipulation of sounds Stefania Serafin
12. The psychology of electronic music Petri Toiviainen
13. Trends in electroacoustic composition Natasha Barrett
Bibliography
5
David Charlton
The Cambridge Companion to Grand Opera
Cambridge: Cambridge U.P., 2003
This 2003 Companion is a fascinating and accessible exploration of the world of grand opera. Through this volume a team of scholars and writers on opera examine those important Romantic operas which embraced the Shakespearean sweep of tragedy, history, love in time of conflict, and the struggle for national self-determination. Rival nations, rival religions and violent resolutions are common elements, with various social or political groups represented in the form of operatic choruses. The book traces the origins and development of a style created during an increasingly technical age, which exploited the world-renowned skills of Parisian stage-designers, artists, and dancers as well as singers. It analyses in detail the grand operas by Rossini, Auber, Meyerbeer and Halévy, discusses grand opera in Russia and Germany, and also in the Czech lands, Italy, Britain and the Americas. The volume also includes an essay by the renowned opera director David Pountney.
Vedi indice1. Introduction David Charlton
Part I. The Resourcing of Grand Opera:
2. The 'machine' and the State Hervé Lacombe
3. Fictions and librettos Nicholas White
4. The spectacle of the past in grand opera Simon Williams
5. The chorus James Parakilas
6. Dance and dancers Marian Smith
7. Roles, reputations, shadows: singers at the Opéra, 1828–49 Mary Ann Smart
Part II. Revaluation and the Twenty-first Century:
8. Directing grand opera: Rienzi and Guillaume Tell at the Vienna State Opera David Pountney
Part III. Grand Operas for Paris:
9. La Muette and her context Sarah Hibberd
10. Scribe and Auber: constructing grand opera Herbert Schneider
11. Meyerbeer: Robert le Diable and Les Huguenots Matthias Brzoska
12. Meyerbeer: Le Prophète and L'Africaine John H. Roberts
13. The grand operas of Fromental Halévy Diana R. Hallman
14. From Rossini to Verdi M. Elizabeth C. Bartlett
15. After 1850 at the Paris Opéra: institution and repertory Steven Huebner
Part IV. Transformations of Grand Opera:
16. Richard Wagner and the legacy of French grand opera Thomas Grey
17. Grand opera in Russia: fragments Marina Frolova-Walker
18. Grand opera among the Czechs Jan Smaczny
19. Italian opera Fiamma Nicolodi
20. Grand opera in Britain and the Americas Sarah Hibberd.
6
Mervyn Cooke, David Horn
The Cambridge Companion to Jazz
Cambridge: Cambridge University Press, 2003
•Considers jazz in a wide range of contexts - historical, social, musical, racial
• Includes basic technical material for music students and those new to the subject
• Detailed Chronology provides a potted history of jazz and a Personalia informs on fifty of the best-known figures in the jazz world. (Da sito Cambridge University Press)
Vedi indiceChronology of jazz
The word 'jazz' Krin Gabbard
Part I. Jazz Times:
1. The identity of jazz David Horn
2. The jazz diaspora Bruce Johnson
3. The jazz audience Jed Resula
4. Jazz and dance Robert Crease
Part II. Jazz Practices:
5. Jazz as musical practice Travis Jackson
6. Jazz as cultural practice Bruce Johnson
7. Jazz improvization Ingrid Monson
8. Spontaneity and organization Pete Martin
9. Jazz among the classics, and the case of Duke Ellington Mervyn Cooke
Part III. Jazz Changes:
10. 1959: the beginning of beyond Darius Brubeck
11. Free jazz and the avant-garde Jeff Pressing
12. Fusions and crossovers Stuart Nicholson
Part IV. Soundings:
13. Learning jazz, teaching jazz David Aka
14. History and myth: the problem of early jazz David Sagar
15. Analysing jazz Thomas Owens
Part V. Jazz Takes:
16. Valuing jazz Robert Walser
17. The jazz business Dave Laing
18. Images of jazz Krin Gabbard
Personalia
7
Edited by: Michael Levenson
The Cambridge Companion to Modernism. 2nd Edition
Cambridge: Cambridge University Press, 2011
This Companion has long been a standard introduction to the field. This 2011 edition is fully updated and enhanced with four new chapters, addressesing the key themes being researched, taught and studied in modernism. Its interdisciplinary approach is central to its success as it brings together readings of the many varieties of modernism. Chapters address the major literary genres, the intellectual, religious and political contexts, and parallel developments in film, painting and music. The catastrophe of the First World War, the emergence of feminism, the race for empire, the conflict among classes: the essays show how these events and circumstances shaped aesthetic and literary experiments. In doing so, they explain clearly both the precise formal innovations in language, image, scene and tone, and the broad historical conditions of a movement that aspired to transform culture.
Vedi indiceIntroduction Michael Levenson
1. The metaphysics of modernism Michael Bell
2. The cultural economy of modernism Lawrence Rainey
3. The modernist novel David Trotter
4. Modern poetry James Longenbach
5. Modernism in drama Christopher Innes
6. The politics of culture Sara Blair
7. Modernism and religion Pericles Lewis
8. Mass culture Allison Pease
9. Modernism and gender Marianne DeKoven
10. Musical motives Daniel Albright
11. The visual arts Glen MacLeod
12. Film Michael Wood
13. Colonial modernism Elleke Boehmer and Steven Matthews
Further reading
Index.
8
John Whenham, Richard Wistreich
The Cambridge Companion to Monteverdi
Cambridge: Cambridge U.P., 2007
Claudio Monteverdi is one of the most important figures of 'early' music, a composer whose music speaks powerfully and directly to modern audiences. This 2007 book provides an authoritative treatment of Monteverdi and his music, complementing Paolo Fabbri's standard biography of the composer. Written by leading specialists in the field, it is aimed at students, performers and music-lovers in general and adds significantly to our understanding of Monteverdi's music, his life, and the contexts in which he worked. Chapters offering overviews of his output of sacred, secular and dramatic music are complemented by 'intermedi', in which contributors examine individual works, or sections of works in detail. The book draws extensively on Monteverdi's letters and includes a select discography/videography and a complete list of Monteverdi's works together with an index of first lines and titles.
Vedi indicePreface
Chronology
1. Approaching Monteverdi: his cultures and ours Anthony Pryer
2. Musical sources Tim Carter
3. A model musical education: Monteverdi's early works Geoffrey Chew
Intermedio I: 'Ecco mormorar l'onde' (1590) Geoffrey Chew
4. Monteverdi at Mantua 1590–1612 Roger Bowers
5. Spaces for music in late Renaissance Mantua Paola Besutti
6. The Mantuan madrigals and Scherzi musicali Massimo Ossi
Intermedio II: 'Ahi come a un vago sol cortese giro' (1605) Massimo Ossi
7. Orfeo (1607) Joachim Steinheuer
8. The Mantuan sacred music Jeffrey Kurtzman
Intermedio III: 'Laetatus sum' (1610) Jeffrey Kurtzman
9. Music in Monteverdi's Venice Iain Fenlon
10. The Venetian secular music Tim Carter
Intermedio IV: Lamento della Ninfa (1638) Tim Carter
11. The Venetian sacred music John Whenham
Intermedio V: Magnificat SV281 (1641) John Whenham
12. Monteverdi's late operas Ellen Rosand
Intermedio VI: Il ritorno d'Ulisse (1640), Act V, scene 10 Ellen Rosand
13. Monteverdi studies and 'new' musicologies Suzanne Cusick
14. Monteverdi in performance Richard Wistreich
Bibliography
Selected discography Richard Wistreich
The works of Monteverdi: catalogue and index John Whenham
Index of titles and first lines.
9
Simon P. Keefe
The Cambridge Companion to Mozart
Cambridge: Cambridge U.P., 2003
The Cambridge Companion to Mozart paints a rounded yet focussed picture of one of the most revered artists of all time. Bringing the most recent scholarship into the public arena, this volume bridges the gap between scholarly and popular images of the composer, enhancing the readers' appreciation of Mozart and his extraordinary output, regardless of their prior knowledge of the music. Part I situates Mozart in the context of late eighteenth-century musical environments and aesthetic trends that played a pivotal role in his artistic development and examines his methods of composition. Part II surveys Mozart's works in all of the genres in which he excelled and Part III looks at the reception of the composer and his music since his death. Part IV offers insight into Mozart's career as a performer as well as theoretical and practical perspectives on historically informed performances of his music.
Vedi indiceIntroduction Simon P. Keefe
Chronology of Mozart's Life and Works Simon P. Keefe
Part I. Mozart in Context:
1. Mozart and Salzburg Cliff Eisen
2. Mozart in Vienna Dorothea Link
3. Mozart's compositional methods: writing for his singers Ian Woodfield
4. Mozart and late eighteenth-century aesthetics David Schroeder
Part II. The Works:
5. The keyboard music W. Dean Sutcliffe
6. The concertos in aesthetic and stylistic context Simon P. Keefe
7. The orchestral music Simon P. Keefe
8. Mozart's chamber music Cliff Eisen
9. Mozart as a vocal composer Paul Corneilson
10. The opere buffe Edmund J. Goehring
11. Mozart and opera seria Julian Rushton
12. Mozart's German operas David J. Buch
Part III. Reception:
13. Mozart in the nineteenth century John Daverio
14. Mozart and the twentieth century Jan Smaczny
15. The Evolution of Mozartian biography William Stafford
Part IV. Performance:
16. Mozart the performer Katalin Komlós
17. Performance practice in the music of Mozart Robert D. Levin.
10
Nicholas Till
The Cambridge Companion to Opera Studies
Cambridge: Cambridge U.P., 2012
With its powerful combination of music and theatre, opera is one of the most complex and yet immediate of all art forms. Once opera was studied only as 'a stepchild of musicology', but in the past two decades opera studies have experienced an explosion of energy with the introduction of new approaches drawn from disciplines such as social anthropology and performance studies to media theory, genre theory, gender studies and reception history. Written by leading scholars in opera studies today, this Companion offers a wide-ranging guide to a rapidly expanding field of study and new ways of thinking about a rich and intriguing art form, placing opera back at the centre of our understanding of Western culture over the past 400 years. This book gives lovers of opera as well as those studying the subject a comprehensive approach to the many facets of opera in the past and today.
Vedi indiceIntroduction: opera studies today Nicholas Till
Part I. Institutions:
1. Opera, the state and society Thomas Ertman
2. The business of opera Nicholas Payne
3. The operatic event: opera houses and opera audiences Nicholas Till
Part II. Constituents:
4. 'Too much music': the media of opera Christopher Morris
5. Voices and singers Susan Rutherford
6. Opera and modes of theatrical production Simon Williams
7. Opera and the technologies of theatrical production Nicholas Ridout
Part III. Forms:
8. The dramaturgy of opera Laurel E. Zeiss
9. Genre and poetics Alessandra Campana
10. The operatic work: texts, performances, receptions and repertories Nicholas Till
Part IV. Issues:
11. Opera and gender studies Heather Hadlock
12. Opera and national identity Suzanne Aspden
13. 'An exotic and irrational entertainment': opera and our others, opera as other Nicholas Till.
11
Simon Frith, Will Straw, John Street
The Cambridge Companion to Pop and Rock
Cambridge: Cambridge University Press, 2001
This Companion maps the world of pop and rock, pinpointing the most significant moments in its history and presenting the key issues involved in understanding popular culture's most vital art form. Expert writers chart the changing patterns in the production and consumption of popular music, the emergence of a vast industry with a turnover of billions and the rise of global stars from Elvis to Public Enemy, Nirvana to the Spice Girls. They trace the way new technologies - from the amplifier to the internet - have changed the sounds and practices of pop and they analyse the way maverick entrepreneurs have given way to multimedia corporations. In particular they focus on the controversial issues concerning race and ethnicity, politics, gender and globalisation. Contains full profiles of a selection of figures from the pop and rock world. da sito (Cambridge University Press)
Vedi indiceNotes on contributors
Acknowledgements
Introduction and chronology of pop and rock
Part I. Context:
1. 'Plugged in': technology and popular music Paul Théberge
2. The popular music industry Simon Frith
3. Consumption Will Straw
Star profiles I: Elvis Presley, The Beatles, Bob Dylan, Jimi Hendrix, The Rolling Stones, James Brown, Marvin Gaye
Part II. Texts, Genres, Styles:
4. Pop music Simon Frith
5. Reconsidering rock Keir Keightley
6. Soul into hip-hop Russell A. Potter
7. Dance music Will Straw
8. World music Jocelyne Guilbault
Star profiles II: Bob Marley, David Bowie, Abba, Madonna, Nirvana, Public Enemy, Derrick May, The Spice Girls
Part III. Debates:
9. Pop, rock and interpretation Richard Middleton
10. Popular music, gender and sexuality Sara Cohen
11. Rock, pop and politics John Street
12. From rice to ice: the face of race in rock and pop Barry Shank
13. The 'local' and 'global' in popular music Jan Fairley
References
Index
12
Nicholas Cook, Eric Clarke, Daniel Leech-Wilkinson, John Rink
The Cambridge Companion to Recorded Music
Cambridge: Cambridge U.P., 2009
From the cylinder to the download, the practice of music has been radically transformed by the development of recording and playback technologies. This 2009 Companion provides a detailed overview of the transformation, encompassing both classical and popular music. Topics covered include the history of recording technology and the businesses built on it; the impact of recording on performance styles; studio practices, viewed from the perspectives of performer, producer and engineer; and approaches to the study of recordings. The main chapters are interspersed by 'short takes' - short contributions by different practitioners, ranging from classical or pop producers and performers to record collectors. Combining basic information with a variety of perspectives on records and recordings, this book will appeal not only to students in a range of subjects from music to the media, but also to general readers interested in a fundamental yet insufficiently understood dimension of musical culture.
Vedi indiceIntroduction Eric Clarke, Nicholas Cook, Daniel Leech-Wilkinson and John Rink
Personal takes: learning to live with recording Susan Tomes
A short take in praise of long takes Peter Hill
1. Performing for (and against) the microphone Donald Greig
Personal takes: producing a credible voice Mike Howlett
'It could have happened': the evolution of music construction Steve Savage
2. Recording practices and the role of the producer Andrew Blake
Personal takes: still small voices Jonathan Freeman-Attwood
Broadening horizons: 'performance' in the studio Michael Haas
3. Getting sounds: the art of sound engineering Albin Zak
Personal takes: limitations and creativity in recording and performance Martyn Ware
Records and recordings in post-punk England, 1978–80 Richard Witts
4. The politics of the recording studio Louise Meintjes
Personal take: from Lanza to Lassus Tully Potter
5. From wind-up to iPod: techno-cultures of listening Arild Bergh and Tia DeNora
Personal take: a matter of circumstance: on experiencing recordings Martin Elste
6. Selling sounds: recordings and the music business David Patmore
Personal take: revisiting concert life in mid-century: the survival of acetate discs Lewis Foreman
7. The development of recording technologies George Brock-Nannestad
Personal takes: raiders of the lost archive Roger Beardsley
The original cast recording of West Side Story Nigel Simeone
8. The recorded document: interpretation and discography Simon Trezise
Personal takes: one man's approach to remastering Ted Kendall
Technology, the studio, music Nick Mason
Reminder: a recording is not a performance Roger Heaton
9. Methods for analysing recordings Nicholas Cook
10. Recordings and histories of performance style Daniel Leech-Wilkinson
Personal take: recreating history: a clarinettist's perspective Colin Lawson
11. Going critical. Writing about recordings Simon Frith
Personal take: something in the air Chris Watson
12. Afterword: from reproduction to representation to remediation Georgina Born
Global bibliography
Global discography.
13
Emanuele Senici
The Cambridge Companion to Rossini
Cambridge: Cambridge U.P., 2004.
This 2004 Companion is a collection of specially commissioned essays on one of the most influential opera composers in the repertoire. The volume is divided into four parts, each exploring an important element of Rossini's life, his world, and his works: biography and reception; words and music; representative operas; and performance. Within these sections accessible chapters, written by a team of specialists, examine Rossini's life and career; the reception of his music in the nineteenth century and today; the librettos and their authors; the dramaturgy of the operas; and Rossini's non-operatic works. Additional chapters centre on key individual operas chosen for their historical importance or position in the present repertoire, and include Tancredi, Il barbiere di Siviglia, Semiramide, and Guillaume Tell. The last section, Performance, focuses on the history of Rossini's operas from the viewpoint of singing and staging, as well as the influence of editorial work on contemporary performance practice.
Vedi indiceList of illustrations
Notes on contributors
Preface and abbreviations
1. Introduction: Rossini's operatic operas Emanuele Senici
Part I. Biography and Reception:
2. Rossini's life Richard Osborne
3. Rossini and France Benjamin Walton
4. The Rossini Renaissance Charles S. Brauner
Part II. Words and Music:
5. Librettos and librettists Paulo Fabbri
6. Compositional methods Philip Gossett
7. The dramaturgy of the operas Marco Beghelli
8. Melody and ornamentation Damien Colas
9. Off the stage Richard Osborne
Part III. Representative Operas:
10. Tancredi and Semiramide Heather Hadlock
11. Il barbiere di Siviglia Janet Johnson
12. Guillaume Tell Cormac Newark
Part IV. Performance:
13. Singing Rossini Leonella Grasso Caprioli
14. Staging Rossini Mercedes Viale Ferrero
15. Editing Rossini Patricia B. Brauner
List of works
Bibliography
Index
14
Pauline Fairclough, David Fanning
The Cambridge Companion to Shostakovich
Cambridge: Cambridge U.P., 2008
As the Soviet Union's foremost composer, Shostakovich's status in the West has always been problematic. Regarded by some as a collaborator, and by others as a symbol of moral resistance, both he and his music met with approval and condemnation in equal measure. The demise of the Communist state has, if anything, been accompanied by a bolstering of his reputation, but critical engagement with his multi-faceted achievements has been patchy. This Companion offers a new starting point and a guide for readers who seek a fuller understanding of Shostakovich's place in the history of music. Bringing together an international team of scholars, the book brings up-to-date research to bear on the full range of Shostakovich's musical output, addressing scholars, students and all those interested in this complex, iconic figure.
Vedi indiceChronology
Introduction
Part I. Instrumental Works:
1. Personal integrity and public service: the voice of the symphonist Eric Roseberry
2. The string quartets: in dialogue with form and tradition Judy Kuhn
3. Paths to the first symphony David Fanning
4. Shostakovich's second piano sonata: a composition recital in three styles David Haas
5. 'I took a simple little theme and developed it': Shostakovich's string concertos and sonatas Malcolm MacDonald
Part II. Music for Stage and Screen:
6. Shostakovich and the theatre Gerard McBurney
7. Shostakovich as opera composer Rosamund Bartlett
8. Shostakovich's ballets Marina Ilichova
9. Screen dramas: Shostakovich's cinema career John Riley
Part III. Vocal and Choral Works:
10. Between reality and transcendence: Shostakovich's songs Francis Maes
11. Slava! Shostakovich's 'official compositions' Pauline Fairclough
Part IV. Performance, Theory, Reception:
12. A political football – Shostakovich reception in Germany Erik Levi
13. The rough guide to Shostakovich's harmonic language David Haas
14. Shostakovich on record David Fanning
15. Jewish existential irony as musical ethos in the music of Shostakovich Esti Sheinberg.
15
John Potter
The Cambridge Companion to Singing
Cambridge: Cambridge University Press, 2000.
Ranging from medieval music to Madonna and beyond, this book covers in detail the many aspects of the voice. The volume is divided into four broad areas. Popular Traditions begins with an overview of singing traditions in world music and continues with aspects of rock, rap and jazz. The Voice in the Theatre includes both opera singing from the beginnings to the present day and twentieth-century stage and screen entertainers. Choral Music and Song features a history of the art song, essential hints on singing in a larger choir, the English cathedral tradition and a history of the choral movement in the United States. The final substantial section on performance practices ranges from the voice in the Middle Ages and the interpretation of early singing treatises to contemporary vocal techniques, ensemble singing, the teaching of singing, children's choirs, and a comprehensive exposition of vocal acoustics. da sito (Cambridge University Press)
Vedi indiceList of illustrations
Notes on contributors
Acknowledgements
1. Introduction: singing at the turn of the century John Potter
Part I. Popular Traditions:
2. 'Songlines': vocal traditions in world music John Schaefer
3. Rock singing Richard Middleton
4. The evolving language of rap David Toop
5. Jazz singing: the first hundred years John Potter
Part II. The Voice in the Theatre:
6. Stage and screen entertainers in the twentieth century Stephen Banfield
7. Song into theatre: the beginnings of opera John Rosselli
8. Grand opera: nineteenth-century revolution and twentieth-century tradition John Rosselli
Part III. Choral Music and Song:
9. European art song Stephen Varcoe
10. English cathedral choirs in the twentieth century Timothy Day
11. Sacred choral music in the United States: an overview Neely Bruce
Part IV. Performance Practices:
12. Some notes on choral singing Heikki Liimola
13. Ensemble singing John Potter
14. The voice in the Middle Ages Joseph Dyer
15. Reconstructing pre-Romantic singing technique Richard Wistreich
16. Alternative voices: contemporary vocal techniques Linda Hirst and David Wright
17. The teaching (and learning) of singing David Mason
18. Children's singing Felicity Laurence
19. Where does the sound come from? Johan Sundberg
Notes
Select bibliography
Index
16
Kenneth Womack
The Cambridge Companion to the Beatles
Cambridge: Cambridge University Press, 2009
From Please Please Me to Abbey Road, this collection of essays tells the fascinating story of the Beatles – the creation of the band, their musical influences, and their cultural significance, with emphasis on their genesis and practices as musicians, songwriters, and recording artists. Through detailed biographical and album analyses, the book uncovers the background of each band member and provides expansive readings of the band's music. • Traces the group's creative output from their earliest recordings through their career • Pays particular attention to the social and historical factors which contributed to the creation of the band • Investigates the Beatles' unique enduring musical legacy and cultural power • Clearly organized into three sections, covering Background, Works, and History and Influence, the Companion is ideal for course usage, and is also a must-read for all Beatles fans da sito (Cambridge University Press)
Vedi indiceForeword Anthony DeCurtis
Chronology of the Beatles' lives and works
Introducing the Beatles Kenneth Womack
Part I. Background:
1. Six boys, six Beatles: the formative years, 1950–1962 Dave Laing
Appendix: the repertoire, 1957–1962
2. The Beatles as recording artists Jerry Zolten
Part II. Works:
3. Rock and roll music Howard Kramer
4. 'Try thinking more': Rubber Soul and the Beatles' transformation of pop James M. Decker
5. Magical mystery tours, and other trips: yellow submarines, newspaper taxis, and the Beatles' psychedelic years Russell Reising and Jim LeBlanc
6. Revolution Ian Inglis
7. On their way home: the Beatles in 1969 and 1970 Steve Hamelman
8. Apple records Bruce Spizer
9. The solo years Michael Frontani
10. Any time at all: the Beatles' free phrase rhythms Walter Everett
Appendix: the Beatles' canon on compact disc
Part III. History and Influence:
11. The Beatles as zeitgeist Sheila Whiteley
12. Beatles news: product line extensions and the rock canon Gary Burns
13. 'An abstraction, like Christmas': the Beatles for sale and for keeps John Kimsey
General discography
17
Robin Stowell
The Cambridge Companion to the Cello
Cambridge: Cambridge University Press, 1999
This is a compact, composite and authoritative survey of the history and development of the cello and its repertory since the origins of the instrument. The volume comprises thirteen essays, written by a team of nine distinguished scholars and performers, and is intended to develop the cello's historical perspective in breadth and from every relevant angle, offering as comprehensive a coverage as possible. It focuses in particular on four principal areas: the instrument's structure, development and fundamental acoustical principles; the careers of the most distinguished cellists since the baroque era; the cello repertory (including chapters devoted to the concerto, the sonata, other solo repertory, and ensemble music); and its technique, teaching methods and relevant aspects of historical and performance practice. It is the most comprehensive book ever to be published about the instrument and provides essential information for performers, students and teachers. da sito (Cambridge University Press)
Vedi indiceList of illustrations
Notes on the contributors
Preface
Acknowledgements
List of abbreviations, fingering and notation
1. The cello: origins and evolution John Dilworth
2. The bow: its history and development John Dilworth
3. Cello acoustics Bernard Richardson
4. Masters of the Baroque and Classical eras Margaret Campbell
5. Nineteenth-century virtuosi Margaret Campbell
6. Masters of the twentieth century Margaret Campbell
7. The concerto Robin Stowell and David Wyn Jones
8. The sonata Robin Stowell
9. Other solo repertory Robin Stowell
10. Ensemble music: in the chamber and the orchestra Peter Allsop
11. Technique, style and performing practice to c. 1900 Valerie Walden
12. The development of cello teaching in the twentieth century R. Caroline Bosanquet
13. The frontiers of technique Frances-Marie Uitti
Appendix: principal pedagogical literature
Glossary of technical terms
Notes
Select bibliography
Index
18
Colin Lawson
The Cambridge Companion to the Clarinet
Cambridge: Cambridge University Press, 1995
The Cambridge Companion to the Clarinet is a practical guide to the world of the clarinet. It offers students and performers a composite survey of the history and repertoire of the instrument from its origins to the present day, as well as practical guidance on teaching and performing. Special focus is made on the various members of the extensive clarinet family and specialist chapters provide advice on the mechanics of clarinet playing, the art of historical performance, contemporary techniques, and the clarinet in jazz. A chapter on the professional clarinettist introduces the world of the performing musician, while a survey of the clarinet on record provides the listener with a useful guide to the recording history of the instrument. Informed by the experience of distinguished performers and teachers, this book makes an essential and stimulating reference book for all clarinet enthusiasts. da sito (Cambridge University Press)
Vedi indice1. Single reeds before 1750 Colin Lawson
2. The development of the clarinet Nicholas Shackleton
3. The clarinet family: clarinets in B flat and A, the C clarinet Colin Lawson
The high clarinets Basil Tschaikov
The basset horn Georgina Dobrée
The bass clarinet Michael Harris
4. The development of the clarinet repertoire Jo Rees-Davis
5. Players and composers Pamela Weston
6. The mechanics of playing the clarinet Antony Pay
7. Teaching the clarinet Paul Harris
8. Playing historical clarinets Colin Lawson
9. The professional clarinettist Nicholas Cox
10. The contemporary clarinet Roger Heaton
11. The clarinet in jazz John Robert Brown
12. The clarinet on record Michael Bryant
Appendices
19
Simon P. Keefe
The Cambridge Companion to the Concerto
Cambridge: Cambridge University Press, 2005
No musical genre has had a more chequered critical history than the concerto and yet simultaneously retained as consistently prominent a place in the affections of the concert-going public. This volume, one of very few to deal with the genre in its entirety, assumes a broad remit, setting the concerto in its musical and non-musical contexts, examining the concertos that have made important contributions to musical culture, and looking at performance-related topics. A picture emerges of a genre in a continual state of change, re-inventing itself in the process of growth and development and regularly challenging its performers and listeners to broaden the horizons of their musical experience. da sito (Cambridge University Press)
Vedi indiceNotes on the contributors
Acknowledgements
List of abbreviations
The concerto: a chronology Simon P. Keefe
Introduction Simon P. Keefe
Part I. Contexts:
1. Theories of the concerto from the eighteenth century to the present day Simon P. Keefe
2. The concerto and society Tia DeNora
Part II. The Works:
3. The Italian concerto in the late seventeenth and early eighteenth centuries Michael Talbot
4. The concerto in northern Europe to c. 1770 David Yearsley
5. The concerto from Mozart to Beethoven: aesthetic and stylistic perspectives Simon P. Keefe
6. The nineteenth-century piano concerto Stephan D. Lindeman
7. Nineteenth-century concertos for strings and winds R. Larry Todd
8. Contrasts and common concerns in the concerto 1900-1945 David E. Schneider
9. The concerto since 1945 Arnold Whittall
Part III. Performance:
10. The rise (and fall) of the concerto virtuoso in the late eighteenth and nineteenth centuries Cliff Eisen
11. Performance practice in the eighteenth-century concerto Robin Stowell
12. Performance practice in the nineteenth-century concerto David Rowland
13. The concerto in the age of recording Timothy Day
Notes
Selected further reading
Index
20
Victor Anand Coelho
The Cambridge Companion to the Guitar
Cambridge: Cambridge University Press, 2003
From the first mention in courtly poetry of the thirteenth century to enormous global popularity in the twentieth, the guitar and its development comprises multiple histories, each characterised by distinct styles, playing techniques, repertories and socio-cultural roles. These histories simultaneously span popular and classical styles, contemporary and historical practices, written and unwritten traditions and western and non-western cultures. This is the first book to encompass the breadth and depth of guitar performance, featuring thirteen essays covering different traditions, styles, and instruments, written by some of the most influential players, teachers, and guitar historians in the world. The coverage of the book allows the player to understand both the analogies and differences between guitar traditions, and all styles, from baroque, classical, country, blues, and rock to flamenco, African, Celtic, and instrument making will share the same platform. As musical training is increasingly broadened this comprehensive book will become an indispensable resource. da sito (Cambridge University Press)
Vedi indicePart I. New Guitar Histories and World Traditions:
1. Picking through cultures: a guitarist's music history Victor Anand Coelho
2. Flamenco guitar: history, style, status Peter Manuel
3. The Celtic guitar: crossing cultural boundaries in the twentieth century Chris Smith
4. African reinventions of the guitar Banning Eyre
Part II. Roots and Rock:
5. The guitar in jazz Graeme Boone
6. A century of blues guitar Jas Obrecht
7. Rock guitar from the 1950s to the 1970s: the turn to noise Steve Waksman
8. Rock guitar since 1980: contesting virtuosity Steve Waksman
9. The guitar in country music Gordon Ross
Part III. Baroque and Classical Guitar Today:
10. Radical innovations, social revolution, and the Baroque guitar Craig Russell
11. The revival of the classical guitar in the twentieth century David Tanenbaum
12. Stradivari and Baroque guitar construction Stewart Pollens
Select bibliography
Glossary
21
William A. Everett, Paul R. Laird
The Cambridge Companion to the Musical . 2nd Edition
Cambridge: Cambridge U.P., 2008
Tracing the development of the musical on both Broadway and in London's West End, this updated Companion continues to provide a broad and thorough overview of one of the liveliest and most popular forms of musical performance. Ordered chronologically, essays cover from the American musical of the nineteenth century through to the most recent productions, and the book also includes key information on singers, audience, critical reception, and traditions. All of the chapters from the first edition remain – several in substantially updated forms – and five completely new chapters have been added, covering: ethnic musicals in the United States; the European musical; Broadway musicals in revival and on television; the most recent shows; and a case study of the creation of the popular show Wicked based on interviews with its creators. The Companion also includes an extensive bibliography and photographs from key productions.
Vedi indicePreface
Part I. Adaptations and Transformations:
Before 1940: 1. American musical theatre before the twentieth century Katherine K. Preston
2. Non-English language musical theatre in North America John Koegel
3. Birth pangs, growing pains and sibling rivalry: musical theatre in New York, 1900–1920 Orly Leah Krasner
4. American and British operetta in the 1920s: romance, nostalgia and adventure William A. Everett
5. Images of African Americans: African-American musical theatre, Show Boat and Porgy and Bess John Graziano
6. The melody (and the words) linger on: American musical comedies of the 1920s and 1930s Geoffrey Block
Part II. Maturations and Formulations:
1940 to 1970: 7. 'We said we wouldn't look back': British musical theatre, 1935–1960 John Snelson
8. The coming of the musical play: Rodgers and Hammerstein Ann Sears
9. The successors of Rodgers and Hammerstein from the 1940s to the 1960s Thomas L. Riis and Ann Sears
10. Musical sophistication on Broadway: Kurt Weill and Leonard Bernstein Bruce D. McClung and Paul R. Laird
Part III. Evolutions and Integrations:
After 1970: 11. Stephen Sondheim and the musical of the outsider Jim Lovensheimer
12. Choreographers, directors and the fully integrated musical Paul R. Laird
13. From Hair to Rent: is 'rock' a four-letter word on Broadway? Scott Warfield
14. The megamusical: the creation, internationalization, and impact of a genre Paul Prece and William A. Everett
15. The European musical Judith Sebesta
16. New horizons: the musical at the dawn of the twenty-first century Bud Coleman
Part IV. Legacies and Transformations:
17. Why do they start to sing and dance all of a sudden? Examining the film musical Graham Wood
18. Revisiting classic musicals: revivals, film, and television and recordings Jessica Sternfeld
19. The creation of a Broadway musical: Stephen Schwartz, Winnie Holzman, and Wicked Paul Laird.
22
Nicholas Thistlethwaite, Geoffrey Webber
The Cambridge Companion to the Organ
Cambridge: Cambridge University Press, 1999
This Companion is an essential guide to all aspects of the organ and its music. It examines in turn the instrument, the player and the repertoire. The early chapters tell of the instrument's history and construction, identify the scientific basis of its sounds and the development of its pitch and tuning, examine the history of the organ case, and consider the current trends and conflicts within the world of organ building. Central chapters investigate the practical art of learning and playing the organ, introduce the complex area of performance practice, and outline the relationship between organ playing and the liturgy of the church. The final section explores the vast repertoire of organ music, focusing on a selection of the most important traditions. da sito (Cambridge University Press)
Vedi indice1. Origins and development of the organ Nicholas Thistlethwaite
2. Organ construction Stephen Bicknell
3. The physics of the organ John Mainstone
4. Temperament and pitch Christopher Kent
5. The organ case Stephen Bicknell
6. Organ-building today Stephen Bicknell
7. The fundamentals of organ playing Kimberly Marshall
8. A survey of historical performance practices Kimberly Marshall
9. Organ music and the liturgy Edward Higginbottom
10. Italian organ music to Frescobaldi Christopher Stembridge
11. Iberian organ music before 1800 James Dalton
12. The French classical organ school Edward Higginbottom
13. English organ music to c. 1700 Geoffrey Cox
14. Catholic Germany and Austria before 1800 Patrick Russill
15. The north German organ school before 1800 Geoffrey Webber
16. The organ music of J. S. Bach David Yearsley
17. German organ music after 1800 Graham Barber
18. French and Belgian organ music after 1800 Gerard Brooks
19. British organ music after 1800 Andrew McCrea
20. North American organ music after 1800 Douglas Reed
Appendix The church modes Christopher Stembridge
23
David Rowland
The Cambridge Companion to the Piano
Cambridge: Cambridge University Press, 1998
This collection of specially commissioned essays offers an accessible introduction to the history of the piano, performance styles, and its vast repertoire. Part 1 reviews the evolution of the piano, from its earliest forms up to the most recent developments, including the acoustics of the instrument. Part 2 explores the varied repertory in its social and stylistic contexts, including contemporary music, with a final chapter on jazz, blues and ragtime. The Companion also contains a glossary of important terms and will be a valuable source for the piano performer, student and enthusiast. da sito (Cambridge University Press)
Vedi indiceList of figures
List of music examples
Notes on the contributors
Acknowledgements
Bibliographical abbreviations and pitch notation
Introduction David Rowland
Part I. Pianos and Pianists:
1. The piano to c.1770 David Rowland
2. Pianos and pianists c.1770–c.1825 David Rowland
3. The piano since c.1825 David Rowland
4: The virtuoso tradition Kenneth Hamilton
5: Pianists on record in the early twentieth century Robert Philip
6. The acoustics of the piano Bernard Richardson
Part II. Repertory:
7. Repertory and canon Dorothy de Val and Cyril Ehrlich
8. The music of the early pianists (to c.1830) David Rowland
9. Piano music for concert hall and salon c.1830–1900 J. Barrie Jones
10. Nationalism J. Barrie Jones
11. New horizons in the twentieth century Mervyn Cooke
12. Ragtime, blues, jazz and popular music Brian Priestley
Glossary
Notes
Select bibliography
24
John Mansfield Thomson, Anthony Rowland-Jones
The Cambridge Companion to the Recorder
Cambridge: Cambridge University Press, 1995
This is the first book to offer a complete introduction to the recorder. Seven contributors from four different countries write on topics such as the recorder and its music through the centuries, the recorder as orchestral instrument, the professional recorder player through history and today, and the phenomenon of the recorder revival. The Companion also contains basic reference material previously unavailable in one volume. A special feature is found in the rich collection of illustrations which in themselves provide a history of the instrument. da sito (Cambridge University Press)
Vedi indiceForeword Daniel Brüggen
1. The recorder in the Middle Ages and the Renaissance Howard Mayer Brown
2. The recorder's Medieval and Renaissance repertoire: a commentary Anthony Rowland-Jones
3. The baroque recorder sonata Anthony Rowland-Jones
4. The baroque chamber music repertoire Anthony Rowland-Jones
5. The orchestral recorder Adrienne Simpson
6. The eighteenth-century recorder concerto David Lasocki and Anthony Rowland-Jones
7. Instruction books and methods for the recorder c.1500 to the present day David Lasocki
8. The recorder revival i: the friendship of Bernard Shaw and Arnold Dolmetsch J. M. Thomson
9. The recorder revival ii: the twentieth century and its repertoire Eve O'Kelly
10. Professional recorder players i: pre-twentieth century David Lasocki
11. Professional recorder players (and their instruments) ii: the twentieth century Eve O'Kelly
12. The recorder in education Eve O'Kelly
13. Facsimiles and editing Clifford Bartlett
14. Guide to further reading Anthony Rowland-Jones
25
Richard Ingham
The Cambridge Companion to the Saxophone
Cambridge: Cambridge University Press, 1999
The Cambridge Companion to the Saxophone, first published in 1999, tells the story of the saxophone, its history and technical development from Adolphe Sax (who invented it c. 1840) to the end of the twentieth century. It includes extensive accounts of the instrument's history in jazz, rock and classical music as well as providing practical performance guides. Discussion of the repertoire and soloists from 1850 to the present day includes accessible descriptions of contemporary techniques and trends, and moves into the electronic age with midi wind instruments. There is a discussion of the function of the saxophone in the orchestra, in 'light music' and in rock and pop studios, as well as of the saxophone quartet as an important chamber music medium. The contributors to this volume are some of the finest performers and experts on the saxophone. da sito (Cambridge University Press)
Vedi indice1. Invention and development Thomas Liley
2. In the twentieth century Don Ashton
3. Influential soloists Thomas Dryer-Beers
4. The repertoire heritage Thomas Liley
5. The saxophone quartet Richard Ingham
6. The mechanics of playing the saxophone: i. Saxophone technique Kyle Horch
ii. Jazz and rock techniques David Roach
iii. The saxophone family: playing characteristics and doubling Nick Turner
7. The professional player: i. In the orchestra Stephen Trier
ii. The undocumented Gordon Lewin
iii. The studio player Chris 'Snake' Davis
8. Jazz and the saxophone Richard Ingham
9. Rock and the saxophone Richard Ingham and John Helliwell
10. The saxophone today: i. The contemporary saxophone Claude Delangle and Jean-Denis Michat
ii. Midi wind instruments Richard Ingham
11. Teaching the saxophone Kyle Horch
26
Julian Horton
The Cambridge Companion to the Symphony
Cambridge: Cambridge University Press, 2013
•A comprehensive guide to the symphony from its origins in the early eighteenth century to the present day that is an invaluable resource for anyone interested in understanding the symphony historically, analytically or culturally
• A scholarly yet accessible overview of one of the major genres of Western music, concentrating diverse perspectives in a single volume
• Leading scholars cover a wide range of repertoire and deal with historical, analytical and interpretative topics
(Da sito Cambridge University Press)
Vedi indice1. Introduction: understanding the symphony Julian Horton
Part I. Historical Overview of the Genre:
2. The Viennese symphony 1750 to 1827 John Irving
3. Other classical repertories Mary Sue Morrow
4. The symphony after Beethoven after Dahlhaus David Brodbeck
5. The symphony since Mahler: national and international trends David Fanning
Part II. Studies in Symphonic Analysis:
6. Six great early symphonists Michael Spitzer
7. Harmonies and effects: Haydn and Mozart in parallel Simon P. Keefe
8. Beethoven: structural principles and narrative strategies Mark Anson-Cartwright
9. Cyclical thematic processes in the nineteenth-century symphony Julian Horton
10. Tonal strategies in the nineteenth-century symphony Julian Horton
11. 'Two-dimensional' symphonic forms: Schoenberg's Chamber Symphony, before, and after Steven Vande Moortele
12. Symphony/antiphony: formal strategies in the twentieth-century symphony Daniel M. Grimley
Part III. Performance, Reception and Genre:
13. The symphony and the classical orchestra Richard Will
14. Beethoven's shadow: the nineteenth century Mark Evan Bonds
15. The symphony as programme music John Williamson
16. 'Symphonies of the free spirit': the Austro-German symphony in early Soviet Russia Pauline Fairclough
17. The symphony in Britain: guardianship and renewal Alain Frogley
18. The symphony, the modern orchestra and the performing canon Alan Street
27
Robin Stowell
The Cambridge Companion to the Violin
Cambridge: Cambridge University Press, 1992
The Cambridge Companion to the Violin offers students, performers, and scholars a fascinating and composite survey of the history and repertory of the instrument from its origins to the present day. The volume comprises fifteen essays, written by a team of specialists, and is intended to develop the violin's historical perspective in breadth and from every relevant angle. The principal subjects discussed include the instrument's structure and development; its fundamental acoustical properties; principal exponents; technique and teaching principles; solo and ensemble repertory; pedagogical literature; traditions in folk music and jazz; and aspects of historical performing practice. The text is supported by numerous illustrations and diagrams as well as music examples, a useful appendix, glossary of technical terms, and an extensive bibliography. da sito (Cambridge University Press)
Vedi indice1. The violin and bow - origins and development John Dilworth
2. The physics of the violin Bernard Richardson
3. The violinists of the baroque and classical periods Simon McVeigh
4. The nineteenth century bravura tradition Robin Stowell
5. The twentieth century Eric Wen
6. The fundamentals of violin playing and teaching Adrian Eales
7. Technique and performing practice Robin Stowell
8. Aspects of contemporary technique (with comments about Cage, Feldman, Scelsi and Babbitt) Paul Zukofsky
9. The concerto Robin Stowell
10. The sonata Robin Stowell
11. Other solo repertory
12. The violin as ensemble instrument Peter Allsop
13. The pedagogical literature Robin Stowell
14. The violin - instrument of four continents Peter Cooke
15. The violin in jazz Max Harrison
Appendix: Principal violin treatises
28
Scott L. Balthazar
The Cambridge Companion to Verdi
Cambridge: Cambridge U.P., 2004
This 2004 Companion provides a biographical, theatrical and social-cultural background for Verdi's music, examines in detail important general aspects of its style and method of composing, and synthesizes stylistic themes in discussions of representative works. Aspects of Verdi's milieu, style, creative process and critical reception are explored in essays by highly reputed specialists. Individual chapters address themes in Verdi's life, his role in transforming the theater business, and his relationship to Italian Romanticism and the Risorgimento. Chapters on four operas representative of the different stages of Verdi's career, Ernani, Rigoletto, Don Carlos and Otello synthesize analytical themes introduced in the more general chapters and illustrate the richness of Verdi's creativity. The Companion also includes chapters on Verdi's non-operatic songs and other music, his creative process, and scholarly writing about Verdi from the nineteenth-century to the present day.
Vedi indiceList of music examples
List of tables
Notes on contributors
Preface
Chronology
Part I. Personal, Cultural, and Political Context:
1. Verdi's life: a thematic biography Mary Jane Phillips-Matz
2. The Italian theater of Verdi's day Alessandro Roccatagliati
3. Verdi, Italian Romanticism and the Risorgimento Mary Ann Smart
Part II. The Style of Verdi's Operas and Non-Operatic Works:
4. The forms of set pieces Scott L. Balthazar
5. New currents in the libretto Fabrizio della Seta
6. Words and music Emanuele Senici
7. French influences Andreas Giger
8. Structural coherence Steven Huebner
9. Instrumental music in Verdi's operas David Kimbell
10. Verdi's non-operatic works Roberta Montemorra Marvin
Part III. Essays on Representative Operas:
11. Ernani: the tenor in transformation Rosa Solinas
12. 'Ch'hai di nuovo, buffon?' or what's new with Rigoletto Cormac Newark
13. Verdi's Don Carlos: an overview of the opera Harold Powers
14. Desdemona's alienation and Otello's fall Scott L. Balthazar
Part IV. Creation and Critical Reception:
15. An introduction to Verdi's working methods Luke Jensen
16. Verdi criticism Gregory Harwood
List of Verdi's operas
Notes
Verdi's works
Bibliography
Index
29
Thomas S. Grey
The Cambridge Companion to Wagner
Cambridge: Cambridge U.P., 2008
Richard Wagner is remembered as one of the most influential figures in music and theatre, but his place in history has been marked by a considerable amount of controversy. His attitudes towards the Jews and the appropriation of his operas by the Nazis, for example, have helped to construct a historical persona that sits uncomfortably with modern sensibilities. Yet Wagner's absolutely central position in the operatic canon continues. This volume serves as a timely reminder of his ongoing musical, cultural, and political impact. Contributions by specialists from such varied fields as musical history, German literature and cultural studies, opera production, and political science consider a range of topics, from trends and problems in the history of stage production to the representations of gender and sexuality. With the inclusion of invaluable and reliably up-to-date biographical data, this collection will be of great interest to scholars, students, and enthusiasts.
Vedi indiceChronology
Part I. Biographical and Historical Contexts:
1. Wagner lives: issues in autobiography John Deathridge
2. Meister Richard's apprenticeship: the early operas (1833–40) Thomas S. Grey
3. To the Dresden barricades: the genesis of Wagner's political ideas Mitchell Cohen
Part II. Opera, Music, Drama:
4. The 'Romantic operas' and the turn to myth Stewart Spencer
5. Der Ring des Nibelungen: conception and interpretation Barry Millington
6. Leitmotif, temporality, and musical design in the Ring Thomas S. Grey
7. Tristan und Isolde: essence and appearance John Daverio
8. Performing Germany in Wagner's Die Meistersinger von Nürnberg Stephen McClatchie
9. Parsifal: redemption and Kunstreligion Glenn Stanley
Part III. Ideas and Ideology in the Gesamtkunstwerk:
10. The urge to communicate: the prose writings as theory and practice James Treadwell
11. Critique as passion and polemic: Nietzsche and Wagner Dieter Borchmeyer
12. The Jewish question Thomas S. Grey
Part IV. After Wagner:
Influence and Interpretation: 13. 'Wagnerism': responses to Wagner in music and the arts Annegret Fauser
14. Wagner and the Third Reich: myths and realities Pamela M. Potter
15. Wagner on stage: aesthetic, dramaturgical, and social considerations Mike Ashman
16. Criticism and analysis: current perspectives Arnold Whittall.
30
Patricia Shehan Campbell, Trevor Wiggins
The Oxford Handbook of Children's Musical Cultures
Oxford: Oxford University Press, 2013
The Oxford Handbook of Children's Musical Cultures is a compendium of perspectives on children and their musical engagements as singers, dancers, players, and avid listeners. Over the course of 35 chapters, contributors from around the world provide an interdisciplinary enquiry into the musical lives of children in a variety of cultures, and their role as both preservers and innovators of music. Drawing on a wide array of fields from ethnomusicology and folklore to education and developmental psychology, the chapters presented in this handbook provide windows into the musical enculturation, education, and training of children, and the ways in which they learn, express, invent, and preserve music. Offering an understanding of the nature, structures, and styles of music preferred and used by children from toddlerhood through childhood and into adolescence, The Oxford Handbook of Children's Musical Cultures is an important step forward in the study of children and music. (Da sito Oxford University Press)
Vedi indiceContents
About the Contributors
Introduction
Patricia Shehan Campbell & Trevor Wiggins
Engagements with Culture: Socialization & Identity
(Re)Making cultures for/by children/Updating tradition
1. Girls Experiencing Gamelan Education and Cultural Politics in Bali
Sonja Downing
2. Youth Music At The Yakama Nation Tribal School
Robert Pitzer
3. Reform Jewish Songleading and the Flexible Practices of Jewish-American Youth
Judah Cohen
4. Venda Children's Musical Culture in Limpopo, South Africa
Andrea Emberly
5. Songs of Japanese Schoolchildren During World War II
Noriko Manabe
6. Girlhood Songs, Musical Tales and Games as Strategies for Socialization into Adult Gender among the Baganda of Uganda
Sylvia Nannyonga-Tamusuza
7. Musical Cultures of Girls in the Brazilian Amazon
Beatriz Ilari
8. The Musical Socialization of Children and Adolescents in Brazil in their Everyday Lives
Magali Kleber & Jusamara Souza
9. Polyphonic Conception of Music in Georgian Children (Caucasus)
Polo Vallejo
10. Integration in Mexican Children's Musical Worlds
Janet Sturman
Cultural Identities with multiple meanings
11. Celticity, Community and Continuity in the Children's Musical Cultures of Cornwall
Alan Kent
12. Miskitu Children's Singing Games on the Caribbean Coast of Nicaragua as Intercultural Play and Performance
Amanda Minks
13. Education and Evangelism in a Sierra Leonean Village
Sarah Bartolome
14. Children's Urban and Rural Musical Worlds in North India
Natalie Sarrazin
15. Enjoyment and Socialization in Gambian Children's Music Making
Lisa Huisman Koops
16. Children's Musical Engagement with Trinidad's Carnival Music
Hope Munro Smith
Personal journeys in/through culture
17. Musical Childhoods Across Three Generations, from Puerto Rico to the U.S.A.
Marisol Berríos-Miranda
18. The Musical Worlds of Aboriginal Children at Burrulula and Darwin in the Northern Territory of Australia
Elizabeth Mackinlay
19. Reflexive and Reflective Perspectives of Musical Childhoods in Singapore
Chee-Hoo Lum & Eugene Dairianathan
20. The Musical Culture of African American Children in Tennessee
Marvelene Moore
Music in education and development
21. Children's and Adolescents' Musical Needs and Music Education in Germany
Alexandra Kertz-Welzel
22. Threads of Te Whariki in Early Childhood Musical Activities in Aotearoa/New Zealand
Sally Bodkin-Allen
23. The Musical Lives of Children in Hong Kong
Lily Chen Hafteck
24. Tradition and Change in the Musical Culture of South Korean Children
Young-Youn Kim
25. Perspectives on the School Band from Hardcore American Band Kids
Carlos Abril
26. The Nature of Music-Nurturing in Japanese Preschools
Mayumi Adachi
27. The Complex Ecologies of Early Childhood Musical Cultures in Australia
Peter Whiteman
28. The Role of Context and Experience among the Children of the Church of God and Saints of Christ, Cleveland, Ohio
Sara Stone Miller and Terry E. Miller
29. Music in the Lives of Refugee and Newly Arrived Immigrant Children in Sydney, Australia
Kathy Marsh
30. Enculturational Discontinuities in the Musical Experience of the Wagogo Children of Central Tanzania
Kedmon Mapana
Technologies: Impacts, Uses and Responses
31. Children's MP3 Players as Material Culture in the U.S.A.
Tyler Bickford
32. Economics, Class and Musical Apprenticeship in South Asia's Brass Band Communities
Greg Booth
33. Constructions and Negotiations of Identity in Children's Music in Canada
Anna Hoefnagels & Kristin Harris Walsh
34. A Historical Look at Three Recordings of Children's Musicking in New York City
Christopher Roberts
35. Whose Songs in their Heads?
Trevor Wiggins
31
Roger T. Dean
The Oxford Handbook of Computer Music
Oxford etc.: Oxford University Press, 2009
Since the first musical tones were produced on a computer in 1950, composers of computer music have produced a major body of creative works, and today the field has its own canon and accepted modes of analysis and pedagogy. As technologies improve and become increasingly available, the cost of performances - both live solo and networked - and studio composition have fallen sharply.
The Oxford Handbook of Computer Music fills this gap by providing a state-of-the-art cross-section of the most field-defining topics and debates in the field of computer music today. A unique contribution to the field, it situates computer music in the broad context of its creation and performance across the full range of issues - from music cognition to pedagogy to sociocultural analyses - that crop up in contemporary discourse in the field. It focuses not only on art music, but also on the important movements of microsonics, the computer DJ, and computer-interactive performance more broadly. (Da sito Oxford University Press)
Vedi indice1.: Introduction: The many futures of computer music
Roger T. Dean
Section I: Some histories of computer music and its technologies
2.: A historical view of computer music technology
Douglas Keislar
3.: Early hardware and early ideas in computer music - their development and their current forms
Paul Doornbusch
4.: Sound synthesis using computers
Peter Manning
Section II: The Music
5.: Computational approaches to composition of notated instrumental music: Xenakis and the other pioneers
James Harley
6.: Envisaging improvisation in future computer music
Roger T. Dean
Section III: Sounding Out
7.: Computer music: some reflections
Trevor Wishart
8.: Some notes on my electronic improvisation practice
Tim Perkis
9: Combining the acoustic and the digital: music for instruments and computers or pre-recorded sound
Simon Emmerson
Section IV: Creative and Performance Modes
10.: Dancing the music: interactive dance and music
Wayne Siegel
11.: Gesture and morphology in laptop music performance
Garth Paine
12.: Sensor based musical Instruments and interactive music
Atau Tanaka
13.: Spatialisation and computer music
Peter Lennox
14.: The voice in computer music and its relationship to place, identity and community
Hazel Smith
15.: Algorithmic synaesthesia
Noam Sagiv, Freya Bailes and Roger T. Dean
16: An introduction to data sonification
David Worrall
17.: Electronica
Nick Collins
18.: Generative algorithms for making music: emergence, evolution and ecosystems
Jon McCormack, Alice Eldridge, Alan Dorin and Peter McIlwain
Section V: Cognition and Computation of Computer Music
19: Computational modelling of music cognition and musical creativity
Geraint A. Wiggins, Marcus T. Pearce and Daniel Müllensiefen
20.: Soundspotting: a new kind of process?
Michael Casey
Section VI: Sounding Out
21.: Interactivity and improvisation
George E. Lewis
22.: From outside the window: electronic sound performance
Pauline Oliveros
23.: Empirical studies of computer sound
Freya Bailes and Roger T. Dean
Section VII: Cultural and Educational Issues
24.: Toward the gender ideal
Mary Simoni
24.: Sound-based music 4 all
Leigh Landy
25: Framing learning perspectives in computer music education
Jøran Rudi and Palmyre Pierroux
Appendix
A chronology of computer music and related events
Paul Doornbusch
Contributors
32
Wayne D. Bowman, Ana Lucía Frega
The Oxford Handbook of Philosophy in Music Education
Oxford etc.: Oxford University Press, 2012
Music education thrives on philosophical inquiry, the systematic and critical examination of beliefs and assumptions. Yet philosophy, often considered abstract and irrelevant, is often absent from the daily life of music instructors. In The Oxford Handbook of Philosophy in Music Education, editors Wayne D. Bowman and Ana Lucia Frega have drawn together a variety of philosophical perspectives from the profession's most exciting scholars. Rather than relegating philosophical inquiry to moot questions and abstract situations, the contributors to this volume address everyday concerns faced by music educators everywhere, demonstrating that philosophy offers a way of navigating the daily professional life of music education and proving that critical inquiry improves, enriches, and transforms instructional practice for the better. Questioning every musical practice, instructional aim, assumption, and conviction in music education, The Oxford Handbook of Philosophy in Music Education presents new and provocative approaches to the practice of teaching music.
Bowman and Frega go deeper than mere advocacy or a single point of view, but rather conceive of philosophy as a dynamic process of debate and reflection that must constantly evolve to meet the shifting landscapes of music education. In place of the definitive answers often associated with philosophical work, Bowman and Frega offer a fascinating cross-section of often-contradictory approaches and viewpoints. By bringing together essays by both established and up-and-coming scholars from six continents, Bowman and Frega go beyond the Western monopoly of philosophical practice and acknowledge the diversity of cultures, instructors, and students who take part in music education. This range of perspectives invites broader participation in music instruction, and presents alternative answers to many of the fields most pressing questions and issues. By acknowledging the inherent plurality of music educational practices, the Handbook opens up the field in new and important ways. Emphasizing clarity, fairness, rigour, and utility above all, The Oxford Handbook of Philosophy in Music Educationwill challenge music educators all over the world to make their own decisions and ultimately contribute to the conversation themselves. (Da sito Oxford University Press)
Vedi indiceAbout the Contributors
Introduction
Bowman, Wayne Manitoba (Canada)
Frega , Ana Lucia Buenos Aires (Argentina)
I. The Nature and Value of Philosophical Inquiry in Music Education
What should music education expect of philosophy?
Bowman, Wayne Manitoba (Canada)
Frega , Ana Lucia Buenos Aires (Argentina)
Rethinking philosophy, re-viewing musical-emotional experiences
Elliott, David New York University, New York (USA)
Silverman, Marissa Montclair State University, New Jersey (USA)
Voicing imbas: Performing a philosophy of music education
Phelan, Helen Irish World Academy of Music and Dance, University of Limerick (Ireland)
Philosophy of music education as art of life: A Deweyan view
Vakeva, Lauri Sibelius Academy, Helsinki (Finland)
Uncomfortable with immanence
Reimer, Bennett Northwestern University, Evanston, Illinois (USA)
II. The Nature and Values of Music
Learning to live music: Musical education as the cultivation of a relationship between self and sound
Pabich, Randall Temple University, Philadelphia, Pennsylvania (USA)
The grain of the music: Does music education 'mean' something in Japan?
Imada, Tadahiko Hirosaki University (Japan)
Musical education: From identity to becoming
Szekely, Michael Temple University, Philadelphia, Pennsylvania (USA)
Teaching practices in Persian art music
Naqvi, Erum Temple University, Philadelphia, Pennsylvania (USA)
Understanding music's therapeutic efficacy: Implications for music education
Thram, Diane International Library of African Music, Rhodes University (South Africa)
III. The Aims of Education
The Impossible Profession
Higgins, Christopher University of Illinois, Urbana (USA)
Education in Latin American music schools: A philosophical perspective
Estrada, Luis Alfonso Universidad Nacional Autónoma de México (Mexico)
Must music education have an aim?
Howard, V. A. Harvard University, Cambridge, Mass. (USA)
Cultivating virtuous character: The Chinese traditional perspective of music education
Wang, Yuh-Wen National Taiwan University (Taiwan)
Ethical dimensions of school-based music education
Regelski, Thomas SUNY Fredonia, New York (USA)
IV. Philosophical Inquiry Directed to Curricular and Instructional concerns
Engaging student ownership of musical ideas
Fiske, Harold University of Western Ontario, London, Ontario (Canada)
Understanding music as the philosophical focus of music education
Swanwick, Keith Institute of Education, University of London (England)
Musical heuristics
Mandolini, Ricardo University Lille (France)
Nurturing the songcatchers: Philosophical issues in creativity and music education
Kratus, John Michigan State University, Lansing (USA)
Avoiding the dangers of postmodern nihilist curricula in music education
Walker, Robert University of New South Wales, Sydney (Australia)
V. Challenges to Philosophical Practice in Music Education
Good for what, good for whom? Decolonizing music education philosophies
Bradley, Deborah University of Wisconsin, Madison (USA)
Place philosophy and music education
Stauffer, Sandra Arizona State University, Tempe (USA)
Music education for
Morton, Charlene University of British Columbia, Vancouver (Canada)
On informalities in music education
Jorgensen, Estelle Indiana University, Bloomington (USA)
VI. Afterword
But is it philosophy?
Bowman, Wayne Manitoba (Canada)
Frega , Ana Lucia Buenos Aires (Argentina)
Index 33
Yael Kaduri
The Oxford Handbook of Sound and Image in Western Art
Oxford: Oxford University Press, 2016
The Oxford Handbook of Sound and Image in Western Art is the first book to examine, under one umbrella, different kinds of analogies, mutual influences, integrations and collaborations of audio and visual in different art forms: painting, sculpture, installation, architecture, performance art, animation, film, video art, visual music, multimedia, experimental music, sound art, opera, theatre and dance. Sitting at the cutting edge of the field of music and visual arts, the book offers a unique, at times controversial view of this rapidly evolving area of study.
The book is organized around three core thematic sections. The first, Sights & Sounds, concentrates on interaction between the experience of seeing and the experience of hearing. Sound, Space & Matter expands the idea of music to include environmental sounds, vibrating frequencies, homemade instruments, linguistic utterances, noise and silence. Architecture, likewise, faces a similar discourse that examines non-material spaces, environments, human habitats, performances, destruction and void. Enhanced by advanced digital technologies, this aesthetic shift opened the door for endless experiments, which give a new context to theoretical issues such as medium, matter and process in creating and perceiving art. In the third section, Performance, Performativity & Text, music as a performing art provides the point of departure. The new light shed by modernism and the avant-garde on the performative aspect of music have led it - together with sound and text - to become active in new ways in contemporary dance, theatre and the visual arts.
The chapters in the handbook make and prove their arguments using case studies in contemporary art, music, and sound as illustrations, building upon exsiting thought as a foundation for discussion. Artists, curators, students and scholars will find here a panoramic view of cutting-edge discourse in the field, by an international roster of scholars and practitioners.
Vedi indice1. Yael Kaduri - Introduction: Audiovisual Spaces of Physical Comprehension
Section I. Sights & Sounds
2. Judith Zilczer - American Rhapsody: From Modern to Post-Modern in Visual Music
3. Ruth HaCohen - Between Generation and Suspension: Two Modern Audiovisual Modes
4. Bret Battey and Rajmil (Yerach) Fischman - Convergence of Time and Space: A Composer's Perspective
5. Jean-Baptiste Barrière and Aleksi Barrière - When Music Unfolds into Image: Conceiving Visual Concerts for Kaija Saariaho's Works
6. Cornelia Lund - Sculpting Image and Sound: On Herman Kolgen's Audiovisual Projects
7. Nicholas Cook - Hearing Gould, Seeing Music
8. Rachel Duerden - Choreo-Musical Relationships in Mark Morris's "All Fours" (2003)
Section II. Sound, Space & Matter
9. Nicholas Till - "Sound Houses": Music, Architecture and the Postmodern Sonic
10. Julia Kursell and Armin Schäfer - Microsound and Macrocosm: Gérard Grisey's Explorations of Musical Sound and Space
11. Mirjam Schaub - The Affective Experience of Space: Janet Cardiff & George Bures Miller
12. Petra Maria Meyer - Sound, Image, Dance and Space in Intermedial Theatre: Past and Present
13. Enrico Pitozzi - Body Soundscape: Perception, Movement and Audiovisual in Contemporary Dance
14. Randolph Jordan - Acoustical Properties: Practicing Contested Spaces in the Films of Philippe Grandrieux
15. Dieter Daniels - Silence and Void: Aesthetics of Absence in Space and Time
Section III. Performance, Performativity & Text
16. Björn Heile - Towards a Theory of Experimental Music Theatre: "Showing-Doing," "Non-Matrixed Performance," and "Metaxis"
17. Gabriele Brandstetter - Showing Dance: Lecture Performances in Dance since the 1990s
18. Simon Shaw-Miller - Object and Idea: Music in the Art of Kandinsky, Duchamp, Paik and Marclay
19. Gabriele Jutz - Audiovisual Aesthetics in Contemporary Experimental Cinema
20. Endre Szkárosi -The Spatial Expansion of Language in Hungarian Poetry in the Last Decades of the 20th Century
21. Valentina Valentini - The Dramaturgy of Sound and Vocality in the Theatre of Socìetas Raffaello Sanzio
22. John Richardson - Between Speech, Music and Sound: the Voice, Flow and the Aestheticizing Impulse in Audiovisual Media
34
Trevor Pinch, Karin Bijsterveld
The Oxford Handbook of Sound Studies
Oxford etc.: Oxford University Press, 2012
Written by the world's leading scholars and researchers in sound studies, The Oxford Handbook of Sound Studies offers new and fully engaging perspectives on the significance of sound in its material and cultural forms. The book considers sounds and music as experienced in such diverse settings as shop floors, laboratories, clinics, design studios, homes, and clubs, across an impressively broad range of historical periods and national and cultural contexts.
Science has traditionally been understood as a visual matter, a study which has historically been undertaken with optical instruments such as slides, graphs, and telescopes. This book questions that notion powerfully by illustrating how sounds have always been a part of human experience, shaping and transforming the world in which we live in ways that often go unnoticed. Sounds and music, the authors argue, are embedded in the fabric of everyday life, art, commerce, and politics in ways which impact our perception of the world. Through an extraordinarily diverse set of case studies, authors illustrate how sounds — from the sounds of industrialization, to the sounds of automobiles, to sounds in underwater music and hip-hop, to the sounds of nanotechnology — give rise to new forms listening practices. In addition, the book discusses the rise of new public problems such as noise pollution, hearing loss, and intellectual property and privacy issues that stem from the spread and appropriation of new sound- and music-related technologies, analog and digital, in many domains of life.
Rich in vivid and detailed examples and compelling case studies, and featuring a companion website of listening samples, this remarkable volume boldly challenges readers to rethink the way they hear and understand the world. (Da sito Oxford University Press)
Vedi indiceContributors
List of Figures
Introduction: New Keys to the World of Sound - Trevor Pinch and Karin Bijsterveld
SECTION I: REWORKING MACHINE SOUND: SHOP FLOOR & TEST SITES
1. The Garden in the Machine: Listening to Early American Industrialization - Mark M. Smith
2. Turning a Deaf Ear? Industrial Noise and Noise Control in Germany since the 1920s - Hans-Joachim Braun
3. Sobbing, whining, rumbling: Listening to Automobiles as Social Practice - Stefan Krebs
4. Selling Sound: Testing, Designing, and Marketing Sound in the European Car Industry - Eefje Cleophas and Karin Bijsterveld
SECTION II: STAGING SOUND FOR SCIENCE AND ART: THE FIELD
5. Sound Sterile: Making Scientific Field Recordings in Ornithology - Joeri Bruyninckx
6. Underwater Music: Tuning Composition to the Sounds of Science - Stefan Helmreich
7. A Grey Box: The Phonograph in Laboratory Experiments and Field Work, 1900-1920 - Julia Kursell
SECTION III. STAGING SOUND FOR SCIENCE AND ART: THE LAB
8. From Scientific Instruments to Musical Instruments: The Tuning Fork, Metronome, and Siren - Myles W. Jackson
9. Conversions: Sound and Sight, Military and Civilian - Cyrus Mody
10. The Search for the 'Killer Application': Drawing the Boundaries Around the Sonification of Scientific Data - Alexandra Supper
SECTION IV: SPEAKING FOR THE BODY: THE CLINIC
11. Inner and Outer Sancta: Ear Plugs and Hospitals - Hillel Schwartz
12. Sounding Bodies: Medical Studies and the Acquisition of Stethoscopic Perspectives - Tom Rice
13. Do Signals Have Politics? Inscribing Abilities in Cochlear Implants - Mara Mills
SECTION V: EDITING SOUND: THE DESIGN STUDIO
14. Sound and Player Immersion in Digital Games - Mark Grimshaw
15. The Sonic Playpen: Sound Design and Technology in Pixar's Animated Shorts - William Whittington
16. The Avant-garde in the Family Room: American Advertising and the Domestication of Electronic Music in the 1960s and 1970s - Timothy Taylor
SECTION VI: CONSUMING SOUND AND MUSIC: THE HOME AND BEYOND
17. Visibly Audible: The Radio Dial as Mediating Interface - Andreas Fickers
18. From Listening to Distribution: Non-official Music Practices in Hungary and Czechoslovakia from the 1960s to the 1980s - Trever Hagen with Tia DeNora
19.The Amateur in the Age of Mechanical Music - Mark Katz
20. Online Music Sites as Sonic Sociotechnical Communities: Identity, Reputation, and Technology at ACIDplanet.com - Trevor Pinch and Katherine Athanasiades
SECTION VII: MOVING SOUND AND MUSIC: DIGITAL STORAGE
21. Analog turns Digital: Hip-hop, Technology, and the Maintenance of Racial Authenticity - Ray Fouche
22. iPod Culture: The Toxic Pleasures of Audiotopia - Michael Bull
23. The Recording that Never Wanted to be Heard, and Other Stories of Sonification - Jonathan Sterne and Mitchell Akiyama
Index
35
Raymond Knapp, Mitchell Morris...
The Oxford Handbook of The American Musical
Oxford: Oxford University Press, 2013
The American musical, though one of the United States' most popular and emblematic musical genres, has long been neglected as a topic for academic study. Only recently have scholars taken up the serious study of musicals, and serious criticism and commentary available to non-professionals is still sparse. The Oxford Handbook of the Amreican Musical is designed to be used by students in all disciplines concerned with the genre, as well as non-academic listeners who want to enrich their experience as audience members. Taking the form of a keywords book, it introduces readers to important concepts and terms that shape the history of the musical as a genre, and offers ways to reflect on the specific choices that shape the musicals and their performance. The Handbook offers ways of thinking about musicals that will be of interest to scholars and students as well as performers of all kinds. (Da sito Oxford University Press)
Vedi indiceIntroduction (Stacy Wolf)
I. Historiography
1. Narratives and Values: Stories of the Musical (Mitchell Morris)
2. Texts and Authors (Jim Lovensheimer)
3. Marian Waltzes while Harold Marches: Musical Styles and Types in the American Musical (Paul Laird)
4. Evolution of Dance in the Golden Age of the American Book Musical (Liza Gennaro)
II. Transformations
5. Minstrelsy and Theatrical Miscegenation (Thomas L. Riis)
6. Toward the First Golden Age: Tin Pan Alley Songs on Stage and Screen before World War II (Raymond Knapp and Mitchell Morris)
7. Integration (Geoffrey Block)
8. After the Golden Age (Jessica Sternfeld & Elizabeth L. Wollman)
III. Media
9. Theatre (Tamsen Wolff)
10. The Filmed Musical: Fissures and Fusions between Stage and Screen (Raymond Knapp and Mitchell Morris)
11. The Television Musical: Rodgers & Hammerstein's Cinderella (Robynn J. Stilwell)
12. The Animated Film Musical (Susan Smith)
13. Broadway on Records: The Evolution of the Original Cast Album (George
36
Jane F. Fulcher
The Oxford Handbook of the New Cultural History of Music
Oxford: Oxford University Press, 2011
This volume demonstrates the recent direction of cultural history, as it is now being practiced in both history and musicology, to grasp the realms of human experience, understanding and meaning-how they are constructed, negotiated and communicated on both an individual and a social level. Just as historians in their quest to understand the construction and transmission of meaning, musicologists are turning to new inquiries into cultural representations and their social dynamics, while remaining aware of music's distinctive register of representation as an abstract language and a performing art. As the case studies analyzed by musicologists and historians in this volume attest, both fields are not only posing similar questions but attempting to study music itself together with the relevant framing factors and contexts that imbued it with meaning. They are seeking to do so within a factually accurate yet theoretically sophisticated interpretation that combines the insights into language and semiotics characteristic of the new cultural history and new musicology of the 1980s and '90s with more recent sociological theories and their perspective on how symbols function within the larger field of social power.
The volume illuminates how musicologists and historians are practicing the new cultural history of music, employing similar rubrics and specifically those emerging from the recent synthesis of theoretical perspectives on language, symbols, meanings, and their social as well as political dynamics. These include questions of cultural identity and its expression, or its constructions, representations and exchanges, into which music provides a significant mode of access. The scholars who work in these areas are concerned with those cultural sites of the construction or attempted control of identity, as well as its interrogation through active agency on a social and on an individual level, which embraces subjectivity in its relation to the larger cultural unit. Here we may see attempts on the part of both historians and musicologists to engage with the new ways of perceiving the articulation of music, ideology, and politics opened up by figures such as Foucault, Bourdieu, Elias, Habermas and others. Their study of meanings and symbols is thus both relational and contextual as they strive to unlock the idioms not only of social and political power, but of the strategies of contestation or of refusal.
Other scholars represented in this volume are particularly interested in cultural practice, collective memory, transmission and evaluation as it is forged and then negotiated, here influenced by figures such as de Certeau, Corbin, Chartier and Nora. Hence a part of this collection is devoted to cultural experience, practice and appropriations, grouping together those cultural arenas in which music both illuminates and is further illuminated by a study of uses, collective practices, modes of inscription, and of evaluation or reception. The contributors here, both historians and musicologists, are apprised of all the dimensions that may affect the construction of signification, including specific material inscriptions as well as the symbolic potential of the artistic language. Hence here we see a concern, characteristic of the new cultural history, with how the forms assumed by texts may become an essential element in the creation of their meaning since different groups encounter, possess, and experience a work in various ways, and within the context of substantially different aural and visual cultures. (Dda sito Oxford University Press)
Vedi indiceNotes on the Contributors
Introduction. Defining the New Cultural History of Music: its Origins, Current Directions and Methodologies Jane F. Fulcher
PART I: CULTURAL IDENTITY AND ITS EXPRESSION: CONSTRUCTIONS, REPRESENTATIONS, AND EXCHANGES
Constructions or Representations of the Body, Gender, Sexuality, and Race
A Woman's Place: Antiphons and Responsories for Virgin Martyrs in the Office James Borders
Music, Violence, and the Stakes of Listening Richard Leppert
Music and Pain Andreas Dorschel
Subjectivity and the Shaping of the Self in Society
The Road into the Open: from Narrative Closure to the Endless Performance of Subjectivity in Mahler and Freud at the Turn of the Century John Toews
Understanding Schoenberg as Christ Julie Brown
The Strange Landscape of Middles Michael Beckermann
Nationalism, Cosmopolitanism, and Trans-Nationalism
The Genre of National Opera in European Comparative Perspective Philipp Ther
Cosmopolitan, National, and Regional Identities in European Musical Life William Weber
Mendelssohn on the Road: Music, Travel, and the Anglo-German Symbiosis Celia Applegate
Popular and Elite Cultural Intersections or Exchanges
Shooting the Keys: Musical Horseplay and High Culture Charles Garrett
Yvette Guilbert and the Revaluation of the Chanson populaire during the Troisième République, 1889-1914 Jacqueline Waeber
Remembrance of Jazz Past: Sidney Bechet in France Andy Fry
PART II: CULTURAL EXPERIENCE: PRACTICES, APPROPRIATIONS, AND EVALUATIONS
Urban, Aural, and Print Culture
An Evening at the Opera in 17th-Century Venice Edward Muir
Josquin des Prez, Renaissance Historiography and the Cultures of Print Kate van Orden
From 'the Voice of the Maréchal' to Musique Concrète: Pierre Schaeffer and the Case for Cultural History Jane F. Fulcher
Symbols, Icons, and Sites of Collective Memory or Ritual
A Matter of Style: State Sacrificial Music and Cultural-Political Discourse in Southern Song China (1127-1279) Joseph Lam
Ernani Hats: Opera as a Repertory of Political Symbols during the Risorgimento Carlotta Sorba
Modalities of National Identity: Sibelius Builds a First Symphony James Hepokoski
Politics, Aesthetics, and Transmission
Beethoven, Napoleon, and Political Romanticism Leon Plantinga
Translating Herder Translating: Cultural Translation and the Making of Modernity Philip Bohlman
The Eye of the Needle: Music as History after the Era of Recording Leon Botstein
Afterward: Whose Culture? Whose History? Whose Music? Michael P. Steinberg
Index
Nascondi48
Caforio Cosimo, Passannanti Benedetto
L'alfabeto dell'ascolto
Roma: Carocci, 2009
Il libro offre strumenti teorici ed applicativi per l’ascolto, l’analisi e la comprensione della musica. La prima parte espone argomenti basilari di teoria e grammatica; la seconda illustra alcuni principi-base di morfologia musicale. Il testo si articola in due parti, seguite da un glossario e una bibliografia. Ciascuna parte contiene proposte d’ascolto ed esercizi per l’autoverifica. Nell’approntare il testo, gli autori hanno tenuto conto degli standard formativi in uscita previsti per l’educazione musicale dai principali curricoli scolastici europei (obiettivi listening e appraising). (Da sito Carocci)
Vedi indicePremessa
Parte prima. Acustica, notazione, elementi d’armonia
1. Parametri del suono
Vibrazioni acustiche e onde sonore/Altezza/Intensità/Timbro/ Durata/Schede d’approfondimento/Schede operative/Questionario di riepilogo e di verifica
2. Diastematica e notazione
Intervalli/Toni e semitoni/Scale/Tonalità/Chiavi/Figure di durata/Pulsazione, misura, ritmo/Segni d’espressione musicale/Ornamenti e abbellimenti/Schede d’approfondimento/ Schede operative/Questionario di riepilogo e di verifica
3. Principii d’armonia e contrappunto
Classificazione degli intervalli/Accordi e loro collegamenti/Cadenze/Modulazioni/ Ornamentazione, artifici e procedimenti armonici/Contrappunto: principii e regole generali di base/Schede operative/ Questionario di riepilogo e di verifica
Parte seconda. Forma musicale, strumentazione, orchestrazione
4. Indici d’articolazione strutturale, struttura, forma
Partitura e testo d’ascolto/Fenomeni cadenzali/Altri indici d’articolazione strutturale/Schede d’approfondimento/Scheda operativa: segmentazione del testo musicale (indici d’articolazione strutturale)/Questionario di riepilogo e di verifica
5. Strutture periodiche e architettura discorsiva
Periodicità, processualità e “buona forma?/Tipi di periodo/Tipi di funzioni/ Scheda operativa: ascolto e individuazione di strutture periodiche-aperiodiche; funzioni/ Questionario di riepilogo e di verifica
6. Principii formali e forme
Principio binario/Principio ternario/Altri principii formali e forme/Schede d’approfondimento/ Schede operative: ascolto e riconoscimento di principii formali e forme/Questionario di riepilogo e di verifica
Appendice di esempi musicali
Bibliografia
Indice degli argomenti
Indice dei compositori e delle opere
49
Calabretto Roberto
Antonioni e la musica
(Saggi. Cinema)
Venezia: Marsilio, 2012
Interrogato da Mario Verdone sulla funzione della musica nel proprio cinema, Michelangelo Antonioni aveva risposto con molto humour invitando Giovanni Fusco ad uscire dalla sala, perché forse gli sarebbe dispiaciuto ascoltare quello che egli avrebbe detto. Il regista, infatti, più volte ha dichiarato di non amare la musica per film muovendo delle critiche all'utilizzo del commento sonoro da parte del cinema italiano a lui coevo e di quello americano in genere. In realtà, nel cinema di Antonioni la musica si pone come presenza di grande interesse, a partire dai documentari fino a giungere agli ultimi film. È però una «musica realistica», che utilizza anche i rumori e le sonorità elettroniche, lontana dagli stereotipi che allora imperversavano nel cinema italiano e che riducevano la sua funzione ad un banale e scontato accompagnamento allo scorrimento delle immagini. Questo volume attraversa l'universo sonoro della filmografia antonioniana a partire dalla collaborazione con Giovanni Fusco, vero e proprio alter-ego musicale del regista, che ha portato ai risultati straordinari di Cronaca di un amore, L'avventura e L'eclisse; un seguito di film in cui il nuovo manifesto di poetica è già dichiarato. Ecco allora i suoni astratti, le cadenze e le melodie sospese, i percorsi melodici frammentari e i lunghi silenzi che rendono questa musica oggettiva, privata di qualsiasi forza persuasiva e di ogni strumento della normale retorica per essere invece arricchita da ogni genere di rumore ambientale. Dopo l'esperienza di Deserto rosso, affidato alla musica elettronica di Gelmetti, con Blow-up Antonioni abbandona definitivamente la musica cinematografica d'impianto tradizionale e si serve della musica del consumo giovanile di quegli anni, spaziando da Herbie Hancock ai Pink Floyd per giungere a Lucio Dalla. Rimane sempre la costante attenzione nei confronti del rumore, la «miglior musica cinematografica», autentico tratto distintivo del suo cinema. (Da sito Marsilio)
Indice non disponibile
50
Martorella Vincenzo
Blues
Torino: Einaudi, 2009.
Con linguaggio piano e comprensibile, Vincenzo Martorella disincaglia la storia del blues dalle secche di una trattazione stereotipata, attingendo alle piú recenti acquisizioni degli studi di settore, e conducendo l'analisi all'incrocio di una fitta rete di saperi e conoscenze, nel tentativo di restituire una lettura del fenomeno blues ricca e circostanziata, depurata dalle distorsioni e dalle conseguenze di certi approcci superati quanto difficili da sradicare. Le diverse sezioni del libro ricostruiscono gli aspetti costitutivi della poetica e dell'estetica blues, dalla storia agli stili, dai processi formali ed espressivi a quelli stilistici. Particolare attenzione viene riservata all'origine e alla nascita della «musica del diavolo», allo sviluppo della sua tipica forma in dodici battute, alle conseguenze, sulla sua natura, della riproducibilità fonografica. Completa il volume una serie di ritratti critici dedicata ai piú leggendari protagonisti della musica blues. (Da sito Einaudi)
Indice non disponibile
51
Bratus Alessandro
Bob Dylan: un percorso in sedici canzoni
Roma: Carocci, 2011
Testo verbale e musica sono le due componenti fondamentali di quella particolare forma compositiva, solo in apparenza semplice, che va sotto il nome di canzone. Dai casi più popolari fino alla produzione di un cantante quale Bob Dylan, riconosciuto come uno dei massimi autori della scena rock americana, la bellezza e la profondità di tale oggetto si rivelano nello strettissimo rapporto tra parola e suono, che porta il risultato finale a essere maggiore della somma delle sue parti. Attraverso sedici canzoni, selezionate lungo tutto l’arco della carriera del cantautore, il testo analizza le costanti della sua scrittura, sempre in bilico tra poesia e canzone, nel segno di una ricerca senza requie di un’identità umana e artistica. (Da sito Carocci)
Vedi indiceIntroduzione. Dal folk-revival al folk, passando per Dylan. Musica e identità
Avvertenze
1. Hard Times in New York: i primi anni sessanta, il folk-revival e la svolta elettrica
Il problema dell’originalità nelle canzoni di Dylan
Il movimento del folk-revival e le differenti concezioni di musica folk
Bob Dylan e la canzone sentimentale: canzoni di amore e non amore
La svolta elettrica e il tradimento del folk-revival
2. New Morning: l’incidente in moto e il ritorno sulle scene negli anni settanta
Nuotando sotto la superficie: dall’incidente al tour con The Band del 1974
L’interesse per le altre arti: cinema, pittura, letteratura
L’amore in un altro contesto: sentimento, utopia ed esotismo
3. Slow Train Coming: il periodo cristiano e la fine degli anni ottanta
La trilogia cristiana: Slow Train Coming (1979), Saved (1980) e Shot of Love (1981)
La ripresa delle forme e dei temi del blues
La fine degli anni ottanta e l’incontro con Daniel Lanois
4. World Gone Wrong: gli anni novanta e il ritorno alle radici folk
Under the Red Sky (1990) e la tradizione delle nursery rhymes
Bob Dylan negli anni novanta fra tradizione e innovazione
5. Modern Times: Dylan nel terzo millennio
L’amore come furto: Love and Theft (2001) tra rielaborazione e plagio
Oltre i tempi moderni: Together Through Life
Conclusioni. Alcuni dicono che sono un poeta…: percorsi tra suono e parola nella scrittura di Bob
Dylan
Cronologia essenziale
Discografia
Bibliografia
Indice dei nomi e delle cose notevoli
Indice delle canzoni
52
Fubini Enrico
Estetica della musica
(Lessico dell’estetica)
Bologna: Il Mulino, 2003.
Il volume presenta una chiara e sintetica rassegna dei principali problemi estetici e storici della musica occidentale. L'autore affronta la materia dapprima sotto il profilo teorico e in una prospettiva interdisciplinare, nell'intento di definire l'estetica musicale e di individuarne gli ambiti e gli oggetti d'indagine. Viene poi tracciata una breve storia dell'estetica della musica: dal pensiero musicale dell'antica Grecia al momento in cui l'estetica musicale assume lo statuto di disciplina autonoma (metà del XIX secolo), fino alle esperienze e riflessioni novecentesche. Questa seconda edizione arricchita affronta alcune nuove tematiche relative a musica e affetti, alla teoria della ricezione, a musica e percezione e, infine, agli sviluppi dell'estetica musicale contemporanea. (Da sito Il Mulino)
Vedi indicePremessa
PARTE PRIMA: I PROBLEMI ESTETICI E STORICI DELLA MUSICA
1. I caratteri della disciplina
2. L'Occidente cristiano e l'idea di musica
3. La musica e il senso della sua storicità
4. Musica e percezione
PARTE SECONDA: BREVE STORIA DEL PENSIERO MUSICALE
5. Il mondo antico
6. Tra mondo antico e Medioevo
7. La nuova razionalità
8. L'Illuminismo e la musica
9. Dall'idealismo romantico al formalismo di Hanslick
10. La crisi del linguaggio musicale e l'estetica del Novecento
Conclusioni
Bibliografia
Indice dei nomi
53
Cosi Claudio, Ivaldi Federica
Fabrizio De André: cantastorie fra parole e musica
Roma: Carocci, 2012
Concepito e scritto da una doppia prospettiva critica – letteraria e musicologica – il volume indaga la duplice natura della creazione e dell’arte di Fabrizio De André, abile regista capace di fondere e amalgamare non solo le parole e la musica con la sua voce inconfondibile, ma anche il contributo dei collaboratori, l’ispirazione letteraria e l’eco della storia con l’originalità dei suoi messaggi. Dopo aver esaminato il metodo di lavoro e la natura del mestiere di De André, la poetica e i temi prediletti, gli autori ne ripercorrono l’intera carriera, album dopo album, e ne analizzano le canzoni più significative ed emblematiche, mostrando la stretta interazione fra testo verbale e musica nel veicolare il messaggio. (Da sito Carocci)
Vedi indiceLa canzone d’autore: dal concetto alla serie di studi di Stefano La Via
Introduzione
1. Tra parole e musica la voce di un cantastorie
La scintilla compositiva
«No, non sono un poeta. La poesia è un mestiere ma non il mio»
La letteratura come materia prima per la canzone
La musica come veicolo della parola: le formule del primo De André
Un regista dalla voce inconfondibile
2. I miserabili di Fabrizio De André
Di occhi, gatti randagi e varia marginalità
L’errore e la virtù: relativismo del bene e del male
Le leggi umane e le leggi divine
La guerra, tema privilegiato dalle mille sfaccettature
L’anarchismo sentimentale
Meschinerie umane, ma non troppo
3. Le prime perle (1960-68)
L’epoca di Via del campo e Marinella
Carlo Martello ritorna dalla battaglia di Poitiers, Volume I (1967)
La guerra di Piero, Volume III (1968)
4. Gli album a tema (1968-73)
Da quarantacinque a trentatré
Tutti morimmo a stento (1968)
Cantico dei drogati
La buona novella (1970)
Il sogno di Maria
Non al denaro non all’amore né al cielo (1971)
Dormono sulla collina
Storia di un impiegato (1973)
Il bombarolo
5. Verso un nuovo stile (1974-78)
Vecchie pratiche e nuovi amori: la fase dylaniana
Volume VIII (1975)
Amico fragile
Rimini (1978)
Rimini
6. I popoli, le lingue e il gioco delle prospettive (1981-84)
In viaggio tra la Sardegna e il Mediterraneo
Fabrizio De André (L’indiano) (1981)
Fiume Sand Creek
Creuza de mä (1984)
Sidun
7. Astio, malcontento e smisurate preghiere (1990-96)
Voler leggere il libro del mondo
Le nuvole (1990)
La domenica delle salme
Anime salve (1996)
Disamistade
Conclusioni
Discografia
Bibliografia
Indice dei nomi
Indice delle canzoni e degli album citati
54
Martinelli Riccardo
I filosofi e la musica
Bologna: Il Mulino, 2012
A un primo sguardo, musica e filosofia sembrano due attività umane disparate, lontane tra loro quanto possono esserlo la morbida sensualità del canto e il silenzioso rigore del pensiero razionale. Eppure, fin dall’antichità emerge l’idea di una segreta affinità tra musica e filosofia, che ne intreccia i destini. A partire dalle idee sulla musica dei filosofi antichi, attraverso le concezioni medievali e rinascimentali, il volume considera l’impatto della rivoluzione scientifica, la stagione illuminista e gli sviluppi ottocenteschi, per giungere infine al ricco dibattito teorico contemporaneo. (Da sito Il Mulino)
Vedi indiceIntroduzione
1. L'arte delle Muse
2. Armonia e disincanto
3. Il secolo della musica
4. Dissonanze
Letture consigliate
Indice dei nomi
55
Vizzardelli Silvia
Filosofia della musica
Roma; Bari: Laterza, 2007
La musica presenta sempre due volti: quello dell’interiorità e quello del mondo. Enfatizza le dinamiche interne dell’esperienza ma nello stesso tempo è scoperta del centro vivo e anonimo della realtà. Alla luce di questo tema, Silvia Vizzardelli attraversa la storia del pensiero musicale dall’antichità fino a noi, si interroga sul ruolo del sentimento e della tecnica nell’arte dei suoni, approfondisce la nozione di ‘atmosfera’, al centro del dibattito estetico contemporaneo. (Da sito Laterza)
Vedi indicePremessa
I. Musica e filosofia
II. Musica e sentimento
III. Musica e tecnica
IV. Musica e atmosfere
Bibliografia
Indice dei nomi
56
Kivy Peter
Filosofia della musica: un'introduzione
Torino: Einaudi, 2007.
In questo volume Peter Kivy propone un'analisi filosofica della musica occidentale attraverso un percorso storico-teorico, che affronta diverse questioni: lo specifico carattere artistico della musica, il linguaggio musicale, l'espressività della musica, il ruolo delle emozioni nell'esperienza musicale, il rapporto tra musica e testo, l'ontologia dell'opera d'arte musicale, l'interpretazione e la performance. (Da sito Einaudi)
Vedi indicePrefazione alla traduzione italiana
Prefazione
I. Filosofia di...
II. Una breve storia
III. Le emozioni nella musica
IV. Ancora un po' di storia
V. Formalismo
VI. Formalismo arricchito
VII. Le emozioni in noi
VIII. Nemici del formalismo
IX. Prima le parole, quindi la musica
X. Narrazione e rappresentazione
XI. L'opera d'arte musicale
XII. E la sua interpretazione
XIII. Perché ascoltare?
Bibliografia
Peter Kivy e il dibattito sul «formalismo arricchito», di Alessandro Bertinetto
Indice analitico
57
Girardi Michele
Giacomo Puccini
Venezia: Marsilio, 2001
Contestato dalla critica italiana del suo tempo come rappresentante di una piccola borghesia desiderosa di identificarsi in un proprio sentimentalismo, Puccini scontò alungo l'ostilità di una classe intellettuale pseudo-elitaria imbevuta di pregiudizi idealistici. Ancora oggi la sua drammaturgia musicale non è sempre giudicata obiettivamente, ma suscita simpatie o antipatie, o, ancor peggio, semplicistiche rivalutazioni che lo vedono precursore del ritorno allo spettacolo di massa, dopo il tramonto delle avanguardie. Per capire Puccini occorre occuparsi di meno delle sue storie di donne, o del prorompente fascino delle melodie, e guardare in modo più approfondito alla costruzione dei suoi lavori, all'orchestrazione, alla puntualissima tessitura dei temi ricorrenti: tutti elementi che concorrono a produrre l'enorme impatto sul pubblico di tutto il mondo. Questo libro, accessibile anche all'appassionato, grazie a un incalzante uso delle citazioni musicali, tende a svelare come l'emozione suscitata dalle vicende delle eroine pucciniane derivi da un calcolo sapiente delle strutture formali. Per contro la biografia, aggiornata alla luce delle più recenti acquisizioni, occupa solo lo spazio strettamente necessario a mettere in luce l'autentica statura di un compositore inquieto che, specialmente dalla Fanciulla del West in poi (1910), tentava di aprire nuove strade guardando da vicino tutta la musica contemporanea europea. (Da sito Marsilio)
Indice non disponibile
58
Sibilla Gianni
L'industria musicale
(Bussole)
Roma: Carocci, 2006
Come si produce una canzone di successo? Quali sono i meccanismi che determinano l’ascesa di una star della musica pop, e quali invece possono far fallire un progetto discografico? Chi sono e come lavorano i ’narratori occulti’, i professionisti dell’industria delle note che costruiscono l’immagine e la storia di un cantante, fino a spingerci a comprare i suoi dischi e ad andare ai suoi concerti’ Il volume analizza l’industria musicale nelle sue strutture: un sistema di professionisti e di routine produttive il cui obiettivo è la realizzazione del prodotto musicale, dalla sua incisione in studio alla sua vendita su supporti fonografici, alla sua performance in concerto, alla sua diffusione sui media. (Da sito Carocci)
Vedi indiceIntroduzione
1. La produzione della musica
Il musicista/ Lo staff del musicista/La registrazione di un disco/Per riassumere…
2. La discografia
La discografia e la mediazione culturale-industriale/Le major: mercato e tecnologia/Le etichette indipendenti/Per riassumere…
3. Il concerto dal vivo
Il valore sociale ed economico della musica dal vivo/La produzione artistica e industriale del concerto/I promoter locali e il circuito della musica live/La mediatizzazione del concerto/Per riassumere…
4. I media: radio e tv
I canali della musica: l’intermedialità del pop/La radio musicale/La televisione musicale/Il videoclip è morto?/Per riassumere…
5. I media: la stampa
La stampa, tra musica, industria e media/L’ufficio stampa/Il giornalismo musicale/Per riassumere…
6. I nuovi media e la musica digitale
Una (presunta) rivoluzione digitale?/Tecnologie digitali e produzione/La diffusione/Il consumo: dal pc all’iPod, al telefonino/Per riassumere…
Bibliografia.
59
Zanarini Giani
Invenzioni a due voci: dialoghi tra musica e scienza
(Città della scienza)
Roma: Carocci, 2015
Il legame tra teoria musicale e conoscenza scientifica si presenta nel suo sviluppo storico come un affascinante dialogo tra due saperi che nel corso dei secoli si consolidano separatamente, ma nello stesso tempo si collegano in modo sempre più stretto. Questo dialogo, questa invenzione a due voci, si trasforma poi gradualmente in una polifonia, perché intervengono anche altri due ambiti a lungo esclusi dalla relazione tra musica e scienza: il mondo della musica suonata, cantata, danzata e il mondo della liuteria, della creazione e del perfezionamento degli strumenti musicali. Gli incontri e gli scontri tra queste voci sono l’oggetto del libro. (Da sito Carocci)
Vedi indiceIntroduzione
Armonia del mondo
I numeri di Pitagora/Musica e armonia celeste/Armonia geometrica/Il canto dei pianeti/Polifonia/Die Harmonie der Welt/Kepler
Musica instrumentalis
Armonia celeste, musica terrena/Una mente matematica?/Sette note/Una scala musicale/Accordature/Dodici note/Temperamenti/Altre scale
Musica e rivoluzione scientifica
Il segreto del suono musicale/Vincenzio Galilei, liutista/Sensate esperienze/Pendoli e corde/Frequenza e consonanza/Piccoli suoni delicati/Acoustique
Consonanza e armonia
Tonalità/Il Newton dell’armonia/Una granulosità argentea/Novità scientifiche/Un pianoforte segreto/Il mistero svelato?/Asprezza e dissonanza/Irriducibilità della percezione/Percezione e armonia
Melodie di timbri
Un addio all’armonia/Dall’armonia alla melodia/Comporre con dodici suoni/Scienza in musica/Klangfarbenmelodien/Atmosphères
Invenzioni timbriche
Scienza e strumenti musicali/Corde pizzicate/Corde percosse/Corde strofinate/Corpi sonori/Aria che canta/Ance vibranti/Voci
Libertà dei suoni
Mondi sonori/Nuova liuteria/Musica elettroacustica/Complessità sonora/Tempo reale
Esperienze musicali
Ascolto, ascolti/Paesaggi sonori/4’ 33” e oltre/Installazioni musicali/Emozioni in musica
Bibliografia
Glossario
60
Russi Roberto
Letteratura e musica
(Bussole)
Roma: Carocci, 2005
Spesso la musica si rivolge alla letteratura proprio per essere più facilmente compresa e decodificata: vengono in mente i libretti d’opera, i testi poetici messi in musica a vario titolo e tutto il sistema di indicazioni, avvertenze, didascalie e commenti posto dai compositori a corredo di ogni partitura. A sua volta la letteratura cerca nella musica un mezzo per creare una nuova rete di corrispondenze tra i modi del racconto e la sua ricezione. Il volume si concentra soprattutto sulla funzione della musica nella letteratura, in quanto campo ancora poco frequentato degli studi comparatistici. (Da sito Carocci)
Vedi indiceIntroduzione
1. Lo studio musicoletterario/I primi passi: Calvin Brown/La triade di Scher/Una proposta italiana: Carlo Majer/Verso l’intermedialità: Werner Wolf/Conclusioni/Per riassumere
2. La musica come metafora/Hoffmann e Beethoven/Le figure retoriche dell’ascolto in letteratura/Musica, memoria e identità nell’Odissea/Tre piani dell’immagine musicale/Musica per andare oltre le parole/Musica e letteratura: due linguaggi che collaborano/La musica come risorsa della letteratura/Per riassumere
3. Raccontare la musica/Ascolto e descrizione nel Decameron/Musica e passione amorosa/Goethe: immaginazione musicale e realtà romanzesca/Descrivere per narrare: la folle musica di Gambara/Per riassumere 4. Il suono di carta/Sguardo e ascolto letterario tra Otto e Novecento/La musica nei racconti di Katherine Mansfield
Per riassumere
Glossario
Bibliografia
61
Gerritsen Willem P., Van Melle Anthony G.
Miti e personaggi del Medioevo: dizionario di storia, letteratura, arte, musica e cinema
Milano: Bruno Mondadori, 2006.
Il Medioevo ci ha lasciato un ampio corpus di racconti, epici e romanzeschi, un tempo narrati e amati in tutta Europa. Molti di essi, tramandatisi in epoche successive, continuano ancora oggi a esercitare la propria magia. Nel corso dei secoli, i racconti medievali hanno ispirato scrittori, compositori e artisti, che li hanno rinarrati, rielaborati e rappresentati. Questo volume costituisce una guida preziosa per orientarsi nel retaggio narrativo dell'Europa medievale e nelle forme che esso ha di volta in volta assunto nelle differenti manifestazioni artistiche di ogni epoca. Le gesta di Carlo Magno e dei suoi paladini, di re Artù e dei suoi cavalieri, di Tristano e Isotta si accompagnano ad altre storie forse meno conosciute ma altrettanto affascinanti, dalle versioni medievali delle avventure di Alessandro il Grande ed Enea alla parodia dell'eroismo in Robin Hood, dalle imprese di Attila e di Teodorico ai racconti del Cid. Strutturato come un agile dizionario in singole voci che analizzano le principali figure dell'epoca, reali e immaginarie, il libro ricostruisce la diffusione, le versioni più recenti e le varie declinazioni artistiche della storia narrata, corredandosi di un vasto apparato bibliografico. (Dal sito B. Mondadori)
Indice non disponibile
62
Moormann Eric M., Uitterhoeve Wilfried
Miti e personaggi del mondo classico: dizionario di storia, letteratura, arte, musica
Milano: Bruno Mondadori, 2004.
I soggetti mitologici e storici del mondo greco-romano che hanno maggiormente influenzato la cultura antica e tardoantica: 264 figure del mito e della storia, oltre a una sintesi dei racconti, degli aneddoti più caratterizzanti e dei giudizi che ci sono stati tramandati dalle fonti antiche. Di ogni personaggio viene ricostruita la ricezione nella letteratura, nell'arte e nella musica, dall'antichità fino a oggi. Precisi riferimenti alle fonti antiche così come alla letteratura specialistica moderna – con sintetici richiami in margine a ogni singola voce e un'esaustiva bibliografia generale a conclusione del volume – rendono questo testo non solo un dizionario avvincente e di facile consultazione per un vasto pubblico, ma anche uno strumento utile per gli studiosi. (Da sito B. Mondadori)
Indice non disponibile
63
Stapper Léon, Altena Peter, Uyen Michel
Miti e personaggi della modernità: dizionario di storia, letteratura, arte, musica e cinema
Milano: Bruno Mondadori, 2006.
I miti e i personaggi che hanno animato la modernità dalle sue origini rinascimentali ai suoi epigoni novecenteschi: Faust, Amleto, Napoleone, Giovanna d'Arco, Robin Hood, Don Giovanni, Don Chisciotte, Dracula, Guglielmo Tell... Cinquantaquattro personaggi, alcuni dei quali storicamente vissuti e mitizzati dai contemporanei o dai posteri, altri semplice frutto della fantasia di scrittori e artisti, vengono presentati attraverso un'introduzione storica e un resoconto completo dei riferimenti culturali, dalla letteratura all'arte, dalla musica al cinema. A corredare il volume, una ricca bibliografia e un rigoroso apparato di indici di orientamento. (Dal sito B. Mondadori)
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By Gareth Loy
Musimathics: The Mathematical Foundations of Music. Volume 1
MIT Press, 2011
“Mathematics can be as effortless as humming a tune, if you know the tune,” writes Gareth Loy. In Musimathics, Loy teaches us the tune, providing a friendly and spirited tour of the mathematics of music--a commonsense, self-contained introduction for the
Vedi indiceVolume 1
Volume 2
Foreword by Max Mathews xiii
Preface xv
About the Author xvi
Acknowledgments xvii
1 Music and Sound 1
1.1 Basic Properties of Sound 1
1.2 Waves 3
1.3 Summary 9
2 Representing Music 11
2.1 Notation 11
2.2 Tones, Notes, and Scores 12
2.3 Pitch 13
2.4 Scales 16
2.5 Interval Sonorities 18
2.6 Onset and Duration 26
2.7 Musical Loudness 27
2.8 Timbre 28
2.9 Summary 37
3 Musical Scales, Tuning, and Intonation 39
3.1 Equal-Tempered Intervals 39
3.2 Equal-Tempered Scale 40
3.3 Just Intervals and Scales 43
3.4 The Cent Scale 45
3.5 A Taxonomy of Scales 46
3.6 Do Scales Come from Timbre or Proportion? 47
3.7 Harmonic Proportion 48
3.8 Pythagorean Diatonic Scale 49
3.9 The Problem of Transposing Just Scales 51
3.10 Consonance of Intervals 56
3.11 The Powers of the Fifth and the Octave Do Not Form a Closed System 66
3.12 Designing Useful Scales Requires Compromise 67
3.13 Tempered Tuning Systems 68
3.14 Microtonality 72
3.15 Rule of 18 82
3.16 Deconstructing Tonal Harmony 85
3.17 Deconstructing the Octave 86
3.18 The Prospects for Alternative Tunings 93
3.19 Summary 93
3.20 Suggested Reading 95
4 Physical Basis of Sound 97
4.1 Distance 97
4.2 Dimension 97
4.3 Time 98
4.4 Mass 99
4.5 Density 100
4.6 Displacement 100
4.7 Speed 101
4.8 Velocity 102
4.9 Instantaneous Velocity 102
4.10 Acceleration 104
4.11 Relating Displacement,Velocity, Acceleration, and Time 106
4.12 Newton's Laws of Motion 108
4.13 Types of Force 109
4.14 Work and Energy 110
4.15 Internal and External Forces 112
4.16 The Work-Energy Theorem 112
4.17 Conservative and Nonconservative Forces 113
4.18 Power 114
4.19 Power of Vibrating Systems 114
4.20 Wave Propagation 116
4.21 Amplitude and Pressure 117
4.22 Intensity 118
4.23 Inverse Square Law 118
4.24 Measuring Sound Intensity 119
4.25 Summary 125
5 Geometrical Basis of Sound 129
5.1 Circular Motion and Simple Harmonic Motion 129
5.2 Rotational Motion 129
5.3 Projection of Circular Motion 136
5.4 Constructing a Sinusoid 139
5.5 Energy of Waveforms 143
5.6 Summary 147
6 Psychophysical Basis of Sound 149
6.1 Signaling Systems 149
6.2 The Ear 150
6.3 Psychoacoustics and Psychophysics 154
6.4 Pitch 156
6.5 Loudness 166
6.6 Frequency Domain Masking 171
6.7 Beats 173
6.8 Combination Tones 175
6.9 Critical Bands 176
6.10 Duration 182
6.11 Consonance and Dissonance 184
6.12 Localization 187
6.13 Externalization 191
6.14 Timbre 195
6.15 Summary 198
6.16 Suggested Reading 198
7 Introduction to Acoustics 199
7.1 Sound and Signal 199
7.2 A Simple Transmission Model 199
7.3 How Vibrations Travel in Air 200
7.4 Speed of Sound 202
7.5 Pressure Waves 207
7.6 Sound Radiation Models 208
7.7 Superposition and Interference 210
7.8 Reflection 210
7.9 Refraction 218
7.10 Absorption 221
7.11 Diffraction 222
7.12 Doppler Effect 228
7.13 Room Acoustics 233
7.14 Summary 238
7.15 Suggested Reading 238
8 Vibrating Systems 239
8.1 Simple Harmonic Motion Revisited 239
8.2 Frequency of Vibrating Systems 241
8.3 Some Simple Vibrating Systems 243
8.4 The Harmonic Oscillator 247
8.5 Modes of Vibration 249
8.6 A Taxonomy of Vibrating Systems 251
8.7 One-Dimensional Vibrating Systems 252
8.8 Two-Dimensional Vibrating Elements 266
8.9 Resonance (Continued) 270
8.10 Transiently Driven Vibrating Systems 278
8.11 Summary 282
8.12 Suggested Reading 283
9 Composition and Methodology 285
9.1 Guido's Method 285
9.2 Methodology and Composition 288
9.3 Musimat: A Simple Programming Language for Music 290
9.4 Program for Guido's Method 291
9.5 Other Music Representation Systems 292
9.6 Delegating Choice 293
9.7 Randomness 299
9.8 Chaos and Determinism 304
9.9 Combinatorics 306
9.10 Atonality 311
9.11 Composing Functions 317
9.12 Traversing and Manipulating Musical Materials 319
9.13 Stochastic Techniques 332
9.14 Probability 333
9.15 Information Theory and the Mathematics of Expectation 343
9.16 Music, Information, and Expectation 347
9.17 Form in Unpredictability 350
9.18 Monte Carlo Methods 360
9.19 Markov Chains 363
9.20 Causality and Composition 371
9.21 Learning 372
9.22 Music and Connectionism 376
9.23 Representing Musical Knowledge 390
9.24 Next-Generation Musikalische Würfelspiel 400
9.25 Calculating Beauty 406
Appendix A 409
A.1 Exponents 409
A.2 Logarithms 409
A.3 Series and Summations 410
A.4 About Trigonometry 411
A.5 Xeno's Paradox 414
A.6 Modulo Arithmetic and Congruence 414
A.7 Whence 0.161 in Sabine's Equation? 416
A.8 Excerpts from Pope John XXII's Bull Regarding Church Music 418
A.9 Greek Alphabet 419
Appendix B 421
B.1 Musimat 421
B.2 Music Datatypes in Musimat 439
B.3 Unicode (ASCII) Character Codes 450
B.4 Operator Associativity and Precedence in Musimat 450
Glossary 453
Notes 459
References 465
Equation Index 473
Subject Index 000
65
Bico Mauro, Guido Massimiliano
Paolo Conte: un rebus di musica e parole
Roma: Carocci, 2011
Che rapporto c’è fra testo e musica nelle canzoni di Paolo Conte? È questo l’interrogativo che percorre tutto il libro. Nonostante la centralità della musica, le parole sono importantissime: vengono accostate sapientemente fra di loro e dietro ognuna si nasconde un mondo sonoro, ricco di allusività. L’esigenza di studiare congiuntamente lingua e musica induce gli autori, un linguista e un musicologo, a interrogarsi a vicenda su che cosa determini, nei rispettivi contesti, quest’interazione profonda. Il risultato è l’analisi di sei canzoni, scelte per coprire gli oltre trent’anni di attività di Paolo Conte. Lo svolgimento è cronologico, ma la scelta dei brani e la loro concatenazione offrono anche uno spaccato sui temi forti del canzoniere. (Da sito Carocci)
Vedi indiceIntroduzione
Parte prima
Paolo Conte, artista della canzone
1. Alla ricerca di musica e poesia
Paolo Conte parla delle sue canzoni
La lingua della poesia e la canzone: fantasie d’avvicinamento
Le ragioni di una scelta
2. Ecco qui una musica: Paolo Conte compositore di canzoni
La musica al centro
Timbro – Voce e strumenti
Armonia
Melodia
Ritmo
3. Nell’oscurità del rebus: la lingua di Paolo Conte
Le figure della voce: fonologia
Il tempo e la sua accademia: morfologia e sintassi
Il profumo delle parole: lessico e semantica
Architetture lontane: stile e organizzazione testuale
Parte seconda
Cuochi ambulanti soffriggono musica. Dialoghi sulle canzoni
4. Anni Settanta. Inventarsi cantante
La fisarmonica di Stradella
5. Anni Ottanta. La scoperta della donna-musica
Alle prese con una verde milonga
6. Anni Ottanta. I grandi successi, verso la maturità
Via con me
7. Anni Ottanta. Dal racconto al mito musicale
Diavolo rosso
8. Anni Novanta. Una certa passione per la musica
Il maestro
9. Anni Duemila. Lo stile tardo e la riflessione su sé stesso
Il quadrato e il cerchio
Conclusioni. La costruzione dell’immagine
Glossario dei termini musicali e linguistici
La musica
La lingua
Note
Discografia
Bibliografia
Indice dei nomi
Indice delle canzoni
66
Della Seta Fabrizio
Le parole del teatro musicale
Roma: Carocci, 2010
Che cos’è una cavatina? Che cosa vuol dire pertichino? Che differenza c’è tra un’opera buffa e un opéra-comique? Quali sono i principali generi del teatro musicale spagnolo? Che cosa fa il maestro sostituto? Nel rispondere a queste domande, il testo, agile e denso di informazioni, prende in esame la grande tradizione dell’opera italiana, francese e tedesca, ma allarga lo sguardo anche al mondo iberico, slavo e anglosassone. Attraverso un excursus che va dal medioevo all’attualità, il volume ripercorre i vari generi d’intrattenimento, la molteplicità delle forme di espressione (verbale, gestuale, coreografica, scenografica, non escluse quelle offerte dalle tecnologie multimediali) e le loro infinite possibilità d’interazione. (Da sito Carocci)
Indice non disponibile
67
Petrocchi Francesca
Le parole della musica: letteratura e musica nel Novecento italiano
Bologna: Archetipolibri, 2009
Momenti e aspetti significativi del rapporto tra cultura letteraria e cultura musicale lungo il primo trentennio del Novecento sono rivisitati e indagati attraverso il filtro rappresentato dalle fantasiose recensioni giornalistiche del critico musicale Bruno Barilli, in particolare dalle stroncature riservate ai concerti e alle composizioni di Alfredo Casella. L’indagine si amplia seguendo il dibattito aperto sul tema tradizione-innovazione in campo musicale ed artistico prima nella “Voce” poi nella “Ronda” e “Lacerba”, fino ad “Ars Nova”, la rivista fondata e diretta tra il 1917 e il 1919 da Casella, il più aperto tra gli esponenti della “generazione degli Ottanta” a sperimentazioni quanto ad un proficuo raccordo teorico ed estetico con le “altre” arti.
Indice non disponibile
68
Schön Daniele, Akiva-Kabiri Lilach, Vecchi Tomaso
Psicologia della musica
(Bussole)
Roma: Carocci, 2007
Che cosa succede nella nostra mente quando ascoltiamo una Sonata di Bach o la nostra canzone preferita? Come elabora il cervello l’informazione musicale? A che cosa è dovuto il successo della musicoterapia? Il testo risponde a queste e altre domande, presentando le diverse teorie sulla psicologia della musica e gli sviluppi più recenti nell’ambito delle neuroscienze cognitive. (Da sito Carocci)
Vedi indiceMusica e mente musicale. Un’introduzione
1. Sviluppo della competenza musicale/Sviluppo delle abilità musicali: natura VS cultura/La musica materna/L’orecchio assoluto/I disturbi nell’ambito della musica/ Per riassumere…
2. Modelli cognitivi di percezione ed elaborazione musicale/L’esecuzione strumentale/La musica e le capacità non musicali/Pratica musicale e plasticità cerebrale/Musica e linguaggio/La memoria musicale/Per riassumere…
3. Musica ed emozioni/Le emozioni: alcune definizioni/Le emozioni nella musica/Per riassumere…
4.Musica e cervello: le neuroscienze cognitive della musica/Le basi cerebrali della musica/Studi di elettrofisiologia e di neuroimmagine/Correlati neurali e modelli cognitivi/Per riassumere…
Conclusioni e prospettive
Glossario
Bibliografia
69
Pestelli Giorgio
La pulce nell'orecchio
Venezia: Marsilio, 2001
Uno spaccato della vita musicale negli ultimi tre lustri del secolo. Una proposta metodologica di critica musicale. Spettacoli, opere e concerti, prime nei grandi teatri o nei festival internazionali, manifestazioni portatrici di spunti culturali, titoli rari, esecutori famosi o nuovi talenti, musica contemporanea, istantanee e curiosità costituiscono l’ordito di questo libro dedicato ad ogni aspetto della vita musicale moderna. Attraverso ritratti di compositori e saggi su esecutori e opere, l’autore affronta i temi intorno ai quali si articola la critica musicale contemporanea: i mutamenti del gusto, l’invasione registica nell’opera lirica, i rapporti tra musica e televisione, la crisi della programmazione nei grandi teatri. Filo conduttore del volume è l’azione condotta da Pestelli con persistente ironia per familiarizzare la musica, introdurla e renderla partecipe non solo della cultura ma anche dei fatti della vita quotidiana; Pestelli non impone giudizi ma aiuta il lettore a farsene uno proprio. (Da sito Marsilio)
Indice non disponibile
70
Merizzi Gianmario
La ricerca bibliografica nell’indagine storico-musicologica
Bologna: Clueb, 1996
Nato come dispensa per gli studenti di Storia della musica del corso di laurea DAMS, questo volume non costituisce una introduzione teorica o storica alla bibliografia musicale, bensì una guida, pratica ed esemplificativa, all’utilizzo degli strumenti di consultazione bibliografica nella fase documentaria preliminare alla ricerca storico musicologica. Il punto di vista non è dunque quello del bibliografo, ma quello dello storico della musica che trova nella bibliografia e negli strumenti da essa prodotti un sussidio indispensabile per l’individuazione e il reperimento delle fonti documentarie necessarie per lo svolgimento del proprio lavoro di ricerca. Le nozioni bibliografiche presentate si riducono pertanto a quelle indispensabili per una buona comprensione dei repertori bibliografici, del loro scopo, del tipo di informazioni ricavabili, della particolare organizzazione e codifica dei dati, in funzione di un loro consapevole e proficuo utilizzo. Indicazioni relative alla redazione della bibliografia finale completano la
trattazione. Il volume è arricchito da un elenco dei principali strumenti di consultazione bibliografico-musicale (incluse risorse accessibili tramite Internet), dalla segnalazione delle biblioteche italiane a questo riguardo più fornite, e da un glossario tedesco-italiano di bibliografia musicale. (Da sito Clueb)
Indice non disponibile
71
Della Seta Fabrizio
Gli strumenti musicali
Roma: Carocci, 2012
Terzo pannello di un trittico che comprende il “Breve lessico musicale” (1a rist. 2011) e “Le parole del teatro musicale” (2010), il volume introduce all’affascinante mondo degli strumenti musicali, prodotti di straordinaria ingegnosità tecnologica presenti nella cultura umana fin dal Paleolitico e che costituiscono una parte essenziale della storia della musica. Sono illustrati la nomenclatura, la classificazione, il funzionamento della maggior parte degli strumenti in uso nella tradizione colta occidentale e nella popular music, ma anche quelli del mondo antico, della musica folclorica e delle tradizioni extraeuropee che, per ragioni diverse, possono interessare il lettore italiano. Sono stati presi in considerazione gli sviluppi legati alle tecnologie elettroniche e informatiche e viene spiegato il significato di termini che designano componenti degli strumenti, classificazioni scientifiche ed empiriche, complessi strumentali. (Da sito Carocci)
Indice non disponibile
72
Guidi Alessandro
Lo Yueji: il pensiero musicale nella cina antica
Bologna: Clueb, 2006
Lo Yueji (IV-I a.C.) è il più antico testo sulla musica cinese giunto sino a noi. Questo libro presenta una traduzione integrale e commentata passo per passo di questo importante e interessantissimo documento, del quale viene proposto anche il testo originale cinese. La traduzione e il commento sono preceduti da un’introduzione generale, nei suoi vari aspetti (teorici, cosmologici, organologici, ecc.), con particolare riferimento al periodo in cui venne scritto lo YUEJI e con abbondanti citazioni tratte dalle opere letterarie e filosofiche dell’epoca. Tutta l’antica letteratura ci attesta infatti la grande importanza che i Cinesi attribuirono alla musica: importanza, prima ancora che estetica, etica, pedagogica, cosmologia e politica. Il discorso viene poi allargato per considerare il pensiero musicale nel contesto della visione del mondo della Cina pre- e proto-imperiale; un’attenzione particolare viene dedicata all’ambiguo atteggiamento dell’élite confuciana nei confronti del fenomeno musicale. (Da sito Clueb)
Indice non disponibile