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Author : Peter Mercer-Taylor
Publisher : Cambridge University Press
Page : 336 pages
File Size : 46,6 Mb
Release : 2004-10-21
Category : Biography & Autobiography
ISBN : 0521533422
This book surveys the life, work, and posthumous reception of nineteenth-century German-Jewish composer Felix Mendelssohn.
Author : Alexander Wilfing,Christoph Landerer,Meike Wilfing-Albrecht
Publisher : Hollitzer Wissenschaftsverlag
Page : 306 pages
File Size : 40,9 Mb
Release : 2020-11-24
Category : Music
ISBN : 9783990128299
"Hanslick im Kontext / Hanslick in Context" umfasst Beiträge von internationalen ExpertInnen, die sich mit Eduard Hanslick und seinen Schriften unter vielfältigen Gesichtspunkten auseinandersetzen. In den Essays wird der Kontext zwischen Hanslicks zentraler Abhandlung "Vom Musikalisch-Schönen" und möglichen Vorläufern (Leibniz, Michaelis, Nägeli etc.) sowie umliegenden Diskursen untersucht. "Close Readings" des Traktats machen wesentliche Begriffe (Arabeske, Form, Schönheit) und Konzepte (Aufführung, Performanz, Funktionalität) zum Thema. Zudem erforschen und analysieren die BeiträgerInnen Hanslicks Verhältnis zur Musikpsychologie und Kunstgeschichte, sein Verständnis des Religions-Begriffes sowie seine Vorlesungen. Mit Beiträgen von Mark Evan Bonds, Thomas Grey, Nicole Grimes, Andrea Korenjak, Christoph Landerer, Manos Perrakis, Anthony Pryer, Lee Rothfarb, Andrea Singer, Markéta Štědronská , Werner Telesko, Alexander Wilfing und Nick Zangwill
Author : Hugo Riemann
Publisher : Unknown
Page : 836 pages
File Size : 46,7 Mb
Release : 1901
Category : Music
ISBN : STANFORD:36105011435844
Author : Werner Friedrich Kümmel
Publisher : Unknown
Page : 470 pages
File Size : 42,5 Mb
Release : 1967
Category : Aesthetics
ISBN : UOM:39015050927824
Author : Celia Applegate,Pamela Potter
Publisher : University of Chicago Press
Page : 346 pages
File Size : 45,6 Mb
Release : 2002-08
Category : History
ISBN : 0226021300
Concert halls all over the world feature mostly the works of German and Austrian composers as their standard repertoire: composers like the three "Bs" of classical music, Bach, Beethoven, and Brahms, all of whom are German. Over the past three centuries, many supporters of German music have even nurtured the notion that the German-speaking world possesses a peculiar strength in the cultivation of music. This book brings together seventeen contributors from the fields of musicology, ethnomusicology, history, and German literature to explore these questions: how music came to be associated with German identity, when and how Germans came to be regarded as the "people of music," and how music came to be designated "the most German of arts." Unlike previous volumes on this topic, many of which focused primarily on Wagner and Nazism, the essays here are wide-ranging and comprehensive, examining philosophy, literature, politics, and social currents as well as the creation and performance of folk music, art music, church music, jazz, rock, and pop. The result is a striking volume, adeptly addressing the complexity and variety of ways in which music insinuated itself into the German national imagination and how it has continued to play a central role in the shaping of a German identity. Contributors to this volume: Celia Applegate Doris L. Bergen Philip Bohlman Joy Haslam Calico Bruce Campbell John Daverio Thomas S. Grey Jost Hermand Michael H. Kater Gesa Kordes Edward Larkey Bruno Nettl Uta G. Poiger Pamela Potter Albrecht Riethmüller Bernd Sponheuer Hans Rudolf Vaget
Author : Mark Evan Bonds
Publisher : Oxford University Press
Page : 400 pages
File Size : 47,5 Mb
Release : 2014-05-09
Category : Music
ISBN : 9780199384723
What is music, and why does it move us? From Pythagoras to the present, writers have struggled to isolate the essence of "pure" or "absolute" music in ways that also account for its profound effect. In Absolute Music: The History of an Idea, Mark Evan Bonds traces the history of these efforts across more than two millennia, paying special attention to the relationship between music's essence and its qualities of form, expression, beauty, autonomy, as well as its perceived capacity to disclose philosophical truths. The core of this book focuses on the period between 1850 and 1945. Although the idea of pure music is as old as antiquity, the term "absolute music" is itself relatively recent. It was Richard Wagner who coined the term, in 1846, and he used it as a pejorative in his efforts to expose the limitations of purely instrumental music. For Wagner, music that was "absolute" was isolated, detached from the world, sterile. His contemporary, the Viennese critic Eduard Hanslick, embraced this quality of isolation as a guarantor of purity. Only pure, absolute music, he argued, could realize the highest potential of the art. Bonds reveals how and why perceptions of absolute music changed so radically between the 1850s and 1920s. When it first appeared, "absolute music" was a new term applied to old music, but by the early decades of the twentieth century, it had become-paradoxically--an old term associated with the new music of modernists like Schoenberg and Stravinsky. Bonds argues that the key developments in this shift lay not in discourse about music but rather the visual arts. The growing prestige of abstraction and form in painting at the turn of the twentieth century-line and color, as opposed to object-helped move the idea of purely abstract, absolute music to the cutting edge of musical modernism. By carefully tracing the evolution of absolute music from Ancient Greece through the Middle Ages to the twentieth-century, Bonds not only provides the first comprehensive history of this pivotal concept but also provokes new thoughts on the essence of music and how essence has been used to explain music's effect. A long awaited book from one of the most respected senior scholars in the field, Absolute Music will be essential reading for anyone interested in the history, theory, and aesthetics of music.
Author : Richard Batka
Publisher : Unknown
Page : 0 pages
File Size : 46,8 Mb
Release : 1915
Category : Electronic
ISBN : OCLC:615106059
Author : Michael O'Loghlin
Publisher : Routledge
Page : 238 pages
File Size : 53,5 Mb
Release : 2017-07-05
Category : Music
ISBN : 9781351566551
After decades of stagnation during the reign of his father, the 'Barracks King', the performing arts began to flourish in Berlin under Frederick the Great. Even before his coronation in 1740, the crown prince commenced recruitment of a group of musician-composers who were to form the basis of a brilliant court ensemble. Several composers, including C.P.E. Bach and the Graun brothers, wrote music for the viola da gamba, an instrument which was already becoming obsolete elsewhere. They were encouraged in this endeavour by the presence in the orchestra from 1741 of Ludwig Christian Hesse, one of the last gamba virtuosi, who was described in 1766 as 'unquestionably the finest gambist in Europe'. This study shows how the unique situation in Berlin produced the last major corpus of music written for the viola da gamba, and how the more virtuosic works were probably the result of close collaboration between Hesse and the Berlin School composers. The reader is also introduced to the more approachable pieces which were written and arranged for amateur viol players, including the king's nephew and ultimate successor, Frederick William II. O'Loghlin argues that the aesthetic circumstances which prevailed in Berlin brought forth a specific style that is reflected not only in the music for viola da gamba. Characteristics of this Berlin style are identified with reference to a broad selection of original written sources, many of which are hardly accessible to English-speaking readers. There is also a discussion of the rather contradictory reception history of the Berlin School and some of its composers. The book concludes with a complete thematic catalogue of the Berlin gamba music, with a listing of original manuscript sources and modern publications. The book will appeal to professional and amateur viola da gamba players as well as to scholars of eighteenth-century German music.
Author : Carl Dahlhaus
Publisher : Univ of California Press
Page : 432 pages
File Size : 54,7 Mb
Release : 1989
Category : Biography & Autobiography
ISBN : 0520076443
This magnificent survey of the most popular period in music history is an extended essay embracing music, aesthetics, social history, and politics, by one of the keenest minds writing on music in the world today. Dahlhaus organizes his book around "watershed" years--for example, 1830, the year of the July Revolution in France, and around which coalesce the "demise of the age of art" proclaimed by Heine, the musical consequences of the deaths of Beethoven and Schubert, the simultaneous and dramatic appearance of Chopin and Liszt, Berlioz and Meyerbeer, and Schumann and Mendelssohn. But he keeps us constantly on guard against generalization and clich . Cherished concepts like Romanticism, tradition, nationalism vs. universality, the musical culture of the bourgeoisie, are put to pointed reevaluation. Always demonstrating the interest in socio-historical influences that is the hallmark of his work, Dahlhaus reminds us of the contradictions, interrelationships, psychological nuances, and riches of musical character and musical life. Nineteenth-Century Music contains 90 illustrations, the collected captions of which come close to providing a summary of the work and the author's methods. Technical language is kept to a minimum, but while remaining accessible, Dahlhaus challenges, braces, and excites. This is a landmark study that no one seriously interested in music and nineteenth-century European culture will be able to ignore.
Author : Richard Batka
Publisher : Unknown
Page : 332 pages
File Size : 46,5 Mb
Release : 1911
Category : Electronic
ISBN : OCLC:163183801
Author : Willi Apel
Publisher : Harvard University Press
Page : 968 pages
File Size : 55,9 Mb
Release : 1969
Category : Music
ISBN : 0674375017
Contains nearly 1000 pages of precise and accessible information on all musical subjects.
Author : Anonim
Publisher : Unknown
Page : 330 pages
File Size : 49,5 Mb
Release : 2008
Category : Electronic
ISBN : 3795703662
Author : Keith Polk
Publisher : Cambridge University Press
Page : 296 pages
File Size : 49,6 Mb
Release : 2004
Category : Music
ISBN : 0521612020
This book describes instrumental music and its context in German society of the late middle ages - from about 1350 to 1520. Players at that time improvised, much like jazz musicians of our day, but because they did not use notated music, only scant remnants of their activity have survived in written sources, and much has been left obscure. This book attempts to reconstruct an image of their music, discussing the instruments, ensembles, and performance practices of the time. What emerges from this study is a fundamental reappraisal of late medieval culture. A musical life is reconstructed which was not only extraordinary in its own time, but which also laid the foundations of an artistic culture that later produced such giants as Schütz, Bach, Mozart and Beethoven.
Author : Franz Brendel
Publisher : Europaischer Musikverlag
Page : 692 pages
File Size : 54,5 Mb
Release : 2014-02
Category : Electronic
ISBN : 395698076X
Der deutsche Musikwissenschaftler Franz Brendel hielt regelmassig Vorlesungen uber Musikgeschichte am Leipziger Konservatorium. Dieser Band enthalt 25 aufeinander aufbauende Vorlesungen zur Musikgeschichte, beginnend bei den ersten Anfangen der christlichen Musik uber die Entwicklung der weltlichen Musik, erste Anfange der Oper bis zur Vorstellung beruhmter und einflussreicher Komponisten und Lehrer. Die Vorlesungen geben dem interessierten Leser einen umfangreichen und umfassenden Einblick in die Musikgeschichte, die Entwicklung von Kompositionen und Eindruck vielzahliger Komponisten. Der Europaische Musikverlag hat es sich zur Aufgabe gemacht, historische Literatur zu Musik, Musikern und Kultur durch qualitativ hochwertige Nachdrucke der Originalausgaben fur jeden Liebhaber und interessierten Leser zu erhalten. Das vorliegende Buch ist ein Nachdruck der Originalausgabe von 1903
Author : Hanns-Werner Heister
Publisher : Springer Nature
Page : 724 pages
File Size : 41,5 Mb
Release : 2021-02-21
Category : Technology & Engineering
ISBN : 9783662629079
This book unfolds the manifold, complex and intertwined relations between Fuzzy Logic and music in a first comprehensive overview on this topic: systematically as an outline, as completely as possible, in the aspects of Fuzzy Logic in this relation, and especially in music as a process with three main phases, five anthropological layers, and thirteen forms of existence of the art work (Classics, Jazz, Pop, Folklore). Being concerned with the ontological, gnoseological, psychological, and (music-) aesthetical status and the relative importance of different phenomena of relationship between music and Fuzzy Logic, the explication follows the four main principles (with five phenotypes) of Fuzzy Logic with respect to music: similarity, sharpening 1 as filtering, sharpening 2 as crystallization, blurring, and variation. The book reports on years of author’s research on topics that have been only little explored so far in the area of Music and Fuzzy Logic. It merges concepts of music analysis with fuzzy logical modes of thinking, in a unique way that is expected to attract both specialists of music and specialists of Fuzzy Logic, and also non-specialists in both fields. The book introduces the concept of dialectic between sharpening and – conscious – “blurring”. In turn, some important aspects of this dialectic are discussed, placing them in an historical dimension, and ending in the postulation of a 'musical turn' in the sciences, with some important reflections concerning a “Philosophy of Fuzzy Logic”. Moreover, a production-oriented thinking is borrowed from fuzzy logic to musicology in this book, opening new perspectives in music, and possibly also in other artistic fields.