Ancient and Oriental Music

Ancient and Oriental Music
Author :
Publisher :
Total Pages : 0
Release :
ISBN-10 : OCLC:41156791
ISBN-13 :
Rating : 4/5 (91 Downloads)

Synopsis Ancient and Oriental Music by : Egon Wellesz

Music as Concept and Practice in the Late Middle Ages

Music as Concept and Practice in the Late Middle Ages
Author :
Publisher :
Total Pages : 522
Release :
ISBN-10 : 0198162057
ISBN-13 : 9780198162056
Rating : 4/5 (57 Downloads)

Synopsis Music as Concept and Practice in the Late Middle Ages by : Reinhard Strohm

This entirely new volume of NOHM takes account of developments in late-medieval music scholarship, along with significant changes in the performance practice of the late-medieval repertory, witnessed during the latter half of the 20th century.

The Cambridge History of Medieval Music

The Cambridge History of Medieval Music
Author :
Publisher : Cambridge University Press
Total Pages :
Release :
ISBN-10 : 9781108577076
ISBN-13 : 1108577075
Rating : 4/5 (76 Downloads)

Synopsis The Cambridge History of Medieval Music by : Mark Everist

Spanning a millennium of musical history, this monumental volume brings together nearly forty leading authorities to survey the music of Western Europe in the Middle Ages. All of the major aspects of medieval music are considered, making use of the latest research and thinking to discuss everything from the earliest genres of chant, through the music of the liturgy, to the riches of the vernacular song of the trouvères and troubadours. Alongside this account of the core repertory of monophony, The Cambridge History of Medieval Music tells the story of the birth of polyphonic music, and studies the genres of organum, conductus, motet and polyphonic song. Key composers of the period are introduced, such as Leoninus, Perotinus, Adam de la Halle, Philippe de Vitry and Guillaume de Machaut, and other chapters examine topics ranging from musical theory and performance to institutions, culture and collections.

Representing History, 900-1300

Representing History, 900-1300
Author :
Publisher : Penn State Press
Total Pages : 290
Release :
ISBN-10 : 9780271036366
ISBN-13 : 0271036362
Rating : 4/5 (66 Downloads)

Synopsis Representing History, 900-1300 by : Robert Allan Maxwell

"Brings together the disciplines of art, music, and history to explore the importance of the past to conceptions of the present in the central Middle Ages"--Provided by publisher.

Reader's Guide to Music

Reader's Guide to Music
Author :
Publisher : Routledge
Total Pages : 2624
Release :
ISBN-10 : 9781135942694
ISBN-13 : 1135942692
Rating : 4/5 (94 Downloads)

Synopsis Reader's Guide to Music by : Murray Steib

The Reader's Guide to Music is designed to provide a useful single-volume guide to the ever-increasing number of English language book-length studies in music. Each entry consists of a bibliography of some 3-20 titles and an essay in which these titles are evaluated, by an expert in the field, in light of the history of writing and scholarship on the given topic. The more than 500 entries include not just writings on major composers in music history but also the genres in which they worked (from early chant to rock and roll) and topics important to the various disciplines of music scholarship (from aesthetics to gay/lesbian musicology).

The Future of Coptic Studies

The Future of Coptic Studies
Author :
Publisher : BRILL
Total Pages : 265
Release :
ISBN-10 : 9789004672611
ISBN-13 : 9004672613
Rating : 4/5 (11 Downloads)

Synopsis The Future of Coptic Studies by : R MCL Wilson

The Early Medieval Sequence

The Early Medieval Sequence
Author :
Publisher : Univ of California Press
Total Pages : 664
Release :
ISBN-10 : 9780520347779
ISBN-13 : 0520347773
Rating : 4/5 (79 Downloads)

Synopsis The Early Medieval Sequence by : Richard L. Crocker

This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1977. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived

Historical Dictionary of Russian Music

Historical Dictionary of Russian Music
Author :
Publisher : Rowman & Littlefield
Total Pages : 563
Release :
ISBN-10 : 9781538130087
ISBN-13 : 1538130084
Rating : 4/5 (87 Downloads)

Synopsis Historical Dictionary of Russian Music by : Daniel Jaffé

Russian music today has a firm hold around the world in the repertoire of opera houses, ballet companies, and orchestras. The music of Pyotr Tchaikovsky, Nikolai Rimsky-Korsakov, Sergey Rachmaninov, Sergey Prokofiev, and Dmitri Shostakovich is very much today’s lingua franca both in the concert hall and on the soundtracks of international blockbusters from Hollywood. Meanwhile, the innovations of Modest Musorgsky, Alexander Borodin, and Igor Stravinsky have played their crucial role in the development of Western music, influencing the work of virtually every notable composer of the past century. Historical Dictionary of Russian Music, Second Edition contains a chronology, an introduction, and an extensive bibliography. The dictionary section has more than 600 cross-referenced entries for each of Russia’s major performing organizations and performance venues, and on specific genres such as ballet, film music, symphony and church music. This book is an excellent resource for students, researchers, and anyone wanting to know more about Russian Music.

The Medieval Drama

The Medieval Drama
Author :
Publisher : State University of New York Press
Total Pages : 180
Release :
ISBN-10 : 9781438421278
ISBN-13 : 1438421273
Rating : 4/5 (78 Downloads)

Synopsis The Medieval Drama by : Sandro Sticca

The religious medieval drama, like the Church which produced it, was international. As such, from its earliest beginnings in the tenth-century Quem quaeritis to the thirteenth-century Ludi Paschales and Passion Plays, it exhibits a cultural and thematic unity binding the various plays: a thematic unity from the fabric of Christian thought, and a cultural unity from the fact that these productions, at least up to the end of the thirteenth century, generally share a technical-philological medium: the Latin language. In later centuries, this religious drama expressed in the vernacular remained an act of faith; its purpose being to strengthen the faith of the worshippers and to express in visible, dramatic terms the facts and values of Christian belief. These essays were, in their original form, addressed to the third annual conference of the Center for Medieval and Early Renaissance Studies at the State University of New York at Binghamton. The work of international authorities on the medieval drama, they span many centuries and bear witness to the growth of the religious dramatic form and of the dramatic movement and temper of the liturgy in which that form finds its origin. Omer Jodogne establishes a difference, on the aesthetic level, between dramatic works and their theatrical performance by pointing out that the surviving texts, whether they were meant for reading or for a theatrical performance, reproduce only what was said on the stage, and, succinctly, what was done. Wolfgang Michael suggests that the first medieval drama did not originate in a slow growth from the Easter trope Quem quaeritis but was rather an original creation of the author or authors of the Concordia Regularis. He indicates that subsequent dramatic endeavors in their slow process of change and expansion reflect the working of tradition rather than an original spirit and form. Sandro Sticca examines the creation of the first Passion Play and shows that Christ's passion became increasingly popular in the tenth century, and that the new forces which allowed a more eloquent and humane visualization and description of Christ's anguish first appeared in the eleventh and twelfth centuries. He also refutes the traditional view that the Planctus Mariae is the germinal point of the Latin Passion Play. V. A. Kolve seeks to account for certain central facts about Everyman which have never had close critical attention. He analyzes the Biblical and Patristic references within which the story is shaped and which are central to the understanding of other actions and to determining the meaning of the play. Glynn Wickham, after exploding on the evidence of reference alone the old categorizing of English Saint Plays as by-products or late developments of Mysteries and Moralities, turns to a critical discussion of the three surviving texts of English Saint Plays and of their original staging by means of diagrammatic illustrations providing a vivid visualization of their performance. William Smolden takes an unaccustomed approach to the controversial question of the origins of the Quem quaeritis. He maintains that when musical evidence is called on, it brings about, on a number of occasions, a confutation of the theory of a "textual" writer. From a detailed consideration of the two earliest Quem quaeritis he feels convinced that the place of origin of the trope was the Abbey of St. Martial of Limoges.