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draws together papers delivered at the 2014 meeting of the West Coast Conference of Music Theory and Analysis. The conference spanned an unusually wide spectrum of musical styles, including papers on European twelve-tone music after the Second World War, fourteenth-century music, pop music and jazz, the music of living composers, narrative and characterization, and the history of music theory. The title of the book reflects the large span of musical cultures that are represented within, but also accounts for the common thread through all.
Covers the history of American music education, from its roots in Biblical times through recent historical events and trends. It describes the educational, philosophical, educational, and sociological aspects of the subject, always putting it in the context of the history of the United States. It offers the most complete information on professional organizations, materials, techniques, and personalities of any publication.
Author illuminates the groundbreaking music of Mozart, Beethoven, Liszt, Schumann, and Debussy; analyzes the techniques of Glenn Gould, Oscar Peterson, Vladimir Ashkenazy, Arthur Rubinstein, and Van Cliburn; gives musicians including Alfred Brendel, Murray Perahia, Menahem Pressler, and Vladimir Horowitz the opportunity to discuss their approaches. Isacoff delineates how classical music and jazz influenced each other as the uniquely American art form progressed from ragtime, novelty, stride, boogie, bebop, and beyond, through Scott Joplin, Fats Waller, Duke Ellington, Bill Evans, Thelonious Monk, Chick Corea, Herbie Hancock, Cecil Taylor, and Bill Charlap.
"World music" emerged as a commercial and musical category in the 1980s, but in some sense music has always been global. Through the metaphor of encounters, Music and Globalization explores the dynamics that enable or hinder cross-cultural communication through music. In the stories told by the contributors, we meet well-known players such as David Byrne, Peter Gabriel, Sting, Ry Cooder, Fela Kuti, and Gilberto Gil, but also lesser-known characters such as the Senegalese Afro-Cuban singer Laba Sosseh and Raramuri fiddle players from northwest Mexico. This collection demonstrates that careful historical and ethnographic analysis of global music can show us how globalization operates and what, if anything, we as consumers have to do with it.
The Bloomsbury Encyclopedia of Popular Music Volume 1 provides an overview of media, industry, and technology and its relationship to popular music. In 500 entries by 130 contributors from around the world, the volume explores the topic in two parts: Part I: Social and Cultural Dimensions, covers the social phenomena of relevance to the practice of popular music.
Part II: The Industry, covers all aspects of the popular music industry, such as copyright, instrumental manufacture, management and marketing, record corporations, studios, companies, and labels. Entries include bibliographies, discographies and filmographies, and an extensive index is provided.
Bringing together the analytical, aural, and tactile activities that comprise a tonal theory curriculum, The Complete Musician relies on a diverse repertoire and innovative exercises to integrate theory (writing and analysis), skills (singing, playing, and dictation), and music-making outsidethe theory class.Key Features* Common practice literature is the driving force of the text and comprises the bulk of the harmonic dictation component.* Musical examples range from Schutz to Scriabin and from solo vocal and instrumental music to orchestral ensembles. They include popular and folk music.* Topics covered run the gamut from rudiments to compositional processes of the late nineteenth century.*
Taking a critical perspective, this text sets the details of music, the chronological sweep of figures, works, and musical ideas, within the larger context of world affairs and cultural history; provides a critical aesthetic position with respect to individual works, a context in which each composition may be evaluated and remembered. Taruskin combines an emphasis on structure and form with a discussion of relevant theoretical concepts in each age, to illustrate how the music itself works, and how contemporaries heard and understood it. It also describes how the context of each stylistic period--key cultural, historical, social, economic, and scientific events--influenced and directed compositional choices.
In utter contrast to the obscurity of the medieval period which preceded it, the rapid and unexpected arrival of the Renaissance conquered Europe during the 14th to the 16th centuries. Placing man at its centre, the actors of this illustrious movement radically altered their vision of the world and refocused their aesthetic pursuits towards anatomy, perspective, and the natural sciences. Creator of numerous talents, the Renaissance offered the history of art great names such as Botticelli, Raphael, and Leonardo da Vinci, whose glorious masterpieces still today hang on the walls of museums the world over.
Studies of individual artists (Cézanne, Picasso, Mondrian, and Seurat) as well as essays on the reception and social meanings of modern art. Yet, even in his most aesthetic analyses, Schapiro never lost sight of the heroic efforts of the individual artists and of the cultural contexts in which their works were made and received.
This book will provide students and amateurs of contemporary art and culture with new insights into contemporary art practices and the critical issues that they raise concerning the material status of the art object, the role of the artist in society, and the relation between art and everyday life.
Drawings for Paintings in the Age of Rembrandt by Arthur K. Wheelock; Ger Luijten; Peter Schatborn
Call Number: PRINT
Publication Date: 2017-01-24
Seventeenth-century Dutch landscapes, still lifes, and scenes of daily life are so realistic in appearance that one would think that the artists painted from life. They actually executed their works in their studios, however, often on the basis of drawings. Dutch artists made many types of preliminary drawings, including broad compositional sketches, drawings of the landscape in their sketchbooks, counterproofs, construction drawings, and individual figural studies. Artists also indicated compositional ideas on their canvases and panels using underdrawings that are revealed through infrared reflectography.