Featuring 28 music examples this book takes an innovative approach to analyzing and interpreting nineteenth-century German song, offering new perspectives on Robert Schumann's Lieder and song cycles. Robert Schumann's Lieder are among the richest and most complex songs in the repertoire and have long raised questions and stimulated discussion among scholars, performers, and listeners. Among the wide range of methodologies that have been used to understand and interpret his songs, one that has been conspicuously absent is an approach based on narratology (the theory and study of narrative texts). Proceeding from the premise that the performance of a Lied is a narrative act, in which the singer and pianist together function as a narrator, Andrew Weaver's groundbreaking study proposes a comprehensive theory of narratology for the German Romantic Lied and song cycle, using Schumann's complete song oeuvre as the test case. The theory, grounded in the work of narratologist Mieke Bal but also drawing upon recent work in literary theory and musicology, illuminates how music can open up new meanings for the poem, as well as how a narratological analysis of the poem can help us understand the music. Weaver's book offers new insights into Schumann's Lieder and the poetry he set while simultaneously proposing a methodology applicable to the analysis and interpretation of a wide range of works, including not only the rich treasury of German Lieder but also potentially any genre of accompanied song in any language from the Middle Ages to the present day.
The first history of keyboard improvisation in European music from the time of Beethoven through the later nineteenth century, Dana Gooley's Free Play: Fantasies of Improvisation in Nineteenth-Century Music describes the motives, intentions, and musical styles of the nineteenth century's leading improvisers, and traces the evolution of the performance practice into a glorified ideal.
Research in the field of keyboard studies, especially when intimately connected with issues of performance, is often concerned with the immediate working environments and practices of musicians of the past. An important pedagogical tool, the keyboard has served as the ’workbench’ of countless musicians over the centuries. In the process it has shaped the ways in which many historical musicians achieved their aspirations and went about meeting creative challenges. In recent decades interest has turned towards a contextualized understanding of creative processes in music, and keyboard studies appears well placed to contribute to the exploration of this wider concern. The nineteen essays collected here encompass the range of research in the field, bringing together contributions from performers, organologists and music historians. Questions relevant to issues of creative practice in various historical contexts, and of interpretative issues faced today, form a guiding thread. Its scope is wide-ranging, with contributions covering the mid-sixteenth to early twentieth century. It is also inclusive, encompassing the diverse range of approaches to the field of contemporary keyboard studies. Collectively the essays form a survey of the ways in which the study of keyboard performance can enrich our understanding of musical life in a given period.
Fascinating ... Composer Andrew Gant is a masterful guide, introducing readers to the major players and key themes of an entrancing topic.' BBC History Magazine Whether you prefer Baroque or pop, Theremins or violins, the music you love and listen to shapes your world. But what shaped the music? Ranging across time and space, this book takes us on a grand musical tour from music's origins in prehistory right up to the twenty-first century. Charting the leaps in technology, thought and practice that led to extraordinary revolutions of music in each age, the book takes us through medieval Europe, Renaissance Italy and Jazz era America to reveal the rich history of music we still listen to today. From Mozart to McCartney, Schubert to Schoenberg, Professor Andrew Gant brings to life the people who made the music, their techniques and instruments, as well as the places their music was played, from sombre churches to rowdy taverns, stately courts to our very own homes.
While organizations claim to value creativity, they are often at a loss when attempting to conjure up novel ideas, particularly in a world where technology has made information readily available to everyone. As a result, leaders ask, "Where will the next big idea come from?" In response, they allocate significant resources for innovation; however the source of creative inspiration has remained a mystery. Science has shown that it's possible to create conditions under which the mind is more prepared to have insights, or "a-ha! moments." In this fascinating book, Andrew Razeghi examines the precursors to creative insight and offers clear-cut methods for making "Eureka moments" routine practice rather than lucky accidents. Combining the latest scientific research, interviews with current innovators, and studies of history’s most creative minds, he dissects the creative process and presents a practical approach for inspiring innovation.
Genius and breakthroughs appear to involve something magical. Andrew Robinson looks at what science does, and does not, know about exceptional creativity, and applied it to the stories of ten breakthroughs in the arts and sciences, including Curie's discovery of radium and Mozart's composing of The Marriage of Figaro.
• Explores how our ancestors used shamanic rituals at sacred sites to create portals for communication with nonhuman intelligences • Shares supporting evidence from the spiritual and shamanic beliefs of more than 100 Native American tribes • Shows how the earliest forms of shamanism began at sites like Qesem Cave in Israel more than 400,000 years ago From Göbekli Tepe in Turkey to the Egyptian pyramids, from the stone circles of Europe to the mound complexes of the Americas, Andrew Collins and Gregory L. Little show how, again and again, our ancestors built permanent sites of ceremonial activity where geomagnetic and gravitational anomalies have been recorded. They investigate how the earliest forms of animism and shamanism began at sites like the Denisova Cave in the Altai Mountains of Siberia and Qesem Cave in Israel more than 400,000 years ago. They explain how shamanic rituals and altered states of consciousness combine with the natural forces of the earth to create portals for contact with otherworldly realms—in other words, the gods of our ancestors were the result of an interaction between human consciousness and transdimensional intelligence. The authors show how the spiritual and shamanic beliefs of more than 100 Native American tribes align with their theory, and they reveal how some of these shamanic transdimensional portals are still active, sharing vivid examples from Skinwalker Ranch in Utah and Bempton in northern England. Ultimately, Collins and Little show how our modern disconnection from nature and lack of a fully visible night sky makes the manifestations from these ultraterrestrial intelligences seem random. If we can restore our spiritual connections, perhaps we can once again communicate with the higher dimensional beings who triggered the advancements of our earliest ancestors.
The first concise study of genius in both the arts and the sciences, using the life and work of famous geniuses to illuminate this phenomenon.-publisher description.
In this first full-length study of the symphony in late nineteenth- and early twentieth-century France, Andrew Deruchie provides extended critical discussion of seven of the most influential and frequently performed works of the era, by Camille Saint-Sa ns, C sar Franck, douard Lalo, Vincent d'Indy, and Paul Dukas. The volume explores how these symphonists modernized the art form yet preserved many of the formal and rhetorical conventions of the canon, reconciling, in particular, Beethoven's symphonic legacy with the musical culture, intellectual environment, and political milieu of fin-de-si cle France. Drawing on contemporary criticism, music histories, composers' prose, and unpublished sketches, Deruchie's readings offer fresh insights on issues of musical form and technique, and also move beyond the notes to consider questions of meaning. Andrew Deruchie is a lecturer in musicology at the University of Otago (New Zealand).
Syphilis is an illness with mythology. The story of its origin, dissemination and treatment have all been mired in confusion, a mix of reality and quackery. I have tried to put the organism as the principal protagonist of the story, firmly in an historical focus which centres more on its social impact than on its particular medical management. A diagnosis of Syphilis had personal and community consequence and its impact transcended into the arts. Despite the discovery of an effective treatment to which the organism has fortunately failed to mutate, the restrictions in available management have been social and a result of prejudice towards its victims. This may explain why it is once again on the global rise in places where access to the most basic antibiotics remains limited. This book uniquely considers the sociological sequel of infection, the wider influence extending beyond the physical that has become its legacy.
This is the first comprehensive book-length introduction to the philosophy of Western music that fully integrates consideration of popular music and hybrid musical forms, especially song. Its author, Andrew Kania, begins by asking whether Bob Dylan should even have been eligible for the Nobel Prize in Literature, given that he is a musician. This motivates a discussion of music as an artistic medium, and what philosophy has to contribute to our thinking about music. Chapters 2-5 investigate the most commonly defended sources of musical value: its emotional power, its form, and specifically musical features (such as pitch, rhythm, and harmony). In chapters 6-9, Kania explores issues arising from different musical practices, particularly work-performance (with a focus on classical music), improvisation (with a focus on jazz), and recording (with a focus on rock and pop). Chapter 10 examines the intersection of music and morality. The book ends with a consideration of what, ultimately, music is. Key Features Uses popular-song examples throughout, but also discusses a range of musical traditions (notably, rock, pop, classical, and jazz) Explains both philosophical and musical terms when they are first introduced Provides publicly accessible Spotify playlists of the musical examples discussed in the book Each chapter begins with an overview and ends with questions for testing comprehension and stimulating further thought, along with suggestions for further reading
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