Combining current scholarship with cutting-edge pedagogy, the Ninth Edition of A History of Western Music is the text that students and professors have trusted for generations. Combining thoughtful revisions - particularly to chapters on the twentieth and twenty-first centuries - with exceptional media resources, A History of Western Music provides all the resources that students need in a text that will last a lifetime.
The Study and Listening Guide provides chapter outlines and objectives, study questions, review questions, and valuable guides to help students listen more productively.
A tool for students, this classroom-tested guide provides chapter objectives, chapter outlines, study questions, lists of key terms and names, review questions, musical exercises and guides for listening.
Charles Ives is famous for using borrowed material in his music. Almost two hundred individual works or movements, spanning his entire career and representing more than a third of his output, incorporate music by other composers or from his own previous work. In this book, the eminent Ives scholar J. Peter Burkholder identifies the different kinds of "quotations" in Ives's music, explores the complex musical, aesthetic, and psychological motivations behind the borrowings, and shows the purpose, techniques, and effects that characterize each one. Burkholder catalogues fourteen distinct ways that Ives borrowed, ranging from direct quotation to paraphrase, variation, collage, modeling, and stylistic allusion. Arguing that these borrowing procedures were compositional strategies, he provides a new perspective on Ives's process of composition. In addition, by tracing the development of Ives's borrowing practices through his career, he contributes to an understanding of the composer's stylistic evolution. And by showing how much of Ives's music uses borrowing procedures that are common to many composers, he reveals that Ives is not as far removed from the classic-romantic tradition as has been thought. Finally, Burkholder's comprehensive treatment of Ives's borrowing techniques offers a new perspective on the entire field of musical borrowing.
Comprehensively revised, the Seventh Edition calls attention to what's important, where it fits, why it matters, and who cares. Shorter, self-contained chapters are framed by historical context at the beginning and the music's reception and legacy at the end. Sidebars highlight composer biographies, music in daily life, and musical innovations in every period. Timelines and pithy Source Readings in each chapter place music in broader cultural context. Coverage of modern music has been significantly expanded to explore popular and classical idioms as well as the rich diversity of musical genres and styles available today. Long regarded as the definitive history of works and events, A History of Western Music now tells the story of the people behind the music."--BOOK JACKET.
Charles Ives is famous for using borrowed material in his music. Almost two hundred individual works or movements, spanning his entire career and representing more than a third of his output, incorporate music by other composers or from his own previous work. In this book, the eminent Ives scholar J. Peter Burkholder identifies the different kinds of "quotations" in Ives's music, explores the complex musical, aesthetic, and psychological motivations behind the borrowings, and shows the purpose, techniques, and effects that characterize each one. Burkholder catalogues fourteen distinct ways that Ives borrowed, ranging from direct quotation to paraphrase, variation, collage, modeling, and stylistic allusion. Arguing that these borrowing procedures were compositional strategies, he provides a new perspective on Ives's process of composition. In addition, by tracing the development of Ives's borrowing practices through his career, he contributes to an understanding of the composer's stylistic evolution. And by showing how much of Ives's music uses borrowing procedures that are common to many composers, he reveals that Ives is not as far removed from the classic-romantic tradition as has been thought. Finally, Burkholder's comprehensive treatment of Ives's borrowing techniques offers a new perspective on the entire field of musical borrowing.
A study of the American Mennonite and Amish communities response to the Civil War and the effect t it had upon them. During the American Civil War, the Mennonites and Amish faced moral dilemmas that tested the very core of their faith. How could they oppose both slavery and the war to end it? How could they remain outside the conflict without entering the American mainstream to secure legal conscientious objector status? In the North, living this ethical paradox marked them as ambivalent participants to the Union cause; in the South, it marked them as clear traitors. In the first scholarly treatment of pacifism during the Civil War, two experts in Anabaptist studies explore the important role of sectarian religion in the conflict and the effects of wartime Americanization on these religious communities. James O. Lehman and Steven M. Nolt describe the various strategies used by religious groups who struggled to come to terms with the American mainstream without sacrificing religious values—some opted for greater political engagement, others chose apolitical withdrawal, and some individuals renounced their faith and entered the fight. Integrating the most recent Civil War scholarship with little-known primary sources and new information from Pennsylvania and Virginia to Illinois and Iowa, Lehman and Nolt provide the definitive account of the Anabaptist experience during the bloodiest war in American history. “I found this book fascinating. It is an easy read, with lots of arresting stories of faith under test. Its amazingly thorough research, which comes through on every page, makes the book convincing.” —Al Keim, Shenandoah Mennonite Historian “An impressive work in every way: gracefully written, broadly researched, careful and measured in its conclusions. It is likely to become the definitive work on its subject.” —Thomas D. Hamm, Indiana Magazine of History “In this fascinating study, Lehman and Nolt perform a miraculous feat: they find a small unexplored backwater in the immense sea of literature on the American Civil War.” —Perry Bush, Michigan Historical Review
Humor, a topic that engaged Sigmund Freud both early and late in his career, is richly intertwined with character, with creativity, and with the theory and practice of psychoanalytic therapy. Yet, until very recently, analysts ignored Freud's lead and relegated humor to the periphery of their concerns. Humor and Psyche not only remedies previous neglect of the role of humor in the psychoanalytic situation but opens to a broad and balanced consideration of the role of humor in psychological life. Section I provides historical and theoretical perspectives on the concept of humor. Contributors review Freudian and post-Freudian theories of humor, address the inseparability of humor and play, adumbrate a postmodernist perspective on humor, and focus on the unique cognitive and affective properties of humor. In Section II contributors turn to the relationship of humor to various aspects of the therapeutic process, including the relationship of humor to transference interpretation, the enlivening effects of humor on the therapeutic process, and the multiple meanings of humorous exchanges between therapists and patients. Section III concludes the volume with three fascinating essays on the relationship of humor to character and creativity. They focus, respectively, on the role of humor in the 25-year correspondence of Freud and Sándor Ferenczi, on the interweaving of D. W. Winnicott's comic spirit and theoretical innovations, and on the relationship between humor and creativity in the music of the American composer Charles Ives. Taken together, the contributors reestablish the importance of humor as a topic of psychotherapeutic relevance more than 70 years after Freud's final essay on the topic. Delightfully readable from beginning to end, Humor and Psyche edifies as it entertains.
This book studies authenticity, which is a kind of truth to self, through the study of heritage tourism. When a heritage site is inauthentic, it leads to misinformation. Tourism scholars have been studying authenticity for about 50 years, and this book draws upon the theories and approaches of tourism studies to understand better misinformation, which has become a major topic of study since the US presidential elections in 2016. The book includes a discussion of common-sense and academic notions of authenticity, surveys a half century of scholarship on authenticity, and provides three case studies of heritage tourism sites: Lindsborg, KS (known as Little Sweden, USA), Colonial Williamsburg in Virginia, and the Gettysburg battlefield in Pennsylvania.
This catalogue of the music of Charles Ives contains 728 entries covering all of the prolific composer's works. James Sinclair's book presents information produced by recent Ives scholarship and generous commentary on each of Ives's compositions. It completes the work begun by musicologist John Kirkpatrick in 1955, when Ives's music manuscripts were deposited in the Yale Music Library. Ives's works are arranged alphabetically by title within genres. Whenever possible, each entry includes the main title and any other titles the composer may have used; the forces required; the duration; headings of movements; publication history; citation of the first known performance and first recording; the derivation of the work, listing music on which it may be modeled or from which it may borrow material; the principal literature treating the piece; and commentary on these and other matters. The catalogue also provides musical incipits for all Ives's extant works, seven appendixes (covering his work lists, 'Quality Photo' lists, his songbooks, a chronology of his life, recordings made by Ives, and his private publications and commercial publishers), three concordances, and four extensive indexes (addresses, names, titles, and musical borrowings).
20th-Century Chamber Music features an introduction giving a chronological overview of 20th-century chamber music and the major composers in the style, setting in context the following chapters that cover a wide selection of chamber works grouped thematically, including program music; vocal chamber music; works for new ensembles; the modern sonata; and contemporary string quartets. Composers covered range from Schoenberg and Bartók to Toru Takemitsu and George Crumb. The book is ideal for a course focussing on the history of chamber music or a unit in a 20th-century music on the chamber works of the era. Plus, students and scholars will find it an excellent resource summarizing current research.
Due to the unprecedented interest which the announcement of the topic of epistemology evoked from contributors, two annual volumes will be devoted to it. This volume accordingly is entitled Epistemology I, and the next volume will be entitled Epistemology II. The Editor KNOWING IN THE STRONG SENSE PETER M. BURKHOLDER Professor Norman Malcolm has defended what he calls "the strong sense" of "know." 1 It is one of the propositional senses; i.e. what is said to be known, in this sense, is an item of information rather than a person, a poem, a physical object, or a skill. According to· Malcolm, this sense of "know" is important and useful.' Philosophers have had it "in mind when they have spoken of 'perfect,' 'metaphysical,' or 'strict' cer tainty" (Ke, 70). Moreover, laymen use it when they profess to know such obvious truths as "2 + 2 = 4" or "This is an ink-bottle" (said while peering at and poking an ink-bottle). Nevertheless, in spite of his opinion that it is important, Malcolm has not given a detailed analysis of the strong sense of "know." Thus we may be justified in studying it, first to determine exactly what it is, and then to evaluate it. I do not, of course, wish to suggest that Malcolm necessarily WQuid accept my account of the strong sense as an accurate expli cation of his opinions. However, in its descriptive aspects my analysis seems compatible with his written statements.
This book combines an analysis of The Faerie Queene's, total form with an exposition of its allegorical content. Originally published in 1977. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
This is the first comprehensive reference work on America's Independence Day. Bringing attention to persons, places, and events of historical significance, the book focuses on the Fourth of July as it has been commemorated over the span of more than two centuries, starting with the first celebrations: public readings of the Declaration of Independence that occurred within days of its signing. Biographical sketches feature presidents (and how each celebrated the Fourth) and other politicians, famous soldiers, educators, engineers, scientists, athletes, musicians, and literary figures. Other topics include parks, monuments and statues dedicated on the Fourth; famous speeches and the personalities behind their stories; and general subjects of interest including education, abolition, temperance, African Americans, Native Americans, wars, transportation and holiday catastrophes.
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