While our modern concepts of musical time and tempo have been largely shaped by the metronome, musicians have long depended on a variety of methods, including the use of hands and feet, the incorporation of markings and pendulums. Measure: In Pursuit of Musical Time tells the fascinating story of musical timekeeping, beginning in an age before the existence of external measuring devices and continuing to the present-day use of the smartphone app. The book opens with a consideration of Renaissance images that inform our early understanding of the physical gestures associated with musical timekeeping. Early music treatises provide a first-hand glimpse into a musical world when timekeeping was bound up with motions of the body and the pulsing of the human heart. The adoption of the simple pendulum and the incorporation of tempo-related language profoundly altered the musical landscape. Such approaches allowed composers to communicate ideas about speed and slowness with increasing precision. Yet neither language nor the pendulum's natural swing proved sufficient to meet the needs of a changing musical world. Enter the metronome, a device that ultimately allowed musicians to consider musical time in real time. A triumph of innovation, the metronome was celebrated by many as the fulfillment of a centuries-long search. Yet not everyone was convinced of its benefits. From Beethoven to Ligeti, the book looks to a number of influential composers who have used or refused this revolutionary machine. Measure: In Pursuit of Musical Time follows a host of brilliant polymaths, trailblazing musicians and intrepid inventors in search of ever more accurate and practical ways to measure and master one of music's most critical and challenging aspects.
In recent years several new classes of matrices have been discovered and their structure exploited to design fast and accurate algorithms. In this new reference work, Raf Vandebril, Marc Van Barel, and Nicola Mastronardi present the first comprehensive overview of the mathematical and numerical properties of the family's newest member: semiseparable matrices. The text is divided into three parts. The first provides some historical background and introduces concepts and definitions concerning structured rank matrices. The second offers some traditional methods for solving systems of equations involving the basic subclasses of these matrices. The third section discusses structured rank matrices in a broader context, presents algorithms for solving higher-order structured rank matrices, and examines hybrid variants such as block quasiseparable matrices. An accessible case study clearly demonstrates the general topic of each new concept discussed. Many of the routines featured are implemented in Matlab and can be downloaded from the Web for further exploration.
Moskovitz's exploration of Zemlinsky's songs, operas, choral works, chamber music and symphonic compositions follows the composer's search for a distinctly personal sound, revealing an artist caught up in the music of his time yetunwilling to abandon his 19th century roots. From Zemlinsky's early success as a composer and widely recognized achievements as a conductor to his eventual descent into obscurity, this new biography places Zemlinsky (1871-1942) against the backdrops of Vienna, Prague and Berlin and illuminates his relationships with figures like Johannes Brahms, Alma Schindler, Gustav Mahler and Arnold Schoenberg. Moskovitz's exploration of Zemlinsky's songs, operas, choral works, chamber music and symphonic compositions follows the composer's search for a distinctly personal sound, revealing an artist caught up in the music of his time yet unwilling to abandon his 19th century roots. Alexander Zemlinsky: A Lyric Symphony includes an Afterword by conductor James Conlon and a complete discography of Zemlinsky recordings. MARC D. MOSKOVITZ is principal cellist of the ProMusica Chamber Orchestra of Columbus, Ohio and has written for various music journals and the New Grove Dictionary of Music and Musicians.
While our modern concepts of musical time and tempo have been largely shaped by the metronome, musicians have long depended on a variety of methods, including the use of hands and feet, the incorporation of markings and pendulums. Measure: In Pursuit of Musical Time tells the fascinating story of musical timekeeping, beginning in an age before the existence of external measuring devices and continuing to the present-day use of the smartphone app. The book opens with a consideration of Renaissance images that inform our early understanding of the physical gestures associated with musical timekeeping. Early music treatises provide a first-hand glimpse into a musical world when timekeeping was bound up with motions of the body and the pulsing of the human heart. The adoption of the simple pendulum and the incorporation of tempo-related language profoundly altered the musical landscape. Such approaches allowed composers to communicate ideas about speed and slowness with increasing precision. Yet neither language nor the pendulum's natural swing proved sufficient to meet the needs of a changing musical world. Enter the metronome, a device that ultimately allowed musicians to consider musical time in real time. A triumph of innovation, the metronome was celebrated by many as the fulfillment of a centuries-long search. Yet not everyone was convinced of its benefits. From Beethoven to Ligeti, the book looks to a number of influential composers who have used or refused this revolutionary machine. Measure: In Pursuit of Musical Time follows a host of brilliant polymaths, trailblazing musicians and intrepid inventors in search of ever more accurate and practical ways to measure and master one of music's most critical and challenging aspects.
Moskovitz's exploration of Zemlinsky's songs, operas, choral works, chamber music and symphonic compositions follows the composer's search for a distinctly personal sound, revealing an artist caught up in the music of his time yetunwilling to abandon his 19th century roots. From Zemlinsky's early success as a composer and widely recognized achievements as a conductor to his eventual descent into obscurity, this new biography places Zemlinsky (1871-1942) against the backdrops of Vienna, Prague and Berlin and illuminates his relationships with figures like Johannes Brahms, Alma Schindler, Gustav Mahler and Arnold Schoenberg. Moskovitz's exploration of Zemlinsky's songs, operas, choral works, chamber music and symphonic compositions follows the composer's search for a distinctly personal sound, revealing an artist caught up in the music of his time yet unwilling to abandon his 19th century roots. Alexander Zemlinsky: A Lyric Symphony includes an Afterword by conductor James Conlon and a complete discography of Zemlinsky recordings. MARC D. MOSKOVITZ is principal cellist of the ProMusica Chamber Orchestra of Columbus, Ohio and has written for various music journals and the New Grove Dictionary of Music and Musicians.
In 1796 the young Beethoven presented his first two cello sonatas, Op. 5, at the court of Frederick William II, an avid cellist and the reigning Prussian monarch. Released in print the next year, these revolutionary sonatas forever altered the cello repertoire by fundamentally redefining the relationship between the cello and the piano and promoting their parity. Beethoven continued to develop the potential of the duo partnership in his three other cello sonatas - the lyrical and heroic Op. 69 and the two experimental sonatas Op. 102, No. 1 and No. 2, transcendent compositions conceived on the threshold of the composer's late style. In Beethoven's Cello, Marc D. Moskovitz and R. Larry Todd examine these seminal cornerstones of the cello repertoire and place them within their historical and cultural contexts. Also addressed are the three variation sets and, in a series of interludes, the cellos owned by Beethoven, the changing nature of his pianos, the cello-centric 'Triple' Concerto and the arrangements for cello and piano of other works. Featuring a preface by renowned cellist Steven Isserlis and concluding with the reviews of the composer's cello music published during his lifetime, Beethoven's Cello is the ideal companion for cellists, pianists, musicologists and chamber-music devotees desiring a comprehensive understanding of this beloved repertoire. MARC D. MOSKOVITZ is principal cellist of the ProMusica Chamber Orchestra. He has recorded the music of virtuoso cellists David Popper and Alfredo Piatti for the VAI label, and his American premiere of Zemlinsky's Cello Sonata was heralded by the Washington Post as 'an impassioned performance'. Moskovitz has contributed to the New Grove Dictionary of Music and Musicians; and his biography, Alexander Zemlinsky: A Lyric Symphony, was published by Boydell & Brewer in 2010. Recognized as 'Mendelssohn's most authoritative biographer' (The New Yorker), R. LARRY TODD is Arts and Sciences Professor at Duke University. He is the author of Mendelssohn: A Life in Music, named Best Biography in 2003 by the Association of American Publishers, and Fanny Hensel: The Other Mendelssohn, awarded the ASCAP Nicholas Slonimsky Award for outstanding biography in music. As a pianist, he has recorded with Nancy Green the complete cello works of Mendelssohn and Fanny Hensel for JRI Recordings.
This will help us customize your experience to showcase the most relevant content to your age group
Please select from below
Login
Not registered?
Sign up
Already registered?
Success – Your message will goes here
We'd love to hear from you!
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.