Of the several genres comprising Schubert's prodigious compositional output, the one that has attracted the least attention from scholars has been his approximately 500 dances. Of these, more than 200 were published during his lifetime, twice as many as his songs; and they were received enthusiastically by the public. Yet, strangely enough, there has been only one slim volume devoted to the subject and it is in German, Schubert und das Tanzvergnügen (Schubert and the Enjoyment of the Dance). A translation of the opening section of that book forms the Introduction to our volume where it is entitled "Dancing in Vienna in the Early 19th Century." Although the composer's dances have been enjoyed in the United States and England by pianists and their pupils for generations, the current book is the first in English about them. Furthermore, there are relatively few articles or commentaries of substance that treat them seriously. Our publication begins with chapters on the minuets, all of which were written for members of his family, and his ecosaisses, primarily itended for his friends. Later another section is devoted to the polonaises and his other four hand dances, works that Schubert composed mainly for his only serious students, the Countesses Marie and Caroline Esterhazy. But by far the largest portion of the volume is devoted to the quick, triple-meter compositions Schubert labeled German dances or ländler, although his publishers most often gave them the title of Waltzes. The composer, however, used the term Walzer just once in his lifetime; and he did so in the course of a humorous poem to rhyme with the word Pfalzer, an inhabitant of the Rhine region of Germany, at the conclusion of a dance he in fact called a Deutscher (German dance). In the course of studying the dances a number of points insufficientally, or not at all, discussed in the Schubert literature has emerged. For one thing forty, approximatel 8% of these relatively short compositions-most are only 16 or 24 measures in length-begin and end in different keys. This is and aspect of Schubert's fremarkable harmonic imagination also visible in some 75 of his well over 600 songs. Another aspect of interest is that, despite their similarity in meter and tempo, there is a considerable diffence in musical character between the dances Schubert called German dances and those he labeled ländler. A third noteworthy feature of the composer's dances is the manner in which all of his later published
In a series of dialogues with Martin Meyer, Brendel speaks about his life, the development of his career, his music-making, his travels, his poems and essays; about his childhood in Zagreb, adolescence in Graz, and experiences as a young man in Vienna ("I was in Vienna, but I was never a 'genuine' Viennese"); about literature, painting, architecture, and kitsch.".
Robert Schumann (1810-56) is one of the most important and representative composers of the Romantic era. Here acclaimed biographer martin Geck tells the story of this multifaceted genius, set in the context of the political and social revolutions of his time.
Hailed as "absolutely the best reference book on its subject" by Newsweek, American Musical Theatre: A Chronicle covers more than 250 years of musical theatre in the United States, from a 1735 South Carolina production of Flora, or Hob in the Well to The Addams Family in 2010. Authors Gerald Bordman and Richard Norton write an engaging narrative blending history, critical analysis, and lively description to illustrate the transformation of American musical theatre through such incarnations as the ballad opera, revue, Golden Age musical, rock musical, Disney musical, and, with 2010's American Idiot, even the punk musical. The Chronicle is arranged chronologically and is fully indexed according to names of shows, songs, and people involved, for easy searching and browsing. Chapters range from the "Prologue," which traces the origins of American musical theater to 1866, through several "intermissions" (for instance, "Broadway's Response to the Swing Era, 1937-1942") and up to "Act Seven," the theatre of the twenty-first century. This last chapter covers the dramatic changes in musical theatre since the last edition published-whereas Fosse, a choreography-heavy revue, won the 1999 Tony for Best Musical, the 2008 award went to In the Heights, which combines hip-hop, rap, meringue and salsa unlike any musical before it. Other groundbreaking and/or box-office-breaking shows covered for the first time include Avenue Q, The Producers, Billy Elliot, Jersey Boys, Monty Python's Spamalot, Wicked, Hairspray, Urinetown the Musical, and Spring Awakening. Discussion of these shows incorporates plot synopses, names of principal players, descriptions of scenery and costumes, and critical reactions. In addition, short biographies interspersed throughout the text colorfully depict the creative minds that shaped the most influential musicals. Collectively, these elements create the most comprehensive, authoritative history of musical theatre in this country and make this an essential resource for students, scholars, performers, dramaturges, and musical enthusiasts.
In this book David Martin brings together a coherent summary of his many years of ground-breaking academic work on the sociology of religion. Covering key and contentious areas from the last half century such as secularisation, religion and violence and the global rise of Pentecostalism, it presents a critical recuperation of these themes, some of them first initiated by the author, and a review of their reception history. As such, this collection is vital reading for all academics with an interest in David Martin’s work as well as those involved with the sociology of religion and the study of secularisation more generally.
Time is of the essence in music because the ear can only perceive sequentially-one thing at a time-unlike the eye, which is capable of panoramic view. Silence and Slow Time proposes a way of thinking about music that is faithful to the experience of playing or listening during a real performance. Boykan argues against the common assumption that thematic relationships automatically insure musical coherence, because the repetition or the transformation of a theme is only meaningful if we consider when it occurs. This argument is developed through a close reading of passages from the full range of Western music. Analyses of dramatic narratives in Haydn, Beethoven, Schubert, and Chopin reveal a richness that can only be captured if thematic or voice-leading relationships are placed within a temporal context. Other kinds of narrative are explored in a Renaissance motet, and in the music of Wolf and Debussy at the end of the 19th Century. The book devotes several chapters to the great innovators of the 20th Century, and concludes with a detailed study of the Schoenberg Trio that traces its thematic and harmonic process to suggest a somewhat oblique relation to the apocalyptic moment when it was composed.
When her troubles in school culminate in her being dropped back to the seventh grade, Claudia struggles with feelings of failure while adjusting to classmates outside of the Baby-sitters Club.
Research Methods in Physical Activity, Eighth Edition, offers step-by-step information for every aspect of the research process, providing guidelines for research methods so that students feel capable and confident using research techniques in kinesiology and exercise science disciplines
Time is of the essence in music because the ear can only perceive sequentially-one thing at a time-unlike the eye, which is capable of panoramic view. Silence and Slow Time proposes a way of thinking about music that is faithful to the experience of playing or listening during a real performance. Boykan argues against the common assumption that thematic relationships automatically insure musical coherence, because the repetition or the transformation of a theme is only meaningful if we consider when it occurs. This argument is developed through a close reading of passages from the full range of Western music. Analyses of dramatic narratives in Haydn, Beethoven, Schubert, and Chopin reveal a richness that can only be captured if thematic or voice-leading relationships are placed within a temporal context. Other kinds of narrative are explored in a Renaissance motet, and in the music of Wolf and Debussy at the end of the 19th Century. The book devotes several chapters to the great innovators of the 20th Century, and concludes with a detailed study of the Schoenberg Trio that traces its thematic and harmonic process to suggest a somewhat oblique relation to the apocalyptic moment when it was composed.
This study offers a Construction Grammar approach to the historical development and modern usage of future constructions in English, German, Dutch, Danish, and Swedish. On the basis of corpus data, constructions such as English be going to or German werden are analyzed as symbolic units that convey a range of temporal and modal meanings. A special focus lies on the main verbs that occur with these constructions. Statistical co-occurrence patterns between constructions and lexical items guide the semantic analyses in this study: It is argued that a construction that conventionally occurs with main verbs such as write or speak differs functionally from a construction that typically occurs with verbs such as rain or increase. The same approach is also applied historically: If a construction co-occurs with different main verbs at subsequent stages in time, this is seen as a sign of semantic change.
The Navy can lose us the war, but only the Air Force can win it. Therefore our supreme effort must be to gain overwhelming mastery in the air. The Fighters are our salvation but the Bombers alone provide the means of victory...'?? So said Prime Minister Winston Churchill to the War Cabinet on the first anniversary of the outbreak of war. But when Britain declared war on Germany in September 1939 her bombers were predominantly twin-engined types like the Wellington, Whitley and the Hampden which after suffering carnage during the day were soon switched to night operations.??Wartime speeches alone cannot begin to describe the misery and fortitude, desperation and terror endured by the civilian population during the 'Blitz Nights' in Coventry, the London docklands and the East End as night after night bombs and incendiaries rained down on them. Their personal experiences and those of war correspondents like James Negley Farson are as vivid, poignant and descriptive as those of the bomber crews carrying the war to the enemy in the early night bomber offensive. These too are mostly recounted at first hand, sometimes in BBC broadcasts to the nation; and they include 'The Unanswerable Double'; 'Winged Words'; 'German Defences'; 'Getting Frightened'; 'Jump For It!'; 'The Night The Fuel Ran Out'; 'Flames, Flares and Fires'; 'Busted Flush'; 'The Tail Gunner's Story' and 'Hampden and 'Wimpy' Ops'. They tell just what it was like to fly in a heavy bomber over occupied Europe.
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