Michael Praetorius (1571-1621) was one of the most versatile, wide-ranging, and prolific German composers of the seventeenth century. Also important as a theorist, his Syntagma Musicum, penned around 1619, was originally planned in four parts. He completed only three, with the first discussing the place of music in the church, while Volume II focused on musical instruments. Volume III deals with terminology, theoretical issues, and performance practice. More than any other source from this period, Volume III provides the most thorough coverage of performance practice issues of the late sixteenth and early seventeenth centuries. It offers detailed commentary about the performance of particular pieces of music, including many of Praetorius's own, as well as those by Lassus, Gabrieli, Monteverdi, and Schütz. Throughout, Praetorius offers immensely practical insights on numerous topics such as the definition and classification of vocal forms, the names and characteristics of instruments, arrangement of large-scale works for multiple choirs, description of ligatures, use of proportions, time signatures, transposition, teaching the Italian manner of singing, the types of ornamentation used in Italy in the first two decades of the seventeenth century-and much more. Praetorius is the most often quoted and excerpted writer on performance practice. In this translation, musicologist and early music practitioner Jeffery T. Kite-Powell worked with notoriously difficult syntax to produce a definitive English edition of this important work. For modern scholars, this volume is the preeminent source of contemporary information on performance practice for the late Renaissance and early Baroque periods. This essential resource will enable performers to recreate the music of the period in a historically informed manner.
Michael Praetorius (1571-1621) was a musician, organist, and Kapellmeister. His three-volume Syntagma musicum (Musical Encyclopedia, 1614-1619) was the first comprehensive treatment of music in the German language. This publication is the first English translation of Volume II, Parts III-V, specifically on the organ, which Praetorius declares "a perfect (indeed one might also say 'most perfect') musical instrument ... which ... takes pride of place above all other musical instruments, most of which can be incorporated into this single instrument." This work includes "A precise description of ancient and modern organs, their manual and pedal keyboards, bellows, stoplists, and various kinds of stops, as well as how to tune regals and harpsichords easily and precisely; and what to consider when accepting a [newly built] organ, together with with an appended detailed table ... " This edition shows the German original on the left and the English translation on the facing right-hand pages.
Im ersten Teil des Buches werden die sozialen und wirtschaftlichen Hintergründe des bäuerlichen Lebens vom ausgehenden Mittelalter bis zum Beginn der Industriellen Revolution in Westfalen dargestellt. Zahlreiche Dokumente illustrieren die vielfältigen Beziehungen der Kötterfamilie zu dem Grund- und Lehnsherrn, dem Kloster Quernheim bei Kirchlengern. Im zweiten Teil wird die Geschichte der Familie im 19. Jahrhundert erzählt, als ein Fünftel der Bevölkerung Westfalen verlässt und vor allem nach Amerika auswandert. Es wird von der oft beschwerlichen Reise von Bremerhaven nach New Orleans und weiter den Misissippi hinauf berichtet. Die deutschen Einwanderer gehören zu den ersten Siedlern nördlich von St. Louis, Missouri. Der Autor zeichnet ein facettenreiches Bild der Jahre von 1840 an: die Siedlungsgeschichte, das kirchliche und schulische Leben, die Arbeit und das Freizeitverhalten werden ausführlich geschildert. Weitere Siedlungsschwerpunkte sind Quincy, Illinois, Manhattan in Kansas und Grand Island in Nebraska.
Dance music at the courts of seventeenth-century Germany is a genre that is still largely unknown. Dr Michael Robertson sets out to redress the balance and study the ensemble dance suites that were played at the German courts between the end of the Thirty Years War and the early years of the eighteenth century. At many German courts during this time, it was fashionable to emulate everything that was French. As part of this process, German musicians visited Paris throughout the second half of the seventeenth century, and brought French courtly music back with them on their return. For the last two decades of the century, this meant the works of Jean-Baptiste Lully, and his music and its influence spread rapidly through the courts of Europe. Extracts from Lully's dramatic stage works were circulated in both published editions and manuscript. These extracts are considered in some detail, especially in terms of their relationship to the suite. The nobility also played their part in this process: French musicians and German players with specialist knowledge were often hired to coach their German colleagues in the art of playing in the French manner, the franz‘sischer Art. The book examines the dissemination of dance music, instrumentation and performance practice, and the differences between the French and Italian styles. It also studies the courtly suites before the advent of Lullism and the differences between the suites of court composers and town musicians. With the possible exception of Georg Muffat's two Florilegium collections of suites, much of the dance music of the German Lullists is largely unknown; court composers such as Cousser, Erlebach, Johann Fischer and Johann Caspar Ferdinand Fischer all wrote fine collections of ensemble suites, and these are examined in detail. Examples from these suites, some published for the first time, are given throughout the book in order to demonstrate the music's quality and show that its neglect is completely unjustifi
Covers the history of witchcraft from 1750 B.C.E. though the modern day. Includes a chronology, an introductory essay, and an extensive bibliography featuring cross-referenced entries on witch hunts, witchcraft trials, and related practices around the world.
Dance music at the courts of seventeenth-century Germany is a genre that is still largely unknown. Dr Michael Robertson sets out to redress the balance and study the ensemble dance suites that were played at the German courts between the end of the Thirty Years War and the early years of the eighteenth century. At many German courts during this time, it was fashionable to emulate everything that was French. As part of this process, German musicians visited Paris throughout the second half of the seventeenth century, and brought French courtly music back with them on their return. For the last two decades of the century, this meant the works of Jean-Baptiste Lully, and his music and its influence spread rapidly through the courts of Europe. Extracts from Lully's dramatic stage works were circulated in both published editions and manuscript. These extracts are considered in some detail, especially in terms of their relationship to the suite. The nobility also played their part in this process: French musicians and German players with specialist knowledge were often hired to coach their German colleagues in the art of playing in the French manner, the franz?sischer Art. The book examines the dissemination of dance music, instrumentation and performance practice, and the differences between the French and Italian styles. It also studies the courtly suites before the advent of Lullism and the differences between the suites of court composers and town musicians. With the possible exception of Georg Muffat's two Florilegium collections of suites, much of the dance music of the German Lullists is largely unknown; court composers such as Cousser, Erlebach, Johann Fischer and Johann Caspar Ferdinand Fischer all wrote fine collections of ensemble suites, and these are examined in detail. Examples from these suites, some published for the first time, are given throughout the book in order to demonstrate the music's quality and show that its neglect is completely unjustifi
In the seventeenth and eighteenth centuries, the cantors of the St. Thomas School and Church in Leipzig could be counted among the most significant German composers of their times. But what attracted these artists - from Seth Calvisius to J.S. Bach to Johann Adam Hiller - to the music school and choir and inspired them to explore new repertoire of the highest standing? And how did the cantors influence the musical profile of the school - a profile that often became a bone of contention between school and city hall? The success of the St. Thomas School was not a foregone conclusion; its history is replete with challenges and setbacks as well as triumphs. The school was caught between the conflicting interests of enthusiastic mayors and townspeople, who wanted to showcase the city's musical culture, and opposing parties, including jealous rectors and elitist sponsors, who argued for the traditional subordination of the cantorate to the school system. Drawing on many new, recently discovered sources, Michael Maul explores the phenomenon of the St Thomas School. He shows how cantors, local luminaries and municipal politicians overcame the School's detractors to make it a remarkable success, with a world-famous choir. Illuminating the social and political history of the cantorate and the musical life of an important German city, the book will be of interest to scholars of Baroque music and J.S. Bach, cultural historians, choral directors, and musicologists and performers studying historical performance practice. MICHAEL MAUL is Senior Scholar at the Bach-Archiv Leipzig and lecturer in musicology at the universities of Leipzig/Halle. He is also the artistic director of the annual Leipzig Bach Festival.
Now available in paperback and with over 10,000 entries, the Oxford Dictionary of Music (previously the Concise Oxford Dictionary of Music) offers broad coverage of a wide range of musical categories spanning many eras, including composers, librettists, singers, orchestras, important ballets and operas, and musical instruments and their history. The Oxford Dictionary of Music is the most up-to-date and accessible dictionaryof musical terms available and an essential point of reference for music students, teachers, lecturers, professional musicians, as well as music enthusiasts.
Mendelssohn, Goethe, and the Walpurgis Night is a book about tolerance and acceptance in the face of cultural, political, and religious strife. Its point of departure is the Walpurgis Night. The Night, also known as Beltane or May Eve, was supposedly an annual witches' Sabbath that centered around the Brocken, the highest peak of the Harz Mountains. After exploring how a notoriously pagan celebration came to be named after the Christian missionary St. Walpurgis (ca. 710-79), John Michael Cooper discusses the Night's treatments in several closely interwoven works by Goethe and Mendelssohn. His book situates those works in their immediate personal and professional contexts, as well as among treatments by a wide array of other artists, philosophers, and political thinkers, including Voltaire, Lessing, Shelley, Heine, Delacroix, and Berlioz. In an age of decisive political and religious conflict, Walpurgis Night became a heathen muse: a source of inspiration that was neither specifically Christian, nor Jewish, nor Muslim. And Mendelssohn's and Goethe's engagements with it offer new insights into its role in European cultural history, as well as into issues of political, religious, and social identity -- and the relations between cultural groups -- in today's world. John Michael Cooper (Southwestern University) is the author of Mendelssohn's "Italian" Symphony (Oxford University Press).
The Concise Oxford Dictionary of Music is the most authoritative and up-to-date dictionary of music available in paperback. Coverage includes musical terms from allegro to zingaro, and musical works from Aida to Zauberflote, as well as composers, librettists, musicians, singers, and orchestras. It provides a mine of information for all lovers of music." "The book includes musical instruments and their history; and covers living composers and performers, with over 150 added for this edition."--BOOK JACKET.
The first full biography of the film encyclopaedist and television impresario Leslie Halliwell, who in 1965 compiled The Filmgoer's Companion, the first one-volume reference book devoted to all aspects of the cinema. In his capacity as chief buyer for the ITV network, Halliwell was further responsible for bringing to British television screens some of the most popular films and shows of the 1970s and 80s, including The Six Million Dollar Man, Charlie's Angels, The Winds of War, Jaws, Star Wars and the James Bond movies. His promotion of the cinema through his books and seasons of 'golden oldies' on Channel 4 won him awards from the London Film Critics' Circle and the British Film Institute, as well as a posthumous BAFTA. Film historian Jeffrey Richards said of 'Halliwell's Horizon', "I enjoyed it enormously. It combines exhaustive research with critical insight and affectionate regard, bringing Halliwell and his work to vivid life.
Is music removed from politics? To what ends, beneficent or malevolent, can music and musicians be put? In short, when human rights are grossly abused and politics turned to fascist demagoguery, can art and artists be innocent? These questions and their implications are explored in Michael Kater's broad survey of musicians and the music they composed and performed during the Third Reich. Great and small--from Valentin Grimm, a struggling clarinetist, to Richard Strauss, renowned composer--are examined by Kater, sometimes in intimate detail, and the lives and decisions of Nazi Germany's professional musicians are laid out before the reader. Kater tackles the issue of whether the Nazi regime, because it held music in crassly utilitarian regard, acted on musicians in such a way as to consolidate or atomize the profession. Kater's examination of the value of music for the regime and the degree to which the regime attained a positive propaganda and palliative effect through the manner in which it manipulated its musicians, and by extension, German music, is of importance for understanding culture in totalitarian systems. This work, with its emphasis on the social and political nature of music and the political attitude of musicians during the Nazi regime, will be the first of its kind. It will be of interest to scholars and general readers eager to understand Nazi Germany, to music lovers, and to anyone interested in the interchange of music and politics, culture and ideology.
Dragonflies are a beautiful, important and conspicuous component of freshwater, whether still or flowing. South Africa's dragonflies are particularly interesting as many are special or endemic to the area, making it a part of the world of great conservation significance. This book discusses this exciting dragonfly fauna. Dragonflies are a beautiful, important and conspicuous component of freshwater, whether still or flowing. They are also important indicators of freshwater quality and condition, which is significant for current and future conservation initiatives in South Africa. The country's dragonflies are particularly interesting as many are special or endemic to the area, making it a part of the world of great conservation significance. Sadly however, many of these endemic species are highly threatened, especially by invasive alien trees which shade out their habitat. This book is about this exciting dragonfly fauna. Besides aiming at increasing awareness of these lovely and sensitive insects, it enables their identification, using several approaches, from simple flick-through to the use of comprehensive identification keys. Each species is also given a Dragonfly Biotic Index, covering a spectrum from the most common, widespread and tolerant species through to the most threatened, rare and sensitive ones. Michael Samways is Professor and Chair of the Department of Conservation Ecology and Entomology, Stellenbosch University. He is a Fellow of the Royal Society of South Africa and a Fellow of the University of KwaZulu-Natal. He has published 260 scientific papers and written several books on insect biology and conservation, the most recent of which is Insect Diversity Conservation, Cambridge University Press. He has won several awards, and in the last two years, these include the Stellenbosch University Rector's Award for Research Excellence, the John Herschel Medal from the Royal Society of South Africa, and the Senior Captain Scott Medal from the South African Academy for Science and Art. Michael is on several international editorial boards and involved with various international committees devoted to invertebrate conservation. Indeed, his research team is dedicated to the conservation of invertebrates and other biodiversity, which so enrich our planet.
Winner of the Nicholas Bessaraboff Prize Musical repertory of great importance and quality was performed on viols in sixteenth- and early seventeenth-century England. This is reported by Thomas Mace (1676) who says that ’Your Best Provision’ for playing such music is a chest of old English viols, and he names five early English viol makers than which ’there are no Better in the World’. Enlightened scholars and performers (both professional and amateur) who aim to understand and play this music require reliable historical information and need suitable viols, but so little is known about the instruments and their makers that we cannot specify appropriate instruments with much precision. Our ignorance cannot be remedied exclusively by the scrutiny or use of surviving antique viols because they are extremely rare, they are not accessible to performers and the information they embody is crucially compromised by degradation and alteration. Drawing on a wide variety of evidence including the surviving instruments, music composed for those instruments, and the documentary evidence surrounding the trade of instrument making, Fleming and Bryan draw significant conclusions about the changing nature and varieties of viol in early modern England.
Prussia has been overrun by Napoleon's forces, and the Emperor's troops have discovered a new source of funds there: enough amber to finance France's wars. But their plans stall when the girls who collect the stones begin to disappear, only to be found gruesomely disfigured by an unknown killer. The French call upon Prussian investigator Hanno Stiffeniis, who must seek out the culprit knowing hat his own success may doom his country's future. Dark, intelligent, and vividly written, A Visible Darkness continues a masterful series of historical mysteries that portray a past torn between nationalism and humanism, superstition and science.
In Why We Kiss Under the Mistletoe, bestselling author Michael Foley dives deep into the history of Christmas and the customs that surround this beloved holiday. Learn about the fascinating origins of your favorite Christmas food, drink, observances, and songs. Discover how Saint Nicolas, a fourth-century Catholic bishop, became Santa Clause and who Santa's global competitors are (some of them will shock you). And dig into the forbidden history of the Yuletide season's dark and ghoulish side" --
This companion volume to The Courtly Consort Suite in German-Speaking Europe surveys an area of music neglected by modern scholars: the consort suites and dance music by musicians working in the seventeenth-century German towns. Conditions of work in the German towns are examined in detail, as are the problems posed by the many untrained travelling players who were often little more than beggars. The central part of the book explores the organisation, content and assembly of town suites into carefully ordered printed collections, which refutes the concept of the so-called 'classical' suite. The differences between court and town suites are dealt with alongside the often-ignored variation suite from the later decades of the seventeenth century and the separate suite-writing traditions of Leipzig and Hamburg. While the seventeenth-century keyboard suite has received a good deal of attention from modern scholars, its often symbiotic relationship with the consort suite has been ignored. This book aims to redress the balance and to deal with one very important but often ignored aspect of seventeenth-century notation: the use of blackened notes, which are rarely notated in a meaningful way in modern editions, with important implications for performance.
After decades of stagnation during the reign of his father, the 'Barracks King', the performing arts began to flourish in Berlin under Frederick the Great. Even before his coronation in 1740, the crown prince commenced recruitment of a group of musician-composers who were to form the basis of a brilliant court ensemble. Several composers, including C.P.E. Bach and the Graun brothers, wrote music for the viola da gamba, an instrument which was already becoming obsolete elsewhere. They were encouraged in this endeavour by the presence in the orchestra from 1741 of Ludwig Christian Hesse, one of the last gamba virtuosi, who was described in 1766 as 'unquestionably the finest gambist in Europe'. This study shows how the unique situation in Berlin produced the last major corpus of music written for the viola da gamba, and how the more virtuosic works were probably the result of close collaboration between Hesse and the Berlin School composers. The reader is also introduced to the more approachable pieces which were written and arranged for amateur viol players, including the king's nephew and ultimate successor, Frederick William II. O'Loghlin argues that the aesthetic circumstances which prevailed in Berlin brought forth a specific style that is reflected not only in the music for viola da gamba. Characteristics of this Berlin style are identified with reference to a broad selection of original written sources, many of which are hardly accessible to English-speaking readers. There is also a discussion of the rather contradictory reception history of the Berlin School and some of its composers. The book concludes with a complete thematic catalogue of the Berlin gamba music, with a listing of original manuscript sources and modern publications. The book will appeal to professional and amateur viola da gamba players as well as to scholars of eighteenth-century German music.
Is music removed from politics? To what ends, beneficent or malevolent, can music and musicians be put? In short, when human rights are grossly abused and politics turned to fascist demagoguery, can art and artists be innocent? These questions and their implications are explored in Michael Kater's broad survey of musicians and the music they composed and performed during the Third Reich. Great and small--from Valentin Grimm, a struggling clarinetist, to Richard Strauss, renowned composer--are examined by Kater, sometimes in intimate detail, and the lives and decisions of Nazi Germany's professional musicians are laid out before the reader. Kater tackles the issue of whether the Nazi regime, because it held music in crassly utilitarian regard, acted on musicians in such a way as to consolidate or atomize the profession. Kater's examination of the value of music for the regime and the degree to which the regime attained a positive propaganda and palliative effect through the manner in which it manipulated its musicians, and by extension, German music, is of importance for understanding culture in totalitarian systems. This work, with its emphasis on the social and political nature of music and the political attitude of musicians during the Nazi regime, will be the first of its kind. It will be of interest to scholars and general readers eager to understand Nazi Germany, to music lovers, and to anyone interested in the interchange of music and politics, culture and ideology.
Federico Maria Sardelli writes from the perspective of a professional baroque flautist and recorder-player, as well as from that of an experienced and committed scholar, in order to shed light on the bewildering array of sizes and tunings of the recorder and transverse flute families as they relate to Antonio Vivaldi's compositions. Sardelli draws copiously on primary documents to analyse and place in context the capable and surprisingly progressive instrumental technique displayed in Vivaldi's music. The book includes a discussion of the much-disputed chronology of Vivaldi's works, drawing on both internal and external evidence. Each known piece by him in which the flute or the recorder appears is evaluated fully from historical, biographical, technical and aesthetic standpoints. This book is designed to appeal not only to Vivaldi scholars and lovers of the composer's music, but also to players of the two instruments, students of organology and those with an interest in late baroque music in general. Vivaldi is a composer who constantly springs surprises as, even today, new pieces are discovered or old ones reinterpreted. Much has happened since Sardelli's book was first published in Italian, and this new English version takes full account of all these new discoveries and developments. The reader will be left with a much fuller picture of the composer and his times, and the knowledge and insights gained from minutely examining his music for these two wind instruments will be found to have a wider relevance for his work as a whole. Generous music examples and illustrations bring the book's arguments to life.
The Sidneys rank amongst the most influential families in early modern England, and can count amongst their number many leading lights of the Tudor and Stuart period. From the Elizabethan poet and soldier Philip, to the republican Algernon, the Sidney family were intimately bound up with the political, cultural and courtly life of early modern England. Taking a broadly chronological approach, this volume offers an overview of the Sidneys across several generations. By analysing various individuals and their writings, an intriguing new perspective is offered, not only on the culture of English politics, but also on the self-perception and ambitions of a leading renaissance family. During the Tudor period their long and fruitful (but sometimes problematical) association with the Dudley family in court and royal affairs is reassessed with regard to their relations with Edward VI, Mary I and Elizabeth I. During the Stuart period the Sidneys intimacy and loyalty to James I, Queen Anne and Charles I is contrasted to their more neutral (even hostile) attitudes to Charles II and James II. Against the backdrop of this shifting royal favour and religious and political upheaval, the Sidneys' political and domestic tactics used to preserve the family's reputation, estates and property are explored. The first book length study of the Sidney family's relationship with the English monarchy, this work will be welcomed by all those with an interest in English political and cultural history. Drawing upon both historical and literary sources it offers an absorbing insight into the self-perceptions of a leading renaissance family and how they adapted to the vicissitudes of the sixteenth and seventeenth century world.
How do we study Christian life and thought? How have political and cultural events influenced the experiences of Christians in different places, at different times? How has the world's largest religion been lived in varied parts of the world? The Christian Experience is the first textbook to unite traditional approaches to Christianity with special attention to art, music, architecture, and lived experiences. The material, individual, and personal sides of Christianity are brought to the fore throughout this chronological survey. Every chapter begins with a "first encounter" in order to bring the subject matter to life for students, mirroring the author's approach in his successful book Experiencing the World's Religions. This book on Christianity features over 100 color images, maps, and diagrams, and each chapter ends by pointing to additional print and electronic resources. Michael Molloy considers practices, insights, and artistic creations of Christians across the centuries. The book shows how Christian belief is being practiced in our own time, and it invites readers to imagine how Christianity might evolve in the future.
On October 14, 1953, Pope Pius XII presided over the dedication of the new Pontifical North American College seminary on the Janiculum Hill above Saint Peter’s Basilica. Nearly one hundred years had passed since the seminary’s founding, and the Pope considered the new campus’ completion “a stronger flame of hope for the Church in the United States of America and in the world.” Devotion to the Holy Father, the grace of priestly ordination, and a solid training in the Church’s teachings were the three treasures that young men trained at the “NAC” brought back with them to the United States as priests. In this follow-up to Father Robert McNamara’s monumental work, The American College in Rome, 1855–1955, Monsignor Stephen M. DiGiovanni advances the history of the College over the next quarter century. The American students in the 1950s were not the same as those who had lived in the old seminary during the previous century. The world was very different after numerous revolutions, social upheavals, and two world wars. Other forces were at work as well, including some changes just beginning to take place in American society, which would become radically and publicly manifest on American university and seminary campuses during the next decades—even in Rome. If prior to the Second Vatican Council everything was clear and regimented, then during and after the Council less and less was clear-cut or well-defined on the “Hill of Janus.” In fact, few could have predicted the aggiornamento or “updating” that was on the horizon that would profoundly reshape, for better or worse, the NAC and its future priests.
Michael Steinberg's 1996 volume The Symphony: A Reader's Guide received glowing reviews across America. It was hailed as "wonderfully clear...recommended warmly to music lovers on all levels" (Washington Post), "informed and thoughtful" (Chicago Tribune), and "composed by a master stylist" (San Francisco Chronicle). Seiji Ozawa wrote that "his beautiful and effortless prose speaks from the heart." Michael Tilson Thomas called The Symphony "an essential book for any concertgoer." Now comes the companion volume--The Concerto: A Listener's Guide. In this marvelous book, Steinberg discusses over 120 works, ranging from Johann Sebastian Bach in the 1720s to John Adams in 1994. Readers will find here the heart of the standard repertory, among them Bach's Brandenburg Concertos, eighteen of Mozart's piano concertos, all the concertos of Beethoven and Brahms, and major works by Mendelssohn, Schumann, Liszt, Bruch, Dvora'k, Tchaikovsky, Grieg, Elgar, Sibelius, Strauss, and Rachmaninoff. The book also provides luminous introductions to the achievement of twentieth-century masters such as Arnold Schoenberg, Be'la Barto'k, Igor Stravinsky, Alban Berg, Paul Hindemith, Sergei Prokofiev, Aaron Copland, and Elliott Carter. Steinberg examines the work of these musical giants with unflagging enthusiasm and bright style. He is a master of capturing the expressive, dramatic, and emotional values of the music and of conveying the historical and personal context in which these wondrous works were composed. His writing blends impeccable scholarship, deeply felt love of music, and entertaining whimsy. Here then is a superb journey through one of music's richest and most diverse forms, with Michael Steinberg along as host, guide, and the best of companions.
. . . a major contribution to cornett research and belongs in the library of every cornettist." —Historic Brass Society ". . . scrupulously detailed. . . The first successful attempt to provide a comprehensive reference book on the cornett and its music. Recommended for both upper-division undergraduate libraries and collections serving music scholars and performers." —Choice " . . . it will likely stand as the definitive bibliography of cornett music for many years." —Notes ". . . this is a groundbreaking study of the subject . . . likely to remain the only major study of the instrument and the music composed for it." —American Reference Books Annual ". . . every cornett player owes an immense debt of gratitude to [the authors and their assistants] for revealing such a wealth of performing opportunities . . ." —European Journal of Early Music The cornett is made of wood but has a brass cup mouthpiece and uses woodwind finger technique. Here the authors have compiled a bibliography of all extant sources of instrumental and vocal music which specify the cornett.
Michael G. Carter's Sibawyhi's Principles: Arabic Grammar and Law in Early Islamic Thought is a corrected version, with considerable Addenda, of his 1968 Oxford doctoral thesis, "Sibawayhi's Principles of Grammatical Analysis." It systematically argues that the science of Arabic grammar owes its origins to a special application of a set of methods and criteria developed independently to form the Islamic legal system, not to Greek or other foreign influence. These methods and criteria were then adapted to create a grammatical system brought to perfection by Sibawayhi in the late second/eighth century. It describes the intimate contacts between early jurists and scholars of language out of which the new science of grammar evolved, and makes detailed comparisons between the technical terms of law and grammar to show how the vocabulary of the law was applied to the speech of the Arabs. It also sheds light on Sibawayhi's method in producing his magisterial Kitab.
This Historical Dictionary of Romantic Music provides detailed and authoritative articles for the most important composers, concepts, genres, music educators, performers, theorists, writings, and works of cultivated music in Europe and the Americas during the period 1789-1914. The roster of biographical entries includes not only canonical composers such as Beethoven, Berlioz, Brahms, Chopin, Fauré, Grieg, Liszt, Mahler, Mendelssohn, Mussorgsky, Rossini, Schubert, Robert Schumann, Sibelius, Strauss, Tchaikovsky, Verdi, Wagner, and Wolf, but also less-well-known distinguished contemporaries of those composers (among them George Whitefield Chadwick, Cécile Chaminade, Ernesto Elorduy, Chiquinha Gonzaga, Fanny Hensel, C. H. Parry, and Clara Schumann, to name but a few). Significant literary and cultural topics such as Goethe’s Faust and Wagner’s theoretical writings of the 1850s, as well as entries on other cultural luminaries who significantly influenced music’s Romanticisms – among them J. S. Bach, Goethe, Haydn, Handel, Heine, Mozart, Schiller, and Shakespeare – are also included. Entries on important institutions (conservatory, orphéon, Männerchor), concepts (biographical fallacy, copyright, exoticism, feminism, nationalism, performance practice), and political caesurae and movements (First and Second French Empire, First, Second, and Third French Republic, Franco-Prussian War, Revolutions of 1848, Risorgimento) round out the dictionary section. Like other volumes in this series, this book's more than 500 entries are preceded by an introductory essay that explains the essential concepts necessary for understanding and exploring further the vast and complex musical landscape of Romanticism, plus a detailed Chronology. Concluding the volume is an extensive bibliography that lists the most important source-critical series of editions of Romantic music, important general writings on the period and its music, and composer-by-composer bibliographies.
In The Singing Irish, Michael Alan Anderson brings to life the rich history and traditions of the Notre Dame Glee Club. Replete with nearly three hundred images, the stunning large-format book examines the early history of the ensemble before 1915, its robust membership, rehearsal and concert customs, and the contributions of its conductors through the decades. Anderson interviewed dozens of Glee Club alumni going back to the early 1940s to narrate the vibrant story of the group, while assembling a wealth of documents that detail the activities undertaken—and impressions made—by this extraordinary musical ensemble. The group’s famous appearances on the Ed Sullivan Show in the early 1950s marked the height of the Glee Club’s visibility; however, the ensemble continues to sell out concerts on national and international tours, having traveled to nearly every state in the United States and numerous countries in Europe, Asia, and Central America. Through its eclectic repertoire and polished singing, the Glee Club has achieved a lofty status among collegiate choral ensembles in the United States, beloved by students, members of the Notre Dame family, and friends and supporters of the university around the world. Combining the meaningful culture of Notre Dame with the highest standards of artistic excellence, The Singing Irish makes a wonderful keepsake for fans and alumni of the Notre Dame Glee Club as it enters its centennial year.
The use of multiple raters can improve the validity of conclusions made on self- (and other) reports of emotions, attitudes, goals, and self-perceptions of personality. Yet analyzing these ratings requires special psychometric models that take into account the specific nature of these data. From leading authorities, this book offers the first comprehensive introduction to structural equation modeling (SEM) of multiple rater data. Rather than taking a one-size-fits-all approach, the book shows how the choice of a model should be guided by measurement design and purpose. Practical recommendations are provided for selecting suitable measurement designs, raters, and psychometric models. Models for different combinations of rater types and for cross-sectional as well as longitudinal research designs are described step by step, with a strong emphasis on the substantive meaning of the latent variables in the models. User-friendly features include equation boxes, application boxes, and a companion website with Mplus and lavaan code for the book’s examples.
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