This comprehensive A-to-Z reference is comprised of detailed and authoritative entries on every aspect of the great composer’s life. Ludwig van Beethoven is one of the most famous and revered composers in classical music. His instantly recognizable concertos and symphonies continue to be among the most performed by symphonies across the globe. In this definitive reference volume, eminent musicologist Paul Nettl provides students and researchers with an in-depth biographical resource organized in alphabetical entries. The Beethoven Encyclopedia covers the German composer’s music, personal life, and patrons, among other topics, such as the forces that inspired his genius.
Paul Mendes-Flohr is emerging as the leading Jewish intellectual historian of the present generation. In particular, he is responsible for a significant amount of the important and pertinent scholarship in the field of German-Jewish intellectual history. No one else is quite as intimately knowledgeable with this material, the ambiguous legacy of one of the most inventive and poignant episodes of creativity in the life of the Diaspora. Divided Passions is a collection of published and unpublished essays and articles by Paul Mendes-Flohr from the past decade. In a manner that underscores their continued relevance and significance, Mendes-Flohr writes about the problems that Buber, Rosenzweig, Bloch, Simon, Scholem and others tried to crystallize and resolve. Mendes-Flohr moves with effortless authority among the disciplines of theology, philosophy, literature, history, and sociology. Fitted with these interdisciplinary resources, he enriches his treatment of themes and figures in ways that exceed the scope, to say nothing of the execution, found in other literature. The book conveys a rare metaphysical depth, for questions of faith, identity, and Dasein explored by the intellectual figures of the past are also personal ones for the author as well. Mendes-Flohr's exceptional ability to keep this body of work alive and available provides an outstanding source of commentary on the subjects that dominate the agenda of modern Jewish studies.
Why did so many distinguished Western Intellectuals?from G.B. Shaw to J.P. Sartre, and. closer to home, from Edmund Wilson to Susan Sontag? admire various communist systems, often in their most repressive historical phases? How could Stalin's Soviet Union, Mao's China, or Castro's Cuba appear at one time as both successful modernizing societies and the fulfillments of the boldest dreams of social justice? Why, at the same time, had these intellectuals so mercilessly judged and rejected their own Western, liberal cultures? What Impulses and beliefs prompted them to seek the realization of their ideals in distant, poorly known lands? How do their journeys fit into long-standing Western traditions of looking for new meaning In the non-Western world?These are some of the questions Paul Hollander sought to answer In his massive study that covers much of our century. His success is attested by the fact that the phrase "political pilgrim" has become a part of intellectual discourse. Even in the post-communist era the questions raised by this book remain relevant as many Western, and especially American intellectuals seek to come to terms with a world which offers few models of secular fulfillment and has tarnished the reputation of political Utopias. His new and lengthy introduction updates the pilgrimages and examines current attempts to find substitutes for the emotional and political energy that used to be invested in them.
Praise for Paul Le Blanc's Lenin and the Revolutionary Party: "A work of unusual strength and coherence, inspired not by academic neutrality but by the deep conviction that there is much to learn from the actual ideas and experiences of Lenin." —Michael Löwy As a leader of the Russian Revolution, Vladimir Lenin was perhaps the greatest revolutionary of the twentieth century. These clearly written essays offer an account of his life and times, a lively view of his personality, and a stimulating engagement with his ideas. Paul Le Blanc is a professor of history at La Roche College and has written widely on radical movements.
American composer Charles Ives (1874–1954) has gone from being a virtual unknown to become one of the most respected and lauded composers in American music. In this sweeping survey of intellectual and musical history, David C. Paul tells the new story of how Ives's music was shaped by shifting conceptions of American identity within and outside of musical culture, charting the changes in the reception of Ives across the twentieth century and into the twenty-first century. Paul focuses on the critics, composers, performers, and scholars whose contributions were most influential in shaping the critical discourse on Ives, many of them marquee names of American musical culture themselves, including Henry Cowell, Aaron Copland, Elliott Carter, and Leonard Bernstein. Paul explores both how Ives positioned his music amid changing philosophical and aesthetic currents and how others interpreted his contributions to American music. Although Ives's initial efforts to find a public in the early twenties attracted a few devotees, the resurgence of interest in the American literary past during the thirties made a concert staple of his "Concord" Sonata, a work dedicated to nineteenth-century transcendentalist writers. Paul shows how Ives was subsequently deployed as an icon of American freedom during the early Cold War period and how he came to be instigated at the head of a line of "American maverick" composers. Paul also examines why a recent cadre of scholars has beset the composer with Gilded Age social anxieties. By embedding Ives' reception within the changing developments of a wide range of fields including intellectual history, American studies, literature, musicology, and American politics and society in general, Charles Ives in the Mirror: American Histories of an Iconic Composer greatly advances our understanding of Ives and his influence on nearly a century of American culture.
Max Harrison . . . surveys the whole history and development of jazz in a concise, well written and well illustrated . . . article together with an extensive bibliography.' —Richard D. C. Noble, Times Literary Supplement The chapters of this book are in roughly chronological sequence: Spirituals, Blues, Gospels, Ragtime, and Jazz. The first three are by Paul Oliver, whose New Grove entry on the Blues is widely regarded as the definitive brief history of the genre. He has revised and expanded it for this book publication and, in addition, has extended the coverage of his essays on Spirituals in The New Grove to discuss both black and white traditions. Similarly, Oliver has revised and recast his coverage of Gospel music, which has been considerably expanded. Max Harrison's long entry on Jazz, which has also been extended, draws together the separate strands of the book to discuss the concept of Jazz as a matrix of mutually influential folk and popular styles. William Bolcom's short and definitive article on Ragtime has been revised, and all the bibliographies have been updated to include new and important works.
Based on years of detailed and extensive interviews, and supplemented by a wide range of archival material, Growing with Canada showcases the men and women who came to Canada and the roles they played in developing the country's musical culture. Paul Helmer shows that émigrés were at the centre of the new musical milieu and uses the lively testimony of those involved to weave together the larger story of post-war Canadian music performance, production, and education. By introducing the sounds and techniques of their homelands, émigré artists were able to overcome the dominating British presence in post-secondary music education - vastly expanding the role music played in universities - while pioneering the performance and production of opera in Canada. From British Columbia to Newfoundland, they served as educators, teachers, and administrators as well as outstanding performers, conductors, composers, music historians, radio and television producers, and benefactors.
This study takes aim at a burgeoning dissensus in the social sciences, a dissensus over nothing less than the manner in which social, economic and political phenomena are to be explained. Until about the mid-l970s, there was broad acceptance in Western sociology and political science of a perspective that may be termed culturalist; without ignoring the importance of structures or institutions, it highlighted the role of shared cultural norms and values in determining behavior in given societies. The proliferation of area studies programs was but one manifestation of the great popularity of this trend. Marxist interpretations existed, of course, but they tended to be relegated to the lunatic fringe of social science: they were regarded as overly simplified, highly dogmatic and fundamentally biased toward the political cause of socialism or communism. Some rational-choice theory had been developed by that time, but it, too, was seen as fringe material in most fields except economics. In any case, the more realistic of its conclusions could be readily absorbed by exploiting the underlying elasticity of the culturalist paradigm. A great deal has changed since that time. Marxist theories have become ever more provocative, stimulating and politically acceptable; rational-choice theory is now a major growth area in several of the social sciences, not the least of which is my own field of political science. In contrast, the culturalist perspective, far from absorbing the valid points of the other two paradigms, has come increasingly under attack for the vapidity of its concepts, the inability to test its hypotheses and the lack of generality of its theoretical formulations. As one rational-choice theorist put it, culture is simply too squishy to be of use in causal analysis.
The first edition of this seminal book in 1971 pointed out the fatal defects of Marxist theory that would lead to the collapse of the Soviet economy. In this revised edition, Paul Craig Roberts examines how reality triumphed over Marxist theory and the implications for the future of Russia and eastern Europe. In 1971, Roberts created a firestorm among professional Sovietologists by proclaiming that the economies of the USSR and its East Bloc allies were doomed because their planned economies were, in reality, anything but planned. Expanding on his original ideas, Roberts demonstrates in this book the fatal shortcomings of Marxist economies, ranging from misallocation of resources to ersatz capitalistic concepts grafted onto a system that calls for production without regard to profit. Roberts argues that the economies of the nations emerging from the USSR's collapse must grasp the profound truths in this book if they are to become viable.
Growing out of the collaborative research of an American ethnomusicologist and Zimbabwean musician, Paul F. Berliner’s The Art of Mbira documents the repertory for a keyboard instrument known generally as mbira. At the heart of this work lies the analysis of the improvisatory processes that propel mbira music’s magnificent creativity. In this book, Berliner provides insight into the communities of study, performance, and worship that surround mbira. He chronicles how master player Cosmas Magaya and his associates have developed their repertory and practices over more than four decades, shaped by musical interaction, social and political dynamics in Zimbabwe, and the global economy of the music industry. At once a detailed exposition of the music’s forms and practices, it is also an indispensable historical and cultural guide to mbira in a changing world. Together with Berliner and Magaya's compendium of mbira compositions, Mbira’s Restless Dance, The Art of Mbira breaks new ground in the depth and specificity of its exploration of an African musical tradition, and in the entwining of the authors’ collaborative voices. It is a testament to the powerful relationship between music and social life—and the rewards of lifelong musical study, performance, and friendship.
The concept of stylus phantasticus (orfantastic style ) as it was expressed in free keyboard music of the north German Baroque forms the focus of this book. Exploring both the theoretical background to the style and its application by composers and performers, Paul Collins surveys the development of Athanasius Kircher‘s original concept and its influence on music theorists such as Brossard, Janovka, Mattheson, and Walther. Turning specifically to fantasist composers of keyboard works, the book examines the keyboard toccatas of Merulo, Fresobaldi, Rossi and Froberger and their influence on north German organists Tunder, Weckmann, Reincken, Buxtehude, Bruhns, Lubeck, Bohm, and Leyding. The free keyboard music of this distinguished group highlights the intriguing relationship at this time between composition and performance, the concept of fantasy, and the understanding of originality and individuality in seventeenth-century culture.
A landmark in jazz studies, Thinking in Jazz reveals as never before how musicians, both individually and collectively, learn to improvise. Chronicling leading musicians from their first encounters with jazz to the development of a unique improvisatory voice, Paul Berliner documents the lifetime of preparation that lies behind the skilled improviser's every idea. The product of more than fifteen years of immersion in the jazz world, Thinking in Jazz combines participant observation with detailed musicological analysis, the author's experience as a jazz trumpeter, interpretations of published material by scholars and performers, and, above all, original data from interviews with more than fifty professional musicians: bassists George Duvivier and Rufus Reid; drummers Max Roach, Ronald Shannon Jackson, and Akira Tana; guitarist Emily Remler; pianists Tommy Flanagan and Barry Harris; saxophonists Lou Donaldson, Lee Konitz, and James Moody; trombonist Curtis Fuller; trumpeters Doc Cheatham, Art Farmer, Wynton Marsalis, and Red Rodney; vocalists Carmen Lundy and Vea Williams; and others. Together, the interviews provide insight into the production of jazz by great artists like Betty Carter, Miles Davis, Dizzy Gillespie, Coleman Hawkins, and Charlie Parker. Thinking in Jazz overflows with musical examples from the 1920s to the present, including original transcriptions (keyed to commercial recordings) of collective improvisations by Miles Davis's and John Coltrane's groups. These transcriptions provide additional insight into the structure and creativity of jazz improvisation and represent a remarkable resource for jazz musicians as well as students and educators. Berliner explores the alternative ways—aural, visual, kinetic, verbal, emotional, theoretical, associative—in which these performers conceptualize their music and describes the delicate interplay of soloist and ensemble in collective improvisation. Berliner's skillful integration of data concerning musical development, the rigorous practice and thought artists devote to jazz outside of performance, and the complexities of composing in the moment leads to a new understanding of jazz improvisation as a language, an aesthetic, and a tradition. This unprecedented journey to the heart of the jazz tradition will fascinate and enlighten musicians, musicologists, and jazz fans alike.
Sociologists have always been fascinated with music. In one way or another they have encountered music as an important social force in its own right, as an accompaniment or byproduct of phenomena they studied (such as youth culture or the drug scene), or as a means for obtaining social compliance (as in religious ceremonies or in the military). This book goes one step toward remedying this situation by culling the existing literature for building blocks toward introducing sociological synthesis and by presenting the English version of the extensive writings on music and society by Paul Honigsheim.
In his comprehensive treatment, Zumthor (emeritus, U. of Montreal) discusses general issues concerning oral poetry, from primary to mechanized orality (including the setting of text to music); the forms of oral poetry; the epic in the West, Africa, and other parts of the globe; the oral poet's texte; performance in its manifold styles across the world; roles played in oral poetry; and oral ritual actions from archaic times to the present--Homer to Bob Dylan. Translated from the first French edition of 1983. Paper edition (unseen), $17.95. Annotation copyrighted by Book News, Inc., Portland, OR
About national and international power in the "modern" or Post Renaissance period. Explains how the various powers have risen and fallen over the 5 centuries since the formation of the "new monarchies" in W. Europe.
Striking the right balance between personal insight and political analysis, this biography traces Rosa Luxemburg's development from a humble Polish girl with a keen interest in herding geese to the most important leader of the German Communist Party.
This is one of the first detailed attempts to assess developments in Polish experimental theatres since 1989. The author questions whether those artists can maintain their vision in the face of Poland's economic difficulties and increased.
Originally published in 1987 Pressure for the Poor looks at the debate surrounding the role of pressure groups in policy making. It closely relates theories of pressure group behaviour with the findings of research into the poverty lobby in the UK. The analysis is based on interviews with leading activists in more than forty interest groups, which are all concerned with trying to influence social security policies of government in the field of income maintenance. The book examines the origins and maintenance of such a wide range of interest groups in in this field, the strategies they pursue, and their impact on policy outcomes.
This 1899 polemic by the famous "Red Rosa" Luxemburg explains why capitalism can never overcome its internal contradictions. An effective refutation of revisionist interpretations of Marxist doctrine, it defines the position of scientific socialism on the issues of social reforms, the state, democracy, and the character of the proletarian revolution.
This first English compilation of political texts by Paul Levi, who successfully led the KPD until forced out by the pressure for Bolshevisation, offers a new perspective on the early history of German Communism.
The ancient Greek myth of Prometheus, the primordial Titan who defied the Olympian gods by stealing fire from the heavens as a gift for humanity, enjoyed unprecedented popularity during the Romantic era. An international coterie of writers such as Goethe, Monti, Byron, the Shelleys, Sainte-H?ne, Coleridge, Browning, and Bridges engaged with the legend, while composers such as Beethoven, Reichardt, Schubert, Wolf, Liszt, Hal?, Saint-Sa?, Holm? Faur?Parry, Goldmark, and Bargiel based works of diverse genres on the fable. Romantic authors and composers developed a unique perspective on the myth, emphasizing its themes of rebellion, punishment for transgression and creative autonomy, in great contrast to artists of the preceding era, who more characteristically ignored the tribulations of Prometheus and depicted him as the animator of a na?, Arcadian mankind who, when awakened from their spiritual dormancy, expressed astonishment at the wonders of nature and paid homage to the Titan as a new god. Paul Bertagnolli charts the progress of the myth during the nineteenth century, as it articulates an extraordinary variety of issues pertaining to culture, society, aesthetics, and philosophy. Drawing on archival research, dance history, sketch studies, literary theory, linear analysis, topos theory, and reception history, individual chapters demonstrate that the legend served as a vehicle to express opinions on subjects as diverse as aristocratic patronage, movements of the body on the public stage, rebellion against political and religious authority, outright atheism, humanitarianism of the German Enlightenment, interest in the music of Greek antiquity, industrialization, nationalism inflamed by war, populism, and the aesthetics of musical form. Composers often resorted to varied and unorthodox musical techniques in order to reflect such remarkable subjects: Beethoven outraged critics by implying a key other than the tonic at the outset of the overture to
Marxism and Ethics is a comprehensive and highly readable introduction to the rich and complex history of Marxist ethical theory as it has evolved over the last century and a half. Paul Blackledge argues that Marx's ethics of freedom underpin his revolutionary critique of capitalism. Marx's conception of agency, he argues, is best understood through the lens of Hegel's synthesis of Kantian and Aristotelian ethical concepts. Marx's rejection of moralism is not, as suggested in crude materialist readings of his work, a dismissal of the free, purposive, subjective dimension of action. Freedom, for Marx, is both the essence and the goal of the socialist movement against alienation, and freedom's concrete modern form is the movement for real democracy against the capitalist separation of economics and politics. At the same time, Marxism and Ethics is also a distinctive contribution to, and critique of, contemporary political philosophy, one that fashions a powerful synthesis of the strongest elements of the Marxist tradition. Drawing on Alasdair MacIntyre's early contributions to British New Left debates on socialist humanism, Blackledge develops an alternative ethical theory for the Marxist tradition, one that avoids the inadequacies of approaches framed by Kant on the one hand and utilitarianism on the other.
Following on from James Tyler's The Early Guitar: A History and Handbook(OUP 1980) tthis collaboration with Paul Sparks (their previous book for OUP, The Early Mandolin, appeared in 1989), presents new ideas and research on the history and development of the guitar and its music from the Renaissance to the dawn of the Classical era. Tyler's systematic study of the two main guitar types found between about 1550 and 1750 focuses principally on what the sources of the music (published and manuscript) and the writings of contemporary theorists reveal about the nature of the instruments and their roles in the music making of the period. The annotated lists of primary sources, previously published in The Early Guitar but now revised and expanded, constitute the most comprehensive bibliography of Baroque guitar music to date. His appendices of performance practice information should also prove indispensable to performers and scholars alike. Paul Sparks also breaks new ground, offering an extensive study of a period in the guitar's history—notably c.1759-c.1800—which the standard histories usually dismiss in a few short paragraphs. Far from being a dormant instrument at this time, the guitar is shown to have been central to music-making in France, Italy, the Iberian Peninsula, and South America. Sparks provides a wealth of information about players, composers, instruments, and surviving compositions from this neglected but important period, and he examines how the five-course guitar gradually gave way to the six-string instrument, a process that occurred in very different ways (and at different times) in France, Italy, Spain, Germany, and Britain.
A collection of essays illuminating the historic Polish philosopher, economist, and activist’s tremendous contributions to revolutionary struggle. Rosa Luxemburg, brilliant early twentieth century German revolutionary, comes alive in a rich set of essays on her life, ideas, and lasting influence. The essays deal not only with her remarkable contributions to political, social and economic theory, but also touch on her vibrant personality and intimate friendships. This collection, the fruit of more than four decades of involvement with Luxemburg's work, simultaneously showcases her penetratingly intellectual, political and deeply humanistic qualities. “An indispensable contribution to our understanding of Rosa Luxemburg, who emerges as formidable theorist, principled activist, and above all, a fully realized human being . . . . The Living Flame affirms Luxemburg’s lasting contribution and underscores the relevance of her legacy for our own, very different, age.” —Helen Scott, author, The Storm of History: Shakespeare’s Tempest and Capitalism “A profound and multidimensional investigation of a giant thinker and revolutionary. These [essays] show meticulous historical and theoretical attentiveness and at the same time are hugely timely; a significant contribution to Rosa Luxemburg studies and Marxist theory and history.” —Dana Mills, author, Rosa Luxemburg: Critical Lives “Uncommonly nuanced, probing, and also deeply principled explorations. [Le Blanc’s] mode of engagement nicely compliments that of Rosa Luxemburg and shows us her thoughts as a living and breathing work in progress, not merely echoes from an increasingly distant past. In addition, Le Blanc models how Marxists and Leftists in general might want to relate to one another when we debate complex issues and at times disagree.” —Axel Fair-Schulz, associate professor at SUNY Potsdam
How American westward expansion was governmentally engineered to promote the formation of a white settler nation Westward expansion of the United States is most conventionally remembered for rugged individualism, geographic isolationism, and a fair amount of luck. Yet the establishment of the forty-eight contiguous states was hardly a foregone conclusion, and the federal government played a critical role in its success. This book examines the politics of American expansion, showing how the government's regulation of population movements on the frontier, both settlement and removal, advanced national aspirations for empire and promoted the formation of a white settler nation. Building an American Empire details how a government that struggled to exercise plenary power used federal land policy to assert authority over the direction of expansion by engineering the pace and patterns of settlement and to control the movement of populations. At times, the government mobilized populations for compact settlement in strategically important areas of the frontier; at other times, policies were designed to actively restrain settler populations in order to prevent violence, international conflict, and breakaway states. Paul Frymer examines how these settlement patterns helped construct a dominant racial vision for America by incentivizing and directing the movement of white European settlers onto indigenous and diversely populated lands. These efforts were hardly seamless, and Frymer pays close attention to the failures as well, from the lack of further expansion into Latin America to the defeat of the black colonization movement. Building an American Empire reveals the lasting and profound significance government settlement policies had for the nation, both for establishing America as dominantly white and for restricting broader aspirations for empire in lands that could not be so racially engineered.
Providing a vivid intellectual history of Marxist and socialist thought, this book explores the development of the idea of scientific socialism through the nineteenth and twentieth century from its origins in Engels to its last manifestation in the work of Althusser.
The present volume meets a frequently expressed demand as it is the first collection of all the relevant essays and articles which Steven Paul Scher has written on Literature and Music over a period of almost forty years in the field of Word and Music Studies. Scher, The Daniel Webster Professor of German and Comparative Literature at Dartmouth College, Hanover, NH, USA, is one of the founding fathers of Word and Music Studies and a leading authority in what is in the meantime a well-established intermedial field. He has published very widely in a variety of journals and collections of essays, which until now have not always been easy to lay one's hands on. His work covers a wide range of subjects and comprises theoretical, methodological and historical studies, which include discussions of Ferruccio Busoni, Thomas Mann, Bertolt Brecht, Judith Weir, the Talking Heads and many others and which pay special attention to E. T. A. Hoffmann and German Romanticism. The range and depth of these studies have made him the 'mastermind' of Word and Music Studies who has defined the basic aims and objectives of the discipline. This volume is of interest to literary scholars and musicologists as well as comparatists and all those concerned about the rapidly expanding field of Intermedia Studies.
Growing out of the collaborative research of an American ethnomusicologist and Zimbabwean musician, Paul F. Berliner and Cosmas Magaya’s Mbira’s Restless Dance documents the repertory for a keyboard instrument known generally as mbira. At the heart of this work lies the analysis of the improvisatory processes that propel mbira music’s magnificent creativity. Mbira’s Restless Dance is written to be played. This two-volume, spiral-bound set features musical transcriptions of thirty-nine compositions and variations, annotated with the master player’s advice on technique and performance, his notes and observations, and commentary by Berliner. Enhanced with extensive website audiovisuals, Mbira’s Restless Dance is in effect a series of masterclasses with Magaya, suitable for experienced mbira players and those learning the fundamentals. Together with Berliner's The Art of Mbira, in which he provides an indispensable historical and cultural guide to mbira in a changing world, Mbira's Restless Dance breaks new ground in the depth and specificity of its exploration of an African musical tradition, and in the entwining of the authors’ collaborative voices. It is a testament to the powerful relationship between music and social life—and the rewards of lifelong musical study, performance, and friendship.
How did Benito Mussolini come to fascism? Standard accounts of the dictator have failed to explain satisfactorily the transition from his pre-World War I 'socialism' to his post-war fascism. This controversial new book is the first to examine closely Mussolini's political trajectory during the Great War as evidenced in his journalistic writings, speeches and war diary, as well as some previously unexamined archive material. The author argues that the 1914-18 conflict provided the catalyst for Mussolini to clarify his deep-rooted nationalist tendencies. He demonstrates that Mussolini's interventionism was already anti-socialist and anti-democratic in the early autumn of 1914 and shows how in and through the experience of the conflict the future duce fine-tuned his authoritarian and totalitarian vision of Italy in a state of permanent mobilization for war. Providing a radical new interpretation of one of the most important dictators of the twentieth century, Mussolini in the First World War will appeal to anyone who wants to learn more about the roots of fascism in modern Europe.
This superbly authoratitive new work provides a comprehensive A-Z guide to some 1000 years of Western music. It explores in detail the lives and achievements of a vast range of composers, as well as looking at such key topics as music history (from medieval plainchant to contemporary minimalism), performers, theory and jargon. Throught Griffiths skilfully blends lightly worn scholarship with personal insight, whether examining the emotional colouring that different musical keys achieve or charting the rise and development of the symphony.
The last quarter of the twentieth-century saw a renewed interest in the hammered dulcimer in the United States at the grassroots level as well as from elements of the Folk Revival. This book offers the reader a discussion of the medieval origins of the dulcimer and its subsequent spread under many different names to other parts of the world. Drawing on articles the author has written in English as well as articles by specialists in their own languages, Gifford explains the history and evolution of the instrument. Special attention is paid to the North American tradition from the early 18th-century to the 1970s revival. Drawing from local histories, news clippings, photographs, and interviews, the book examines the playing of the dulcimer and its associated social meanings.
In The Contradictions of Jazz, Paul Rinzler takes a new approach to jazz aesthetics and theory by exploring four pairs of opposites present in jazz: individualism and interconnectedness, assertion and openness, freedom and responsibility, and creativity and tradition. By themselves, these eight values speak volumes about the meaning of jazz and its significance. Understanding how these opposites coexist in jazz leads to an exploration of the connections linking jazz with the experiential and existential, which contrast with the connections between composition and science. Rinzler explains the various concepts, including either/or and dialectic thinking, and then examines the pairs of opposites individually, describing their position and presence in jazz. He then demonstrates how the larger meaning of these contradictory opposites depends on ideas from the philosophies of phenomenology and existentialism. Rinzler considers the opposites inherent in the product and process of jazz, as well as mistakes and the challenge of perfection, presenting these values in light of the contradictions inherent in jazz. With a full bibliography and an index, The Contradictions of Jazz is a fascinating read for fans and scholars of jazz history and aesthetics.
An essential history of how the Mexican Revolution gave way to a unique one-party state In this book Paul Gillingham addresses how the Mexican Revolution (1910–1940) gave way to a capitalist dictatorship of exceptional resilience, where a single party ruled for seventy-one years. Yet while soldiers seized power across the rest of Latin America, in Mexico it was civilians who formed governments, moving punctiliously in and out of office through uninterrupted elections. Drawing on two decades of archival research, Gillingham uses the political and social evolution of the states of Guerrero and Veracruz as starting points to explore this unique authoritarian state that thrived not despite but because of its contradictions. Mexico during the pivotal decades of the mid-twentieth century is revealed as a place where soldiers prevented military rule, a single party lost its own rigged elections, corruption fostered legitimacy, violence was despised but decisive, and a potentially suffocating propaganda coexisted with a critical press and a disbelieving public.
Most famous for his military marches, John Philip Sousa led a group of devoted musicians around the world and shaped a new cultural landscape. This book documents almost every aspect of the "March King's" band: its history, its star performers, its appearances on recordings, and the problems the group faced on their 1911 trip around the world.
A noted musicologist looks at the eighteenth-century composer’s connection to Freemasonry and its profound influence on his music. Speculative masonry was a pervasive intellectual force in eighteenth-century European society. Like many of his colleagues, as well as his father before him, Wolfgang Amadeus Mozart joined a Masonic lodge in 1784. The philosophy and symbolism of the Masons would be a major source of inspiration for his compositions from then on. This book provides an overview of Mozart’s relationship to the fraternity and a detailed account of the numerous pieces he wrote specifically for Lodge events or ritual, as well as the many pieces adapted by others for Lodge use. It also includes an in-depth explanation of Mozart’s opera “The Magic Flute” and its Masonic themes and imagery.
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