SKU: HL.49006676
ISBN 9783795703615. English.
Responsibility for the publication of this study guide lies with the German Music Council. The booklet is intended to serve as a guide: it contains therefore not only a list of universities, colleges and the names of institutes but the first part includes also an introduction to the characteristic problems which the student, and especially the foreign student, is likely to meet within each of the three main fields of study: Music, Music Teaching and Musicology. The second part, with entries arranged according to the names of towns and cities, informs about the possibilities of studying at the individual colleges and institutes. The Study Guide winds up with the names and addresses of important music organisations and institutions.
SKU: BA.BVK02439
ISBN 9783761824399. 23 x 15 cm inches. Text Language: English. Preface: Fabris, Dinko / Baumann, Dorothea.
The International Musicological Society (IMS) is the oldest international association of musicologists active during 90 years since its foundation in Basel in 1927.The simplistic definition of historical musicology as the study of the written tradition of Western art music has shaped, for many observers, a distorted image of the IMS as aEuropeansociety. This was not the vision of the founders. And it is not the present situation of IMS.The exciting story told in this book compiled by 21 collaborators reconstructs the role of the protagonists of the IMS to the present days.
SKU: BT.WH33063
ISBN 9788759840535. English.
Jazz Chords On Piano -2 by Tormod Vinsand (2017). This book is a follow-up on Jazz Chords on Piano (WH32971) and it is definitely an advantage if you have familiarised yourself with the techniques and terms used in Jazz Chords on Piano . There are many ways in which to play jazz on a piano. In Jazz Chords on Piano I describe some guidelines for how to prepare accompaniment and melody playing, but admittedly, there are of course many other ways to play or other techniques to use. In Jazz Chords on Piano - 2 I have chosen to focus on four typical techniques: Part 1 - Playing Arpeggio in left hand Part 2 - 4-stacked chords in a piano movement Part 3 - Left-hand chords Part 4 -Overlying triads when accompanying To illustrate the various techniques, I have made compositions that are stylistically adjusted so that the various techniques make musical sense and are playable. (Tormod Vinsand) Tormod Vinsand (born 1958) has a Master's Degree in Musicology from University of Copenhagen. Since 1988 Tormod has been a jazz piano lecturer at The Rhythmic Music Conservatory, Copenhagen, The Institute of Musicology at University of Copenhagen, and the Royal Danish Academy of Music, Copenhagen. The material you fi nd in this book has been used at the above three educational institutions and is primarily targeted to music students that do not have the piano as their primary instrument at these schools. But others may also benefi t from this book, provided you have an elementary theoretical background in music. Since 2013 Tormod has also been Music School Manager at the Rødovre School of Music.
SKU: A7.ALEA1073
ABOUT THE COMPOSER: Jan Vicar, born on May 5, 1949 in Olomouc, studied accordion at the Conservatory in Ostrava, music and Czech at the Philosophical Faculty of Palacky University in Olomouc, and composition at the Janacek Academy of Performing Arts in Brno and Academy of Performing Arts in Prague. He specializes in musicology and composition. He served as editor-in-chief of the leading Czech music journal Hudebni rozhledy (Music Review, 1986-1989). His fifth book, Imprints: Essays on Czech Music and Aesthetics (2005), was published in English. He is a professor at the Academy of Performing Arts in Prague, and head of the Musicology Department of Palacky University in Olomouc. As a Fulbright/CIES scholar-in-residence, he lectured at eight universities in the United States (1998-1999). As a visiting professor, he taught composition and music theory at Birmingham-Southern College in Alabama (2005). He is the author of circa sixty diverse compositions - from orchestral pieces to cyclic works for children's choirs. ABOUT THE WORK: The Phantasms/Preludes, composed in 2001 with revisions by the composer in 2006, are a stunning set of twelve short character pieces for solo piano, with a total duration of approximately 34 minutes. The titles of the individual Preludes are shown below. The set has been recorded by pianist Daniel Wiesner (with the composer at the piano for No. 9: Bad Day), and is available from the Czech label Radioservis.
SKU: CA.2411100
ISBN 9790007101428. Language: German.
Contributions to Musicology, Tubingen, Number 11.
SKU: CA.2410300
ISBN 9790007101343. Language: German.
Contributions to Musicology, Tubingen, Number 3.
SKU: CA.2410600
ISBN 9790007101374. Language: German.
Contributions to Musicology, Tubingen, Number 6.
SKU: CA.2411300
ISBN 9790007101442. Language: German.
Contributions to Musicology, Tubingen.
SKU: CA.2410900
ISBN 9790007101404. Language: German.
SKU: BR.BV-361
Festschrift for Christian Martin Schmidt
ISBN 9783765103612. 6.5 x 9.5 inches.
37 Years of Complete Editions Christian Martin Schmidt, full professor of musicology at the Technische Universitat Berlin, stands like no other for the tangible, musicologically authoritative status of complete editions and of the performance editions derived from them. Schmidt began working at the Schoenberg Complete Edition 37 years ago, right after obtaining his doctorate. In 1992 he was entrusted with the editorial direction of the Mendelssohn Complete Edition, and since 1997 he has been responsible for the musical volumes of the Eisler Complete Edition. With his 65th birthday on 10 November 2007, his friends, students and colleagues have decided to put together this appreciative festschrift with articles related to his main field of endeavor.
SKU: HL.51482405
ISBN 9790201824055. UPC: 888680668013. 7.5x10.5 inches.
This volume investigates different aspects of the creative process of Johannes Brahms. Its findings are impressively underscored by numerous high-quality illustrations; the volume is printed in four colors throughout. In the course of 15 chapters, renowned researchers present Brahms not just as a composer but also as an arranger of his own works and of those of others, and also as the dedicatee of other composers' works. Along with the sources for the musical texts, title pages and diary entries also offer a starting point for fascinating investigations into the genesis of Brahms's works. With this critique génétique, current trends in literary studies and musicology are here introduced into the world of Brahms research. An extensive index of people and topics completes this authoritative overview of Brahms studies, which has been edited by scholars from the Johannes Brahms Complete Editionin Kiel. GERMAN TEXT.
About Henle Urtext
What I can expect from Henle Urtext editions:
SKU: CA.2411200
ISBN 9790007101435. Language: German.
Contributions to Musicology, Tubingen, Number 12.
SKU: CA.2410100
ISBN 9790007101329. Language: German.
SKU: CA.2410200
ISBN 9790007101336. Language: German.
Contributions to Musicology, Tubingen, Number 2.
SKU: BA.BVK02301
ISBN 9783761823019. 23.5 x 16 cm inches. Preface: Seidel, Wilhelm.
Felix Mendelssohn Bartholdy as letter-writer: at the heart of 19th century European cultureAs one of the most important letter-writers of the 19th century, Felix Mendelssohn Bartholdy maintained an extensive correspondence. With great style and eloquence he wrote letters to friends and family, letters from his travels and he also wrote to leading composers, musicians, artists as well as publishers. He corresponded with famous contemporaries such as Robert Schumann, Franz Liszt and Richard Wagner as well as Johann Wolfgang von Goethe, Carl Friedrich Zelter and Alexander von Humboldt. The correspondence begins in 1816 and ends in 1847 with the composer’s death. These letters are invaluable documents shedding light not only on the genesis, publication and revision of his musical works, but also on a period when relations between Christians and Jews still had a chance to become harmonious, as Moses Mendelssohn, the imminent scholar and grandfather of the composer had advocated.This edition will therefore be of great interest far beyond the circles of musicologists and music specialists. It will appeal to those who are interested in the history of culture and ideas and to those who perceive Mendelssohn and his family as representatives of a unique, diverse cultural epoch. The complete correspondence shows that Mendelssohn not only went on to become one of the leading figures of German musical culture in the 1840s, but that he also maintained a network of musical contacts throughout Europe.The edition of the complete lettersThis scholarly-critical complete edition comprises 5,855 letters by Felix Mendelssohn Bartholdy. Previously only a small part of his correspondence had been published and made accessible to the public. The complete edition is based on Mendelssohn letters which have been compiled over decades by Rudolf Elvers as well as on international research carried out by an academic workgroup in Leipzig spearheaded by chief editors Helmut Loos and Wilhelm Seidel. They determined 500 additional letters hitherto unknown. Versions of the letter texts have been compiled from a scholarly-critical analysis of the sources, their historical context has been discussed and comments on all points in need of explanation have been made.This edition of the complete letters consists of 12 volumes and a CD-ROM. Each volume contains indices of mentioned individuals and institutions, compositions by Felix Mendelssohn Bartholdy and Fanny Hensel as well as a register of place names and currencies. In this way one obtains an all-encompassing view of this unique historical cosmos.The Complete edition has been produced to the highest standards in terms of layout, cover and binding. It is an ideal collector’s item for bibliophiles, providing an excellent means for studying the composer and the period in which he lived.The CD-ROM forms a valuable addition to the printed volumes. It offers the complete printed edition in the form of pdf. files, thereby making its approximately 9,500 pages digitally accessible and enabling letters and the corresponding commentary to be read in parallel. All terms can be located quickly and conveniently via a full text search.(The 12 volumes as well as the CD-ROM can only be purchased complete).- German text onlyThe EditorsHelmut Loos is Professor of Musicology at the University of Leipzig. He specialises in the music of the 19th and 20th centuries, in particular the reception of Beethoven, sacred music and links between Germany and Central and Eastern Europe. Wilhelm Seidel was professor at the universities of Heidelberg, Marburg and Leipzig. His publications are devoted to the temporal structure of music, music aesthetics in the 18th and 19th centuries and music of the 16th to 20th centuries, currently on Mozart and Mendelssohn.
SKU: BA.BVK02300
ISBN 9783761823002. 23.7 x 16.5 cm inches. Text language: German. Preface: Seidel, Wilhelm / Loos, Helmut.
Felix Mendelssohn Bartholdy as letter-writer: at the heart of 19th century European cultureAs one of the most important letter-writers of the 19th century, Felix Mendelssohn Bartholdy maintained an extensive correspondence. With great style and eloquence he wrote letters to friends and family, letters from his travels and he also wrote to leading composers, musicians, artists as well as publishers. He corresponded with famous contemporaries such as Robert Schumann, Franz Liszt and Richard Wagner as well as Johann Wolfgang von Goethe, Carl Friedrich Zelter and Alexander von Humboldt. The correspondence begins in 1816 and ends in 1847 with the composer's death. These letters are invaluable documents shedding light not only on the genesis, publication and revision of his musical works, but also on a period when relations between Christians and Jews still had a chance to become harmonious, as Moses Mendelssohn, the imminent scholar and grandfather of the composer had advocated.This edition will therefore be of great interest far beyond the circles of musicologists and music specialists. It will appeal to those who are interested in the history of culture and ideas and to those who perceive Mendelssohn and his family as representatives of a unique, diverse cultural epoch. The complete correspondence shows that Mendelssohn not only went on to become one of the leading figures of German musical culture in the 1840s, but that he also maintained a network of musical contacts throughout Europe.The edition of the complete lettersThis scholarly-critical complete edition comprises 5,855 letters by Felix Mendelssohn Bartholdy. Previously only a small part of his correspondence had been published and made accessible to the public. The complete edition is based on Mendelssohn letters which have been compiled over decades by Rudolf Elvers as well as on international research carried out by an academic workgroup in Leipzig spearheaded by chief editors Helmut Loos and Wilhelm Seidel. They determined 500 additional letters hitherto unknown. Versions of the letter texts have been compiled from a scholarly-critical analysis of the sources, their historical context has been discussed and comments on all points in need of explanation have been made.This edition of the complete letters consists of 12 volumes and a CD-ROM. Each volume contains indices of mentioned individuals and institutions, compositions by Felix Mendelssohn Bartholdy and Fanny Hensel as well as a register of place names and currencies. In this way one obtains an all-encompassing view of this unique historical cosmos.The Complete edition has been produced to the highest standards in terms of layout, cover and binding. It is an ideal collector's item for bibliophiles, providing an excellent means for studying the composer and the period in which he lived.The CD-ROM forms a valuable addition to the printed volumes. It offers the complete printed edition in the form of pdf. files, thereby making its approximately 9,500 pages digitally accessible and enabling letters and the corresponding commentary to be read in parallel. All terms can be located quickly and conveniently via a full text search.(The 12 volumes as well as the CD-ROM can only be purchased complete).- German text onlyThe EditorsHelmut Loos is Professor of Musicology at the University of Leipzig. He specialises in the music of the 19th and 20th centuries, in particular the reception of Beethoven, sacred music and links between Germany and Central and Eastern Europe. Wilhelm Seidel was professor at the universities of Heidelberg, Marburg and Leipzig. His publications are devoted to the temporal structure of music, music aesthetics in the 18th and 19th centuries and music of the 16th to 20th centuries, currently on Mozart and Mendelssohn.
SKU: BA.BVK02303
ISBN 9783761823033. 23.5 x 16 cm inches. Preface: Helmut Loos.
SKU: BR.MR-1542
ISBN 9790004482353. 9 x 12 inches.
Hidden away in Gabrieli's Sacrae Symphoniae of 1597, among forty-five vocal compositions, lie sixteen works that make up one of the first great monuments of instrumental ensemble music; fourteen canzoni and two sonatas that surpass any of their genre at that time, and that were only rarely matched in the following decades, most often by Gabrieli himself. Gabrieli must be credited with many firsts in regard to the development of the canzona and sonata: he was the first to write for more than eight parts, and first to deploy his forces polychorally. He was first to contrast polyphonic and homophonic writing, and duple and triple meter, within the same piece, and was a pioneer in the use of tone colour - and specified instrumentation - for dramatic musical effect. Egon Kenton, in his Life and Works of Giovanni Gabrieli (American Institute of Musicology, 1967) sees as well the seeds of the concerto grosso and the solo concerto in Gabrieli's use of tutti and solo writing and his setting off of soloistic upper parts against frankly accompanimental lower parts. lt would not stretch the point to add that Gabrieli fleshed out his many innovations with musical materials of a high order, and that he handled his materials with consummate skill.
SKU: AP.6-204251
ISBN 9780486204253. English. [Antonio Stradivari] By W. Henry Hill; Arthur F. Hill; Alfred E. Hill.
A great work of musicology. Discusses string instrument construction methods, woods, varnishes, known instruments, types of instruments, life, special features. Introduction by Sydney Beck. 68 illustrations plus 4 color plates. 315 pgs.
SKU: BA.BVK02306
ISBN 9783761823064. 23.5 x 16 cm inches. Preface: Seidel, Wilhelm.
SKU: UT.QC-5
ISBN 9788881095223. 6.5 x 9.5 inches.
Essays by Louise Benrard de Raymond, Muriel Boulan, Thomas Christensen, Etienne Jardin, Ellen Lockhart, Fabio Morabito, William O'Hara, Alban Ramaut, Annette Richards, Michael B. WardThe nineteenth-century composer has a persistent image problem: inspired, unworldly, male, writing works of genius for posterity. If it has been the project of musicologists for the last 30 years to erode this checklist, he lingers still like a bad smell. This book uses Antoine Reicha (1770-1836) as a case study through which to develop alternative approaches to the nineteenth-century composer. That Reicha was a composition teacher and prolific writer of instruction manuals, for example, provides an opportunity (and new types of sources) to focus on composers' attempts at becoming composers. How can we catch them 'in the making', exploring not a body of works and achievements, but the priorities and anxieties of these individuals (the knowledge they followed or created) in crafting their artistic identities for the public? What modes of music historiography and analysis might help explore Reicha's and his contemporaries' music beyond mapping it within local or national traditions and their transfer? Can a networked model of music-history writing - we might call it 'a history of music with no protagonist' - assist musicologists in working on non-canonical composers without retrospectively making monuments out of them? These and other questions frame this volume, in order not only to reassess Reicha, but also our disciplinary toolkit: to ask how/why/to what end we tell stories about composers in musicology more generally.
SKU: HL.50511837
ISBN 9790080602188. B/5 (17x24) inches. Hungarian. Judit Racz.
Alan Walker is an English music historian, formerly a music fellow at the BBC, and since 1971 head of department at McMaster University in Canada. He has authored and co-authored many music critiques and musicology publications, and he has organized several Liszt symposia and festivals around the world. His three-volume monograph (Volume I: The Virtuoso Years - 1811-1847, Volume II: The Weimar Years - 1848-1861, Volume III: The Last Years - 1861-1886) is considered by both the international experts and the musical public to be the most prestigious and complete Liszt biography. The present Hungarian-language version was translated from English by Judit Racz.
SKU: HL.50605479
ISBN 9781705190395. UPC: 196288126164.
Text in Italian. Can the greatness of one of the most important musicians of the western world justify the most ignominious positions taken? And above all: can he justify ignoring them? The manifestation of these positions unfortunately leaves no doubt: we can read them both in his writing Jewishness in music (1850) and in other texts collected in this book in new translations, as well as in an unpublished text for Italy. But can it be said that the librettos and even the music of Wagner's operas are also anti-Semitic? Wagner's anti-Semitism is at least a controversial topic in the specialist literature: in this book you will find both a critical and a polemical balance, in which the criteria of biographical research, general history, music, musicology, semiology, of psychoanalysis and aesthetics. How to explain it? With the fact that perhaps Wagner himself was a Jew? Many of his contemporaries believed this, as the large collection of caricatures brought together in this work testifies. At the end of a rigorous investigation, it is necessary to ask some disturbing questions: should the execution or representation of Wagner's works perhaps beprohibited? Should Bayreuth be closed down?
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