Libros de Música moderna, página 36 de 239

Takes the reader through an enlightening tour of choral music, emphasizing on the musical style performance practice of different historical periods. The reference provides guidelines on the numerous aspects of performance practice for choral music based on the Renaissance Period, the Baroque Period, the Classical period, the Romantic period, and the Modern Period, with special emphasis on meter and stress, tempo, dynamics, tone quality, pitch, texture, and expressive aspects of the music of each period. Appropriate for Junior/Graduate-level courses in Choral Conducting and Literature.. Publisher: Pearson Education (US) ISBN: 9780131371910

Few of us have experienced life with the intensity, fury, and reckless abandon of Nikki Sixx, the wild rock star, driven entrepreneur, devoted father, former addict, bestselling author, and gifted photographer. This Is Gonna Hurt is part photo, part journal - but all Nikki Sixx. It is a collection of compelling snapshots and stories that capture the rage, love, optimism, darkness,and determination that shape his work. Told with the raw authenticity that defined his New York Times bestseller The Heroine Diaries, This Is Gonna Hurt chronicles Sixx's experience, from his early years filled with toxic waste to his success with Motley Crue, his death from an OD and rebirth to his addictions to music, photography, and love. Love story, bad-ass rock tell-all, social commentary, family memoir, This Is Gonna Hurt offers the compelling insights of an artist and a man struggling to survive, connect, and find a happy ending-a search that fuels Sixx's being. 'I want to take you on the journey I am on, in real time', Sixx writes. If you don't deal with your demons, they will deal with you, and it's gonna hurt.

Wolfgang Amadeus Mozart is one of the great icons of Western music. An amazing prodigy who toured the capitals of Europe as a child, astonishing royalty and professional musicians with his precocious skills, in his adulthood he wrote some of the finest music in the European tradition. Julian Rushton offers a concise and up-to-date biography of this musical genius, combining a well-researched life of the composer with an introduction to the works-symphonic, chamber, sacred, and theatrical-of one of the few who have composed undisputed masterpieces in every genre of his time. Rushton presents a vivid portrait, ranging from Mozart the Wunderkind-travelling with his family from Salzburg to Vienna, Paris, London, Rome, and Milan-to the mature composer of perennially fascinating operas such as The Marriage of Figaro, Don Giovanni, and The Magic Flute. During the past half-century, scholars have thoroughly explored Mozart's life and music, offering new interpretations based on their historical context, and providing a factual basis for confirming or more often debunking, fanciful accounts of the man and his work. Rushton takes full advantage of these biographical and musical studies as well as the definitive New Mozart Edition to provide an accurate account of Mozart's life and, equally important, an insightful look at the music itself, complete with illustrative musical examples. An engaging biography for general readers that will also be an informative resource for scholars, this new addition to the prestigious Master Musicians series puts forward an authoritative interpretation of one of the defining figures of European culture. Crisp, learned. -Alex Ross, The New Yorker The finest short biography of Mozart that I know-incisive, insightful, and elegantly written. If I had to recommend one book that explained the man and his music, this would be it. -Cliff Eisen, Department of Music, King's College London Always sensitive, judicious, and stimulating. It is too short-not too short for Mozart but for Rushton, who has certainly much more to say that would be of interest. -Charles Rosen, The New York Review of Books A valuable addition to the ever-growing literature on Mozart. -Library Journal

If You Don't Know Me By Now, The Love I Lost, The Soul Train Theme, Then Came You, Ain't No Stoppin' Us Now-the distinctive music that became known as Philly Soul dominated the pop music charts in the 1970s. In A House on Fire, John A. Jackson takes us inside the musical empire created by Kenny Gamble, Leon Huff, and Thom Bell, the three men who put Philadelphia Soul on the map. Here is the eye-opening story of three of the most influential and successful music producers of the seventies. Jackson shows how Gamble, Huff, and Bell developed a black recording empire second only to Berry Gordy's Motown, pumping out a string of chart-toppers from Harold Melvin & the Blue Notes, the Spinners, the O'Jays, the Stylistics, and many others. The author underscores the endemic racism of the music business at that time, revealing how the three men were blocked from the major record companies and outlets in Philadelphia because they were black, forcing them to create their own label, sign their own artists, and create their own sound. The sound they created-a sophisticated and glossy form of rhythm and blues, characterized by crisp, melodious harmonies backed by lush, string-laden orchestration and a hard-driving rhythm section-was a glorious success, producing at least twenty-eight gold or platinum albums and thirty-one gold or platinum singles. But after their meteoric rise and years of unstoppable success, their production company finally failed, brought down by payola, competition, a tough economy, and changing popular tastes. Funky, groovy, soulful-Philly Soul was the classic seventies sound. A House on Fire tells the inside story of this remarkable musical phenomenon.

The Oxford History of Western Music is a magisterial survey of the traditions of Western music by one of the most prominent and provocative musicologists of our time. This text illuminates, through a representative sampling of masterworks, those themes, styles, and currents that give shape and direction to each musical age. Taking a critical perspective, this text sets the details of music, the chronological sweep of figures, works, and musical ideas, within the larger context of world affairs and cultural history. Written by an authoritative, opinionated, and controversial figure in musicology, The Oxford History of Western Music provides a critical aesthetic position with respect to individual works, a context in which each composition may be evaluated and remembered. Taruskin combines an emphasis on structure and form with a discussion of relevant theoretical concepts in each age, to illustrate how the music itself works, and how contemporaries heard and understood it. It also describes how the context of each stylistic period-key cultural, historical, social, economic, and scientific events-influenced and directed compositional choices. Unlike earlier surveys, Taruskin provides greater attention to the full range of 20th century music, including American music as part of the mainstream tradition of western music, women in music, and popular musics.

for soprano and pianoTry me, good King is a group of five songs drawn from the final letters and gallows speeches of the six wives of King Henry VIII. The cycle is a psychologically intense monodrama that presents technical challenges to both performers.

Mozart's collaborations with the librettist Lorenzo da Ponte led to the composition of three of the greatest masterpieces in all opera, Le Nozze di Figaro, Don Giovanni, and Cosi fan tutte. The aim of this book is to guide the reader to deeper understanding and enjoyment of these enigmatic works, not so much through detailed musical analysis as through setting the scene for their composition. The author examines the cultural and social context in which they were written, the sort of audience who might have attended, and their tastes and expectations. He considers Mozart's own intentions and aspirations for these works, composed over a period of rapid intellectual and political change, during which his beliefs, ambitions, and position in society changed radically. At a musical level, Mozart's work underwent crucial stylistic developments that are manifest in these three operas. We are also given clues to da Ponte's view of opera and the type of entertainment he set out to create. Finally, the author looks at the practicalities of opera production in Mozart's time, all of which would have influenced the final creation of these works.

Guillaume de Machaut was an important fourteenth-century French poet and composer. The four-part Messe de Nostre Dame is historically significant as the earliest example of a complete, stylistically coherent, through-composed setting of the Ordinary of the Mass by a single composer. The setting has close connections with Reims Cathedral and is thought to have been composed in the early 1360s, becoming a memorial mass on the death of Machaut's brother in 1372. It would most likely have been performed by unaccompanied solo male voices, and the suggested scoring for modern performance is two altos and two tenors or two tenors and two baritones. The five movements of the Mass are followed by a short dismissal, Ite missa est.

A classic collection of hymns and choruses. Sankey's Sacred Songs and Solos was developed by Ira D. Sankey as a resource for his concerts and revival meetings in the late 19th century. This collection is still popular today, with a wide selection of hymns and songs on many different themes.

A definitive collection of 100 anthems from Tudor times to the present, this book includes favorites as well as lesser-known pieces. The anthems were selected for their practical usefulness for church choirs today, bearing in mind the needs of smaller choirs: the anthems are mostly for SATB with or without keyboard accompaniments.

Jazz and its colorful, expansive history resonate in this unique collection of 60 essays specially-commissioned from today's top jazz performers, writers, and scholars. Contributors include such jazz insiders as Bill Crow, Samuel A. Floyd Jr., Ted Gioia, Gene Lees, Dan Morgenstern, Gunther Schuller, Richard M. Sudhalter, and Patricia Willard. Both a reference book and an engaging read, the Companion surveys the evolution of jazz from its roots in Africa and Europe until the present. Along the way, each distinctive style and period is profiled by an expert in the field. Whether your preference is ragtime, the blues, bebop, or fusion, you will find the chief characteristics and memorable performances illuminated here with a thoroughness found in no other single-volume jazz reference. The Oxford Companion to Jazz features individual biographies of the most memorable characters of this relatively young art form. Sidney Bechet, King Oliver, Jelly Roll Morton, Louis Armstrong, Bix Beiderbecke, Bessie Smith, Duke Ellington, Coleman Hawkins, Lester Young, Charlie Parker, Miles Davis, Thelonious Monk, Charles Mingus, John Coltrane, and the divas of jazz song-Ella Fitzgerald, Billie Holiday, and Sarah Vaughan-come to life in thoughtful considerations of their influences, often turbulent personal lives, and signature styles. In addition, this book looks at the impact of jazz on American culture-in literature, film, television, and dance-and explores the essential instruments of jazz and their most memorable players. The Oxford Companion to Jazz will provide a quick reference source as well as a dynamic and broad overview for all lovers of jazz, from novices to aficionados.

Samuel Barber (1910-1981) was one of the most important and honoured American composers of the twentieth century. Writing in a great variety of musical forms - symphonies, concertos, operas, vocal music, chamber music - he infused his works with poetic lyricism and gave tonal language and forms new vitality. His rich legacy includes such famous compositions as the Adagio for Strings, the orchestral song Knoxville: Summer of 1915, three concertos, and his two operas, the Pulitzer Prize-winning Vanessa and Antony and Cleopatra, a commissioned work that opened the new Metropolitan Opera House at Lincoln Center. Generously documented by letters, sketchbooks, original musical manuscripts, and interviews with friends, colleagues and performers with whom he worked, this is the first book to cover Barber's entire career and all of his compositions. The biographical material on Barber is closely interspersed with a discussion of his music, displaying Barber's creative processes at work from his early student compositions to his mature masterpieces. Heyman also provides the social context in which this major composer grew: his education, how he built his career, the evolving musical tastes of American audiences, his relationship to musical giants like Serge Koussevitzky, and the role of radio in the promotion of his music. A testament to the significance of the new Romanticism, Samuel Barber stands as a model biography of an important American musical figure.

A giant in the pantheon of 19th century composers, Tchaikovsky continues to enthrall audiences today. From the Nutcracker-arguably the most popular ballet currently on the boards-Swan Lake, and Sleeping Beauty, to Eugene Onegin and Pique Dame, to the Symphony Pathetique and the always rousing, canon-blasting 1812 Overture-this prolific and beloved composer's works are perennial favorites. Now, John Wiley, a renowned Tchaikovsky scholar, provides a fresh biography aimed in classic Master Musicians style at the student and music lover. Wiley deftly draws on documents from imperial, Soviet, and post-Soviet era sources, providing a more balanced look at recent controversies surrounding the marriage, death, and sexuality of the composer. The author dovetails the biographical material with separate chapters that treat the music thoroughly and fully, work-by-work, with more substantial explorations of Tchaikovsky's most familiar compositions. These analyses present new, even iconoclastic perspectives on the music and the composer's intent and expression. Several informative appendices, in the Master Musicians format, include an exhaustive list of works and bibliography.

Publisher: Pearson Education (US) ISBN: 9780130407733

Metric Manipulations in Haydn and Mozart makes a significant contribution to music theory and to the growing conversation on metric perception and musical composition. Focusing on the chamber music of Haydn and Mozart produced during the years 1787 to 1791, the period of most intense metric experimentation in the output of both composers, author Danuta Mirka presents a systematic discussion of metric manipulations in music of the late 18th-century. By bringing together historical and present-day theoretical approaches to rhythm and meter on the basis of their shared cognitive orientations, the book places the ideas of 18th-century theorists such as Riepe, Sulzer, Kirnberger and Koch into dialogue with modern concepts in cognitive musicology, particularly those of Fred Lerdahl and Ray Jackendoff, David Temperley, and Justin London. In addition, the book puts considerations of subtle and complex meter found in 18th-century musical handbooks and lexicons into point-by-point contact with Harald Krebs's recent theory of metrical dissonance. The result is an innovative and illuminating reinterpretation of late 18th-century music and music perception which will have resonance in scholarship and in analytical teaching and practice. Metric Manipulations in Haydn and Mozart will appeal to students and scholars in music theory and cognition/perception, and will also have appeal to musicologists studying Haydn and Mozart.

Choreographing Copyright provides a historical and cultural analysis of U.S.-based dance-makers' investment in intellectual property rights. Although federal copyright law in the U.S. did not recognize choreography as a protectable class prior to the 1976 Copyright Act, efforts to win copyright protection for dance began eight decades earlier. In a series of case studies stretching from the late nineteenth century to the early twenty-first, the book reconstructs those efforts and teases out their raced and gendered politics. Rather than chart a narrative of progress, the book shows how dancers working in a range of genres have embraced intellectual property rights as a means to both consolidate and contest racial and gendered power. A number of the artists featured in Choreographing Copyright are well-known white figures in the history of American dance, including modern dancers Loie Fuller, Hanya Holm, and Martha Graham, and ballet artists Agnes de Mille and George Balanchine. But the book also uncovers a host of marginalized figures - from the South Asian dancer Mohammed Ismail, to the African American pantomimist Johnny Hudgins, to the African American blues singer Alberta Hunter, to the white burlesque dancer Faith Dane - who were equally interested in positioning themselves as subjects rather than objects of property, as possessive individuals rather than exchangeable commodities. Choreographic copyright, the book argues, has been a site for the reinforcement of gendered white privilege as well as for challenges to it. Drawing on critical race and feminist theories and on cultural studies of copyright, Choreographing Copyright offers fresh insight into such issues as: the raced and gendered hierarchies that govern the theatrical marketplace, white women's historically contingent relationship to property rights, legacies of ownership of black bodies and appropriation of non-white labor, and the tension between dance's ephemerality and its reproducibility.

Distinguished music theorist and composer David Lewin (1933-2003) applies the conceptual framework he developed in his earlier, innovative Generalized Musical Intervals and Transformations to the varied repertoire of the twentieth century in this stimulating and illustrative book. Analyzing the diverse compositions of four canonical composers-Simbolo from Dallapiccola's Quaderno musicale di Annalibera; Stockhausen's Klavierstuck III; Webern's Op. 10, No. 4; and Debussy's Feux d'articifice -Lewin brings forth structures which he calls transformational networks to reveal interesting and suggestive aspects of the music. In this complementary work, Lewin stimulates thought about the general methodology of musical analysis and issues of large-scale form as they relate to transformational analytic structuring. Musical Form and Transformation , first published in 1993 by Yale University Press, was the recipient of an ASCAP Deems Taylor Award.

Exploring Twentieth Century Vocal Music is a unique people centred book designed to aid singers and voice teachers to discover and decipher the innovative repertoire of the twentieth century. The book familiarizes the reader with new notation systems employed by some contemporary composers. It suggest rehearsal techniques and vocal exercises that will help singers prepare to tackle the repertoire. And the book offers a list of the most important and interesting works to emerge in the twentieth century, along with suggested recital programmes that will introduce audiences as well as singers to this under - explored body of music.

Famed lyricist Dorothy Fields penned the words to more than four hundred songs, among them mega-hits such as On the Sunny Side of the Street, I Can't Give You Anything But Love, and The Way You Look Tonight. In Pick Yourself Up, Charlotte Greenspan offers the most complete treatment of Fields's life and work to date, tracing her rise to prominence in a male-dominated world. Born in 1904 into a show business family - her father, Lou Fields, was a famed stage comedian turned Broadway producer - Fields first teamed with songwriter Jimmy McHugh in the late 1920s and went on to a series of Hollywood collaborations with Jerome Kern, including the Fred Astaire-Ginger Rogers classic Swing Time. With her brother Herbert, she co-authored the books for several of Cole Porter's shows and for Irving Berlin's classic Annie Get Your Gun. Fields's lyrics - colloquial, urbane, sometimes slangy, sometimes sensuous - won her high praise from later generations of songwriters including Stephen Sondheim, and her stellar career opened a path for other women in her profession, among them Betty Comden and Dory Previn.