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Книга «Pop-Rock Music. Aesthetic Cosmopolitanism in Late Modernity» предлагает глубокий анализ поп-рока как единой музыкальной формы, объединяющей различные жанры от рок-н-ролла до современных направлений, таких как техно, хип-хоп и метал. Автор, Мотти Регев, рассматривает поп-рок как пример «эстетического космополитизма», демонстрируя, как различные культуры взаимодействуют в рамках мировой музыкальной индустрии.
Эта книга будет полезна студентам, преподавателям и исследователям в области культурной социологии, медиа и культурологии, а также всем, кто интересуется историей популярной музыки.
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In the German states in the late eighteenth century, women flourished as musical performers and composers, their achievements measuring the progress of culture and society from barbarism to civilization. Female excellence, and related feminocentric values, were celebrated by forward-looking critics who argued for music as a fine art, a component of modern, polite, and commercial culture, rather than a symbol of institutional power. In the eyes of such critics, femininity—a newly emerging and primarily bourgeois ideal—linked women and music under the valorized signs of refinement, sensibility, virtue, patriotism, luxury, and, above all, beauty. This moment in musical history was eclipsed in the first decades of the nineteenth century, and ultimately erased from the music-historical record, by now familiar developments: the formation of musical canons, a musical history based on technical progress, the idea of masterworks, authorial autonomy, the musical sublime, and aggressively essentializing ideas about the relationship between sex, gender and art. In Sovereign Feminine, Matthew Head restores this earlier musical history and explores the role that women played in the development of classical music.
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In this book, Susan McClary examines the mechanisms through which seventeenth-century musicians simulated extreme affective states—desire, divine rapture, and ecstatic pleasure. She demonstrates how every major genre of the period, from opera to religious music to instrumental pieces based on dances, was part of this striving for heightened passions by performers and listeners. While she analyzes the social and historical reasons for the high value placed on expressive intensity in both secular and sacred music, and she also links desire and pleasure to the many technical innovations of the period. McClary shows how musicians—whether working within the contexts of the Reformation or Counter-Reformation, Absolutists courts or commercial enterprises in Venice—were able to manipulate known procedures to produce radically new ways of experiencing time and the Self.
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Long a taboo subject among critics, rhythm finally takes center stage in this book's dazzling, wide-ranging examination of diverse black cultures across the New World. Martin Munro’s groundbreaking work traces the central—and contested—role of music in shaping identities, politics, social history, and artistic expression. Starting with enslaved African musicians, Munro takes us to Haiti, Trinidad, the French Caribbean, and to the civil rights era in the United States. Along the way, he highlights such figures as Toussaint Louverture, Jacques Roumain, Jean Price-Mars, The Mighty Sparrow, Aimé Césaire, Edouard Glissant, Joseph Zobel, Daniel Maximin, James Brown, and Amiri Baraka. Bringing to light new connections among black cultures, Munro shows how rhythm has been both a persistent marker of race as well as a dynamic force for change at virtually every major turning point in black New World history.
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On March 10, 1948, world-renowned composer and pianist Ernst von Dohnányi (1877−1960) embarked for the United States, leaving Europe for good. Only a few years earlier, the seventy-year-old Hungarian had been a triumphant, internationally admired musician and leading figure in Hungarian musical life. Fleeing a political smear campaign that sought to implicate him in intellectual collaboration with fascism, he reached American shores without a job or a home. A Wayfaring Stranger presents the final period in Dohnányi’s exceptional career and uses a range of previously unavailable material to reexamine commonly held beliefs about the musician and his unique oeuvre. Offering insights into his life as a teacher, pianist, and composer, the book also considers the difficulties of émigré life, the political charges made against him, and the compositional and aesthetic dilemmas faced by a conservative artist. To this rich biographical account, Veronika Kusz adds an in-depth examination of Dohnányi’s late works—in most cases the first analyses to appear in musicological literature. This corrective history provides never-before-seen photographs of the musician’s life in the United States and skillfully illustrates Dohnányi’s impact on European and American music and the culture of the time.
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Gabriel Fauré’s mélodies offer an inexhaustible variety of style and expression that have made them the foundation of the French art song repertoire. During the second half of his long career, Fauré composed all but a handful of his songs within six carefully integrated cycles. Fauré moved systematically through his poetic contemporaries, exhausting Baudelaire’s Les fleurs du mal before immersing himself in the Parnassian poets. He would set nine poems by Armand Silvestre in swift succession (1878-84), seventeen by Paul Verlaine (1887-94), and eighteen by Charles Van Lerberghe (1906-14). As an artist deeply engaged with some of the most important cultural issues of the period, Fauré reimagined his musical idiom with each new poet and school, and his song cycles show the same sensitivity to the poetic material. Far more than Debussy, Ravel, or Poulenc, he crafted his song cycles as integrated works, reordering poems freely and using narratives, key schemes, and even leitmotifs to unify the individual songs. The Fauré Song Cycles explores the peculiar vision behind each synthesis of music and verse, revealing the astonishing imagination and insight of Fauré’s musical readings. This book offers not only close readings of Fauré’s musical works but an interdisciplinary study of how he responded to the changing schools and aesthetic currents of French poetry.
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In this innovative book, Gundula Kreuzer argues for the foundational role of technologies in the conception, production, and study of nineteenth-century opera. She shows how composers increasingly incorporated novel audiovisual effects in their works and how the uses and meanings of the required apparatuses changed through the twentieth century, sometimes still resonating in stagings, performance art, and popular culture today. Focusing on devices (which she dubs “Wagnerian technologies”) intended to amalgamate opera’s various media while veiling their mechanics, Kreuzer offers a practical counternarrative to Wagner’s idealist theories of total illusionism. At the same time, Curtain, Gong, Steam’s multifaceted exploration of the three titular technologies repositions Wagner as catalyst more than inventor in the history of operatic production. With its broad chronological and geographical scope, this book deepens our understanding of the material and mechanical conditions of historical operatic practice as well as of individual works, both well known and obscure.
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This lively history immerses the reader in San Francisco’s musical life during the first half of the twentieth century, showing how a fractious community overcame virulent partisanship to establish cultural monuments such as the San Francisco Symphony (1911) and Opera (1923). Leta E. Miller draws on primary source material and first-hand knowledge of the music to argue that a utopian vision counterbalanced partisan interests and inspired cultural endeavors, including the San Francisco Conservatory, two world fairs, and America’s first municipally owned opera house. Miller demonstrates that rampant racism, initially directed against Chinese laborers (and their music), reappeared during the 1930s in the guise of labor unrest as WPA music activities exploded in vicious battles between administrators and artists, and African American and white jazz musicians competed for jobs in nightclubs.
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Wye Jamison Allanbrook’s The Secular Commedia is a stimulating and original rethinking of the music of the late eighteenth century. Hearing the symphonies and concertos of Haydn and Mozart with an ear tuned to operatic style, as their earliest listeners did, Allanbrook shows that this familiar music is built on a set of mimetic associations drawn from conventional modes of depicting character and emotion in opera buffa. Allanbrook mines a rich trove of writings by eighteenth-century philosophers and music theorists to show that vocal music was considered aesthetically superior to instrumental music and that listeners easily perceived the theatrical tropes that underpinned the style. Tracing Enlightenment notions of character and expression back to Greek and Latin writings about comedy and drama, she strips away preoccupations with symphonic form and teleology to reveal anew the kaleidoscopic variety and gestural vitality of the musical surface. In prose as graceful and nimble as the music she discusses, Allanbrook elucidates the idiom of this period for contemporary readers. With notes, musical examples, and a foreword by editors Mary Ann Smart and Richard Taruskin.
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The Metropolitan has stood among the grandest of opera companies since its birth in 1883. Tracing the offstage/onstage workings of this famed New York institution, Charles Affron and Mirella Jona Affron tell how the Met became and remains a powerful actor on the global cultural scene. In this first new history of the company in thirty years, each of the chronologically sequenced chapters surveys a composer or a slice of the repertoire and brings to life dominant personalities and memorable performances of the time. From the opening night Faust to the recent controversial production of Wagner’s «Ring,» Grand Opera is a remarkable account of management and audience response to the push and pull of tradition and reinvention. Spanning the decades between the Gilded Age and the age of new media, this story of the Met concludes by tipping its hat to the hugely successful «Live in HD» simulcasts and other twenty-first-century innovations. Grand Opera’s appeal extends far beyond the large circle of opera enthusiasts. Drawing on unpublished documents from the Metropolitan Opera Archives, reviews, recordings, and much more, this richly detailed book looks at the Met in the broad context of national and international issues and events.
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The Treatise on Musical Objects is regarded as Pierre Schaeffer’s most important work on music and its relationship with technology. Schaeffer expands his earlier research in musique concrète to suggest a methodology of working with sounds based on his experiences in radio broadcasting and the recording studio. Drawing on acoustics, physics, and physiology, but also on philosophy and the relationship between subject and object, Schaeffer’s essay summarizes his theoretical and practical work in music composition. Translators Christine North and John Dack present an important book in the history of ideas in Europe that will resonate far beyond electroacoustic music.
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Among musicologists and serious lovers of music, Wagner's Tristan und Isolde is generally considered the high point of orchestration in the musical tradition of nineteenth-century Europe. It shows in most successful form Wagner's unsurpassed gift for using the instruments of the orchestra, and generations of students have worked with it to learn its technique.Tristan und Isolde also has a remarkable historical position. It was the opera that most of the post-Wagnerians used to build upon, and it was also the opera that the anti-Wagnerians seized upon very frequently for their attacks and for their attempts to move musically away from Wagnerism. Accepted or rejected, it has been the work with which late nineteenth- and early twentieth-century musicians had to come to terms, and much musical history of this period can be understood through it.This edition reproduces the full orchestral score in a clear, modern engraving for easy reading and piano study, with large legible notation. Do not confuse this with a piano rendering; it is a full orchestral score. In addition to its obvious uses for study, this score is also an indispensable associate for anyone listening to recordings. In no other manner can the listener keep full awareness of the incredible orchestral richness of this opera.
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Nostalgia for the Future is the first collection in English of the writings and interviews of Luigi Nono (1924–1990). One of the most prominent figures in the development of new music after World War II, he is renowned for both his compositions and his utopian views. His many essays and lectures reveal an artist at the center of the analytical, theoretical, critical, and political debates of the time. This selection of Nono’s most significant essays, articles, and interviews covers his entire career (1948–1989), faithfully mirroring the interests, orientations, continuities, and fractures of a complex and unique personality. His writings illuminate his intensive involvements with theatre, painting, literature, politics, science, and even mysticism. Nono’s words make vividly evident his restless quest for the transformative possibilities of a radical musical experience, one that is at the same time profoundly engaged with its performers and spaces, its audiences, and its human and social motivations and ramifications.
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Here's how to make sound decisions about a desktop studio Get the lowdown on equipment, design your studio space, and set your music free! If you've been dreaming of making music with your computer, wake up and get started! Musician Jeff Strong clears a path for you through all the confusing options, helping you sort out hardware and software choices, coax the sound you want from your equipment, work with equalizers and processors, and start your creative juices flowing! Discover how to * Choose the right system and install software * Optimize studio sound for recording and mixing * Understand audio interfaces, sound cards, and MIDI gear * Compare popular programs * Mix and master your tracks
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What is jazz? What is gained—and what is lost—when various communities close ranks around a particular definition of this quintessentially American music? Jazz/Not Jazz explores some of the musicians, concepts, places, and practices which, while deeply connected to established jazz institutions and aesthetics, have rarely appeared in traditional histories of the form. David Ake, Charles Hiroshi Garrett, and Daniel Goldmark have assembled a stellar group of writers to look beyond the canon of acknowledged jazz greats and address some of the big questions facing jazz today. More than just a history of jazz and its performers, this collections seeks out those people and pieces missing from the established narratives to explore what they can tell us about the way jazz has been defined and its history has been told.
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Breaking down walls between genres that are usually discussed separately—classical, jazz, and popular—this highly engaging book offers a compelling new integrated view of twentieth-century music. Placing Duke Ellington (1899–1974) at the center of the story, David Schiff explores music written during the composer’s lifetime in terms of broad ideas such as rhythm, melody, and harmony. He shows how composers and performers across genres shared the common pursuit of representing the rapidly changing conditions of modern life. The Ellington Century demonstrates how Duke Ellington’s music is as vital to musical modernism as anything by Stravinsky, more influential than anything by Schoenberg, and has had a lasting impact on jazz and pop that reaches from Gershwin to contemporary R&B.
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This indispensable manual for present-day players of the one-keyed flute is the first complete method written in modern times. Janice Dockendorff Boland has compiled a manual that can serve as a self-guiding tutor or as a text for a student working with a teacher. Referencing important eighteenth-century sources while also incorporating modern experience, the book includes nearly 100 pages of music drawn from early treatises along with solo flute literature and instructional text and fingering charts. Boland also addresses topics ranging from the basics of choosing a flute and assembling it to more advanced concepts such as tone color and eighteenth-century articulation patterns.
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<P>The figure of Carmen has emerged as a cipher for the unfettered female artist. Dance historian and performance theorist Ninotchka Bennahum shows us Carmen as embodied historical archive, a figure through which we come to understand the promises and dangers of nomadic, transnational identity, and the immanence of performance as an expanded historical methodology. Bennahum traces the genealogy of the female Gypsy presence in her iconic operatic role from her genesis in the ancient Mediterranean world, her emergence as flamenco artist in the architectural spaces of Islamic Spain, her persistent manifestation in Picasso, and her contemporary relevance on stage. This many-layered geography of the Gypsy dancer provides the book with its unique nonlinear form that opens new pathways to reading performance and writing history. Includes rare archival photographs of Gypsy artists.</P>
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In Avant Rock,, music writer Bill Martin explores how avant-garde rock emerged from the social and political upheaval of the sixties. He covers the music from its early stages, revealing its influences outside of rock, from musicians such as John Cage and Cecil Taylor, to those more closely related to rock like James Brown and Parliament/ Funkadelic.Martin follows the development of avant rock through the sixties, when it was accepted into the mainstream, with bands like the later Beatles, The Who, Jimi Hendrix, The Velvet Underground, King Crimson, and Brian Eno. His narration takes us into the present, with an analysis of contemporary artists who continue to innovate and push the boundaries of rock, such as Stereolab, Mouse on Mars, Sonic Youth, and Jim O'Rourke. Martin critiques the work of all important avant rock bands and individual artists, from the well-known to the more obscure, and provides an annotated discography
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China's Xinjiang Uyghur Autonomous Region is experiencing a crisis of securitization and mass incarceration. In Soundscapes of Uyghur Islam , author Rachel Harris examines the religious practice of a group of Uyghur women in a small village now engulfed in this chaos. Despite their remote location, these village women are mobile and connected, and their religious soundscapes flow out across transnational networks. Harris explores the spiritual and political geographies they inhabit, moving outward from the village to trace connections with Mecca, Istanbul, Bishkek, and Beijing. Sound, embodiment, and territoriality illuminate both the patterns of religious change among Uyghurs and the policies of cultural erasure used by the Chinese state to reassert its control over the land the Uyghurs occupy. By drawing on contemporary approaches to the circulation of popular music, Harris considers how various forms of Islam that arrive via travel and the Internet come into dialogue with local embodied practices. Synthesized together, these practices create new forms that facilitate powerful, affective experiences of faith.
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With New Orleans Suite, Eric Porter and Lewis Watts join the post-Katrina conversation about New Orleans and its changing cultural scene. Using both visual evidence and the written word, Watts and Porter pay homage to the city, its region, and its residents, by mapping recent and often contradictory social and cultural transformations, and seeking to counter inadequate and often pejorative accounts of the people and place that give New Orleans its soul. Focusing for the most part on the city’s African American community, New Orleans Suite is a story about people: how bad things have happened to them in the long and short run, how they have persevered by drawing upon and transforming their cultural practices, and what they can teach us about citizenship, politics, and society.
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What, where, and when is jazz? To most of us jazz means small combos, made up mostly of men, performing improvisationally in urban club venues. But jazz has been through many changes in the decades since World War II, emerging in unexpected places and incorporating a wide range of new styles. In this engrossing new book, David Ake expands on the discussion he began in Jazz Cultures, lending his engaging, thoughtful, and stimulating perspective to post-1940s jazz. Ake investigates such issues as improvisational analysis, pedagogy, American exceptionalism, and sense of place in jazz. He uses provocative case studies to illustrate how some of the values ascribed to the postwar jazz culture are reflected in and fundamentally shaped by aspects of sound, location, and time.
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New York City has always been a mecca in the history of jazz, and in many ways the city’s jazz scene is more important now than ever before. Blowin’ the Blues Away examines how jazz has thrived in New York following its popular resurgence in the 1980s. Using interviews, in-person observation, and analysis of live and recorded events, ethnomusicologist Travis A. Jackson explores both the ways in which various participants in the New York City jazz scene interpret and evaluate performance, and the criteria on which those interpretations and evaluations are based. Through the notes and words of its most accomplished performers and most ardent fans, jazz appears not simply as a musical style, but as a cultural form intimately influenced by and influential upon American concepts of race, place, and spirituality.
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K-Pop: Popular Music, Cultural Amnesia, and Economic Innovation in South Korea seeks at once to describe and explain the emergence of export-oriented South Korean popular music and to make sense of larger South Korean economic and cultural transformations. John Lie provides not only a history of South Korean popular music—the premodern background, Japanese colonial influence, post-Liberation American impact, and recent globalization—but also a description of K-pop as a system of economic innovation and cultural production. In doing so, he delves into the broader background of South Korea in this wonderfully informed history and analysis of a pop culture phenomenon sweeping the globe.
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There is more to sound recording than just recording sound. Far from being simply a tool for the preservation of music, the technology is a catalyst. In this award-winning text, Mark Katz provides a wide-ranging, deeply informative, consistently entertaining history of recording's profound impact on the musical life of the past century, from Edison to the Internet. Fully revised and updated, this new edition adds coverage of mashups and Auto-Tune, explores recent developments in file-sharing, and includes an expanded conclusion and bibliography.
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Performing Ethnomusicology is the first book to deal exclusively with creating, teaching, and contextualizing academic world music performing ensembles. Considering the formidable theoretical, ethical, and practical issues that confront ethnomusicologists who direct such ensembles, the sixteen essays in this volume discuss problems of public performance and the pragmatics of pedagogy and learning processes. Their perspectives, drawing upon expertise in Caribbean steelband, Indian, Balinese, Javanese, Philippine, Mexican, Central and West African, Japanese, Chinese, Middle Eastern, and Jewish klezmer ensembles, provide a uniquely informed and many-faceted view of this complicated and rapidly changing landscape. The authors examine the creative and pedagogical negotiations involved in intergenerational and intercultural transmission and explore topics such as reflexivity, representation, hegemony, and aesthetically determined interaction. Performing Ethnomusicology affords sophisticated insights into the structuring of ethnomusicologists' careers and methodologies. This book offers an unprecedented rich history and contemporary examination of academic world music performance in the West, especially in the United States." Performing Ethnomusicology is an important book not only within the field of ethnomusicology itself, but for scholars in all disciplines engaged in aspects of performance—historical musicology, anthropology, folklore, and cultural studies. The individual articles offer a provocative and disparate array of threads and themes, which Solís skillfully weaves together in his introductory essay. A book of great importance and long overdue."—R. Anderson Sutton, author of Calling Back the Spirit Contributors: Gage Averill, Kelly Gross, David Harnish, Mantle Hood, David W. Hughes, Michelle Kisliuk, David Locke, Scott Marcus, Hankus Netsky, Ali Jihad Racy, Anne K. Rasmussen, Ted Solís, Hardja Susilo, Sumarsam, Ricardo D. Trimillos, Roger Vetter, J. Lawrence Witzleben
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In her provocative new book Rednecks, Queers, and Country Music, Nadine Hubbs looks at how class and gender identity play out in one of America’s most culturally and politically charged forms of popular music. Skillfully weaving historical inquiry with an examination of classed cultural repertoires and close listening to country songs, Hubbs confronts the shifting and deeply entangled workings of taste, sexuality, and class politics.
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Record on a tablet or in your home studio Capture live sounds or record virtual instruments Edit, mix, and master your final tracks Record like a pro—wherever you want You no longer need an expensive professional studio to record pitch-perfect music. Today, the tools to create high-fidelity, multi-track audio are found on computers, tablets, and even smartphones. This friendly, no-jargon guide from a master musician, composer, and recording engineer shows you how to use technology to lay down, edit, mix, and master your ideas. Along the way you'll get insider tips that help you create your sound and transform your good recordings into great ones. Inside… Acquire the right hardware Find the ideal recording space Get to know different mics Record live or virtual sounds Get rhythmic with tracks and loops Enhance and edit tracks Polish songs to perfection Distribute your finished product
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Charles Mingus is among jazz’s greatest composers and perhaps its most talented bass player. He was blunt and outspoken about the place of jazz in music history and American culture, about which performers were the real thing (or not), and much more. These in-depth interviews, conducted several years before Mingus died, capture the composer’s spirit and voice, revealing how he saw himself as composer and performer, how he viewed his peers and predecessors, how he created his extraordinary music, and how he looked at race. Augmented with interviews and commentary by ten close associates—including Mingus’s wife Sue, Teo Macero, George Wein, and Sy Johnson—Mingus Speaks provides a wealth of new perspectives on the musician’s life and career.
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Music therapists are trained to use their first study instrument in clinical practice, yet existing literature focuses almost exclusively on the use of piano, basic percussion and voice.This illuminating book brings together international music therapists who use a diverse range of musical instruments in their clinical work: the clarinet, the piano accordion, the flute, the cello, the trumpet and flugelhorn, the bassoon, the violin, the viola, the harp, the guitar, lower brass instruments (the trombone and the euphonium), the oboe, the saxophone and bass instruments (double bass and bass guitar). Each therapist reflects on their relationship with their instrument and the ways in which they use it in therapeutic settings, discussing its advantages and disadvantages in a variety of clinical populations: children and adolescents, adults with learning disabilities, adults with mental health problems and older people.This will be essential reading for any music therapist or student music therapist who uses or is interested in using a musical instrument in their work, and will be of interest to other caring and healthcare professionals, teachers, musicians and carers wanting to learn more about instrumental music therapy.
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Categorizing Sound addresses the relationship between categories of music and categories of people, particularly how certain ways of organizing sounds becomes integral to how we perceive ourselves and how we feel connected to some people and disconnected from others. Presenting a series of case studies ranging from race music and old-time music of the 1920s through country and R&B of the 1980s, David Brackett explores the processes by which genres are produced. Using in-depth archival research and sophisticated theorizing about how musical categories are defined, Brackett has produced a markedly original work.
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Save studio fees with pro-quality recording at home Home Recording For Musicians For Dummies offers simple explanations on how to record music in a home studio, no matter your style, method, or sound. With expert guidance every step of the way, you'll find the answers to your questions about choosing equipment, recording tracks, editing, mixing, mastering, and more. Updated to reflect the latest home recording technology, this new edition addresses styles from live bands to electronica with easy navigation to the information you need most. Beginners will find straightforward instruction on the fundamentals, while more experienced home recording engineers will appreciate insight to the tricks the pros use. With home recording gear increasingly approaching professional quality, the home studio is no longer the domain of the DIY-or-die. Even professional musicians are saving studio fees by recording at home, and today's plug-and-play technology makes high-quality sound accessible to those with a more amateur level of experience and budget. Home Recording For Musicians For Dummies gives you the information you need to set up your studio and use it like a pro: Choose the right gear for the job, and set up for quality sound Learn the fundamentals of recording, from choosing a mic to working with a mixer Master MIDI, multitrack recording, and audio capture for optimum sourcing Edit, mix, and master your tracks, and add effects to enhance your sound Don't let poor audio quality distract from your music. Find out what tools you need, how to use them, and how to follow the time-tested steps of making a record. You spend valuable time developing your talent, skills, and sound, so take a minute to learn how to make your music shine with the expert advice and easy-to-follow instruction in Home Recording For Musicians For Dummies.
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<P>Chambers is a virtually complete collection of composer Alvin Lucier's major works from 1965 to 1977, interspersed with twelve interviews with the composer by Douglas Simon. Each score is written in prose and may be read by musicians as instructions for performance or by general readers as descriptions of imaginary musical activities. In response to Simon's searching questions, Lucier expands on each composition, not only explaining its genesis and development but also revealing its importance to the vigorously experimental American tradition to which Alvin Lucier belongs.</P><P>Many of his compositions jolt conventional notions of the role of composer, performer, and listener, and the spaces in which they play and listen. His works are scored for an astonishing range of instruments: seashells, subway stations, toy crickets, sonar guns, violins, synthesizers, bird calls, and Bunsen burners. All are unique explorations of acoustic phenomena –; echoes, brain waves, room resonances –; and radically transform the idea of music as metaphor into that of music as physical fact.</P>
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Play your way to banjo-playing expertise Traditionally associated with country, folk, and bluegrass music, the banjo is accessible to anyone with the patience and willpower to learn it. This second edition of Banjo For Dummies does the rest of the work for you with updated practice lessons, teaching techniques, and step-by-step examples. With this guide, you will learn tips and techniques for selecting the right instruments and accessories, how to develop correct hand position and posture, and how to tune, care for, and make simple repairs to the instrument. An updated multimedia component features companion audio tracks and complementary video lessons that cement the concepts readers gain during their reading. Written by Bill Evans, an accomplished five-string banjo player, teacher, writer, and historian Includes access to «how-to» videos on Dummies.com Ideal for anyone who wants to learn to play this classic instrument For musicians hoping to lend their art an edge or interested learners looking to pick up a unique skill, Banjo For Dummies is a must-have, straightforward guide to success.
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Serious about jamming, understanding, and creating guitar-driven music? Easy. With an approachable and engaging style, Guitar Theory For Dummies goes beyond guitar basics, presenting the guidance intermediate to advanced players need to improve their improvisational and compositional skills. Plus, with access to audio tracks and video instruction online you can master the concepts and techniques covered in the book. Key content coverage includes: pentatonic and major scale patterns; the CAGED chord system, chord progressions, and playing by numbers; roots, keys, and applying scales, plus modes and modal scales; intervals and chord extensions; popular song references and theory applications that help you understand how to play popular music and contemporary guitar styles, and create music of your own. This title also features companion audio tracks and video content hosted online at Dummies.com The expert instruction and easy-to-digest information provides comprehensive guidance on how to apply music theory concepts to fretted instruments If you already have a handle on the basics and want to know more about the building blocks and theory behind guitar music, Guitar Theory For Dummies has you covered.
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Romance, murder, and revenge — Don Giovanni offers an ingenious blend of comic and tragic elements in recounting the adventures of a dashing libertine whose trail of seductions and abandonments leads (literally!) to hell. Mozart's masterpiece, a product of his inspired collaboration with poet Lorenzo da Ponte, premiered to public and critical acclaim in 1787. Since then, every great opera singer has assayed one or another of its leading roles, and audiences around the world have delighted in its charms.This addition to Dover's series of vocal scores for the world's most popular operas contains the complete music for voice with a piano reduction of the orchestral part. Handsome and inexpensive, it features large pages and clear type for easy reading. Reproduced from an authoritative edition, and including an English-language version of the libretto, this edition of Don Giovanni will prove an indispensable, practical aid for soloists, chorus members, and rehearsal pianists.
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This book is a summary of exercises and jazz improvisation lines designed to improve contemporary jazz style techniques.
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"La Bohème is perhaps Puccini's most nearly perfect opera." — Hughes, Famous Puccini Operas.It has long been one of the world's most beloved musical works — an instantly enchanting blend of charm, warmth, gaiety, and pathos, brought to vibrant life by Puccini's sparkling, lighthearted score. La Bohème, based on Henri Murger's novel Scènes de la Vie de Bohème, was first performed at the Teatro Regio, Turin, in 1896. It soon became a staple of the operatic repertoire and has remained so ever since. Grove's Dictionary of Music and Musicians notes that «Puccini's music reflects the alternate gaiety and pathos of Murger's novel with a truth and sincerity to which no name but that of genius can be applied.»Now musicians, opera enthusiasts, and all music lovers can enjoy the full score of this wonderful masterpiece in a sturdy, attractive volume. Reprinted complete and unabridged from an authoritative Italian edition, with English translations of the lists of characters and instruments and a new table of contents, this edition offers an inexpensive, high-quality score ideal for reading and study. It is a valuable aid to the full enjoyment of a unique and lasting musical landmark.
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Standing at the crossroads – the Mississippi crossroads of Robert Johnson and the devil's infamous meeting – Mark Radcliffe found himself facing his own personal crunch point. Aged sixty, he had just mourned the death of his father, only to be handed a diagnosis of mouth and throat cancer. This momentous time in his life, and being at the most famous junction in music history, led Radcliffe to think about the pivotal tracks in music and how the musicians who wrote and performed them – from Woodie Guthrie to Gloria Gaynor, Kurt Cobain to Bob Marley – had reached the crossroads that led to such epoch-changing music. In this warm, intimate account of music and its power to transform our lives, Radcliffe takes a personal journey through these touchstone tracks, looking at the story behind the records and his own experiences as he goes in search of these moments.
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This book is a summary of exercises and jazz improvisation lines designed to improve contemporary jazz style techniques.
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<P>Britain is widely considered the cradle of independent music culture. Bands like Radiohead and Belle and Sebastian, which epitomize indie music's sounds and attitudes, have spawned worldwide fanbases. This in-depth study of the British independent music scene explores how the behavior of fans, artists, and music industry professionals produce a community with a specific aesthetic based on moral values. Author Wendy Fonarow, a scholar with years of experience in the various sectors of the indie music scene, examines the indie music «gig» as a ritual in which all participants are actively involved. This ritual allows participants to play with cultural norms regarding appropriate behavior, especially in the domains of sex and creativity. Her investigation uncovers the motivations of audience members when they first enter the community and how their positions change over time so that the gig functions for most members as a rite of passage. Empire of Dirt sheds new light on music, gender roles, emotion, subjectivity, embodiment, and authenticity.</P>
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<P>In this brilliant collection, path-breaking figures of American experimental music discuss the meaning of their work at the turn of the twenty-first century. Presented between 1989 and 2002 at Wesleyan University, these captivating lectures provide rare insights by composers whose work has shaped our understanding of what it means to be experimental: Maryanne Amacher, Robert Ashley, Philip Glass, Meredith Monk, Steve Reich, James Tenney, Christian Wolff, and La Monte Young. Collected here for the first time, together these lectures tell the story of twentieth-century American experimental music, covering such topics as repetition, phase, drone, duration, collaboration, and technological innovation. Containing introductory comments by Lucier and the original question and answer sessions between the students and the composers, this book makes the theory and practice of experimental music available and accessible to a new generation of students, artists, and scholars.</P>
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In 1910, following his successful orchestration of selections for the ballet Les Sylphides, the innovative young composer Igor Stravinsky was commissioned by the director of the Ballets Russes, Serge Diaghilev, to create a completely new score. The dazzling result was The Firebird, a work which brought overnight success to its creator and distinguished him as the most gifted of the younger generation of Russian composers. Based on Russian fairy tales, the piece, according to Grove's Dictionary of Music and Musicians, has «all the coloring of a Russian child's picture book…brilliant orchestration, glowing color…an extraordinary evocative power which literally enchants the listener.»Today, The Firebird is as popular and enthusiastically received as it was following its triumphant premiere in Paris more than a century ago. Greatly admired for its orchestrations and harmony, the composition is widely studied by practicing musicians and music students.Now the complete score of this modern masterpiece is available in this handsome, authoritative, and inexpensive edition, which includes a list of instruments and English translations of the stage directions.
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While better known for his great orchestral works, Tchaikovsky composed a large number of solo pieces that are loved and played by pianists the world over. This new collection, bringing together the best and most popular of these compositions, is the finest single-volume edition of Tchaikovsky's solo piano music now available.Featured in this volume are two particularly well-known works: The Seasons, Op. 37bis, a suite of 12 pieces, each bearing the name — and capturing the spirit — of one of the months, and Album for the Young, Op. 39, a set of 24 easy pieces popular with pianists of all levels for their charm and lyric grace. Also included in this edition are five early pieces: Thème original et variations, Op. 19, No. 6; the famous «Chanson trists» and three other pieces from Op. 40; Valse sentimentale, Op. 51, No. 6; Doumka, Op. 59; and ten favorite excerpts from Eighteen Characteristic Pieces, Op. 72.
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"His melodic imagination displays admirable freshness. He possesses a delicate harmonic sense. His themes show the inspirations of an impassioned musician: perfectly created, firm in line, vivid, and enduring in color. His art never wavers; it consistently exhibits a magnificent technique." — John Gillespie, Five Centuries of Keyboard MusicThis famous edition, prepared a century ago by Johannes Brahms and Friedrich Chrysander, presents all of the 27 keyboard suites, or Ordres, by the great French composer François Couperin (1668–1733). Also included are the Allemande and 8 Preludes from Couperin's famous harpsichord treatise, L'Art de Toucher le Clavecin.In these magnificent works (there are over 200 compositions in the two volumes) lies the supreme achievement of French keyboard music, a rich source of subtle, sometimes startling, always pleasurable music for keyboard artists and students at every level of expertise. The moods, rhythms, and melodies of these distinctive compositions range across a broad musical spectrum, from crisp gavottes to noble sarabandes, from flowing allemandes to lively gigues. Some of the pieces suggest carnival merriment, others tender reflection; most have colorful and mysterious names. Couperin's virtuoso command of harpsichord style, his magnificent technique, and ever-fresh melodic imagination pervade them all.Witty, graceful, and tuneful, the keyboard works of Couperin represent a wonderful legacy of late-baroque masterpieces. Beautifully reproduced in this inexpensive edition, they make abundantly clear the justice of Bach's intense admiration for Couperin's music and the aptness of the French master's surname — «le grand.»
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Renowned for the originality of his music and his gifts as a melodist, Henry Purcell (1659–1695) was the preeminent English composer of the seventeenth century and one of the greatest that nation has ever produced. His gifts are apparent not only in the vocal and orchestral works on which his fame rests, but in his delightful keyboard music, much of which is relatively simple and easy to perform. This volume is a near-complete collection of Purcell's keyboard compositions, including the eight suites, the core of his keyboard works. Also included are many miscellaneous one-movement pieces: airs, trumpet tunes (for harpsichord solo), grounds, preludes, dances, etc.Piano students and pianists of intermediate skills will enjoy these pieces for their charm and accessibility. Gathered here in one convenient, inexpensive volume, they offer a treasury of time-honored music that musicians and music lovers will turn to again and again.This volume has been edited with a preface by the noted music scholar William Barclay Squire.
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Gli attori di oggi devono essere capaci di recitare come solisti nel mondo sia del teatro che del cinema. La tecnica della “Verticale del Ruolo” consente agli attori di lavorare sul loro ruolo in maniera indipendente, rendendoli liberi e autonomi oltre che artisti a tutti gli effetti. Offre le basi per tutte le tipologie di audizione, ma anche per l’interazione artistica all’interno di un ensemble o con un regista. Generazioni di attori sono cresciute con il classico di Stanislavsky “Il lavoro dell’attore su se stesso” ma il teatro del 21° secolo con la sua particolare struttura di produzione richiede nuove forme di lavoro indipendente da parte dell’attore. Jurij Alschitz ha sviluppato il metodo della “Verticale del Ruolo” durante gli anni di ricerca all’interno della pratica teatrale, metodo sperimentato nei Centri Teatrali Europei che ha creato in Germania, Italia e Scandinavia. Egli ha verificato e applicato questo metodo con successo nella pratica della scena teatrale in vari paesi. Jurij Alschitz nel libro espone i suoi pensieri sull’etica della professione dell’attore. Egli vede l’attore come un autore, un creatore e il centro della performance drammatica, che dovr?, di conseguenza, essere equipaggiato di appropriate capacit? tecniche per adempiere diversi compiti. Le successive fasi del lavoro dell’attore nella “Verticale del Ruolo” sono esposte in dettaglio, pronte per essere usate dagli attori, o per costituire le basi per insegnanti i registi che desiderino applicare questo metodo. Un capitolo a parte descrive il quotidiano training per l’attore sulla base di esercizi pratici.
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Porywające wprowadzenie do opery od czasów renesansu aż po XXI wiek. Oto książka, która zabierze cię w porywającą podróż po eklektycznej przeszłości i teraźniejszości opery. Poczynając od powszechnie uważanego za pierwszą udaną operę „Orfeusza” Monteverdiego z 1607 roku, przez takie klasyki jak „Carmen” czy „Cyganeria”, a kończąc na współczesnych dziełach jak „Brokeback Mountain” czy „Śmierć Klinghoffera”. Instrumentalistka i krytyczka Vivien Schweitzer prezentuje czytelnikom najważniejszych kompozytorów i najbardziej wpływowych wykonawców. Opowiada też o toczących się przez wiele lat sporach i wyjaśnia najistotniejsze pojęcia związane z operą. Niewiele jest tak intuicyjnych i emocjonalnych form sztuki, jak opera – niewiele też tak bardzo przytłacza nowicjuszy. „Szalona miłość” to pozycja obowiązkowa dla wszystkich, którzy chcą poznać tę tętniącą życiem i wiecznie zmieniającą się formę sztuki w całej okazałości.Сравните стоимость на 16.02.2026 и выберите театральные постановки по цене от 512 рублей! В каталоге представлено 148 моделей с фото, подробными характеристиками и отзывами покупателей. Прайс обновляется ежедневно. Мы знаем, где купить театральные постановки выгодно. Закажите онлайн с курьерской доставкой на дом в Москве, Санкт-Петербурге и других городах России. Удобно, выгодно, надежно!
