Libros de Música, página 160 de 1549

Created in the jazz clubs of New York City, and initially treated by most musicians and audiences as radical, chaotic, and bewildering: bebop has become, Thomas Owen writes, 'the lingua franca of jazz, serving as the principal musical language of thousands of jazz musicians.' In Bebop, Owens conducts us on an insightful, loving tour through the music, players, and recordings that changed American culture. Combining vivid portraits of bebop's gigantic personalities - among them Charlie Parker, Dizzy Gillespie, and Miles Davis - with deft musical analysis, he offers an instrument-by-instrument look at the key players and their innovations.

Walton's two coronation marches - Crown Imperial, written for the coronation of George VI in 1937, and Orb and Sceptre, written for the coronation of Elizabeth II in 1953 - are both stirring marches with sweeping tunes, and famous examples of the genre. They are published here in new editions taken from the Walton Edition volume of shorter orchestral pieces, with a short preface from the editor, David Lloyd-Jones.

Analytical and Cross-Cultural Studies in World Music presents intriguing explanations of extraordinary musical creations from diverse cultures across the world. All the authors are experts, deeply engaged in the traditions they describe. They recount the contexts in which the music is created and performed, and then hone in on elucidating how the music works as sound in process. Accompanying the explanatory prose is a wealth of diagrams, transcriptions, recordings, and (online) multimedia presentations, all intended to convey the richness, beauty, and ingenuity of their subjects. The music ranges across geography and cultures - court music of Japan and medieval Europe, pagode song from Brazil, solos by the jazz pianist Thelonius Monk and by the sitar master Budhaditya Mukherjee, form-and-timbre improvisations of a Boston sound collective, South Korean folk drumming, and the ceremonial music of indigenous cultures in North American and Australia-much of which has never been analyzed so thoroughly before. Thus the essays diversify and expand the scope of this book's companion volume, Analytical Studies in World Music, to all inhabited continents and many of its greatest musical traditions. An introduction and an afterword point out common analytical approaches, and present a new way to classify music according to its temporal organization. Two special chapters consider the juxtaposition of music from different cultures: of world music traditions and popular music genres, and of Balinese music and European Art music, raising provocative questions about the musical encounters and fusions of today's interconnected world. For everyone listening in wonderment to the richness of world music, whether listener, creator, or performer, this book will be an invaluable resource and a fount of freeiration.

Sound film captivated Sergey Prokofiev during the final two decades of his life: he considered composing for nearly two dozen pictures, eventually undertaking eight of them, all Soviet productions. Hollywood luminaries such as Gloria Swanson tempted him with commissions, and arguably more people heard his film music than his efforts in all other genres combined. Films for which Prokofiev composed, in particular those of Sergey Eisenstein, are now classics of world cinema. Drawing on newly available sources, Composing for the Red Screen examines - for the first time - the full extent of this prodigious cinematic career. Author Kevin Bartig examines how Prokofiev's film music derived from a self-imposed challenge: to compose serious music for a broad audience. The picture that emerges is of a composer seeking an individual film-music voice, shunning Hollywood models and objecting to his Soviet colleagues' ideologically expedient film songs. Looking at Prokofiev's film music as a whole - with well-known blockbusters like Alexander Nevsky considered alongside more obscure or aborted projects - reveals that there were multiple solutions to the challenge, each with varying degrees of success. Prokofiev carefully balanced his own populist agenda, the perceived aesthetic demands of the films themselves, and, later on, Soviet bureaucratic demands for accessibility.

Gene Lees is probably the best jazz essayist in America today, and the book that consolidated his reputation was Singers and the Song, which appeared in 1987. Now this classic work is being released in an expanded edition: Singers and the Song II. This volume includes famous selections from the original edition, including Lees' classic profile of Frank Sinatra, as well as new essays.

This major new collection is the perfect resource for small choirs, young choirs, and all choirs whose numbers fluctuate week by week. Each piece is scored flexibly with optional parts or parts for equal voices, so that it can be performed by more than one combination of performers; many pieces can also be sung in unison. The music is accessible - ideal for choirs with limited rehearsal time - and keyboard parts are playable on organ (with or without pedals) or piano. The repertoire spans the sixteenth century to the present day and includes new, flexibly scored arrangements of traditional pieces, as well as newly commissioned anthems. There are also pieces in lighter styles, to cater for a broad range of tastes. With complete coverage of the church year, this is an essential resource for those looking for fresh and accessible options for church services.

The royal string band at the English Court had its origins in a six-man consort from Italy, brought to England by Henry VIII in the spring of 1540. Peter Holman's book charts the history of this institution from its beginnings to the time of Purcell. He considers the previous history of instrumentalists at court, the role of the court band in the sixteenth and seventeenth centuries, and its influence on the dance music of the period. The establishment of the band at the English court is set in the context of the violin's place in Europe in the sixteenth century, as the author considers the origins of the instrument and discusses contemporary references to violin bands in court, town, and church. The development of the violin band is traced by reference to an immense amount of documentary information, much of it new. The first thorough treatment of this subject, Peter Holman's book will be welcomed for the new light it sheds on large areas of musical history.

This is not only the first life-and-works on Musorgsky in English for over half a century but also the largest such study of the composer ever to have appeared outside Russia. Mussorgsky was one of the towering figures of nineteenth century Russian music - but also one of the most tragic. Largely an amateur with no systematic training in composition, he nevertheless emerged in his first opera, Boris Godunov, as a supreme musical dramatist, presenting here (and in certain of his piano pieces in Pictures at an Exhibition) some of the most startlingly original of all song composers, with a prodigious gift for uncovering the emotional content of a text. His failure to complete his two remaining operas, Khovanshchina and Sorochintsy Fair, before his premature death from alcohol poisoning is one of music's greatest tragedies.

The definitive collection of 100 anthems, mostly for SATB voices, from Tudor times to the present day, including favourites from each period, and lesser-known pieces. Keyboard reductions are included for unaccompanied music, and organ accompaniments are always practical.

Few people these days would question Mozart's rating as the most popular of all classical composers. Yet there exists no substantial, up-to-date English-language study of the man and his works. In this study of Mozart's early years, Stanley Sadie aims to fill this gap in the form of a traditional biography on a straightforward chronological basis. The volume covers the period up to 1781, the year of Idomeneo and Mozart's settling in Vienna. Individual works are discussed in sequence and related to the events of his life. Stanley Sadie draws substantially on the family correspondence, quoting the letters and discussing what they tell us about Mozart and his world and his relationships with his family and his professional colleagues. Also included is a discussion of all aspects of Mozart's life and his music, relating them to the environment in which he worked, social, economic and cultural as well as musical. Much new material connected with Mozart has come to light in recent years. There have been discoveries of musical sources and new ways of studying known ones. Such finds and methods have changed our view of the chronology of many works and they often have significant biographical ramifications. Understanding of the context for Mozart's music, and indeed his life, has broadened immensely. Stanley Sadie's biography digests and interprets this corpus of new information.

This major new collection is the perfect resource for small choirs, young choirs, and all choirs whose numbers fluctuate week by week. Each piece is scored flexibly with optional parts or parts for equal voices, so that it can be performed by more than one combination of performers; many pieces can also be sung in unison. The music is accessible - ideal for choirs with limited rehearsal time - and keyboard parts are playable on organ (with or without pedals) or piano. The repertoire spans the sixteenth century to the present day and includes new, flexibly scored arrangements of traditional pieces, as well as newly commissioned anthems. There are also pieces in lighter styles, to cater for a broad range of tastes. With complete coverage of the church year, this is an essential resource for those looking for fresh and accessible options for church services.

Modern musical training tends to focus primarily on performance practices of the Classical and Romantic periods, and most performers come to the music of the Renaissance with well-honed but anachronistic ideas and concepts. As a result, elemental differences between 16th-century repertoire and that of later epochs tend to be overlooked-yet it is just these differences which can make a performance truly stunning. The Performance of 16th-Century Music offers a remedy for the performer, presenting the information and guidance that will enable them to better understand the music and advance their technical and expressive abilities. Drawing from nearly 40 years of performing, teaching, and studying this repertoire and its theoretical sources, renowned early music specialist Anne Smith outlines several major areas of technical knowledge and skill needed to perform the music of this period. She takes the reader through part-books and choirbooks; solmization; rhythmic inequality; and elements of structure in relation to rhetoric of the time; while familiarizing them with contemporary criteria and standards of excellence for performance. Through The Performance of 16th-Century Music, today's musicians will gain fundamental insight into how 16th-century polyphony functions, and the tools necessary to perform this repertoire to its fullest and glorious potential.

Composer, pianist, and critic Claude Debussy's musical aesthetic represents the single most powerful influence on international musical developments during the long fin de siecle period. The development of Debussy's musical language and style was affected by the international political pressures of his time, beginning with the Franco-Prussian War of 1871 and the rise of the new Republic in France, and was also related to the contemporary philosophical conceptualization of what constituted art. The Debussy idiom exemplifies the ways in which various disciplines - musical, literary, artistic, philosophical, and psychological - can be incorporated into a single, highly-integrated artistic conception. Rethinking Debussy draws together separate areas of Debussy research into a lucid perspective that reveals the full significance of the composer's music and thought in relation to the broader cultural, intellectual, and artistic issues of the twentieth century. Ranging from new biographical information to detailed interpretations of Debussy's music, the volume offers significant multidisciplinary insight into Debussy's music and musical life, as well as the composer's influence on the artistic developments that followed. Chapters include: Russian Imprints in Debussy's Piano Music; Music as Encoder of the Unconscious in Pelleas et Melisande; An Artist High and Low, or Debussy and Money; Debussy's Ideal Pelleas and the Limits of Authorial Intent; Debussy in Daleville: Toward Early Modernist Hearing in the United States; and more. Rethinking Debussy will appeal to students and scholars of French music, opera, and modernism, and literary and French studies scholars, particularly concerned with Symbolism and theatre. General readers will be drawn to the book as well, particularly to chapters focusing on Debussy's finances, dramatic works, and reception.

The Music in the Middle East: Experiencing Music, Expressing Culture is a case study in the Global Music series, edited by Bonnie Wade and Patricia Campbell. This book focuses on the variety of music that fill the eastern Arab world, with special focus on musics found in modern day Egypt. Based on his extensive fieldwork, Marcus introduces the features that unify much of Middle Eastern music. The book highlights the dynamic nature of Middle Eastern music culture and also explores the impact of modernization and westernization on musical culture as well as music's role in helping to create a regional, national, and community identity. The three themes focused upon are the concepts of melodic and rhythmic music that underlie the art, folk and popular styles of the region, the deep interrelationship between Islam and music and Westernization and modernization. Concentrating on the performer musician and the fieldworker, this book provides an intimate sense of the fabric of the music itself and of aspects of the culturalcontext of music in present day Egypt.

This is an exuberant and high-spirited work, written when the composer was nineteen. With a hauntingly beautiful contrasting slow movement, this is a fine concert piece for sutdents of about grade 7

For the modern West, Bali has long served as an icon of exotic pre-modern innocence. Yet the reality of modern Bali stands in stark contrast to this prevailing and enduring image, a contrast embodied by a movement of local musical experimentation, musik kontemporer, which emerged in the 1970s and which still thrives today. In Radical Traditions, author Andrew Clay McGraw shows how music kontemporer embodies the tensions between culture as represented and lived, between the idea of Balinese culture and the experience of living it. Through a highly interdisciplinary approach informed by ethnomusicology, cultural studies, postcolonial studies, anthropology, and theater studies, McGraw presents an all-encompassing social and musical history of musik kontemporer, and its intersections with class, ethnicity, and globalization. As the first English language monograph on this important Indonesian musical genre, Radical Traditions is an essential resource for anyone fascinated by modern Indonesian and Balinese music and culture.

The Polish composer Henry Gorecki (born 1933) achieved world-wide renown in 1992 when his Third Symphony, written in 1976, was recorded on CD and became an international bestseller. It is now one of the best known musical compositions of recent years, yet Gorecki's other music is still relatively little known. This study, the first detailed account of his works in any language, provides biographical information as background to the music, and is by a leading enthusiast of Gorecki's music. Adrian Thomas discusses Gorecki's position as leader of the Polish avant-garde in the late 1950s, and his subsequent discovery of the folk and church music of Old Poland, notably that of the Podhale region in southern Poland. He describes Gorecki's unmistakable musical world, from the large orchestral scores (Scontri, Refrain, the Symphonies) and the choral works (Beatus Vir, commissioned by and dedicated to Pope John Paul II), to the more modest church songs and folk-song arrangements. There is a complete list of works since 1955 with details of instrumentation and recordings, and a select bibliography.