- Table View
- List View
Playing Jazz in Socialist Vietnam: Quyền Văn Minh and Jazz in Hà Nội
by Stan BH Tan-Tangbau Văn Minh QuyềnShortlisted for the EuroSEAS Humanities Book Prize 2022Quyền Văn Minh (b. 1954) is not only a jazz saxophonist and lecturer at the prestigious Vietnam National Academy of Music, but he is also one of the most preeminent jazz musicians in Vietnam. Considered a pioneer in the country, Minh is often publicly recognized as the “godfather of Vietnamese jazz.” Playing Jazz in Socialist Vietnam tells the story of the music as it intertwined with Minh’s own narrative. Stan BH Tan-Tangbau details Minh’s life story, telling how Minh pioneered jazz as an original genre even while navigating the trials and tribulations of a fervent socialist revolution, of the ideological battle that was the Cold War, of Vietnam’s war against the United States, and of the political changes during the Đổi Mới period between the mid-1980s and the 1990s. Minh worked tirelessly and delivered two breakthrough solo recitals in 1988 and 1989, marking the first time jazz was performed in the public sphere in the socialist state. To gain jazz acceptance as a mainstream musical art form, Minh founded Minh Jazz Club. With the release of his debut album of original compositions in 2000, Minh shaped the nascent genre of Vietnamese jazz. Minh’s endeavors kickstarted the momentum, from his performing jazz in public, teaching jazz both formally and informally, and contributing to the shaping of an original Vietnamese voice to stand out among the many styles in the jazz world. Most importantly, Minh generated a public space for musicians to play and for the Vietnamese to listen. His work eventually helped to gain jazz the credibility necessary at the national conservatoire to offer instruction in a professional music education program.
Playing Like Pa
by Pam BachorzStella listens to her grandpa play piano at the Tulip Café for the final time before he retires.
Playing Through the Turnaround
by Mylisa LarsenIn a timely, insightful story told with sparkling wit and heart, young musicians protesting plans for budget cuts navigate miscalculations, indifferent adults, and unexpected loss as they discover the power of speaking out and the value of listening.“A brave and dazzling debut, this timely novel is a blueprint for hope.”—Katherine Applegate, Newbery Medalist and best-selling author of The One and Only Ivan“Keen and clear and fiercely funny.”—Linda Sue Park, Newbery Medalist and best-selling author of A Long Walk to Water“Brilliant, sharp, comic, poignant, and true.”— Gary D. Schmidt, two-time Newbery Honor-winning author of The Wednesday Wars“A splendid novel filled with honesty and heart.”—Karina Yan Glaser, best-selling author of the Vanderbeekers series.Fifth period is hands down the best time of day in Connor U. Eubanks Middle School, because that’s when Mr. Lewis teaches Jazz Lab. So his students are devastated when their beloved teacher quits abruptly. Once they make a connection between budget cuts and Mr. Lewis’s disappearance, they hatch a plan: stop the cuts, save their class.Soon, they become an unlikely band of crusaders, and their quest quickly snowballs into something much bigger—a movement involving the whole middle school. But the adults in charge seem determined to ignore their every protest. How can the kids make themselves heard?
Playing for Keeps: Improvisation in the Aftermath (Improvisation, Community, and Social Practice)
by Eric Porter Daniel FischlinThe contributors to Playing for Keeps examine the ways in which musical improvisation can serve as a method for negotiating violence, trauma, systemic inequality, and the aftermaths of war and colonialism. Outlining the relation of improvisatory practices to local and global power structures, they show how in sites as varied as South Africa, Canada, Egypt, the United States, and the Canary Islands, improvisation provides the means for its participants to address the past and imagine the future. In addition to essays, the volume features a poem by saxophonist Matana Roberts, an interview with pianist Vijay Iyer about his work with U.S. veterans of color, and drawings by artist Randy DuBurke that chart Nina Simone's politicization. Throughout, the contributors illustrate how improvisation functions as a model for political, cultural, and ethical dialogue and action that can foster the creation of alternate modes of being and knowing in the world.Contributors. Randy DuBurke, Rana El Kadi, Kevin Fellezs, Daniel Fischlin, Kate Galloway, Reem Abdul Hadi, Vijay Iyer, Mark Lomanno, Moshe Morad, Eric Porter, Sara Ramshaw, Matana Roberts, Darci Sprengel, Paul Stapleton, Odeh Turjman, Stephanie Vos
Playing for Their Lives: The Global El Sistema Movement for Social Change Through Music
by Tricia Tunstall Eric BoothAn eye-opening view of the unprecedented global spread of El Sistema--intensive music education that disrupts the cycles of poverty. In some of the bleakest corners of the world, an unprecedented movement is taking root. From the favelas of Brazil to the Maori villages in New Zealand, from occupied Palestine to South Central Los Angeles, musicians with strong social consciences are founding intensive orchestra programs for children in need. In this captivating and inspiring account, authors Tricia Tunstall and Eric Booth tell the remarkable story of the international El Sistema movement. A program that started over four decades ago with a handful of music students in a parking garage in Caracas, El Sistema has evolved into one of classical music's most vibrant new expressions and one of the world's most promising social initiatives. Now with more than 700,000 students in Venezuela, El Sistema's central message--that music can be a powerful tool for social change--has burst borders to grow in 64 countries (and that number increases steadily) across the globe. To discover what makes this movement successful across the radically different cultures that have embraced it, the authors traveled to 25 countries, where they discovered programs thriving even in communities ravaged by poverty, violence, or political unrest. At the heart of each program is a deep commitment to inclusivity. There are no auditions or entry costs, so El Sistema's doors are open to any child who wants to learn music--or simply needs a place to belong. While intensive music-making may seem an unlikely solution to intractable poverty, this book bears witness to a program that is producing tangible changes in the lives of children and their communities. The authors conclude with a compelling and practicable call to action, highlighting civic and corporate collaborations that have proven successful in communities around the world.
Playing on Words: A Guide to Luciano Berio's Sinfonia (Royal Musical Association Monographs #1)
by David Osmond-SmithLuciano Berio's Sinfonia (1968) marked a return by the composer to orchestral writing after a gap of six years. This in-depth study demonstrates the central position the work occupies in Berio's output. David Osmond-Smith discusses the way in which Berio used the Bororo myth described in Levi-Strauss's Le cru et le cuit as a framework for Sinfonia. This is one of many influences in the work, which also include Joyce's 'Sirens' chapter from Ulysses, Beckett's The Unnameable and the scherzo from Mahler's 2nd Symphony. The listener who takes refuge in the score of Sinfonia, argues Osmond-Smith, finds there a maze of allusions to things beyond the score. It is some of those allusions that this book seeks to illuminate.
Playing the Cello, 1780-1930
by George KennawayThis innovative study of nineteenth-century cellists and cello playing shows how simple concepts of posture, technique and expression changed over time, while acknowledging that many different practices co-existed. By placing an awareness of this diversity at the centre of an historical narrative, George Kennaway has produced a unique cultural history of performance practices. In addition to drawing upon an unusually wide range of source materials - from instructional methods to poetry, novels and film - Kennaway acknowledges the instability and ambiguity of the data that supports historically informed performance. By examining nineteenth-century assumptions about the very nature of the cello itself, he demonstrates new ways of thinking about historical performance today. Kennaway’s treatment of tone quality and projection, and of posture, bow-strokes and fingering, is informed by his practical insights as a professional cellist and teacher. Vibrato and portamento are examined in the context of an increasing divergence between theory and practice, as seen in printed sources and heard in early cello recordings. Kennaway also explores differing nineteenth-century views of the cello’s gendered identity and the relevance of these cultural tropes to contemporary performance. By accepting the diversity and ambiguity of nineteenth-century sources, and by resisting oversimplified solutions, Kennaway has produced a nuanced performing history that will challenge and engage musicologists and performers alike.
Playing the Changes: Jazz at an African University and on the Road
by Darius Brubeck Catherine BrubeckCatherine and Darius Brubeck’s 1983 move to South Africa launched them on a journey that helped transform jazz education. Blending biography with storytelling, the pair recount their time at the University of KwaZulu-Natal, where they built a pioneering academic program in jazz music and managed and organized bands, concerts, and tours around the world. The Brubecks and the musicians faced innumerable obstacles, from the intensification of apartheid and a lack of resources to the hardscrabble lives that forced even the most talented artists to the margins. Building a program grounded in multi-culturalism, Catherine and Darius encouraged black and white musicians to explore and expand the landscape of South African jazz together Their story details the sometimes wily, sometimes hilarious problem-solving necessary to move the institution forward while offering insightful portraits of South African jazz players at work, on stage, and providing a soundtrack to the freedom struggle and its aftermath. Frank and richly detailed, Playing the Changes provides insiders’ accounts of how jazz intertwined with struggle and both expressed and resisted the bitter unfairness of apartheid-era South Africa.
Playing the Piano for Pleasure: The Classic Guide to Improving Skills Through Practice and Discipline
by Charles Cooke Michael KimmelmanSkyhorse Publishing is proud to revive Playing Piano for Pleasure. With the wonderful writing one would expect from a longtime New Yorker reporter, Piano aficionado Charles Cooke, offers concrete routines for improving your piano performance. A pleasant and constant cheerleader, Cooke asks readers to practice every day, suggesting that they work through just that section time and again until it is perfect. In addition to his own thoughts, Cooke includes material from his interviews with master pianists, artists, and writers. The result is a book that should be cherished for years to come.
Playing the Violin
by Mark RushDrawing on twenty years of teaching experience, author Mark Rush systematically builds the fundamentals of violin playing from the ground up. The book focuses on proper setup from how to stand, to holding the violin, to the best way to move the bow. These are fundamental components necessary for success and the earlier these good habits are established the better.
Playing with Fire: The Story of Maria Yudina, Pianist in Stalin's Russia
by Elizabeth WilsonThe first full biography of the fearless and brilliant Maria Yudina, a legendary pianist who was central to Russian intellectual life Maria Yudina was no ordinary musician. An incredibly popular pianist, she lived on the fringes of Soviet society and had close friendships with such towering figures as Boris Pasternak, Pavel Florensky, and Mikhail Bakhtin. Legend has it that she was Stalin&’s favorite pianist. Yudina was at the height of her fame during WWII, broadcasting almost daily on the radio, playing concerts for the wounded and troops in hospitals and on submarines, and performing for the inhabitants of besieged Leningrad. By the last years of her life, she had been dismissed for ideological reasons from the three institutions where she taught. And yet according to Shostakovich, Yudina remained &“a special case. . . . The ocean was only knee-deep for her.&” In this engaging biography, Elizabeth Wilson sets Yudina&’s extraordinary life within the context of her times, where her musical career is measured against the intense intellectual and religious ferment of the post-revolutionary period and the ensuing years of Soviet repression.
Playing with Signs: A Semiotic Interpretation of Classic Music
by V. Kofi AgawuAn award-winning account of the importance of semiotic play in Classic instrumental music, including that of Mozart, Haydn, and BeethovenOf all the repertories of Western Art music, none is as explicitly listener-oriented as that of the late eighteenth and early nineteenth centuries. Yet few attempts to analyze the so-called Classic Style have embraced the semiotic implications of this fact. In Playing with Signs, Kofi Agawu proposes a listener-oriented theory of Classic instrumental music that encompasses its two most fundamental communicative dimensions: expression and structure.Units of expression, defined in reference to topoi, are shown here to interact with, confront, and merge into units of structure, defined in terms of the rhetorical conventions of beginning, continuing, and ending. The book draws on examples from works by Mozart, Haydn, and Beethoven to show that the explicitly referential, even theatrical, surface of Classic music derives from a play with signs. Although addressed primarily to readers interested in musical analysis, the book opens fruitful avenues for further research into musical semiotics, aesthetics, and Classicism.
Playlisting: Collecting Music, Remediated (Routledge Focus on Digital Media and Culture)
by Onur SesigürThis book examines the collection and curation of music, and the way digital streaming services are transforming the way we engage with the media. The study foregrounds personal digital curation techniques, rather than algorithms or technology, to acknowledge the sustaining human agency involved in playlisting. The author looks at Digital Service Providers such as Spotify, Apple and Deezer, which offer their users not just access to large collections of music, but also the opportunity to create and maintain personalised consumption subsets such as playlists. Positioning these current playlisting practices as a remediation of significant cultural practices of the 20th century – such as collecting records and mix-taping – the book highlights the continuity of culture through media change, and the implications for concepts of self and identity, society and sharing. Shedding new light on this contemporary cultural phenomenon, this book will be an important read for scholars who are interested in the area of digital music from different disciplines such as communication, digital humanities and social sciences in fields of media studies, digital cultures, personal information management, digital curation and popular music.
Please Be with Me: A Song for My Father, Duane Allman
by Galadrielle AllmanA deeply personal, revealing, and lyrical portrait of Duane Allman, founder of the legendary Allman Brothers Band, written by his daughter Galadrielle Allman went to her first concert as an infant in diapers, held in her teenage mother's arms. Playing was her father--Duane Allman, who would become one of the most influential and sought-after musicians of his time. Just a few short years into his remarkable career, he was killed in a motorcycle accident at the age of twenty-four. His daughter was two years old. Galadrielle was raised in the shadow of his loss and his fame. Her mother sought solace in a bohemian life. Friends and family found it too painful to talk about Duane. Galadrielle listened intently to his music, read articles about him, steeped herself in the mythic stories, and yet the spotlight rendered him too simple and too perfect to know. She felt a strange kinship to the fans who longed for him, but she needed to know more. It took her many years to accept that his life and his legacy were hers, and when she did, she began to ask for stories--from family, fellow musicians, friends--and they began to flow. Galadrielle Allman's memoir is at once a rapturous, riveting, and intimate account of one of the greatest guitar prodigies of all time, the story of the birth of a band that redefined the American musical landscape, and a tender inquiry of a daughter searching for her father in the memories of others.Praise for Please Be with Me "Duane Allman was my big brother, my partner, my best friend. I thought I knew everything there was to know about him, but Galadrielle's deep and insightful book came as a revelation to me, as it will to everyone who reads it."--Gregg Allman"Galadrielle Allman offers a moving and poetic portrait of her late father."--Rolling Stone "Poignant and illuminating . . . brings Duane Allman to life in a way that no other biography will ever be able to do."--BookPage "[Allman's] descriptions and scenes are vivid, even cinematic. . . . The pleasure of reading Please Be With Me lies as much in its lyrical prose as in its insider anecdotes."--Newsweek "A compelling and intimate portrait of Duane."--The Hollywood Reporter "Illuminating."--Kirkus Reviews "Frequently touching . . . Readers will come away feeling more connected to the man and his music."--Publishers Weekly"The most moving music biography I've ever read. Better than that, Galadrielle has uncovered the heart and motivations, the desolation and saving graces, of the man, and lays it plain in a born-to-write southern voice. She has looked into absence, and from it she has salvaged two hearts: her father's and her own."--Mikal Gilmore, author of Shot in the Heart "This story invites us to savor our own secret intersection of nostalgia and emotional mercy, and it feels very, very good to have soulful, elegant company as we do."--Sheila Weller, author of the New York Times bestseller Girls Like Us: Carole King, Joni Mitchell, Carly Simon--and the Journey of a GenerationFrom the Hardcover edition.ormed. But beyond that vibrant portrait is a comfort. We all idealize someone who left us long ago; we all romanticize some memory. This story invites us to savor our own secret intersection of nostalgia and emotional mercy, and it feels very, very good to have soulful, elegant company as we do."--Sheila Weller, author of the New York Times bestseller Girls Like Us: Carole King, Joni Mitchell, Carly Simon--and the Journey of a GenerationFrom the Hardcover edition.
Please Kill Me: The Uncensored Oral History of Punk
by Legs McNeil Gillian McCainThe twentieth anniversary edition of the &“utterly and shamelessly sensational&” history of punk music—featuring new photos and an afterword by the authors (Newsday). A contemporary classic, Please Kill Me is the definitive oral history of the most nihilistic of all pop movements. Iggy Pop, Lou Reed, Richard Hell, the Ramones, and scores of other punk figures lend their voices to this decisive account of that explosive era. Editors Legs McNeil and Gillian McCain—two of punk music&’s greatest chroniclers—follow the movement from its roots in the 1960s underground of New York City, to its arrival in the UK with bands like The Sex Pistols and The Clash, to its unlikely emergence as a global cultural force whose impact is still felt today.
Please Pass the Biscuits, Pappy: Pictures of Governor W. Lee "Pappy" O'Daniel
by John Anderson Bill CrawfordLong before movie stars Ronald Reagan and Arnold Schwarzenegger became governors of California, a popular radio personality with no previous political experience—who wasn't even registered to vote—swept into the governor's office of Texas. W. Lee "Pappy" O'Daniel was a 1930s businessman who discovered the power of radio to sell flour.<P><P> His musical shows with the Light Crust Doughboys (which launched the career of Bob Wills) and his radio homilies extolling family and Christian values found a vast, enthusiastic audience in Depression-era Texas. When Pappy decided to run for governor in 1938 as a way to sell more flour—a fact he proudly proclaimed throughout the campaign—the people of Texas voted for him in record numbers. And despite the ineptitude for politics he displayed once in office, Texans returned him to the governorship in 1940 and then elected him to the U.S. Senate in 1941 in a special election in which he defeated Lyndon Johnson, as well as to a full term as senator in 1942.
Please Please Tell Me Now: The Duran Duran Story
by Stephen DavisLifelong fans and interested newcomers will love this stunning biography of Duran Duran by the bestselling author of Gold Dust Woman and Hammer of the Gods.In Please Please Tell Me Now, bestselling rock biographer Stephen Davis tells the story of Duran Duran, the quintessential band of the 1980s. Their pretty boy looks made them the stars of fledgling MTV, but it was their brilliant musicianship that led to a string of number one hits. By the end of the decade, they had sold 60 million albums; today, they've sold over 100 million albums—and counting.Davis traces their roots to the austere 1970s British malaise that spawned both the Sex Pistols and Duran Duran—two seemingly opposite music extremes. Handsome, British, and young, it was Duran Duran that headlined Live Aid, not Bob Dylan or Led Zeppelin. The band moved in the most glamorous circles: Nick Rhodes became close with Andy Warhol, Simon LeBon with Princess Diana, and John Taylor dated quintessential British bad girl Amanda De Cadanet. With timeless hits like "Hungry Like the Wolf," "Girls on Film," "Rio," "Save a Prayer," and the bestselling James Bond theme in the series' history, "A View to Kill," Duran Duran has cemented its legacy in the pop pantheon—and with a new album and a worldwide tour on the way, they show no signs of slowing down anytime soon. Featuring exclusive interviews with the band and never-before-published photos from personal archives, Please Please Tell Me Now offers a definitive account of one of the last untold sagas in rock and roll history—a treat for diehard fans, new admirers, and music lovers of any age.
Pleasure and Pain: My Life
by Chrissy Amphlett Larry WriterChrissy Amphlett is a true legend of Australian rock?n?roll. Here, the spellbinding performer who inspired and outraged as lead singer of the Divinyls tells her own amazing story.In this raw, gripping and searingly honest account, Chrissy spares no one ? least of all herself. She reveals how she formed the Divinyls and, with a unique voice, steely ambition and an outrageous stage act powered them to Australian and international stardom.Having battled alcohol, drugs and a million dollars worth of debt, Chrissy tells of her fight with MS and of finally finding peace with the love of her life in New York.Brave, sad, funny, ferocious, there's never been anyone like Chrissy Amphlett.
Pluralism in American Music Education Research: Essays and Narratives (Landscapes: the Arts, Aesthetics, and Education #23)
by Diana R. Dansereau Jay DorfmanThis volume examines pluralism in light of recent music education research history and pluralistic approaches in practice. Pluralistic research holds the potential to blend frameworks, foundations, methods, and analysis protocols, and leads to a sophisticated understanding of music teaching and learning. This blending could take place in a range of contexts that may span an individual study to a lifelong research agenda. Additionally, pluralistic ideals would guide the addressing of questions as a community. The volume also illuminates the work of innovative music education researchers who are constructing pluralistic research studies and agendas, and advocate for the music education profession to embrace such an approach in order to advance shared research goals. The ramifications of this transformation in music education research are a subject of discussion, including the implications for researcher education and the challenges inherent in conducting and disseminating such research.
Po' Monkey's: Portrait of a Juke Joint
by Will JacksOutside of Merigold, Mississippi, off an unmarked dirt road, stands Po’ Monkey’s, perhaps the most famous house in Mississippi and the last rural juke joint in the state, now closed to the public. Before the death of the lounge’s owner, Willie Seaberry, in 2016, it was a mandatory stop on the constant blues pilgrimage that flows through the Delta. Seaberry ran Po’ Monkey’s Lounge for more than fifty years, opening his juke joint in the 1960s. A hand-built tenant home located on the plantation where Seaberry worked, Po’ Monkey’s was a place to listen to music and drink beer—a place to relax where everyone was welcomed by Seaberry’s infectious charm. In Po’ Monkey’s: Portrait of a Juke Joint, photographer Will Jacks captures the juke joint he spent a decade patronizing. The more than seventy black-and-white photographs featured in this volume reflect ten years of weekly visits to the lounge as a regular—a journal of Jacks’s encounters with other customers, tourists, and Willie Seaberry himself. An essay by award-winning writer Boyce Upholt on the cultural significance of the lounge accompanies the images. This volume explores the difficulties of preservation, historical context, community relations, and cultural tourism. Now that Seaberry is gone, the uncertainty of the future of his juke joint highlights the need for a historical record.
Pocket Karaoke
by Sarah LewitinnYour nights of poring over massive karaoke binders are over! With more than two thousand songs handpicked and organized by music industry insider and DJ Sarah Lewitinn (a.k.a. Ultragrrrl), Pocket Karaoke is the definitive, portable guide to making your next karaoke performance unforgettable -- in all the right ways. This must-have reference book includes: SONG LISTS BY ARTIST: Featuring all of the best artists, along with levels of difficulty, drink minimums, performance tips, and similar artists. SONG LISTS BY GENRE: From oldies to new wave, disco to emo, funk to hip-hop, all the crowd-pleasing favorites are listed here. SONG LISTS BY CELEBRITIES: More than thirty musicians, DJs, and journalists list their top five favorite songs to perform at karaoke and why. SONG LISTS BY OCCASION: With duets, seductive little ditties, roof-raising party-starters, and more. Plus KARAOKE GEAR -- where to buy online, all-in-one systems, and computer programs to take your obsession to the next level!
Pocket Karaoke
by Sarah LewitinnYour nights of poring over massive karaoke binders are over! With more than two thousand songs handpicked and organized by music industry insider and DJ Sarah Lewitinn (a.k.a. Ultragrrrl), Pocket Karaoke is the definitive, portable guide to making your next karaoke performance unforgettable -- in all the right ways. This must-have reference book includes: SONG LISTS BY ARTIST: Featuring all of the best artists, along with levels of difficulty, drink minimums, performance tips, and similar artists. SONG LISTS BY GENRE: From oldies to new wave, disco to emo, funk to hip-hop, all the crowd-pleasing favorites are listed here. SONG LISTS BY CELEBRITIES: More than thirty musicians, DJs, and journalists list their top five favorite songs to perform at karaoke and why. SONG LISTS BY OCCASION: With duets, seductive little ditties, roof-raising party-starters, and more. Plus KARAOKE GEAR -- where to buy online, all-in-one systems, and computer programs to take your obsession to the next level!
Poetic Song Verse: Blues-Based Popular Music and Poetry
by Ernest Suarez Mike MattisonPoetic Song Verse: Blues-Based Popular Music and Poetry invokes and critiques the relationship between blues-based popular music and poetry in the twentieth and twenty-first centuries. The volume is anchored in music from the 1960s, when a concentration of artists transformed modes of popular music from entertainment to art-that-entertains. Musician Mike Mattison and literary historian Ernest Suarez synthesize a wide range of writing about blues and rock—biographies, histories, articles in popular magazines, personal reminiscences, and a selective smattering of academic studies—to examine the development of a relatively new literary genre dubbed by the authors as “poetic song verse.” They argue that poetic song verse was nurtured in the fifties and early sixties by the blues and in Beat coffee houses, and matured in the mid-to-late sixties in the art of Bob Dylan, the Beatles, the Rolling Stones, the Doors, Jimi Hendrix, Joni Mitchell, Leonard Cohen, Gil Scott-Heron, Van Morrison, and others who used voice, instrumentation, arrangement, and production to foreground semantically textured, often allusive, and evocative lyrics that resembled and engaged poetry. Among the questions asked in Poetic Song Verse are: What, exactly, is this new genre? What were its origins? And how has it developed? How do we study and assess it? To answer these questions, Mattison and Suarez engage in an extended discussion of the roots of the relationship between blues-based music and poetry and address how it developed into a distinct literary genre. Unlocking the combination of richly textured lyrics wedded to recorded music reveals a dynamism at the core of poetic song verse that can often go unrealized in what often has been considered merely popular entertainment. This volume balances historical details and analysis of particular songs with accessibility to create a lively, intelligent, and cohesive narrative that provides scholars, teachers, students, music influencers, and devoted fans with an overarching perspective on the poetic power and blues roots of this new literary genre.
Poetics of Music
by Igor Stravinsky Arthur Knodel Ingolf DahlThese lessons provide penetrating glimpses into the thought processes of Stravinsky's mind. While dealing with his chosen topics-the phenomenon of music, the composition of music, musical typology, the avatars of Russian music, and the performance of music-he reveals his reverence for tradition, order and discipline. He believes 'the more art is controlled, limited, worked over, the more it is free. His opinions about Wagner, Verdi, Berlioz, Hindemith, Weber, Beethoven, Glinka, Tchaikovsky, Moussorgsky and Bach are refreshing. He also analyzes the function of the critic, the requirements of the interpreter, the state of Russian music, and musical taste and snobbery." - The American Recorder Once again the concertgoer and music lover can take pleasure in Igor Stravinsky's thoughts on the essentials of music. It was over thirty years ago that Stravinsky delivered the Charles Eliot Norton Lectures at Harvard University on which the French-language edition of this book and later the English translation by Arthur Knodel and Ingolf Dahl were based. Now his Poetics of Music is available in paper-with a preface by George Seferis.
Poetics of Music in the Form of Six Lessons (Charles Eliot Norton Lectures (hup) Ser. #2003)
by Igor StravinskyOne of the greatest of contemporary composers has here set down in delightfully personal fashion his general ideas about music and some accounts of his own experience as a composer. Every concert-goer and lover of music will take keen pleasure in his notes about the essential features of music, the process of musical composition, inspiration, musical types, and musical execution. Throughout the volume are to he found trenchant comments on such subjects as Wagnerism, the operas of Verdi, musical taste, musical snobbery, the influence of political ideas on Russian music under the Soviets, musical improvisation as opposed to musical construction, the nature of melody, and the function of the critic of music. Musical people of every sort will welcome this first presentation in English of an unusually interesting book.