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Nativity Carol

The Fleury Playbook has been justly celebrated as the most comprehensive extant collection of medieval music-dramas, containing in a single manuscript examples of non-biblical miracle plays, and settings of the Nativity and Resurrection stories, together with accounts of the conversion of Paul and Mary Magdalene. In this the first full-length monograph on the Playbook, Wyndham Thomas places the collection in its historical, cultural and musical context. Each of the 10 plays is treated to a close dramatic and musical analysis and placed in its broader context of musical life in the twelfth century.

2018 will mark the 800th anniversary of the consecration of the Abbey of St BenoÃ®t-sur-Loire - or Fleury Abbey - the previous home and namesake of the Fleury Playbook, a collection of 10 medieval music-dramas that has long held been a source of fascination, and not a little perplexity, for scholars in a variety of disciplines: history, music history, literary studies, art history in particular. The Fleury Playbook has been justly celebrated as the most comprehensive extant collection of medieval music-dramas, containing in a single manuscript examples of non-biblical miracle plays, and settings of the Nativity and Resurrection stories, together with accounts of the conversion of Paul and Mary Magdalene.  In this the first full-length monograph on the Playbook, Wyndham Thomas places the collection in its historical, cultural and musical context. The first three chapters introduce and then explore the issues raised by the collection: following an introduction, chapter 2 is devoted to the history and traditions of the Abbey, making a persuasive argument for that institution as the original home of the collection, and perhaps the venue in which the plays were first performed. Chapter 3 discusses medieval saints’ cults, placing the dramas, and particularly the four devoted to St Nicholas, in this context. The remaining chapters are devoted to a close musical and dramatic analysis of the 10 plays themselves.

The Fleury Playbook in Context

Medieval Music-Drama

Dr Stuart Campbell provides here the first English translation of Tchaikovsky's critical writings on music. Much of the material originates from the numerous articles written by the composer for the Moscow periodical press between 1868 to 1875, and affords a survey of eminent performers to be heard there, including Auer, von BÃ¿low, Nilsson, Patti and the Rubinstein brothers. As well as following Tchaikovsky's reaction to the Russian musical scene much material is devoted to the operas then being experienced by Moscow audiences, with reviews of works by Halévy, Meyerbeer, Mozart, Rossini, Thomas, Verdi and Wagner and orchestral works by Beethoven, Berlioz, Saint-SaÃ«ns, Schubert and Schumann. The volume also covers Tchaikovsky's first visit to the Bayreuth Festival of 1876, the autobiographical account of his European concert tour in 1888, and his attitude to the music of his great contemporaries Brahms, Verdi and Wagner. The collection therefore offers valuable insight into Tchaikovsky's views on music, performance and repertoire that are relevant to the study of his own compositions, and extends our understanding of nineteenth-century music in general.

Dr Stuart Campbell provides here the first English translation of Tchaikovsky's critical writings on music. Much of the material originates from the numerous articles written by the composer for the Moscow periodical press between 1868 to 1875, and affords a survey of eminent performers to be heard there, including Auer, von BÃ¼low, Nilsson, Patti and the Rubinstein brothers. As well as following Tchaikovsky's reaction to the Russian musical scene - Balakirev, Glinka, Rimsky-Korsakov and others - much material is devoted to the operas then being experienced by Moscow audiences, with reviews of works by Halévy, Meyerbeer, Mozart, Rossini, Thomas, Verdi and Wagner and orchestral works by Beethoven, Berlioz, Saint-SaÃ«ns, Schubert and Schumann. The volume also covers Tchaikovsky's first visit to the Bayreuth Festival of 1876, the autobiographical account of his European concert tour in 1888, and his attitude to the music of his great contemporaries Brahms, Verdi and Wagner.  The collection therefore offers valuable insight into Tchaikovsky's views on music, performance and repertoire that are relevant to the study of his own compositions. In addition, the articles provide fascinating glimpses into the composer's personality and an appreciation of his elegant literary style. The volume is not only of importance for elucidating a time when Russian musical life was developing rapidly, but also in extending an understanding of nineteenth-century music in general.

Tchaikovsky's Writings about Music

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Opera and Drama

The heart-breaking and inspiring true story of one man and his piano during the Holocaust, for fans of The Choice and The Cut Out Girl.

A True Story of Holocaust Survival, Music and Hope

The Piano Player of Budapest

An Unofficial Celebration of a Modern Icon

A Little Bit of Harry Styles

Discover John Kander and Fred Ebb, the most artistically and commercially successful musical theatre writing team since Rodgers and Hammerstein, in a brand new way. Identifying the theatrical approach that renders their musical dramaturgy unique, this book explores their importance within, and contribution to, musical theatre history. Through their biggest hits, Cabaret (1966) and Chicago (1975), Kander and Ebb have been performed on the stage more times both within and outside of the USA than any other American musical theatre writers. Unlike Sondheim, whose work from 1964 increasingly aspired towards the avant-garde. Kander and Ebb located their projects in a nexus between art and commercial entertainment, seeking to deconstruct popular forms in order to expose their ideological function. This book investigates the full range of Kander and Ebb's collaboration from the pure comic entertainment of 70, Girls, 70 (1971) and Curtains (2006) to more overtly serious musicals such as The Kiss of the Spiderwoman (1992), The Scottsboro Boys (2010) and The Visit (2014), which were less commercially successful precisely because they addressed disturbing subjects. It explores how the difficult material inspired beautiful, though challenging, scores. It also probes how the ironic counterpointing of luscious music with witty and demotic lyrics makes complex demands of a Broadway audience, challenging its desire for escapist entertainment, devoid of critical self-reflection, to becomes complex, yet popular, masterpieces of the genre. This is the first volume to explicitly analyse the recurrent theatrical tropes and dramaturgical forms in Kander and Ebb's musicals, offering an in-depth introduction to their oeuvre.

Discover John Kander and Fred Ebb, the most artistically and commercially successful musical theatre writing team since Rodgers and Hammerstein, in a brand new way. Identifying the theatrical approach that renders their musical dramaturgy unique, this book explores their importance within, and contribution to, musical theatre history. Through their biggest hits, Cabaret (1966) and Chicago (1975), Kander and Ebb have been performed on the stage more times both within and outside of the USA than any other American musical theatre writers. Unlike Sondheim, whose work from 1964 increasingly aspired towards the avant-garde. Kander and Ebb located their projects in a nexus between art and commercial entertainment, seeking to deconstruct popular forms in order to expose their ideological function. This book investigates the full range of Kander and Ebb's collaboration from the pure comic entertainment of 70, Girls, 70 (1971) and Curtains (2006) to more overtly serious musicals such as The Kiss of the Spiderwoman (1992), The Scottsboro Boys (2010) and The Visit (2014), which were less commercially successful precisely because they addressed disturbing subjects. It explores how the difficult material inspired beautiful, though challenging, scores. It also probes how the ironic counterpointing of luscious music with witty and demotic lyrics makes complex demands of a Broadway audience, challenging its desire for escapist entertainment, devoid of critical self-reflection, to becomes complex, yet popular, masterpieces of the genre. This is the first volume to explicitly analyse the recurrent theatrical tropes and dramaturgical forms in Kander and Ebb's musicals, offering an in-depth introduction to their oeuvre.

The Theatre of Kander and Ebb

Ashgate Popular and Folk Music Series

Adrian Scahill's seminal study traces the evolution of the accompaniment of instrumental Irish traditional music from its roots in the seventeenth and eighteenth centuries to the highly refined and classicized music of the contemporary tradition. A key theme of the text is that the hybridity evident in accompaniment is not novel in itself, but related to the hybrid nature of the melodic tradition. The book is structured in two parts: the first concentrates on printed sources; the second on the recorded repertoire. The central objective of the book is to focus on accompaniment as part of the 'primary text' (to borrow from Allan F. Moore) of instrumental traditional music. It considers how the development of accompanimental techniques is closely related to changing musical styles and performance contexts, and reveals that these techniques are created through a process of assemblage, which draws on a wide range of musical sources from both inside and outside the tradition.

Adrian Scahill's seminal study traces the evolution of the accompaniment of instrumental Irish traditional music from its roots in the seventeenth and eighteenth centuries to the highly refined and classicized music of the contemporary tradition. A key theme of the text is that the hybridity evident in accompaniment is not novel in itself, but related to the hybrid nature of the melodic tradition. The book is structured in two parts: the first concentrates on printed sources; the second on the recorded repertoire.  Part one considers printed sources of Irish music from the eighteenth century, where the addition of accompaniment was a result of the music's translation from an oral to a literate form. However, the construction of these accompaniments did not simply involve a superimposition of pianistic textures, but incorporated elements from the accompanimental practices of harp and uilleann pipes players. It was also in this period that a repertory of dance music began to crystallize, with printed collections facilitating the assimilation of music from Britain. Scahill investigates the antiquarian collections of the nineteenth century, revealing how the inclusion of accompaniment was a constituent of the preservation of the music, and was perceived by the collectors as a natural extension of the tunes.   The second part of the book traces the development of the first formal ensemble of traditional music, the céilÃ­ band, in which the piano came to prominence. At the same time in the United States, the instrument was widely used on 78 rpm recordings, both for solo and small group recordings, and was an essential part of the Irish-American dance band. It was also in America that the palette of accompanying instruments was first broadened, with the assimilation of guitar and banjo by some musicians for recordings. The scope of the book broadens in its investigation of the most recent ensemble to emerge, the traditional group, as here accompaniment became just one facet of arrangement, and several new instruments and techniques became quickly established within the form. Here again the study reveals how the groups' distinctive sounds and styles result from processes of assemblage or bricolage. The final portion of the book shifts in focus away from the musical text and onto the performer, and draws on the author's experience as a musician in its investigation of the process of accompanying, examining how the contemporary 'backer' creates an accompaniment in the course of performance.

Accompaniment in Irish Traditional Music

Music Theory in Britain, 1500–1700: Critical Editions

The critical edition of John Playford's Introduction to the Skill of Musick (1672, Sixth edition) represents the contents of Playford's seminal pedagogical treatise in the middle of its development. Although Playford's Introduction was one of the most famous music texts of the period, a satisfactory modern edition of its contents has not yet been published. This is due, in part, to the fact that the interior contents of the Introduction changed markedly throughout its publication run from 1654 to 1730 (though post-1694 changes are minimal). This edition addresses this issue by presenting not only the transcription of the 1672 edition, but detailed contents of the entire publication run to better understand the shifting contents of the major sections of the work from its beginnings to the turn of the century. The contents include an introductory essay concerning the development of the series, divided according to the main sections of the text: The Grounds and Rules of Musick, Instructions and Lessons for the Bass Viol, and The Art of Descant. The body is a full transcription of the 1672 edition with images. Two appendices contain 1) critical notes on the text and a comparison of the major changes-section changes, major wording and style changes, repertoire lists, along with significant codicological amendments-between editions using 1672 as the model, and 2) a list of all of the music in the different editions of the Introduction, including information regarding in which editions the pieces may be found and a reference to modern editions on those works.

The critical edition of John Playford’s Introduction to the Skill of Musick (1672, Sixth edition) represents the contents of Playford’s seminal pedagogical treatise in the middle of its development. Although Playford’s Introduction was one of the most famous music texts of the period, a satisfactory modern edition of its contents has not yet been published. This is due, in part, to the fact that the interior contents of the Introduction changed markedly throughout its publication run from 1654 to 1730 (though post-1694 changes are minimal). This edition addresses this issue by presenting not only the transcription of the 1672 edition, but detailed contents of the entire publication run to better understand the shifting contents of the major sections of the work from its beginnings to the turn of the century.The contents include an introductory essay concerning the development of the series, divided according to the main sections of the text: The Grounds and Rules of Musick, Instructions and Lessons for the Bass Viol, and The Art of Descant. The body is a full transcription of the 1672 edition with images. Two appendices contain 1) critical notes on the text and a comparison of the major changes-section changes, major wording and style changes, repertoire lists, along with significant codicological amendments-between editions using 1672 as the model, and 2) a list of all of the music in the different editions of the Introduction, including information regarding in which editions the pieces may be found and a reference to modern editions on those works.

John Playford’s Introduction to the Skill of Musick, 1672

The AI Music Problem: Why Machine Learning Conflicts With Musical Creativity asks why producing and constructing music is difficult for AI, with an investigation that straddles the technical, the musical, and the aesthetic.

Why Machine Learning Conflicts With Musical Creativity

The AI Music Problem

Critical Lives

An approachable critical biography of the late nineteenth-century Viennese composer. Gustav Mahler's status as an icon of fin-de-siècle Viennese music is assured, and while his life story has been told in numerous biographies, films, and novels, he remains an ambiguous, provocative figure. Supposedly haunted by death and trapped in a torrid marriage, Mahler's brief meeting with Freud has spurred psychoanalytical speculations, but there are other questions to explore as well. Mahler challenged musical form and style, but he rejected most other contemporary trends, identifying with traditional German Enlightenment and Romantic culture. He rose to the pinnacle of his profession, despite the protestations of antisemitic Vienna. This book draws on the latest research to construct a fresh interpretation of Mahler's music in relation to his life.

Gustav Mahler

Planet Clash

Nativity Carol

Bibliografische Angaben

Schlagworte

Bibliografische Angaben

Schlagworte

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