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Beethoven's life and legacy in 100 recordings

Beethoven’s life and legacy in 100 recordings

Lebrecht Norman: Why Beethoven / B

Why Beethoven

A Phenomenon in 100 Pieces

Despite the well-known fact that some pieces of Bach's WTC II existed in early forms, there has been no thorough discussion to date as to how the work evolved over the years.

Despite the well-known fact that some pieces of Bach's WTC II existed in early forms, there has been no thorough discussion to date as to how the work evolved over the years.

Volume II: Aspects of Afterlife

The Genesis and Early History of Bach's Well-Tempered Clavier, Book II

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

Isms

The description for this book, Lennon-isms, will be forthcoming.

The description for this book, Lennon-isms, will be forthcoming.

Lennon-isms

Voices from the War in Ukraine

Take My Grief Away

Focus on Dramaturgy

Drawing upon miscellaneous theories from Eugenio Barba, Friedrich Nietzsche and contemporary sound studies, Sonorous Dramaturgy: The Polyphony of Postdramatic Theatre looks into emerging, cutting-edge theatre artists who employ musicality as the driving force behind their creativity. Celebrating the polyphony of postdramatic theatre, this book incorporates diverse companies and artists from all over the world, including Song of the Goat Theatre company, Marta Górnicka’s Chorus of Women, Complicite, Tan Dun, among others.

The Polyphony of Postdramatic Theatre

Sonorous Dramaturgy

How Paul McCartney survived the Beatles and found his Wings

Fly Away Paul

Music Lessons marks the first publication in English of a groundbreaking group of writings by French composer Pierre Boulez, his yearly lectures prepared for the Collège de France between 1976 and 1995. The lectures presented here offer a sustained intellectual engagement with themes of creativity in music by a widely influential cultural figure, who has long been central to the conversation around contemporary music. In his essays Boulez explores, among other topics, the process through which a musical idea is realized in a full-fledged composition, the complementary roles of craft and inspiration, and the degree to which the memory of other musical works can influence and change the act of creation. Boulez also gives a penetrating account of problems in classical music that are still present today, such as the often crippling conservatism of established musical institutions. Woven into the discussion are stories of his own compositions and those of fellow composers whose work he championed, as both a critic and conductor: from Stravinsky to Stockhausen and Varèse, from Bartók to Berg, Debussy to Mahler and Wagner, and all the way back to Bach. Including a foreword by famed semiologist Jean-Jacques Nattiez, who was for years a close collaborator and friend of the composer, this edition is also enriched by an illuminating preface by Jonathan Goldman. With a masterful translation retaining Boulez's fierce convictions, cutting opinions, and signature wit, Music Lessons will be an essential and entertaining volume.

Music Lessons

The Biography

Dave Allen

Volume I: Genesis, Compilation, Revisions

From the best-selling author of The End of Your Life Book Club comes a warm, funny, irresistible book that follows an improbable and life-changing friendship over the course of forty years. 'Moving. Salted with intelligence and empathy' New York Times Book Review 'A page-turner' New Yorker 'Really shines' San Francisco Chronicle 'Gorgeous' Sebastian Junger ------------- Imagine a secret society which pairs you with your polar opposite. You meet regularly. What would you talk about? Could you become friends? Will is bookish, quiet, gay, manning AIDS helplines. Maxey is loud, a wrestler, a Jock, intent on a military life. But paired together - over dinner, beers, pool games - they forge an extraordinary and resilient bond. We Should Not Be Friends is an account of their odd-couple relationship, its ups and downs, twists and turns, the misunderstandings and the trust built over forty turbulent years. ------------- 'A rare view of male friendship . . . succeeds because Maxey comes across as a great character, a warm and devoted friend' NPR 'Schwalbe has an uncanny ability to use his personal experience as a springboard for universal truths' Los Angeles Times 'A charming read with plenty of surprises. Celebrates not only an unlikely friendship, but the strange turns a life can take' Wall Street Journal 'Schwalbe's memoir shines. Written like a true friend' Daily Mail

PRE-ORDER THE PAPERBACK NOW From the best-selling author of The End of Your Life Book Club comes a warm, funny, irresistible book that follows an improbable and life-changing friendship over the course of forty years. 'Moving' NEW YORK TIMES ''Schwalbe's memoir shines...Written like a true friend' DAILY MAIL ------------- in his last year of university, Will thought he knew everyone he cared to know. A per-haired, out gay young man, working at an AIDS helpline in the early days of the crisis, Will found community amongst the theatre students, artists and writers. He also knew who he wanted to avoid: the jocks. Wearing sporty clothes and moving in boisterous packs, the jocks seemed to be a different species entirely, one Will might encounter only at his own peril. All this changed dramatically when Will was brought into a secret society at Yale, aimed to bring together a group of opposites. On his first day, he was faced with Chris Maxey - a physically imposing, loud, star wrestler who seemed to be uncomfortable around Will and embodied everything he disliked and feared. But through months of mandated dinners, and many beers, the two swapped life-stories and forged an unexpected bond that became a ballast in each other's lives for forty years. A real-life The Breakfast Club story, We Should Not Be Friends is a testament to the miracle of human connection, if only we see past our differences.

The Story of An Unlikely Friendship

We Should Not Be Friends

33 1/3 Brazil

1976, Rio de Janeiro. Revered Brazilian pop musician Jorge Ben Jor, known for his 'samba-rock' fusions and hits such as 'País Tropical' and 'Mas que Nada', picks up the electric guitar and records the album África Brasil. With grooves structured around guitar and horn riffs, funk drumming, samba percussion, and hypnotic vocal refrains, this album has become a favorite of connoisseurs of 1970s Brazilian vinyl. It was part of the growing cultural negritude of the time in Brazil, especially in Rio. American musicians such as James Brown were increasingly influential there; meanwhile, disco began to reach the city's nightclubs, and a few musicians were getting hip to Afrobeat. 

Through a close examination of the tracks on this seminal album, this book explores how Jorge Ben Jor and fellow musicians created a new sound, and it probes how ideas about blackness, Africa, and Brazilian identity were evolving during the mid-1970s. Written in a clear style and based on new research, it offers an engaging narrative that will appeal to fans, students, and scholars.

33 1/3 Global, a series related to but independent from 33 1/3, takes the format of the original series of short, music-basedbooks and brings the focus to music throughout the world. With initial volumes focusing on Japanese and Brazilian music, the series will also include volumes on the popular music of Australia/Oceania, Europe, Africa, the Middle East, and more.

1976, Rio de Janeiro. Revered Brazilian pop musician Jorge Ben Jor, known for his 'samba-rock' fusions and hits such as 'País Tropical' and 'Mas que Nada', picks up the electric guitar and records the album África Brasil. With grooves structured around guitar and horn riffs, funk drumming, samba percussion, and hypnotic vocal refrains, this album has become a favorite of connoisseurs of 1970s Brazilian vinyl. It was part of the growing cultural negritude of the time in Brazil, especially in Rio. American musicians such as James Brown were increasingly influential there; meanwhile, disco began to reach the city’s nightclubs, and a few musicians were getting hip to Afrobeat. 

Through a close examination of the tracks on this seminal album, this book explores how Jorge Ben Jor and fellow musicians created a new sound, and it probes how ideas about blackness, Africa, and Brazilian identity were evolving during the mid-1970s. Written in a clear style and based on new research, it offers an engaging narrative that will appeal to fans, students, and scholars.

33 1/3 Global, a series related to but independent from 33 1/3, takes the format of the original series of short, music-basedbooks and brings the focus to music throughout the world. With initial volumes focusing on Japanese and Brazilian music, the series will also include volumes on the popular music of Australia/Oceania, Europe, Africa, the Middle East, and more.

Jorge Ben Jor’s África Brasil

New Approaches to Sound, Music, and Media

Recorded music creation and consumption underwent a huge shift in the first two decades of the 20th century: from physical artifacts to digital; from fixed personal computers to mobile devices; from downloading and owning to streaming and access. This had a significant impact on the music 'assemblage' - the audio, performances, videos, films, books, games - that make up what we think of as 'music,' and gave rise to new forms of musical new media. Björk's Biophilia, widely acclaimed as the first 'app album,' is one response to this context. Drawing on her direct experience as part of the creative team who made Biophilia musicologist Nicola Dibben investigates how popular music practices intersect with digital technologies at their moment of emergence in two domains: music software applications ('apps') for touchscreen technologies of tablet computer and smartphone, and in extended reality. She shows the way these new media formats maintain musical traditions as much as they innovate, explores the future of the album as a musical artifact in the digital age, and identifies emerging new music forms and engagements which may come to define our digital musical futures.

Recorded music creation and consumption underwent a huge shift in the first two decades of the 20th century: from physical artifacts to digital; from fixed personal computers to mobile devices; from downloading and owning to streaming and access. This had a significant impact on the music 'assemblage’ – the audio, performances, videos, films, books, games – that make up what we think of as ‘music,’ and gave rise to new forms of musical new media. Björk's Biophilia, widely acclaimed as the first ‘app album,’ is one response to this context. Drawing on her direct experience as part of the creative team who made Biophilia musicologist Nicola Dibben investigates how popular music practices intersect with digital technologies at their moment of emergence in two domains: music software applications (‘apps’) for touchscreen technologies of tablet computer and smartphone, and in extended reality. She shows the way these new media formats maintain musical traditions as much as they innovate, explores the future of the album as a musical artifact in the digital age, and identifies emerging new music forms and engagements which may come to define our digital musical futures.

Björk’s Biophilia App and Music in Extended Reality

Musical New Media

Why Beethoven

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