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This collection covers a wide range of topics, from a moving study of Bizet''s Carmen to an entertainingly caustic exploration of the hierarchies of the auditorium. Especially significant is Adorno''s "dialectical portrait" of Stravinsky, in which Adorno both reconsiders and refines his damning indictment of the composer in Philosophy on Modern Music. Throughout, Adorno is sustained by the conviction that music is supremely human because it is capable of communicating inhumanity while resisting it. His belief in the benevolent and transformative power of music reverberates throughout these writings.

This collection covers a wide range of topics, from a moving study of Bizet's Carmen to an entertainingly caustic exploration of the hierarchies of the auditorium. Especially significant is Adorno's "dialectical portrait" of Stravinsky, in which Adorno both reconsiders and refines his damning indictment of the composer in Philosophy on Modern Music. Throughout, Adorno is sustained by the conviction that music is supremely human because it is capable of communicating inhumanity while resisting it. His belief in the benevolent and transformative power of music reverberates throughout these writings.

Beethoven's 'Moonlight' sonata is published as part of ABRSM's 'Signature' series - a series of authoritative performing editions of standard keyboard works, prepared from original sources by leading scholars. Includes informative introductions and performance notes.

What does it mean to talk about musical coherence at the end of a century characterised by fragmentation and discontinuity? How can the diverse influences which stand behind the works of many late twentieth-century composers be reconciled with the singular immediacy of the experiences that they can create? How might an awareness of the distinctive ways in which these experiences are generated and controlled affect the way we listen to, reflect upon and write about this music? Mark Hutchinson outlines a novel concept of coherence within Western art music from the 1980s to the turn of the millennium as a means of understanding the work of a number of contemporary composers, including Thomas Adès, Kaija Saariaho, Tōru Takemitsu and György Kurtág, whose music cannot be fitted easily into a particular compositional school or analytical framework. Coherence is understood as a multi-layered phenomenon experienced, above all, in the act of listening, but reliant upon a variety of other aspects of musical experience, including compositional statements, analysis, and connections of aesthetic, as well as listeners' own, imaginative conceptualisations. Accordingly, the approach taken here is similarly multi-faceted: close analytical readings of a number of specific works are combined with insights drawn from philosophy and aesthetics, music perception, and critical theory, with a particular openness to novel metaphorical presentations of basic musical ideas about form, language and time.

Writing Architecture in Modern Italy tells the history of an intellectual group connected to the small but influential Italian Einaudi publishing house between the 1930s and the 1950s. It concentrates on a diverse group of individuals, including Bruno Zevi, an architectural historian and politician; Giulio Carlo Argan, an art historian; Italo Calvino, a fiction writer; Giulio Einaudi, a publisher; and Elio Vittorini and Cesare Pavese, both writers and translators. Linking architectural history and historiography within a broader history of ideas, this book proposes four different methods of writing history, defining historiographical genres, modes, and tones of writing that can be applied to history writing to analyze political and social moments in time. It identifies four writing genres: myths, chronicles, history, and fiction, which became accepted as forms of multiple postmodern historical stories after 1957. An important contribution to the architectural debate, Writing Architecture in Modern Italy will appeal to those interested in the history of architecture, history of ideas, and architectural education.

Writing Architecture in Modern Italy tells the history of an intellectual group connected to the small but influential Italian Einaudi publishing house between the 1930s and the 1950s. It concentrates on a diverse group of individuals, including Bruno Zevi, an architectural historian and politician; Giulio Carlo Argan, an art historian; Italo Calvino, a fiction writer; Giulio Einaudi, a publisher; and Elio Vittorini and Cesare Pavese, both writers and translators. Linking architectural history and historiography within a broader history of ideas, this book proposes four different methods of writing history, defining historiographical genres, modes, and tones of writing that can be applied to history writing to analyze political and social moments in time. It identifies four writing genres: myths, chronicles, history, and fiction, which became accepted as forms of multiple postmodern historical stories after 1957. An important contribution to the architectural debate, Writing Architecture in Modern Italy will appeal to those interested in the history of architecture, history of ideas, and architectural education.

Aural/Oral Dramaturgies: Theatre in the Digital Age focuses on the ‘aural turn’ in contemporary theatre-making, examining a number of seemingly disparate trends that foreground speech and sound -- ‘post-verbatim’ theatre, 'amplified storytelling' (works using microphones and headphones), and ‘gig theatre’ that incorporates live music performance. Its main argument is that the dramaturgical underpinnings of these works contribute to an understanding of theatre as an extra-literary activity, greater than the centrality of the script that traditionally dominated many historical discussions. This quality is usually expressed in terms of the corporeality in dance and physical theatre, but the aural/oral turn gives an alternative viewpoint on the interplay between text and performance. The book's case studies draw on the ways in which a range of theatre companies engage with the dramaturgy of speech and sound in their work. It is further accompanied by a specially curated collection of digital resources, including interviews, conversations, and presentations from artists and academics.This is a key text for scholars, students, and practitioners of contemporary performance, and anyone working with dramaturgies of orality and aurality in today’s performance environment.

Aural/Oral Dramaturgies: Theatre in the Digital Age focuses on the ‘aural turn’ in contemporary theatre-making, examining a number of seemingly disparate trends that foreground speech and sound -- ‘post-verbatim’ theatre, 'amplified storytelling' (works using microphones and headphones), and ‘gig theatre’ that incorporates live music performance. Its main argument is that the dramaturgical underpinnings of these works contribute to an understanding of theatre as an extra-literary activity, greater than the centrality of the script that traditionally dominated many historical discussions. This quality is usually expressed in terms of the corporeality in dance and physical theatre, but the aural/oral turn gives an alternative viewpoint on the interplay between text and performance. The book's case studies draw on the ways in which a range of theatre companies engage with the dramaturgy of speech and sound in their work. It is further accompanied by a specially curated collection of digital resources, including interviews, conversations, and presentations from artists and academics.This is a key text for scholars, students, and practitioners of contemporary performance, and anyone working with dramaturgies of orality and aurality in today’s performance environment.

Listening according to mood is likely to be what most people do when they listen to music. We want to take part in, or even be part of, the emerging world of the musical work. Using the sources of musical history and philosophy, Erik Wallrup explores this extremely vague and elusive phenomenon, which is held to be fundamental to musical hearing. Wallrup unfolds the untold musical history of the German word for ’mood’, Stimmung, which in the 19th century was abundant in the musical aesthetics of the German-Austrian sphere. Martin Heidegger’s much-discussed philosophy of Stimmung is introduced into the field of music, allowing Wallrup to realise fully the potential of the concept. Mood in music, or, to be more precise, musical attunement, should not be seen as a peculiar kind of emotionality, but that which constitutes fundamentally the relationship between listener and music. Exploring mood, or attunement, is indispensable for a thorough understanding of the act of listening to music.

Improvisation was a crucial aspect of musical life in Europe from the late eighteenth century through to the middle of the nineteenth, representing a central moment in both public occasions and the private lives of many artists. Composers dedicated themselves to this practice at length while formulating the musical ideas later found at the core of their published works; improvisation was thus closely linked to composition itself. The full extent of this relation can be inferred from both private documents and reviews of concerts featuring improvisations, while these texts also inform us that composers quite often performed in public as both improvisers and interpreters of pieces written by themselves or others. Improvisations presented in concert were distinguished by a remarkable degree of structural organisation and complexity, demonstrating performers’ consolidated abilities in composition as well as their familiarity with the rules for improvising outlined by theoreticians.

Beethoven’s piano sonatas are a cornerstone of the piano repertoire and favourites of both the concert hall and recording studio. The sonatas have been the subject of much scholarship, but no single study gives an adequate account of the processes by which these sonatas were composed and published. With source materials such as sketches and correspondence increasingly available, the time is ripe for a close study of the history of these works. Barry Cooper, who in 2007 produced a new edition of all 35 sonatas, including three that are often overlooked, examines each sonata in turn, addressing questions such as: Why were they written? Why did they turn out as they did? How did they come into being and how did they reach their final form? Drawing on the composer’s sketches, autograph scores and early printed editions, as well as contextual material such as correspondence, Cooper explores the links between the notes and symbols found in the musical texts of the sonatas, and the environment that brought them about. The result is a biography not of the composer, but of the works themselves.

Beethoven’s piano sonatas are a cornerstone of the piano repertoire and favourites of both the concert hall and recording studio. The sonatas have been the subject of much scholarship, but no single study gives an adequate account of the processes by which these sonatas were composed and published. With source materials such as sketches and correspondence increasingly available, the time is ripe for a close study of the history of these works. Barry Cooper, who in 2007 produced a new edition of all 35 sonatas, including three that are often overlooked, examines each sonata in turn, addressing questions such as: Why were they written? Why did they turn out as they did? How did they come into being and how did they reach their final form? Drawing on the composer’s sketches, autograph scores and early printed editions, as well as contextual material such as correspondence, Cooper explores the links between the notes and symbols found in the musical texts of the sonatas, and the environment that brought them about. The result is a biography not of the composer, but of the works themselves.

Listening according to mood is likely to be what most people do when they listen to music. We want to take part in, or even be part of, the emerging world of the musical work. Using the sources of musical history and philosophy, Erik Wallrup explores this extremely vague and elusive phenomenon, which is held to be fundamental to musical hearing. Wallrup unfolds the untold musical history of the German word for ’mood’, Stimmung, which in the 19th century was abundant in the musical aesthetics of the German-Austrian sphere. Martin Heidegger’s much-discussed philosophy of Stimmung is introduced into the field of music, allowing Wallrup to realise fully the potential of the concept. Mood in music, or, to be more precise, musical attunement, should not be seen as a peculiar kind of emotionality, but that which constitutes fundamentally the relationship between listener and music. Exploring mood, or attunement, is indispensable for a thorough understanding of the act of listening to music.

What does it mean to talk about musical coherence at the end of a century characterised by fragmentation and discontinuity? How can the diverse influences which stand behind the works of many late twentieth-century composers be reconciled with the singular immediacy of the experiences that they can create? How might an awareness of the distinctive ways in which these experiences are generated and controlled affect the way we listen to, reflect upon and write about this music? Mark Hutchinson outlines a novel concept of coherence within Western art music from the 1980s to the turn of the millennium as a means of understanding the work of a number of contemporary composers, including Thomas Adès, Kaija Saariaho, Tōru Takemitsu and György Kurtág, whose music cannot be fitted easily into a particular compositional school or analytical framework. Coherence is understood as a multi-layered phenomenon experienced, above all, in the act of listening, but reliant upon a variety of other aspects of musical experience, including compositional statements, analysis, and connections of aesthetic, as well as listeners' own, imaginative conceptualisations. Accordingly, the approach taken here is similarly multi-faceted: close analytical readings of a number of specific works are combined with insights drawn from philosophy and aesthetics, music perception, and critical theory, with a particular openness to novel metaphorical presentations of basic musical ideas about form, language and time.

Barcelona, ciutat admirada per molts… però observada per pocs. Quantes vegades deixem de banda les presses, ens aturem un minut i aixequem el cap? Més enllà de la Pedrera, la Sagrada Família o la Casa Batlló, Barcelona amaga centenars de tresors que no surten a les guies per a turistes. Són estàtues, gravats, passatges, detalls o vestigis del passat, i tots tenen un element en comú: de tant passar per davant, hem acabat per no veure''ls. Una enigmàtica figura femenina oculta al parc deMontjuïc, un escut del Barça a Santa Maria del Mar, una estàtua decapitada a Sarrià, un grapat de ratpenats al passeig de Gràcia… són algunes de les troballes insòlites que desfilen per les pàgines d''aquest llibre. Per trobar-les, ja sabeu la recepta: atureu-vos i aixequeu el cap. Barcelona n''és plena… Una rajola al terra, un monòlit de pedra, una placa rovellada, una porta de ferro i fusta… són alguns dels indicis que el lector d''aquest llibre, convertit per un moment en investigador, tindrà a la seva mà per esbrinar la història que s''amaga al darrere. Per aconseguirho, haurà de superar un escull important: la invisibilitat.La millor manera de començar amb bon peu la nostra recerca és anar a l''epicentre de la ciutat: la plaça de Catalunya. Allà, al centre neuràlgic del turisme, trobarem vuit estàtues gairebé centenàries. Sabríem identificar les dues que són falses? Un cop fet aquest entrenament, ja estem preparats per iniciar un apassionant recorregut per la ciutat. Però des d''una nova perspectiva, amb els ulls ben oberts, perquè anem a la recerca de l''altra Barcelona: la que no es veu.Per facilitar la nostra aventura, el llibre està organitzat en itineraris. Això ens permetrà explorar zones diferents en dies alterns. I només així, sense presses i amb els sentits desperts, podrem retrobar-nos amb la ciutat. Perquè aquest és un llibre que ha nascut al carrer, aixecant el cap, observant, passejant, tafanejant...

Fino a che punto l’uomo, grazie alla scienza e alla tecnologia, può migliorare se stesso, allungandosi la vita e potenziando le proprie funzioni fisiche e mentali? Il libro cerca di rispondere a questa domanda in sette capitoli. Nel primo e nel secondo si parla del sogno dell'immortalità e della possibilità di raggiungere quei 120 anni di vita inscritti nel genoma umano. Nel terzo capitolo si affronta il tema del miglioramento dell’aspetto fisico e del potenziamento delle capacità mentali, illustrando le possibili conseguenze di queste applicazione su vasta scala. Nel quarto e quinto si illustrano gli scenari della comunicazione globale, i rischi e le possibili contromisure da prendere. Nel sesto e settimo capitolo si accenna agli scenari possibili del post-umano e si analizzano le conseguenze, sul piano morale e teoretico, di ciò che gli autori considerano un atto di delega alla tecnologia. Il libro, con brevi citazioni di autori classici e moderni, ha alcune illustrazioni di opere originali degli artisti Luigi Battisti e Fabrizio Bosco.

Fino a che punto l’uomo, grazie alla scienza e alla tecnologia, può migliorare se stesso, allungandosi la vita e potenziando le proprie funzioni fisiche e mentali? Il libro cerca di rispondere a questa domanda in sette capitoli. Nel primo e nel secondo si parla del sogno dell''immortalità e della possibilità di raggiungere quei 120 anni di vita inscritti nel genoma umano. Nel terzo capitolo si affronta il tema del miglioramento dell’aspetto fisico e del potenziamento delle capacità mentali, illustrando le possibili conseguenze di queste applicazione su vasta scala. Nel quarto e quinto si illustrano gli scenari della comunicazione globale, i rischi e le possibili contromisure da prendere. Nel sesto e settimo capitolo si accenna agli scenari possibili del post-umano e si analizzano le conseguenze, sul piano morale e teoretico, di ciò che gli autori considerano un atto di delega alla tecnologia. Il libro, con brevi citazioni di autori classici e moderni, ha alcune illustrazioni di opere originali degli artisti Luigi Battisti e Fabrizio Bosco.