Jeanice Brooks – författare

Nadia Boulanger (1887-1979) was arguably one of the most iconic figures in twentieth-century music, and certainly among the most prominent musicians of her time. For many composers-- especially Americans from Aaron Copland to Philip Glass--studying with Boulanger in Paris or Fontainebleau was a formative moment in a creative career. Composer, performer, conductor, impresario, and charismatic and inspirational teacher, Boulanger engaged in a vast array of activities in a variety of media, from private composition lessons and lecture-recitals to radio broadcasts, recordings, and public performances. But how to define and account for Boulanger's impact on the music world is still unclear. Nadia Boulanger and Her World takes us from a time in the late nineteenth century, when many careers in music were almost entirely closed to women, to the moment in the late twentieth century when those careers were becoming a reality. Contributors consider Boulanger's work in the worlds of composition, musical analysis, and pedagogy and explore the geographies of transatlantic and international exchange and disruption within which her career unfolded. Ultimately, this volume takes its title as a topic for exploration--asking what worlds Boulanger belonged to, and in what sense we can consider any of them to be "hers."

Nadia Boulanger (1887-1979) was arguably one of the most iconic figures in twentieth-century music, and certainly among the most prominent musicians of her time. For many composers-- especially Americans from Aaron Copland to Philip Glass--studying with Boulanger in Paris or Fontainebleau was a formative moment in a creative career. Composer, performer, conductor, impresario, and charismatic and inspirational teacher, Boulanger engaged in a vast array of activities in a variety of media, from private composition lessons and lecture-recitals to radio broadcasts, recordings, and public performances. But how to define and account for Boulanger's impact on the music world is still unclear. Nadia Boulanger and Her World takes us from a time in the late nineteenth century, when many careers in music were almost entirely closed to women, to the moment in the late twentieth century when those careers were becoming a reality. Contributors consider Boulanger's work in the worlds of composition, musical analysis, and pedagogy and explore the geographies of transatlantic and international exchange and disruption within which her career unfolded. Ultimately, this volume takes its title as a topic for exploration--asking what worlds Boulanger belonged to, and in what sense we can consider any of them to be "hers."

In the late sixteenth century, the French royal court was mobile. To distinguish itself from the rest of society, it depended more on its cultural practices and attitudes than on the royal and aristocratic palaces it inhabited. Using courtly song-or the air de cour-as a window, Jeanice Brooks offers an unprecedented look into the culture of this itinerant institution. Brooks concentrates on a period in which the court''s importance in projecting the symbolic centrality of monarchy was growing rapidly and considers the role of the air in defining patronage hierarchies at court and in enhancing courtly visions of masculine and feminine virtue. Her study illuminates the court''s relationship to the world beyond its own confines, represented first by Italy, then by the countryside. In addition to the 40 editions of airs de cour printed between 1559 and 1589, Brooks draws on memoirs, literary works, and iconographic evidence to present a rounded vision of French Renaissance culture. The first book-length examination of the history of air de cour, this work also sheds important new light on a formative moment in French history.

Sound Heritage is the first study of music in the historic house museum, featuring contributions from both music and heritage scholars and professionals in a richly interdisciplinary approach to central issues. It examines how music materials can be used to create narratives about past inhabitants and their surroundings - including aspects of social and cultural life beyond the activity of music making itself - and explores how music as sound, material, and practice can be more consistently and engagingly integrated into the curation and interpretation of historic houses.The volume is structured around a selection of thematic chapters and a series of shorter case studies, each focusing on a specific house, object or project. Key themes include: Different types of historic house, including the case of the composer or musician house; what can be learned from museums and galleries about the use of sound and music and what may not transfer to the historic house setting Musical instruments as part of a wider collection; questions of restoration and public use; and the demands of particular collection types such as sheet music Musical objects and pieces of music as storytelling components, and the use of music to affectively colour narratives or experiences.This is a pioneering study that will appeal to all those interested in the intersection between Music and Museum and Heritage Studies. It will also be of interest to scholars and researchers of Music History, Popular Music, Performance Studies and Material Culture.

Sound Heritage is the first study of music in the historic house museum, featuring contributions from both music and heritage scholars and professionals in a richly interdisciplinary approach to central issues. It examines how music materials can be used to create narratives about past inhabitants and their surroundings - including aspects of social and cultural life beyond the activity of music making itself - and explores how music as sound, material, and practice can be more consistently and engagingly integrated into the curation and interpretation of historic houses.

The volume is structured around a selection of thematic chapters and a series of shorter case studies, each focusing on a specific house, object or project. Key themes include:

Different types of historic house, including the case of the composer or musician house; what can be learned from museums and galleries about the use of sound and music and what may not transfer to the historic house setting

Musical instruments as part of a wider collection; questions of restoration and public use; and the demands of particular collection types such as sheet music

Musical objects and pieces of music as storytelling components, and the use of music to affectively colour narratives or experiences.

This is a pioneering study that will appeal to all those interested in the intersection between Music and Museum and Heritage Studies. It will also be of interest to scholars and researchers of Music History, Popular Music, Performance Studies and Material Culture.

Sound Heritage is the first study of music in the historic house museum, featuring contributions from both music and heritage scholars and professionals in a richly interdisciplinary approach to central issues. It examines how music materials can be used to create narratives about past inhabitants and their surroundings - including aspects of social and cultural life beyond the activity of music making itself - and explores how music as sound, material, and practice can be more consistently and engagingly integrated into the curation and interpretation of historic houses.

The volume is structured around a selection of thematic chapters and a series of shorter case studies, each focusing on a specific house, object or project. Key themes include:

Different types of historic house, including the case of the composer or musician house; what can be learned from museums and galleries about the use of sound and music and what may not transfer to the historic house setting

Musical instruments as part of a wider collection; questions of restoration and public use; and the demands of particular collection types such as sheet music

Musical objects and pieces of music as storytelling components, and the use of music to affectively colour narratives or experiences.

This is a pioneering study that will appeal to all those interested in the intersection between Music and Museum and Heritage Studies. It will also be of interest to scholars and researchers of Music History, Popular Music, Performance Studies and Material Culture.

Sound Heritage is the first study of music in the historic house museum, featuring contributions from both music and heritage scholars and professionals in a richly interdisciplinary approach to central issues. It examines how music materials can be used to create narratives about past inhabitants and their surroundings - including aspects of social and cultural life beyond the activity of music making itself - and explores how music as sound, material, and practice can be more consistently and engagingly integrated into the curation and interpretation of historic houses.The volume is structured around a selection of thematic chapters and a series of shorter case studies, each focusing on a specific house, object or project. Key themes include: Different types of historic house, including the case of the composer or musician house; what can be learned from museums and galleries about the use of sound and music and what may not transfer to the historic house setting Musical instruments as part of a wider collection; questions of restoration and public use; and the demands of particular collection types such as sheet music Musical objects and pieces of music as storytelling components, and the use of music to affectively colour narratives or experiences.This is a pioneering study that will appeal to all those interested in the intersection between Music and Museum and Heritage Studies. It will also be of interest to scholars and researchers of Music History, Popular Music, Performance Studies and Material Culture.

Nadia Boulanger - composer, critic, impresario and the most famous composition teacher of the twentieth century - was also a performer of international repute. Her concerts and recordings with her vocal ensemble introduced audiences on both sides of the Atlantic to unfamiliar historical works and new compositions. This book considers how gender shaped the possibilities that marked Boulanger's performing career, tracing her meteoric rise as a conductor in the 1930s to origins in the classroom and the salon. Brooks investigates Boulanger's promotion of structurally motivated performance styles, showing how her ideas on performance of historical repertory and new music relate to her teaching of music analysis and music history. The book explores the way in which Boulanger's musical practice relied upon her understanding of the historically transcendent masterwork, in which musical form and meaning are ideally joined, and shows how her ideas relate to broader currents in French aesthetics and culture.

Nadia Boulanger - composer, critic, impresario and the most famous composition teacher of the twentieth century - was also a performer of international repute. Her concerts and recordings with her vocal ensemble introduced audiences on both sides of the Atlantic to unfamiliar historical works and new compositions. This book considers how gender shaped the possibilities that marked Boulanger's performing career, tracing her meteoric rise as a conductor in the 1930s to origins in the classroom and the salon. Brooks investigates Boulanger's promotion of structurally motivated performance styles, showing how her ideas on performance of historical repertory and new music relate to her teaching of music analysis and music history. The book explores the way in which Boulanger's musical practice relied upon her understanding of the historically transcendent masterwork, in which musical form and meaning are ideally joined, and shows how her ideas relate to broader currents in French aesthetics and culture.

A CULTURAL HISTORY OF WESTERN MUSIC IN THE RENAISSANCEA Cultural History of Western Music in the Renaissance covers the period from 1400 to 1650, examining structures of identity and the delicate relationships between self, society, and sound. What did listeners and creators want from music in the Renaissance? How were the forms and meanings of music shaped by the social, political, and technological transformations of the time? Music was put to many uses in this epoch: as an instrument of power in a changing political order; as an aid to religious and philosophical speculation; and as a tool for constructing emotional communities and regimes. And music itself was transformed, both by new technologies, such as print, and by the expansion of travel and trade.The 6 volume set of the Cultural History of Western Music presents the first comprehensive history from classical antiquity to today, covering all forms and aspects of music and its ever-changing social context. The themes covered in each volume are society; philosophies; politics; exchange; education; popular culture; performance; and technologies.The Cultural Histories SeriesA Cultural History of Western Music is part of The Cultural Histories Series. Titles are available as hardcover sets for libraries needing just one subject or preferring a tangible reference for their shelves or as part of a fully-searchable digital library. The digital product is available to institutions by annual subscription or on perpetual access via www.bloomsburyculturalhistory.com . Individual volumes for academics and researchers interested in specific historical periods are also available in print or digitally via www.bloomsburycollections.com .