Matthew Gardner – författare

The piano features prominently in Schubert''s musical output throughout his career, not only as an instrument for solo piano pieces (for two and four hands), but also in Lieder and chamber music as an equal partner to the voice or other instruments. His preference for the instrument is reflected in contemporary reports by his friends and colleagues as well as in iconography, where he is frequently depicted at the piano. In early nineteenth-century Vienna the piano underwent a rapid period of development, allowing composers to experiment with expanded ranges, sonorities and effects that differ substantially from modern concert grands. Schubert''s Piano considers the composer''s engagement with this instrument in terms of social history, performance and performance practices, aesthetics, sonority and musical imagery, and his approaches to composition across several musical genres, stimulating new insights into the creative interplay among Schubert''s piano compositions.

In the early eighteenth century, the benefit performance became an essential component of commercial music-making in Britain. Benefits, adapted from the spoken theatre, provided a new model from which instrumentalists, singers, and composers could reap financial and professional rewards. Benefits could be given as theatre pieces, concerts, or opera performances for the benefit of individual performers; or in aid of specific organizations. The benefit changed Britain's musico-theatrical landscape during this time and these special performances became a prototype for similar types of events in other European and American cities. Indeed, the charity benefit became a musical phenomenon in its own right, leading, for example, to the lasting success of Handel's Messiah. By examining benefits from a musical perspective - including performers, audiences, and institutions - the twelve chapters in this collection present the first study of the various ways in which music became associated with the benefit system in eighteenth-century Britain.

In the early eighteenth century, the benefit performance became an essential component of commercial music-making in Britain. Benefits, adapted from the spoken theatre, provided a new model from which instrumentalists, singers, and composers could reap financial and professional rewards. Benefits could be given as theatre pieces, concerts, or opera performances for the benefit of individual performers; or in aid of specific organizations. The benefit changed Britain's musico-theatrical landscape during this time and these special performances became a prototype for similar types of events in other European and American cities. Indeed, the charity benefit became a musical phenomenon in its own right, leading, for example, to the lasting success of Handel's Messiah. By examining benefits from a musical perspective - including performers, audiences, and institutions - the twelve chapters in this collection present the first study of the various ways in which music became associated with the benefit system in eighteenth-century Britain.

In the early eighteenth century, the benefit performance became an essential component of commercial music-making in Britain. Benefits, adapted from the spoken theatre, provided a new model from which instrumentalists, singers, and composers could reap financial and professional rewards. Benefits could be given as theatre pieces, concerts, or opera performances for the benefit of individual performers; or in aid of specific organizations. The benefit changed Britain''s musico-theatrical landscape during this time and these special performances became a prototype for similar types of events in other European and American cities. Indeed, the charity benefit became a musical phenomenon in its own right, leading, for example, to the lasting success of Handel''s Messiah. By examining benefits from a musical perspective - including performers, audiences, and institutions - the twelve chapters in this collection present the first study of the various ways in which music became associated with the benefit system in eighteenth-century Britain.

In the early eighteenth century, the benefit performance became an essential component of commercial music-making in Britain. Benefits, adapted from the spoken theatre, provided a new model from which instrumentalists, singers, and composers could reap financial and professional rewards. Benefits could be given as theatre pieces, concerts, or opera performances for the benefit of individual performers; or in aid of specific organizations. The benefit changed Britain''s musico-theatrical landscape during this time and these special performances became a prototype for similar types of events in other European and American cities. Indeed, the charity benefit became a musical phenomenon in its own right, leading, for example, to the lasting success of Handel''s Messiah. By examining benefits from a musical perspective - including performers, audiences, and institutions - the twelve chapters in this collection present the first study of the various ways in which music became associated with the benefit system in eighteenth-century Britain.

The piano features prominently in Schubert's musical output throughout his career, not only as an instrument for solo piano pieces (for two and four hands), but also in Lieder and chamber music as an equal partner to the voice or other instruments. His preference for the instrument is reflected in contemporary reports by his friends and colleagues as well as in iconography, where he is frequently depicted at the piano. In early nineteenth-century Vienna the piano underwent a rapid period of development, allowing composers to experiment with expanded ranges, sonorities and effects that differ substantially from modern concert grands. Schubert's Piano considers the composer's engagement with this instrument in terms of social history, performance and performance practices, aesthetics, sonority and musical imagery, and his approaches to composition across several musical genres, stimulating new insights into the creative interplay among Schubert's piano compositions.

Der lang erwartete Nachfolger von Nicole Schwindt-Gross'' Erfolgsbuch "Musikwissenschaftliches Arbeiten" ist ein praktisches Lehr- und Arbeitsbuch für das Studium der Musik und Musikwissenschaft, das sich auch zum Selbststudium und als Nachschlagewerk eignet.Das Buch ist ein aktueller, unentbehrlicher Ratgeber und Wegweiser durch den Dschungel des Studiums: Die beiden Autoren erläutern alle wichtigen Arbeitstechniken und regen zum kritischen Denken über Quellen und Methoden der historischen Musikwissenschaft an – eine Kompetenz, die gerade im Zeitalter des Internets und der neuen Medien wichtiger denn je geworden ist.Das Buch bietet:• Hinweise zum kritischen Umgang mit Medien aller Art (v. a. auch Internet, Datenbanken, Onlinekataloge)• eine übersichtliche Struktur zum leichten Nachschlagen• klar verständliche Texte mit anschaulichen Beispielen• Infokästen mit zusätzlichen Details und Hinweisen• Fragen zur Selbstüberprüfung• Unterstützung der besonderen Bedürfnisse von Bachelor- und MasterstudierendenDie AutorenMatthew Gardner und Sara Springfeld arbeiten als Wissenschaftliche Mitarbeiter an den Musikwissenschaftlichen Instituten der Universitäten Heidelberg und Tübingen. Ihre praktischen Erfahrungen aus der Lehre in Einführungskursen und Seminaren, aus eigener Forschung, aber auch aus der Studienberatung sind unmittelbar in Aufbau und Inhalt des Buches eingeflossen.

Der lang erwartete Nachfolger von Nicole Schwindt-Gross'' Erfolgsbuch "Musikwissenschaftliches Arbeiten" ist ein praktisches Lehr- und Arbeitsbuch für das Studium der Musik und Musikwissenschaft, das sich auch zum Selbststudium und als Nachschlagewerk eignet.Das Buch ist ein aktueller, unentbehrlicher Ratgeber und Wegweiser durch den Dschungel des Studiums: Die beiden Autoren erläutern alle wichtigen Arbeitstechniken und regen zum kritischen Denken über Quellen und Methoden der historischen Musikwissenschaft an – eine Kompetenz, die gerade im Zeitalter des Internets und der neuen Medien wichtiger denn je geworden ist.Das Buch bietet:• Hinweise zum kritischen Umgang mit Medien aller Art (v. a. auch Internet, Datenbanken, Onlinekataloge)• eine übersichtliche Struktur zum leichten Nachschlagen• klar verständliche Texte mit anschaulichen Beispielen• Infokästen mit zusätzlichen Details und Hinweisen• Fragen zur Selbstüberprüfung• Unterstützung der besonderen Bedürfnisse von Bachelor- und MasterstudierendenDie AutorenMatthew Gardner und Sara Springfeld arbeiten als Wissenschaftliche Mitarbeiter an den Musikwissenschaftlichen Instituten der Universitäten Heidelberg und Tübingen. Ihre praktischen Erfahrungen aus der Lehre in Einführungskursen und Seminaren, aus eigener Forschung, aber auch aus der Studienberatung sind unmittelbar in Aufbau und Inhalt des Buches eingeflossen.