Nancy November – författare
255 kr
Skickas inom 5-8 vardagar
1 025 kr
Skickas inom 7-10 vardagar
213 kr
Läs direkt efter köp
213 kr
Läs direkt efter köp
1 288 kr
Skickas inom 7-10 vardagar
1 197 kr
Skickas inom 7-10 vardagar
1 412 kr
Läs direkt efter köp
1 400 kr
Läs direkt efter köp
769 kr
Läs direkt efter köp
769 kr
Läs direkt efter köp
2 215 kr
Skickas inom 10-15 vardagar
2 292 kr
Kommande
1 330 kr
Skickas inom 7-10 vardagar
1 210 kr
Skickas inom 7-10 vardagar
330 kr
Skickas inom 7-10 vardagar
394 kr
Läs direkt efter köp
1 103 kr
Skickas inom 7-10 vardagar
378 kr
Läs direkt efter köp
328 kr
Skickas inom 7-10 vardagar
237 kr
Skickas inom 7-10 vardagar
378 kr
Läs direkt efter köp
283 kr
Läs direkt efter köp
283 kr
Läs direkt efter köp
462 kr
Skickas inom 7-10 vardagar
1 252 kr
Skickas inom 5-8 vardagar
2 506 kr
Läs direkt efter köp
The fifteen essays of Performing History glimpse the diverse ways music historians “do” history, and the diverse ways in which music histories matter. This book’s chapters are structured into six key areas: historically informed performance; ethnomusicological perspectives; particular musical works that “tell,” “enact,” or “perform” war histories; operatic works that works that “tell,” “enact,” or “perform” power or enlightenment; musical works that deploy the body and a broad range of senses to convey histories; and histories involving popular music and performance. Diverse lines of evidence and manifold methodologies are represented here, ranging from traditional historical archival research to interviewing, performing, and composing. The modes of analyzing music and its associated texts represented here are as various as the kinds of evidence explored, including, for example, reading historical accounts against other contextual backdrops, and reading “between the lines” to access other voices than those provided by mainstream interpretation or traditional musicology.
1 821 kr
Läs direkt efter köp
The fifteen essays of Performing History glimpse the diverse ways music historians “do” history, and the diverse ways in which music histories matter. This book’s chapters are structured into six key areas: historically informed performance; ethnomusicological perspectives; particular musical works that “tell,” “enact,” or “perform” war histories; operatic works that works that “tell,” “enact,” or “perform” power or enlightenment; musical works that deploy the body and a broad range of senses to convey histories; and histories involving popular music and performance. Diverse lines of evidence and manifold methodologies are represented here, ranging from traditional historical archival research to interviewing, performing, and composing. The modes of analyzing music and its associated texts represented here are as various as the kinds of evidence explored, including, for example, reading historical accounts against other contextual backdrops, and reading “between the lines” to access other voices than those provided by mainstream interpretation or traditional musicology.
1 193 kr
Skickas
2 506 kr
Läs direkt efter köp
String Quartets in Beethoven’s Europe is the first detailed study of string quartets in late-eighteenth- and early-nineteenth-century Europe. It brings together the work of nine scholars who explore little-studied aspects of this multi-faceted genre. Together, this book’s chapters deal with compositional responses to Beethoven’s string quartets and the prestige of the genre; varied compositional practices in string quartet writing, with a particular emphasis on texture and performance elements; and the reception of Beethoven’s string quartets ca. 1800. They include discussions of quartets composed for the amateur and connoisseur markets in Beethoven’s Europe; virtuosity, the French Violin School, and the quatuor brillant; the relationship between quartet composers and their audiences during Beethoven’s era; and the cross-pollination of quartet styles in Europe’s musical centers such as Vienna, Paris, and St. Petersburg.
2 174 kr
Läs direkt efter köp
String Quartets in Beethoven’s Europe is the first detailed study of string quartets in late-eighteenth- and early-nineteenth-century Europe. It brings together the work of nine scholars who explore little-studied aspects of this multi-faceted genre. Together, this book’s chapters deal with compositional responses to Beethoven’s string quartets and the prestige of the genre; varied compositional practices in string quartet writing, with a particular emphasis on texture and performance elements; and the reception of Beethoven’s string quartets ca. 1800. They include discussions of quartets composed for the amateur and connoisseur markets in Beethoven’s Europe; virtuosity, the French Violin School, and the quatuor brillant; the relationship between quartet composers and their audiences during Beethoven’s era; and the cross-pollination of quartet styles in Europe’s musical centers such as Vienna, Paris, and St. Petersburg.