Roger Savage - Böcker
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6 produkter
6 produkter
The Classics of Music
Talks, Essays, and Other Writings Previously Uncollected
Inbunden, Engelska, 2001
5 630 kr
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For much of the twentieth century, Donald Francis Tovey (1875-1940) was Britain's most celebrated and influential writer on music, largely as a result of the considerable corpus of his work published by Oxford University Press in the 1930s and posthumously in the 1940s. However, as a prolific and popular lecturer, broadcaster, and essayist, he left many scattered writings which the Press did not publish in those years. With the sole exceptions of the Bach and Beethoven commentaries written for the Associated Board of the Royal Schools of Music, The Classics of Music assembles here for the first time all the significant completed public writings of Tovey which have not appeared heretofore under the Oxford imprint. Initially edited by Michael Tilmouth, late Tovey Professor of Music at the University of Edinburgh, the volume has been completed by David Kimbell and Roger Savage, also of Edinburgh - the institution at which Tovey himself held the Reid Chair of Music from 1914. Here, then, are over seventy essays in musical analysis; fifteen composer-articles for the Encyclopaedia Britannica; two complete lecture series (one of them a sophisticated exploration of key-relationships in Beethoven); a sequence of radio talks for the ordinary listener; a survey of German music from the Renaissance to Hugo Wolf; and two dozen other essays, papers, scholarly reviews, and affectionate obituaries. All new Tovey - and all characteristically stimulating and stylish - making this essential collection available to a new generation of musicians.
Music, Time, and Its Other
Aesthetic Reflections on Finitude, Temporality, and Alterity
Häftad, Engelska, 2019
629 kr
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Music, Time, and Its Other explores the relation between the enigmatic character of our temporal experiences and music’s affective power. By taking account of competing concepts of time, Savage explains how music refigures dimensions of our experiences through staking out the borderlines between time and eternity. He examines a range of musical expressions that reply to the deficiency born from the difference between time and an order that exceeds or surpasses it and reveals how affective tonalities of works by Bach, Carolan, Debussy, Schoenberg, Messiaen, and Glass augment our understanding of our temporal condition. Reflections on the moods and feelings to which music gives voice counterpoint philosophical investigations into the relation between music’s power to affect us and the force that the present has with respect to the initiatives we take. Music, Time, and Its Other thus sets out a new approach to music, aesthetics, politics, and the critical roles of judgment and imagination.
771 kr
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The Pre-history of ‘The Midsummer Marriage’ examines the early collaborative phase (1943 to 1946) in the making of Michael Tippett’s first mature opera and charts the developments that grew out of that phase.Drawing on a fascinating group of Tippett’s sketchbooks and a lengthy sequence of his letters to Douglas Newton, it helps construct a narrative of the Tippett-Newton collaboration and provides insights into the devising of the opera’s plot, both in that early phase and in the phase from 1946 onwards when Tippett went on with the project alone. The book asks: who was Newton, and what kind of collaboration did he have—then cease to have— with Tippett?What were the origins of and shaping factors behind the original scenario and libretto-drafts?How far did the narrative and controlling concepts of Midsummer Marriage in its final form tally with—and how far did they move away from—those that had been set up in the years of the two men’s collaboration, the ‘pre-historic’ years?The book will be of particular interest to scholars and researchers in opera studies and twentieth-century music.
356 kr
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The Pre-history of ‘The Midsummer Marriage’ examines the early collaborative phase (1943 to 1946) in the making of Michael Tippett’s first mature opera and charts the developments that grew out of that phase.Drawing on a fascinating group of Tippett’s sketchbooks and a lengthy sequence of his letters to Douglas Newton, it helps construct a narrative of the Tippett-Newton collaboration and provides insights into the devising of the opera’s plot, both in that early phase and in the phase from 1946 onwards when Tippett went on with the project alone. The book asks: who was Newton, and what kind of collaboration did he have—then cease to have— with Tippett?What were the origins of and shaping factors behind the original scenario and libretto-drafts?How far did the narrative and controlling concepts of Midsummer Marriage in its final form tally with—and how far did they move away from—those that had been set up in the years of the two men’s collaboration, the ‘pre-historic’ years?The book will be of particular interest to scholars and researchers in opera studies and twentieth-century music.
Music, Time, and Its Other
Aesthetic Reflections on Finitude, Temporality, and Alterity
Inbunden, Engelska, 2017
2 167 kr
Skickas inom 10-15 vardagar
Music, Time, and Its Other explores the relation between the enigmatic character of our temporal experiences and music’s affective power. By taking account of competing concepts of time, Savage explains how music refigures dimensions of our experiences through staking out the borderlines between time and eternity. He examines a range of musical expressions that reply to the deficiency born from the difference between time and an order that exceeds or surpasses it and reveals how affective tonalities of works by Bach, Carolan, Debussy, Schoenberg, Messiaen, and Glass augment our understanding of our temporal condition. Reflections on the moods and feelings to which music gives voice counterpoint philosophical investigations into the relation between music’s power to affect us and the force that the present has with respect to the initiatives we take. Music, Time, and Its Other thus sets out a new approach to music, aesthetics, politics, and the critical roles of judgment and imagination.
Masques, Mayings and Music-Dramas
Vaughan Williams and the Early Twentieth-Century Stage
Inbunden, Engelska, 2014
1 442 kr
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In-depth case-studies of significant aspects of early twentieth-century English music-theatre, which engage with notions of Englishness and the idea of a 'musical renaissance'Masques, Mayings and Music-Dramas comprises a sequence of in-depth case-studies of significant aspects of early twentieth-century English music-theatre. Vaughan Williams forms a central thread in this discussion, and Stratford-upon-Avon serves as a geographical focus-point for mediating conflicting visions of an English musical tradition. But the reach of the book is much wider, shedding new light on English Wagnerism (at Glastonbury especially) andon the reception of Wagner's ideas as a point of emulation and resistance. No less significant is the discussion of Purcell and the seventeenth-century masque - one of the primary sources for re-imagining an English dramatic tradition - and the more familiar images of the May festival, the Mummers' play and the pageant play, which are tellingly re-contextualised. The book also looks at the associations between Vaughan Williams, the theatre artist Edward Gordon Craig and the impresario Serge Diaghilev. The sequence is framed by the image of the pilgrim-vagabond Vaughan Williams's setting of the poetry of Matthew Arnold and Robert Louis Stevenson as a metaphor and paradigm for his creative career and personal progress.The book not only sheds light on the activities and ambitions of principal agents but also illuminates a particularly dynamic moment in the re-emergence of a distinctively English music-theatrical practice: one especially concerned with calling on aspects of the past to help to secure a worthwhile future. Notions of Englishness turn out to be less insular than sometimes thought and the idea of a 'musical renaissance' more complex when the case-studies are understood in their proper historical context. Scholars and students of twentieth-century English music, theatre and opera will find this volume indispensable.Roger Savage isHonorary Fellow in English Literature at the University of Edinburgh. He has published widely on theatre and its interface with music from the baroque to the twentieth century in leading journals and books.