Cambridge Readings in the Literature of Music – serie
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This volume, in the series Cambridge Readings in the Literature of Music, is an anthology of original German, French and English writings from the period 1851-1912. Throughout the second half of the nineteenth century music continued to be a subject to which philosophers, psychologists, scientists and critics repeatedly addressed themselves. Some of the philosophical approaches followed the tradition of the German speculative philosophy of the late eighteenth and early nineteenth centuries. Elsewhere the new 'scientific' climate of the nineteenth century left its mark on the work of scientists and psychologists interested in the impact of acoustical stimuli on the human mind or in the role of music and song in the prehistory of mankind.
762 kr
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This is an abridged, paperback edition of Peter le Huray and James Day's invaluable anthology of writings concerned with the role of music in eighteenth- and early-nineteenth-century aesthetics. This volume retains all the most important and significant items from the original hardcover edition. Over fifty writers are represented here, including such major figures as Rousseau, Kant, Schlegel, Schopenhauer and Hegel, and the useful introductions and biographical details of the original are also retained. The aesthetic literature of the period is profuse but this carefully edited volume offers a balanced selection which illuminates the ways people experienced music and how they came to an understanding in particular of the new music of their day.
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This book provides a collection of some 400 passages on music from early Christian literature - New Testament to c. 450 AD - newly translated from the original Greek, Latin, and Syriac. As there are no musical sources of the period, music historians must rely upon remarks about music in literary sources to gain some knowledge of early Christian liturgical music. This volume makes a large and representative collection of the material conveniently available. The passages are arranged chronologically and regionally in eleven chapters with brief commentary. An introduction sets out the major subjects and themes of the original source material.
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This book is the first of two volumes offering a selection of Greek writings on music, newly translated into English and equipped with an extensive commentary. This volume contains passages from Greek poets, historians and essayists, evoking or describing aspects of the practical activities of musical performance and composition, together with excerpts from philosophers and social critics who comment on the moral, education and aesthetic dimensions of the art. Music was of fundamental importance in the culture of ancient Greece. Its nature and significance cannot now, perhaps, be fully recaptured, but we have a rich fund of information about the Greek experience of music, its forms, its meanings, its social roles, and the practical details of its composition and performance.
398 kr
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This book demonstrates, in fascinating diversity, how musicians in the nineteenth century thought about and described music. The analysis of music took many forms (verbal, diagrammatic, tabular, notational, graphic), was pursued for many different purposes (educational, scholarly, theoretical, promotional) and embodied very different approaches. This, the first volume, is concerned with writing on fugue, form and questions of style in the music of Palestrina, Handel, Bach, Mozart, Beethoven and Wagner and presents analyses of complete works or movements by the most significant theorists and critics of the century. The analyses are newly translated into English and are introduced and thoroughly annotated by Ian Bent, making this a volume of enormous importance to our understanding of the nature of music reception in the nineteenth century.
506 kr
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This second volume of Greek Musical Writings contains important texts on harmonic and acoustic theory, illustrating the progress of these sciences from their beginnings in the sixth century BC over the subsequent thousand years. Writers represented include Philolaus, Plato, Aristotle, Theophrastus, Aristoxenus, Ptolemy, Aristides, Archytas, and Quintilianus. All the Greek texts are newly translated by the editor. Some replace inadequate existing translations; other significant portions of the book include much that is essential for an understanding of medieval and Renaissance musicology. Dr Barker provides detailed and authoritative commentary and annotations to all the texts. Each section is prefaced by an introductory essay and some of the more complex issues are discussed further in appendices.
398 kr
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In this second volume of nineteenth-century music analyses, Ian Bent provides a further selection of newly translated writings of nineteenth-century music critics and theorists, including composers such as Wagner, Schumann and Berlioz, and critics such as A. B. Marx and E. T. A. Hoffmann. Where Volume I, on Fugue, Form and Style, presented nineteen analyses of a technical nature, all the writing here involves a metaphorical style of verbalised description, some pure examples, and others hybrid forms mixed with technical analysis. The music analysed is amongst the best-known in the repertoire: Wagner writes on Beethoven's Ninth Symphony, E. T. A. Hoffmann on the Fifth, Schumann writes on Berlioz, and Berlioz on Meyerbeer. Professor Bent presents each analysis with its own detailed introduction and each is amplified by supporting information in footnotes.