Essays History English Music

Essays History English Music-19
347): Further Considerations on its Source, Style, Context and Authorship Tassilo Erhardt (Liverpool Hope University): Johann Joseph Fux’Church Music in its Spiritual and Liturgical Contexts Jen-yen Chen (National Taiwan University): The Musical Baroque in China: Interactions and Conf licts Denis Collins (The University of Queensland, Australia): Canon in Baroque Italy: Paolo Agostini’s Collections of Masses, Motets and Counterpoints from 1627 PART TWO: MUSIC IN IRELAND Kerry Houston (DIT Conservatory of Music and Drama): John Mathews: A Specimen of Georgian Ignorance?Ita Beausang (DIT Conservatory of Music and Drama): There is a calmfor those who weep: William Shore’s New Edition of a Chorale by John [sic] Sebastian Bach Axel Klein (Frankfurt): “No, Sir, the Irish are not musical”: Some Historic (?The new translations by Susan Gillespie (and others) are outstanding not only for their care and readability, but also for their sensitivity to Adorno's forms and styles."—Lydia Goehr, author of The Quest for Voice: Music, Politics and the Limits of Philosophy"With its careful, full edition of Adorno's important musical texts and its exhaustive yet eminently readable commentaries, Richard Leppert's magisterial book represents a brilliant solution to the age-old dilemma of bringing together primary text and interpretation in one volume."—James Deaville, Director, School of the Arts, Mc Master University"The developing variations of Adorno's life-long involvement with musical themes are fully audible in this remarkable collection.

347): Further Considerations on its Source, Style, Context and Authorship Tassilo Erhardt (Liverpool Hope University): Johann Joseph Fux’Church Music in its Spiritual and Liturgical Contexts Jen-yen Chen (National Taiwan University): The Musical Baroque in China: Interactions and Conf licts Denis Collins (The University of Queensland, Australia): Canon in Baroque Italy: Paolo Agostini’s Collections of Masses, Motets and Counterpoints from 1627 PART TWO: MUSIC IN IRELAND Kerry Houston (DIT Conservatory of Music and Drama): John Mathews: A Specimen of Georgian Ignorance?Ita Beausang (DIT Conservatory of Music and Drama): There is a calmfor those who weep: William Shore’s New Edition of a Chorale by John [sic] Sebastian Bach Axel Klein (Frankfurt): “No, Sir, the Irish are not musical”: Some Historic (?The new translations by Susan Gillespie (and others) are outstanding not only for their care and readability, but also for their sensitivity to Adorno's forms and styles."—Lydia Goehr, author of The Quest for Voice: Music, Politics and the Limits of Philosophy"With its careful, full edition of Adorno's important musical texts and its exhaustive yet eminently readable commentaries, Richard Leppert's magisterial book represents a brilliant solution to the age-old dilemma of bringing together primary text and interpretation in one volume."—James Deaville, Director, School of the Arts, Mc Master University"The developing variations of Adorno's life-long involvement with musical themes are fully audible in this remarkable collection.

bei Amazon, i Tunes ISBN 978-3-99012-402-4 (pdf) € 79,99 - erhältlich u.a.

bei Amazon, i Tunes The contributions to this Festschrift, honouring the distinguished Irish musicologist Harry White on his sixtieth birthday, have wide repercussions and span a broad timeframe.

short biography Lorraine Byrne Bodley CONTENTS NOTES ON CONTRIBUTORS FOREWORD by Gerard Gillen (Maynooth University and Titular Organist, St.

Mary’s Pro-Cathedral) INTRODUCTION by Lorraine Byrne Bodley (Maynooth University)and Robin Elliott (University of Toronto) PART ONE: THE MUSICAL BAROQUE Julian Horton (Durham University): J. Bach’s Fugue in C sharp minor, Well-Tempered Clavier, Book I and the Autonomy of the Musical Work Lorenz Welker (Ludwig-Maximilians-Universität, Munich): Johann Joseph Fux’s Sonata à 4 in G (K.

No one knows Adorno better than Leppert, and no one is better equipped to clarify the complex interweaving of sociology, philosophy, and musical aesthetics that is central to Adorno's work.

From now on, everyone who reads Adorno on music, whether a beginner or an expert, is in Richard Leppert's debt for devoting his exceptional gifts of learning and lucidity to this project."—Lawrence Kramer, author of Musical Meaning: Toward a Critical History Richard Leppert is Samuel Russell Distinguished Professor of Humanities and Morse Alumni Distinguished Teaching Professor in the Department of Cultural Studies and Comparative Literature at the University of Minnesota. It is unprecedented in its design: a brilliantly selected group of essays on music coupled with lucid, deeply incisive, and in every way masterly analysis of Adorno's thinking about music.No one who studies Adorno and music will be able to dispense with it; and if they can afford only one book on Adorno and music, this will be the one.It also reflects a scholar, who – for all the broadening of his perspectives that has taken place over the years – has always adhered to the strands of his scholarly preoccupations that have become dear to him: the music of the ‘Austro-Italian Baroque’, and Irish musical culture first and foremost.An international cast of authors announces the sustaining influence of Harry White’s wide-ranging research.This volume remedies both problems at a single stroke.It will be read equally—and eagerly—for Adorno's texts and for Richard Leppert's commentary on them, both of which will continue to be essential resources as musical scholarship seeks increasingly to come to grips with the social contexts and effects of music.The folk music of England is tradition-based music, which has existed since the later medieval period.It is often contrasted with courtly, classical and later commercial music.Folk music has been preserved and transmitted orally, through print and later through recordings.The term is used to refer to English traditional music and music composed, or delivered, in a traditional style.

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