In this textbook, Cook provides an unusual and stimulating new approach to teaching analytical concepts through the study of style composition. He emphasizes throughout analysis and decision-making within a practical context, drawing on musical examples from eighteenth-century works. Students can use these examples as models to complete compositional assignments provided in a number of subject areas.
Musical Composition in the Twentieth Century builds on the foundations of Music since the First World War (first published 1977, revised edition 1988). It updates and reshapes the original text and places it in the wider context of twentieth-century serious music before 1918 and after 1975. The focus is on matters of compositional technique, with sections of detailed analytical comment framed by more concise sketches of a range of twentieth-century composers from Faure to Wolfgang Rihm.Extensive music examples reinforce this technical focus. Though in no sense a history of music concerned primarily with the institutional and critical climate within which composers live and work, nor an encyclopedia dealing with every significant composer, Musical Composition in the Twentieth Century offers a critical engagement with that confrontation between tradition and innovation to which twentieth-century composers have responded with resourcefulness and vitality.
The first book completely devoted to the subject, this volume describes the analysis of the composition and structure of glass and glass ceramics. Although conceived as a monograph, the individual chapters are written by leading Schott experts on the corresponding subjects.
Rethinking Music reflects the ideas of 24 distinguished musicologists as they evaluate current thinking about music, its social and ethical dimensions and the relationship between academic study and direct musical experience.
Contests the assumption that vitalism and contemporary rhetoric represent opposing, disconnected poles in the writing tradition. Vitalism has been historically linked to expressivism and dismissed as innate and unteachable, whereas rhetoric is seen as a rational, teachable method for producing argumentative texts. Hawk calls for the reexamination of current pedagogies to incorporate vitalism and complexity theory and argues for their application in the environments where students write and think today. Winner of the 2007 JAC W. Ross Winterowd Award Honorable Mention, 2007 MLA Mina P. Shaughnessy Prize
The central theme of this book is the relationship between the reflections about and the realization of a musical composition. In his essay "Words about Music, or Analysis versus Performance," Nicholas Cook states that words and music can never be aligned exactly with one another. He embarks on a quest for models of the relationship between analytical conception and performance that are more challenging than those in general currency. Peter Johnson's essay, "Performance and the Listening Experience: Bach's 'Erbarme dich'" shows that a performance is an element within the intentionality of the work itself. He looks for scientific methods capable of proving the artisticity of a performance. And the composer Hans Zender, in his "A Road Map for Orpheus?," states that a composer must be capable of questioning obvious basic principles (such as equal temperament) and finding creative solutions.
Teaching Music through Composition offers a practical, fully multimedia curriculum designed to teach basic musical concepts through the creative process of music composition. Author and award-winning music educator Barbara Freedman presents classroom-tested ways of teaching composition with technology as a tool with which students can create, edit, save, and reproduce music. As Freedman demonstrates, technology allows a musical experience for all skill levels in opportunities never before available to compose manipulate, instantly listen to music electronically and even print standard Western music notation for others to play without having to know much about traditional music theory or notation. All students can have meaningful hands-on applied learning experiences that will impact not only their music experience and learning but also their understanding and comfort with 21st century technology. Whether the primary focus of your class is to use technology to create music or to explore using technology in a unit or two, this book will show you how it can be done with practical, tried-and-true lesson plans and student activities.
