This single volume study score contains all 23 of Mozart's string quartets: the little-known early quartets in an Italianate manner; the six quartets dedicated to Haydn; the D Major Quartet; and more.
The tensions between utopian dreams and dystopian anxieties permeate science fiction as a genre, and nowhere is this tension more evident than in Star Trek. This book breaks new ground by exploring music and sound within the Star Trek franchise across decades and media, offering the first sustained look at the role of music in shaping this influential series. The chapters in this edited collection consider how the aural, visual, and narrative components of Star Trek combine as it constructs and deconstructs the utopian and dystopian, shedding new light on the series’ political, cultural, and aesthetic impact. Considering how the music of Star Trek defines and interprets religion, ideology, artificial intelligence, and more, while also considering fan interactions with the show’s audio, this book will be of interest to students and scholars of music, media studies, science fiction, and popular culture.
The universally acclaimed and award-winning Oxford History of Western Music is the eminent musicologist Richard Taruskin's provocative, erudite telling of the story of Western music from its earliest days to the present. Each book in this superlative five-volume set illuminates-through a representative sampling of masterworks-the themes, styles, and currents that give shape and direction to a significant period in the history of Western music. Music in the Seventeenth and Eighteenth Centuries , the second volume Richard Taruskin's monumental history, illuminates the explosion of musical creativity that occurred in the seventeenth and eighteenth centuries. Examining a wealth of topics, Taruskin looks at the elegant masques and consort music of Jacobean England, the Italian concerto style of Corelli and Vivaldi, and the progression from Baroque to Rococo to romantic style. Perhaps most important, he offers a fascinating account of the giants of this period: Bach, Handel, Mozart, Haydn, and Beethoven. Laced with brilliant observations, memorable musical analysis, and a panoramic sense of the interactions between history, culture, politics, art, literature, religion, and music, this book will be essential reading for anyone who wishes to understand this rich and diverse period.
"The Saddharma-Puṇḍarīka (The Lotus of the True Law), one of the Mahayana sutras, is perhaps the single most important Mahayana Buddhist work. Composed originally in India, some sections written as early as the beginning of the Christian era, the Lotus is held in enormous esteem by the Northern schools of Buddhism and by Chinese and Japanese Buddhists, particularly Tendai and later developments. Described as "the most eminent" of all the sutras, "the crown jewel" in which "all Buddha-laws are succinctly taught," the Lotus is a keystone in the education of every serious Buddhist. This sutra is essentially a collection of responses, explanations, ex cathedra lectures, and the like, bearing chiefly upon metaphysical issues: the nature of Buddhahood, the concept of nirvana, the Bodhisattva ideal, the rewards of the faithful, and other theoretical matters, that have become essential dogma in all Buddhist schools that have since arisen. A transfiguration of the traditional Buddha-situation is presented: the historical Buddha, the Tathagata or Sakyamuni, is seen in his eternal, supernatural aspect; he sits surrounded by an array of gods, arahats, demons, bodhisattvas, gandharvas, monks and nuns--all eager to hear the infinitely wise utterances of the Great Teacher. The revelations are made sometimes by Sakyamuni, addressing his historical sangha, including Ananda, Sariputra, Kasyapa, et al., and at other times by the Buddhas of the past and the future, Manjusri and Maitreya. This edition contains the complete translation of the Lotus, rendered from Sanskrit by Professor Kern. He has also written a critical introduction to the work and has clarified and supplemented the text by means of numerous footnotes." -- Publisher's description
(Berklee Guide). Use counterpoint to make your music more engaging and creative. Counterpoint the relationship between musical voices is among the core principles for writing music, and it has been central to the study of composition for many centuries. Whether you are a composer, arranger, film composer, orchestrator, music director, bandleader, or improvising musician, this book will help hone your craft, gain control, and lead you to new creative possibilities. You will learn "tricks of the trade" from the masters and apply these skills to contemporary styles. Online audio examples illustrate the principles being discussed, and many recommended listening lists point you to additional examples of how these principles have been used in music over the past thousand years.
This book approaches Schenkerian analysis in a practical and accessible manner fit for the classroom, guiding readers through a step-by-step process. It is suitable for advanced undergraduates and graduate students of musicology, music theory, composition, and performance, and it is replete with a wide variety of musical examples.
The play of concepts and conceptual structures typical of music theory is thus not something remote from our appreciation of music, but is instead basic to it."--Jacket.
Why couldn't Schubert get his 'great' C-Major Symphony performed? Why was he the first composer to consistently write four movements for his piano sonatas? Since neither Schubert's nor Beethoven's piano sonatas were ever performed in public, who did hear them? Addressing these questions and many others, John M. Gingerich provides a new understanding of Schubert's career and his relationship to Beethoven. Placing the genres of string quartet, symphony, and piano sonata within the cultural context of the 1820s, the book examines how Schubert was building on Beethoven's legacy. Gingerich brings new understandings of how Schubert tried to shape his career to bear on new hermeneutic readings of the works from 1824 to 1828 that share musical and extra-musical pre-occupations, centering on the 'Death and the Maiden' Quartet and the Cello Quintet, as well as on analyses of the A-minor Quartet, the Octet, and of the 'great' C-Major Symphony.
These three-movement Italian-style compositions require only wind parts to assume another form, hence their common description as the "Salzburg Symphonies." This authoritative, inexpensive edition of the ever-popular composer's works includes three additional quartets.
While the Beethoven string quartets are to chamber music what the plays of Shakespeare are to drama, even seasoned concertgoers will welcome guidance with these personal and sometimes enigmatic works. This collection offers Beethoven lovers both detailed notes on the listening experience of each quartet and a stimulating range of more general perspectives: Who has the quartets' audience been? How were the quartets performed before the era of sound recordings? What is the relationship between "classical" and "romantic" in the quartets? How was their reception affected by social and economic history? What sorts of interpretive decisions are made by performers today? The Companion brings together a matchless group of Beethoven experts. Joseph Kerman is perhaps the world's most renowned Beethoven scholar. Robert Winter, an authority on sketches for the late quartets, has created interactive programs regarded as milestones in multimedia publishing. Maynard Solomon has written an acclaimed biography of Beethoven. Leon Botstein is the conductor of the American Symphony Orchestra as well as a distinguished social historian and college president. Robert Martin writes from his experience as cellist of the Sequoia Quartet. And the book is anchored by the program notes of Michael Steinberg, who has served as Artistic Advisor of the San Francisco Symphony and the Minnesota Orchestra.