Opis: The Oxford History of Western Music - Christopher Gibbs, Richard Taruskin

Based on the award-winning five-volume work by Richard Taruskin, The Oxford History of Western Music, College Edition, presents the most up-to-date and comprehensive history of Western music available. Distinctive Features BL Offers a unique focus on the people behind music history BL Places musical works within their larger cultural, social, and political contexts, providing a truly complete narrative of music history BL Covers music of all eras along with a special emphasis on the most studied works of the past 200 years BL Improves critical thinking by offering differing perspectives on how the Western musical canon developed BL Builds listening and analysis skills through comprehensive discussion of key works BL Includes helpful learning and study tools (timelines, maps, musical examples and diagrams, chapter summaries, key terms, study questions, and a glossary) Offering a complete package for building students' understanding and appreciation of the classical canon. * Sold separately The description is commendably clear, well-written and wide-ranging in its references, placing works and events within their global cultural, social, and political contexts ... A milestone in the publication of music reference books. John Robert Brown, Classical MusicEACH CHAPTER BEGINS WITH A TIMELINE AND ENDS WITH A SUMMARY, STUDY QUESTIONS, AND A LIST OF KEY TERMS. ; 1. : The First Literate Repertory in Western Music: Gregorian Chant ; Theories of Music ; Historical Imagination ; Christian Beginnings, As Far As We Know Them ; The Legend of St. Gregory ; The Development of the Liturgy: The Offices ; The Mass ; Writing It Down: Neumes ; Guido of Arezzo ; Modal Theory ; Psalmody in Practice: The Office and the Mass ; The Mass ; Frankish Additions to the Chant Repertory ; Hymns, Tropes, and Liturgical Drama ; Marian Antiphons ; How to Do Polyphony ; Symphonia and Its Modifications ; Organum and Discant ; Literate Music and the Persistence of Oral Traditions ; 2. : Secular and Cathedral Music in the High Middle Ages ; Troubadours ; Performance and Oral Culture ; Music for Elites: Trobar Clus ; Trouveres ; Adam de La Halle and the Formes Fixes ; Geographical Diffusion ; A Note on Instruments ; Polyphony in Aquitanian Monastic Centers ; The Cathedral-University Complex ; Piecing the Evidence Together ; Measured Music ; Organum with Another Voice ; Conductus at Notre Dame ; The Motet: Music for an Intellectual and Political Elite ; "Franconian" Notation ; A New Trobar Clus? ; The "Petronian" Motet ; 3. : The Ars Nova: Musical Developments in the Fourteenth Century ; Music from Mathematics ; Music about Music ; Establishing the Prototype: The Roman de Fauvel ; Isorhythm ; Machaut: Poet and Musician ; Musica Ficta ; Machaut and the Art of Courtly Song ; The Top-Down Style ; Machaut's La Messe de Nostre Dame ; Canons ; Subtilitas ; "A Pleasant Place": Trecento Vernacular Music ; The "Wild Bird" Madrigals ; Landini and Ballata Culture ; The Motet As Political Show ; Du Fay's Nuper rosarum flores ; Periodization ; 4. : Island and Mainland: Toward a Pan-European Style ; Fragmentary Remains ; Kings and the Fortunes of War ; Dunstable and the Contenance Angloise ; Du Fay and Fauxbourdon ; Du Fay and Binchois ; The Internationalism of the Upper Crust ; The Cyclic Mass ; "Caput" and the Beginnings of Four-Part Harmony ; Patterns of Emulation ; The Man at Arms ; "Pervading Imitation" ; High, Middle, and Low ; The English Keep Things High ; The Milanese Go Lower Still ; Love Songs ; Instrumental Music Is Printed ; 5. : A Perfected Art: Church Polyphony in the Late Fifteenth and Sixteenth Centuries ; A Poet Born, Not Made ; Josquin's Career ; A Model Masterpiece ; Imitations ; Facts and Myths ; All Is Known ; The "Post-Josquin" Generation ; Adrian Willaert ; The New Instrumental Music ; Palestrina and the Ecumenical Tradition ; Continuing the Tradition ; Palestrina's Missa Papae Marcelli and the Bishops ; Freedom and Constraint ; "Stairway to Parnassus" ; Alternatives to Perfection ; The Recusant William Byrd ; The First English Cosmopolite ; The Music of Defiance ; The Peak (and Limit) of Stylistic Refinement ; 6. : After Perfection: Pressures for Change ; The Protestant Reformation ; The Lutheran Chorale ; The Catholic Response: The Counter-Reformation ; Polychoral and "Concerted" Music ; The Art of Orchestration Is Born ; Music Printers and Their Audiences ; Vernacular Song in Italy ; The "Parisian" Chanson and the Music of Description ; Lasso: The Cosmopolite Supreme ; The Literary Revolution and the Return of the Madrigal ; Paradox and Contradiction: Late Italian Madrigalists ; Music for the Eyes ; Back over the Mountains: The English Madrigal ; 7. : Humanism and the Birth of Opera ; The Pressure of Humanism ; The Representational Style ; Intermedii ; The Monodic Revolution ; Madrigals and Arias Revisited ; Favola in Musica ; Operatic Conventions: Heard and Unheard Music ; Monteverdi: From Court to Commerce ; L'Orfeo: The Quintessential Princely Spectacle ; Monteverdi in Venice ; Opera and Its Politics ; The Carnival Show: L'incoronazione Di Poppea ; 8. : Music Travels: Trends in Italy, Germany, France, and England ; Master Organists: Frescobaldi, Sweelinck, and Others ; Lutheran Adaptations: The Chorale Partita and Chorale Concerto ; Ruin: Germany, the Thirty Years War, and Heinrich Schutz ; The "Luxuriant Style" ; Back to Germany at War ; Giacomo Carissimi: Oratorio and Cantata ; Barbara Strozzi: Performer and Composer ; The French Taste: Sense and Sensuousness ; Tragedie Lyrique: The Politics of Patronage ; Drama as Court Ritual ; Lully's Atys, the King's Opera ; Jean-Philippe Rameau ; Jacobean England: Masques and Consort Music ; Henry Purcell's Dido and Aeneas and the Question of "English Opera" ; 9. : The Height of Italian Dominance: Opera Seria and the Italian Concerto Style ; Opera Seria and Its Makers ; Opera and Its Many Reforms: Neoclassicism ; Metastasio ; Metastasio's Musicians ; Operatic Culture and Politics ; Arcangelo Corelli and New Tonal Practices ; Antonio Vivaldi's Five Hundred ; Music Imitating Nature: Vivaldi's The Four Seasons ; 10. : Class of 1685 (I): The Instrumental Music of Bach and Handel ; Careers and Lifestyles: Handel First ; Bach's Career ; The Chorale Prelude ; The Fugue ; The Well-Tempered Keyboard ; Bach's Imported Roots: Froberger and Others ; Bach's Suites ; "Agrements" and "Doubles": The Art of Ornamentation ; Stylistic Hybrids: The "Brandenburg" Concertos ; The Fifth Brandenburg Concerto ; Handel's Instrumental Music ; 11. : Class of 1685 (II): The Vocal Music of Handel and Bach ; Lofty Entertainments ; Handel's Messiah ; "Borrowing" ; Bach's Cantatas ; Death Set to Music ; What Music Is For ; Bach's "Testaments" ; Cursed Questions ; Domenico Scarlatti, at Last ; 12. : Mid-Eighteenth-Century Stylistic Changes: From Bach's Sons to the Comic Style ; The Younger Bachs ; Empfindsamkeit: C. P. E. Bach ; Transcending Words-And Putting Them Back ; The London Bach: Johann Christian ; Sociability in Music ; Intermission Plays ; The "War Of The Buffoons"-Giovanni Battista Pergolesi ; Novels Sung on Stage-Niccolo Piccinni ; Noble Simplicity-Christoph Willibald Gluck ; What Was the Enlightenment? ; 13. : Concert Life Lifts Off: Haydn ; Modern Concert Life Is Born ; The Mannheim Orchestra: "An Army of Generals" ; Haydn: The Perfect Career ; Haydn's Years with the Esterhazy Family ; Expectations and Deviations: Creating Musical Meaning ; String Quartets and Concertos ; The Symphony Composer ; Sonata Form ; The "London" Symphony No. 104 ; The Culminating Work: The Creation ; 14. : The Composer's Voice: Mozart ; The Early Operas ; The "Da Ponte" Operas ; Mozart's Two Last Operas ; Art for Art's Sake?-Mozart's Symphonies ; The "Symphonic" Concerto Is Born ; Mozart in the Marketplace: The Piano Concertos ; The Piano Concerto in G Major, K. 453 ; Public and Private Genres ; 15. : The Emergence of Romanticism ; The Beautiful and the Sublime ; The Coming of Museum Culture ; Beethoven versus "Beethoven" ; The Sacralization of Music ; The Music Century ; Nationalism: I, We, and They ; German Musical Values as Universal Values ; 16. : Beethoven ; Life and Works, Periods and Styles ; Early Beethoven ; Disaster ; The Eroica ; Fidelio ; The Fifth Symphony and Fate ; "More Expression of Feeling Than Tone Painting": The Pastoral Symphony ; Concert Life in Beethoven's Vienna ; Struggle and Victory ; Rising Fame and Decreasing Productivity ; Late Beethoven ; The Ninth Symphony ; Inwardness: The Late String Quartets ; 17. : Opera in the Age of Rossini, Bellini, Donizetti, and Weber ; The Popularity of Rossini ; Rossinian Conventions: The Overture ; Imbroglio: The Comic Finale ; Heart Throbs: The Serious Aria ; Vincenzo Bellini and Bel Canto ; Gaetano Donizetti ; German Romantic Opera: Carl Maria von Weber's Der Freischutz ; 18. : Private Art: Schubert and Inwardness ; The Lied Grows Up ; Herder, Language, and the Nation ; Folk Song, Folklore, and Folk Tales ; Lyric and Ballad ; Schubert and Goethe ; Salon Culture and Schubertiades ; Schubert: A Life in Art ; Disaster ; What Contemporaries Knew of Schubert's Music ; Crossing the Edge ; Schubert's "Unfinished" Symphony ; After Beethoven ; Schubert's Last Two Songs ; 19. : Romantic Spectacles: From Virtuosos to Grand Opera ; The Devil's Violinist: Niccolo Paganini ; "The Paganini of the Piano": Franz Liszt ; Transforming Music Through Arrangements ; The Lisztian Concert ; Spectacle on the Parisian Stage ; Auber's Mute ; Opera and Revolution ; Bourgeois Kings ; Vagaries of Reception ; 20. : Literary Musicians ; Berlioz's Literary Trinity ; Berlioz's Fantastic First Symphony ; Following the Idee Fixe ; Discriminating Romanticisms ; The Prodigious Mendelssohn ; Mendelssohn's Paulus and Civic Nationalism ; Nationalism Takes a Racial Turn ; Schumann and Literature ; Music of Letters ; Schumann's Fantasie, Op. 17 ; Schumann's "Year of Song" ; Schumann's Last Years ; Genius Restrained: Fanny Mendelssohn and Clara Wieck Schumann ; 21. : Music Imported and Exported ; Chopin's Career: From Warsaw to Paris ; The Pinnacle of Salon Music ; The Chopinesque Miniature ; Nationalism as a Medium ; America Joins In ; Art and Democracy ; Russia: The Newcomer ; National Markings and Folk Tunes ; Mikhail Glinka ; Acquiring Brains and Beauty ; How the Acorn Took Root ; 22. : Musical Politics at Midcentury: Historicism and the New German School ; Historicism and the Hegelian Dialectic ; The New German School ; "The Music of the Future" ; Absolute Music ; Liszt's Symphonic Poems ; But What Does It Really Mean? ; The Concerto Transformed ; Genre Trouble: Berlioz Again ; 23. : Class of 1813: Wagner and Verdi ; Art and Revolution: Wagner's Early Career ; The Artwork of the Future, Modeled on the Imagined Past ; From Theory into Practice: The Ring of the Nibelung ; Wagnerian Leitmotifs ; Words, Orchestra, and Theater ; The Ultimate Experience: Tristan und Isolde ; How Far Can You Stretch a Dominant? ; Life and Art: Beyond Good and Evil ; The Last Opera: Parsifal ; Verdi: Upholding the Italian Tradition ; Early Verdi: The Galley Years ; "Viva Verdi!": Risorgimento Politics ; The Popular Style: "Va, Pensiero" ; Tragicomedy in the Shakespearean Manner ; Il Trovatore and La Traviata ; Rigoletto: Opera as Modern Drama ; A Job Becomes a Calling ; Masterly Amusement: Falstaff ; 24. : Slavic Harmony and Disharmony ; A Czech Abroad ; Ma Vlast ; The Fate of a Tune: From Folk Song to Anthem ; Competing Reputations at Home and Abroad ; Slavic Disharmony ; Kuchka Music ; Musorgsky's Realism ; Art and Autocracy ; The Coronation Scene in Boris Godunov ; Revising Boris Godunov ; Pyotr Ilyich Tchaikovsky ; Russian Symphonies ; Autobiography in Music? ; 25. : The Musical Museum and the Return of the Symphony ; New Halls and New Orchestras ; The Triumph of Museum Culture ; New Paths: Johannes Brahms ; Symphonic Attempts ; Brahm's Chamber Music and "Developing Variation" ; Choral Fame ; Inventing Tradition ; Victory Through Critique ; Reconciliation and Backlash ; The Symphony as Sacrament ; Antonin Dvorak ; Dvorak in the New World ; An American Response ; War Brings Symphonies to France ; 26. : Dramatic Alternatives: Exoticism, Operetta, and Verismo ; Stereotyping the Other: "Orientalism" ; Bizet's Carmen ; Russian Orientalism ; Gounod's Opera Lyrique ; Jacques Offenbach and Opera about Opera ; Johann Strauss II-The Waltz King and Viennese Operetta ; England's Gilbert and Sullivan ; Italian Verismo ; Innovation and Popularity-"Canon" versus "Repertory" ; Giacomo Puccini's Ascent ; 27. : Early Austro-German Modernism: Mahler, Strauss, and Schoenberg ; The Modern Condition ; Maximalism ; Gustav Mahler: Conductor and Composer ; Mahler's Lieder ; From Symphonic Poem to First Symphony ; Maximalizing the Symphony ; "Down with Programs!" ; The Late Works ; Richard Strauss ; Maximalizing Opera ; Schoenberg ; A New Synthesis ; Expression Becomes and "ism" ; "Emancipation of Dissonance" ; Atonality: "The Air of Another Planet" ; Erwartung ; At the Opposite Extreme: Atonal Miniatures ; 28. : Modernism in France ; Wagnerian Hommages and Exorcisms ; Getting Rid of the Glue: Erik Satie ; Claude Debussy's Early Years ; Voiles: Sales and/or Veils ; Impressionism and Symbolism ; Debussy's Pelleas et Melisande ; "Essentially French": Faure and Melodie ; Maurice Ravel ; New Possibilities for Women ; Ballet: A Missing Genre ; Ballet Finds Its Theorist ; Stravinsky's The Firebird and Petrushka ; The Rite of Spring ; Scandalized Reactions ; 29. : National Monuments ; Jean Sibelius ; England ; Spain ; Folk and Modernist Synthesis: Bela Bartok ; Folk Ways ; Karol Szymanowski and George Enescu ; The Oldest Modernist: Leos Janacek ; Speech Tunelets ; Alexander Scriabin: From Expression to Revelation ; Mysterium and the Ultimate Aggregate Harmonies ; Charles Ives ; Terms of Reception ; "Manner" and "Substance": The Concord Sonata ; Nostalgia ; Societal Commitments ; 30. : Neoclassicism and Twelve-Tone Music ; Neoclassicism ; Igor Stravinsky's Neoclassical Path ; The Music of Stravinsky's Octet ; Some Ideas about the Octet ; The Ivory Tower ; In Search of Utopia: Schoenberg and Twelve-Tone Technique ; Giving Music New Rules ; Back Again to Bach ; Alban Berg's Twelve-Tone Romanticism ; Epitome: Anton Webern ; 31. : Interwar Currents: The Roaring Twenties ; European "Jazz": Parisians in America ; In Search of the "Real" America: Americans in Paris ; Tin Pan Alley and Musicals ; Gershwin's "Experiment in Modern Music" ; Surrealism: Satie's Parade ; New Fashions: Les Six ; From Subject to Style: Surrealist "Classicism" ; American Surrealism ; Music in the Weimar Republic ; Alban Berg's Wozzeck ; Music for Political Action ; From Vienna to Hollywood: The Death of Opera? ; 32. : Music and Totalitarianism in the Soviet Union and Western Europe ; The Rise of the Soviet Union ; Music in the Soviet Union ; The Doctrine of Socialist Realism ; Dmitry Shostakovich ; Contested Readings: The Fifth Symphony ; Back in the USSR: Sergey Prokofiev ; Italian Fascism ; Toscanini and Music-Making in the New Italy ; Music in Nazi Germany ; Varieties of Emigration ; Youth Culture ; Shades of Gray: Hartmann, Webern, and Strauss ; 33. : Music and Politics in America and Allied Europe ; Edgard Varese ; Microtones: Splitting the Semitone ; New Sounds, New Instruments, New Tunings ; Ferment on the American Left ; Copland and Politics ; American Patriotic Works ; The Great American Symphony ; Accessible Alternatives ; Opera in Mid-Century ; Benjamin Britten ; A Modern Anti-Hero: Britten's Peter Grimes ; "The Composer's Duty" ; Olivier Messiaen: "The Charm of Impossibilities" ; Messiaen's Quartet for the End of Time ; Faith, Nature, Color, and Rhythm ; 34. : Starting from Scratch: Music in the Aftermath of World War II ; Zero Hour: The Impact on the Arts ; Total Serialism: Messiaen's Mode de valeurs et d'intensites ; Darmstadt ; Indeterminacy: John Cage and the "New York School" ; Music for Prepared Piano ; Silence ; "Permission": Cage's Influence ; Preserving the Sacrosanct: Morton Feldman ; Conversions ; Academicism, American Style ; Electronics: An Old Dream Comes True ; Musique Concrete, Versus Elektronische Musik ; The New Technology Spreads ; Electronics and Live Music ; Music in History: Elliott Carter ; Carter's Later Career ; "Who Cares if You Listen?" ; 35. : Changes in the Sixties and Seventies ; The Music of Youth: Rock 'n' Roll ; The British Invasion: The Beatles ; A New Challenge ; Rock 'n' Roll Becomes Rock ; The Rise of Minimalism ; La Monte Young ; Riley's In C ; "Classical" Minimalism: Steve Reich ; Phase Music ; Reich's Music for 18 Musicians ; Philip Glass ; Einstein on the Beach ; Game Changer ; The Holy Minimalists ; 36. : "Many Streams": Millennium's End ; Competing Visions ; The Cold War Ends ; The Postmodern Condition ; Collage and Pastiche ; Aesthetics of Pastiche ; Across Time and Space: George Crumb ; Conversions in Reverse ; The End of Soviet Music ; Senior Statesmen ; The Digital Revolution ; Performance Art ; The Alleged Death of Classical Music ; John Adams and Nixon in China ; A New Spirituality ; NOTES ; FOR FURTHER READING ; GLOSSARY ; INDEX

Szczegóły: The Oxford History of Western Music - Christopher Gibbs, Richard Taruskin

Tytuł: The Oxford History of Western Music
Autor: Christopher Gibbs, Richard Taruskin
Wydawnictwo: Oxford University Press
ISBN: 9780195097627
Rok wydania: 2012
Ilość stron: 1248
Oprawa: Twarda
Waga: 2.41 kg

Recenzje: The Oxford History of Western Music - Christopher Gibbs, Richard Taruskin