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This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.
This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ A Book Of Musical Anecdotes: From Every Available Source, Volume 2; A Book Of Musical Anecdotes: From Every Available Source; Frederick James Crowest Frederick James Crowest R. Bentley and son, 1878 Music
This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1878 edition. Excerpt: ...according to the measure usually given to the spondee." Pope in his "Memoirs of Martinus Scriblerus," has mercilesslyt ridiculed the accounts of the power attributed to music by the ancients, and we must say that we feel inclined to agree with the author of "The Dunciad," when he refuses to give credence to accounts which are certainly over-seasoned with that quality known as the "miraculous." 403.--An Indirect Hint. Musicians as a rule love good cheer, both liquid and solid; fortunately for this predilection they have been at all times favoured guests of the wealthy, and perhaps no class in the whole community has had so large an experience of the hospitality of great men. That this rather undignified position of musical artists is no new thing is shown by the following story of ancient date: Philoxenus, who taught Antigenides the flute--and who, Burney says, "was so great an epicure that he is said to have wished for a throat as long as that of a crane, and all palate, in order to prolong the relish of the delicious morsels he swallowed--being served with a small fish at the table of Dionysius of Syracuse, and seeing an enormous turbot placed before the tyrant, put the head of the little fish close to his mouth, and pretended to whisper to it: then placed it close to his ear, as if to receive the answer more distinctly. Upon being AN INDIRECT HINT. 161 asked by Dionysius for an explanation of this mummery, he said, fI am writing a poem, sir, upon Galatea, one of the Nereids, and as I want information concerning several particulars relative to her father Nereus, and the watery element, that are quite out of my ken, I was in hopes of obtaining some satisfaction from this fish; but he tells me that...
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This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Though rarely included in traditional music history, women have a remarkable tradition as composers of Western music. This book brings together musical and biographical material on twenty-five women, from the eleventh through the twentieth centuries. Each chapter focuses on one composer, providing an introduction to her life, an analysis of her music, a checklist of her works, and a bibliography. Extensive appendices include a historical outline showing female composers in relation to their more famous male contemporaries by period and genre, and suggestions for further readings and recordings.
This kaleidoscopic collection reflects on the multifaceted world of classical music as it advances through the twenty-first century. With insights drawn from leading composers, performers, academics, journalists, and arts administrators, special focus is placed on classical music’s defining traditions, challenges and contemporary scope. Innovative in structure and approach, the volume comprises two parts. The first provides detailed analyses of issues central to classical music in the present day, including diversity, governance, the identity and perception of classical music, and the challenges facing the achievement of financial stability in non-profit arts organizations. The second part offers case studies, from Miami to Seoul, of the innovative ways in which some arts organizations have responded to the challenges analyzed in the first part. Introductory material, as well as several of the essays, provide some preliminary thoughts about the impact of the crisis year 2020 on the world of classical music. Classical Music: Contemporary Perspectives and Challenges will be a valuable and engaging resource for all readers interested in the development of the arts and classical music, especially academics, arts administrators and organizers, and classical music practitioners and audiences.