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For undergradute social science majors. A textbook on the interpretation and use of research. Annotation copyright Book News, Inc. Portland, Or.
As a distinct genre and subject, twentieth-century violin and viola duos have not been examined in depth or detail. Existing catalogues which list works for this ensemble are imcomplete and historical information concerning the genre as a whole is sparse. Only a few brief articles concerning twentieth-century violin and viola duos and one analysis of a work have been publised. The genre is even considered by many to be of non-standard instrumentation. Yet, the combination of violin and viola is unquestionably viable and has been chosen as a means of expression by at least 360 composers during this century alone. Over 400 modern works for the combination have been written and scores and/or parts for approximately 200 of these duos are readily available. In addition, recordings of 26 compositions have been released commercially. This dissertation addresses the under-researched topic of twentieth-century violin and viola duos. First it is show that the topic has not been adequately studied and possible reasons for this are given. Second, the musical function of duos is discussed and a historical groundwork is established which traces duo literature from the seventeenth century. An overview of the modern violin and viola duos follows. Next, critical reviews of 202 works and a discograpy of recorded duos, both commercial and non-commercial, precede a list of titles, composers, publishers and referential listings of over 400 violin and viola duos. Finally, analyses of seven of the more prominent twentieth-century violin and viola duos are presented.
When first published, Marshall McLuhan's Understanding Media made history with its radical view of the effects of electronic communications upon man and life in the twentieth century.
DIV With National Socialism's arrival in Germany in 1933, Jews dominated music more than virtually any other sector, making it the most important cultural front in the Nazi fight for German identity. This groundbreaking book looks at the Jewish composers and musicians banned by the Third Reich and the consequences for music throughout the rest of the twentieth century. Because Jewish musicians and composers were, by 1933, the principal conveyors of Germany’s historic traditions and the ideals of German culture, the isolation, exile and persecution of Jewish musicians by the Nazis became an act of musical self-mutilation. Michael Haas looks at the actual contribution of Jewish composers in Germany and Austria before 1933, at their increasingly precarious position in Nazi Europe, their forced emigration before and during the war, their ambivalent relationships with their countries of refuge, such as Britain and the United States and their contributions within the radically changed post-war music environment. /div