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This collection covers a wide range of topics, from a moving study of Bizet’s Carmen to an entertainingly caustic exploration of the hierarchies of the auditorium. Especially significant is Adorno’s “dialectical portrait” of Stravinsky, in which Adorno both reconsiders and refines his damning indictment of the composer in Philosophy on Modern Music. Throughout, Adorno is sustained by the conviction that music is supremely human because it is capable of communicating inhumanity while resisting it. His belief in the benevolent and transformative power of music reverberates throughout these writings.
Twelve-tone and serial music were dominant forms of composition following World War II and remained so at least through the mid-1970s. In 1961, Ann Phillips Basart published the pioneering bibliographic work in the field.
Daniels’ Orchestral Music is the gold standard for all orchestral professionals—from conductors, librarians, programmers, students, administrators, and publishers, to even instructors—seeking to research and plan an orchestral program, whether for a single concert or a full season. This sixth edition, celebrating the fiftieth anniversary of the original edition, has the largest increase in entries for a new edition of Orchestral Music: 65% more works (roughly 14,050 total) and 85% more composers (2,202 total) compared to the fifth edition. Composition details are gleaned from personal inspection of scores by orchestral conductors, making it a reliable one-stop resource for repertoire. Users will find all the familiar and useful features of the fifth edition as well as significant updates and corrections. Works are organized alphabetically by composer and title, containing information on duration, instrumentation, date of composition, publication, movements, and special accommodations if any. Individual appendices make it easy to browse works with chorus, solo voices, or solo instruments. Other appendices list orchestral works by instrumentation and duration, as well as works intended for youth concerts. Also included are significant anniversaries of composers, composer groups for thematic programming, a title index, an introduction to Nieweg charts, essential bibliography, internet sources, institutions and organizations, and a directory of publishers necessary for the orchestra professional. This trusted work used around the globe is a must-have for orchestral professionals, whether conductors or orchestra librarians, administrators involved in artistic planning, music students considering orchestral conducting, authors of program notes, publishers and music dealers, and instructors of conducting.
Suitable for all admirers of the piano, this work brings together more than 3,000 works for piano and orchestra. It comes with a supplement containing over 200 new entries.
Places the Swiss composer Schoeck, master of a late-Romantic style both sensuous and stringent, in context and gives insight into his increasingly popular musical works.
This book describes the properties of materials used for making percussion instruments for classical music played by a symphony orchestra in which the instruments could be played as a soloist instrument or as a group or several groups of instruments, as they are included into a musical work. A chapter is devoted to the bells. The scope of this book is primarily confined to percussion instruments of symphony orchestras taking into account the centuries of musical art and tradition. This book bridges the gap in the technical literature on describing the properties of materials for percussion instruments—timpani, other drums, marimba, xylophone, vibraphone, gong, cymbal, triangle, celesta, castanets.
The composer and pianist Michael Finnissy (b. 1946) is an unmistakeable presence in the British and international new music scene, both for his immeasurable generosity as prolific composer for many different types of musicians, major advocate for the works of others, and performer and conductor who has also been a driving force behind ensembles; he was also President of the International Society for Contemporary Music from 1990 to 1996. His vast and enormously varied output confounds those who seek easy categorisations: once associated strongly with the ‘new complexity’, Finnissy is equally known as composer regularly engaged with many different folk musics, for working with amateur and community musicians, for a long-term engagement with sacred music, or as an advocate of Anglo-American ‘experimental’ music. Twenty years ago, a large-scale volume entitled Uncommon Ground: The Music of Michael Finnissy gave the first major overview of the output of any ‘complex’ composer. This new volume brings a greater plurality of perspectives and critical sensibility to bear upon an output which is almost twice as large as it was when the earlier book was published. A range of leading contributors – musicologists, composers, performers and others – each grapple with particular questions relating to Finnissy’s music, often in ways which raise questions relating more widely to new music, and provide theoretical foundations for further of study both of Finnissy and other composers.
Welcome to Suggestopedia and the New developments of Neuroscience This wonderful method, which has its origins in the science of Suggestology, accelerates the learning process up to 10 times more than any conventional method. It has several positive by-products, such as psychotherapeutic and psychohygienic effects in the Suggestopedic environment created in the classroom. During my years of teaching English as a foreign Language, I could never accept the fact that my students needed so many years to start speaking a new language with confidence. Some others, even with years of study and dedication could not develop, despite my efforts to create better classes and activities. Others had constantly to review the verb to be . The results? The students were afraid of speaking and learning. Many people may ask: But how can it be possible to learn effectively in a short time? What s the secret? Others say: That s impossible! It is just propaganda! But actually, we are beings with an incredible power to learn, but the Social Suggestive Norms so present in our pedagogical system for centuries dictates how much we can learn and how long we need to. But I ask you: How did we learn our mother language? How could our brain collect, organize, understand and reproduce words and sentences when we were children? No one went to school to learn to speak. Our parents or who may have raised us never taught us grammar in order to make us speak. We can realize that we are missing something in our system of foreign language teaching. It does not use the resources available in our brain/mind. Our way of teaching in the present is not structured to follow the way the brain receives stores and processes information. So, why not to change the whole system? The answer is quite simple. Who wants to train teachers? Change textbooks and methods? How long would it take? But the fact is that more scientists are discovering what Dr. Lozanov did decades ago when he didn t have the technology we have today. Our researchers have noticed that our system is not the best approach to learn. That s why so many so-called accelerated learning systems or brain-friendly approaches have appeared. The main problem is that most of them have never been really tested. They have not had a follow up for decades to check if they would not harm the students. Suggestopedia is the ONLY method that had a scientific and medical background. Before publishing his results Dr. Lozanov accompanied his students for 10 years to be sure that nobody would have any negative by-product. On the contrary, his students became healthier and more intelligent. Prof. Paulo Negrete Academic Director Certified in Desuggestive Pedagogy