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The contemporary music scene thus embodies a uniquely broad spectrum of activity, which has grown and changed down to the present hour. With new talents emerging and different technologies developing as we move further into the 21st century, no one can predict what paths music will take next. All we can be certain of is that the inspiration and originality that make music live will continue to bring awe, delight, fascination, and beauty to the people who listen to it. This book cover modernist and postmodern concert music worldwide from the years 1888 to 2018. This second edition of Historical Dictionary of Modern and Contemporary Classical Music contains a chronology, an introduction, and an extensive bibliography. The dictionary section has over 500 cross-referenced entries on the most important composers, musicians, methods, styles, and media in modernist and postmodern classical music worldwide, from 1888 to 2018. This book is an excellent resource for students, researchers, and anyone wanting to know more about modern and contemporary classical music.
When we speak of "classical music" it often refers rather loosely to serious "art" music but at the core is really the music of the classical period running from about 1730 to 1800, give or take. This was truly one of the most glorious periods for both composition and performance and it is this classical music which is still at the core of today's repertoire. Obvious names connected with this period are Haydn, Mozart and Beethoven, but there were many more still reasonably well known like Gluck and C.P.E Bach, and dozens more who are regrettably little known today. This Historical Dictionary of Music of the Classical Period includes not only these composers, but also eminent conductors and performers, patrons, and publishers. There are also dictionary entries on major centers of music-making, typical instruments, important technical terms, and emerging musical forms, including the symphony and opera. Indeed, with a 1,000 cross-referenced entries, there is information on most matters of interest. This is prefaced by an extensive chronology, tracing the course of this period from year to year, and an introduction taking a careful look at the period as a whole. Finally, there is a substantial bibliography. Surely, this is a book which will appeal not only to students and researchers but all music-lovers.
The Classical period is one of deep intellectual ferment, of rapid growth and change, and of explosive creativity in the world of music. It may have had its roots in the music of an earlier era and been the harbinger of progressive music of that which followed, but it must be seen as the necessary evolutionary era, without which modern music and all of its variety could not exist. Moreover, in opera houses, festivals, and concert halls all over the world, music from the period may indeed be performed more than any other form, making it one the most accessible and popular periods. It has remained a living and vibrant part of the repertory, indeed offered a kaleidoscope of genres and works that never cease to enchant and amaze. Historical Dictionary of Music of the Classical Period, Second Edition contains a chronology, an introduction, and an extensive bibliography. The dictionary section has more than 600 cross-referenced entries on composers, conductors, instruments, important technical terms, and emerging musical forms. This book is an excellent resource for students, researchers, and anyone wanting to know more about classical music.
Historical Dictionary of Romantic Music, Second Edition covers the persons, ideas, practices, and works that made up the worlds of Western music during the long 19th century (ca. 1780–1918). It’s the first book to recognize that Romantic music was very nearly a global phenomenon. It includes more women, more Black musicians and other musicians of color, and more exponents of musical Romanticism from Central and South America as well as Central and Eastern Europe than any other single-volume study of Romantic music—thus challenging the conventional hegemony of musical Romanticisms by men and by Western European nations. This book includes entries on topics including anti-Semitism, sexism, and racism that were pervasive and defining to the worlds of musical Romanticism but are rarely addressed in general studies of that subject. It includes Romantic musicians who were not primarily composers, as well as topics such as the Haitian Revolution, spirituals, and ragtime that were more important for music in the long 19th century than is generally acknowledged. The result is an expansive, inclusive, diverse, and more richly textured portrayal of Romantic music than is elsewhere available. Historical Dictionary of Romantic Music, Second Edition contains a chronology, an introduction, an extensive bibliography, and a dictionary section with more than 600 cross-referenced entries on traditions, famous pieces, persons, places, technical terms, and institutions of Romantic music. This book is an excellent resource for students, researchers, and anyone wanting to know more about Romantic music.
Russian music today has a firm hold around the world in the repertoire of opera houses, ballet companies, and orchestras. The music of Pyotr Tchaikovsky, Nikolai Rimsky-Korsakov, Sergey Rachmaninov, Sergey Prokofiev, and Dmitri Shostakovich is very much today’s lingua franca both in the concert hall and on the soundtracks of international blockbusters from Hollywood. Meanwhile, the innovations of Modest Musorgsky, Alexander Borodin, and Igor Stravinsky have played their crucial role in the development of Western music, influencing the work of virtually every notable composer of the past century. Historical Dictionary of Russian Music, Second Edition contains a chronology, an introduction, and an extensive bibliography. The dictionary section has more than 600 cross-referenced entries for each of Russia’s major performing organizations and performance venues, and on specific genres such as ballet, film music, symphony and church music. This book is an excellent resource for students, researchers, and anyone wanting to know more about Russian Music.
This second edition of Historical Dictionary of Irish Cinema contains a chronology, an introduction, and an extensive bibliography. The dictionary section has over 500 cross-referenced entries on key Irish actors, directors, producers and other personnel from over a century of Irish film history.
A Library Journal Starred Review (March 2024) praises the book as a "remarkable resource that will please both musical professionals and amateurs, along with teachers and their students, and conductors and singers.” Throughout the ages, people have wanted to sing in a communal context. This desire apparently stems from a deeply rooted human instinct. Consequently, choral performance historically has often been related to human rituals and ceremonies, especially rites of a religious nature. Historical Dictionary of Choral Music, Second Edition contains a chronology, an introduction, and an extensive bibliography. The dictionary section has more than 1,300 cross-referenced entries on composers, conductors, choral ensembles, choral genres, and choral repertoire. This book is an excellent resource for students, researchers, and anyone wanting to know more about choral music.
Historical Dictionary of Sherlock Holmes contains a variety of information about Arthur Conan Doyle’s Sherlock Holmes stories, as both narratives and also cultural phenomena. The volume will help readers look deeper into those stories and the meanings of the various reference points within them, as well as achieving a deeper understanding of the range of contexts of Holmes, Conan Doyle, and detective fiction as a genre. This book examines the broad global Sherlock Holmes phenomenon related to the ways in which the stories have been adapted into a range of other media, as well as the cultural status of Holmes all over the world. Historical Dictionary of Sherlock Holmes contains a chronology, an introduction, and an extensive bibliography. The dictionary section has over 1,000 cross-referenced entries that contain detailed examinations of the themes and features of the 60 stories that make up the Sherlock Holmes canon. This book is an excellent resource for students, researchers, and anyone wanting to know more about Arthur Conan Doyle’s Sherlock Holmes stories.
Historical Dictionary of Contemporary American Theater. Second Edition covers theatrical practice and practitioners as well as the dramatic literature of the United States of America from 1930 to the present. The 90 years covered by this volume features the triumph of Broadway as the center of American drama from 1930 to the early 1960s through a Golden Age exemplified by the plays of Eugene O’Neill, Elmer Rice, Thornton Wilder, Lillian Hellman, Tennessee Williams, Arthur Miller, William Inge, Lorraine Hansberry, and Edward Albee, among others. The impact of the previous modernist era contributed greatly to this period of prodigious creativity on American stages. This volume will continue through an exploration of the decline of Broadway as the center of U.S. theater in the 1960s and the evolution of regional theaters, as well as fringe and university theaters that spawned a second Golden Age at the millennium that produced another – and significantly more diverse – generation of significant dramatists including such figures as Sam Shepard, David Mamet, Maria Irené Fornes, Beth Henley, Terrence McNally, Tony Kushner, Paula Vogel, Lynn Nottage, Suzan-Lori Parks, Sarah Ruhl, and numerous others. The impact of the Great Depression and World War II profoundly influenced the development of the American stage, as did the conformist 1950s and the revolutionary 1960s on in to the complex times in which we currently live. Historical Dictionary of the Contemporary American Theater, Second Edition contains a chronology, an introduction, and an extensive bibliography. The dictionary section has more than 1.000 cross-referenced entries on plays, playwrights, directors, designers, actors, critics, producers, theaters, and terminology. This book is an excellent resource for students, researchers, and anyone wanting to know more about American theater.
Vaudeville, as it is commonly known today, began as a response to scandalous variety performances appealing mostly to adult, male patrons. When former minstrel performer and balladeer Tony Pastor opened the Fourteenth Street Theatre in New York in 1881, he was guided by a mission to provide family-friendly variety shows in hopes of drawing in that portion of the audience – women and children – otherwise inherently excluded from variety bills prior to 1881. There he perfected a framework for family-oriented amusements of the highest obtainable quality and style. Historical Dictionary of Vaudeville contains a chronology, an introduction, an extensive bibliography, and the dictionary section has more than 1,000 cross-referenced entries on performing artists, managers and agents, theatre facilities, and the terminology central to the history of vaudeville. This book is an excellent resource for students, researchers, and anyone wanting to know more about vaudeville.