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The first complete anthology of lute music contained within Thomas Mace's historic treatise Musick's Monument (1676), transcribed and edited for classical guitar by Andrew Shepard-Smith. an exquisite and intriguing collection of early English Baroque lute music containing twelve preludes, eight complete lute suites, transcription notes, and a detailed table of ornaments (as outlined in Musick's Monument). Originally written as a pedagogical text for lute and theorbo, Mace's lute music contains wonderful insights into the performance practice of the time. A very valuable addition both the performance repertoire and to the guitar reference literature. Staff notation; moderate to advanced.
Long-awaited biography of an African American avant-garde composer Alice Coltrane was a composer, improviser, guru, and widow of John Coltrane. Over the course of her musical life, she synthesized a wide range of musical genres including gospel, rhythm-and-blues, bebop, free jazz, Indian devotional song, and Western art music. Her childhood experiences playing for African-American congregations in Detroit, the ecstatic and avant-garde improvisations she performed on the bandstand with her husband John Coltrane, and her religious pilgrimages to India reveal themselves on more than twenty albums of original music for the Impulse and Warner Brothers labels. In the late 1970s Alice Coltrane became a swami, directing an alternative spiritual community in Southern California. Exploring her transformation from Alice McLeod, Detroit church pianist and bebopper, to guru Swami Turiya Sangitananda, Monument Eternal illuminates her music and, in turn, reveals the exceptional fluidity of American religious practices in the second half of the twentieth century. Most of all, this book celebrates the hybrid music of an exceptional, boundary-crossing African-American artist.
This critical study locates musical monumentality, a central property of the nineteenth-century German repertoire, at the intersections of aesthetics and memory. In examples including Beethoven, Liszt, Wagner and Bruckner, Rehding explores how monumentality contributes to an experiential music history and how it conveys the sublime to the listening public.
Music theory of almost all ages has relied on nature in its attempts to explain music. The understanding of what 'nature' is, however, is subject to cultural and historical differences. In exploring ways in which music theory has represented and employed natural order since the scientific revolution, this volume asks some fundamental questions not only about nature in music theory, but also the nature of music theory. In an array of different approaches, ranging from physical acoustics to theology and Lacanian psychoanalysis, these essays examine how the multifarious conceptions of nature, located variously between scientific reason and divine power, are brought to bear on music theory. They probe the changing representations and functions of nature in the service of music theory and highlight the ever-changing configurations of nature and music, as mediated by the music-theoretical discourse.
This book breaks new ground in the social and cultural history of eighteenth-century music in Britain through the study of a hitherto neglected resource, the lists of subscribers that were attached to a wide variety of publications, including musical works. These lists shed considerable light on the nature of those who subscribed to music, including their social status, place of employment, residence, and musical interests. Through broad analysis of subscription data, the contributors reveal insights into social and economic changes during the period, and the types of music favoured by groups like music clubs, the aristocracy, the clergy, and by men and women. With chapters on female composers and listeners, music and the slave economy, musical patronage, the print trade, and nationality, this book provides innovative perspectives that enhance our understanding of music’s social spheres, the emergence of music publishing, and the potential of digital musicology research.
Both from the Ears and Mind offers a bold new understanding of the intellectual and cultural position of music in Tudor and Stuart England. Linda Phyllis Austern brings to life the kinds of educated writings and debates that surrounded musical performance, and the remarkable ways in which English people understood music to inform other endeavors, from astrology and self-care to divinity and poetics. Music was considered both art and science, and discussions of music and musical terminology provided points of contact between otherwise discrete fields of human learning. This book demonstrates how knowledge of music permitted individuals to both reveal and conceal membership in specific social, intellectual, and ideological communities. Attending to materials that go beyond music’s conventional limits, these chapters probe the role of music in commonplace books, health-maintenance and marriage manuals, rhetorical and theological treatises, and mathematical dictionaries. Ultimately, Austern illustrates how music was an indispensable frame of reference that became central to the fabric of life during a time of tremendous intellectual, social, and technological change.