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How do musical analysis and performance relate? In a unique collaborative approach to this question, theorist-pianist Daphne Leong partners with internationally renowned performers to interpret twentieth-century repertoire. Imaginative explorations of music by Ravel, Schoenberg, Bartók, Schnittke, Milhaud, Messiaen, Babbitt, Carter, and Morris illuminate focal issues such as the role of embodiment, the affordances of a score, the cultural understanding of notation, the use of metaphor, and--to round out the viewpoints of theorist and performers with those of composer and listeners--the role of structure in audience reception. Each exploration engages deeply with musical structure, redefined to encompass the creative activity of composers, performers, analysts, and listeners. Performances, demonstrations, and interviews online complement the book's written text; practical application and pedagogical guidance round out theoretical and analytical content. The collaborations themselves demonstrate different dimensions of knowledge at the intersection of analysis and performance, and illustrate Leong's theory of the things and people that facilitate cross-disciplinary collaboration in music. They also exemplify the antagonisms and synergies that emerge when theorists and performers meet. Both flexibly and rigorously conceived, Performing Knowledge is a brave crossing of disciplinary divides between scholarship and practice, a work of analysis shaped by the voices of performers.
At the centre of Bartók's œuvre are his string quartets, which are generally acknowledged as some of the most significant pieces of 20th century chamber music. This book examines these remarkable works from a range of theoretical and methodological perspectives.
Bernard takes the reader on an evocative and fascinating journey from his early life, detailing his ancestral influences on his chosen career of cellist, until the present day. A charming book full of pathos and humour, which tells the true story of the forming of the world famous Lindsay String Quartet, their adventures, during 40 years of world travel and their achievement of the highest accolades making them one of the most revered quarters of the 20th century. Bernard continues, in his third section, to talk of his introduction to the Alpujarras in the Sierra Mountains of Southern Spain, the area he has chosen to live with his wife Theresa. This book is both engaging and humorous whilst also giving a uniquely personal perspective into the life of one of the world's greatest quartet cellists. A must read for any fan of chamber music and in particular of the famed 'Lindsay String Quartet'.
"With a narrative supported by a substantial number of musical examples and references, Bela Bartok: A Celebration is essential for music teachers and students. Theorists, ethnomusicologists, and musicians will find this an indispensable resource for future research and for understanding Bartok's compositional processes and methodology."--BOOK JACKET.
Authoritative guide presents 231 of the most frequently performed pieces by 55 composers. A must for music lovers and musicians alike. "No lover of chamber music should be without this Guide." — John Barkham Reviews.
In the summer of 1936, Ezra Pound agreed to take on the role of European Correspondent for a newly launched travel journal entitled Globe: The International Magazine. Ezra Pound and 'Globe' Magazine: The Complete Correspondence collects for the first time Pound's writings for the journal and his extensive correspondence with one of its editors, James Taylor Dunn, and the leading writers who Pound himself attempted to recruit for the magazine. Numbering almost forty letters and twenty published and unpublished articles, these writings represent a darkly significant time in Pound's thought as his infatuation with the rise of fascism took root. Annotated throughout and supported by substantial explorations of the historical and cultural contexts of the writings, the book also includes a substantial bibliography of related writings and a biographical glossary of the major figures discussed in the correspondence and writing. Together, these texts represent an important resource for anyone interested in an important phase of 20th-Century literary modernism.
This Companion is an accessible guide to Bartók's music and is an ideal introduction to the composer for students, performers and concert-goers. Part I of the book sets out the cultural, social and political background in Hungary at the beginning of the twentieth century, and considers Bartók's interest in and research into folk music. Part II surveys his compositional output in all genres, relating changes in style to broad aesthetic issues, his folk music studies, and his activities as a pianist, music editor and teacher. The final part reveals the wide variety of responses to Bartók's music in Europe and the United States, both during and after his lifetime. It includes a comparison of analytical approaches to his music and an evaluation of performances including those of the composer himself. The book is written by a team of specialists, who represent more recent thinking on the composer and his music.
This research guide is an annotated bibliography of primary and secondary sources and catalogue of Bartók’s compositions. Since the publication of the second edition, a wealth of information has been proliferating in the field of Bartók research. The third edition of this research guide provides an update in this field and represents the multidisciplinary research areas in the growing Bartók literature.
The author tells of his own development as a student, "of how he and his intrepid colleagues were converted to chamber music ... [and of how] four individualists master and then overcome the confining demands of ensemble playing."--Jacket.