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"In 1952, he put together an ensemble of engaging young singers and instrumentalists, who gave lively, expressive interpretations of medieval, Renaissance, and Baroque works. Their presentation of the liturgical drama The Play of Daniel won them international fame. Under Greenberg's leadership, they recorded extensively and toured Europe, the Soviet Union, and Latin America. At the height of his and Pro Musica's success, Noah Greenberg died at the age of 47. In Pied Piper, James Gollin not only relates Greenberg's tragically short, but highly colorful life story, but he sets the man in the rich context of America's rise to postwar political and cultural prominence."--Jacket.
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This book recreates an exciting and productive period in which creative artists felt they were witnessing the birth of a new age. Aaron Copland, Henry Cowell, George Gershwin, Roy Harris, and Virgil Thomson all began their careers then, as did many of their less widely recognized compatriots. While the literature and painting of the 1920's have been amply chronicled, music has not received such treatment. Carol Oja's book sets the growth of American musical composition against parallel developments in American culture, provides a guide for the understanding of the music, and explores how the notion of the concert tradition, as inherited from Western Europe, was challenged and revitalized through contact with American popular song, jazz, and non-Western musics.
The Pro-Musica Society (first known as the Franco-American Music Society) was established in the early 1920's by pianist E. Robert Schmitz to support North American appearances of rising European composers and performers. By 1925, Pro Musica boasted over twenty chapters which maintained contact via their quartly publication edited by Germaine Schmitz, the wife of the society's founder. Pro-Musica Quarterly (also known by its earlier title, F.A.M.S. Bulletin) served a varied readership, from highly-trained musicians and sophisticated consumers to society patrons and local enthusiasts. From this publication, for example, supporters learned of international music movements, living composers' lives and works, and theoretical and historical approaches to the study of music. They also read news of regional meetings and recitals, finding between two covers an unusual balance of content. Introduced by a historical overview of the Society and the publication, Pro Musica: Patronage, Performance and a Periodical provides analysis of the content and detailed descriptions of all articles published during the publication's existence, 1923-1929. Comprehensive subject and author-translator indexes add to the strength of this document that chronicles representative musical activities during an extraordinary decade of the twentieth century. Those enthusiasts of musical and social activities during the 1920's will find this to be required reference material.
New Music, New Allies documents how American experimental music and its practitioners came to prominence in the West German cultural landscape between the end of the Second World War in 1945 and the reunification of East and West Germany in 1990. Beginning with the reeducation programs implemented by American military officers during the postwar occupation of West Germany and continuing through the cultural policies of the Cold War era, this broad history chronicles German views on American music, American composers’ pursuit of professional opportunities abroad, and the unprecedented dissemination and support their music enjoyed through West German state-subsidized radio stations, new music festivals, and international exchange programs. Framing the biographies of prominent American composer-performers within the aesthetic and ideological contexts of the second half of the twentieth century, Amy C. Beal follows the international careers of John Cage, Henry Cowell, Earle Brown, Morton Feldman, David Tudor, Frederic Rzewski, Christian Wolff, Steve Reich, Pauline Oliveros, Conlon Nancarrow, and many others to Donaueschingen, Darmstadt, Cologne, Bremen, Berlin, and Munich.