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Six Sonatas by George Frideric Handel for Violin and Piano now in one volume: A major, E major, G minor, D major, F major, A major.
The studies collected in this volume deal with the interpretation of opera. In most cases the results are based on structural analysis, a concept which may require some clarification in this context. During the past de cade 'structure' and 'structural' have become particularly fashionable terms lacking exact denotation and used for the most divergent purposes. As employed here, structural analysis is concerned with such concepts as 'relationship', 'coherence' and 'continuity', more or less in contrast to formal analysis which deals with measurable material. In other words, I have analysed the structure of an opera by seeking and examining factors in the musico-dramatic process, whereas analysts of form are generally preoccupied with the study of elements contained in the musical object. Though admittedly artificial, the dichotomy of form and structure may elucidate the present situation with regard to the study of opera. Today, nearly one hundred years after the death of Wagner, the proclaimed anti thesis of Oper und Drama is generally taken for what it really was: a means to propagate the philosophy of its inventor. The conception of opera (whether 'continuous' or composed of 'numbers') as a special form of drama is no longer contested. Nevertheless musical scholarship has failed to draw the consequences from this view and few scholars realize the need to study general theory of drama and more specifically the dramatic experience.
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.
A level I flute solo by Ralph R. Guenther.
A carefully graded selection of compositions of varied styles, progressing from easy to medium difficulty and designed to develop well-rounded musicianship.
Surrounded by lies and deceit how do you work out who is telling the truth? When highly decorated war hero, Colonel Tariq joins the intelligence agency, his rise to the top seems assured. But in his first case he discovers a CIA agent has killed a young prostitute and a diplomatic crisis erupts.As the two nations negotiate, angry mobs take to the streets and he is caught up in a national scandal. Tariq is instructed to eliminate the only witness and instigate a cover up, trapping him in a terrible moral dilemma. As his professional ambition and private life collide, he must make a life changing decision that will have far reaching consequences for the future of his family and his country.
During the last few decades, most cultural critics have come to agree that the division between "high" and "low" art is an artificial one, that Beethoven's Ninth and "Blue Suede Shoes" are equally valuable as cultural texts. In Who Needs Classical Music?, Julian Johnson challenges these assumptions about the relativism of cultural judgements. The author maintains that music is more than just "a matter of taste": while some music provides entertainment, or serves as background noise, other music claims to function as art. This book considers the value of classical music in contemporary society, arguing that it remains distinctive because it works in quite different ways to most of the other music that surrounds us. This intellectually sophisticated yet accessible book offers a new and balanced defense of the specific values of classical music in contemporary culture. Who Needs Classical Music? will stimulate readers to reflect on their own investment (or lack of it) in music and art of all kinds.