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Originally published in 1938 and updated in 1962, this remains one of the few comprehensive studies of the German lyric in any language, ranging from the Middle Ages to the 1960s. By the use of detailed critical analysis the book interprets the essence of German lyric poetry and includes a study of the phases of German literature in the first half of the 20th Century.
The chronological range covered by the individual essays is more than two hundred years, from the Classical Enlightenment to the early twenty-first century. Some of the studies encompassed by this volume undertake the analysis of one composer's settings of a particular poet's work - albeit with rather more critical rigour. Others trace the ways in which a literary text is modified and adapted before and as it develops as one of the principal components of an opera. Several share new insights into the complex relationships of individual works with the literary and musical traditions out of which they emerge (or which they transform and renew) - or set such works in the political contexts of their genesis or reception, often using a key historical moment, a turning-point or a 'snapshot', as the starting-point for a wide-ranging investigation. In some cases the words and the music are those of the same 'composer', the relationship here shedding light on the process of composition itself. Literary works are often scrutinized for the light they shed on a musician's creative processes, but the importance of music to writers - as audiences, but also as amateur or even semi-professional practitioners - is no less important as an investigative standpoint.
Show Tunes fully chronicles the shows, songs, and careers of the major composers of the American musical theatre, from Jerome Kern's earliest interpolations to the latest hits on Broadway. Legendary composers like Gershwin, Rodgers, Porter, Berlin, Bernstein, and Sondheim have been joined by more recent songwriters like Stephen Schwartz, Stephen Flaherty, Michael John LaChiusa, and Adam Guettel. This majestic reference book covers their work, their innovations, their successes, and their failures. Show Tunes is simply the most comprehensive volume of its kind ever produced, and this newly revised and updated edition discusses almost 1,000 shows and 9,000 show tunes. The book has been called "a concise skeleton key to the Broadway musical" (Variety) and "a ground-breaking reference work with a difference" (Show Music)-or, as the Washington Post observed, "It makes you sing and dance all over your memory." The eagerly anticipated Fourth Edition, updated through May, 2009, features the entire theatrical output of forty of Broadway's leading composers, in addition to a wide selection of work by other songwriters. The listings include essential production data and statistics, the most extensive information available on published and recorded songs, and lively commentary on the shows, songs, and diverse careers. Based on meticulous research, the book also uncovers dozens of lost musicals-including shows that either closed out of town or were never headed for Broadway-and catalogs hundreds of previously unknown songs, including a number of musical gems that have been misplaced, cut, or forgotten. Informative, insightful, and provocative, Show Tunes is an essential guide for anyone interested in the American musical.
Originally published in 1990, the main purpose of this anthology is to present the vernacular secular lyric of the Middle Ages, although it also includes Latin literature of the Middle Ages and the influence of the hymn.
The best-known songs in the world are violent, sexist, and religious — so why do we celebrate national anthems when we should be rewriting them? The story begins in a London theatre in 1745, where the modern idea of anthems started out as triumphant expressions of national superiority. They glorified violence, claimed the support of God for their country, and mostly ignored women. David Pate says it’s time to dump lyrics about cutting throats, watering fields with blood, building walls with the bodies of enemies, and celebrating the sound of machine guns. From the author’s own youth as a schoolboy in Scotland when he was caned for refusing to sing “God Save the Queen” to the ubiquity of anthems in sports and as weapons for extreme patriotism, The Worst Songs in the World looks at the origins of many of the world’s anthems, including the movie theme song that became China’s national anthem and the English tune used for “The Star-Spangled Banner.” This wide-ranging, deeply researched narrative combines politics, personalities, humour, and vivid storytelling to argue for what we should all want: better national songs.
Austria today offers the picture of a small, neutral, and economically successful country in the heart of Europe. Yet modern Austria is the product of a complex and violent history. After the First World War, Vienna changed overnight from being the capital of a large continental and multi-ethnic Empire to being an alpine Republic surrounded by larger states. This study examines Austria’s transition from a major power and multi-ethnic Empire to a militarily marginalised alpine Republic, and asks how those often sudden and violent changes, including two world wars and one civil war in the twentieth century, have been reflected in the way Austrians have perceived themselves. Whilst many studies map out the political events, this study places special emphasis on the language used by Austrians as they struggled to define themselves.
Alan Jay Lerner wrote the lyrics for some of the most beloved musicals in Broadway and Hollywood history. Most notably, with composer Frederick Loewe he created enduring hits such as My Fair Lady, Gigi, Camelot, and Brigadoon. In The Complete Lyrics of Alan Jay Lerner, editors and annotators Dominic McHugh and Amy Asch bring all of Lerner's lyrics together for the first time, including numerous draft or alternate versions and songs cut from the shows. Compiled from dozens of archival collections, this invaluable resource and authoritative reference includes both Lerner's classic works and numerous discoveries, including his unproduced MGM movie Huckleberry Finn, selections from his college musicals, and lyrics from three different versions of Paint Your Wagon. This collection also includes extensive material from Lerner's two most ambitious musicals: Love Life, to music by Kurt Weill, and 1600 Pennsylvania Avenue, which Lerner wrote with Leonard Bernstein.
Additional edition statement from dust jacket.