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Chronicles the work of George Templeton Strong, an American composer and painter.
The music of the nineteenth century was - and still is - thought of as a 'romantic' art, whereas the main current of the literature and fine arts of the age was 'realist' from about 1830. Yet some works are consistently described as 'realistic': Nusorgsky's Boris and Bizet's Carmen are only the most frequently cited examples. Professor Dahlhaus sets out the criteria of realism, with particular reference to French and German theorists and examines the extent to which they apply to music too. While his findings do not reverse the verdict that the music of the age was in general romantic, he demonstrates that musical realism consists in much more than imitation of natural sounds or tone-painting. The notes are revised here for the English-speaking reader.
Harrison Kerr (1897-1978) is probably best known for his efforts to foster an understanding of twentieth-century American music, but his achievements as a teacher, administrator, and composer are equally important. The present volume presents an extensive biography of Kerr and detailed analyses of three representative musical works with explanations.
Central to the repertoire of Western art music since the 1700s, the symphony has come to be regarded as one of the ultimate compositional challenges. In his series The Symphonic Repertoire, the late A. Peter Brown explored the symphony in Europe from its origins into the 20th century. In Volume V, Brown's former students and colleagues continue his vision by turning to the symphony in the Western Hemisphere. It examines the work of numerous symphonists active from the early 1800s to the present day and the unique challenges they faced in contributing to the European symphonic tradition. The research adds to an unmatched compendium of knowledge for the student, teacher, performer, and sophisticated amateur. This much-anticipated fifth volume of The Symphonic Repertoire: The Symphony in the Americas offers a user-friendly, comprehensive history of the symphony genre in the United States and Latin America.
Challenges the assumption of the rationality of foreign policy makers in international relations, showing how leaders systematically vary in the rationality of their thinking.
Gathers all the available information on Arthur Foote (1853-1937), one of the most important American composers who worked creatively in the late 19th and early 20th centuries. With bibliography and musical examples.
The scholarship devoted to American literary realism has long wrestled with problems of definition: is realism a genre, with a particular form, content, and technique? Is it a style, with a distinctive artistic arrangement of words, characters, and description? Or is it a period, usually placed as occurring after the Civil War and concluding somewhere around the onset of World War I? This volume aims to widen the scope of study beyond mere definition, however, by expanding the boundaries of the subject through essays that reconsider and enlarge upon such questions. The Oxford Handbook of American Literary Realism aims to take stock of the scholarly work in the area and map out paths for future directions of study. The Handbook offers 35 vibrant and original essays of new interpretations of the artistic and political challenges of representing life. It is the first book to treat the subject topically and thematically, in wide scope, with essays that draw upon recent scholarship in literary and cultural studies to offer an authoritative and in-depth reassessment of major and minor figures and the contexts that shaped their work. Contributors here tease out the workings of a particular concept through a variety of authors and their cultural contexts. A set of essays explores realism's genesis and its connection to previous and subsequent movements. Others examine the inclusiveness of representation, the circulation of texts, and the aesthetic representation of science, time, space, and the subjects of medicine, the New Woman, and the middle class. Still others trace the connection to other arts--poetry, drama, illustration, photography, painting, and film--and to pedagogic issues in the teaching of realism. As a whole, this volume forges exciting new paths in the study of realism and writers' unending labor to represent life accurately.
Edward MacDowell was one of the finest composers of nineteenth-century America. In his lifetime, MacDowell's fame was widespread throughout Europe and the United States; his music was praised by none other than Franz Liszt, Jules Massenet, and Edvard Grieg. While his fame was extensive, MacDowell's place in music began to fade after his untimely and tragic death in 1908, and his music and reputation has since suffered a certain neglect. Alan Levy's biography is the first full-length work on MacDowell and draws extensively on personal papers and letters, largely closed from public access until recently. Levy challenges the omission of MacDowell from most musical histories and returns the spotlight to this long-overlooked composer. Levy covers MacDowell's early life and schooling in New York, his musical studies in France and Germany, and his emergence as a keyboard artist and composer. From there, the biography moves on to MacDowell's successful career in Boston and in Peterboro, New Hampshire. Levy concludes with MacDowell's tenure as the first Professor of Music at Columbia University and his untimely decline and death. There is also discussion of Marian MacDowell's successful establishment of the MacDowell Colony for Artists, which continues to the present day. Alan Levy elegantly captures the story of this composer who enjoyed musical talent and relative popular success during his lifetime. He brings together a great deal of otherwise inaccessible information and material on a somewhat muted voice in American Music History.