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The Cambridge Companion to the Saxophone
by Richard InghamThis is the first comprehensive guide to the saxophone, its history, technical development and repertoire. Extensively researched and including much new information, the volume is written by some of the finest performers and experts on the instrument. The Cambridge Companion to the Saxophone incorporates detailed historical developments in the classical, jazz and rock fields, provides practical performance guides, and has a chapter on teaching the instrument.
The Cambridge Companion to the String Quartet
by Robin StowellWill enrich readers' understanding of the history of the string quartet, the music and its interpretation.
The Cambridge Companion to the Violin
by Robin StowellThe Cambridge Companion to the Violin offers students, performers, and scholars a fascinating and composite survey of the history and repertory of the instrument from its origins to the present day. The volume comprises fifteen essays, written by a team of specialists, and is intended to develop the violin's historical perspective in breadth and from every relevant angle. The principal subjects discussed include the instrument's structure and development; its fundamental acoustical properties; principal exponents; technique and teaching principles; solo and ensemble repertory; pedagogical literature; traditions in folk music and jazz; and aspects of historical performing practice. The text is supported by numerous illustrations and diagrams as well as music examples, a useful appendix, glossary of technical terms, and an extensive bibliography.
The Cambridge Encyclopedia of Brass Instruments
by Trevor Herbert John Wallace Arnold MyersSome thirty-two experts from fifteen countries join three of the world's leading authorities on the design, manufacture, performance and history of brass musical instruments in this first major encyclopaedia on the subject. It includes over one hundred illustrations, and gives attention to every brass instrument which has been regularly used, with information about the way they are played, the uses to which they have been put, and the importance they have had in classical music, sacred rituals, popular music, jazz, brass bands and the bands of the military. There are specialist entries covering every inhabited region of the globe and essays on the methods that experts have used to study and understand brass instruments. The encyclopaedia spans the entire period from antiquity to modern times, with new and unfamiliar material that takes advantage of the latest research. From Abblasen to Zorsi Trombetta da Modon, this is the definitive guide for students, academics, musicians and music lovers.
The Cambridge Encyclopedia of Historical Performance in Music
by Robin Stowell Colin LawsonRecent decades have seen a major increase of interest in historical performance practice, but until now there has been no comprehensive reference tool available on the subject. This fully up-to-date, illuminating and accessible volume will assist readers in rediscovering and recreating as closely as possible how musical works may originally have sounded. Focusing on performance, this Encyclopedia contains entries in categories including issues of style, techniques and practices, the history and development of musical instruments, and the work of performers, scholars, theorists, composers and editors. It features contributions from more than 100 leading experts who provide a geographically varied survey of both theory and practice, as well as evaluation of and opinions on the resolution of problems in period performance. This timely and ground breaking book will be an essential resource for students, scholars, teachers, performers and audiences.
The Cambridge Haydn Encyclopedia
by Caryl Clark Sarah Day-O'ConnellFor well over two hundred years, Joseph Haydn has been by turns lionized and misrepresented - held up as celebrity, and disparaged as mere forerunner or point of comparison. And yet, unlike many other canonic composers, his music has remained a fixture in the repertoire from his day until ours. What do we need to know now in order to understand Haydn and his music? With over eighty entries focused on ideas and seven longer thematic essays to bring these together, this distinctive and richly illustrated encyclopedia offers a new perspective on Haydn and the many cultural contexts in which he worked and left his indelible mark during the Enlightenment and beyond. Contributions from sixty-seven scholars and performers in Europe, the Americas, and Oceania, capture the vitality of Haydn studies today - its variety of perspectives and methods - and ultimately inspire further exploration of one of western music's most innovative and influential composers.
The Cambridge History of Medieval Music (The Cambridge History of Music)
by Mark Everist Thomas Forrest KellySpanning a millennium of musical history, this monumental volume brings together nearly forty leading authorities to survey the music of Western Europe in the Middle Ages. All of the major aspects of medieval music are considered, making use of the latest research and thinking to discuss everything from the earliest genres of chant, through the music of the liturgy, to the riches of the vernacular song of the trouvères and troubadours. Alongside this account of the core repertory of monophony, The Cambridge History of Medieval Music tells the story of the birth of polyphonic music, and studies the genres of organum, conductus, motet and polyphonic song. Key composers of the period are introduced, such as Leoninus, Perotinus, Adam de la Halle, Philippe de Vitry and Guillaume de Machaut, and other chapters examine topics ranging from musical theory and performance to institutions, culture and collections.
The Cambridge History of Music Criticism (The Cambridge History of Music)
by Christopher DingleMusic criticism has played a fundamental and influential role throughout music history, with numerous composers such as Berlioz, Schumann, and Wagner, as well as many contemporary musicians, also maintaining careers as writers and critics. The Cambridge History of Music Criticism goes beyond these better-known accounts, reaching back to medieval times, expanding the geographical reach both within and beyond Europe, and including key issues such as women and criticism of recordings, as well as the story of criticism in jazz, popular music and world music. Drawing on a blend of established and talented young scholars, this is the first substantial historical survey of music criticism and critics, bringing unprecedented scope to a rapidly expanding area of musicological research. An indispensable point of reference, The Cambridge History of Music Criticism provides a broad historical overview of the field while also addressing specific issues and events.
The Cambridge History of Musical Performance
by Robin Stowell Colin LawsonThe intricacies and challenges of musical performance have recently attracted the attention of writers and scholars to a greater extent than ever before. Research into the performer's experience has begun to explore such areas as practice techniques, performance anxiety and memorisation, as well as many other professional issues. Historical performance practice has been the subject of lively debate way beyond academic circles, mirroring its high profile in the recording studio and the concert hall. Reflecting the strong ongoing interest in the role of performers and performance, this History brings together research from leading scholars and historians and, importantly, features contributions from accomplished performers, whose practical experiences give the volume a unique vitality. Moving the focus away from the composers and onto the musicians responsible for bringing the music to life, this History presents a fresh, integrated and innovative perspective on performance history and practice, from the earliest times to today.
The Cambridge History of Sixteenth-Century Music (The Cambridge History of Music)
by Richard Wistreich Iain FenlonPart of the seminal Cambridge History of Music series, this volume departs from standard histories of early modern Western music in two important ways. First, it considers music as something primarily experienced by people in their daily lives, whether as musicians or listeners, and as something that happened in particular locations, and different intellectual and ideological contexts, rather than as a story of genres, individual counties, and composers and their works. Second, by constraining discussion within the limits of a 100-year timespan, the music culture of the sixteenth century is freed from its conventional (and tenuous) absorption within the abstraction of 'the Renaissance', and is understood in terms of recent developments in the broader narrative of this turbulent period of European history. Both an original take on a well-known period in early music and a key work of reference for scholars, this volume makes an important contribution to the history of music.
The Cambridge History of Western Music Theory
by Thomas ChristensenThe Cambridge History of Western Music Theory is the first comprehensive history of Western music theory to be published in the English language. <p><p>A collaborative project by leading music theorists and historians, the volume traces the rich panorama of music-theoretical thought from the Ancient Greeks to the present day. Recognizing the variety and complexity of music theory as an historical subject, the volume has been organized within a flexible framework. Some chapters are defined chronologically within a restricted historical domain, whilst others are defined conceptually and span longer historical periods. Together the thirty-one chapters present a synthetic overview of the fascinating and complex subject that is historical music theory. Richly enhanced with illustrations, graphics, examples and cross-citations as well as being thoroughly indexed and supplemented by comprehensive bibliographies of the most important primary and secondary literature, this book will be an invaluable resource for students and scholars alike.
The Cambridge History of World Music
by Philip V. BohlmanScholars have long known that world music was not merely the globalized product of modern media, but rather that it connected religions, cultures, languages and nations throughout world history. The chapters in this History take readers to foundational historical moments – in Europe, Oceania, China, India, the Muslim world, North and South America – in search of the connections provided by a truly world music. Historically, world music emerged from ritual and religion, labor and life-cycles, which occupy chapters on Native American musicians, religious practices in India and Indonesia, and nationalism in Argentina and Portugal. The contributors critically examine music in cultural encounter and conflict, and as the critical core of scientific theories from the Arabic Middle Ages through the Enlightenment to postmodernism. Overall, the book contains the histories of the music of diverse cultures, which increasingly become the folk, popular and classical music of our own era.
The Cambridge Stravinsky Encyclopedia
by Edward Campbell Peter O’HaganIgor Stravinsky is one of a small number of early modernist composers whose music epitomises the stylistic crisis of twentieth-century music, from the Russian nationalist heritage of the early works, the neo-classical works which anticipate the stylistic diversity of the contemporary musical scene in the early twenty-first century and the integration of serial techniques during his final period. With entries written by more than fifty international contributors from Russian, European and American traditions, The Cambridge Stravinsky Encyclopedia presents multiple perspectives on the life, works, writings and aesthetic relationships of this multi-faceted creative artist. This important resource explores Stravinsky's relationships with virtually all the major artistic figures of his time, painters, dramatists, choreographers and producers as well musicians and brings together fresh insights into to the life and work of one of the twentieth century's greatest composers.
The Cambridge Verdi Encyclopedia
by Roberta Montemorra MarvinVerdi's enduring presence on the opera stages of the world and as a subject for scholarly study by researchers in various disciplines has placed him as a central figure within modern culture. The composer's undisputed popularity from the mid-nineteenth century to the present day, among enthusiasts and scholars alike, lies at the heart of The Cambridge Verdi Encyclopedia. This comprehensive resource covers all aspects of Verdi's music and his world, including the people he knew and worked with, his compositions, and their reception. Extensive appendices list all of Verdi's known works, both published and unpublished, and the characters in his operas. As a starting point for information on specific works, people, places, and concepts, the Encyclopedia reflects the very latest scholarship, presented by an international array of experts in a manner that will have a broad appeal for opera lovers, students, and scholars.
The Cambridge Wagner Encyclopedia
by Nicholas VazsonyiRichard Wagner is one of the most controversial figures in Western cultural history. He revolutionized not only opera but the very concept of art, and his works and ideas have had an immeasurable impact on both the cultural and political landscapes of the late nineteenth and twentieth centuries. From "absolute music" to "Zurich" and from "Theodor Adorno" to "Hermann Zumpe," the vividly-written entries of The Cambridge Wagner Encyclopedia have been contributed by recognized authorities and cover a comprehensive range of topics. More than eighty scholars from around the world, representing disciplines from history and philosophy to film studies and medicine, provide fascinating insights into Wagner's life, career, and influence. Multiple appendices include listings of Wagner's works, historic productions, recordings, and addresses where he lived, to round out a volume that will be an essential and reliable resource for enthusiasts and academics alike.
The Carnival of the Animals
by Jack PrelutskyA great way to introduce children to classical music.America&’s first Children's Poet Laureate has written all-new verses to accompany the composer Camille Saint-Saëns&’s The Carnival of the Animals, and the illustrator of the Harry Potter books has turned these rollicking rhymes into a picture-book fun fest. A note to parents and teachers by Judith Bachleitner, head of the music department at the prestigious Rudolf Steiner School in New York City, suggests ways preschoolers can act out the music—tromp like an elephant, hop like a kangaroo, glide like a swan—or, for older children, be creatively inspired by this joyful work.
The Carole: A Study Of A Medieval Dance
by Robert MullallyThe carole was the principal social dance in France and England from c. 1100 to c. 1400 and was frequently mentioned in French and English medieval literature. However, it has been widely misunderstood by contributors in recent citations in dictionaries and reference books, both linguistic and musical. The carole was performed by all classes of society - kings and nobles, shepherds and servant girls. It is described as taking place both indoors and outdoors. Its central position in the life of the people is underlined by references not only in what we might call fictional texts, but also in historical (or quasi-historical) writings, in moral treatises and even in a work on astronomy. Dr Robert Mullally's focus is very much on details relevant to the history, choreography and performance of the dance as revealed in the primary sources. This methodology involves attempting to isolate the term carole from other dance terms not only in French, but also in other languages. Mullally's groundbreaking study establishes all the characteristics of this dance: etymological, choreographical, lyrical, musical and iconographical.
The Carols of Cthulhu: Horrifying Holiday Hymns from the Lore of H. P. Lovecraft
by Mike SlaterSummon a dark Noel or haunted Hanukkah with twisted takes on classic songs for everyone on your naughty list. Whether you’re home for the holly-daze or wandering a hellish landscape of never-ending agony, you need a good tune to pass the time. The dire duo behind the best-selling The Necronomnomnom accordingly present a gruesome grimoire of 25 creepy carols and sinister songs. From “Do You Fear What I Fear?” to “It’s Beginning to Look a Lot Like Mythos” and “Shoggoth the Formless Horror” to “Silent Knife,” “Sunken Hells,” and “The Twelve Days of Darkness,” these puntastic parodies pay hellacious homage to the Lovecraftian cosmos. Shriek them bleakly into the vast abyss or brandish them at seasonal gatherings to revile your fellow revelers. This disquieting collection of chants and canticles features extraordinary illustrations and desperate strains from the throats and hands of those who have gone before. Its harmful harmonies and ruinous rhythms will engulf your mind for all the days of darkness to come. Make merry while you can.
The Cartoon Music Book
by Daniel Goldmark Leonard Maltin Yuval TaylorThe popularity of cartoon music, from Carl Stalling's work for Warner Bros. to Disney sound tracks and The Simpsons' song parodies, has never been greater. This lively and fascinating look at cartoon music's past and present collects contributions from well-known music critics and cartoonists, and interviews with the principal cartoon composers. Here Mark Mothersbaugh talks about his music for Rugrats, Alf Clausen about composing for The Simpsons, Carl Stalling about his work for Walt Disney and Warner Bros., Irwin Chusid about Raymond Scott's work, Will Friedwald about Casper the Friendly Ghost, Richard Stone about his music for Animaniacs, Joseph Lanza about Ren and Stimpy, and much, much more.
The Case Of The Rock Star's Secret (The New Adventures of Mary-Kate and Ashley)
by Melinda Metz Mary-Kate Olsen Ashley OlsenCrank it up! Ashley and I were in a rock band! We were practicing for our first concert--and we were jammin'! We couldn't wait to blow the crowd away! But then weird stuff started happening. Someone replaced our singer's shampoo with black hair dye. A huge explosion went off outside our dress rehearsal. And all our instruments disappeared--right before the concert! Who was trying to stop the music? We had to find out--fast!
The Cash and Carter Family Cookbook: Recipes and Recollections from Johnny and June's Table - Cooking with Johnny Cash – Southern Comfort Food and International Meals from the Man in Black
by John Carter CashEnjoy Johnny&’s favorite recipes and get behind-the-scenes stories of life around the Cash-Carter family dinner table.People all over the world loved Johnny Cash and June Carter Cash for their charismatic stage presence and soul-stirring music but those who knew them personally remember them best for their warm hospitality and the meals from their kitchen. Family, friends, and fellow artists were always welcomed to a beautiful table set with June's fine linens, china, and crystal to enjoy Southern comfort food and also international dishes the couple gathered on tours around the world.In The Cash and Carter Family Cookbook, John Carter Cash shares the stories and recipes that flowed from his family's dinner table including:Johnny Cash's Iron-Pot Chili with a Roasted TopJune's Walnut and Grape Chicken SaladMother Maybelle Carter's Tomato GravyRoast Leg of Lamb with Garlic Crust and Fresh Mint SauceSpanish Seafood and Chicken PaellaCash and Carter Ring of Fire Barbecue SauceJohnny's Pinto Beans and Ham HocksJune's New York-style Cheesecake with Fresh Berry Compote The family favorites collected here are perfect for an intimate gathering or for hosting a crowd and include recipes for main courses, appetizers, side dishes, desserts, sauces, and late-night snacks. In addition, the book contains the memories and reminiscences of the musicians and film stars welcomed in the home, from Loretta Lynn and Adam Clayton of U2 to Jane Seymour and Billy Bob Thornton.The Cash and Carter Family Cookbook is the perfect gift for Carter and Cash fans as well as anyone who wants to experience the love, comfort, and hospitality of sitting at Johnny and June's table.
The Cashaway Psalmody: Transatlantic Religion and Music in Colonial Carolina (Music in American Life #489)
by Stephen MariniSinging master Durham Hills created The Cashaway Psalmody to give as a wedding present in 1770. A collection of tenor melody parts for 152 tunes and sixty-three texts, the Psalmody is the only surviving tunebook from the colonial-era South and one of the oldest sacred music manuscripts from the Carolinas. It is all the more remarkable for its sophistication: no similar document of the period matches Hills's level of musical expertise, reportorial reach, and calligraphic skill. <p><p>Stephen A. Marini, discoverer of The Cashaway Psalmody, offers the fascinating story of the tunebook and its many meanings. From its musical, literary, and religious origins in England, he moves on to the life of Durham Hills; how Carolina communities used the book; and the Psalmody's significance in understanding how ritual song—transmitted via transatlantic music, lyrics, and sacred singing—shaped the era's development. Marini also uses close musical and textual analyses to provide a critical study that offers music historians and musicologists valuable insights on the Pslamody and its period. <p><p>Meticulous in presentation and interdisciplinary in scope, The Cashaway Psalmody unlocks an important source for understanding life in the Lower South in the eighteenth century.
The Castrato
by Martha FeldmanThe Castrato is a nuanced exploration of why innumerable boys were castrated for singing between the mid-sixteenth and late-nineteenth centuries. It shows that the entire foundation of Western classical singing, culminating in bel canto, was birthed from an unlikely and historically unique set of desires, public and private, aesthetic, economic, and political. In Italy, castration for singing was understood through the lens of Catholic blood sacrifice as expressed in idioms of offering and renunciation and, paradoxically, in satire, verbal abuse, and even the symbolism of the castrato's comic cousin Pulcinella. Sacrifice in turn was inseparable from the system of patriarchy--involving teachers, patrons, colleagues, and relatives--whereby castrated males were produced not as nonmen, as often thought nowadays, but as idealized males. Yet what captivated audiences and composers--from Cavalli and Pergolesi to Handel, Mozart, and Rossini--were the extraordinary capacities of castrato voices, a phenomenon ultimately unsettled by Enlightenment morality. Although the castrati failed to survive, their musicality and vocality have persisted long past their literal demise.
The Catholic Spirit: An Anthology for Discovering Faith Through Literature, Art, Film, and Music
by Michel Bettigole James D. Childs<p>Pope John Paul II pointed out that it is through the arts that religious truths are made tangible "making perceptible...the world of the spirit, of the invisible, of God." <p>The Catholic Spirit: An Anthology for Discovering Faith Through Literature, Art, Film, and Music takes up this charge and presents the truths of Catholicism in the context of the arts: great artwork, literature, music, and Church writings. The Catholic Spirit sends teens on a journey through classical works like Flannery O'Connors "Parker's Back, Gerard Manley Hopkins' "God's Grandeur," Michelangelo's The Creation of Adam, and Gregorian chant, along with modern classics like "A Woman's Prayer" by Dorothy Day and films like Cool Hand Luke and On the Waterfront. <p>Organized around chapters that follow the structure of the Catechism of the Catholic Church, the text includes primary source material from varying periods of Church history with contextual and background text to help students understand their significance. <p>Several additional research opportunities are included to further the students' study of the key teachings of the Church through reading, viewing, and listening to classical period pieces. An online teacher resource also indexes the material to themes in the new curriculum framework.</p>
The Cello Suites: J. S. Bach, Pablo Casals, and the Search for a Baroque Masterpiece
by Eric SiblinOne autumn evening, shortly after ending a ten-year stint as a pop-music columnist for the Montreal Gazette, Eric Siblin attended a concert at Toronto's Royal Conservatory of Music. There, something unlikely happened: he fell in love with a piece of classical music -- Bach's cello suites. Part biography, part music history, and part literary mystery, The Cello Suites weaves together three dramatic stories: The first features Johann Sebastian Bach and the missing manuscript of his suites from the eighteenth century; the second is that of Pablo Casals and his incredible discovery of the manuscript in Spain in the early twentieth century; and the third is Eric Siblin's own infatuation with the suites in the twenty-first century. This love affair leads Siblin to the back streets of Barcelona, a Belgian mansion, and a bombed out German palace; to interviews with cellists Mischa Maisky, Anner Bylsma, and Pieter Wispelwey; to archives, festivals, conferences, and cemeteries; and even to cello lessons -- all in pursuit of answers to the mysteries that continue to haunt this piece of music more than 250 years after its composer's death. The Cello Suites is an incomparable, beautifully written, true-life journey of passion, imagination, and discovery, fuelled by the transcendent power of a musical masterpiece.