{"title":"Music-Genres \u0026 Styles-Classical","description":"","products":[{"product_id":"the-greatest-music-stories-never-rick-beyer-9780061626982","title":"The Greatest Music Stories Never Told: 100 Tales from Music History to Astonish, Bewilder, and Stupefy","description":"\u003cp\u003e\u003cstrong\u003e\"Full of tasty morsels. A delightful book to arm one for the next dull cocktail party.\" --\u003cem\u003eChicago Tribune\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eRick Beyer, author of the highly successful History Channel series The Greatest Stories Never Told returns with new historic tales from the world of music--ennobling, entrancing and inevitably surprising stories of soaring genius, tantalizing scandal, nefarious intrigue, and, above all, unbridled passion for music. 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Nary a canonic work of classical music that was not set for piano duo, nary a house that could afford not to invest in them. Duets echoed from the student bedsit to Buckingham Palace, resounded in schools and in hundreds of thousands of bourgeois parlors. Like no other musical phenomenon, it could cross national, social, and economic boundaries, bringing together poor students with the daughters of the bourgeoisie, crowned heads with penniless virtuosi, and the nineteenth century often regarded it with extreme suspicion for that very reason. \u003cp\u003e\u003c\/p\u003eFour-hand piano playing was often understood as a socially acceptable way of flirting, a flurry of hands that made touching, often of men and women, not just acceptable but necessary. But it also became something far more serious than that, a central institution of the home, mediating between inside and outside, family and society, labor and leisure, nature and nurture. 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But in the audience, we know little (and think less) about the enormous efforts of those involved in bringing an opera to life--by the stagehands who shift scenery, the scenic artists who create beautiful backdrops, the electricians who focus the spotlights, and the stage manager who calls them and the singers to their places during the performance. The first comprehensive history of the behind-the-scenes world of opera production and staging, \u003ci\u003eFrom the Score to the Stage \u003c\/i\u003efollows the evolution of visual style and set design in continental Europe from its birth in the seventeenth century up to today. In clear, witty prose, Evan Baker covers all the major players and pieces involved in getting an opera onto the stage, from the stage director who creates the artistic concept for the production and guides the singers' interpretation of their roles to the blocking of singers and placement of scenery. He concentrates on the people--composers, librettists, designers, and technicians--as well as the theaters and events that generated developments in opera production. Additional topics include the many difficulties in performing an opera, the functions of impresarios, and the business of music publishing. Delving into the absorbing and often neglected history of stage directing, theater architecture and technology, and scenic and lighting design, Baker nimbly links these technical aspects of opera to actual performances and performers, and the social context in which they appeared. Out of these details arise illuminating discussions of individual productions that cast new light on the operas of Wagner, Verdi, and others. 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Moving easily between registers, they also open revealing windows onto the sometimes difficult pasts that brought these conductors to music in the first place, including Boulez's and Haitink's heartbreaking experiences of Nazi occupation in their native countries as children. Throughout, these reviews and interviews are threaded together with insights about the power of music and the techniques behind it--from the conductors' varied approaches to research, preparing scores, and interacting with other musicians, to how the sound and personality of the orchestra evolved over time, to the ways that we can all learn to listen better and hear more in the music we love. Featuring a foreword by fellow critic Alex Ross on the ethos and humor that informed Patner's writing, as well as an introduction and extensive historical commentary by musicologist Douglas W. 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David Yearsley explores the notebooks' more idiosyncratic entries--like its charming ditties on illicit love and searching ruminations on mortality--against the backdrop of the social practices and concerns that women shared in eighteenth-century Lutheran Germany, from status in marriage and widowhood, to fulfilling professional and domestic roles, money, fashion, intimacy and sex, and the ever-present sickness and death of children and spouses. What emerges is a humane portrait of a musician who embraced the sensuality of song and the uplift of the keyboard, a sometimes ribald wife and oft-bereaved mother who used her cherished musical notebooks for piety and play, humor and devotion--for living and for dying. \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eAuthor:\u003c\/b\u003e David Yearsley\u003cbr\u003e\u003cb\u003eISBN-10:\u003c\/b\u003e 022661770X\u003cbr\u003e\u003cb\u003eISBN-13:\u003c\/b\u003e 9780226617701\u003cbr\u003e\u003cb\u003ePublisher:\u003c\/b\u003e University of Chicago Press\u003cbr\u003e\u003cb\u003eLanguage:\u003c\/b\u003e English\u003cbr\u003e\u003cb\u003ePublished:\u003c\/b\u003e 07\/09\/2019\u003cbr\u003e\u003cb\u003ePages:\u003c\/b\u003e 336\u003cbr\u003e\u003cb\u003eFormat:\u003c\/b\u003e Hardcover\u003cbr\u003e\u003cb\u003eWeight:\u003c\/b\u003e 1.35lbs\u003cbr\u003e\u003cb\u003eSize:\u003c\/b\u003e 9.10h x 5.90w x 1.00d\u003cbr\u003e\u003cbr\u003e\u003cb\u003eReview Citation(s): \u003c\/b\u003e\u003cbr\u003e\u003ci\u003eChoice\u003c\/i\u003e 01\/01\/2020","brand":"David Yearsley","offers":[{"title":"Hardcover","offer_id":43913441018111,"sku":"9780226617701","price":48.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0662\/2982\/9887\/products\/img_eb3b6a96-09a0-4ba0-a901-d17ee21402c8.jpg?v=1680620419"},{"product_id":"richard-wagner-martin-geck-9780226924618","title":"Richard Wagner: A Life in Music","description":"Best known for the challenging four-opera cycle \u003ci\u003eThe Ring of the Nibelung\u003c\/i\u003e, Richard Wagner (1813-83) was a conductor, librettist, theater director, and essayist, in addition to being the composer of some of the most enduring operatic works in history, such as \u003ci\u003eThe Flying Dutchman\u003c\/i\u003e, \u003ci\u003eTannh user\u003c\/i\u003e, and\u003ci\u003e Tristan and Isolde\u003c\/i\u003e. 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Poetic meter itself has expressive qualities, and rhythmic variations contribute further to the modes of signification. These features often carry over into songs, even as they are set in the more strictly determined periodicities of musical meter. A new method of declamatory-schema analysis is presented to illustrate common possibilities for setting trimeter, tetrameter, and pentameter lines. Degrees of rhythmic regularity and irregularity are also considered. \u003cp\u003e\u003c\/p\u003eThere has been a wealth of new work on metric theory and analysis in the past thirty years; here this research is reviewed and applied in song analysis. Topics include the nature of metric entrainment (drawing on music psychology), metric dissonance, hypermeter, and phrase rhythm. \u003cp\u003e\u003c\/p\u003eWhereas narrative accounts of the nineteenth-century Lied typically begin with Schubert, here forms of expansion and elision in songs by Hensel provide a point of departure. 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Songs by both Brahms and Wolf may be understood as musical performances of poetic readings, and in this regard they both belong to a late period of cultural history.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eAuthor:\u003c\/b\u003e Yonatan Malin\u003cbr\u003e\u003cb\u003eISBN-10:\u003c\/b\u003e 0195340051\u003cbr\u003e\u003cb\u003eISBN-13:\u003c\/b\u003e 9780195340051\u003cbr\u003e\u003cb\u003ePublisher:\u003c\/b\u003e Oxford University Press, USA\u003cbr\u003e\u003cb\u003eLanguage:\u003c\/b\u003e English\u003cbr\u003e\u003cb\u003ePublished:\u003c\/b\u003e 05\/26\/2010\u003cbr\u003e\u003cb\u003ePages:\u003c\/b\u003e 256\u003cbr\u003e\u003cb\u003eFormat:\u003c\/b\u003e Hardcover\u003cbr\u003e\u003cb\u003eWeight:\u003c\/b\u003e 1.15lbs\u003cbr\u003e\u003cb\u003eSize:\u003c\/b\u003e 9.30h x 6.50w x 0.90d\u003cbr\u003e\u003cbr\u003e\u003cb\u003eReview Citation(s): \u003c\/b\u003e\u003cbr\u003e\u003ci\u003eChoice\u003c\/i\u003e 12\/01\/2010\u003cbr\u003e\u003ci\u003eReference and Research Bk News\u003c\/i\u003e 08\/01\/2010 pg. 220","brand":"Yonatan Malin","offers":[{"title":"Hardcover","offer_id":43914207854847,"sku":"9780195340051","price":105.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0662\/2982\/9887\/products\/img_a3fe127b-16a2-457a-9158-ccc0c2a0065a.jpg?v=1680640963"},{"product_id":"timpani-tone-and-the-interpretation-steven-l-schweizer-9780195395563","title":"Timpani Tone and the Interpretation of Baroque and Classical Music","description":"\u003cem\u003eTimpani Tone and the Interpretation of Baroque and Classical Music \u003c\/em\u003eexplores the nature, production, and evolution of timpani tone and provides insights into how to interpret the music of J. S. Bach, Handel, Haydn, and Mozart. In drawing on 31 years of experience, Steven L. Schweizer focuses on the components of timpani tone and methods for producing it. In so doing, he discusses the importance of timpani bowl type; mallets; playing style; physical gestures; choice of drums; mallet grip; legato, marcato, and staccato strokes; playing different parts of the timpano head; and psychological openness to the music in effectively shaping and coloring timpani parts. \u003cp\u003e\u003c\/p\u003eIn an acclaimed chapter on interpretation, Schweizer explores how timpanists can use knowledge of the composer's style, psychology, and musical intentions; phrasing and articulation; the musical score; and a conductor's gestures to effectively and convincingly play a part with emotional dynamism and power. The greater part of the book is devoted to the interpretation of Baroque and Classical orchestral and choral music. Meticulously drawing on original sources and authoritative scores from the seventeenth through nineteenth centuries, Schweizer convincingly demonstrates that timpanists were capable of producing a broader range of timpani tone earlier than is normally supposed. The increase in timpani size, covered timpani mallets, and thinner timpani heads increased the quality of timpani tone; therefore, today's timpanist's need not be entirely concerned with playing with very articulate sticks. In exhaustive sections on Bach, Handel, Haydn, and Mozart, Schweizer takes the reader on an odyssey through the interpretation of their symphonic and choral music. \u003cp\u003e\u003c\/p\u003eRelying on Baroque and Classical performance practices, timpani notation, the composer's musical style, and definitive scores, he interprets timpani parts from major works of these composers. 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It is a practice that calls forth sonata form not as a rigid mold, but as a dynamic process-rich with historical resonances and subject to a vast range of complications, curtailments, and catastrophes.\u003c\/p\u003e\u003cp\u003eWith its expert balance of riveting analytical narration and thoughtful methodological reflection, \u003cem\u003eMahler's Symphonic Sonatas\u003c\/em\u003e promises to be a landmark text of Mahler reception, and one that will reward scholars and students of the late-Romantic symphony for years to come.\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eAuthor:\u003c\/b\u003e Seth Monahan\u003cbr\u003e\u003cb\u003eISBN-10:\u003c\/b\u003e 0199303460\u003cbr\u003e\u003cb\u003eISBN-13:\u003c\/b\u003e 9780199303465\u003cbr\u003e\u003cb\u003ePublisher:\u003c\/b\u003e Oxford University Press, USA\u003cbr\u003e\u003cb\u003eLanguage:\u003c\/b\u003e English\u003cbr\u003e\u003cb\u003ePublished:\u003c\/b\u003e 04\/13\/2015\u003cbr\u003e\u003cb\u003ePages:\u003c\/b\u003e 296\u003cbr\u003e\u003cb\u003eFormat:\u003c\/b\u003e Hardcover\u003cbr\u003e\u003cb\u003eWeight:\u003c\/b\u003e 1.19lbs\u003cbr\u003e\u003cb\u003eSize:\u003c\/b\u003e 9.30h x 6.30w x 1.20d\u003cbr\u003e\u003cbr\u003e\u003cb\u003eReview Citation(s): \u003c\/b\u003e\u003cbr\u003e\u003ci\u003eChoice\u003c\/i\u003e 09\/01\/2015\u003cbr\u003e\u003ci\u003eNew York Review of Books\u003c\/i\u003e 12\/17\/2015 pg. 75","brand":"Seth Monahan","offers":[{"title":"Hardcover","offer_id":43914261987583,"sku":"9780199303465","price":69.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0662\/2982\/9887\/products\/img_286bf485-1c6f-48e5-a4f8-5f53c837f85a.jpg?v=1680641280"},{"product_id":"absolute-music-mark-evan-bonds-9780199343638","title":"Absolute Music: The History of an Idea","description":"What is music, and why does it move us? From Pythagoras to the present, writers have struggled to isolate the essence of \"pure\" or \"absolute\" music in ways that also account for its profound effect. In Absolute Music: The History of an Idea, Mark Evan Bonds traces the history of these efforts across more than two millennia, paying special attention to the relationship between music's essence and its qualities of form, expression, beauty, autonomy, as well as its perceived capacity to disclose philosophical truths. \u003cp\u003e\u003c\/p\u003eThe core of this book focuses on the period between 1850 and 1945. Although the idea of pure music is as old as antiquity, the term \"absolute music\" is itself relatively recent. It was Richard Wagner who coined the term, in 1846, and he used it as a pejorative in his efforts to expose the limitations of purely instrumental music. For Wagner, music that was \"absolute\" was isolated, detached from the world, sterile. 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