The music of Edvard Grieg is justly celebrated for its harmonic richness, a feature especially apparent in the piano works written in the last decades of his life. Grieg was enchanted by what he styled the 'dreamworld' of harmony, a magical realm whose principles the composer felt remained a mystery even to himself, and he was not alone, in that the complex nature of late-Romantic harmony around 1900 has proved a keen source of debate up to the present day. Grieg's music forms a particularly profitable repertoire for focusing current debates about the nature of tonality and tonal harmony. Departing from earlier approaches, this study is not simply an inventory of Griegian harmonic traits but seeks rather to ascertain the deeper principles at work governing their meaningful conjunction, how elements of Grieg's harmonic grammar are utilised in creating an extended tonal syntax. Building both on historical theories and more recent developments, Benedict Taylor develops new models for understanding the complexity of late-Romantic tonal practice as epitomised in Grieg's music. Such an investigation casts further valuable light on the twin issues of nature and nationalism long connected with the composer: the question of tonality as something natural or culturally constructed and larger historiographical claims concerning Grieg's apparent position on the periphery of the Austro-German tradition.
Borrowing from such sources as archival recordings and news stories, A Hunger Called Music documents the early history of African-American music beginning with work songs and ending with Motown-era soul. Using each genre's historical context and the music itself as inspiration, the poems in the chapbook take on a range of voices and stories from Robert Johnson to Nina Simone, and from a white 1950s record producer to a witness to police brutality. In doing so, the poems work to unearth the commonalities of experience between previous eras and the current one through the intergenerational constant of music.
The stylistic evolution of Mozart's Viennese instrumental repertory as a whole (1781-1791), closely tied to historical and contextual lines of enquiry, has yet to receive systematic attention. This book fills the gap through a study of stylistic re-invention, a practically- and empirically-based theory that explains how innovative, putatively inspired ideas take shape in Mozart's works and lead to stylistic re-formulation. Re-invention comprises a two-stage process: Mozart manipulates pre-existent stylistic features of his music to climactic effect, in so doing introducing a demonstrably 'new' stylistic dimension with broad aesthetic resonance; he subsequently re-appraises his style in response to the dimension in question. From close examination of a variety of Mozart's works (piano concertos, string quartets and symphonies in particular), supported by study of Mozart's other chamber and dramatic works, the author shows that stylistic re-invention is a consistent and coherent manifestation of stylistic development. Ultimately re-invention puts centre stage the interaction of intellectual and imaginative elements of Mozart's musical personality, accounting both for processes of reflection and re-appraisal and for striking conceptual leaps. SIMON P. KEEFE is James Rossiter Hoyle Chair of Music, University of Sheffield.
Each season in our lives brings about transition. With each new challenge, there is a possibility for emotional, physical or spiritual strain that leaves us depleted. "A New Season in Word: Inspirations for Divine Living" is a collection of poems and inspirational readings designed to lift your spirit and warm your heart. So before the morning coffee, bagel and juice, receive a word to face the day and walk into each new season with the confidence that God will see you through.
(General Music). Proven successful in private lessons and in the classroom, this planner is a must-have for all musicians. Teachers can use it to set goals and assignments, and students can monitor their progress, time and efficiency.
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