The history of Irish traditional music, song and dance from the mythological harp of the Dagda right up to Riverdance and beyond. Exploring an abundant spectrum of historical sources, music and folklore, this guide uncovers the contribution of the Normans to Irish dancing, the role of the music maker in Penal Ireland, as well as the popularity of dance tunes and set dancing from the end of the 18th century. It also follows the music of the Irish diaspora from as far apart as Newfoundland and the music halls of vaudeville to the musical tapestry of Irish America today.
In the late 1990s, the MP3 became the de facto standard for digital audio files and the networked computer began to claim a significant place in the lives of more and more listeners. The dovetailing of these two circumstances is the basis of a new mode of musical production and distribution where new practices emerge. This book is not a definitive statement about what the new music industry is. Rather, it is devoted to what this new industry is becoming by examining these practices as experiments, dedicated to negotiating what is replacing an "object based" industry oriented around the production and exchange of physical recordings. In this new economy, constant attention is paid to the production and licensing of intellectual property and the rise of the "social musician" who has been encouraged to become more entrepreneurial. Finally, every element of the industry now must consider a new type of audience, the "end user", and their productive and distributive capacities around which services and musicians must orient their practices and investments.
Music Theory: A Practical Handbookteaches the basics of music theory plus the vocabulary to use in harmonic and formal analysis. The book begins with no assumption of music reading skills, and progresses to include all the basic materials of music from J.S. Bach to John Cage. Based on Blatter's own three decades of teaching freshmen and sophomore music theory at Drexel University, this book is aimed at a basic introductory course in music theory, can serve for individual study, or as a review for graduate students returning to school. Drawing examples from well-known classical works, as well as folk and popular music, the book shows how theory is applied to practice. The book is divided into five parts. The first part introduces music notation, reviewing the basics of pitch, duration, and time as they are represented in written music. Part 2 introduces the concept of melody, covering the modes and scales; scale degrees; melodic form; vocal ranges; transposition; and compositional devices.Part 3 introduces harmony, dealing with harmonic progression, rhythm, and chord types. Part 4 covers the basics of counterpoint, or two melodic lines performed at once. This includes reviews of canon, cadence, and four-part style. Finally, Part 5 addresses musical form, and how form is used to structure a composition. Common forms including rondo, sonata, rounds, inventions, and fugues are covered. Music Theory: A Practical Handbookwill serve the needs of students new to music as well as to returning students wishing to attain (or renew) a basic knowledge of music fundamentals. It will be a valuable textbook for students, professors, and professionals.
Known as "The Dean of American Letters", William Dean Howells (1837-1920) was a realist author and literary critic best known for his tenure as one of the most influential editors of the Atlantic Monthly, which is still an important publication today.And though Howells is known mostly for his work as a literary critic, he was also a novelist who wrote works likeThe Rise of Silas Lapham, Christmas Every Day, and much more.Along the way, he was a literary critic of the works of some of his greatest contemporaries, like Emile Zola, and he knew many American writers, including Mark Twain, Henry James, and Henry Wadsworth Longfellow.
At the end of his second year in Leipzig, J.S. Bach composed nine sacred cantatas to texts by Leipzig poet Mariana von Ziegler (1695-1760). Despite the fact that these cantatas are Bach's only compositions to texts by a woman poet, the works have been largely ignored in the Bach literature.Ziegler was Germany's first female poet laureate, and the book highlights her significance in early eighteenth-century Germany and her commitment to advancing women's rights of self-expression. Peters enriches and enlivens the account with extracts from Ziegler's four published volumes of poetry and prose, and analyses her approach to cantata text composition by arguing that her distinctive conception of the cantata as a genre encouraged Bach's creative musical realizations. In considering Bach's settings of Ziegler's texts, Peters argues that Bach was here pursuing a number of compositional procedures not common in his other sacred cantatas, including experimentation with the order of movements within a cantata, with formal considerations in arias, with accompaniment in recitatives, and with the use of instruments, as well as innovative approaches to Vox Christi texts and to texts dealing with speech and silence.A Woman's Voice in Baroque Music is the first to deal with issues of women in music in relation to Bach, and one of the few comprehensive studies of a specific repertory of Bach's sacred cantatas. It therefore provides a significant new perspective on both Ziegler as poet and cantata librettist and Bach as cantata composer.
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