The volume brings together research by scholars—both well established and of younger generations, both Spanish and from all over the world—that offers new perspectives on many aspects of early musical culture on the Peninsula, whether regarding the Ars Nova or the Counter-Reformation, music historiography or analysis, early improvisation techniques or imitatio in Renaissance polyphony, or questions of performance practice or ambassadorial musical networks, making an important contribution to establishing and sustaining a valuable discourse with the broader European context.
In 2015 Technische Universität Dortmund launched the series Dortmunder Schriften zur Musikpädagogik und Musikwissenschaft with Ludwig Uhland und seine Komponisten: Zum Verhältnis von Musik und Politik in Werken von Conradin Kreutzer, Friedrich Silcher, Carl Loewe und Robert Schumann by Burkhard Sauerwald.
The large number of settings of his poems is one indication of the significance of the poet, politician, and scholar Ludwig Uhland (1787–1862) in 19th-century intellectual history.
The composers employed a variety of compositional strategies to convey the linguistic characteristics of Uhland’s poetry, such as their folk-like vocabulary and design. A detailed excursus of the Uhland–Silcher song Der gute Kamerad provides a representative example of the history of the political reception of Uhland settings.
A-R Editions launched the series John Eccles: Incidental music in 2015 with Plays A–F (the volumes are sorted by the plays’ titles).
Eccles’s active theatrical career spanned a period of about 16 years, though he continued to compose occasionally for the theater after his semi-retirement in 1707. During his career he wrote incidental music for more than 70 plays, writing songs that fit perfectly within their dramatic contexts and that offered carefully tailored vehicles for his singers’ talents while remaining highly accessible in tone.
These plays were fundamentally collaborative ventures, and multiple composers often supplied the music; thus, this edition includes all the known songs and instrumental items for each play. Plot summaries of the plays are given along with relevant dialogue cues, and the songs are given in the order in which they appear in the drama (when known).
The volume opens with a school essay on St. Mauritius from around 1600, and continues with libretti, occasional poems in German or Latin, dedications, correspondence, receipts, personnel lists, and entries in albums and Stammbücher, ending with the title page and dedication for his Schwanengesang (SWV 482–494) from 1671.
The series aims to present up-to-date reference works on major composers that can provide instant information and connect users with further reading. As leading authorities on the composers in question, the authors are encouraged both to present available information and, where appropriate, to introduce new facts and arguments and to illuminate the various discourses on the subject.
Each volume includes an exhaustive cross-referenced dictionary of relevant people, places, institutions, compositions, terminology, genres, and events. A comprehensive bibliography is also included, as are numerous musical examples and illustrations.
The series aims to support the scientific examination of music education in all its substantive and methodological breadth with writings by young scientists and researchers as well as experienced scientists. The editorial team hopes that this series excites discussion in both the professional and interdisciplinary worlds.
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In 2014 Taarnborg inaugurated the series Hjerterne opad with Mod lyset: Rued Langgaard, musikken og symbolismen by Esben Tange.
The book discusses how The Danish composer Rued Langgaard was very much fascinated by light, which runs as an important theme in his life and production. It is especially expressed in his symphony no. 1 (Klippepastoraler). In the symphony no. 10 (Hin torden-bolig) and symphony no. 12 (Helsingeborg), light is linked to its contrast–darkness–and in his last symphony, no. 16 (Syndflod af Sol), Langgaard makes the divine light shine through the music.
Below, a performance of Langgaard’s 16th symphony.
The book discusses the visual programming language for music and multimedia known as Max. After over two decades of development and application, Max has become a sort of international lingua franca in practically-oriented music, art, and media institutions. A complete cultural-historical survey is presented, in which the software figures as the product of a specific sphere of aesthetic practice, which retroactively evokes innovative production structures. The focus of the analysis thus becomes the reciprocal influences of technological and artistic production.
Below, a demonstration of Percussa AudioCubes, an electronic musical instrument that allows users to create Max/Msp patches using an OSC server.
In this new edition Schulenberg presents a new evaluation of the extant sources, based as faithfully as possible on the manuscripts that can be traced back to Bach or to his circle, generally choosing one source as his principal one. Divergences from other sources are documented in the commentary.
Sometimes this new edition emends long-cherished readings of ornaments, voice leading, and notation. Also printed in Volume 1 is an early version of the C major Prelude BWV 545 that includes a trio movement, making a three-movement version of this work.
The CD-ROM enclosed in Volumes 1 and 2 contains dubious works and secondary versions for comparison with the principal versions; these CD-ROMs are entirely in both German and English.
An organist and composer, Nicolai (1733–99) studied music under his father, who had been a pupil of Bach. From 1758 he assisted his father and in 1764 succeeded him as organist of the Pfarrkirche St. Peter und Paul in Görlitz; in 1775 he became electoral court organist. In his time he was considered one of the greatest living organ players, and was respected as an improviser as well as an expert in organ building.
Below, Brink Bush plays the Fantasie in G, one of the works included in the edition.
Seven strings/Сім струн (dedicated to Uncle Michael)* For thee, O Ukraine, O our mother unfortunate, bound, The first string I touch is for thee. The string will vibrate with a quiet yet deep solemn sound, The song from my heart … Continue reading →
From 4 to 8 October 2021, The Barry S. Brook Center for Music Research and Documentation hosts the virtual conference Responses in Music to Climate Change. The event brings together scholars, performers, composers, and activists, with the goal of exchanging … Continue reading →
Introduction: Dr. Philip Ewell, Associate Professor of Music at Hunter College and the Graduate Center of the City University of New York, posted a series of daily tweets during Black History Month (February 2021) providing information on some under-researched Black … Continue reading →
For it [the Walkman] permits the possibility…of imposing your soundscape on the surrounding aural environment and thereby domesticating the external world: for a moment, it can all be brought under the STOP/START, FAST FOWARD, PAUSE and REWIND buttons. –Iain Chambers, “The … Continue reading →