Representation in Western Music
Herausgeber: Walden, Joshua S.
Representation in Western Music
Herausgeber: Walden, Joshua S.
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This volume assembles leading scholars to provide a comprehensive study of representation in music from the nineteenth century to today.
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This volume assembles leading scholars to provide a comprehensive study of representation in music from the nineteenth century to today.
Produktdetails
- Produktdetails
- Verlag: Cambridge University Press
- Seitenzahl: 334
- Erscheinungstermin: 16. April 2014
- Englisch
- Abmessung: 250mm x 175mm x 23mm
- Gewicht: 759g
- ISBN-13: 9781107021570
- ISBN-10: 110702157X
- Artikelnr.: 36685378
- Verlag: Cambridge University Press
- Seitenzahl: 334
- Erscheinungstermin: 16. April 2014
- Englisch
- Abmessung: 250mm x 175mm x 23mm
- Gewicht: 759g
- ISBN-13: 9781107021570
- ISBN-10: 110702157X
- Artikelnr.: 36685378
Preface Joshua S. Walden; Part I. Representation and the Interpretation of
Musical Meaning: 1. Layers of representation in nineteenth-century genres:
the case of one Brahms Ballade Matthew Gelbart; 2. 'As a stranger give it
welcome': musical meanings in 1830s London Roger Parker; 3. 'Music is
obscure': textless Soviet works and their phantom programmes Marina
Frolova-Walker; 4. Representing Arlen Walter Frisch; 5. Video cultures:
'Bohemian Rhapsody', Wayne's World, and beyond Nicholas Cook; Part II.
Sound and Visual Representations: Music, Painting, and Dance: 6. 'On wings
of song': representing music as agency in nineteenth-century culture Thomas
Grey; 7. Representation and musical portraiture in the twentieth century
Joshua S. Walden; 8. Representational conundrums: music and early modern
dance Davinia Caddy; Part III. Musical Representations in Opera and Cinema:
9. Allusive representations: homoerotics in Wagner's Tristan Laurence
Dreyfus; 10. Der Dichter spricht: self-representation in Parsifal Karol
Berger; 11. Memory and the leitmotif in cinema Giorgio Biancorosso; 12.
Self-representation in music: the case of Hindemith's meta-opera Cardillac
Hermann Danuser, translated by J. Bradford Robinson; Part IV. Music,
Representation, and the Concepts of East and West: 13. Doing more than
representing Western music Rachel Beckles Willson; 14. The persistence of
Orientalism in the postmodern operas of Adams and Sellars W. Anthony
Sheppard; Afterword: what else? Richard Taruskin.
Musical Meaning: 1. Layers of representation in nineteenth-century genres:
the case of one Brahms Ballade Matthew Gelbart; 2. 'As a stranger give it
welcome': musical meanings in 1830s London Roger Parker; 3. 'Music is
obscure': textless Soviet works and their phantom programmes Marina
Frolova-Walker; 4. Representing Arlen Walter Frisch; 5. Video cultures:
'Bohemian Rhapsody', Wayne's World, and beyond Nicholas Cook; Part II.
Sound and Visual Representations: Music, Painting, and Dance: 6. 'On wings
of song': representing music as agency in nineteenth-century culture Thomas
Grey; 7. Representation and musical portraiture in the twentieth century
Joshua S. Walden; 8. Representational conundrums: music and early modern
dance Davinia Caddy; Part III. Musical Representations in Opera and Cinema:
9. Allusive representations: homoerotics in Wagner's Tristan Laurence
Dreyfus; 10. Der Dichter spricht: self-representation in Parsifal Karol
Berger; 11. Memory and the leitmotif in cinema Giorgio Biancorosso; 12.
Self-representation in music: the case of Hindemith's meta-opera Cardillac
Hermann Danuser, translated by J. Bradford Robinson; Part IV. Music,
Representation, and the Concepts of East and West: 13. Doing more than
representing Western music Rachel Beckles Willson; 14. The persistence of
Orientalism in the postmodern operas of Adams and Sellars W. Anthony
Sheppard; Afterword: what else? Richard Taruskin.
Preface Joshua S. Walden; Part I. Representation and the Interpretation of
Musical Meaning: 1. Layers of representation in nineteenth-century genres:
the case of one Brahms Ballade Matthew Gelbart; 2. 'As a stranger give it
welcome': musical meanings in 1830s London Roger Parker; 3. 'Music is
obscure': textless Soviet works and their phantom programmes Marina
Frolova-Walker; 4. Representing Arlen Walter Frisch; 5. Video cultures:
'Bohemian Rhapsody', Wayne's World, and beyond Nicholas Cook; Part II.
Sound and Visual Representations: Music, Painting, and Dance: 6. 'On wings
of song': representing music as agency in nineteenth-century culture Thomas
Grey; 7. Representation and musical portraiture in the twentieth century
Joshua S. Walden; 8. Representational conundrums: music and early modern
dance Davinia Caddy; Part III. Musical Representations in Opera and Cinema:
9. Allusive representations: homoerotics in Wagner's Tristan Laurence
Dreyfus; 10. Der Dichter spricht: self-representation in Parsifal Karol
Berger; 11. Memory and the leitmotif in cinema Giorgio Biancorosso; 12.
Self-representation in music: the case of Hindemith's meta-opera Cardillac
Hermann Danuser, translated by J. Bradford Robinson; Part IV. Music,
Representation, and the Concepts of East and West: 13. Doing more than
representing Western music Rachel Beckles Willson; 14. The persistence of
Orientalism in the postmodern operas of Adams and Sellars W. Anthony
Sheppard; Afterword: what else? Richard Taruskin.
Musical Meaning: 1. Layers of representation in nineteenth-century genres:
the case of one Brahms Ballade Matthew Gelbart; 2. 'As a stranger give it
welcome': musical meanings in 1830s London Roger Parker; 3. 'Music is
obscure': textless Soviet works and their phantom programmes Marina
Frolova-Walker; 4. Representing Arlen Walter Frisch; 5. Video cultures:
'Bohemian Rhapsody', Wayne's World, and beyond Nicholas Cook; Part II.
Sound and Visual Representations: Music, Painting, and Dance: 6. 'On wings
of song': representing music as agency in nineteenth-century culture Thomas
Grey; 7. Representation and musical portraiture in the twentieth century
Joshua S. Walden; 8. Representational conundrums: music and early modern
dance Davinia Caddy; Part III. Musical Representations in Opera and Cinema:
9. Allusive representations: homoerotics in Wagner's Tristan Laurence
Dreyfus; 10. Der Dichter spricht: self-representation in Parsifal Karol
Berger; 11. Memory and the leitmotif in cinema Giorgio Biancorosso; 12.
Self-representation in music: the case of Hindemith's meta-opera Cardillac
Hermann Danuser, translated by J. Bradford Robinson; Part IV. Music,
Representation, and the Concepts of East and West: 13. Doing more than
representing Western music Rachel Beckles Willson; 14. The persistence of
Orientalism in the postmodern operas of Adams and Sellars W. Anthony
Sheppard; Afterword: what else? Richard Taruskin.