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With National Socialism's arrival in Germany in 1933, Jews dominated music more than virtually any other sector, making it the most important cultural front in the Nazi fight for German identity. This groundbreaking book looks at the Jewish composers and musicians banned by the Third Reich and the consequences for music throughout the rest of the twentieth century. Because Jewish musicians and composers were, by 1933, the principal conveyors of Germany's historic traditions and the ideals of German culture, the isolation, exile and persecution of Jewish musicians by the Nazis became an act of musical self-mutilation. Michael Haas looks at the actual contribution of Jewish composers in Germany and Austria before 1933, at their increasingly precarious position in Nazi Europe, their forced emigration before and during the war, their ambivalent relationships with their countries of refuge, such as Britain and the United States and their contributions within the radically changed post-war music environment.

Jewish composers. --- Composers --- Composers, Jewish --- Music --- nationaal-socialisme --- joodse muziek --- Jodendom --- muziekgeschiedenis --- componisten --- anno 1900-1999 --- Jewish composers.. --- Composers -- Germany.

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Nadine Jansen, a flugelhornist and pianist, remembers a night in the 1940s when a man came out of the audience as she was playing both instruments. "I hate to see a woman do that," he explained as he hit the end of her horn, nearly chipping her tooth. Half a century later, a big band named Diva made its debut in New York on March 30, 1993, with Melissa Slocum on bass, Sue Terry on alto sax, Lolly Bienenfeld on trombone, Sherrie Maricle on drums, and a host of other first rate instrumentalists. The band made such a good impression that it was immediately booked to play at Carnegie Hall the following year. For those who had yet to notice, Diva signaled the emergence of women musicians as a significant force in jazz. Madame Jazz is a fascinating invitation to the inside world of women in jazz. Ranging primarily from the late 1970s to today's vanguard of performance jazz in New York City and on the West Coast, it chronicles a crucial time of transition as women make the leap from novelty acts regarded as second class citizens to sought-out professionals admired and hired for their consummate musicianship. Author Leslie Gourse surveys the scene in the jazz clubs, the concert halls, the festivals, and the recording studios from the musicians' point of view. She finds exciting progress on all fronts, but also lingering discrimination. The growing success of women instrumentalists has been a long time in coming, she writes. Long after women became accepted as writers and, to a lesser extent, as visual artists, women in music--classical, pop, or jazz--faced the nearly insuperable barrier of chauvinism and the still insidious force of tradition and habit that keeps most men performing with the musicians they have always worked with, other men. Gourse provides dozens of captivating no-holds-barred interviews with both rising stars and seasoned veterans. Here are up-and-coming pianists Renee Rosnes and Rachel Z., trumpeter Rebecca Coupe Frank, saxophonist Virginia Mayhew, bassist Tracy Wormworth, and drummer Terri Lynne Carrington, and enduring legends Dorothy Donegan, Marian McParland and Shirley Horne. Here, as well, are conversations with three pioneering business women: agent and producer Helen Keane, manager Linda Goldstein, and festival and concert producer Cobi Narita. All of the women speak insightfully about their inspiration and their commitment to pursuing the music they love. They are also frank about the realities of life on the road, and the extra dues women musicians pay in a tough and competitive field where everybody pays dues. A separate chapter offers a closer look at women musicians and the continual stress confronting those who would combine love, marriage, and/or motherhood with a life in music. Madame Jazz is about the history that women jazz instrumentalists are making now, as well as an inspiring preview of the even brighter days ahead. It concludes with Frankie Nemko's lively evaluation of the West Coast jazz scene, and appends the most comprehensive list ever assembled of women currently playing instruments professionally..

Women jazz musicians --- Jazz --- Jazz musicians --- Women musicians --- History and criticism. --- 815 --- History and criticism --- Jazz en lichte muziek - Monografieën componisten en uitvoerders

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Wolfgang Rihm (b. Karlsruhe, 1952) is the most performed living German composer. With his personal, expressive, and versatile music, he became the most prominent representative of his generation. His individual approach to music was established in the 1980s and he continues to explore and enlarge his original concepts today. His 1980s work is at the core of this book, more specifically his instrumental music: the Chiffre cycle and the string quartets. Thinking about Rihm includes reflecting on his interest in philosophy, his relation to fine arts, his awareness of principles found in nature, and his references to important composers from the past. His music is embedded in the past and the actuality in modernism and postmodernism. Notwithstanding Rihm's generosity in essays and introductions to his works, many aspects of the 'inner sound' of his music stay an elusive, ungraspable 'chiffre': a challenge for the analyst.

Composers --- Songwriters --- Musicians --- Rihm, Wolfgang --- Rihm, W. --- Criticism and interpretation. --- 526 --- Monografieën componisten en uitvoerders --- Music --- Germany --- 20th century --- History and criticism

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Analyzing the Music of Living Composers (and Others) is a collection of essays that grew out of the 2010 annual meeting of the West Coast Conference of Music Theory and Analysis. The stated purpose was to apply traditional music-analytic techniques, as well as new, innovative techniques, to describing the music of composers of the late 20th and early 21st centuries. The goal was to take steps toward making the music of our time a bit less impenetrable for our colleagues, students and other li...

Musical analysis --- Music --- Criticism --- Analysis, Musical --- Analytical guides (Music) --- Hermeneutics (Music) --- Music analysis --- Music theory --- Music appreciation --- History --- History and criticism. --- Analysis, appreciation --- Analytical guides --- Instruction and study --- muziekgeschiedenis --- componisten --- anno 1900-1999 --- anno 2000-2009

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#PBIB: +111.78 --- #PBIB:+111.68 --- Differentiatie --- Hoogbegaafde kinderen --- Wereldoriëntatie --- Zelfstandig leren --- #BSCH: vak: WO - wereldoriëntatie --- 476 --- wereldoriëntatie --- Vakdidactiek: Wereldoriëntatie: Omgeving: Andere --- Vakdidactiek : Wereldoriëntatie : Natuur : Andere --- Schoolbooks - Didactic material --- Lager onderwijs --- 5e leerjaar lager onderwijs --- Gebergten --- Bergbeklimmen --- Verkeersveiligheid --- Kaartlezen --- Dagbladen --- Lichaamstaal --- Telefonie --- Pictogrammen --- Bloed --- EHBO --- Voeding --- Mondiale vorming --- Voedselprobleem --- Zwaartekracht --- Uiterlijk --- Oorlog --- Componisten --- Muziek --- Ritme --- Muzische vorming --- Gezondheidsvoorlichting en -opvoeding --- Ecologische voetafdruk --- Gebergte --- Dagblad --- Pictogram --- Componist --- Gezondheidsopvoeding --- Afrika --- Compositie (muziek) --- Propaganda --- Recht --- Scheepvaart --- Drank --- Gezondheid