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Jazz --- Jazz. --- Accordion and piano music (Jazz) --- Clarinet and piano music (Jazz) --- Cornet and piano music (Jazz) --- Double bass and piano music (Jazz) --- Jazz duets --- Jazz ensembles --- Jazz music --- Jazz nonets --- Jazz octets --- Jazz quartets --- Jazz quintets --- Jazz septets --- Jazz sextets --- Jazz trios --- Jive (Music) --- Saxophone and piano music (Jazz) --- Vibraphone and piano music (Jazz) --- Wind instrument and piano music (Jazz) --- Xylophone and piano music (Jazz) --- African Americans --- Music --- Third stream (Music) --- Washboard band music --- Music History & Criticism, Popular - Jazz, Rock, etc.
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Music --- Dutch literature --- 530 --- Jazz --- -Jazz musicians --- Musicians --- Accordion and piano music (Jazz) --- Clarinet and piano music (Jazz) --- Cornet and piano music (Jazz) --- Double bass and piano music (Jazz) --- Jazz duets --- Jazz ensembles --- Jazz music --- Jazz nonets --- Jazz octets --- Jazz quartets --- Jazz quintets --- Jazz septets --- Jazz sextets --- Jazz trios --- Jive (Music) --- Saxophone and piano music (Jazz) --- Vibraphone and piano music (Jazz) --- Wind instrument and piano music (Jazz) --- Xylophone and piano music (Jazz) --- African Americans --- Third stream (Music) --- Washboard band music --- Muziekwetenschappelijke essays --- History and criticism --- Jazz musicians. --- History and criticism. --- 816 --- Jazz en lichte muziek - Essays --- Muziek. --- Nederlandse letterkunde. --- Tekstuitgave. --- Jazz musicians
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"This book takes as its historical point of departure the radical appearance in 1779 of technically difficult keyboard music in a set of six sonatas (Op. 2) by Muzio Clementi. The difficult passages contained in this opus are unique among keyboard works published for a market that was understood at the time to consist almost entirely of female amateur keyboardists. Previously actively discouraged from practicing or improving their skills due to the restrictive ideologies in place, female pianists are increasingly offered a new kind of musical expression by Clementi's music. 'Clementi and the woman at the piano: virtuosity and the marketing of music in eighteenth-century London' maps the social, musical, and gendered implications of technically difficult music, and helps to underline important changes in Enlightenment culture and keyboard practice. Clementi's activities initiated the now familiar and modern concepts of repetitive musical practice, the work-concept, virtuosity itself, and the distinction between amateur and professional. Additionally, Clementi promotes a radical new mode of expression for female pianists that is at first highly controversial but slowly gains acceptance due to a widespread promotion of his music, instruments, and methods. Clementi's career is in many respects a perfect case study for the tensions between Enlightenment thinking and new Romantic ideologies."--Page 4 of printed paper wrapper.
Piano music --- Women pianists --- Sex discrimination against women --- Discrimination against women --- Subordination of women --- Women, Discrimination against --- Feminism --- Sex discrimination --- Women's rights --- Male domination (Social structure) --- Pianists --- Women musicians --- Piano music (2 hands) --- Recorded accompaniments (Piano) --- History and criticism --- Social aspects --- History --- Clementi, Muzio, --- Criticism and interpretation. --- Clementi, Muzio --- Music --- Virtuosity in musical performance --- Piano music. --- Women pianists. --- History and criticism. --- History. --- England --- Piano, Musique de --- Musiciennes --- Clementi, Mutius Philippus Vincentius Franciscus Xaverius
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Aesthetics --- Art --- -Art and society --- Jazz --- -Popular culture. --- Culture, Popular --- Mass culture --- Pop culture --- Popular arts --- Communication --- Intellectual life --- Mass society --- Recreation --- Accordion and piano music (Jazz) --- Clarinet and piano music (Jazz) --- Cornet and piano music (Jazz) --- Double bass and piano music (Jazz) --- Jazz duets --- Jazz ensembles --- Jazz music --- Jazz nonets --- Jazz octets --- Jazz quartets --- Jazz quintets --- Jazz septets --- Jazz sextets --- Jazz trios --- Jive (Music) --- Saxophone and piano music (Jazz) --- Vibraphone and piano music (Jazz) --- Wind instrument and piano music (Jazz) --- Xylophone and piano music (Jazz) --- African Americans --- Music --- Third stream (Music) --- Washboard band music --- Art and sociology --- Society and art --- Sociology and art --- Art, Occidental --- Art, Visual --- Art, Western (Western countries) --- Arts, Fine --- Arts, Visual --- Fine arts --- Iconography --- Occidental art --- Visual arts --- Western art (Western countries) --- Arts --- Beautiful, The --- Beauty --- Esthetics --- Taste (Aesthetics) --- Philosophy --- Criticism --- Literature --- Proportion --- Symmetry --- History and criticism --- Social aspects --- Psychology --- Aesthetics. --- Art and society. --- Popular culture. --- Philosophy. --- History and criticism. --- Art and society --- Popular culture --- Culture --- Art and philosophy --- Analysis, interpretation, appreciation --- Radio broadcasting Aesthetics
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The Cambridge Companion to Chopin provides the enquiring music-lover with helpful insights into a musical style which recognises no contradiction between the accessible and the sophisticated, the popular and the significant. For a century and a half Chopin's music has been played incessantly, yet the spell remains, and the 'Chopin recital', whoever the pianist, still fills the concert halls. This Companion is designed to provide the enquiring music-lover with helpful insights into a musical style that recognises no contradiction between the accessible and the sophisticated, between the popular and the significant. On the uniqueness of that style there has long been agreement. One of the aims.Of this Companion is to identify some of its sources, referring both to the social history of early nineteenth-century piano music (chapter 1) and to the music of Chopin's predecessors (chapters 2 and 3). The early music and the growth to stylistic maturity are examined in chapter 4. Part 2 of the Companion profiles some of the mature music in a language designed to be intelligible to the interested layman as well as to the musician. There are re-evaluations of Chopin's.Most 'epic' statements (chapter 5) as well as his most 'epigrammatic' (chapter 6). There is an account of his relation to Polish folk music in the dance pieces (chapter 7) and there is a fresh look at one of the more controversial aspects of his art, his handling of the sonata (chapter 8). Several facets of the afterlife of Chopin's music are examined in part 3. There is reception through performance (chapter 9), reception through criticism (chapters 10 and 11) and.Reception through compositional influence (chapters 11 and 12). As these later chapters indicate, Chopin's art left its mark both on the Trivialmusik of the later nineteenth century and on the emerging Modernism of the new century.
Chopin, Frédéric, --- Chopin, Frédéric, --- Criticism and interpretation --- Piano music --- Composers --- Compositeurs --- Piano, Musique de --- History and criticism --- Histoire et critique --- Chopin, Frederic --- -Chopin, Frederic --- Chopin, Frédéric --- Chopin, Frédéric, - 1810-1849. --- Chopin, Frédéric, - 1810-1849 - Criticism and interpretation --- Chopin, Frédéric, - 1810-1849 - Piano music --- Chopin, Frédéric, - 1810-1849
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The Jazz Age. The phrase conjures images of Louis Armstrong holding court at the Sunset Cafe in Chicago, Duke Ellington dazzling crowds at the Cotton Club in Harlem, and star singers like Bessie Smith and Ma Rainey. But the Jazz Age was every bit as much of a Paris phenomenon as it was a Chicago and New York scene. In Paris Blues, Andy Fry provides an alternative history of African American music and musicians in France, one that looks beyond familiar personalities and well-rehearsed stories. He pinpoints key issues of race and nation in France's complicated jazz history from the 1920s through the 1950s. While he deals with many of the traditional icons-such as Josephine Baker, Django Reinhardt, and Sidney Bechet, among others-what he asks is how they came to be so iconic, and what their stories hide as well as what they preserve. Fry focuses throughout on early jazz and swing but includes its re-creation-reinvention-in the 1950s. Along the way, he pays tribute to forgotten traditions such as black musical theater, white show bands, and French wartime swing. Paris Blues provides a nuanced account of the French reception of African Americans and their music and contributes greatly to a growing literature on jazz, race, and nation in France.
History of civilization --- History of France --- anno 1920-1929 --- anno 1930-1939 --- anno 1940-1949 --- anno 1950-1959 --- Paris --- African American jazz musicians -- France. --- Jazz -- France -- 20th century -- History and criticism. --- Musical films -- France -- History -- 20th century. --- Musical theater -- France -- History -- 20th century. --- African American jazz musicians --- African Americans in the performing arts --- Jazz --- Musical theater --- Musical films --- Music --- Music, Dance, Drama & Film --- Music History & Criticism, Popular - Jazz, Rock, etc. --- Film musicals --- Motion picture musicals --- Moving-pictures, Musical --- Musicals (Motion pictures) --- Motion pictures --- Concert films --- Lyric theater --- Theater --- Accordion and piano music (Jazz) --- Clarinet and piano music (Jazz) --- Cornet and piano music (Jazz) --- Double bass and piano music (Jazz) --- Jazz duets --- Jazz ensembles --- Jazz music --- Jazz nonets --- Jazz octets --- Jazz quartets --- Jazz quintets --- Jazz septets --- Jazz sextets --- Jazz trios --- Jive (Music) --- Saxophone and piano music (Jazz) --- Vibraphone and piano music (Jazz) --- Wind instrument and piano music (Jazz) --- Xylophone and piano music (Jazz) --- African Americans --- Third stream (Music) --- Washboard band music --- Afro-Americans in the performing arts --- Negroes in the performing arts --- Performing arts --- Jazz musicians, African American --- Jazz musicians --- History --- History and criticism --- music history, french popular culture france, jazz age, criticism, 20th century, improvisation, paris, african american musicians, racism, race relations, racial issues, traditional icons, josephine baker, django reinhardt, sidney bechet, forgotten traditions, musical theater, white show bands, wartime swing, performing arts, revue negre.
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Robert Schumann frequently expressed his deep admiration for the novels of Jean Paul Friedrich Richter, the late-eighteenth-century German novelist, essayist, and satirist. Schumann imitated Jean Paul's prose style in his own fiction and music criticism, and said once that he learned 'more counterpoint from Jean Paul than from my music teacher.' Drawing on the recent, groundbreaking work in musico-literary analysis of scholars such as Anthony Newcomb, John Daverio, and Lawrence Kramer, Erika Reiman embarks on a comparative study of Jean Paul's five major novels and Schumann's piano cycles of the 1830s, many of which are staples in the repertoire of concert pianists today. The present study begins with a thorough review of Jean Paul's literary style, emphasizing the digressions, intertextuality, self-reflexivity, and otherworldliness that distinguish it. The similarly digressive style that Schumann developed is then examined in his earliest works, including the enduring and highly original 'Carnaval' (1835), and in cycles of the later 1830s, notably 'Davidsbündlertänze' and 'Faschingsschwank aus Wien'. Finally, an analysis of three one-movement works from 1838-39 reveals links with Jean Paul's exploration of the idyll, an ancient genre that had experienced an eighteenth-century revival.Throughout, the author attempts to keep in mind the actual sound and performed experience of the works, and suggests ways in which an awareness of Jean Paul's style might change the performance and hearing of the cycles. Erika Reiman, received her Ph.D. in Musicology from the University of Toronto (1999) and has taught at Brock University, Wilfrid Laurier University, the University of Guelph, and the University of Toronto; she is also active as a pianist and chamber musician.
novelettes --- pianomuziek --- Jean Paul --- Schumann, Robert --- Music and literature --- Musique et littérature --- Muziek en literatuur --- 78 SCHUMANN, ROBERT --- 830 "18" JEAN PAUL --- Muziek--SCHUMANN, ROBERT --- Duitse literatuur--19e eeuw. Periode 1800-1899--JEAN PAUL --- Music and literature. --- Piano music --- History and criticism. --- 830 "18" JEAN PAUL Duitse literatuur--19e eeuw. Periode 1800-1899--JEAN PAUL --- 78 SCHUMANN, ROBERT Muziek--SCHUMANN, ROBERT --- History and criticism --- Literature and music --- Literature --- Jean Paul, --- Schumann, Robert, --- Paul, Jean, --- Richter, Johann Paul Friedrich, --- Rikhter, Zhen Polʹ Friderik, --- Richter, Jean Paul, --- Influence. --- Influence --- 19th century --- Piano music (Schumann, Robert) --- Klavierwerk (Schumann, Robert) --- Complete works for piano (Schumann, Robert) --- Carnaval. --- Davidsbündlertänze. --- Faschingsschwank aus Wien. --- Idyll Exploration. --- Jean Paul Friedrich Richter. --- Literary Influence. --- Performance and Hearing. --- Prose Style. --- Robert Schumann.
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Family law. Inheritance law --- adoptie --- 347.63 <493> --- Interracial adoption --- -Children, Adopted --- -Adopted children --- -Interracial adoption --- -397.13 --- Mixed race adoption --- Trans-racial adoption --- Adoption --- Intercountry adoption --- Race relations --- Adopted infants --- Children, Adopted --- Children --- Kinderrecht. Jeugdrecht. Afstamming. Adoptie. Kinderbescherming. Proefbuisbaby. Draagmoeder. Leenmoeder.--(huwelijksrecht)--België --- Addresses, essays, lectures --- Adopted children --- Concertos (Piano) --- Piano music. --- Waltzes. --- Concertos (Piano). --- 347.63 <493> Kinderrecht. Jeugdrecht. Afstamming. Adoptie. Kinderbescherming. Proefbuisbaby. Draagmoeder. Leenmoeder.--(huwelijksrecht)--België --- 397.13 --- Transracial adoption
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681.816.6 --- 786.2 --- 786.2 Pianomuziek --- Pianomuziek --- 681.816.6 Organs. Harmoniums --- Organs. Harmoniums --- Concert grand (Piano) --- Fortepiano --- Grand piano --- Piano acoustique --- Piano-forte --- Pianoforte --- Spinet (Piano) --- Spinnet (Piano) --- Upright piano --- piano's --- instrumentenleer --- Music --- muziekgeschiedenis --- Piano --- Musical instruments --- Instruments de musique --- Piano -- Geschiedenis --- Piano -- History --- Piano -- Histoire --- Pianomuziek -- Geschiedenis en kritiek --- Piano music -- History and criticism --- Piano [Musique pour] -- Histoire et critique --- 78.43.2
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methoden (muziek) --- pianomuziek --- Music --- Mozart, Wolfgang Amadeus --- anno 1800-1999 --- Musique --- Muziek --- Piano --- Piano music --- Piano, Musique de --- Instruction and study --- History. --- Methods --- History --- Interpretation (Phrasing, dynamics, etc.) --- Etude et enseignement --- Histoire --- Méthodes --- Interpretation --- -History --- -786.2 --- -653 --- Concert grand (Piano) --- Fortepiano --- Grand piano --- Pianoforte --- Spinet (Piano) --- Spinnet (Piano) --- Upright piano --- Keyboard instruments --- Toy piano --- Pianomuziek --- Pedagogie: didaktiek * didaktiek van het instrument --- 786.2 --- 786.2 Pianomuziek --- musicology --- -Piano --- Méthodes --- 653 --- Instruction and study&delete& --- 78.43.7 --- 78.43.6 --- 78.43.2 --- -78.43.7 --- Piano - - History - Instruction and study --- Muziekgeschiedenis --- Speeltechnieken --- Methodes --- Execution --- 18e-20e siecles --- Histoire et critique
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