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Eastern European music --- Music --- Music. --- To 1900. --- Abraham, Gerald,

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Why 1853? For many leading composers this year brought far-reaching changes to their lives: Brahms emerged from obscurity to celebrity, Schumann ceased to be an active composer, and both Berlioz and Wagner became active again after long silences. By limiting the perspective to a single year yet extending it to a group of musicians, their constant interconnections become the central motif: Brahms meets Berlioz and Liszt as well as Schumann; Liszt is a constant link in every chain; Joachim is close to all of them; Wagner is on everyone's mind. No one composer is at the centre of the story, but a network of musicians spreads across the map of Europe from London and Paris to Leipzig and Zurich.

Music in 1853 shows how musicians were now more closely connected than ever before, through the constant exchange of letters and the rapidly expanding railway network. The book links geography and day-to-day events to show how international the European musical scene had become. A larger picture emerges of a shift in musical scenery, from the world of the innocent Romanticism of Berlioz and Schumann to the more potent musical politics of Wagner and of his antidote (as many saw him) Brahms.

HUGH MACDONALD is Avis H. Blewett Professor Emeritus of Music at Washington University, St Louis. He has authored books on Skryabin and Berlioz and has previously published Beethoven's Century: Essays on Composers and Themes with Boydell/URP.

Music --- History and criticism. --- Composers --- Songwriters --- Musicians --- 1853. --- Berlioz. --- Brahms. --- European music. --- European musical scene. --- Music. --- Romanticism. --- Schumann. --- Wagner. --- composers. --- international. --- music history. --- musical politics.

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The linking theme of the essays collected here is the intersection of musical work with social and cultural practice. Inspired by Professor Strohm's ideas, as is fitting in a volume in his honour, leading scholars in the field explore diverse conceptualisations of the 'work' within the contexts of a specific repertory, over four main sections. Music in Theory and Practice studies the link between treatises and musical practice, and analyses how historicalwritings can reveal period views on the 'work' in music before 1800. Art and Social Process: Music in Court and Urban Societies looks at the social and cultural practices informing composition from the late Renaissance until the mid-eighteenth century, and interrogates current notions of canon formation and the exchange between local and foreign traditions.

Music --- Social aspects. --- History and criticism. --- Strohm, Reinhard. --- Criticism --- Music and society --- European music. --- artistic autonomy. --- genre. --- historical writings. --- music work. --- musical treatises. --- nineteenth-century music. --- social and cultural practice. --- Philosophy and aesthetics.

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The Treatise on Musical Objects is regarded as Pierre Schaeffer's most important work on music and its relationship with technology. Schaeffer expands his earlier research in musique concrète to suggest a methodology of working with sounds based on his experiences in radio broadcasting and the recording studio. Drawing on acoustics, physics, and physiology, but also on philosophy and the relationship between subject and object, Schaeffer's essay summarizes his theoretical and practical work in music composition. Translators Christine North and John Dack present an important book in the history of ideas in Europe that will resonate far beyond electroacoustic music.

Music --- Hermeneutics (Music) --- Musical aesthetics --- Aesthetics --- Music theory --- Philosophy and aesthetics. --- Philosophy --- Philosophy and aesthetics --- acoustics. --- college student. --- electroacoustic music. --- european music. --- music appreciation. --- music studies. --- music theorist. --- musical scholar. --- musicians. --- philosophy. --- physics. --- physiology. --- relationship between subject and object. --- studying music.

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Casts new and valuable light on English musical history and on Enlightenment culture more generally. This is a book guaranteed to make waves. It skilfully weaves the story of one key musical figure into the story of one key institution, which it then weaves into the general story of music in eighteenth-century England. Anyone reading it will come away with fresh knowledge and perceptions - plus a great urge to hear Cooke's music.' Michael Talbot, Emeritus Professor of Music at the University of Liverpool and Fellow of the British Academy. Amidst the cosmopolitan, fashion obsessed concert life of later eighteenth century London there existed a discrete musical counterculture centred round a club known as the Academy of Ancient Music. Now largely forgotten, this enlightened school of musical thinkers sought to further music by proffering an alternative vision based on a high minded intellectual curiosity. Perceiving only ear-tickling ostentation in the showy styles that delighted London audiences, they aspired to raise the status of music as an art of profound expression, informed by its past and founded on universal harmonic principles. Central to this group of musical thinkers was the modest yet highly accomplished musician-scholar Benjamin Cooke, who both embodied and reflected this counterculture. As organist of Westminster Abbey and conductor of the Academy of Ancient Music for much of the second half of the eighteenth century, Cooke enjoyed prominence in his day as a composer, organist, teacher, and theorist. This book shows how, through his creativity, historicism and theorising, Cooke was instrumental in proffering an Enlightenment-inspired reassessment of musical composition and thinking at the Academy. The picture portrayed counters the current tendency to dismiss eighteenth-century English musicians as conservative and provincial. Casting new and valuable light on English musical history and on Enlightenment culture more generally, this book reveals how the agenda for musical advancement shared by Cooke and his Academy associates foreshadowed key developments that would mould European music of the nineteenth century and after. It includes an extensive bibliography, a detailed overview of the Cooke Collection at the Royal College of Music and a complete list of Cooke's works. TIM EGGINGTON is College Librarian at Queens'College, Cambridge.

Music --- History and criticism. --- History. --- Cooke, Benjamin, --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- Cooke, B. --- Cooke, --- Cooke Collection. --- Cooke's works. --- Enlightenment-inspired reassessment. --- European music. --- Queens' College, Cambridge. --- TIM EGGINGTON. --- eighteenth-century English musicians. --- music advancement. --- musical composition. --- nineteenth century. --- Composers