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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 by Pierre Schaeffer is regarded as his most important work on music and its relationship with technology. Schaeffer refers to his earlier research in musique concrète and expands this to suggest a methodology of working with sounds resulting from the recording process. Drawing on acoustics, physics, and physiology, but also philosophy and the relationship between subject and object, Schaeffer's book summarizes his theoretical and practical work in music composition. North and Dack present an important book in the history of ideas in Europe that will resonate far beyond electroacoustic music."--Provided by publisher.

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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Brings together in one volume the full text of some 450 letters in first-time English translation, organized into sections each prefaced by an introduction. All the letters are fully annotated and they yield information about Viennese society, culture and politics of the time. The work of Heinrich Schenker (1868-1935), widely regarded as the most important music theorist of the twentieth century, has shaped the teaching of music theory in the United States profoundly and influenced theorists there, in Europe, and throughout the world. Living and working in Vienna, Schenker maintained a vigorous correspondence with a large circle of professional musicians, writers, music critics, institutions, administrators, patrons, friends, and pupils. A large part of his correspondence was preserved after his death: some 7,000 letters, postcards, telegrams, etc., to and from 400 correspondents. His diaries record the fabric of his personal life and his activities asa private music teacher and writer; they also provide a detailed commentary on historical and political events and offer a window on to the conditions of life in Vienna. Taken together, these documents contribute vividly to the picture of cultural life in Vienna, and elsewhere, from the perspective of a Jewish intellectual and his circle of musical and artistic friends. Heinrich Schenker: Selected Correspondence represents a concise edition ofsome of the theorist's most important and revelatory letters and diary entries. It offers the full text of some 450 letters in English translation, organized into sections devoted to various aspects of his professional life: teaching, writing, administration, and maintaining contact with an ever widening circle including Ferruccio Busoni, Julius Röntgen, Otto Erich Deutsch, Alphons von Rothschild, Paul von Klenau, Wilhelm Furtwängler, Paul Hindemith, MorizViolin, John Petrie Dunn, and Hans Weisse. Extracts from the diaries provide a summary of important parts of the correspondence that do not survive. The volume includes a detailed exposition of the editorial method, biographicalnotes on correspondents, and a substantial general introduction. Each of the sections is prefaced by an introduction which provides essential historical context, and the letters and diary entries are fully annotated. IAN BENT is Emeritus Professor of Music at Columbia University in New York, and lives in the United Kingdom. DAVID BRETHERTON is Lecturer in Music at the University of Southampton. WILLIAM DRABKIN is Professorof Music at the University of Southampton. CONTRIBUTORS: Marko Deisinger, Martin Eybl, Christoph Hust, Kevin C. Karnes, John Koslovsky, Lee Rothfarb, John Rothgeb, Hedi Siegel, Arnold Whittall

Schenker, Heinrich, --- Criticism and interpretation. --- Austria --- Music theorists --- Arnold Whittall. --- Christoph Hust. --- David Bretherton. --- European music. --- Hedi Siegel. --- Heinrich Schenker. --- Ian Bent. --- Jewish intellectual. --- John Koslovsky. --- John Rothgeb. --- Kevin C. Karnes. --- Marko Deisinger. --- Martin Eybl. --- Rothfarb. --- Vienna's society. --- Vienna. --- William Drabkin. --- correspondence. --- cultural history. --- cultural life in Vienna. --- intellectual. --- music theorist. --- twentieth century.