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The presented publication brings knowledge about the cultural-historical development of the festival, dramaturgical concept, choice of artists, the character of concert instruments, etc. The first chapter contains a cross-section of the 40-year history of the festival (Judita Kučerová). The historical study is followed by 3 chapters, first including the personal memories and experiences of the contemporary dramaturg and festival organizer Hana Bartošová. The essay on the organist's mission as a concert artist was contributed by the founder of the organ festival, prof. Alena Veselá, former rector of the Janáček Academy of Performing Arts in Brno and still active concert organist. The chapter on the concert organs, which the individual music evenings are played, was prepared by P. Jan Martin Bejček, OSB. The last part of the collective monograph consists of overviews of concerts held since the first years of the festival (Hana Bartošová), then in the period when the artistic and financial patronage of the Brno Organ Festival was taken over by the Club of Moravian Composers (Marek Sedláček) and an overview of non-Brno concerts (Hana Bartošová). The text has a source nature, the authors draw on preserved written documents and interviews with witnesses and festival organizers.

Keyboard instruments --- organ festival --- musical history --- dramaturgy of programme --- Cultural history --- Music --- Post-War period (1950 - 1989) --- Transformation Period (1990 - 2010) --- Present Times (2010 - today) --- Brněnského varhanního festivalu

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The Bedford (Amateur) Musical Society, now Bedford Choral Society, was formed in 1867. The Bedford (Amateur) Musical Society, now Bedford Choral Society, was formed in 1867. Its beginnings were not auspicious - an article in a local newspaper reported that 'no one felt very sanguine about the success of the proposed Society ... the idea being that musical people were a quarrelsome lot and could not hold together for any length of time.' Despite this, the Society has had a long and almost continuous history and is still thriving today. This volume records the characters who shaped the Society through the years, the varied musical programmes and the links with well-known performers and musicians. It includes the BBC Music Department's move to Bedford early in the Second World War and its support for the Society as it re-established itself. The volume has an introduction by Donald Burrows, Professor of Music at the Open University who provides an historical setting for the development of the Society within the context of national musical developments.

Choral music --- Bedford Choral Society --- History. --- Bedford Choral Society. --- Bedford. --- British Music. --- Choral Society. --- Cultural Development. --- Cultural Heritage. --- Music Heritage. --- Music Society. --- Music. --- Musical History. --- Musical Performance. --- Musical Society.

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John Sigismond Cousser, as performer and composer, was a pioneering figure in the musical history of the European Baroque era.

Composers --- Music --- History and criticism. --- Kusser, Johann Sigismund, --- Cousser, Jean Sigismond, --- Cousser, Johann Sigismund, --- Cousser, John Sigismund, --- Baroque era. --- Dublin. --- Duke Anton Ulrich. --- European Baroque. --- French style. --- German-speaking lands. --- Italian musical style. --- Italian virtuosos. --- John Sigismond Cousser. --- early eighteenth-century London. --- grass-roots level. --- music exchange. --- musical exchange. --- musical history.

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"What can be done about the state of classical music?" Lawrence Kramer asks in this elegant, sharply observed, and beautifully written extended essay. Classical music, whose demise has been predicted for at least a decade, has always had its staunch advocates, but in today's media-saturated world there are real concerns about its viability. Why Classical Music Still Matters takes a forthright approach by engaging both skeptics and music lovers alike. In seven highly original chapters, Why Classical Music Still Matters affirms the value of classical music-defined as a body of nontheatrical music produced since the eighteenth century with the single aim of being listened to-by revealing what its values are: the specific beliefs, attitudes, and meanings that the music has supported in the past and which, Kramer believes, it can support in the future. Why Classical Music Still Matters also clears the air of old prejudices. Unlike other apologists, whose defense of the music often depends on arguments about the corrupting influence of popular culture, Kramer admits that classical music needs a broader, more up-to-date rationale. He succeeds in engaging the reader by putting into words music's complex relationship with individual human drives and larger social needs. In prose that is fresh, stimulating, and conversational, he explores the nature of subjectivity, the conquest of time and mortality, the harmonization of humanity and technology, the cultivation of attention, and the liberation of human energy.

Music --- Musical analysis. --- Analysis, Musical --- Analytical guides (Music) --- Hermeneutics (Music) --- Music analysis --- Music theory --- Music appreciation --- Musical aesthetics --- Aesthetics --- Philosophy and aesthetics. --- Analysis, appreciation --- Analytical guides --- Instruction and study --- Philosophy --- 18th century. --- academic. --- apologists. --- chopin. --- classical composers. --- classical music. --- classical musicians. --- composers. --- gershwin. --- human nature. --- johann sebastian bach. --- johannes brahms. --- love song. --- media. --- mozart. --- music lovers. --- music performance. --- music studies. --- musical composers. --- musical history. --- musicians. --- piano music. --- popular culture. --- ravel. --- scholarly. --- schubert. --- schumann. --- technology.

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In this book, Susan McClary examines the mechanisms through which seventeenth-century musicians simulated extreme affective states-desire, divine rapture, and ecstatic pleasure. She demonstrates how every major genre of the period, from opera to religious music to instrumental pieces based on dances, was part of this striving for heightened passions by performers and listeners. While she analyzes the social and historical reasons for the high value placed on expressive intensity in both secular and sacred music, and she also links desire and pleasure to the many technical innovations of the period. McClary shows how musicians-whether working within the contexts of the Reformation or Counter-Reformation, Absolutists courts or commercial enterprises in Venice-were able to manipulate known procedures to produce radically new ways of experiencing time and the Self.

Music --- History and criticism. --- Musical criticism. --- Hermeneutics (Music) --- Music criticism --- Journalism --- History and criticism --- Desire in music --- Pleasure in music --- Musique --- Désir dans la musique --- Plaisir dans la musique --- Histoire et critique --- 17th century musicians. --- amarilli. --- arias. --- bach. --- beethoven. --- beethovens fifth. --- classical composers. --- classical music history. --- clevelandclassical. --- enlightening insights on music. --- history of music composers. --- history of music. --- history of opera. --- how to write music. --- learning to play music. --- leisure reads. --- master piece music. --- musical history. --- musicians. --- musicology. --- ode to joy. --- opera and sex. --- religion. --- renaissance era. --- savant composers. --- sex and music. --- sex. --- social and historical music. --- timeless music. --- vacation reads.