＜p＞＜em＞Music in the Galant Style＜/em＞ is an authoritative and readily understandable study of the core compositional style of the eighteenth century. Gjerdingen adopts a unique approach, based on a massive but little-known corpus of pedagogical workbooks used by the most influential teachers of the century, the Italian partimenti. He has brought this vital repository of compositional methods into confrontation with a set of schemata distilled from an enormous body of eighteenth-century music, much of it known only to specialists, formative of the "galant style."＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Gathering perspectives of musical talent from the psychological, musical, and educational fields, ＜em＞Kindling the Spark＜/em＞ is the only single sourcebook that defines musical talent and provides practical strategies for identifying and nurturing it. Joanne Haroutounian uses her experience as teacher, researcher, and parent to clarify central issues concerning talent recognition and development in a way that will easily appeal to a wide audience. The book describes the different stages of development in musical training, including guidelines for finding a suitable teacher at different levels, social and psychological aspects that impact musical training, and research on talent development by ages and stages from infancy and preschool years through the teen years. An important feature of the book are "sparkler exercises" designed to provoke observable talent behavior in home, school, and studio settings. The book also includes an Appendix of Resources which lists books, media, organizations, and specialized schools that offer additional information on musical talent, identification, and development. For music educators in both public school and private studio settings--as well as for parents and their musically inclined children--＜em＞Kindling the Spark＜/em＞ provides an invaluable summary of the research on talent and a wealth of resources for developing it.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Renowned music historians Floyd and Margaret Grave present a fresh perspective on a comprehensive survey of the works. This thorough and unique analysis offers new insights into the creation of the quartets, the wealth of musical customs and conventions on which they draw, the scope of their innovations, and their significance as reflections of Haydn's artistic personality. Each set of quartets is characterized in terms of its particular mix of structural conventions and novelties, stylistic allusions, and its special points of connection with other opus groups in the series. Throughout the book, the authors draw attention to the boundless supply of compositional strategies by which Haydn appears to be continually rethinking, reevaluating, and refining the quartet's potentials. They also lucidly describe Haydn's famous penchant for wit, humor, and compositional artifice, illuminating the unexpected connections he draws between seemingly unrelated ideas, his irony, and his lightning bolts of surprise and thwarted expectation. Approaching the quartets from a variety of vantage points, the authors correct many prevailing assumptions about convention, innovation, and developing compositional technique in the music of Haydn and his contemporaries.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Contemporary electronic music has splintered into numerous genres and subgenres, all of which share a concern with whether sound, in itself, bears meaning. ＜em＞Listening through the Noise＜/em＞ considers how the experience of listening to electronic music constitutes a departure from the expectations that have long governed music listening in the West.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜em＞Mendelssohn and the Organ＜/em＞ is the first comprehensive historical-critical study in any language to examine the role of the organ in Mendelssohn's personal and professional career. It examines his entire oeuvre for the instrument, including the Berlin-Krakow manuscripts, and presents for the first time Mendelssohn's complete correspondence with his English publisher, Charles Coventry.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Examining the landmark works that ushered in Italy's golden age of cinema, P. Adams Sitney provides a stylish, historically rich survey of the epochal films made by Roberto Rossellini, Vittorio De Sica, Luchino Visconti, Federico Fellini, Michelangelo Antonioni, and others in the years after World War II. Remarking on the period in 1957, Pier Paolo Pasolini wrote that its films reflected a "vital crisis" in Italian culture after the fall of Fascism. Sitney expands this conceit to demonstrate the multivalent social and political forces behind a range of movies made from the mid-1940s through the1960s that includes ＜em＞Paisa＜/em＞, ＜em＞La terra trema＜/em＞, ＜em＞Ladri di biciclette＜/em＞, ＜em＞L'Avventura＜/em＞, and ＜em＞La dolce vita＜/em＞. Throughout its pages, the book considers how the nation's cinema depicts the convergence of Christian and Resistance iconography; contemplates the debate over dialect and a national language; deploys cinematic effects for the purposes of political allegory; and incorporates insights from the psychoanalytic discourse that became popular in Italy during the fifties and sixties. This new edition includes an epilogue that extends the range of the study into the 1970s with discussions of Nanni Moretti's ＜em＞Io sono autaurchico＜/em＞, the Tavianis' ＜em＞Padre Padrone＜/em＞, and Ermanno Olmi's ＜em＞L'albero degli zoccoli＜/em＞.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞?? ???? ?????? ????? ?????? ?????? ????? ????? ???? ?????? ???????? ????? ?? ????? ????? ?????? ?? ??????? ???????? ????????? ? ???? ?? ???????? ????? ?????? ???????? ???????? ??? ?????? ????? ??????? ?????????: ????? ????? (??????? ?????? ??? ????? ?????? ??????? ???????) ????? 2009? ????? : ?????? ?????? ?? ??? ??? ??????? ????? ? ?????? ??????? ? ??????? ? ?????? 2013 ?????: ????????????? ??????? ? ????? ?? ????? ?????? ???????? ?????? 2013. ???? ????? : ?????? ??????? ? ???? ?? ??????? ??????? ??????? ???????? ?????? ??????? ????? ????????( ??????)2012 ??? ??? ?????? ????＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜em＞Vanishing Sensibilities＜/em＞ examines once passionate cultural concerns that shaped music of Schubert, Beethoven, Schumann, and works of their contemporaries in drama or poetry. Music, especially music with text, was a powerful force in lively ongoing conversations about the nature of liberty, which included such topics as the role of consent in marriage, same-sex relationships, freedom of the press, and the freedom to worship (or not). Among the most common vehicles for stimulating debate about pressing social concerns were the genres of historical drama, and legend or myth, whose stories became inflected in fascinating ways during the Age of Metternich. Interior and imagined worlds, memories and fantasies, were called up in purely instrumental music, and music was privately celebrated for its ability to circumvent the restrictions that were choking the verbal arts. Author Kristina Muxfeldt invites us to listen in on these cultural conversations, dating from a time when the climate of censorship made the tone of what was said every bit as important as its literal content. At this critical moment in European history such things as a performer's delivery, spontaneous improvisation, or the demeanor of the music could carry forbidden messages of hope and political resistance--flying under the censor's radar like a carrier pigeon. Rather than trying to decode or fix meanings, Muxfeldt concerns herself with the very mechanisms of their communication, and she confronts distortions to meaning that form over time as the cultural or political pressures shaping the original expression fade and are eventually forgotten. In these pages are accounts of works successful in their own time alongside others that failed to achieve more than a liminal presence, among them Schubert's ＜em＞Alfonso und Estrella＜/em＞ and his last opera project ＜em＞Der Graf von Gleichen＜/em＞, whose libretto was banned even before Schubert set to work composing it. Enlivening the narrative are generous music examples, reproductions of artwork, and facsimiles of autograph material.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Perhaps the most renowned writer in the field of vocal pedagogy, Richard Miller has delivered a new and outstanding contribution to the study of vocal technique in ＜em＞Securing Baritone, Bass-Baritone, and Bass Voices＜/em＞. The first thorough and comprehensive treatment of low male voices, this book draws on techniques and practical advice from Miller's years of professional experience as a performer and pedagogue. With a unique focus on "securing" the technical stability of the male voice, the book offers practical advice to students, their teachers, and professional performers, through numerous practical exercises and repertoire suggestions appropriate to various stages of development. Miller synthesizes historic vocal pedagogy with the latest research on the singing voice, always emphasizing the special nature of the male voice and the proper physiological functioning for vocal proficiency. An indispensable guide to male low voices, this book is an essential text for performers, aspiring performers, and instructors alike.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Dubbed the "White Queen of Soul," singer Dusty Springfield became the first British soloist to break into the U.S. Top Ten music charts with her 1964 hit "I Only Want To Be With You"--a pop classic followed by many others, including "You Don't Have to Say You Love Me" and "Son of a Preacher Man." Today she is usually placed within the history of the Beatles-led "British Invasion" or seen as a devoted acolyte of Motown. In this penetrating look at her music and career, Annie J. Randall shows how Springfield's contributions transcend the narrow limits of those descriptions and how this middle-class former convent girl became perhaps the unlikeliest of artists to achieve soul credibility on both sides of the Atlantic. Randall reevaluates Springfield's place in sixties popular music through close investigation of her performances as well as interviews with her friends, peers, professional associates, and longtime fans. As the author notes, the singer's unique look--blonde beehive wigs and heavy black mascara--became iconic of the mid-sixties postmodern moment in which identity scrambling and camp pastiche were the norms in swinging London's pop culture. Randall places Springfield within this rich cultural context, focusing on the years from 1964 to 1968, when she recorded her biggest international hits and was a constant presence on British television. The book pays special attention to Springfield's close collaboration and friendship with American gospel singer Madeline Bell, the distinctive way Springfield combined US soul and European melodrama to achieve her own musical style and stage presence, and how her camp sensibility figured as a key element of her artistry.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜em＞Bright Star of the West＜/em＞ examines the life, repertoire, and influence of Ireland's greatest ＜em＞sean-nos＜/em＞ (old-style) singer, Joe Heaney (1919-1984). Best known for popularing this form of Gaelic a cappella folk song in the United States, authors Sean Williams and Lillis ? Laoire reveal the ways in which Heaney's life story demonstrates the intertwining of music with political memory and cultural understanding.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Known internationally for his work as a teacher of conducting, Gustav Meier's influence in the field cannot be overstated. In ＜em＞The Score, the Orchestra and the Conductor＜/em＞, Meier demystifies the conductor's craft with explanations and illustrations of what the conductor must know to attain podium success. He provides useful information from the rudimentary to the sophisticated, and offers specific and readily applicable advice for technical and musical matters essential to the conductor's first rehearsal with the orchestra. This book details many topics that otherwise are unavailable to the aspiring and established conductor, including the use of the common denominator, the "The ZIG-ZAG method", a multiple, cross-indexed glossary of orchestral instruments in four languages, an illustrated description of string harmonics, and a comprehensive listing of voice categories, their overlaps, dynamic ranges and repertory. ＜em＞The Score, the Orchestra and the Conductor＜/em＞ is an indispensable addition to the library of every conductor and conducting student.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞The formidable talents of Anthony Hecht, one of the most gifted of contemporary American poets, and Helen Bacon, a classical scholar, are here brought to bear on this vibrant translation of Aeschylus' much underrated tragedy ＜em＞The Seven Against Thebes＜/em＞. The third and only remaining play in a trilogy dealing with related events, ＜em＞The Seven Against Thebes＜/em＞ tells the story of the Argive attempt to claim the Kingdom of Thebes, and of the deaths of the brothers Eteocles and Polyneices, each by the others hand. Long dismissed by critics as ritualistic and lacking in dramatic tension, ＜em＞Seven Against Thebes＜/em＞ is revealed by Hecht and Bacon as a work of great unity and drama, one exceptionally rich in symbolism and imagery.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜em＞The Art of Music Production＜/em＞ is the first book to comprehensively analyze and describe the role of the music producer in creating successful music recordings. Now in its fourth edition, it is the definitive guide to the art and business of music production. Author and producer Richard James Burgess distills this complex field by defining the distinct roles of a music producer.The first part of the book outlines the underlying theory of the art of music production. The second focuses on the job's practical aspects, including training, getting into the business, and--most importantly--the musical, financial, and interpersonal relationships producers have with artists and their labels. The book is packed with insights from successful music producers, ranging from the beginnings of recorded sound to today's chart-toppers and across genre lines. It features many revealing anecdotes, encompassing both the daily and overarching career-related challenges that a producer faces. Burgess addresses the changes in the nature of music production brought about by technology and, in particular, the millennial shift that has occurred with digital recording and distribution. His lifelong experience in the recording industry as a studio musician, artist, composer, producer, manager, and marketer, combined with his extensive academic research in the field, brings a unique breadth and depth of understanding to the topic.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Statues of Thomas Hooker and Samuel Stone grace downtown Hartford, Connecticut, but few residents are aware of the distinctive version of Puritanism that these founding ministers of Harford's First Church carried into to the Connecticut wilderness (or indeed that the city takes its name from Stone's English birthplace). Shaped by interpretations of the writings of Saint Augustine largely developed during the ministers' years at Emmanuel College, Cambridge, Hartford's church order diverged in significant ways from its counterpart in the churches of the Massachusetts Bay Colony. ＜em＞Hartford Puritanism＜/em＞ argues for a new paradigm of New England Puritanism. Hartford's founding ministers, Baird Tipson shows, both fully embraced - and even harshened - Calvin's double predestination. Tipson explores the contributions of the lesser-known William Perkins, Alexander Richardson, and John Rogers to Thomas Hooker's thought and practice: the art and content of his preaching, as well as his determination to define and impose a distinctive notion of conversion on his hearers. The book draws heavily on Samuel Stone's ＜em＞The Whole Body of Divinity＜/em＞, a comprehensive exposition of his thought and the first systematic theology written in the American colonies. Virtually unknown today, ＜em＞The Whole Body of Divinity＜/em＞ not only provides the indispensable intellectual context for the religious development of early Connecticut but also offers a more comprehensive description of the Puritanism of early New England than any other document.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞It is increasingly commonplace to find scholars who circle back to Ralph Waldo Emerson and his intellectual heirs as a way of better understanding contemporary social and aesthetic contexts. Why does Emerson's cultural legacy continue to influence writers so forcefully? In this innovative study, Randall Fuller examines the way pivotal twentieth-century critics have understood and deployed Emerson as part of their own larger projects aimed at reconceiving America. He examines previously unpublished material and original research on Van Wyck Brooks, Perry Miller, F.O. Matthiessen, and Sacvan Bercovitch along with other supporting thinkers. An engaging institutional history of American literary studies in the twentieth century, ＜em＞Emerson's Ghosts＜/em＞ reveals the unexpected convergent forces that have shaped American cultural history in lasting ways.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜em＞Elements of Sonata Theory＜/em＞ is a comprehensive, richly detailed rethinking of the basic principles of sonata form in the decades around 1800. This foundational study draws upon the joint strengths of current music history and music theory to outline a new, up-to-date paradigm for understanding the compositional choices found in the instrumental works of Haydn, Mozart, Beethoven, and their contemporaries: sonatas, chamber music, symphonies, overtures, and concertos. In so doing, it also lays out the indispensable groundwork for anyone wishing to confront the later adaptations and deformations of these basic structures in the nineteenth and earlier twentieth centuries. Combining insightful music analysis, contemporary genre theory, and provocative hermeneutic turns, the book brims over with original ideas, bold and fresh ways of awakening the potential meanings within a familiar musical repertory. ＜em＞Sonata Theory＜/em＞ grasps individual compositions-and each of the individual moments within them-as creative dialogues with an implicit conceptual background of flexible, ever-changing historical norms and patterns. These norms may be recreated as constellations "compositional defaults," any of which, however, may be stretched, strained, or overridden altogether for individualized structural or expressive purposes. This book maps out the terrain of that conceptual background, against which what actually happens-or does not happen-in any given piece may be assessed and measured. The ＜em＞Elements＜/em＞ guides the reader through the standard (and less-than-standard) formatting possibilities within each compositional space in sonata form, while also emphasizing the fundamental role played by processes of large-scale circularity, or "rotation," in the crucially important ordering of musical modules over an entire movement. The book also illuminates new ways of understanding codas and introductions, of confronting the generating processes of minor-mode sonatas, and of grasping the arcs of multimovement cycles as wholes. Its final chapters provide individual studies of alternative sonata types, including "binary" sonata structures, sonata-rondos, and the "first-movement form" of Mozart's concertos.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Few musical works loom as large in Western culture as Richard Wagner's four-part ＜em＞Ring of the Nibelung＜/em＞. In ＜em＞Finding an Ending＜/em＞, two eminent philosophers, Philip Kitcher and Richard Schacht, offer an illuminating look at this greatest of Wagner's achievements, focusing on its far-reaching and subtle exploration of problems of meanings and endings in this life and world. Kitcher and Schacht plunge the reader into the heart of Wagner's ＜em＞Ring＜/em＞, drawing out the philosophical and human significance of the text and the music. They show how different forms of love, freedom, heroism, authority, and judgment are explored and tested as it unfolds. As they journey across its sweeping musical-dramatic landscape, Kitcher and Schacht lead us to the central concern of the Ring--the problem of endowing life with genuine significance that can be enhanced rather than negated by its ending, if the right sort of ending can be found. The drama originates in Wotan's quest for a transformation of the primordial state of things into a world in which life can be lived more meaningfully. The authors trace the evolution of Wotan's efforts, the intricate problems he confronts, and his failures and defeats. But while the problem Wotan poses for himself proves to be insoluble as he conceives of it, they suggest that his very efforts and failures set the stage for the transformation of his problem, and for the only sort of resolution of it that may be humanly possible--to which it is not Siegfried but rather Br?nnhilde who shows the way. The *Ring'*s ending, with its passing of the gods above and destruction of the world below, might seem to be devastating; but Kitcher and Schacht see a kind of meaning in and through the ending revealed to us that is profoundly affirmative, and that has perhaps never been so powerfully and so beautifully expressed.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Modernism is typically associated with novelty and urbanity. So what happens when poets identify small communities and local languages with the spirit of transnational modernity? Are vernacular poetries inherently provincial or implicitly xenophobic? How did modernist poets use vernacular language to re-imagine the relations between people, their languages, and the communities in which they live? ＜em＞Nations of Nothing But Poetry＜/em＞ answers these questions through case studies of British, Caribbean, and American poetries from the 1920s through the 1990s. With a combination of fresh insights and attentive close readings, Matthew Hart presents a new theory of a "synthetic vernacular"-writing that explores the aesthetic and ideological tensions within modernism's dual commitments to the local and the global. The result is an invigorating contribution to the field of transnational modernist studies. Chapters focus on a mixture of canonical and non-canonical writers, combining new literary histories--such as the story of how Melvin B. Tolson, while a resident of Oklahoma, was appointed Poet Laureate of Liberia--with analyses of poems by Gertrude Stein, W. H. Auden, Ezra Pound, and T. S. Eliot. More broadly, the book reveals how the language of modernist poetry was shaped by the incompletely globalized nature of a world in which the nation-state continued to be a primary mediator of cultural and political identity, even as its authority was challenged as never before. Through deft juxtaposition, Hart develops a new interpretation of modernist poetry in English-one that disrupts the critical opposition between nationalism and the transnational, paving the way for a political history of modernist cosmopolitanism.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞The 20th century French composer Olivier Messiaen was a devout Roman Catholic and notably claimed that his music was an expression of his faith. Unsurprisingly, many performers and listeners consider Messiaen's strong religiosity central to their appreciation of the composer's music. Music scholars have devoted much energy to exploring how Messiaen's music was an extension of his religious beliefs. Yet, these works tend to discuss Messiaen's Catholicism solely in terms of personal religious identity and ignore the composer's broader connections to the cultural landscape of Roman Catholicism in France. In ＜em＞Olivier Messiaen: Texts, Contexts, and Intertexts (1937-1948)＜/em＞ the late French literature scholar Richard Burton examines nine of Messiaen's works in the context of the broader French Catholic intellectual tradition. Drawing on an expansive knowledge of the Catholic literature and the surrealist tradition, Burton reveals that Messiaen's middle-period compositions are filled with intertextual references to the Bible and other theological writings, which Messiaen, given his reputation for falsifying facts, may have gone to great lengths to obscure. As a Catholic, Messiaen is presented as somewhat removed from the ethos of his time and place, taking no part in the social side of Catholicism that found expression in the P?tainist litany of 'Patrie, Famille, Travail'. Rather, Messiaen regarded himself as having a 'vertical' relationship with God, which could make him seem unworldly and even uncaring. With insights into the artistic careers of Messiaen's notable contemporaries and historical perspectives on the breakdown of French politics during World War II, Burton creates a vivid picture of the previously unexamined spiritual and philosophical inspirations behind Messiaen's pivotal mid-century compositions.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞In the wake of the Asia-Pacific War, Korean survivors of the "comfort women" system-those bound into sexual slavery for the Japanese military during the war-lived under great pressure not to speak about what had happened to them. ＜em＞Hearts of Pine＜/em＞ brings us into the lives of three such survivors: Pak Duri, Mun Pilgi, and Bae Chunhui. Over the course of eight years, author Joshua Pilzer worked with these now-elderly women, smoking with them, eating with them, singing and playing with them, trying to understand and document their worlds of song. During four decades of secrecy and the subsequent decades of the "comfort women" protest movement, singing served these women as a means of coping with and expressing their experiences, forging and sustaining identities and social relationships, and recording and conveying their struggles and philosophies of life. Through these intimate portraits, ＜em＞Hearts of Pine＜/em＞ illustrates the personal and social power of music vis-?-vis other expressive media, models a humanistic history of modern Korean music, and presents heretofore unrecorded histories of the "comfort women" system and postwar South Korean public culture written in women's song.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Today, the saxophone is an emblem of "cool" and the instrument most closely associated with jazz. Yet not long ago it was derided as the "Siren of Satan," and it was largely ignored in the United States for well over half a century after its invention. When it was first widely heard, it was often viewed as a novelty noisemaker, not a real musical instrument. In only a few short years, however, saxophones appeared in music shops across America and became one of the most important instrumental voices. How did the saxophone get from comic to cool? Bandleader Tom Brown claimed that it was his saxophone sextet, the Six Brown Brothers, who inaugurated the craze. While this boast was perhaps more myth than reality, the group was indisputably one of the most famous musical acts on stage in the early twentieth century. Starting in traveling circuses, small-time vaudeville, and minstrel shows, the group trekked across the United States and Europe, bringing this new sound to the American public. Through their live performances and groundbreaking recordings--the first discs of a saxophone ensemble in general circulation--the Six Brown Brothers played a crucial role in making this new instrument familiar to and loved by a wide audience. In ＜em＞That Moaning Saxophone＜/em＞, author and cornet player Bruce Vermazen sifts fact from legend in this craze and tells the remarkable story of these six musical brothers--William, Tom, Alec, Percy, Vern, and Fred. Vermazen traces the brothers' path through minstrelsy, the circus, burlesque, vaudeville, and Broadway musical comedy. Cleverly weaving together biographical details and the context of the burgeoning entertainment business, the author draws fascinating portraits of the pre-jazz world of American popular music, the theatrical climate of the period, and the long, slow death of vaudeville. Delving into the career of one of the key popularizers of the saxophone, ＜em＞That Moaning Saxophone＜/em＞ not only illuminates the history of this novel instrument, but also offers a witty and vivid portrayal of these forgotten musical worlds.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞Winner of the 2015 PMIG Outstanding Publication Award from the Society of Music Theory＜/strong＞ The DJs and laptop performers of electronic dance music use preexistent elements such as vinyl records and digital samples to create fluid, dynamic performances. These performances are also largely improvised, evolving in response to the demands of a particular situation through interaction with a dancing audience. Within performance, musicians make numerous spontaneous decisions about variables such as which sounds they will play, when they will play them, and how they will be combined with other sounds. Yet the elements that constitute these improvisations are also ＜em＞fixed＜/em＞ in certain fundamental ways: performances are fashioned from patterns or tracks recorded beforehand, and in the case of DJ sets, these elements are also physical objects (vinyl records). In ＜em＞Playing with Something That Runs＜/em＞, author Mark J. Butler explores these improvised performances, revealing the ways in which musicians utilize seemingly invariable prerecorded elements to create novel improvisations. Based on extensive interviews with musicians in their studios, as well as in-depth studies of particular mediums of performance, including both DJ and laptop sets, Butler illustrates the ways in which technologies, both material and musical, are used in performance and improvisation in order to make these transformations possible. An illuminating look at the world of popular electronic-music performance, ＜em＞Playing with Something that Runs＜/em＞ is an indispensable resource for electronic dance musicians and fans as well as scholars and students of popular music.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Hundreds of memoirs, novels, plays, and movies have been devoted to the American war in Vietnam. In spite of the great variety of media, political perspectives and the degrees of seriousness with which the war has been treated, Katherine Kinney argues that the vast majority of these works share a single story: that of Americans killing Americans in Vietnam. ＜em＞Friendly Fire＜/em＞, in this instance, refers not merely to a tragic error of war, it also refers to America's war with itself during the Vietnam years. Starting from this point, this book considers the concept of "friendly fire" from multiple vantage points, and portrays the Vietnam age as a crucible where America's cohesive image of itself is shattered--pitting soldiers against superiors, doves against hawks, feminism against patriarchy, racial fear against racial tolerance. Through the use of extensive evidence from the film and popular fiction of Vietnam (e.g. Kovic's ＜em＞Born on the Fourth of July＜/em＞, Didion's ＜em＞Democracy＜/em＞, O'Brien's ＜em＞Going After Cacciato＜/em＞, Rabe's ＜em＞Sticks and Bones and Streamers＜/em＞), Kinney draws a powerful picture of a nation politically, culturally, and socially divided, and a war that has been memorialized as a contested site of art, media, politics, and ideology.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞In a career that spanned nearly five decades, Dorothy Fields penned the words to more than four hundred songs, among them mega-hits such as "On the Sunny Side of the Street," "I Can't Give You Anything But Love," "The Way You Look Tonight," and "If My Friends Could See Me Now." While Fields's name may be known mainly to connoisseurs, her contributions to our popular culture--indeed, our national consciousness--have been remarkable. In ＜em＞Pick Yourself Up＜/em＞, Charlotte Greenspan offers the most complete, serious treatment of Fields's life and work to date, tracing her rise to prominence in a male-dominated world.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞The award-winning ＜em＞Beneath the American Renaissance＜/em＞ is a classic work on American literature. It immeasurably broadens our knowledge of our most important literary period, as first identified by F.O. Matthiessen's ＜em＞American Renaissance＜/em＞. With its combination of sharp critical insight, engaging observation, and narrative drive, it represents the kind of masterful cultural history for which David Reynolds is known. Here the major works of Emerson, Thoreau, Whitman, Poe, Hawthorne, Melville, and Dickinson receive striking, original readings set against the rich backdrop of contemporary popular writing. Now back in print, the volume includes a new foreword by historian Sean Wilentz that reveals the book's impact and influence. A magisterial work of criticism and cultural history, ＜em＞Beneath the American Renaissance＜/em＞ will fascinate anyone interested in the genesis of America's most significant literary epoch and the iconic figures who defined it.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Music is one of the most distinctive cultural characteristics of Latin American countries. But, while many people in the United States and Europe are familiar with musical genres such as salsa, merengue, and reggaet?n, the musical manifestations that young people listen to in most Latin American countries are much more varied than these commercially successful ones that have entered the American and European markets. Not only that, the young people themselves often have little in common with the stereotypical image of them that exists in the American imagination. Bridging this divide between perception and reality, ＜em＞Music and Youth Culture in Latin America＜/em＞ brings together contributors from throughout Latin America and the US to examine the ways in which music is used to advance identity claims in several Latin American countries and among Latinos in the US. From young Latin American musicians who want to participate in the vibrant jazz scene of New York without losing their cultural roots, to Peruvian rockers who sing in their native language (Quechua) for the same reasons, to the young Cubans who use music to construct a post-communist social identification, this volume sheds new light on the complex ways in which music provides people from different countries and social sectors with both enjoyment and tools for understanding who they are in terms of nationality, region, race, ethnicity, class, gender, and migration status. Drawing on a vast array of fields including popular music studies, ethnomusicology, sociology, and history, ＜em＞Music and Youth Culture in Latin America＜/em＞ is an illuminating read for anyone interested in Latin American music, culture, and society.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞For two decades after the mid-1950s, biracial popular music played a fundamental role in progressive social movements on both sides of the Atlantic. Balancing rock's capacity for utopian popular cultural empowerment with its usefulness for the capitalist media industries, ＜em＞Rock 'N' Film＜/em＞ explores how the music's contradictory potentials were reproduced in various kinds of cinema, including major studio productions, minor studios' exploitation projects, independent documentaries, and the avant-garde. These include ＜em＞Rock Around the Clock＜/em＞ and other 1950s jukebox musicals; the films Elvis made before being drafted, especially ＜em＞King Creole＜/em＞, as well as the formulaic comedies in which Hollywood abused his genius in the 1960s; early documentaries such as ＜em＞The T.A.M.I. Show＜/em＞ that presented James Brown and the Rolling Stones as the core of a black-white, US-UK cultural commonality; ＜em＞A Hard Day's Night＜/em＞ that marked the British Invasion; ＜em＞Dont Look Back, Monterey Pop, Woodstock,＜/em＞ and other Direct Cinema documentaries about the music of the counterculture; and avant-garde films about the Rolling Stones by Jean-Luc Godard, Kenneth Anger, and Robert Frank. After the turn of the decade, notably ＜em＞Gimme Shelter,＜/em＞ in which the Stones appeared to be complicit in the Hells Angels' murder of a young black man, 1960s' music-and films about it-reverted to separate black and white traditions based respectively on soul and country. These produced blaxploitation and ＜em＞Lady Sings the Blues＜/em＞ on the one hand, and bigoted representations of Southern culture in ＜em＞Nashville＜/em＞ on the other. Ending with the deaths of their stars, both films implied that rock 'n' roll had died or even, as David Bowie proclaimed, that it had committed suicide. But in his documentary about Bowie, ＜em＞Ziggy Stardust and the Spiders from Mars＜/em＞, D.A. Pennebaker triumphantly re-affirmed the community of musicians and fans in glam rock. In analyzing this history, David E. James adapts the methodology of histories of the classic film musical to show how the rock 'n' roll film both displaced and recreated it.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞This is the story of the orchestra, from 16th-century string bands to the "classical" orchestra of Haydn, Mozart, and Beethoven. Spitzer and Zaslaw document orchestral organization, instrumentation, social roles, repertories, and performance practices in Europe and the American colonies, concluding around 1800 with the widespread awareness of the orchestra as a central institution in European life.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Arnold Schoenberg was a polarizing figure in twentieth century music, and his works and ideas have had considerable and lasting impact on Western musical life. A refugee from Nazi Europe, he spent an important part of his creative life in the United States (1933-1951), where he produced a rich variety of works and distinguished himself as an influential teacher. However, while his European career has received much scholarly attention, surprisingly little has been written about the genesis and context of his works composed in America, his interactions with Americans and other ?migr?s, and the substantial, complex, and fascinating performance and reception history of his music in this country. Author Sabine Feisst illuminates Schoenberg's legacy and sheds a corrective light on a variety of myths about his sojourn. Looking at the first American performances of his works and the dissemination of his ideas among American composers in the 1910s, 1920s and early 1930s, she convincingly debunks the myths surrounding Schoenberg's alleged isolation in the US. Whereas most previous accounts of his time in the US have portrayed him as unwilling to adapt to American culture, this book presents a more nuanced picture, revealing a Schoenberg who came to terms with his various national identities in his life and work. Feisst dispels lingering negative impressions about Schoenberg's teaching style by focusing on his methods themselves as well as on his powerful influence on such well-known students as John Cage, Lou Harrison, and Dika Newlin. Schoenberg's influence is not limited to those who followed immediately in his footsteps-a wide range of composers, from Stravinsky adherents to experimentalists to jazz and film composers, were equally indebted to Schoenberg, as were key figures in music theory like Milton Babbitt and David Lewin. In sum, ＜em＞Schoenberg's New World＜/em＞ contributes to a new understanding of one of the most important pioneers of musical modernism.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Arnold Schoenberg was a polarizing figure in twentieth century music, and his works and ideas have had considerable and lasting impact on Western musical life. A refugee from Nazi Europe, he spent an important part of his creative life in the United States (1933-1951), where he produced a rich variety of works and distinguished himself as an influential teacher. However, while his European career has received much scholarly attention, surprisingly little has been written about the genesis and context of his works composed in America, his interactions with Americans and other ?migr?s, and the substantial, complex, and fascinating performance and reception history of his music in this country. Author Sabine Feisst illuminates Schoenberg's legacy and sheds a corrective light on a variety of myths about his sojourn. Looking at the first American performances of his works and the dissemination of his ideas among American composers in the 1910s, 1920s and early 1930s, she convincingly debunks the myths surrounding Schoenberg's alleged isolation in the US. Whereas most previous accounts of his time in the US have portrayed him as unwilling to adapt to American culture, this book presents a more nuanced picture, revealing a Schoenberg who came to terms with his various national identities in his life and work. Feisst dispels lingering negative impressions about Schoenberg's teaching style by focusing on his methods themselves as well as on his powerful influence on such well-known students as John Cage, Lou Harrison, and Dika Newlin. Schoenberg's influence is not limited to those who followed immediately in his footsteps-a wide range of composers, from Stravinsky adherents to experimentalists to jazz and film composers, were equally indebted to Schoenberg, as were key figures in music theory like Milton Babbitt and David Lewin. In sum, ＜em＞Schoenberg's New World＜/em＞ contributes to a new understanding of one of the most important pioneers of musical modernism.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。