Download An Introduction to Music Studies (CUP) by J. P. E. Harper-Scott, Jim Samson PDF

By J. P. E. Harper-Scott, Jim Samson

Why examine song? How a lot sensible use is it within the smooth international? This advent proves how learning track is of serious price either in its personal phrases and in addition within the post-university careers market. The e-book explains the fundamental innovations and concerns considering the tutorial research of track, attracts cognizance to important connections around the box and encourages serious pondering over a large variety of music-related matters. • Covers all major features of song reviews, together with themes similar to composition, opera, well known tune, and track thought • offers a radical evaluation of a highly varied topic, from the background of early tune to careers in song expertise, giving a head-start at the parts to be coated on a tune measure • New to 'neume'? want a reminder approximately 'ripping'? - glossaries provide transparent definitions of key musical phrases • Chapters are rigorously based and arranged allowing effortless and speedy position of the knowledge wanted

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23 24 jim samson Taruskin, Richard (1984), “Some thoughts on the history and historiography of Russian music,” The Journal of Musicology, 3/4, 321–9. Treitler, Leo (1992), “The ‘unwritten’ and ‘written transmission’ of medieval chant and the start-up of musical notation,” Journal of the American Musicological Society 10/2, 131–91. Tyrrell, John (1988), Czech Opera (Cambridge and New York: Cambridge University Press). Wiora, Walter (1957), Europa¨ische Volksmusik und abendla¨ndische Tonkunst (Kassel: J.

A collection of historical essays, whose larger point is that traditions are created retrospectively and are really about the exercise of political power. Morgan, Robert P. (1991), Twentieth-Century Music: A History of Musical Style in Modern Europe and America (New York: Norton). A useful overview of the stylistic history of twentieth-century music. ’” Notes, xlvii, 305–30. A challenging essay on the nature of historical writing about Renaissance music, especially good on the changing status of the composer.

If you go along with that, you will perhaps agree that performers can make an essential claim on our reading of music history (see chapter 13). My third lacuna returns us to an earlier point about geography. Music histories have tended on the whole to concentrate their discussion in just a handful of locations, most obviously in Italy, Germany, and France. A reasonable question then might be how to give a voice to those regions that have been represented as peripheral, if only by omission. You can, of course, choose your own periphery.

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