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The Boy Who Felt Too Much
An International Bestseller, the Story behind Henry Markram’s Breakthrough Theory about Autism, and How a Family’s Unconditional Love Led to a Scientific Paradigm Shift Henry Markram is the Elon Musk of neuroscience, the man behind the billion-dollar Blue Brain Project to build a supercomputer model of the brain. He has set the goal of decoding all disturbances of the mind within a generation. This quest is personal for him. The driving force behind his grand ambition has been his son Kai, who has autism. Raising Kai made Henry Markram question all that he thought he knew about neuroscience, and then inspired his groundbreaking research that would upend the conventional wisdom about auti...
Richard Wagner
Acknowledgements To Users of this Research Guide I. Introduction II. Introducing Wagner: Compendia and Other Survey Studies III. Researching Wagner: Reference Works of Various Kinds IV. The Documentary Legacy V. Wagner's Life and Character VI. Wagner as Composer: Studies in Techniques, Styles, and Influences VII. Wagner as Music-Dramatist VIII. Wagner as Instrumental and Vocal Composer and Arranger IX. Performing Wagner X. Wagner as Poet, Prose Writer, and Philosopher XI. Criticizing Wagner XII. Wagner and Culture, Past and Present XIII. After Wagner: Bayreuth, the Festivals, and Wagner's Descendents Index
Wagner and Beethoven
This book analyzes the lifelong impact of Beethoven's music on Wagner and its importance for his conception of music drama. Kropfinger charts and scrutinizes Wagner's early responses to the composer and considers his experience as a conductor of Beethoven's music. A discussion of the Romantic "Beethoven image" leads to a careful study of Wagner's aesthetic writings, including his "programmatic explanations," the text "Concerning Franz Liszt's symphonic poems," and his Beethoven centenary essay. The penultimate chapter addresses Wagner's theory and practice of music drama, which he came to regard as the preordained successor to the Beethoven symphony. By analyzing special terms--such as "Leitmotiv"--Wagner's structural view of musical drama comes to the fore; it is a view that deepens not only our understanding of musical drama as a "hybrid" genre of art but also of purely musical structure and forms that Wagner sought to outdo.
Analyzing Wagner's Operas
An examination of work by the German music theorist, Alfred Lorenz, to explain Wagner's operas and how they fit with German nationalist ideology.
NBS Technical Note
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Heinrich Schenker
Originally published in 1966, the Reeseschrift remains one of the most significant collections of musicological writings ever assembled. Its fifty-six essays, written by some of the greatest scholars of our time, range chronologically from antiquity to the 17thcentury and geographically from Byzantium to the British Isles. They deal with questions of history, style, form, texture, notation, and performance practice.
Lorenz Ratios of Technically Important Metals and Alloys
A comprehensive review and compilation of the world literature on Lorenz ratio of technically important metals and alloys is presented. Lorenz ratio, electrical resistivity, thermal conductivity, and characterization data are compiled in tabular form and the Lorenz ratio data are presented in graphical form as well. Data are included here only if the research reported both thermal conductivity and electrical resistivity of the specimens. No attempt has been made to smooth data to present recommended values.
Wagner's Das Rheingold
Richard Wagner's opera Das Rheingold is a milestone in the composer's output and in the history of music in general. It marked Wagner's return to operatic composition after a hiatus of five years, and signified his definitive break with earlier operatic conventions. It also represents a reconsideration of the whole question of dramatic-musical form, and the role of tonality in articulating this form. Warren Darcy traces here the genesis of Das Rheingold through the various textual and musical sketches and drafts to the full score, and also develops a theoretical framework within which the opera may be meaningfully analysed. Using Wagner's manuscripts as a point of departure, Darcy discusses the formal, harmonic, and linear structure of the work. In so doing, he challenges a number of contemporary views about the opera, including those of Curt von Westernhagen and Carl Dahlhaus.
