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A thorough overview and history of chamber music
Concert Music of the Twentieth Century is about "concert music"--music for contemplation rather than for atmosphere. The repertoire discussed in these pages was written by composers with something important to say and with skills to do so. Many of the works discussed tie in with a long-standing, Western European tradition of art music, but an equal voice is given to culturally and ethnically diverse composers active during the past several decades. Radice provides data about the pieces, the composers who wrote them, and the contexts in which they originated. Our understanding and evaluation of music is a dynamic process and one that is subject to change. Music only has meaning within its soc...
The displacement of Chou Wen-chung from his native China in 1948 forced him into Western-European culture. Ultimately finding his vocation as a composer, he familiarized himself with classical and contemporary techniques but interpreted these through his traditionally oriented Chinese cultural perspective. The result has been the composition of a unique body of repertoire that synthesizes the most progressive Western compositional idioms with an astonishingly traditional heritage of Asian approaches, not only from music, but also from calligraphy, landscape painting, poetry, and more. Chou’s importance rests not only in his compositions, but also in his widespread influence through his extensive teaching career at Columbia University, where his many students included Bright Sheng, Zhou Long, Tan Dun, Chen Yi, Joan Tower, and many more. During his tenure at Columbia, he also founded the U.S.-China Arts Exchange, which continues to this day to be a vital stimulus for multicultural interaction. The volume will include an inventory of the Chou collection in the Paul Sacher Stiftung in Basel, Switzerland.
"This Handbook, thoroughly Revised and Enlarged by Mark A. Radice from its Classic Predecessors by Demar Irvine, has been designed primarily as a guide for students writing papers or theses on musical subjects - but it is useful for anyone writing for publication about music. As well as dealing with the requirements of scholarly writing, from citation and documentation to the mechanics of punctuation and abbreviation, it also addresses the specific circumstances that arise in writing about music, such as the use of musical examples to supplement prose text. Above all, it is a sensible guide to good writing, presenting concrete suggestions for more effective communication of ideas."--Publisher's description.
Opera is the only guide to the research writings on all aspects of opera. This second edition presents 2,833 titles--over 2,000 more than the first edition--of books, parts of books, articles and dissertations with full bibliographic descriptions and critical annotations. Users will find the core literature on the operas of 320 individual composers and details of operatic life in 43 countries. All relevant works through to November 1999 have been considered, covering more than fifteen years of literature since the first edition was published.
For this vast array of information in these studies, Dr. Radice, Curator of the Karel Husa Archive and Gallery at Ithaca College School of Music, P. rofessor of Music History at Ithaca, has provided cohesion in his opening essay, in which he offers full biographical dat in addition to discussions of everything that Karel has written to date; he has also included selected, edited, and translated correspondence dating back into the 1940s with extensive annotations about personalities and compositions.
These essays by respected scholars examine representative operatic productions from diverse national schools and periods, together forming a comprehensive history of the staging techniques of opera over the centuries.
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