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After the Rite
The riot that erupted during the 1913 debut of Igor Stravinsky's The Rite of Spring at the Théâtre des Champs-Élysées in Paris has long been one of the most infamous and intriguing events of modern musical history. The third in a series of works commissioned for Sergei Diaghalev's famed Ballets Russes, the piece combined disjunct tonalities, provocative rhythms, and radical choreography that threw spectators and critics into a literal fury. In the century following its premiere, The Rite of Spring has demonstrated its earth-shattering impact on music and dance as well as its immortalizing effect on Stravinsky and his career. Having gained international attention by the age of 30, what di...
Sight Singing Complete
Students of music are faced with the challenge of developing their aural skills to the point at which they can see music on the page with thoughtful, trained eyes and hear it with their mind’s ear. Sight Singing Complete, leads students to this point by beginning with the familiar and moving gently toward the unfamiliar until they are transforming symbol into sound and improvising in all idioms. The 8th edition of Sight Singing Complete preserves the multi-faced pedagogical approach and the commitment to historical repertoire from the seventh edition. New to this edition is an integrated approach to rhythm and performance — This edition is unusual in that we not only expect student to master each skill by itself, we also expect them to integrate all three skills in carefully designed sequence of “Play + Sing” exercises adapted from 18th – 21st century instrumental and vocal repertoire.
The Rite of Spring at 100
When Igor Stravinsky's ballet Le Sacre du printemps (The Rite of Spring) premiered during the 1913 Paris season of Sergei Diaghilev's Ballets Russes, its avant-garde music and jarring choreography scandalized audiences. Today it is considered one of the most influential musical works of the twentieth century. In this volume, the ballet finally receives the full critical attention it deserves, as distinguished music and dance scholars discuss the meaning of the work and its far-reaching influence on world music, performance, and culture. Essays explore four key facets of the ballet: its choreography and movement; the cultural and historical contexts of its performance and reception in France; its structure and use of innovative rhythmic and tonal features; and the reception of the work in Russian music history and theory.
Beginning Criminal Law
Whether you’re new to higher education, coming to legal study for the first time or just wondering what Criminal Law is all about, Beginning Criminal Law is the ideal introduction to help you hit the ground running. Starting with the basics and an overview of each topic, it will help you come to terms with the structure, themes and issues of the subject so that you can begin your Criminal Law module with confidence. Adopting a clear and simple approach with legal vocabulary explained in a detailed glossary, Claudia Carr and Maureen Johnson break the subject of criminal law down using practical everyday examples to make it understandable for anyone, whatever their background. Diagrams and flowcharts simplify complex issues, important cases are identified and explained and on-the- spot questions help you recognise potential issues or debates within the law so that you can contribute in classes with confidence. Beginning Criminal Law is an ideal first introduction to the subject for LLB, GDL or ILEX and especially international students, those enrolled on distance learning courses or on other degree programmes.
Multiple Masks
In Multiple Masks, Maureen A. Carr studies Igor Stravinsky's creative process for Oedipus Rex, Apollo, Persäphone, and Orpheus through his musical sketches and other documents?scenarios, librettos, correspondence, reviews, and philosophical commentaries, as well as previously uncited sources for Stravinsky's book Poetics of Music. A clear explanation of Stravinsky's compositional techniques within a broad cultural context emerges for each of these four significant works. Carr concludes that Stravinsky used Greek myths as filters for certain poetic ideas and musical techniques that he developed in his earlier works. At the same time the mythological story lines provided him with the objective stance that he was seeking in these neoclassical works.
Theory and Practice
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Fibres
'We were two weans playing at wee hooses... Now we're both paying the price.' Jack is proud of his work at the Clyde shipyards. His wife, Beanie, who is nursing him through asbestosis, thinks he's a fool. But the real test of their marriage comes when they discover that the dusty overalls Jack brought home for Beanie to wash have poisoned her too. Meanwhile their daughter, Lucy, is struggling; will she be held back by her parents' experience, or will she have the courage to allow romance to blossom with Pete? Frances Poet's play Fibres is a big-hearted, hilarious drama about what it means to entwine our lives with another. A story told by four resilient, witty Glaswegian characters, the play asks can we ever cut the cords that bind us - and who will catch us if we do? The play toured Scotland in 2019, in a co-production between Stellar Quines Theatre Company and the Citizens Theatre, Glasgow.
Music Sketches
This introduction provides students and scholars with the information and skills they need when studying composers' sketches.
Locker Room Talk
Locker Room Talk is a provocative piece of event theatre. Inspired by Donald Trump’s leaked sexually aggressive comments, the show is a confronting exploration of the phenomenon the then presidential candidate later dismissed as ‘locker room banter’. But can this be true? Is this simply a loathsome individual or one who speaks to a silent majority? Gary McNair wants to think we are better than this, and is having honest conversations with men about women to see if he is right or wrong. The words of these men are performed by a cast of women in this verbatim piece.
Modernist Mysteries: Persephone
Here, Levitz demonstrates how a group of collaboratoring artists - Igor Stravinsky, Ida Rubenstein, Jacques Copeau, André Gide and others - used the myth of Perséphone to perform and articulate their most deeply held beliefs about four topics significant to modernism: religion, sexuality, death, and historical memory in art.
