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The Piano
The Encyclopedia of the Piano was selected in its first edition as a Choice Outstanding Book and remains a fascinating and unparalleled reference work. The instrument has been at the center of music history with even composers of large symphonic work asserting that they do not write anything without sketching it out first on a piano; its limitations and expressive capacity have done much to shape the contours of the western musical idiom. Within the scope of this user-friendly guide is everything from the acoustics and construction of the piano to the history of the companies that have built them. The piano-lover might also be surprised to find an entry for Thomas Jefferson, and will no doubt read intently the passages about the changing history of the piano's place in the home. Uniformly well-written and authoritative, this guide will channel anyone's love for the instrument, through social, intellectual, art history and beyond into the electronic age.
The Storm of Creativity
The stages of the creative process—from “unlearning” to beginning again—seen through examples from the practice of artists, architects, poets, and others. Although each instance of creativity is singular and specific, Kyna Leski tells us, the creative process is universal. Artists, architects, poets, inventors, scientists, and others all navigate the same stages of the process in order to discover something that does not yet exist. All of us must work our way through the empty page, the blank screen, writer's block, confusion, chaos, and doubt. In this book, Leski draws from her observations and experiences as a teacher, student, maker, writer, and architect to describe the workings ...
'To fill, forbear, or adorne'
This is the first study to provide a systematic and thorough investigation of continuo realization styles appropriate to Restoration sacred music, an area of performance practice that has never previously been properly assessed. Rebecca Herissone undertakes detailed analysis of a group of organ books closely associated with the major Restoration composers Purcell, Blow and Humfrey, and the London institutions where they spent their professional lives. By investigating the relationship between the organ books' two-stave arrangements and full scores of the same pieces, Herissone demonstrates that the books are subtle sources of information to the accompanist, not just short or skeleton scores. Using this evidence, she formulates a model for continuo realization of this repertory based on the doubling of vocal parts, an approach that differs significantly from that adopted by most modern editors, and which throws into question much of the accepted continuo practice in modern performance of this repertory.
Music in the French Royal Academy of Sciences
This book describes a colorful period in French social and cultural history, during which music and science combined to provide the intellectual and aesthetic spirit of the Age of Enlightenment with an enormous vitality. Investigating the place assigned to music in France's preeminent scientific institution, the Paris Academy, the author shows the role played by the scientific movement in the evolution of musical thought prior to the Revolution. Originally published in 1982. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
The Theologian's Craft
What is it to "do theology"? Numerous conflicting and inadequate answers (e. g., Bultmannian existentialism, the post Bultmannian "New Hermeneutic") hold the field today these have in common a basic misunderstanding as to the relation of theological theologizing to theory construction in other fields of knowledge, and a fundamental misconception in regard to the proper way of confirming or disconfirming theological judgments. In this essay, a detailed comparison between scientific and theological methodologies is set forth, and the artistic and sacred dimensions of theological theorizing are explicated by way of an original structural model suggested by Wittgensteinian philosophical and linguistic analysis.
A History of Stringed Keyboard Instruments
The first comprehensive technical and historical study of stringed keyboard instruments from their fourteenth-century origins to modern times.
The Suicide of Christian Theology
A forceful, scholarly call to return to the solid ground of the ancient creeds of Christianity. Dr. Montgomery's incisive observations on Barth, Bultmann, Tillich, de Chardin, Pike and others may rankle some readers on occasion. But there can never be any question about the mental acumen he brings to bear upon his subject or the skill with which he pens his views. Montgomery is so obviously at home in the area of the theological, and so conversant with the convictions of his fellow theologians that he certainly must be reckoned with. Not content with only analyzing the suicide of theology, the author also gives a proposal for its resurrection.
Classical and Romantic Performing Practice 1750-1900
The past ten years have seen a rapidly growing interest in performing and recording Classical and Romantic music with period instruments; yet the relationship of composers' notation to performing practices during that period has received only sporadic attention from scholars, and many aspects of composers' intentions have remained uncertain. Brown here identifies areas in which musical notation conveyed rather different messages to the musicians for whom it was written than it does to modern performers, and seeks to look beyond the notation to understand how composers might have expected to hear their music realized in performance. There is ample evidence to demonstrate that, in many respects, the sound worlds in which Mozart, Beethoven, Wagner, and Brahms created their music were more radically different from ours than is generally assumed.
The Idea of Music in Victorian Fiction
The Idea of Music in Victorian Fiction seeks to address fundamental questions about the function, meaning and understanding of music in nineteenth-century culture and society, as mediated through works of fiction. The eleven essays here, written by musicologists and literary scholars, range over a wide selection of works by both canonical writers such as Austen, Benson, Carlyle, Collins, Gaskell, Gissing, Eliot, Hardy, du Maurier and Wilde, and less-well-known figures such as Gertrude Hudson and Elizabeth Sara Sheppard. Each essay explores different strategies for interpreting the idea of music in the Victorian novel. Some focus on the degree to which scenes involving music illuminate what m...
