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Music of the Twentieth Century
Ton de Leeuw was a truly groundbreaking composer. As evidenced by his pioneering study of compositional methods that melded Eastern traditional music with Western musical theory, he had a profound understanding of the complex and often divisive history of twentieth-century music. Now his renowned chronicle Music of the Twentieth Century is offered here in a newly revised English-language edition. Music of the Twentieth Century goes beyond a historical survey with its lucid and impassioned discussion of the elements, structures, compositional principles, and terminologies of twentieth-century music. De Leeuw draws on his experience as a composer, teacher, and music scholar of non-European music traditions, including Indian, Indonesian, and Japanese music, to examine how musical innovations that developed during the twentieth century transformed musical theory, composition, and scholarly thought around the globe.
Ferruccio Busoni and the Ontology of the Musical Work
Ferruccio Busoni's conception of the musical work derives from his multiple roles as performer, aesthetician, editor, composer, arranger, and intellectual. Drawing on unpublished scores, manuscripts, sketches and documents from the Staatsbibliothek in Berlin, concert programs from a private collection in Berkeley, acoustic recordings, information about Busoni's intellectual interests gleaned from an auction catalogue featuring the contents of his extensive library, and the published aesthetic writings, letters, and compositions, the present study offers the first comprehensive account of Busoni's work concept. By establishing connections between his ideas and his musical practice, it explores and clarifies the reasoning behind his idiosyncratic compositional style, a style characterized by a blurring of boundaries between original and borrowed material. Polystylistic mixtures of the old and new and a distinctive performance style, in which Busoni creatively altered and embellished existing texts, exemplify his practice in an age in thrall to Werktreue, when originality of idea was prized above all else.
Albanian Traditional Music
For most musicians and musicologists in the West, traditional Albanian music remains an obscure subject, even though Albania has produced a monumental cultural and corresponding musical heritage. This book examines the distinct musical culture of southeastern Europe, both monophonic and polyphonic, by delineating its four main musical dialects: Gheg, Tosk, Lab and Urban. The origins, fundamental features, musical styles and genres of the four dialects are discussed. Additional topics covered include an historical and demographic analysis of Albania, the history of Albanian ethnomusicology and the various classifications in Albanian music. Relying heavily on field research and recordings, this text introduces traditional Albanian music to both ethnomusicologists and curious readers.
The Mediterranean in Music
Politically and historically, the Mediterranean has been a space for critical dialogue for competing and often antagonistic voices, and still functions as meeting place for diverse and interdisciplinary approaches. Although other academic disciplines have attempted a unified approach to Mediterranean studies, until recently Mediterranean music as a singular concept has received relatively little scholarly development. This volume is a crucial first step and investigates several musical cultures that have traditionally demonstrated common threads, trends, and interactions. The music of Greece, Crete, Turkey, Albania, Corsica, Italy, Spain, Morocco, Algeria and Palestine are all considered in this volume as the scholars represented here reveal the musical commonality among otherwise divergent traditions. Unnecessary technical jargon is avoided, and an interdisciplinary approach embracing ethnology and material culture considerations makes this volume relevant not only to musicologists and anthropologists, but likewise to the general reader interested in tourism.
Athene
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The Wellsprings of Music
Typical mild "Sachsonian" humor and illustrated with a wealth of examples and evidence. I doubt whether any other of us ethnomusicologists would have been capable of writing such a comprehensive study: S~chs had at his fingertips a phenomenal amount of factual information. Sometimes, under his wise guidance, complicated propositions become surprisingly simple. The reader will be as fascinated as I was by the originality of some of his conelusions, captivated by his penetrating com parisons, and charmed by his rich and expressive language. After having lived with this book for aperiod of some months, I realize a1l themore what the death of Curt Sachs means to the musicological world. "The Wel...
Yugoslav Folk Music
This four-volume work is the most substantial and thorough analysis of Yugoslav folk music ever to be published in the English language. In addition to the editorially corrected reprint of the seventy-five Parry Collection transcriptions, first published in 1951, are the 3,449 facsimile reproductions from Bartók's collection of published and unpublished Yugoslav folk song materials. There are, too, instrumental transcriptions from the Parry collection and other sources, hitherto unpublished, and the prodigious Tabulation of Material, amassed from the data inherent in the source melodies, which appears in Vol. II also in facsimile form. Of equal importance is the reprint in Vol. I of the aut...
