An Introduction to Music Studies (CUP) by J. P. E. Harper-Scott, Jim Samson

By J. P. E. Harper-Scott, Jim Samson

Why research track? How a lot functional use is it within the glossy international? This advent proves how learning tune is of significant worth either in its personal phrases and in addition within the post-university careers market. The publication explains the fundamental suggestions and concerns considering the educational learn of song, attracts awareness to very important connections around the box and encourages serious considering over a vast diversity of music-related concerns. • Covers all major facets of track reports, together with subject matters reminiscent of composition, opera, well known track, and tune thought • presents an intensive evaluate of a highly different topic, from the heritage of early song to careers in song know-how, giving a head-start at the parts to be lined on a tune measure • New to 'neume'? desire a reminder approximately 'ripping'? - glossaries provide transparent definitions of key musical phrases • Chapters are rigorously based and arranged allowing effortless and speedy position of the data wanted

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Return to the tension between these 2. In the mid-nineteenth century, K. A. 4 some of the generation. This became the conventional view, competing periodizations of Classical confirmed by the stylistic history of Guido Adler in the and Romantic music. Note, by the way, early twentieth century. The Romantic Age, then, the congruence with key dates in the began around 1830 and extended through to the political history of the “long ninemodernism of the late nineteenth and early twentieth teenth century,” inaugurated by the centuries.

A concept that is defined by processes of selection and negation, but also by processes of standardization. In common usage it can refer to something larger than a tradition (the classical style, for example) or to something smaller than a work (the style of the middle section, for example). Literally, “new art,” but used to refer to changes in musical style and syntax around the beginning of the fourteenth century, especially in France. It is often used as a blanket term to describe French music of the fourteenth century.

And so, in different ways, did twentieth-century historians such as Ernst Bu¨cken and Georg Knepler, both of whom were symptomatic of the swerve towards context, though interestingly they approached their social history from very different political perspectives (of the right and left, respectively; note the dates of their books, and the fact that Knepler was working in Communist East Germany (Bu¨cken 1937; Knepler 1961)). What I am suggesting here is that the histories tell you a great deal about their authors, and, more widely, about the time and place in which they were written.

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