The volume presents facsimiles of sources used in Castel Tirolo, which was the historical seat of the counts of Tirolo and gave the region its name. Discussions of historical and musicological issues are also included.
Tag Archives: New series
Noting that the musical revolutions of Debussy, Stravinsky, and Schoenberg are over a century old, and that the experimentalism of the 1950s belongs to a bygone era, the authors assess the current new music scene and demonstrate how audiences have changed in recent years.
The series Studien, Beiträge und Materialien zur Leschetizky-Forschung was launched by Musikverlag Burkhard Muth in 2011 with Theodor Leschetizky by Annette Hullah, in a German translation from the original English (London: J. Lane, 1906).
This volume is particularly suitable as the beginning of the series, since—in addition to presenting a contemporaneous, authentic text—it provides an ideal introduction for those who know little or nothing about the pianist, composer, and teacher.
The first two chapters are devoted to Leschetizky’s biography; the remaining chapters explore his approach to teaching. Information on newly published editions of his piano works is also included.
Below, Leschetizky plays one of his own compositions via piano roll.
In 2012 the Akademia Muzyczna im. Karola Lipińskiego in Wrocław launched the series Psalate synetos with Wybrane zagadnienia akompaniamentu liturgicznego (Selected problems of liturgical accompaniment, ISBN 978-83-86543-69-2), edited by Marta Kierska-Witczak. The series is dedicated to church music and is addressed to organ students and others who wish to widen their scope of knowledge and practical skills.
The first volume combines contemporary church music theory and practice. Its 16 essays are divided into two groups: Chorał gregoriański źródłem odniesień dla nowożytnej muzyki liturgicznej (Gregorian chant as a source of reference for modern liturgical music) and Historyczny, estetyczny oraz praktyczny wymiar akompaniamentu liturgicznego i liturgicznej improwizacji organowej (Historical, aesthetic, and practical aspects of liturgical accompaniment and liturgical organ improvisation). The table of contents is here.
In December 2011 the Laboratory of Greek Music at the Ionian University, Kerkyra (Corfu), launched the book series Ellinīkī Mousikologikī Vivliothīkī (Ελληνική Μουσικολογική Βιβλιοθήκη/Library of Greek Musicology) with a volume curated by Charīs Xanthoudakīs and Arīs Garoufalīs on the relationship between the great Greek conductor and composer Dīmītrīs Mītropoulos and the Odeio Athinōn.
Mītropoulos studied at the Odeio Athinōn from 1910 to 1919. Returning from a period of study in Berlin in 1925, he served as conductor first of the orchestra of the other Athens conservatory, Ellīniko Odeio, then from 1927 to 1937 for his alma mater, where he also taught composition. He also created a combined orchestra from the two schools in a Syllogo Synafliōn (Club Concert) that achieved considerable glory in its brief existence, featuring guest appearances by Richard Strauss and Alfred Cortot and a 1933 performance of the “constructivist” Zavod (Iron Foundry) by Aleksandr Mosolov.
The book, O Dīmītrīs Mītropoulos kai to Odeio Athinōn: To chroniko kai ta tekmīria (Dīmītrīs Mītropoulos and the Odeio Athinōn: Chronicle and archival materials, ISBN 978-960-86801-8-0), consists of two parts: a biography of Mītropoulos, and a collection of 85 reproduced documents from the Odeio’s archives illustrating the narrative of the first part, including meeting minutes, personal correspondence, and texts of speeches, together with excerpts from the most recent scholarly studies of Mītropoulos’s life and works before his emigration to the United States and international fame.
Below, Mītropoulos rehearses and performs Liszt’s Faust symphony with the New York Philharmonic.
Indiana University Press launched the series The symphonic repertoire in 2002, with volume 2. Subsequently production was stalled following the death of the founder of the series, A. Peter Brown; it was revived in 2012.
For Volume 1, The Eighteenth-Century Symphony, 22 of Brown’s former students and colleagues collaborated to complete the work that he began on this critical period of development in symphonic history. The book follows Brown’s outline, is organized by country, and focuses on major composers.
Contributors address issues of historiography, the status of research, and questions of attribution and stylistic traits, and provide background material on the musical context of composition and early performances. The volume features a CD of recordings from the Bloomington Early Music Festival Orchestra, highlighting the largely unavailable repertoire discussed in the book.
As one of the essential liberal arts in the Middle Ages, music was at the center of the era’s thought and culture. That is why the collection addresses the field of music as part of a wide and varied cultural history, often in interdisciplinary terms, offering a fresh look at the role of music in medieval society. The first volume in the series is The calligraphy of medieval music by John Haines.
Related article: Codici online
Libreria Musicale Italiana (LIM) launched the series Quaderni del Centro Studi in 2011 with La canzone napoletana: Le musiche e i loro contesti. Edited by Enrico Careri and Anita Pesce, the book comprises papers presented at the eponymous conference held from 4 through 5 June 2010 at the Casa Murolo-Palazzo Maddaloni, Naples.
In 2012 Editorial Estampa inaugurated its series Retalhos da música afro-luso-brasileira with Quejas, Tchufe e Lobo: Reis crioulos do samba, fado e morna dos anos 30 by Alveno Figueiredo e Silva.
The book is a tribute to the memory of Fernando Quejas, Pedro Alcântara de Freitas Silva Ramos (Tchufe), and Antoninho Lobo, popular singers who combined influences from Cape Verdean, Brazilian, and Portuguese cultures.
The inaugural volume, Embodying the feminine in the dances of the world’s religions by Angela M. Yarber, explores bharata nāṭyam, a classical Indian genre stemming from the devadāsī tradition; kabuki onnagata, Japanese male enactors of female-likeness; the Mevlevi Order of America, which allows women to train as whirling dervishes; and Gurit Kadman, who created folk dances for Jewish women and men.