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Music --- History and criticism --- 20th century --- Encyclopedias --- Music - History and criticism --- Muziekanalyses --- Geschiedenis --- 911 --- Muziekencyclopedieën

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In this history of the hautboy, the oboe of the Baroque period, Haynes examines in detail the hautboy's structure, its players, makers, and composers, issues of performing style and period techniques, how and where the instrument was played, and who listened to it.

518 --- Organologie --- Oboe --- Woodwind instruments --- English horn --- Oboe d'amore --- History --- 78.45.3 --- Music History & Criticism, Instrumental --- Music --- Music, Dance, Drama & Film --- Hobo --- Barok

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Offering students and performers a concise overview of historical performance, this 1999 book takes into account the many significant developments in the discipline. It addresses practical matters rather than philosophical issues and guides readers towards further investigation and interpretation of the evidence provided, not only in the various early instrumental and vocal treatises, but also in examples from the mainstream repertory. Designed as a parent volume for the series Cambridge Handbooks to the Historical Performance of Music, this book provides an historical basis for artistic decision-making which has as its goal the re-creation of performances as close as possible to the composer's original conception. It relates many of the issues discussed to major works by Bach, Mozart, Berlioz and Brahms, composed c.1700-c.1900, the core period which forms the principal (though not exclusive) focus for the whole series.

Performance practice (Music) --- Pratique de l'exécution (Musique) --- History --- Histoire --- Performance practice (Music). --- Performance practice (Music) - 19th century. --- Music --- Music, Dance, Drama & Film --- Music History & Criticism, Instrumental --- Pratique de l'exécution (Musique) --- 18th century --- 19th century --- 78.53 --- Performance practice (Music) - History - 18th century. --- Performance practice (Music) - History - 19th century. --- Groot-Brittannië --- 20e eeuw --- Uitvoeringspraktijk

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Music and Revolution provides a dynamic introduction to the most prominent artists and musical styles that have emerged in Cuba since 1959 and to the policies that have shaped artistic life. Robin D. Moore gives readers a chronological overview of the first decades after the Cuban Revolution, documenting the many ways performance has changed and emphasizing the close links between political and cultural activity. Offering a wealth of fascinating details about music and the milieu that engendered it, the author traces the development of dance styles, nueva trova, folkloric drumming, religious traditions, and other forms. He describes how the fall of the Soviet Union has affected Cuba in material, ideological, and musical terms and considers the effect of tense international relations on culture. Most importantly, Music and Revolution chronicles how the arts have become a point of negotiation between individuals, with their unique backgrounds and interests, and official organizations. It uses music to explore how Cubans have responded to the priorities of the revolution and have created spaces for their individual concerns. Copub: Center for Black Music Research

Music --- Socialism and music. --- Music and socialism --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- Political aspects --- History and criticism. --- Cuba --- 20th century --- History and criticism --- Socialism and music --- Muziekgeschiedenis --- Politiek --- 20e eeuw --- 20th century. --- african diaspora. --- art and music. --- black music. --- cuba. --- cuban history. --- cuban revolution. --- cubans. --- cultural historians. --- cultural history. --- dance styles. --- ethnomusicologists. --- ethnomusicology. --- folklore. --- international relations. --- latin american studies. --- music and culture. --- music and politics. --- music historians. --- music history. --- musical styles. --- musicians. --- political history. --- political revolution. --- religious traditions. --- socialism. --- soviet union.

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À travers une activité critique qui a commencé en 1937 dans la revue Modem Music, et qui fut consacrée quasi exclusivement à la musique contemporaine, Elliott Carter n'a cessé de réfléchir aux questions fondamentales de la composition et de l'esthétique musicales. Par ses appréciations sur les œuvres entendues en création, ses hommages à des compositeurs comme Stravinsky, Varèse, Ives ou Wolpe, qu'il a bien connus, et ses essais sur le rythme et le temps musical, Carter se situe de façon originale par rapport aux différents mouvements de la musique moderne : les avant-gardes américaine et européenne de la première partie du siècle, le néo-classicisme et le populisme américain des années vingt à quarante, les musiques sérielles et aléatoires de l'après-guerre. Cette traversée de l'histoire est aussi une tentative de définir sa propre position en tant que compositeur américain; au-delà de la « couleur locale », il cherche à penser la tradition américaine en relation avec les mouvements novateurs européens, critiquant au passage le conservatisme institutionnel de son pays. Les écrits d'Elliott Carter éclairent par ailleurs une démarche créatrice d'une richesse et d'une profondeur exceptionnelles, déployée sur plus de cinquante ans. Ce choix d'écrits paraît à l'occasion de son quatre-vingt-dixième anniversaire, en signe d'hommage et de reconnaissance.

Music --- Musique --- History and criticism. --- Histoire et critique --- History and criticism --- Carter, Elliott --- Addresses, essays, lectures --- Philosophy and aesthetics --- 20th century --- histoire --- théorie musicale --- XXème siècle --- musique --- essai --- Muziekwetenschappen --- Muziekvormen --- 19e eeuw --- 20e eeuw --- Analyses