2167 books for « music »Edit

‎Catalogue Bd Music 2009‎

‎BD Music 2008 25x10x1cm. 2008. CD.‎

‎L'article peut présenter des marques de stockage ou d'usure mais reste en très bon état. Expédié soigneusement dans un emballage adapté depuis la France‎

‎Jean Claude Marol quotes music lyrics Troubadours‎

‎V2 Music 1998 1998. Jean Claude Marol Quotes Music Lyrics Troubadours 1998 Tbe The description of this item has been automatically translated. If you have any questions please feel free to contact us. small 53-page hardcover book with superb color illustrations (Albin Michel / notebook of wisdom) In very good shape; no particular faults to report for France sending by Mondial Relay (with follow-up towards a relay point) or by letter followed; for Belgium sending in Mondial Relay; for other countries sending in economy up to 35 euros of purchases (beyond this will be the 'international colissimo' considerably more expensive); no sending for DOM TOM for France sending is always possible by Post colissimo but it's more expensive . see also in particular the headings' psychology. 'in my shop click on my pseudo perlenbook then on' visit the shop ' on the left there is a list of sections; in the case of multiple purchases the shipping costs increase little or not at all (except in the event of a change in shipping method); in this case click successively on 'immediate purchase' for all the desired works (or go through the 'basket'); and at the end I will send you the final invoice. Perlenbook company n ° Siret 49982801100010 RCS Lure Tgi 499828911 N ° GESTION 2007 A 111. small 53-page hardcover book with superb color illustrations (Albin Michel / notebook of wisdom) In very good shape; no particular faults to report for France sending by Mondial Relay (with follow-up towards a relay point) or by letter followed; for Belgium sending in Mondial Relay; for other countries sending in economy up to 35 euros of purchases (beyond this will be the 'international colissimo' considerably more expensive); no sending for DOM TOM for France sending is always possible by Post colissimo but it's more expensive . see also in particular the headings' psychology. 'in my shop click on my pseudo perlenbook then on' visit the shop ' on the left there is a list of sections; in the case of multiple purchases the shipping costs increase little or not at all (e. Sujet. Littérature classique‎

‎Très bon état‎

‎Aesthetic de La Music Contemporary‎

‎V2 Music 1954 1954. Antoine Goléa Aesthetic de La Music Contemporary 1954 The description of this item has been automatically translated. If you have any questions please feel free to contact us. 200-page paperback work at the Presses Universitaires de France; original edition in good condition for its age complete and solid interior tear-free and generally clean (note just traces of humidity at the top of the last pages); the edge is consolidated by transparent adhesive at the ends of the hinge but it remains a very correct article for its age. of course grouped shipping costs in case of multiple purchases. Perlenbook company n ° Siret 49982801100010. RCS Lure Tgi 499828911 N ° GESTION 2007 A 111. Created by eBay‎

‎Bon état‎

‎m Les Guides Music Book‎

‎V2 Music 2005 2005. Les Guides Music Book 2005‎

‎Museum of Renaissance Music. A History in 100 Exhibits‎

‎, Brepols - Harvey Miller, 2023 Paperback Pages: 532 pages,Size:230 x 280 mm, Illustrations:250 col., 6 musical examples, Language(s):English. ISBN 9782503588568.‎

‎ history of Renaissance music told through 100 artefacts, revealing their witness to the priorities and activities of people in the past as they addressed their world through music. SUBJECT(S) Renaissance Music (c. 1400-1600) Material culture Renaissance art history REVIEW(S) "Like a veritable pop-up book, The Museum of Renaissance Music surprises its readers with the multidimensional quality of its content. Presenting a hundred diverse objects organized in different themed rooms, Borghetti and Shephard?s volume offers readers the experience of walking through an imaginary museum where objects ?speak out? their complex web of allusion connecting texts, images and sounds. A veritable tour de force, this book brings history, art history, and musicology together to highlight the pervasive nature of music in Renaissance culture, and does so in a direct and effective manner that can be enjoyed by experts and amateurs alike." Martina Bagnoli, Gallerie Estensi, Modena "With imaginative verve, The Museum of Renaissance Music contributes to a current explosion of material studies whose cacophony remakes our understanding of the Renaissance via ?history by collage,? in this case understanding Renaissance musicking through the spatial affordances of the gallery with its multitude of ?rooms? (travels, psalters, domestic objects, instruments, and much more), rather than through the traditional edited collection. The results are mesmerizing, indispensable." Martha Feldman, University of Chicago "This imaginary museum of Renaissance music, through a collection of one hundred exhibits, returns a proper share of sonority to objects, images, artworks and spaces. A fascinating reference book, offering a transformative vision of music in Renaissance culture, from domestic space to the global dimension." Diane Bodart, Columbia University, New York "The high-quality reproductions together with the knowledgeable commentaries are a treat for the eyes and mind of the reader. An entirely new type of music history book, this wonderful volume will appeal to scholars, music lovers, and students alike." Melanie Wald-Fuhrmann, Max Planck Institute for Empirical Aesthetics, Frankfurt BIO Vincenzo Borghetti is Associate Professor of Music History at the University of Verona. He holds a doctorate in musicology from the University of Pavia-Cremona and in 2007?08 was a fellow of Villa I Tatti, The Harvard University Center for Renaissance Italian Studies in Florence. His research interests are centred on Renaissance polyphony and opera. His essays and articles have appeared in Early Music History, Acta musicologica, Journal of the Alamire Foundation, and Imago Musicae, among other journals, and in several edited collections. In 2019 he was elected to the Academia Europaea. Tim Shephard is Professor of Musicology at the University of Sheffield. He is the co-author of Music in the Art of Renaissance Italy (Harvey Miller, 2020), as well as numerous other books and essays on Italian musical culture in the fifteenth and sixteenth centuries. He currently leads the project ?Sounding the Bookshelf 1501: Musical Knowledge in a Year of Italian Printed Books?, funded by the Leverhulme Trust. SUMMARY This book collates 100 exhibits with accompanying essays as an imaginary museum dedicated to the musical cultures of Renaissance Europe, at home and in its global horizons. It is a history through artefacts?materials, tools, instruments, art objects, images, texts, and spaces?and their witness to the priorities and activities of people in the past as they addressed their world through music. The result is a history by collage, revealing overlapping musical practices and meanings?not only those of the elite, but reflecting the everyday cacophony of a diverse culture and its musics. Through the lens of its exhibits, this museum surveys music?s central role in culture and lived experience in fifteenth- and sixteenth-century Europe, offering interest and insights well beyond the strictly musicological field. TABLE OF CONTENTS ? I. The Room of Devotions Introduction (Matthew Laube) 1 Silence (Barbara Baert) 2 Virgin and Child with Angels (M. Jennifer Bloxam) 3 Madonna of Humility (Beth Williamson) 4 Virgin Annunciate (Marina Nordera) 5 The Prato "Haggadah" (Eleazar Gutwirth) 6 The Musicians of the Holy Church, Exempt from Tax (Geoffrey Baker) 7 A Devotional Song from Iceland ( rni Heimir Ing lfsson) 8 Alabaster Altarpiece (James Cook, Andrew Kirkman, Zuleika Murat, and Philip Weller) 9 The Mass of St Gregory (Bernadette Nelson) Psalters 10 Bernardino de Sahag n?s "Psalmodia christiana" (Lorenzo Candelaria) 11 The "??????????" of Abgar Dpir Tokhatetsi (Ortensia Giovannini) 12 A Printed Hymnal by Jacobus Finno (Sanna Raninen) 13 "The Whole Booke of Psalmes" (Jonathan Willis) ? II. The Room of Domestic Objects Introduction (Paul Schleuse) 14 Commonplace Book (Kate van Orden) 15 Knife (Flora Dennis) 16 Playing Cards (Katelijne Schiltz) 17 Cabinet of Curiosities (Franz K rndle) 18 Table (Katie Bank) 19 Statue (Laura Moretti) 20 Valance (Katherine Butler) 21 Painting (Camilla Cavicchi) 22 Fan (Flora Dennis) 23 Tapestry (Carla Zecher) Sensualities 24 Venus (Tim Shephard) 25 Sirens (Eugenio Refini) 26 Death and the Maiden (Katherine Butler) 27 Erotokritos Sings a Love Song to Aretousa (Alexandros Maria Hatzikiriakos) ? III. The Room of Books Introduction (Elisabeth Giselbrecht) 28 Chansonnier of Margaret of Austria (Vincenzo Borghetti) 29 The Constance Gradual (Marianne C.E. Gillion) 30 The Bible of Borso d?Este (Serenella Sessini) 31 The Jistebnice Cantionale (Lenka Hl vkov ) 32 The Saxilby Fragment (Lisa Colton and James Cook) 33 "Le Jardin de Plaisance et Fleur de Rh torique" (Jane H. M. Taylor) 34 "Hypnerotomachia Poliphili" (Massimo Privitera) 35 Embroidered Partbooks (Birgit Lodes) 36 "Grande Musicque" Typeface (Louisa Hunter-Bradley) 37 Coat of Arms of Matth us Lang von Wellenburg (Elisabeth Giselbrecht) 38 The Eton Choirbook (Magnus Williamson) 39 "Liber Quindecim Missarum" (Pawe? Gancarczyk) 40 "Les simulachres & histori es faces de la mort" (Katelijne Schiltz) Imagined Spaces 41 The Musical Staff (Jane Alden) 42 Deduit?s Garden (Sylvia Huot) 43 Arcadia (Giuseppe Gerbino) 44 Heaven (Laura ?tef?nescu) ? IV. The Room of Instruments Introduction (Emanuela Vai) 45 Lady Playing the Vihuela da Mano (David R. M. Irving) 46 Double Virginals (Moritz Kelber) 47 Horn from Allg u (Martin Kirnbauer) 48 Inventory after the Death of Madame Montcuyt (Emily Peppers) 49 Girl Playing the Virginals (Laura S. Ventura Nieto) 50 Vihuela (John Griffiths) 51 Bagpipes (John J. Thompson) 52 K s (Kate van Orden) ? V. The Room of Sacred Spaces Introduction (David Fiala) 53 The Basilica of the Santissima Annunziata, Florence (Giovanni Zanovello) 54 Hauptkirche Beatae Mariae Virginis, Wolfenb ttel (Inga Mai Groote) 55 A Sow Playing the Organ (Mattias Lundberg) 56 Ceiling with the Muses and Apollo (Tim Shephard) 57 St Katherine?s Convent Church, Augsburg (Barbara Eichner) 58 Misericord (Fr d ric Billiet) 59 The Chapel of King Sigismund, Wawel Cathedral, Krakow (Pawe? Gancarczyk) 60 The Bell Founder?s Window, York Minster (Lisa Colton) 61 Organ Shutters from the Cathedral of Ferrara (Sophia D?Addio) 62 The Cathedral of St James, ?ibenik (Ennio Stip?evi?) 63 The Funeral Monument of the Princess of boli (Iain Fenlon) ? VI. The Room of the Public Sphere Introduction (Robert L. Kendrick) 64 Street Music from Barcelona (Tess Knighton) 65 African Musicians at the King?s Fountain in Lisbon (Nuno de Mendon a Raimundo) 66 Songs for Hanukkah and Purim from Venice (Diana Matut) 67 A Tragedy from Ferrara (Laurie Stras) 68 A Bosnian Gravestone (Zdravko Bla?ekovi?) 69 Morris Dancers from Germany (Anne Daye) 70 A Princely Wedding in D sseldorf (Klaus Pietschmann) Cities 71 Mexico City ? Tenochtitlan (Javier Mar n-L pez) 72 Dijon (Gretchen Peters) 73 Milan (Daniele V. Filippi) 74 Munich (Alexander J. Fisher) Travels 75 The Travels of Pierre Belon du Mans (Carla Zecher) 76 Aflatun Charms the Wild Animals with the Music of the Arghanun (Jonathan Katz) 77 Granada in Georg Braun?s "Civitates Orbis Terrarum" (Ascensi n Mazuela-Anguita) 78 News from the Island of Japan (Kathryn Bosi) ? VII. The Room of Experts Introduction (Jessie Ann Owens) 79 Will of John Dunstaple, Esquire (Lisa Colton) 80 Portrait Medal of Ludwig Senfl (Birgit Lodes) 81 Zampolo dalla Viola Petitions Duke Ercole I d?Este (Bonnie J. Blackburn) 82 A Diagram from the Mubarak Shah Commentary (Jeffrey Levenberg) 83 Cardinal Bessarion?s Manuscript of Ancient Greek Music Theory (Eleonora Rocconi) 84 The Analogy of the Nude (Antonio Cascelli) 85 The Music Book of Martin Crusius (Inga Mai Groote) 86 The World on a Crab?s Back (Katelijne Schiltz) 87 Juan del Encina?s "Gasaj monos de huz a" (Emilio Ros-F bregas) 88 Josquin de Prez?s "Missa Philippus Rex Castilie" (Vincenzo Borghetti) 89 The Elite Singing Voice (Richard Wistreich) ? VIII. The Room of Revivals Introduction (David Yearsley) 90 Instruments of the Middle Ages and Renaissance (Martin Elste) 91 Dolmetsch?s Spinet (Jessica L. Wood) 92 Assassin?s Creed: Ezio Trilogy (Karen M. Cook) 93 "Christophorus Columbus: Para sos Perdidos" (Donald Greig) 94 A Palestrina Contrafactum ? Samantha Bassler 447 95 St Sepulchre Chapel, St Mary Magdalene, London (Ayla Lepine) 96 The Singing Fountain in Prague (Scott Lee Edwards) 97 Liebig Images of "Die Meistersinger von N rnberg" (Gundula Kreuzer) 98 Das Chorwerk (Pamela M. Potter) 99 "Ode to a Screw" (Vincenzo Borghetti) 100 Wax Figure of Anne Boleyn (Linda Phyllis Austern) Notes on Contributors 477 Bibliography 487‎

‎Music in the Art of Renaissance Italy, 1420?1540 Studies in Medieval and Early Renaissance Art History‎

‎, Brepols - Harvey Miller, 2020 Hardback IV+408 pages ., 227 colour ill., 220 x 280 mm. Languages: English. ISBN 9781912554027.‎

‎The first detailed survey of the representation of music in the art of Renaissance Italy, opening up new vistas within the social and culture history of Italian music and art in the fifteenth and early sixteenth centuries. Visual representations of music were ubiquitous in Renaissance Italy. Church interiors were enlivened by altarpieces representing biblical and heavenly musicians, placed in conjunction with the ritual song of the liturgy. The interior spaces of palaces and private houses, in which musical recreations were routine, were adorned with paintings depicting musical characters and myths of the ancient world, and with scenes of contemporary festivity in which music played a central role. Musical luminaries and dilettantes commissioned portraits symbolising their personal and social investment in musical expertise and skill. Such visual representations of music both reflected and sustained a musical culture. The strategies adopted by visual artists when depicting music in any guise betray period understandings of music shared by artists and their clients. At the same time, Renaissance Italians experienced music within a visual environment that prompted them to think about music in particular ways. This book offers the first detailed survey of the representation of music in the art of Renaissance Italy, and in the process opens up new vistas within the social and cultural history of Italian Renaissance music and art. The authors formed the team for the three-year project 'Music in the Art of Renaissance Italy, c.1420-1540' at the University of Sheffield, funded by The Leverhulme Trust. Tim Shephard is Senior Lecturer in Musicology at the University of Sheffield and a specialist in music, art and identity at the Italian Renaissance courts. Sanna Raninen is a musicologist interested in the visual and material culture of music in Renaissance Europe. Serenella Sessini is an art historian specialising in Italian domestic art. Laura Stefanescu is an art historian working on Italian Renaissance art from the perspective of sensory perception and religious experience. Table of Contents Preface 0. Introduction 1. Convergence 1.1 Sister Arts? 1.2 Corporeal and Spiritual Senses 1.3 Perspectiva, Harmony, and Beauty 1.4 Istoria, Ethics, and Imitation 1.5 Leonardo and the Paragone 2. Divine Harmonies 2.1 Angels as Musicians2.2 Heaven on Earth 2.3 Returning to Heaven2.4 Angels in the Home 2.5 David and Christ3. Classicisms3.1 Music Among the Liberal Arts3.2 Apollo and the Muses 3.3 Orpheus the Orator3.4 Marsyas and Midas3.5 Bacchus and the Art of Noise4. People 4.1 In the Garden of Venus4.2 Harmonious Marriage4.3 Singing Shepherds4.4 Musica Triumphans 4.5 Portraits 4.6 Ensembles Epilogue Bibliography Review The fruit of a sustained and cutting-edge interdisciplinary collaboration among musicologists and art historians, this book reopens unresolved issues regarding the relationship between music and the visual arts, from both sides. The authors astute analysis and ability to connect a vast array of materials and concepts." Giovanni Zanovello, Indiana University "This richly detailed, wide-ranging book provides a valuable and evocative account of the relationships between musical and visual cultures in Renaissance Italy." Flora Dennis, University of Sussex ‎

‎Italian Film Music, 1950s-1970s. Between Tradition, Innovation, and Internationalisation‎

‎, Brepols, 2023 Hardback, 454 pages, Size:210 x 270 mm, Illustrations:32 b/w, 48 musical examples, Language(s):English, Italian. ISBN 9782503608464.‎

‎Summary The music heard in Italian cinema along the arch of the three decades highlighted in this book, has not only made history but has become an unspoken of patrimony of humanity. This book provides a platform to build a lasting tribute to those composers who were, indeed, the ?sounding? protagonists of hundreds of films - from Fellini's La dolce vita to Tornatore's Cinema Paradiso to a myriad of cultural documentaries and productions made for cinema and television. The book is divided into three parts comprising essays on the music of Nino Rota, lesser-known composers yet important on the national circuit like Carpi, Gervasio, Vlad, and Chailly, and four essays dedicated to the towering figure of Ennio Morricone whose legacy will continue to hover over Italian cinema of the 50s-70s for many decades to come. An introductory essay, 17 chapters annotated and provided with musical examples, tables, and iconographic material written by internationally known academics specialised in Italian film music; bibliographies and abstracts following each essay; biographies of the contributing authors; and an index organized by names and subjects, make this volume an indispensable research tool free of geopolitical barriers and ideological constrains in the bourgeoning field of Film Music. TABLE OF CONTENTS Franco Sciannameo Preface Part One: One the Road with Nino Rota Giada Viviani Un viaggio audiovisivo lungo il Po. Mario Soldati e Nino Rota agli esordi della televisione Francesco Finocchiaro We Were the Leopards : Strategies of Adaptation from Tomasi di Lampedusa to Visconti & Rota Anna Igielska Visconti's Integration of Opera Excerpts: Towards a Comparative and International Perspective Pasquale Giaquinto 'Kremmerzian' Influence in Nino Rota's Music for the Cinema of Federico Fellini: 'Rosa Aurata' in Giulietta degli spiriti (1965) Franco Sciannameo Fellini's Melophobia, Rota and Prova d'orchestra Part Two: Homages, Considerations, New Horizons Franco Sciannameo L'Armata Brancaleone and the Musical that Never Was Antonio Ferrara La grottesca combinazione audiovisiva di un pastiche parodistico di danze: l'allestimento musicale di Sedotta e abbandonata Marida Rizzuti Film Music in the Concert Programs of the Orchestre Sinfoniche della RAI of Milan and Rome Oreste Palmiero Fiorenzo Carpi e il cinema (con un catalogo delle sue colonne sonore e un contributo biografico) Beatrice Birardi Comporre con spontaneit controllata : la musica per film secondo Raffaele Gervasio Anna Scalfaro Music for TV Dramas by Luciano Chailly Marco Cosci How Does the Italian Cultural Heritage Sound? The Case of Roman Vlad's Documentary Music Giacomo Albert Sound in Italian Experimental Cinema 1950s-1970s: Between Audiovisual Counterpoint, Deconstructions, Asynchronies, Remediations, and Collages Part Threee: Ennio Morricone beyond Absolute Music Hugh Maloney Film Music as Greek Chorus: Ennio Morricone and Il ritorno di Ringo Antonella Coppi - Stefano Cucci Unusual Linguistic and Syncretic Opposites in the Music of Ennio Morricone Alessandro Mastropietro Informal Film Music: Morricone, De Seta and Un uomo a met (1966) Maria Birbili Sam Fuller's and Ennio Morricone's White Dog: Auteur Cinema Meets the Civil Rights Movement Abstracts and Biographies Index of Names‎

‎MUSIC FOR THE DEAF II Rock Photography by Koen Keppens.‎

‎, [ander]-zijds, 2020 Paperback, , 310 x 235 mm, 176 pages, 230 illustrations. English / NL edition. ISBN 9789082808063.‎

‎Music For The Deaf II' is het 2e boek van concertfotograaf Koen Keppens. Zijn eerste boek 'Music For The Deaf' verscheen in 2010, nu exact 10 jaar geleden. KOEN KEPPENS ( 1967, Dendermonde) is behalve fotograaf, vooral muziekliefhebber Hij maakt al meer dan 30 jaar foto's van artiesten. In de zomer van 1996 is hij de eerste fotograaf van 'Go for music', een equipe die online en live verslag uitbrengt van Rock Werchter en Pukkelpop. Keppens ontwikkelt doorheen de jaren een zeer eigen stijl die pas echt op de radar komt met zijn boek 'Music For The Deaf' (2010). Het geprezen overzichtsboek van 20 jaar rockfotografie toont hoe anders en hoe uniek Keppens is. En hoe onterecht het is dat hij - bij ontstentenis van een opvallend medium - zolang over het hoofd is gezien. 'Keppens kan zich meten met de besten', schrijft het gezaghebbende Nederlandse muziekblad Oor. 'Het meeste heeft hij van Rembrandt, zijn spel met licht (meestal met donker), precies die uitdrukkingen op de gezichten.' Keppens werkt voor Focus Knack en Humo en is een van de huisfotografen van Rock Wercher. "Music For The Deaf II" is the 2nd book by concert photographer Koen Keppens. His first book "Music For The Deaf" was published in 2010, exactly 10 years ago. KOEN KEPPENS (1967, Dendermonde) is a photographer with an undying love for music. He has been shooting musicians for more than 30 years. In the summer of 1996 he became the first photographer of "Go for music", a team that reports online and live from Rock Werchter and Pukkelpop. Keppens has developed a very idiosyncratic style throughout the years. This culminates in the publication of 'Music For The Deaf' in 2010, putting him on the map as one of the most distinct music photographers active today. The book, collecting the best of twenty years of music photography, receives rapturous reviews and underscores how different and unique Keppens' body of work is. And how unfair it is that he has remained under the radar for so long, for lack of a more prominent and visible medium as an outlet for his talent. 'Keppens belongs up there with the best of them', the prominent Dutch music magazine Oor states in its review. 'Most of all he calls to mind Rembrandt, with his deft use of light (and shade as well), and with a knack for capturing the most unique facial expressions.' ? Keppens' work has been published in Focus Knack and Humo, and he is one of the resident photographers for Rock Wercher.‎

‎Early Trombone: A Catalogue of Music‎

‎, Brepols, 2023 Paperback, 840 pages, Size:178 x 254 mm, Language: English. ISBN 9782503602042.‎

‎Summary This catalogue documents nearly 9000 musical works specifying the trombone, from anonymous pieces mentioned in early sixteenth-century writings up to Haydn's iconic oratorios The Creation and The Seasons on the cusp of the nineteenth century. As such, the catalogue provides a single resource for scholars, trombonists, chamber musicians, and conductors to access instrumental solo and ensemble, as well as choral works specifying trombone from the sixteenth through to the end of the eighteenth century. In compiling this inventory, the authors have personally examined as many of the sources as possible, either the original prints and manuscripts in libraries and archives or copies thereof (microfilm, microfiche, scans, facsimile editions, photocopies, and photos). Relevant text passages from title pages, prefaces, and composer's performance instructions are given in the original language and in English translation. Annotations discuss attributions, the situation and peculiarities of sources, and relationships to parallel transmissions. Extensive bibliographical information is provided to guide the readers to relevant secondary literature. The catalogue is divided into three sections: concerted instrumental music (with solo trombone), instrumental music with trombones, and vocal music specifying trombones, with the vocal works representing the largest portion of the repertoire. The compositions range in size from pieces for a single voice with trombone and basso continuo to large-scale sacred and secular polychoral works with multiple trombones. TABLE OF CONTENTS Introduction Abbreviations RISM Library Sigla Catalogue Instrumental Concerted Solo Music Instrumental Music Vocal Music Bibliography Indexes Composer Index Text Incipit Index‎

‎John Williams Music for Films, Television, and the Concert Stage‎

‎, Brepols 2018, 2018 xxiv + 440 pages., 220 x 280 mm, English, Hardcover, . ISBN 9782503580340.‎

‎This volume is a large exploration of the many sides of Williams's output. Once mostly considered a commercial composer and a mere rewriter of previous composers? styles, only recently Williams? music has begun to be taken seriously, and scholars from the music and the film departments have begun to produce research in the form of books, journal articles, conference papers, and Ph.D. theses. The present volume seeks to build upon, complement and review what has been written so far on Williams. This volume is a large exploration of the many sides of Williams's output, aimed at showing the range of his production (not merely focussing on film music) and at analysing the depth of his dramaturgic and compositional skills with selected case studies. To accomplish this exploration ? which has not the pretence of exhaustiveness but certainly that of being an accurate survey possessing both latitude and depth ? a large team of international scholars has been assembled from all around the world. The contributors come from film, media and music departments ? to provide a variety of disciplinary perspectives on Williams's work. Emilio Audissino (University of Southampton, UK) is a film scholar and film musicologist. Dr Audissino's main research interests are Hollywood and Italian cinema, film style and technique, horror and comedy, film analysis, and sound and music in films. His book Film/Music Analysis. A Film Studies Approach (2017) concerns a method to analyse music in films that blends Neoformalism, Gestalt Psychology, and Leonard Meyer's musicology. A John Williams specialist, he is the author of John Williams's Film Music: 'Jaws', 'Star Wars', 'Raiders of the Lost Ark' and the Return of the Classical Hollywood Music Style (2014), the first book in English on the composer.‎

‎Music and Resistance: From 1900 to the Present‎

‎, Brepols - Harvey Miller, 2023 Hardcover ,Pages: xxi + 407 p.ages. Size:270 x 215 x 28 mm.Illustrations:30 b/w, 16 musical examples.dustjacket Language(s):English. ISBN 9782503602912.‎

‎Music and Resistance: From 1900 to the Present Resistance is a relevant topic today, driven by recent global social movements such as Black Lives Matter, fourth-wave feminism and the fight for recognition of LGBTIQ+ rights. In the academic arena, resistance has been the subject of increasing attention in disciplines such as sociology, anthropology, geography, political sciences and cultural and literary studies. In music, the notion of resistance has frequently been mobilised by popular music genres (hip-hop is a notable example) and, in general, in situations of political opposition. The relationship between music and resistance is, however, much richer and more complex. Through the study of specific cases from a variety of genres covering a broad period of time from 1900 to today, this volume analyses many types of resistance in which music has been involved, including various geographic and historical contexts, and also twentieth-century dictatorships and contemporary social movements. It asks how the relationship between music and resistance is established, and how music can be understood as an act of resistance. It also examines the meaning of resistance in musical terms and how we can determine if a piece of music in a certain time and space functioned as resistance to a power system.‎

‎Music and the Figurative Arts in the Nineteenth Century‎

‎, Brepols 2020, 2020 Hardcover, .xiv + 527 p., 0 b/w ill., 20 col. ills 210 x 270 mm , English, ISBN 9782503589510.‎

‎This book explores the relationship between music and the figurative arts in the XIX century. In 1795 Friedrich Schiller wrote: Die bildende Kunst in ihrer h chsten Vollendung muss Musik werden und uns durch unmittelbare sinnliche Gegenwart r hren (Schiller, ber die sthetische Erziehung des Menschen, Letter XXII, 1795). This sentence underlines the fundamental aesthetic change that coincided at the onset of the nineteenth century. According to ut musica pictura , music becomes the model for an art able to express and communicate feelings. Even as music no longer necessarily has to embody order, so does painting move away from pure imitation to encompass emotional affect. Music and painting thus converge in embodying a sensual conception of the arts: music is capable of expressing emotions and arousing them in the audience; painting can do the same through visual perception. The present volume, which brings together 21 essays, focuses on encounters between composers and painters, but also on the relationship between music, literature and the figurative arts, as well as on the concurrence of musical and artistic aesthetics. Sections of the book are devoted to iconography, to the relationship with the theatrical arts (in particular the scenic aspect) and in one instance, to Franz Liszt. ROBERTO ILLIANO is General Secretary of the Centro Studi Opera Omnia Luigi Boccherini (Lucca) and President of the Italian National Edition of Muzio Clementi?s Complete Works. He is also a member of the scholarly committee of the Italian National Edition of Luigi Boccherini?s Complete Works. A founder of the journal Ad Parnassum , he has published a variety of writings on 19th- and 20th-century music, in particular on Luigi Dallapiccola and Italian music under Italian fascism.‎

‎Dukes of Arenberg and Music in the Eighteenth Century : The Story of a Music Collection‎

‎, Brepols 2015, 2015 Hardcover, iv + 267 pages, ., 184 col. ills, 220 x 280 mm, English, ISBN 9782503555577.‎

‎This publication is the revised, expanded, and updated version of the book in French that appeared in 2010 from the same publisher: Les ducs d?Arenberg et la musique au XVIIIe si cle. Histoire d?une collection musicale. The study explores in depth the development of a music collection created by one of the most influential noble European families under the Ancien R gime ? a family resident in the Spanish and then the Austrian Netherlands, the territory of the future state of Belgium. Today forming an integral part of the private family archives kept at Enghien (in the Hainaut region of Belgium), this exceptional collection of manuscripts and prints from all over Europe began to expand in the last years of the seventeenth century, and grew gradually and continually throughout the eighteenth century. Analysing this collection has afforded a rare opportunity to discover and identify musical sources entirely unknown to us until now; these include works by the Italians Alessandro Scarlatti, Pietro Torri, and Antonio Vivaldi. With the aid of unpublished archival material, it has proved possible also to relate and explain how this important music collection was amassed, and, through the prism of the musical affinities of an aristocratic family, to illustrate the evolution of taste in eighteenth-century Europe. The introduction to the book sets out key milestones in the history of the Arenbergs and their music library. The three chapters that follow trace the development of this collection under Dukes L opold-Philippe (1690-1754), Charles-Marie-Raymond (1721-1778), and Louis-Engelbert (1750-1820) d?Arenberg, while an Epilogue sheds light on the era of the Prince and composer Paul d?Arenberg (1788-1844). Via music lessons, private and public concerts, operatic performances (not only in Brussels but also in Paris, London, Vienna, and Rome), and contacts with such musicians as Mozart, Paisiello, and Haydn, the Dukes acquired in the region of 1500 music manuscripts and prints, where the above names, as well as those of Lully, Handel, Pergolesi, Gr try, and Salieri, appear alongside those of musical personalities long since fallen into obscurity. Finally, the book tells a hitherto largely untold story of musical life in the former Southern Netherlands and Europe under the Ancien R gime, the family archives shedding particular light on the role played in this by the Dukes of Arenberg as patrons of the Arts. Towards this end, the book makes detailed reference to and reproduces the most significant sources and documents. Review ?The book is beautifully produced and consists of everything a critical reader wishes to find: a fine structure, excellent prose, many full colour reproductions of highest quality, and, above all, a lot of information (?) All in all, this is a lovely book which will easily serve as an adornment on the bookshelves of readers with an interest in western music of the eighteenth century.? (Albert Clement in BMGN, 20/11/2017)‎

‎Calligraphy of Medieval Music,‎

‎Turnhout, Brepols, 2011 Paperback, 276 p., 116 b/w ill. + 21 colour ill., 17,8 x 25,4. ISBN 9782503540054.‎

‎The Calligraphy of Medieval Music treats the practical aspects of the book making and music writing trades in the Middle Ages. It covers most major regions of music writing in medieval Europe, from Sicily to England and from Spain to the eastern Germanic regions. Specific issues raised by the contributors include the pricking and ruling of books; the writing habits of scribes and their reliance on memory; the cultural influence of monastic orders such as the Carthusians; graphic variants between regional styles of music notation ranging from tenth-century Saint-Gall to sixteenth-century Cambrai; and the impact of print on late medieval notation. The volume opens with a few essays dealing with general issues such as page layout and manuscript production both in and out of medieval Europe. The second part of the book covers early music notations from the tenth and eleventh centuries, and the third part, the twelfth to the sixteenth centuries. Languages : English, French.‎

‎Padre Martini's Closed and Enigmatic Canons with Solutions by Luigi Cherubini. A 19th-Century Guide into Renaissance Music Riddles‎

‎, Brepols, 2024 Hardback, 336 pages, Size:210 x 270 mm, Illustrations:76 b/w, 6 tables b/w., 95 pages of musical scores, Language: English. ISBN 9782503608471.‎

‎Summary Every chapter of the three volumes of Giovanni Battista Martini's Storia della Musica begins and ends with an enigmatic canon: 72 puzzle canons, which formed the subject of debate in the 18th and 19th centuries. Luigi Cherubini proposed solutions for all canons, forming a pedagogical collection designed to reveal the secrets of the enigmatic canons practice to 19th-century musicians. Cherubini explained in detail how each proposed solution was reached. The resolutions are all based on a 'Table of Latin words', a list of enigmatic expressions. For each expression, Cherubini gives an explanation detailing how they must be interpreted in order to find the resolution of the riddles. Practically 56 expressions from Cherubini's 'Table of Latin words' can be identified in Renaissance treatises. Until the first half of the 16th century, a canon was a formula that musicians would put into action to create one or more parts of music ? the 'canon' was just the formula and not the music itself. Explanations of such formulas were compiled in Renaissance music treatises. It is this journey ? the one enigmatic expressions took as they travelled from the Renaissance into the 19th century ? that Luigi Cherubini's complete edition of proposed solutions to Padre Martini's enigmatic canons seeks to illustrate. TABLE OF CONTENTS Acknowledgements Introduction The 72 Enigmatic Canons of Padre Martini's Storia della Musica Luigi Cherubini's Solutions: A Pedagogical Work A Table of Enigmatic Expressions Renaissance Sources for Padre Martini's List of Motti o Enigmi Pietro Aaron, Libri tres de institutione harmonica, Bologna, 1516 Heinrich Glarean, Dodecachordon, Basel, 1547 Hermann Finck, Practica musica, Wittenberg, 1556 Pietro Cerone, El melopeo y maestro, Naples, 1613 Giovanni Battista Rossi, Organo de cantori, Venice, 1618 Camillo Angleria, La regola del contraponto?, Milan, 1622 Giovanni Andrea Angelini Bontempi, Historia Musica, Perugia, 1695 Reception of Martini's and Cherubini's Works in the 19th Century Pierre-Louis Ginguen , Encyclop die m thodique, Paris, 1791 Fran ois-Joseph F tis, Trait du contrepoint et de la fugue, Paris, [1824] Padre Martini's List of Motti o Enigmi (Reproduced in Cherubini's Collection) and the Understanding of the Renaissance Practice of (Puzzle) Canons during the 19th Century Comparative Tables Table 1. Luigi Cherubini's Table des mots latins, que les anciens compositeurs pla aient souvent en t te des canons, avec l'explication du sens nigmatique qu'ils renferment, afin d'obtenir plus ais ment la v ritable solution d'un canon ferm Table 2. Cherubini's Table of Latin Words vs. Martini's Lists of Motti o Enigmi and Vocaboli Italiani, Latini e Greci Table 3. Padre Martini's Sources for his Motti o Enigmi Table 4. Martini's Esemplare vs. Finck's Practica musica Table 5. Finck's Expressions not Cited by Martini Table 6. Cherubini's and Ginguen 's Translations of Martini's List of Motti o Enigmi Table 7. Fran ois Joseph F tis's Table des Devises ou Inscriptions des Canons nigmatiques avec leur Explication Padre Martini's Closed and Enigmatic Canons with Solutions by Luigi Cherubini List of Canons in Cherubini's Collection Letter Sent by the French Musicologist Henry Expert (1863-1952) to the Administrator of the National Library in Paris on 10 June 1924 Plates Critical Notes Bibliography Index of Names ‎

‎Music in the Carolingian World. Witnesses to a Metadiscipline, Essays in Honor of Charles M. Atkinson‎

‎, Brepols, 2023 Paperback, 455 pages, Size:178 x 254 mm, Illustrations:33 b/w, 12 col., 19 tables b/w., 23 musical examples, Language(s):English, French. ISBN 9782503603308.‎

‎Summary Music in the Carolingian World stems from a conference honoring the career and wide-ranging research of Prof. Charles M. Atkinson, leading scholar in early-medieval studies and author of the award-winning monograph, The Critical Nexus (2010). The volume brings together seventeen essays to explore the broad ramifications of music as an arena of study in early-medieval culture; taken together, they manifest the status of music not just as a field of research, but as a metadiscipline that embraces numerous fields and specializations in medieval studies, including philosophy, theology, literature, philology, paleography, liturgy, education, political and institutional history, as well as the practice, theory, and transmission of chant and related musical repertories. The essays are grouped into the four thematic categories of Verbum, Numerus, Ars, and Cultus, bookended by three keynote essays that touch in different ways on the theme of metadisciplinarity. TABLE OF CONTENTS Preface ? Graeme M. Boone Prolegomena ? Charles M. Atkinson Verbum Virgil and Music in the Carolingian World ? Jan M. Ziolkowski Glimpses of Carolingian Latin Song: A Laon Verse Collection Reconsidered ? Sam Barrett Resonet coram te rex: Reflections on the Role of the King in Early Proses and Tropes ? Gunilla Iversen Numerus Musica ex numeris ? Michel Huglo?, edited and translated by Barbara Haggh-Huglo; appendices by Manuel Pedro Ferreira and Barbara Shailor Symbolic and Rhetorical Use of Numbers in Arabic and Hebrew Writings on Music ? Amnon Shiloah? Medieval Readings of the Division of the World Soul (Timaeus 35b-36b) in Latin Philosophical Commentaries ? B atrice Bakhouche Keynote 1 Placing Music in Carolingian Monastic Culture ? Patrick J. Geary Ars The Liberal Arts and Study of the Bible in the Carolingian Age ? David Ganz The Ars musica in Glosses and Commentary Traditions from the Carolingian Period ? Mariken Teeuwen ?Let Schools be Established ?? For What? The Meaning of Admonitio generalis, cap. 70 (olim 72) ? John J. Contreni Les plus anciens t moins des notations fran aises conserv s dans les collections de la Biblioth que nationale de France ? Marie-No l Colette To Speak Well and to Sing Wisely: Liturgical Chant and Carolingian Correctio ? Susan Rankin The Poet as Historian: Walahfrid Strabo on the Shaping of Office Repertory ? Felix Heinzer The Responsories of Easter Week: On the Development of the Office Antiphoner in the Ninth Century ? Andreas Pfisterer Textual and Melodic Variance in Carolingian Chant ? Rebecca Maloy Keynote 2 The Meta-Nexus Underlying Disciplina musica ? Calvin M. Bower Bio-Bibliography of Charles M. Atkinson Works Cited General Index Index of Manuscripts‎

‎Financing Music in Europe‎

‎, Brepols - Harvey Miller, 2023 hardcover, Pages: xii + 452 p. Size:210 x 270 mm. Illustrations:22 b/w Language(s):English, French, Italian. ISBN 9782503602899.‎

‎The way in which music was financed from the 18th to the early 20th centuries has usually been depicted as a slow transition from private investment (or patronage) to more public forms of financial support. In particular, the later 18th and earlier 19th centuries marked fundamental changes in European life with the development of new technologies and expanding market economies. Composers and musicians, no longer bound by service to a court or a patron, were fully integrated into the musical market, and new categories emerged, such as theatre impresarios and the artistic agent. During the second half of the 19th century, the concept of a career as a concert musician began to take shape concurrently with the second Industrial Revolution. This book investigates the various aspects of financing the music world ? in court, on lyrical stages, for concerts, or even music schools ? and ask the question: did the provenance of funding and the funder?s identity have an impact on music itself?‎

‎ Music and Theology in the European Reformations ‎

‎, Brepols - Harvey Miller, 2019 Paperback, 500 p., 33 b/w ill., 31 b/w tables, 178 x 254 mm, Languages: English. ISBN 9782503582269.‎

‎A multidisciplinary collection of twenty essays that examine the debates and controversies around music and theology during the period of the European Reformations from both Catholic and various Protestant perspectives. Throughout the history of the Church, music has regularly been placed under the critical microscope. Nonetheless, the intensity of thought concerning music?s role in the liturgy and in spiritual life in general reached a peak during the period of the European Reformations. This multidisciplinary collection examines the debates and controversies around music and theology during that time from both Catholic and various Protestant perspectives. It includes twenty essays from musicologists, theologians, Biblical scholars, and Church historians that attempt to answer the following questions: What difference did the theological and ecclesiological developments of the sixteenth century make to musical forms and practices? What continuities of practice existed with former times? How was the desire to restore the church to an imagined pristine state manifest in music and liturgy? How did developments in exegesis arising from the massively increased knowledge and access to the Bible in Hebrew and Greek affect the way composers wrote and congregations heard? Why did some reformers embrace music, while others rejected it? David J. Burn is associate professor of musicology and head of the Early Music Research Group at the University of Leuven. Grantley McDonald is a postdoctoral researcher and lecturer in the department of musicology, University of Vienna.‎

‎Findeisen N. Essays on the history of music in Russia from ancient times to the ‎

‎Findeisen N. Essays on the history of music in Russia from ancient times to the end of the 18th century. Vol. 1 In Russian (ask us if in doubt)/Findeyzen N. Ocherki po istorii muzyki v Rossii s drevneyshikh vremen do kontsa XVIII veka. T. 1. Museum Sector of Gosizdat 1928 364 and LVIII p. Fundamental study of musical culture in Russia. Content: Introduction - Pagan Russia - Kievan Rus-Veliky Novgorod-Skomoroshye affair in Russia - Music and musical instruments - Review of ancient Russian folk instruments - Music in ancient Moscow - Music in the monastery - Music in the court life of the seventeenth century - A brief overview of the singing devils of the sixteenth and seventeenth centuries - Music and theatre in the era of Peter I. SKUalb86b84cb1463a8602.‎

‎Music in the French Royal Academy of Sciences - A Study in the Evolution of Musical Thought‎

‎Princeton University Press Malicorne sur Sarthe, 72, Pays de la Loire, France 1981 Book condition, Etat : Bon hardcover, editor's binding, under editor's printing white dust-jacket grand In-8 1 vol. - 167 pages‎

‎8 plates out of text with 14 black and white figures, complete 1st edition, 1981 Contents, Chapitres : Contents, Preface, Acknowledgments, List of illustrations, Abbreviations, xvii, Text, 150 pages - The early years : Music as a discipline - Acoustics, phonation and the audition : Music as a sound - Machines et inventions : Music as craft - Theory and practice : Music as system - Conclusion - Appendices : Presentations by Joseh Sauveur on music and acoustics - Proposals in music assigned to Committee review, 1704-1792 - Musical instruments at the Paris Academy, a checklist of proposals, 1678-1792 - Bibliography and index - cf : La musique à l'Académie royale des sciences de Paris near fine copy, no markings except the signing of the former owner on 2 pages at the beginning of the book, dust-jacket complete and near fine, inside is fine and complete of the 8 plates, a nice copy‎

‎Works of Kurt Weill Transformations and Reconfigurations in 20th-Century Music‎

‎, Brepols - Harvey Miller, 2023 hardback, Pages: 278 pages, Size:220 x 280 mm, Illustrations:11 b/w, 7 tables b/w., 21 musical examples Language:English. ISBN 9782503606743.‎

‎The Works of Kurt Weill: Transformations and Reconfigurations in 20th-Century Music brings together an international group of scholars to explore one of the most important and intriguing composers of the twentieth century. The collection approaches Kurt Weill?s career from new angles. Shedding new light on perennial issues such as the apparent split between his German and US careers, while pushing into new scholarly territory, including Weill?s engagement with technology and film, and his lasting legacy on Broadway and beyond. The volume consists of two parts: the first, ?Transformations?, explores the composer?s poetics, dramaturgy and expressive techniques through a number of case studies spanning Weill?s entire output (theater, film, radio); in the second, ?Reconfigurations?, the composer?s transnational career and reception are investigated through his compositional, poetic, and aesthetic choices. TABLE OF CONTENTS Transformations STEPHEN HINTON, Weill?s Cinematic Imagination: Reality and Fantasy FRANCESCO FINOCCHIARO, Kurt Weill and the Principle of ?Concertante Music? WILLIAM EVERETT, Kurt Weill and the American Operetta Tradition: The Firebrand of Florence and Where Do We Go from Here? NAOMI GRABER, Steel Veins : Railroads on Parade and the Industrial Folk MARIDA RIZZUTI, Shared Authorship and Compositional Process in 1940s Hollywook: One Touch of Venus by Kurt Weill and Ann Ronell ARIANNE JOHNSON QUINN, Musical Language, Censorship, and Theatrical Identity in Kurt Weill?s London Works (1930-1935) TIM CARTER, Kurt Weill ?Song of the Free? (1942): A United Nations Anthem ? Reconfigurations NILS GROSCH, How many Weills? Negotiating a Musician?s Identity LEO IZZO, Changes in Kurt Weill?s Music: Cross Cultural Reception between Jazz and Avant-garde MISAKO OHTA, Die Dreigroschenoper in Japan: The ?Threepenny Fever? in Its Early Days TOBIAS FASSHAUER, Hard to Distinguish from Cole Porter : On the Deeper Truth of an Invective by Adorno REBECCA SCHMID, Street Scenes KIM KOWALKE, Whats Makes Weill Weill?‎

‎Rock 'N' Pop Music Trivia‎

‎Music Sales 2010 192 pages 19x12x2cm. 2010. Relié. 192 pages.‎

‎ENGLISH édition - Envoi rapide et soigné dans une enveloppe à bulle depuis France‎

‎The Soulful House (Best Of Soulful Deep & Vocal House Music)‎

‎Amathus Music 2011 poche. 2011. Téléchargement MP3. Traduit de Sénès Florence - Illustrations de Jankovics györgy‎

‎- sous blister - idéal pour offrir - envoi rapide et soigné dans une enveloppe à bulle depuis France‎

‎Glamour music#2‎

‎Warner music france 2004 2004. CD.‎

‎MERCI DE BIEN LIRE L'ANNONCE JUSQU'A LA FIN. Le boitier présente des traces d'usure et de stockage mais le CD reste en très bon état de fonctionnement‎

‎Music Musicothérapie and Development of L'‎

‎L'editeur 2011 2011. Guylaine Vaillancourt Music Musicothérapie and Development of L' Child 2011 The description of this item has been automatically translated. If you have any questions please feel free to contact us. small paperback book 175 pages (editions of Sainte Justine Hospital - Canada) 2011 in very GOOD CONDITION complete and solid without annotations or tears clean interior and still fresh very few folds on the cover sending in Mondial Relay for France (with follow-up towards a relay point); for the other countries sending in economy up to 25 euros of purchases beyond sending in international colissimo colossally more expensive no sending for DOM TOM for France the sending is always possible by the Post office in colissimo but it is more expensive or even many books in my shop ;.for France and Belgium if other purchases are added to this order the shipping costs increase very little if not at all ; in this case ask me for the corrective invoice after the last purchase. Perlenbook company n ° Siret 49982801100010. RCS Lure Tgi 499828911 N ° GESTION 2007 A 111. Created by eBay‎

‎Très bon état‎