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Thematische Bibliographien / Czech musical vocal works / Bücher

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Bücher zum Thema „Czech musical vocal works“

Autor: Grafiati

Veröffentlicht am 28. Juni 2021

Zuletzt aktualisiert am 17. Februar 2022

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1

Marsha, Norman, und Burnett Frances Hodgson 1849-1924, Hrsg. The secret garden: Musical book and lyrics. New York: Theatre Communications Group, 1992.

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2

Richard, Strauss. Richard Strauss Edition: Sämtliche Bühnenwerke = complete stage works. : op.54 : Musikdrama in einem Aufzug nach Oscar Wildes gleichnamiger Dichtung = music drama in one act after Oscar Wilde's poem of the same name. Wien: Verlag Dr. Richard Strauss, 1996.

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3

Little Mix (Musical group). Little Mix: Ready to fly. London: HarperCollins, 2012.

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4

1720-1774, Agricola Johann Friedrich, und Baird Julianne, Hrsg. Introduction to the art of singing. Cambridge [England]: Cambridge University Press, 1995.

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5

Mal, Peachey, Hrsg. Wet Wet Wet pictured. London: Virgin, 1995.

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6

Heuer, Rita M. Prokash, d. 2004, Hrsg. Sharks, dolphins, Arabs, and the High Priced Help: The history of the formation, training, and deployment of the 174th Assault Helicopter Company to the Republic of South Vietnam, 1965-1967. Seminole, Fla: M.F. Heuer, 2009.

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7

Badman, Keith. The Beach Boys: The definitive diary of America's greatest band, on stage and in the studio. Herausgegeben von Bacon Tony 1954-. San Francisco, CA: Backbeat Books, 2004.

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8

Poleshook, Oksana. "Russian musical influences of The Five on works of Debussy": "Russian musical influences of The Five on piano and vocal works of Claude Debussy". LAP LAMBERT Academic Publishing, 2011.

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9

Schwartz, Jessica A. Vocal Ability and Musical Performances of Nuclear Damages in the Marshall Islands. Herausgegeben von Blake Howe, Stephanie Jensen-Moulton, Neil Lerner und Joseph Straus. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199331444.013.37.

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The United States conducted sixty-seven nuclear tests in the Marshall Islands from 1946 through 1958. The program was shrouded in secrecy; information about the tests conducted on Marshallese bodies and their land remains classified. This essay considers how Marshallese women from Bikini Atoll and Rongelap Atoll musically sound physical and physiological disruptions and dislocations that expose broader damages caused by the nuclear testing program. Analyzing compositions and performances from a repertoire of Marshallese “radiation songs,” the essay proposes a stylistic framework that works to familiarize listeners with a sonorized logic of radiation which is compiled through recurring motifs of the disabled voice, text setting and silences, and the figure of the question, literal and rhetorical. I stress the political import of these songs as highlighting the failures of biopolitical controls on communities by exposing the production of confined disability at the level of cultural and structural violence.

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10

W, Coates C., Hrsg. The Canadian anthem book: A choice collection of anthems, sentences, motets, chants, &c., &c.; selected with great care from the works of the most popular composers, for the use of church choirs, musical associations and social gatherings. Montreal: [s.n., 1986.

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11

Twain, Mark. Tom Sawyer: A Musical. Encore Performance Publishing, 1992.

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12

Baird, Julianne C., und Johann Friedrich Agricola. Introduction to the Art of Singing by Johann Friedrich Agricola (Cambridge Musical Texts and Monographs). Cambridge University Press, 1995.

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13

Manning, Jane. Vocal Repertoire for the Twenty-First Century, Volume 1. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199391028.001.0001.

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In this new follow-up to her highly regarded New Vocal Repertory, volumes 1 and 2, English concert and opera soprano Jane Manning provides a seasoned expert’s guidance and insight into the vocal genre she calls home. This book contains a diverse array of contemporary vocal music available in the twentieth century. It provides specific pieces for different voices, abilities, and occasions. Choices range from substantial song cycles to shorter pieces suitable for encores, examinations, or auditions. Almost all works are for voice and piano, but there are some for solo voice. This volume also contains a rich variety of musical styles, which is reflected here along with some revised and updated articles on works featured in the previous edition, in order to keep them in circulation. Furthermore, this volume includes the broadest possible selection of works which are confined to settings of the English language. Two works in Latin as well as one piece in fake Russian are the only exceptions. In addition, there are certain songs culled from some diploma syllabus many years ago, which seem to have progressed unchallenged through successive generations despite a wealth of viable alternatives. Teachers can thus be inclined to steer students in the direction of pieces they are already familiar with in this book.

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14

Peachey, Mal, und Simon Fowler. Wet Wet Wet: Pictured. Virgin Pub, 1996.

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15

Boys, The Beach, und Keith Badman. The Beach Boys: The Definitive Diary of America's Greatest Band on Stage and in the Studio. Backbeat Books, 2004.

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16

Shrock, Dennis. George Frideric Handel – Messiah. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469023.003.0004.

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Messiah is discussed in reference to Handel’s operas, other choral works in general, and other oratorios in specific, with focus on the librettos. Additional historic information covers the premiere of Messiah, audience reactions, and subsequent performances, including the beginning of its popularity after performances in the Foundling Hospital Chapel and large-scale and re-orchestrated festival performances in the 1780s. Musical topics address Handel’s compositional process (e.g., speed of writing, parody of previously composed works, and revision of works from performance to performance) and factors of musical organization. Performance practices issues include vocal and instrumental timbre, pitch, vibrato, metric accentuation, rhythmic alteration, recitative, and ornamentation.

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17

Samples, Mark C. Timbre and Legal Likeness. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199985227.003.0006.

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In 1988, singer-songwriter Tom Waits sued Frito-Lay for using an impersonation of his voice in a Doritos commercial, an act that flagrantly contradicted his anticommercial persona as an artist. The company had appropriated not just his voice but his artistic identity, and the court ruled in favor of Waits. Drawing on recent brand theory, this chapter claims that in spite of the flexibility of Waits’s vocal timbre, his distinctive, gravelly voice—possibly a voluntary affectation, the result of laryngeal damage, or a combination of both—is universally identifiable and associated with his brand persona as a musician. This is evidenced by numerous interviews, fan forums, and musical analysis of recorded works. The Waits v. Frito-Lay, Inc. case set a precedent for the legal protection of distinctive vocal timbres against unauthorized use for commercial purposes.

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18

Schiff, David. Farewell Symphonies. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190259150.003.0013.

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A discussion of three of Carter’s final works: The American Sublime, his last song cycle (to poetry of Wallace Stevens), Instances, his last orchestral work, and Epigrams, his last chamber work. These works would not be performed until after his death, and thus never were fully polished, but they sum up his musical aesthetic. Particularly in returning to Stevens for a second vocal cycle, Carter affirmed his affiliation with a poet who celebrated the metaphysical aspects of everyday existence.

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19

Shrock, Dennis. Benjamin Britten – War Requiem. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469023.003.0011.

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The chapter begins with testimonies about the aesthetic impact of the War Requiem at the time of its premiere followed by a survey of war-themed musical compositions that preceded Britten’s work and Britten’s reflection of his pacifism in musical works such as the Sinfonia da Requiem op. 20. Discussion is then focused on the commission from Coventry Cathedral that led to the War Requiem; Britten’s choice of nine poems by the war-poet Wilfred Owen, which Britten interspersed with traditional texts from the Roman Requiem Mass; and the choice of three specific soloists to represent three countries involved in World War II. The music of Britten’s work is discussed in terms of musical and structural symbolism, particularly in Britten’s choice of the tritone interval to express tension. Performance practice concerns address the staging of the work into three distinct strata, the vocal characteristics of the original three soloists, and the intended acoustical environment of Britten’s conception.

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20

Ansari, Emily Abrams. The Frustrated Activist. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190649692.003.0006.

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This chapter presents an account of the composer and conductor Leonard Bernstein, who, although constrained significantly by the ideological climate of the 1950s, refused to silence himself politically. Beginning in the last years of the decade, he became increasingly vocal in his support for New Left causes, including the antiwar, antinuclear, and civil rights movements. On State Department–funded conducting tours with the New York Philharmonic, he tried to use music, particularly the Americanist tradition, to challenge US foreign policy. In his compositions, he remained true to musical Americanism, striving earnestly in his art music to continue Copland’s prewar approach. He found a fruitful outlet for his political commitments in his works for musical theater, but his art music compositions present a much more complex and fraught picture. Bernstein was attempting to resist and undermine political nationalism, while simultaneously advancing cultural nationalism. But in the binarized climate of Cold War America, this would not prove easy.

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21

Stinson, Russell. Bach's Legacy. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190091224.001.0001.

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This book examines how four of the greatest composers of the nineteenth and twentieth centuries—Felix Mendelssohn, Robert Schumann, Richard Wagner, and Edward Elgar—engaged with the legacy of the music of J. S. Bach. It investigates the various ways in which these individuals responded to Bach’s oeuvre, not as composers per se, but as performers, conductors, scholars, critics, and all-around ambassadors. In its detailed analyses of both musical and epistolary sources, the book sheds light on how Bach’s works were received within the musical circles of these composers. The book’s narrative also helps humanize these individuals as it reconstructs, with touching immediacy, and often by recounting colorful anecdotes, the intimate social circumstances in which Bach’s music was performed and discussed. Special emphasis is given to Mendelssohn’s and Schumann’s reception of Bach’s organ works, Schumann’s encounter with the St. Matthew and St. John Passions, Wagner’s musings on the Well-Tempered Clavier, and Elgar’s (resoundingly negative) thoughts on Bach’s vocal works.

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22

Heyman, Barbara B. Samuel Barber. 2. Aufl. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190863739.001.0001.

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Samuel Barber (1910–1981) was one of the most important and honored American composers of the twentieth century. Writing in a great variety of musical forms—symphonies, concertos, operas, vocal music, chamber music—he infused his works with poetic lyricism and gave tonal language and forms new vitality. His rich legacy includes such famous compositions as the Adagio for Strings, the orchestral song Knoxville: Summer of 1915, three concertos, and his two operas, the Pulitzer Prize–winning Vanessa and Antony and Cleopatra, a commissioned work that opened the new Metropolitan Opera House at Lincoln Center in New York. Generously documented by letters, sketchbooks, original musical manuscripts, and interviews with friends, colleagues, and performers with whom he worked, this book covers Barber’s entire career and all of his compositions. The biographical material on Barber is closely interspersed with a discussion of his music, displaying Barber’s creative processes at work from his early student compositions to his mature masterpieces. The book also provides the social context in which this major composer grew: his education; how he built his career; the evolving musical tastes of American audiences; his relationship with Gian Carlo Menotti and such musical giants as Serge Koussevitzky, Arturo Toscanini, Vladimir Horowitz; and the role of radio in the promotion of his music. A testament to the significance of neo-Romanticism, Samuel Barber stands as a model biography of an important American musical figure.

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23

Trudell, Scott A. Unwritten Poetry. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198834663.001.0001.

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Vocal music was at the heart of English Renaissance poetry and drama. Virtuosic actor-singers redefined the theatrical culture of William Shakespeare and his peers. Composers including William Byrd and Henry Lawes shaped the transmission of Renaissance lyric verse. Poets from Philip Sidney to John Milton were fascinated by the disorienting influx of musical performance into their works. Musical performance was a driving force behind the period’s theatrical and poetic movements, yet its importance to literary history has long been ignored or effaced. Unwritten Poetry reveals the impact of vocalists and composers upon the poetic culture of early modern England by studying the media through which—and by whom—its songs were made. In a literary field that was never confined to writing, media were not limited to material texts. Scott Trudell argues that the media of Renaissance poetry can be conceived as any node of transmission from singer’s larynx to actor’s body. Through his study of song, Trudell outlines a new approach to the Renaissance poetry and drama that is grounded not simply in performance history or book history but in a more synthetic media history.

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24

Snyder, Jean E. A Singer-Composer Learns His Craft. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039942.003.0014.

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This chapter examines Harry T. Burleigh's work as a composer during the period 1896–1913. Burleigh's 200-plus vocal and instrumental works brought him national and international renown in the first half of the twentieth century. Burleigh's songs reflected his thorough knowledge of the prevailing forms and musical idioms of the European and American art song, both as a singer and as a composer. All his songs were written for the recital or concert stage, and they often set the same lyrics. Two of Burleigh's compositional output are choral arrangements of spirituals—“Deep River” and “Dig My Grave”—that were written for Kurt Schindler's Schola Cantorum. Also, it was not unusual for Burleigh himself to appear in concert or recital with other song composers. This chapter considers Burleigh's compositions published from 1896 to 1903 and from 1904 to 1913, including art songs, plantation songs, piano sketches, and sacred songs.

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25

McAllister, Rita, und Christina Guillaumier, Hrsg. Rethinking Prokofiev. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190670764.001.0001.

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More than sixty-five years after the composer’s death and almost thirty years since the demise of the Soviet Union, it is high time not only to take a fresh, balanced look at the output of Sergei Prokofiev, but also to probe some of the important but less studied aspects of his music. Many of his works are twentieth-century classics, but some are less familiar; others still, because of the times in which he lived, are controversial, or misunderstood, or simply unexplored. Commissioned from both established experts and younger researchers in the field, Rethinking Prokofiev is a new compendium of essays that examine the background and context of Prokofiev’s music: his relationship to nineteenth-century Russian traditions; to the Silver Age and Symbolist composers and poets; to the culture of Paris in the 1920s and 1930s; and to his later Soviet colleagues and younger contemporaries. It investigates his reception in the West and his return to Russia, and analyzes the effect of his music on contemporary popular culture. His early, experimental piano and vocal works are explored, as well as his piano concertos, his operas, the film scores, the early ballets, and the late symphonies. The main focus of the book is the nature of the music itself. Prokofiev’s work is utterly distinctive, yet it defies easy analysis. By uncovering the contents of his sketchbooks, however, and through an empirical examination of his characteristic harmonies, melodies, cadences, and musical gestures, these chapters reveal much of what makes Prokofiev an idiosyncratic genius, his music intriguing, often dramatic, and almost always beguiling.

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