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Books on the topic 'Music and dance – Australia – 20th century'

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Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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1

Music speaks: On the language of opera, dance, and song. Rochester, NY: University of Rochester Press, 2009.

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2

Jacaeber, Kastor, ed. The art of the Fillmore: 1966-1971. [New York, NY]: Thunder's Mouth Press, 1999.

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3

1931-, Rosenblatt Arthur, ed. Who sang what on Broadway, 1866-1996. Jefferson, N.C: McFarland & Co., Publishers, 2006.

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4

Powell, Anthony. A Dance to the Music of Time: Spring v. 1 (DANCE TO THE MUSIC OF TIME). Mandarin, 1997.

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5

A Dance to the Music of Time: Spring v. 1 (DANCE TO THE MUSIC OF TIME). Mandarin, 1997.

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6

Powell, Anthony. A Dance to the Music of Time. Minerva, 1991.

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7

A Dance to the Music of Time. Minerva, 1991.

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8

Cook, Susan C., and Sherril Dodds. Bodies of Sound: Studies Across Popular Music and Dance. Taylor & Francis Group, 2016.

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9

Powell, Anthony. A Dance to the Music of Time: Autumn v. 3. Mandarin, 1997.

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10

Powell, Anthony. A Dance To The Music Of Time: Vol. 3 - (From The 2nd Movement). Books on Tape, Inc., 1996.

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11

Powell, Anthony. A Dance To The Music Of Time: Vol. 1 - (From The 1st Movement). Books on Tape, Inc., 1996.

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12

Powell, Anthony. A Dance To The Music Of Time: Vol. 2 - (From 1st & 2nd Movements. Books on Tape, Inc., 1996.

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13

Powell, Anthony. A Dance To The Music Of Time: Vol. 6 - (From The 4th Movement). Books on Tape, Inc., 1996.

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14

Powell, Anthony. A Dance To The Music Of Time: Vol. 4 - (From The 3rd Movement). Books on Tape, Inc., 1996.

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15

Spiller, Henry, and Frederick Lau. Javaphilia: American Love Affairs with Javanese Music and Dance. University of Hawaii Press, 2015.

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16

Spiller, Henry, and Frederick Lau. Javaphilia: American Love Affairs with Javanese Music and Dance. University of Hawaii Press, 2017.

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17

Javaphilia: American love affairs with Javanese music and dance. 2015.

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18

Powell, Anthony. A Dance To The Music Of Time: Vol. 5 - (From The 3rd & 4th Movements. Books on Tape, Inc., 1996.

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19

Gershwin, Glory of". Warner Bros Pubns, 1995.

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20

The Melody Girls. Severn House Publishers, 2010.

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21

Lemke, Gayle. The Art of the Fillmore: The Poster Series 1966-1971. Thunder's Mouth Press, 2005.

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22

Lemke, Gayle. Art of the Fillmore. Plexus Publishing, Limited, 2000.

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23

Plisetskaya, Maya. I, Maya Plisetskaya. Yale University Press, 2001.

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24

Bouis, Antonina, and Maya Plisetskaya. I, Maya Plisetskaya. Yale University Press, 2001.

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25

Plisetskaya, Maya, and Mai?i?a? Mikhai?lovna Pliset?s?kai?a? I, Maya Plisetskaya. Yale University Press, 2008.

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26

Plisetskaya, Maya. I, Maya Plisetskaya. Yale University Press, 2010.

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27

Rosenblatt, Arthur, and Ruth Benjamin. Who Sang What On Broadway, 1866-1996. Volume 1: The Singers A-L. McFarland & company, Inc., Publishers, 2005.

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28

Rosenblatt, Arthur, and Ruth Benjamin. Who Sang What On Broadway, 1866-1996. Two Volume Set. McFarland & Company, 2005.

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29

Rosenblatt, Arthur, and Ruth Benjamin. Who Sang What On Broadway, 1866-1996. Volume 2: The Singers M-Z; Bibliography; Indexes. McFarland & Company, Inc., Publishers, 2005.

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30

Brown, Richard H. Through The Looking Glass. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190628079.001.0001.

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Abstract:

Through the Looking Glass examines John Cage’s interactions and collaborations with avant-garde and experimental filmmakers, and in turn seeks out the implications of the audiovisual experience for the overall aesthetic surrounding Cage’s career. As the commercially dominant media form in the 20th century, cinema transformed the way listeners were introduced to and consumed music. Cage’s quest to redefine music, intentionality, and expression reflects the similar transformation of music within the larger audiovisual experience of sound film. This study covers a wide variety of topics, ranging from Cage’s father, John Cage Sr.’s patents in infrared and military technology during World War II, theories of dance aesthetics, film and television theory, visual music, information technology, copyright, and the postwar position of the American Neo-Avant-Garde. This volume examines key moments in Cage’s career in which cinema either informed or transformed his position on the nature of sound, music, expression, and the ontology of the musical artwork. The examples point to moments of rupture within Cage’s own consideration of the musical artwork, pointing to new-found collision points that have a significant and heretofore unacknowledged role in Cage’s notions of the audiovisual experience and the medium-specific ontology of a work of art.

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