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Bibliographies thématiques / Passion music Analysis / Livres

Livres sur le sujet « Passion music Analysis »

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Auteur : Grafiati

Publié le 4 juin 2021

Mis à jour le 18 février 2022

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Consultez les 26 meilleurs livres pour votre recherche sur le sujet « Passion music Analysis ».

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1

Platen, Emil. Die Matthäus-Passion von Johann Sebastian Bach : Entstehung, Werkbeschreibung, Rezeption. München : Deutscher Taschenbuch Verlag, 1991.

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2

Göllner, Theodor. "Die sieben Worte am Kreuz" bei Schütz und Haydn : Vorgetragen am 13. Januar 1984. München : Verlag der Bayerischen Akademie der Wissenschaften, 1986.

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3

Scholz, Gottfried. Bachs Passionen : Ein musikalischer Werkführer. München : C.H. Beck, 2000.

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4

Jena, Günter. "Das gehet meiner Seele nah" : Die Matthäuspassion von Johann Sebastian Bach. Freiburg i. Br : Herder, 1999.

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5

Victor, Lederer. Bach's St. Matthew Passion : A closer look. New York : Continuum, 2008.

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6

Geck, Martin. Johann Sebastian Bach : Mit Selbstzeugnissen und Bilddokumenten. Reinbek bei Hamburg : Rowohlt, 1993.

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7

Geck, Martin. Johann Sebastian Bach : Johannespassion : BWV 245. München : W. Fink, 1991.

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8

Geck, Martin. Bach : Leben und Werk. Reinbek : Rowohlt, 2000.

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9

Geck, Martin. Johann Sebastian Bach : His life, work and influence. Bonn : Inter Nationes, 2000.

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10

Geck, Martin. Bach. London : Haus, 2003.

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11

Rallo, Elisabeth. Opéras, passions. Paris : Presses universitaires de France, 2001.

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12

Rallo, Elisabeth. Opéras, passions. Paris : Presses universitaires de France, 2001.

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13

Volgsten, Ulrik. Music, mind and the serious Zappa : The passions of a virtual listener. Stockholm : Stockholms University, Department of Musicology, 1999.

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14

Volgsten, Ulrik. Music, mind and the serious Zappa : The passions of a virtual listener. Stockholm : Stockholm University, 1999.

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15

Melamed, Daniel R. Hearing Bach's Passions. Oxford University Press, Incorporated, 2016.

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16

Melamed, Daniel R. Hearing Bach's Passions. Oxford University Press, USA, 2005.

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17

Sanford, Terry Charles. Bach : A Biography. Reprint Services Corporation, 1988.

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18

Sanford, Terry Charles. Bach : The Cantatas and Oratorios. Library Reprints, 2001.

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19

Sanford, Terry Charles. Bach : A Biography. Kessinger Publishing, 2003.

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20

Geck, Martin. Johann Sebastian Bach : Life and Work. Harcourt, 2006.

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21

Geck, Martin. Bach : Leben und Werk. Rowohlt, 2000.

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22

Rallo, Élisabeth. Opéras, passions. Presses Universitaires de France (PUF), 1999.

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23

Jarjour, Tala. Sense and Sadness. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190635251.001.0001.

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Sense and Sadness is a story of the living practice of Syriac chant in Aleppo, Syria. To understand and explain this oral tradition, the book puts forward the concept of the emotional economy of music aesthetics, an economy in which the emotional and the aesthetic interrelate in mutually indicative ways. The book is based on observing chant practice in the Syrian Orthodox Church in contemporary contexts in the Middle East and beyond, while keeping as its nexus of analysis the Edessan chant of St. George’s Church of Hayy al-Suryan and focusing on Passion Week. It examines written sources on the music of Syriac chant in light of ethnographic analysis, thus combining various modes of knowledge on this problematic subject. This historically informed reading of an early Christian liturgical tradition reveals contemporary modes of significance in the dynamic social and political surroundings of a community that endures exile after exile. The book thus places the music, and its subject(s), in a global context the only stable element of which is uncertainty. The first of the book’s four parts addresses issues of contextuality, such as geographic and temporal situationality, along with musical complexity in conceptions of modality. The second and third parts address overlapping modes of knowledge and value, respectively, in the musical ecclesiastical enterprise. The final part brings together the book’s subthemes. Spirituality, ethnic religiosity, authority, and value-based forms of identification and sociality are brought to bear on analyzing ḥasho: the mode, emotion, and time of commemorating divine suffering and human sadness.

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24

Aspell, Luke. Shivers. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781911325970.001.0001.

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Shivers (1975) was David Cronenberg's first commercial feature and his first horror film. In a modern apartment block, a scientific project to unleash the id results in the equation of passion with contagion and predation. Because the writer-director's imaginative landscape arrived in the genre fully formed, the unique forms of this début have often been overlooked or mistaken for shortcomings. Cronenberg's most comedic film until Map to the Stars, Shivers is also his most spectacularly unnerving, throwing more images of extreme behavior at us than any of his subsequent films; it remains, with Crash, his most disquieting and transgressive film to date. This book's analysis addresses all channels of communication available to the 35mm sync-sound narrative feature, including shot composition, lighting, cinematographic texture, sound, the use of stock music, editing, costume, makeup, optical work, the screenplay, the casting, and the direction of the actors. This tour of Shivers as “cognitive territory” takes in architecture, cultural context, critical reception, and artistic legacy.

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25

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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26

Koops, Lisa Huisman. Parenting Musically. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190873622.001.0001.

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Parents use music in family life to accomplish practical tasks, make relational connections, and guide their children’s musical development. Parenting Musically portrays the musicking of eight diverse Cleveland-area families in home, school, and community settings. Family musical interactions are analyzed using the concepts of musical parenting (actions to support a child’s musical development) and parenting musically (using music to accomplish extramusical parenting goals), arguing the importance of recognizing and valuing both modes. An additional construct, practical~relational musicking, lends nuance to the analysis of family musical engagement. Practical musicking refers to musicking for a practical purpose, such as learning a scale or passing the time in a car; relational musicking is musicking that deepens relationships with self, siblings, parents, or community members, such as a grandmother singing to her grandchildren via FaceTime as a way to feel connected. Families who embraced both practical and relational musicking expressed satisfaction in long-term musical involvement. Weaving together themes of conscious and intuitive parenting, the rewards and struggles of musical practice, the role of mutuality in community musicking, and parents’ responses to media messages surrounding music and parenting, the discussion incorporates research in music education, psychology, family studies, and sociology. This book serves to highlight the multifaceted nature of families’ engagement in music; the author urges music education practitioners and administrators to consider this diversity of engagement when approaching curricular decisions.

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