annegret fauser (111 resultados)

Softcover. Condición: Very Good with no dust jacket. Sound binding. Clean, bright pages. Wrappers have light shelf wear. Kowalke, Seven degrees of separation: music, text, image, and gesture in The Seven Deadly Sins. Hutcheon, The "phenomenal image" in opera. Paley, Zwischenreden für Zwischenakte: Egmont and the melodramatic supplement. Fauser, Visual pleasures - musical signs: dance at the Paris Opera. Levitz, Syvilla Fort's Africanist modernism and John Cage's gestic music: The story of Bacchanale. Lerner, "Look at that big hand move along": clocks, containment, and music in High Noon. 9.0" tall; 176 pages.

Condición: Muy bueno. : Este libro, titulado 'Mirada a Oriente', explora la fascinación de los compositores occidentales por el mundo oriental desde el siglo XVIII. Publicado en 2008 por el Instituto Nacional de las Artes Escénicas y de la Música (INAEM), este volumen de 312 páginas ofrece una visión profunda de la influencia oriental en la música occidental, abarcando un amplio ciclo temático que incluye obras de Mozart, Schubert, Mahler, Zemlinsky, Ravel, Debussy y Britten, así como de compositores orientales como Takemitsu y Say. El libro está escrito en español y presenta textos de Yvan Nommick y otros autores. EAN: 9788487731464 Tipo: Libros Categoría: Arte y Cultura Título: Mirada a Oriente Autor: Annegret Fauser| Luis Carlos Gago Badenas| Orquesta y Coro Nacionales de España Editorial: Instituto Nacional de las Artes Escénicas y de la Música (INAEM) Idioma: es-ES Páginas: 312 Formato: tapa blanda.

Softcover. Condición: Very Good with no dust jacket. Sound binding. Clean, bright pages. Wrappers have light shelf wear. Contents: Kügle, Glorious sounds for a holy warrior: new light on Codex Turin I.II.9. Goodman, "The tears I shed at the songs of thy church": seventeenth-century musical piety in the English Atlantic world. Butler, Gluck's Alceste in Bologna: production and performance at the Teatro Communale, 1778. Walden, "An essential epression of the people": interpretations of Hasidic song in the compoisition and performance history of Ernest Bloch's Raal Shem. Cohen, et al., Colloquy: musicology beyond borders? ; 9.25" tall; 281 pages.

Softcover. Condición: Very Good with no dust jacket. Sound binding. Clean, bright pages. Wrappers have shelf wear including rubbing and wear to lower front edge. Contents: Dumitrescu, Who was "Prioris": a royal composer recovered. Fairclough, "Don't sing it on a feast day": the reception and performance of western sacred music in Soviet Russia, 1917-1953. Burford, Sam Cooke as pop album artist--a reinvention in three songs. Moshaver, Telos and temporality: phenomenology and the experiences of time in Lewin's study of perception. Currie et al., Colloquy: Vladimir Jankélévitch's philosophy of music. ; 9.25" tall; 307 pages.

Softcover. Condición: Very Good with no dust jacket. Sound binding. Clean, bright pages. Wrappers have light shelf wear. Contents: Warfield, The march as musical drama and the spectacle of John Philip Sousa. Proksch, "Forward to haydn!": Schenker's politics and the German revival of Haydn. Shelemay, Musical communities: rethinking the collective in music. Allen, et al., Colloquy: ecomusicology. ; 9.25" tall; 207 pages.

Paperback. Condición: new. Paperback. Appalachian Spring, with music by Aaron Copland and choreography by Martha Graham, counts among the best known American contributions to the global concert hall and stage. In the years since its premiere-as a dance work at the Library of Congress in 1944-it has become one of Copland's most widely performed scores, and the Martha Graham Dance Company still treats it as a signature work. Over the decades, the dance and the music have taken on a range ofmeanings that have transformed a wartime production into a seemingly timeless expression of American identity, both musically and visually. In this Oxford Keynotes volume, distinguished musicologist Annegret Fauserfollows the work from its inception in the midst of World War II to its intersections with contemporary American culture, whether in the form of choreographic reinterpretations or musical ones, as by John Williams, in 2009, for the inauguration of President Barack Obama.A concise and lively introduction to the history of the work, its realization on stage, and its transformations over time, this volume combines deep archival research and cultural interpretations to recountthe creation of Appalachian Spring as a collaboration between three creative giants of twentieth-century American art: Graham, Copland, and Isamu Noguchi. Building on past and current scholarship,Fauser critiques the myths that remain associated with the work and its history, including Copland's famous disclaimer that Appalachian Spring had nothing to do with the eponymous Southern mountain region. This simultaneous endeavor in both dance and music studies presents an incisive exploration this work, situating it in various contexts of collaborative and individual creation. Appalachian Spring, with music by Aaron Copland and choreography by Martha Graham, counts among the best known American contributions to the global concert hall and stage. Distinguished musicologist Annegret Fauser offers a concise and lively introduction to the history of the work, its realization on stage, and its transformations over time. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condición: Brand New. 144 pages. 8.25x5.50x0.50 inches. In Stock.

PAP. Condición: New. New Book. Shipped from UK. Established seller since 2000.

Condición: New. pp. 144.

Paperback / softback. Condición: New. New copy - Usually dispatched within 4 working days.

Paperback. Condición: Brand New. 144 pages. 8.25x5.50x0.50 inches. In Stock.

Condición: New. 2017. 1st Edition. Paperback. . . . . .

Condición: New. pp. 320.

Paperback. Condición: Brand New. 320 pages. 8.75x6.00x0.75 inches. In Stock.

Condición: New. 2020. Paperback. . . . . .

Condición: New. 2017. 1st Edition. Paperback. . . . . . Books ship from the US and Ireland.

Encuadernación de tapa blanda. Condición: Muy bien.

Condición: New. pp. 320.

Condición: New. 2020. Paperback. . . . . . Books ship from the US and Ireland.

1998. (Trade paperback) Near fine. 198pp. Photographs, illustrations, musical notation, notes. Contributors include Linda Phyllis Austern (Nature, Culture, Myth, and the Musician in Early Modern England), Annegret Fauser (La Guerre en dentelles: Women and the Prix de Rome in French Cultural Politics), K.M. Knittel (Wagner, Deafness, and the Reception of Beethoven's Late Style). Published for American Musicological Society. (Music, Classical Music, Music, Musicology).

Paperback / softback. Condición: New. New copy - Usually dispatched within 4 working days.

1ª ed., 1ª imp. 300 p. il. col. 24*14 cm. En rústica editorial. Excelente estado IMPORTANTE. Lea Nuestras Condiciones de Venta y Gastos de Envío. Contrareembolso 6 eur.

Condición: Good. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

hardcover. Condición: Very Good. Previous owner's name inside. No marks in text. Dust jacket, binding, excellent.

Condición: New. In.

Hardback. Condición: New. While music and musical life in Nazi Germany, Vichy France, Fascist Italy, and Stalinist Russia have been widely explored, concert music in the United States during World War II has remained markedly untouched. Music in this period - whether as an instrument of propaganda or as a means of entertainment, recuperation, and uplift - pervaded homes and concert halls, army camps and government buildings, hospitals and factories. Dinah Shore, Duke Ellington, and the Andrew Sisters entertained civilians at home and G.I.s stationed abroad with the sounds of swing and boogie-woogie. Yet, it was the role assigned specifically to classical music that truly distinguished musical life in the wartime United States. Within U.S. spheres of influence during World War II, American and exiled European musicians alike contributed actively and self-consciously to the war effort. Indeed, on the day after Pearl Harbor, Group Theatre director Harold Clurman wrote to his cousin, Aaron Copland: "So you're back in N.Y. . . ready to defend your country in her hour of need with lectures, books, symphonies!" Copland would be one of many classical composers deeply involved in the arts as part of the war effort. Marc Blitzstein, Elliott Carter, Henry Cowell, Roy Harris, and Colin McPhee were all mixed up with the propaganda missions of the Office of War Information (OWI); Samuel Barber served in the US Army Air Force, writing both his Second Symphony and his Capricorn Concerto, "a rather tooting piece, with flute, oboe and trumpet chirping away" and thus fit for the times, as he assured a fellow composer. Civilian commissions for new music focused on patriotic and "martial" subjects, most famously the series of fanfares that Eugene Goossens, the chief conductor of the Cincinnati Symphony Orchestra, requested from American composers and from European musicians in exile: Copland's Fanfare for the Common Man is a still much performed result. Similarly, the League of Composers (financed by the Treasury Department) commissioned numerous works on patriotic themes, including Bohuslav Martin?'s Memorial to Lidice and William Grant Still's moving In Memoriam: The Colored Soldiers Who Died for Democracy. Classical music was heard on the radio and in film scores; it was performed in the Armed Forces; and it even played a role in the work of the Office of Strategic Services (OSS; the predecessor to the CIA), whose director, General "Wild Bill" Donovan, was known not only to support experiments about music as a cipher code, but also to involve himself in music-related affairs, including the case of smuggling Shostakovich's Seventh Symphony out of Russia. Classical music in 1940s America had a cultural relevance and ubiquitousness that is hard to imagine today, and it played an important role as a cultural counterpoint to the military effort as musicians and politicians were-in Henry Cowell's words-"shaping music for total war. No other war mobilized and instrumentalized culture in general.

Condición: As New. Unread book in perfect condition.

1ª edición. rústica. ilustrado color 1 páginas.

Condición: New. Brand New.

hardcover. Condición: Good. Connecting readers with great books since 1972! Used textbooks may not include companion materials such as access codes, etc. May have some wear or writing/highlighting. We ship orders daily and Customer Service is our top priority!