A History of Baroque Music is an exhaustive study of the music of the Baroque period, with particular focus on the 17th century. Individual chapters consider the work of significant composers, including Monteverdi, Corelli, Scarlatti, Schütz, Purcell, Handel, Bach, and Telemann, as well as specific countries and regions. Two contributed chapters examine composers and genres from Russia, the Ukraine, Slovenia, Croatia, and Latin America. The book also includes a wealth and variety of musical examples from all genres and instrumental combinations. Contributors are Claudia Jensen, Metoda Kokole, Rui Vieira Nery, and Ennio Stipcevic.
135; Marco Attilio Regolo, 148, 151; Masses, 151; Massimo Puppieno, 144; Mitri-
date Eupatore, 146-147; O mio ben, 144; operas, 142- 151; oratorios, 136-142; //
Pompeo, 144; La principessa fedelee, 147; Pyrrhus and Demetrius, 142; ...
History of music industry in Indonesia.
History of music industry in Indonesia.
A 2007 study of the music of the internationally known contemporary Dutch composer, Louis Andriessen.
A study of the music of the internationally known contemporary Dutch composer, Louis Andriessen.
Study and teaching on Indonesian traditional music.
Study and teaching on Indonesian traditional music.
Originally the mate for the Broadcaster guitar, the Deluxe was superseded by the
Super which, in 1950, became the advertised mate of the Telecaster (the new
name for the Broadcaster). In 1964, separate treble and bass controls were
added ...
Secara tehnis, memang tidak menutup kemungkinan bahwa semua bentuk
inggah dapat disajikan mandiri. Namun secara tradisi tidak lazim disajikan. Oleh
karena itulah, pada penulisan contoh-contoh inipun antara bentuk merong dan ...
Lyndon Jenkins provides the first in-depth study of the extraordinary creative relationship between Beecham and Delius. Starting with the first meeting of the composer and conductor in 1907, Jenkins charts Beecham's gradual introduction of Delius's compositions to British and foreign audiences, the operatic premières and revivals, the Delius festivals that he organized in 1929 and 1946, and the formation of the Delius Trust upon the composer's death in 1934. Also described is Beecham's continuing crusade for Delius's music up to his own death in 1961. Includes a critical discography.
... Appalachia and Piano Concerto to the conductor Henry Wood in London, and
this initiative had met with a favourable response: Wood was emerging as the first
British maestro per se: previously most of the baton- wielders, such as Stanford, ...
Frary entertains readers with stories of that strange social grouping: the parish choir. Here is what happened when a new (and foolhardy) vicar tried to replace the annual "Messiah from Scratch" in favour of a concert by a smart Madrigal choir.
But it wasn't the vicar. Bongo, the churchwarden, strode into the room all eager
smiles and enthusiasm. 'I thought I'd have a word with you, Albert, before
approaching the maestro ["All-stops-out- Sid-the-organ-grinder"]. I've decided to
join the ...
Throughout the second half of the twentieth century, Studs Terkel hosted a legendary daily radio show in Chicago, presenting listeners with his inimitable take on an eclectic range of music, from classical, opera, and jazz to gospel, blues, folk, and rock. And They All Sang is nothing less than "a tribute to music’s universality and power" (Philadelphia Inquirer), featuring more than forty of Terkel’s unforgettable conversations with some of the greatest musicians of the past century—including Louis Armstrong, Leonard Bernstein, Big Bill Broonzy, Bob Dylan, Dizzy Gillespie, Mahalia Jackson, Janis Joplin, Rosa Raisa, Pete Seeger, and many others. As the esteemed music critic Anthony DeCurtis wrote in the Chicago Tribune, "the terms 'interview' or 'oral history' don’t begin to do justice to what Terkel achieves in these conversations, which are at once wildly ambitious and as casual as can be." Whether discussing Enrico Caruso’s nervousness on stage with opera diva Edith Mason or the Beatles' 1966 encounter in London with revered Indian sitar player Ravi Shankar, "Terkel’s singular gift for bringing his subjects to life in their own words should strike a chord with any music fan old enough to have replaced a worn-out record needle" (New York Times).
When I auditioned in the great 8H studio of NBC for Maestro Toscanini for the first
telecast of Aïda, as Radames, I had never sung Aïda. I said to the maestro, “I
never sang the opera. Do you mind if I read it from music?” He says, “No, go right
...
