Olhares sobre a música em Portugal no século XIX: Ópera, virtuosismo e música doméstica
“[Olhares sobre a música em Portugal no século XIX] é um volume repleto de informação inédita e profundamente estimulante para todos os que se dedicam aos estudos artísticos e culturais em Portugal, cuja leitura vem demonstrar a riqueza e complexidade de uma época à qual começamos enfim a prestar justiça. Com este livro, ficamos a dever à autora a confirmação inequívoca de que a história da música em Portugal no século XIX merecia, de facto, ser contada.” – Paulo Ferreira de Castro (mais…)
Histórias da Música em Portugal, com texto de Mário João Alves e ilustrações de Madalena Matoso, é uma viagem através dos séculos que nos desvenda os seus episódios musicais mais surpreendentes e singulares. O CD que acompanha o livro reúne algumas das obras mais representativas do nosso património musical, desde Dom Diniz a Constança Capdeville, acabando quase por ser uma história da música portuguesa em 60 minutos. Para miúdos a partir dos sete ou oito anos… mas também para os mais crescidos! (mais…)
The Christian West and It’s Singers: The First 1000 Years
A renowned scholar and musician presents a new and innovative exploration of the beginnings of Western musical art. Beginning in the time of the New Testament, when Christians began to develop an art of ritual singing with an African and Asian background, Christopher Page traces the history of music in Europe through the development of Gregorian chant – a music that has profoundly influenced the way Westerners hear – to the invention of the musical staff, regarded as the fundamental technology of Western music. (mais…)
A reissue of a masterpiece by a world-class pianist and top-rank thinkernow expanded and with a compact disc. This outstanding book focusing on the three most-beloved composers of the Vienna School is considered basic to any study of the music from their era. Drawing on his rich experience and intimate familiarity with the works of these giants, Charles Rosen presents his keen insights in language that is clear, persuasive, and nontechnical. (mais…)
This volume is the second in a planned series on the history of western music. It contains material on the background, philosophy, theory, notation, style, manuscript sources, theoretical sources, classes of music, composers, and instruments of the period from 1425 to 1520.
This annotated chronology of western music is the second in a planned series of outlines of the history of music in western civilization. Although there are many excellent books on music history, until now no single source has systematically presented concise information on theory, notation, style, composers, instruments, and terminology, incorporating findings from primary sources and the results of subsequent scholarly research. (mais…)
This annotated chronology of western music from 313-1425 is the first in a series of outlines covering the history of music in western civilization. The present volume covers the background, philosophy, theory, notation, style, and forms or classes of music of the periods stated and also the works of theorists or composers. Sources, facsimiles, and transcriptions of musical manuscripts and sources of treatises by musical theorists, in the original language and in English translation, are indicated where possible.
The instruments of each historical period are listed and described. Musical terms are defined at the end of each chapter. Foreign words, parts of the liturgy of the Roman Catholic church, musical terms, titles of theoretical works and musical manuscripts, and names of composers, theorists, and places of interest are defined in the section entitled Definition and Pronunciation. This section also includes the translation and pronunciation of words in Classical and Ecclesiastical Latin, French, German, Italian, Spanish, Old English, and Old French. (mais…)
Generally acknowledged as the most important German musicologist of his age, Hugo Riemann (1849–1919) shaped the ideas of generations of music scholars, not least because his work coincided with the institutionalization of academic musicology around the turn of the last century. This influence, however, belies the contentious idea at the heart of his musical thought, an idea he defended for most of his career – harmonic dualism. By situating Riemann’s musical thought within turn-of-the-century discourses about the natural sciences, German nationhood and modern technology, this book reconstructs the cultural context in which Riemann’s ideas not only ‘made sense’ but advanced an understanding of the tonal tradition as both natural and German. Riemann’s musical thought – from his considerations of acoustical properties to his aesthetic and music-historical views – thus regains the coherence and cultural urgency that it once possessed. (mais…)