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  • Musicology  (31)
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  • 1
    UID:
    b3kat_BV042891227
    Format: XI, 262 Seiten
    ISBN: 9780801453120
    Note: Includes bibliographical references and index , Shostakovich and the iron curtain : intellectual property and trans-imperial integration -- Dueling pianos : imperial and national dynamics in postwar music competitions -- From the Moscow musical holiday to the first Tchaikovsky Competition -- Oistrakh on tour, Richter at home : display, control, and the style of global empire -- Oistrakh and the impresario : Soviet concert tours and trans-imperial integration
    Language: English
    Subjects: Musicology
    RVK:
    Keywords: Sowjetunion ; Außenpolitik ; Musikpolitik ; Musikwettbewerb ; Musikleben ; Geschichte 1945-1958
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  • 2
    UID:
    b3kat_BV045415622
    Format: xiv, 268 Seiten , Illustrationen
    ISBN: 9780822368687 , 9780822368564
    Series Statement: Refiguring American music
    Content: In The Race of Sound Nina Sun Eidsheim traces the ways in which sonic attributes that might seem natural, such as the voice and its qualities, are socially produced. Eidsheim illustrates how listeners measure race through sound and locate racial subjectivities in vocal timbre—the color or tone of a voice. Eidsheim examines singers Marian Anderson, Billie Holiday, and Jimmy Scott as well as the vocal synthesis technology Vocaloid to show how listeners carry a series of assumptions about the nature of the voice and to whom it belongs. Outlining how the voice is linked to ideas of racial essentialism and authenticity, Eidsheim untangles the relationship between race, gender, vocal technique, and timbre while addressing an undertheorized space of racial and ethnic performance. In so doing, she advances our knowledge of the cultural-historical formation of the timbral politics of difference and the ways that comprehending voice remains central to understanding human experience, all the while advocating for a form of listening that would allow us to hear singers in a self-reflexive, denaturalized way
    Note: Formal and informal pedagogies : believing in race, teaching race, hearing race , Phantom genealogy : sonic Blackness and the American operatic timbre , Familiarity as strangeness : Jimmy Scott and the question of Black timbral masculinity , Race as zeros and ones : Vocaloid refused, reimagined, and repurposed , Bifurcated listening : the inimitable, imitated Billie Holiday , Widening rings of being : the singer as stylist and technician
    Additional Edition: Erscheint auch als Online-Ausgabe ISBN 978-0-8223-7264-6
    Additional Edition: Erscheint auch als Online-Ausgabe
    Language: English
    Subjects: Musicology
    RVK:
    Keywords: Afroamerikanische Musik ; Klang ; Zuhören
    URL: Volltext  (kostenfrei)
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  • 3
    Book
    Book
    Urbana ; Chicago ; Springfield : University of Illinois Press
    UID:
    b3kat_BV047877776
    Format: XIV, 187 Seiten , Illustrationen, Notenbeispiele
    ISBN: 9780252044205
    Series Statement: Music in American life
    Content: "These previously unpublished lectures by Elliott Carter date to the summer of 1967, when the acclaimed composer taught at the Contemporary Music Workshop held by the University of Minnesota. Leading an introductory course on orchestra repertoire, Carter gave nine hours of lectures covering principal topics like how to live with the musical present and whether the symphony orchestra was a relic of the past or a possible active force for new music. But Carter's observations and prompts by audience questions broadened the discussion into areas ranging from electronic music to analyses of works by other artists and himself. Laura Emmery presents the complete text from each session alongside introductions, commentary, and annotated examples that provide valuable context for readers. Expansive and essential, Elliott Carter Speaks opens up the artist's teaching and introspection to new contemporary perspectives on his thought and art"--
    Note: Introduction. On the "Minnesota Workshop" Lectures -- Part I. Basic Needs for a Music Situation That Is Alive. On Artist's Originality ; On Music Tradition ; Composer's Own Training as a Criticism of the Society ; Composer as a Critic of Contemporary Music, Art, and the Audience ; The Historic Relation between the Public and the Music Profession ; Music as a Force of Communication ; The View of Twentieth-Century Music through the Present and the Past ; Composers as Critics of Their Own Works ; Toward "New Virtuosity" ; Toward Metric Virtuosity -- Part II. How to Live with the Musical Present. On Charles Ives ; Luigi Nono's Il canto sospeso ; On Pierre Boulez and Karlheinz Stockhausen ; On Edgard Varèse ; On Krzysztof Penderecki ; What Is the Domain of Serious Music? A Case Study of Olivier Messiaen ; On Musical Thought -- Part III. The Symphony Orchestra: Relic of the Past or Active Force for New Music? Sociological Aspects of the Symphony Orchestra: State-Supported and Privately Funded Orchestras ; Techniques of Orchestration ; Pocahontas (1939) ; Holiday Overture (1944) ; Variations for Orchestra (1953-1955) -- Part IV. Can an Established Musical Form Like the Concerto Have Any Relevance Today? Contextualizing Piano Concertos ; J. S. Bach : Brandenburg Concerto No. 5 in D Major ; Mozart Piano Concerto No. 24 in C Minor, K. 491 ; Beethoven : Piano Concerto No. 4 in G Major ; Alexander Scriabin : Prometheus ; Igor Stravinsky : Concerto for Piano and Wind Instruments and Capriccio for Piano and Orchestra ; Béla Bartók : Piano Concerto No. 1 ; Elliott Carter : The Double Concerto (1959-1961) and Piano Concerto (1964-1965) ; Double Concerto for Harpsichord and Piano ; Piano Concerto (1964-1965)
    Language: English
    Subjects: Musicology
    RVK:
    Keywords: USA ; Orchestermusik ; Geschichte 1967 ; Aufsatzsammlung ; Aufsatzsammlung
    Author information: Carter, Elliott 1908-2012
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  • 4
    Book
    Book
    New York u.a. : Oxford Univ. Press
    UID:
    b3kat_BV007566669
    Format: X, 278 S. , Notenbeisp.
    ISBN: 0195054881
    Content: Ranging from fond reflection to interview-and-commentary to close critical analysis, Giddins explores the achievements of 37 artists: show people, divas, musicians, and writers, ranging from Irving Berlin to Spike Lee, Billie Holiday to Kay Starr, Louis Armstrong to Miles Davis, Elias Canetti to Philip Roth.
    Language: English
    Subjects: Musicology
    RVK:
    Keywords: Drehbuchautor ; Musiker ; Film ; Filmschaffender ; Aufsatzsammlung
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  • 5
    Book
    Book
    Chicago [u.a.] : Univ. of Chicago Press
    UID:
    b3kat_BV023274572
    Format: XIII, 314 S., [12] Bl. , Ill.
    ISBN: 9780226080710 , 0226080714
    Content: Between the mid-1930s and the late '40s the centre of the jazz world was a two-block stretch of 52nd Street in Manhattan. Dozens of crowded basement clubs played host to legends like Charlie Parker and Billie Holiday. These clubs defied the traditional boundaries between art and entertainment, and between the races.
    Note: Includes bibliographical references and index , First for the musicians, then for the world : the birth of Swing Street -- Let's have a jubilee : 52nd Street goes commercial -- Here comes the man with the jive : Stuff Smith -- A little law and order in my music : the John Kirby Sextet and Maxine Sullivan -- Swingin' down that lane : 52nd Street at the height of the swing era -- Making it into the big time : Count Basie, Joe Marsala, and "mixed" bands -- This conglomeration of colors : bebop comes to Swing Street -- Apples and oranges : 52nd street and the jazz war
    Language: English
    Subjects: Musicology
    RVK:
    RVK:
    Keywords: New York, NY ; Jazz ; Geschichte 1930-1950
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  • 6
    Book
    Book
    New York : Thunder's Mouth Press
    UID:
    b3kat_BV022713875
    Format: XXII, 602 S., [8] Bl. , Ill. , 24 cm
    Edition: 1. print.
    ISBN: 1560257075 , 9781560257073
    Content: From Frank Sinatra and Billie Holiday to Janice Joplin and Michael Jackson, Columbia Records has discovered and nurtured a mind-boggling spectrum of talents and temperaments over the past 100-plus years. Now, with unprecedented access to the company's archives, this book tells the stories behind the groundbreaking music. More often than not, the music was not just created by the artists themselves but forged out of conflict with the men and women who handled them--executives, producers, Artists and Repertoire men, arrangers, recording engineers, and, yes, even publicists. And at almost every narrative crossroads is an undercurrent of racial tension--a tension that not only influenced twentieth-century music, but also mirrored and at times prompted major changes in American culture.--From publisher description.
    Note: From Frank Sinatra and Billie Holiday to Janice Joplin and Michael Jackson, Columbia Records has discovered and nurtured a mind-boggling spectrum of talents and temperaments over the past 100-plus years. Now, with unprecedented access to the company's archives, this book tells the stories behind the groundbreaking music. More often than not, the music was not just created by the artists themselves but forged out of conflict with the men and women who handled them--executives, producers, Artists and Repertoire men, arrangers, recording engineers, and, yes, even publicists. And at almost every narrative crossroads is an undercurrent of racial tension--a tension that not only influenced twentieth-century music, but also mirrored and at times prompted major changes in American culture.--From publisher description. , Includes bibliographical references (p. [545]-579) and index
    Language: English
    Subjects: Musicology
    RVK:
    RVK:
    Keywords: Columbia Recording Corporation ; Geschichte 1880-1990 ; USA ; Label ; Geschichte 1880-1990
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  • 7
    Online Resource
    Online Resource
    Durham : Duke University Press
    UID:
    gbv_1778512593
    Format: 1 Online-Ressource (288 p.)
    ISBN: 9781478090359
    Content: In The Race of Sound Nina Sun Eidsheim traces the ways in which sonic attributes that might seem natural, such as the voice and its qualities, are socially produced. Eidsheim illustrates how listeners measure race through sound and locate racial subjectivities in vocal timbre—the color or tone of a voice. Eidsheim examines singers Marian Anderson, Billie Holiday, and Jimmy Scott as well as the vocal synthesis technology Vocaloid to show how listeners carry a series of assumptions about the nature of the voice and to whom it belongs. Outlining how the voice is linked to ideas of racial essentialism and authenticity, Eidsheim untangles the relationship between race, gender, vocal technique, and timbre while addressing an undertheorized space of racial and ethnic performance. In so doing, she advances our knowledge of the cultural-historical formation of the timbral politics of difference and the ways that comprehending voice remains central to understanding human experience, all the while advocating for a form of listening that would allow us to hear singers in a self-reflexive, denaturalized way
    Note: English
    Language: English
    Subjects: Musicology
    RVK:
    RVK:
    URL: Volltext  (kostenfrei)
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  • 8
    UID:
    b3kat_BV046894377
    Format: viii, 414 Seiten , Illustrationen, Portraits
    ISBN: 9780190914110
    Content: "The Apollo Theatre in Harlem is synonymous with some of the greatest names in African-American entertainment such James Brown, Redd Foxx, Ray Charles, Billie Holiday, Michael Jackson-and Louis Armstrong. Louis Armstrong? A man seemingly vilified by the black press and who lost his black fan base over the years because of his out-of-date stage persona? A hero at the Apollo? And in the black press? The way Armstrong's story is often told, this might be difficult to fathom but it's all true. Upon his return to the United States in January 1935 after 18 months in Europe, Armstrong's first stop was the brand-new Apollo. Lip troubles prevented him from playing that evening, but his appearance shook up the Theatre, causing management to put up a placard stating: "Coming Shortly-Louis Armstrong." On August 30, 1935, Armstrong finally graced the Apollo stage. There was much apprehension before his appearance. It was his first New York engagement in nearly two years. He hadn't recorded in America since April 1933. He spent much of the first half of 1935 physically unable to play his trumpet. What kind of shape would he be in? Could he still hit his famed high notes? Should he retire? The black press whipped itself into a frenzy in previewing his return to Harlem. Armstrong himself knew this was a defining moment and took a snapshot of the marquee, keeping it for his personal collection"--
    Additional Edition: Erscheint auch als Online-Ausgabe, EPUB Riccardi, Ricky, 1980- Heart full of rhythm New York : Oxford University Press, 2020 ISBN 978-0-19-091413-4
    Language: English
    Subjects: Musicology
    RVK:
    Keywords: Armstrong, Louis 1901-1971 ; New York, NY ; Jazz ; Geschichte 1929-1947 ; Biografie ; Biografie
    Author information: Armstrong, Louis 1901-1971
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  • 9
    Online Resource
    Online Resource
    Cambridge ; New York ; Melbourne ; Madrid ; Cape Town ; Singapore ; São Paulo ; Delhi ; Tokyo ; Mexico City : Cambridge University Press
    UID:
    b3kat_BV043927333
    Format: 1 Online-Ressource (xx, 233 Seiten) , Notenbeispiele
    ISBN: 9780511793295
    Content: Traditionally, ideas about twentieth-century 'modernism' - whether focused on literature, music or the visual arts - have made a distinction between 'high' art and the 'popular' arts of best-selling fiction, jazz and other forms of popular music, and commercial art of one form or another. In Modernism and Popular Music, Ronald Schleifer instead shows how the music of George and Ira Gershwin, Cole Porter, Thomas 'Fats' Waller and Billie Holiday can be considered as artistic expressions equal to those of the traditional high art practices in music and literature. Combining detailed attention to the language and aesthetics of popular music with an examination of its early twentieth-century performance and dissemination through the new technologies of the radio and phonograph, Schleifer explores the 'popularity' of popular music in order to reconsider received and seeming self-evident truths about the differences between high art and popular art and, indeed, about twentieth-century modernism altogether
    Note: Introduction: popular music and the experience of modernism -- Part I. Musical Modernism: Popular Music in the Time of Jazz: 1. Classical modernity and popular music; 2. Twentieth-century modernism and 'jazz' music -- Part II. Gershwin, Porter, Waller, and Holiday: 3. Melting pot and meeting place: the Gershwin brothers and the arts of quotation; 4. 'What is this thing called love?': Cole Porter and the rhythms of desire; 5. Signifying music: Fats Waller and the time of jazz; 6. Music without composition: Billie Holiday and ensemble performance -- Conclusion: popular music and the revolution of the word
    Additional Edition: Erscheint auch als Druck-Ausgabe, Hardcover ISBN 978-1-107-00505-1
    Additional Edition: Erscheint auch als Druck-Ausgabe ISBN 978-1-107-65530-0
    Language: English
    Subjects: Musicology
    RVK:
    Keywords: Modernismus ; Jazz ; Unterhaltungsmusik ; Ästhetik ; Gershwin, George 1898-1937 ; Gershwin, Ira 1896-1983 ; Holiday, Billie 1915-1959 ; Porter, Cole 1891-1964 ; Waller, Fats 1904-1943
    URL: Volltext  (URL des Erstveröffentlichers)
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  • 10
    Book
    Book
    Cambridge : Da Capo Press
    UID:
    b3kat_BV014789110
    Format: XV, 468 S. , Ill.
    Edition: 1. Da Capo Press ed.
    ISBN: 9780306811364 , 0306811367
    Note: Originalaus. u.d.T.: Clarke, Donald: Wishing on the moon : the life and times of Billie Holiday
    Language: English
    Subjects: Musicology
    RVK:
    Keywords: Holiday, Billie 1915-1959 ; Biografie
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