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Book
xvii, 150 pages ; 22 cm
  • 1. Entrance: The Spies of Jericho 2. Discipline and Listen Before the Wiretap Overhearing and Diaphony, A Small History of Big Ears (Toward the Panacousticon) Mastery and Metrics in Figaro The Ages of Fear Telelistening and Telesurveillance A Secret Conversation 3. Underground Passage: The Mole in Its Burrow 4. In the Footsteps of Orpheus The Trackers, with Hidden Noise The Mortal Ear, or Orpheus Turns Around On the Phone: Papageno at Mabuse's The Phantom of the Opera Wozzeck at the Moment of His Death Adorno, the Informer 5. Exit: J.D.'s Dream Notes.
  • (source: Nielsen Book Data)9780823273966 20170213
The world of international politics has recently been rocked by a seemingly endless series of scandals involving auditory surveillance: the NSA's warrantless wiretapping is merely the most sensational example of what appears to be a universal practice today. What is the source of this generalized principle of eavesdropping? All Ears: The Aesthetics of Espionage traces the long history of moles from the Bible, through Jeremy Bentham's "panacoustic" project, all the way to the intelligence-gathering network called "Echelon." Together with this archeology of auditory surveillance, Szendy offers an engaging account of spycraft's representations in literature (Sophocles, Shakespeare, Joyce, Kafka, Borges), opera (Monteverdi, Mozart, Berg), and film (Lang, Hitchcock, Coppola, De Palma). Following in the footsteps of Orpheus, the book proposes a new concept of "overhearing" that connects the act of spying to an excessive intensification of listening. At the heart of listening Szendy locates the ear of the Other that manifests itself as the originary division of a "split-hearing" that turns the drive for mastery and surveillance into the death drive.
(source: Nielsen Book Data)9780823273966 20170213
Green Library
Book
xii, 308 pages : illustrations ; 24 cm
  • I: Art, politics, and economics
  • Maoist aesthetics
  • Production and circulation of literature under the revolutionary cultural economy
  • II: A culture of models and copies
  • Art and the culture of models and copies
  • Barefoot doctors and femininity
  • Opera and transplantation between cultures
  • Ballet across genres and forms
  • Mao as doxa
  • Intellectuals as ghosts
  • Chinese Glossary.
In the 1950s, a French journalist joked that the Chinese were 'blue ants under the red flag, ' dressing identically and even marching in an identical fashion. When the Cultural Revolution officially began, this uniformity seemed to extend to the mind. From the outside, this was a monotonous world, full of repetitions and imitation, but a closer look reveals a range of cultural experiences, which also provided individuals with an obscure sense of freedom. In The Art of Cloning, Pang Laikwan examines this period in Chinese history when ordinary citizens read widely, travelled extensively through the country, and engaged in a range of cultural and artistic activities. The freedom they experienced, argues Pang, differs from the freedom, under Western capitalism, to express individuality through a range of consumer products. However, it was far from boring, and filled with its own kind of diversity.
(source: Nielsen Book Data)9781784785208 20170213
SAL3 (off-campus storage)
Book
502 pages : illustrations, charts ; 23 cm
  • Introduction -- Des traditions maintenues -- De nouveaux statuts individuels et collectifs -- Au service de la régénération -- Politiques du répertoire -- Trois voies pour une même pédagogie ? -- Du théâtre historique au théâtre politique (1748-179o) -- La vraisemblance historique -- Rendre sensible la violence des temps -- Naissance de la "tragédie patriotique": le Charles IX de Chénier -- Le comique est-il au rendez-vous de l'Histoire -- Violence du rire, rire de la violence -- Rire par-dessus les temps -- Le théâtre sous la Terreur, nouvelle École du peuple ? -- Les attentes du pouvoir -- Un monde professionnel déstabilisé -- Le répertoire patriotique -- Trois thèmes de propagande -- Les apothéoses théâtrales des héros de la Révolution (1791-1794) -- L'Olympe de Mirabeau -- L'élévation républicaine de Beaurepaire -- Le Paradis des sans-culottes -- Adultérins et orphelins : les joies de l'adoption selon le théâtre de la Révolution -- Le temps de l'émancipation et de la mixité sociale -- La nation, mère de tous les orphelins -- Le Directoire ou la confusion des moeurs et des passions -- Le brigand, de Schiller à Hoffman -- Les Brigands de Schiller ou la matrice de toute oeuvre -- L'argument du drame premier -- Désobéissance et autocensure -- Robert, chef de brigands ou la captation d'héritage -- Une adaptation d succès -- Une intrigue retravaillée et appauvrie -- La diffusion, des professionnels aux amateurs -- L'entrée dans la postérité -- Les brigands contrefaits -- À la recherche d'une improbable suite -- Les "brigands" royalistes -- Les "brigands" jacobins -- Trois auteurs patriotes -- La carrière révolutionnaire de Louis-Benoît Picard -- Philippe Antoine Dorfeuille, propagandiste patriote -- Les feux d'une carrière -- Les héros de l'histoire immédiate -- La sainte omelette du père Polycarpe -- Le chien aristocrate -- Madame Liberté et Mademoiselle Constitution -- Annexe 1: Miracle de la Sainte Omelette -- Annexe 2 : Lettre d'un chien aristocrate à son maître, aristocrate aussi, et fugitif de Toulouse -- Annexe 3 : La lanterne magique patriotique ou le coup de grâce de l'aristocratie -- Briois, ou les infortunes de la vertu politique -- Trois manières de servir l'art scénique -- La part des amateurs -- Les émotions -- Le spectateur éclairé -- Le comédien amateur -- Annexe : Règlement de la Société des amateurs du théâtre de Riom -- Les directeurs de troupes -- L'Opéra du Directoire -- L'ombre des vedettes -- Le délabrement de l'institution -- La rareté des nouveautés -- L'interventionnisme de l'État -- La Grèce au répertoire -- Un public averti -- Critiques et mise au pas du théâtre patriotique -- Fabien Pilet et la critique du goût bourgeois -- Seul le vent tourne -- Le contempteur des arts révolutionnaires -- Des costumes et de la mise en scène -- La réorganisation des théâtres, du Directoire à l'Empire -- Le contrôle des salles -- Les genres et le "bon goût" -- Les déclinaisons provinciales du modèle national -- Les limites d'un impérialisme culturel: le théâtre français dans l'Europe de Napoléon -- Le poids des héritages
  • Pérégrinations françaises dans l'Europe impériale -- Langue dissonante, oreilles dissidentes -- La soumission française à l'opéra italien -- Hybridation et acculturation.
"L'union des arts, leur ouverture au plus grand nombre sont au coeur du projet de régénération porté par les révolutionnaires français. Le théâtre connaît alors un véritable âge d'or, comme en témoignent la multiplication des salles et l'émergence de quantité de nouveaux talents, chez les auteurs comme chez les comédiens, chez les professionnels comme chez les amateurs. Au nom du projet émancipateur de la République, les conventionnels élèvent le théâtre au rang d'"école primaire pour adultes". Des débats sur son utilité pédagogique animent les Assemblées, le Comité de salut public, les clubs, les sociétés, les journaux, au risque d'une censure qui échappe aux seuls critiques, et dont sont volontiers partie prenante les spectateurs C'est ce foisonnement sans précédent que fait revivre Philippe Bourdin dans cette fresque captivante consacrée aux arts de la scène sous la Révolution. Un rayonnement notamment associé aux noms d'André Chénier, Chamfort, Fabre d'Églantine, Olympe de Gouges. L'incarnation des gloires républicaines se fait certes par le geste mais tout autant par le verbe. Minoritaire mais conquérant, le théâtre patriotique met en scène des personnages-orateurs: représentants du peuple, maires, officiers, instituteurs, curés patriotes ou, plus simplement, pères et mères de famille anonymes. Ils usent d'un discours de justification, de l'éloge, de la célébration, pour construire sur le vif de l'événement une légende nationale immédiate, un héroïsme à partager."--Page 4 of cover.
Green Library
Book
xvi, 529 pages : illustrations ; 24 cm
  • Preface Prologue: Beyond Autonomy The Uncanny Grace: A Gloss on Kleist's Marionettes Reason Beyond Reason History Nation Will Religion, the Enlightenment, the Counter-Enlightenment: The New Configuration part one 1. The Secret of Music-Dramatic Form: Music Drama as Opera 2. Der Ring des Nibelungen: The Anarchist Utopia Das Rheingold: The Fall Die Walkure: How One Becomes Human Act 1: Becoming Wagner Act 2: Becoming Brunnhilde Act 3: Waiting for the Hero Siegfried: How One Becomes a Hero Act 1: Getting the Sword Act 2: Using It Act 3: The Awakening Gotterdammerung: The Apocalypse Prologue: The Past and the Future Act 1: The Entrapment 1 Act 2: The Entrapment 2 Act 3: Death and Transfiguration The Myth of Revolution part two 3. Tristan und Isolde: The Erotic Utopia The Lyrical Axis The Narrative Axis The Orchestral Strand The Music-Dramatic Form The Myth of Will Postscript 4. Die Meistersinger von Nurnberg: Politics after Tristan Act 1: The Knight's Failure Act 2: The Clerk's Failure Act 3, Part 1: A Lesson in Poetics Act 3, Part 2: The Shoemaker's Triumph The Myth of Nation 5. Parsifal: Ethics after Tristan The Communion Sequences of Acts 1 and 3 The Monologues of Acts 1 and 3 Act 2: The Kiss of Self-Knowledge The Music-Dramatic Form Eros and Agape The Myth of Redemption Epilogue: Wagner contra Nietzsche Wagner and Nietzsche: A History of the Relationship Becoming Nietzsche Nietzsche contra Wagner, Wagner contra Nietzsche Appendix 1. Das Rheingold: The Music-Dramatic Plan Appendix 2. Die Walkure: The Music-Dramatic Plan Appendix 3. Siegfried: The Music-Dramatic Plan Appendix 4. Gotterdammerung: The Music-Dramatic Plan Appendix 5. Tristan und Isolde: The Music-Dramatic Plan Appendix 6. Die Meistersinger: The Music-Dramatic Plan Appendix 7. Parsifal: The Music-Dramatic Plan Acknowledgments Abbreviations Used in Notes Notes Works Consulted Index.
  • (source: Nielsen Book Data)9780520292758 20170123
Beyond Reason relates Wagner's works to the philosophical and cultural ideas of his time, centering on the four music dramas he created in the second half of his career: Der Ring des Nibelungen, Tristan und Isolde, Die Meistersinger von Nurnberg, and Parsifal. Karol Berger seeks to penetrate the "secret" of large-scale form in Wagner's music dramas and to answer those critics, most prominently Nietzsche, who condemned Wagner for his putative inability to weld small expressive gestures into larger wholes. Organized by individual opera, this is essential reading for both musicologists and Wagner experts.
(source: Nielsen Book Data)9780520292758 20170123
Music Library
Book
xviii, 220 pages : illustrations ; 23 cm
  • Dedication Acknowledgments Preface Section A. - Getting Started Write a Brilliant Script! ***Poem: On Strike Umm, What to Write? Adapt or Die You're No Genius You're in Good Company Playing Around with George Clooney's Happy Ending Books are Just Screenplays with Adjectives. Develop Relationship with Original Author Use Their Experience to Your Benefit Connect with the Material Don't Call it "Opening Up" Location, Location, Location. Editing-- Macro and Micro. Putting the "Move" in "Movies" Use Your Source Material's Pedigree Don't Apologize for Your Source Material Try This On For Size: Improvise! Buying a Script on the Open Market Choose a Castable Script Lawyer Up! Chain of Title Isn't Just an R&B Song Mining for Gold: Discovering the Lost Jules Feiffer Script ***NameDropper Sidebar: Robert Altman There's No Business Like a Show Business Plan Project Summary Project History Key Production Team Synopsis Director's Statement Casting Why Support Independent Film? Product Integration & Branded Sponsorship Financing Options Budget Considerations/Options Distribution Potential Distribution Scenarios Contact Info Disclaimer Remember, It's a Visual Medium Storyboard Lookbook Pitch Cinema Subtitles *** Sidebar: Famous Director Kickstarter Campaigns Takin' Care of Business Rin-TIN-TIN Putting the Love in LLC! Wonderful Waterfalls Making Sure You're Not a Flimmaker Registering with the State The New Pizza King of Omaha EDGAR, EDGAR, Give Me Your Answer Do Boiler Rooms and Shriners Casting Your Banker Hey Buddy, Can You Paradigm? ***Poem: Crowdfund This Staff Up: Your First Round of Collaborators Producing a Producer Interns and a Clean Garage Terrorist Filmmaking The One-Armed Executioner Section B. - Shooting the Movie Casting Your Movie With A-List Actors Assemble a Team Aim High Go to New York Be Bi-Coastally Curious Don't Have a List! Develop Relationships with Agents Yourself Play the Agency Game Bait and Switch Set a Start Date Make it Real Magnetic Balls of Iron Take Advantage of Others' Misfortune Oh, and What if You Don't Have Famous Actors? ***Poem: Call Backs Directing Famous Actors in a Microbudget Film Cast Well Rehearse ***Namedropper sidebar: Harold Ramis Use Rehearsal Wisely Overlapping Dialogue ***Sidebar: The Sound of Music *** What's My Motivation? Trust Your Scripty Encourage "Chemistry" Among Your Cast Behave Like a Big Budget Production Block Scenes On Set Use Multiple Takes as Your Coverage Have Faith in Editing Say Something to the Actors Methods to their Madness Lights, Camera, Cinematographer! Good vs. Nice ***NameDroppers Sidebar - Rian Johnson They're Like Actors with Cameras It's Who They Know Putting the "DP" in iDentity Politics Are They Still Called Films if They're Digital? Film's Zombie Resurgence ***NameDroppers Sidebar - Christopher Nolan & Emma Thomas Deconstructing the Cult of Galileo Frankenlens and Mir (vishscopes) Walt Disney's Secret Optics Bunker Time to Shoot! Does It Take a Video Village to Raise a Film? Bump Up the Credits Finding a Crew with Donut Group Therapy Dress the Part Group Hug, Safety and Prayer to the Film Gods Your First-Day Disasters Hello, My Name is Josh Find the Goat Ready, Aim, Fire! Be Prepared Two Takes Ahead ***NameDropper Sidebar - Alexander Payne Arrive Early, Bring Donuts, Wear Tape Making Your 12-Hour Day Feeding the Beast Making an Epic EPK ***NameDropper Sidebar - John Carpenter Devious Use of the EPKorner Still the One Getting Your Kill Shots Point and Shoot To Infinity and Behind-the-Scenes Making Product Placement Work for You Cash and Carry Break Down, Go Ahead and Give it To Me A Clear and Present Necessity Selling Out, Even if You Don't Get Paid for It Killing Two Birds with One Stone ***Poem: The Locavore Filmmaker Livin' La Vida Locavore Keep Your Homebase at Home Cast Locally (sort of) Find Locations Close to Home Drag Your Actors out of Bed No, Seriously, Keep it Really Close to Home If You Travel, Hire Locally Editing, One Pant Leg at a Time Screw the Environment, Do It for Yourself ***Poem - Hack Attack Section C. - Post-Production Editing Like an ACE Editors Are Like Bass Players Finding Fresh Eyes Cut Yourself ***Poem: The Artisanal Filmmaker Start Strong-- Stick Your Landing Don't Let Your Post Supervisor Escape To Madagascar Teasing Out Your Assistants ***NameDropper Sidebar - Jon Bokenkamp Getting a Little Testy It's Not Easy Being Green Screened Sound and Fury The Breakfast (Nook) Club Temp Decomposing Song Sung Blue Section D. - Festivals Toronto, Toschmonto: Time for a Festival Plan "B" It's Just as Well. Your Film Wasn't Finished! It's All About Sundance Anyway! To Get Distribution! ***SideBar: Producer's Reps vs. Foreign Sales Agents Don't Buy Into the Premiere Arms Race Play Them Off Against Each Other Volume, Volume, Volume Get Reviews Meet Your Audience See the World! They're "Romantic" Meet New Money Get DVD Extras Meet Other Filmmakers ***Poem: Putting the Festiv Back Into Festival How to Avoid Going Broke Applying to Film Festivals Be Selective Make a Personal Connection to the Festival Programmer Offer Your Premiere Status Offer Up Talent Ask for a Waiver Don't Ask for a Waiver Aim Foreign Mail Smart Submit Vimeo Links Hand-Deliver Your DVD Meet Festival Directors at Other Festivals Bribes and Blackmail ***SideBar: Top 24 Sundance/Slamdance Rejection Rationalizations ***Poem: We Are Slamdance How to Start Your Own Film Festival: The Birth of Slamdance Sundance or Bust Anarchy in Utah Prospecting for Screening Rooms The Birth of IndieWood ***NameDropper Sidebar: Steven Soderbergh Our Napolean Complex ***NameDropper Sidebar: Marc Forster Billions and Billions ***Poem: Slamdance at 15 Section E. - Distribution Sexy Things You Get to Do When You Think Your Film is Finished Deliverables E&O Insurance Repair Relationships Promote Your Friggin' Movie DVD Extras Crowd-Funding Perks Taxes Accounting K-1s Write Checks Residuals Archiving Escaping Your Distributor Dissolving Your Entity Rinse, Repeat ***Poem: Don't Get Distribution Aarghh! How to Beat Film Pirates at their Own Game The Whack-a-Mole Takedowns! Make Money From the Pirates The Fakeout! Using the Pirates to Screw Your Distributor! Embracing the Pirates! Slut-Shaming the Advertisers Make Piracy an Essential Element of your Release Strategy Use the Pirates to Pimp Your Merch Use Piracy to Charge for Product Placement What Operas and Sharknado Can Teach Indie Films ***Poem: Analytic Black Hole When In Doubt, Create Your Own Oscar Go Team America! Big in Germany A Tree in the Forest Race to the Academy! We Wuz Robbed ***Poem: Transmedia Verse How to Make Money From an Oscar Nomination The Accountant How to Become a TV Director and Make it in Hollywood Recut Your Reel. Redo Website Update Your IMDb and Wikipedia Pages Make a List Whom to Meet With? How to Get the Meetings ***NameDroppers Sidebar: Joe and Anthony Russo Research Their Shows Research The People Go Early The Pre-Meeting Meeting Check for Breaking News Do You Take The Water? Choose Wisely Where to Sit Wear or Do Something Memorable Tell Funny Stories About Yourself ***NameDroppers Sidebar - Lynn Shelton Ask Them Personal Questions Get Something Out of Each Meeting The Parking Garage Meeting After the Meeting ***SideBar: The Eight Stages of Success for an Indie Filmmaker Epilogue Index.
  • (source: Nielsen Book Data)9781138185135 20161018
In The Cheerful Subversive's Guide to Independent Filmmaking, celebrated Slamdance Film Festival co-founder Dan Mirvish offers a rich exploration of the process and culture of making low-budget, independent films. Once labelled a "cheerful subversive" by The New York Times, Mirvish shares his unfiltered pragmatic approach to scriptwriting, casting, directing, producing, managing a crew, post-production, navigating the film festival circuit, distributing your film, dealing with piracy and building a career. Readers will learn how to game the Hollywood system to their advantage, get their films accepted by respected festivals without going broke, and utilize a broad range of media and tactics to promote and distribute their work. A companion website features behind-the-scenes interviews and footage from Dan's films, and much more. * Learn everything you need to know to make, promote, and distribute your independent films, with time-tested lessons and practical advice on scriptwriting, casting and directing A-list actors, financing, producing, managing a crew, editing in post, creating visual effects on a budget, and successuflly navigating the film festival circuit * Find out what it takes to become a true "cheerful subversive" and adopt new and innovative approaches to producing your films, discover hidden loopholes in the Hollywood system and festival scene, take advantage of a broad range of media formats to promote and distribute your indie films, and generally make bold moves in service of your creative work, all while staying flexible enough to pivot at a moment's notice * An extensive companion website features in-depth interviews with filmmakers, more than an hour of behind-the-scenes footage from Dan Mirvish's films, festival resources, and much more.
(source: Nielsen Book Data)9781138185135 20161018
Green Library
Book
xiii, 340 pages ; 24 cm.
  • Preface Acknowledgements I. General Music Reference Dictionaries and Encyclopedias / Bibliographies of Music Literature: General Works - Music Literature and Periodical Indexes - Dissertations and Master's Theses / Discographies / Chronologies II. Church Music Reference Dictionaries and Encyclopedias: General Works - Biographical Dictionaries and Collective Biographies / Bibliographies of Music Literature: General Works - Church Music - United States Music / Music Literature and Periodical Indexes / Dissertations and Master's Theses / Special and Subject Bibliographies: African American Music - Baptist and Southern Baptist - Choral Music - Episcopal/Anglican - Folk Music - Hymnody - Masses - Mennonite - Psalmody - Spirituals / Bibliographies of Music and Music Indexes: General Works - Special and Subject Bibliographies and Music Indexes - Anthems - Cantatas - Chant - Choral Music - Contemporary Music - Episcopal/Anglican - Fuging Tunes - Gospel Music - Hymns and Hymnals - Instrumental Music - Masses - Moravian - Oratorios - Organ Music - Piano Music - Spiritual - Tunebooks - Vocal Music / Discographies / Texts and Translations III. Church and Sacred Music in Periodicals IV. Historical Studies V. Regional Studies Mid-Atlantic States (Delaware, Maryland, New Jersey, New York, Pennsylvania, Washington, D.C.): General Works - Maryland - New Jersey - New York - Pennsylvania / Midwestern States (Illinois, Indiana, Iowa, Kansas, Michigan, Minnesota, Missouri, Nebraska, North Dakota, Ohio, South Dakota, Wisconsin): Illinois - Michigan - Ohio / New England (Connecticut, Maine, Massachusetts, New Hampshire, Rhode Island, Vermont): General Works - Maine - Massachusetts - New Hampshire - Rhode Island / Southern States (Alabama, Arkansas, Florida, Georgia, Kentucky, Louisiana, Mississippi, North Carolina, South Carolina, Tennessee, Virginia, West Virginia): General Works - Alabama - Georgia - Kentucky - Mississippi - North Carolina - South Carolina - Virginia / Southwestern States (Arizona, New Mexico, Oklahoma, Texas): General Works - Oklahoma - Texas / Western States (Alaska, California, Colorado, Hawaii, Idaho, Montana, Nevada, Oregon, Utah, Washington, Wyoming): Alaska - California - Colorado - Hawaii VI. Religious and Ethnic Groups General Works / African American / African Methodist Episcopal / African Methodist Episcopal Zion / Assemblies of God / Baptist and Southern Baptist / Brethren / Catholic / Christian Methodist Episcopal / Christian Reformed / Church of Christ / Church of Christ, Scientist / Church of God / Church of God and Saints in Christ / Church of the Brethren / Episcopal/Anglican / Evangelical Lutheran Church in America / Harmonists / Hispanic American / Holiness / Independent Christian / Jewish / Korean American / Lutheran / Mennonite and Mennonite Brethren / Methodist and United Methodist / Methodist Episcopal / Moravian and Moravian Brethren / Mormon / Native American / Pentecostal / Presbyterian / Primitive Baptist / Puritan / Reformed Church in America / Reformed German / Reformed Presbyterian Church of North America / Seventh-Day Adventist / Shakers / Southern Fundamentalist / Swedish American / United Missionary Church VII. Church and Sacred Music Genres Anthems / Camp Meeting Songs / Canatas / Choral Music / Contemporary Worship Music / Folk Music / Fuging Tunes / Gospel Music / Hymns and Hymnody: General - Missionary Hymnody - Revivalism - Sacred Harp - Tunebooks / Instrumental Music / Masses / Motets / Operas / Oratorios / Organ Music / Psalms and Psalmody / Spirituals / Vocal Music VIII. Music Ministry General Works / Religious and Ethnic Groups: African American - Apostolic Faith Churches of God - Baptist - Catholic - Church of Christ - Episcopal/Anglican - Lutheran - Mennonite - United Methodist - Quakers - Reorganized Church of Jesus Christ of Latter-Day Saints / Choirs and Choral Music / Contemporary Worship Music / Hymns and Hymnody / Instrumental Music: General Works - Handbell Music - Keyboard Music - Orchestra Music / Song Leading and Congregational Singing IX. Tradition, Change, and Conflict General Works / Religious and Ethnic Groups: African American - Church of Christ / A Cappella / Contemporary Music and Worship / Instrumental Music X. Church and Worship Music Web Sites General Works / Religious and Ethnic Groups: African American - Armenian - Baptist - Catholic - Christian Reformed - Church of God - Episcopal/Anglican - Evangelical Lutheran - Greek Orthodox Archdiocese - Lutheran - Moravian - Orthodox - Presbyterian - Seventh-Day Adventist - United Church of Christ - United Methodists / Choral Music / Contemporary Christian Music / Discographies / Gospel Music / Handbell Music / Hymns and Hymnody / Organ Music / Publishers / Scores Subject Index Author Index Title Index.
  • (source: Nielsen Book Data)9781138195806 20161031
This fully updated second edition is a selective annotated bibliography of all relevant published resources relating to church and worship music in the United States. Over the past decade, there has been a growth of literature covering everything from traditional subject matter such as the organ works of J.S. Bach to newer areas of inquiry including folk hymnology, women and African-American composers, music as a spiritual healer, to the music of Mormon, Shaker, Moravian, and other smaller sects. With multiple indices, this book will serve as an excellent tool for librarians, researchers, and scholars sorting through the massive amount of material in the field.
(source: Nielsen Book Data)9781138195806 20161031
Music Library
Book
xiii, 540 pages : illustrations ; 25 cm.
  • List of Figures Acknowledgements Introduction: Adrian Rifkin, or from Art History in Ruins to a Lost Object Steve Edwards Re-reading by Torchlight Adrian Rifkin SECTION 1. NEW ART HISTORIES 1.1 Art's Histories (1986) 1.2. Can Gramsci Save Art History? (1981) 1.3 Marx' Clarkism (1985) 1.4 Carmenology (1988) 1.5 History, Time and the Morphology of Critical Language or Publicola's Choice (1994) 1.6 Bi-Centennial Literature on Art and the French Revolution (1990) 1.7 The Words 'Art', the Artist's Status: Technique and Affectivity in France (1789-98) (1991) 1.8 From Structure to Enigma, and Back, Perhaps (2005) SECTION 2. SOCIETY, IMAGE, SOCIAL DIFFERENCE: BETWEEN THE PARIS COMMUNE, THE SALON AND THE PEOPLE 2.1 Cultural Movement and the Paris Commune (1979) 2.2 The Sex of French Politics (1983) 2.3 No Particular Thing to Mean (1983) 2.4 Well Formed Phrases (1986) 2.5 Ingres and the Academic Dictionary (1983) 2.6 Success Disavowed: The Schools of Design in Mid-Nineteenth-Century Britain. (An Allegory) (1988) 2.7 Murals of the Buvette de La Commune - A Pictorial Dossier SECTION 3. PARIS AND MORE ON THE PEOPLE 3.1 Musical Moments (1987) 3.2 Parvenu Or Palimpsest: Some Tracings Of The Jew In Modern France (1995) 3.3 Il y a des mots qu'on souhaiterait plus lire (2005) 3.4 Gay Paris, Trace And Ruin (2002) 3.5 americans go home, which is more american, Paris-Texas or Paris-France? (2004) SECTION 4 ALTERNATIVES TO THE GRANDER SCHEMAS, OR RESISTANCE TO THE CRITIQUE OF GRAND NARRATIVE AS A FORM OF GRAND NARRATIVE 4.1 A Down On The Upbeat: Adorno, Benjamin And The Jazz Question (1989) 4.2 Total Ellipsis: Zola, Benjamin And The Dialectics Of Kitsch (1996) 4.3 The Long Run Of Modernity, Or An Essay On Post-Dating (1992) 4.4 Benjamin's Paris, Freud's Rome, Whose London? ( 1999) 4.5 Bayreuth, World City? Or: The Provincial Village As Global Denkmal... (2011) POSTSCRIPTS: DIFFERENT BEGINNINGS 5.1 The Paris Commune Of 1871 and the Political Print (1979) 5.2 For An Artist... (2008) 5.3 Object Lessons (2001) Bibliography of Writings by Adrian Rifkin. Bibliography Index.
  • (source: Nielsen Book Data)9789004231887 20170130
This collection of some 32 articles and essays by Adrian Rifkin were written over a period of forty years. It contains innovative and influential studies of the archives of art, urbanism, music and popular life in France and Britain during the nineteenth and twentieth centuries. Arranged around a number of studies of the representation of the Paris Commune, the book also contains chapters on Edith Piaf's role in French culture, histories of art education, opera and queer life in the city as well as analytical accounts of the commodity and cultural theory in Adorno and Benjamin. An extended introduction by Steve Edwards works over the questions of uneven time in Marxist cultural theory and the disciplinary formations that underpin many of Rifkin's essays.
(source: Nielsen Book Data)9789004231887 20170130
Art & Architecture Library (Bowes)
Book
xii, 279 pages : illustrations, maps ; 24 cm
  • General Introduction Ian Biddle and Kirsten Gibson Part 1: Historicizing Aurality Introduction Ian Biddle and Kirsten Gibson 1.'Sowndys and melodiis': Perceptions of Sound and Music in Late Medieval England Lisa Colton 2. The Physiologist at the Opera - Claude Perrault's Du bruit (1680) and the Politics of Pleasure in the Ancien Regime Veit Erlmann 3. Georges Kastner's Les Voix de Paris (1857): A Study in Musical Flanerie Emily Laurance 4. Refashioning Rhythm: Hearing, Acting and Reacting to Metronomic Sound in Experimental Psychology and Beyond, c.1875-1920 Alexander Bonus Part 2: Sound Politics Introduction Ian Biddle and Kirsten Gibson 5. Orphee at the Forains: Silencing and Silences in Old Regime France Hedy Law 6. Sound as Promise and Threat: Drumming, Collective Violence and Colonial Law in British Ceylon Jim Sykes 7. Cannons, Church Bells and Colonial Policies: The Soundscape in Habsburg Bosnia-Herzegovina Risto Pekka Pennanen Part 3: Urban Soundscapes of Europe Introduction Ian Biddle and Kirsten Gibson 8. City Life and Music for Secular Entertainment in the Empire of Maximilian I Helen Coffey 9. Sonic Afterworld: Mapping the Soundscape of Heaven and Hell in Early Modern Cities Daniele V. Filippi 10. The Sounds of the City, 1598: Everard Guilpin's London in Skialetheia Adam Hansen 11. The Soundscape of the City in the Nineteenth Century Olivier Balay 12. Porosity and Modernity: Lisbon's Soundscape from 1864-1908 Joao Silva. Bibliography Index.
  • (source: Nielsen Book Data)9781409444398 20170213
Cultural Histories of Noise, Sound and Listening in Europe, 1300-1918 presents a range of historical case studies on the sounding worlds of the European past. The chapters in this volume explore ways of thinking about sound historically, and seek to understand how people have understood and negotiated their relationships with the sounding world in Europe from the Middle Ages through to the early twentieth century. They consider, in particular: sound and music in the later Middle Ages; the politics of sound in the early modern period; the history of the body and perception during the Ancien Regime; and the sounds of the city in the nineteenth century and sound and colonial rule at the fin de siecle. The case studies also range in geographical orientation to include considerations not only of Britain and France, the countries most considered in European historical sound studies in English-language scholarship to date, but also Bosnia-Herzegovina, British Colonial India, Germany, Italy and Portugal. Out of this diverse group of case studies emerge significant themes that recur time and again, varying according to time and place: sound, power and identity; sound as a marker of power or violence; and sound, physiology and sensory perception and technologies of sound, consumption and meaning.
(source: Nielsen Book Data)9781409444398 20170213
Music Library
Book
xiii, 313 pages : illustrations ; 25 cm.
  • Acknowledgments Contributor biographies Introduction 1. Sven Thorsten Kilian, 'Opening Spaces for the Reading Audience: Fernando de Rojas's Celestina (1499/1502) and Niccolo Machiavelli's Mandragola (1518)' 2. Katja Gvozdeva, 'Why Do Men Go Blind in the Theatre? Gender Riddles and Fools' Play in the Italian Renaissance Comedy Gl'Ingannati (1532)' 3. Deborah Blocker, 'The Accademia degli Alterati and the Invention of a New Form of Dramatic Experience: Myth, Allegory, and Theory in Jacopo Peri's and Ottavio Rinuccini's Euridice (1600)' 4. Wendy Heller, 'Il favore degli dei (1690): Meta-Opera and Metamorphoses at the Farnese Court' 5. Tatiana Korneeva, 'Entertainment for Melancholics: The Public and the Public Stage in Carlo Gozzi's L'Amore delle tre melarance' 6. Logan J. Connors, 'Pierre Nicole, Jean-Baptiste Dubos, and the Psychological Experience of Theatrical Performance in Early Modern France' 7. Kirill Ospovat, 'The Catharsis of Prosecution: Royal Violence, Poetic Justice, and Public Emotion in the Russian Hamlet (1748)' 8. Nigel Smith, 'The Politics of Tragedy in the Dutch Republic: Joachim Oudaen's Martyr Drama in Context' 9. Hans Rudolf Velten, 'Devils On and Off Stage: Shifting Effects of Fear and Laughter in Late Medieval and Early Modern German Urban Theatre' 10. Toni Bernhart, 'Imagining the Audience in Eighteenth-Century Folk Theatre in Tyrol' 11. Stanca Scholz-Cionca, 'No within Walls and Beyond: Theatre as Cultural Capital in Edo Japan (1603-1868)' List of illustrations List of tables Index.
  • (source: Nielsen Book Data)9789004329751 20161124
In Dramatic Experience: The Poetics of Drama and the Early Modern Public Sphere(s) Katja Gvozdeva, Tatiana Korneeva, and Kirill Ospovat (eds.) focus on a fundamental question that transcends the disciplinary boundaries of theatre studies: how and to what extent did the convergence of dramatic theory, theatrical practice, and various modes of audience experience - among both theatregoers and readers of drama - contribute, during the sixteenth to eighteenth centuries, to the emergence of symbolic, social, and cultural space(s) we call 'public sphere(s)'? Developing a post-Habermasian understanding of the public sphere, the articles in this collection demonstrate that related, if diverging, conceptions of the 'public' existed in a variety of forms, locations, and cultures across early modern Europe - and in Asia.
(source: Nielsen Book Data)9789004329751 20161124
SAL3 (off-campus storage)
Book
xx, 269 pages ; 24 cm.
  • Series Editor's Foreword Introduction: Why Beethoven? Timeline 1. "The Spirit of Mozart" (1770-1792) 2. "From the Hands of Haydn" (1792-1801) 3. The "Heroic" Style (1802-1806) 4. Fidelio: Beethoven's One and Only Opera (1805-06 and 1814) 5. Symphonic Alternatives to the Heroic Style (1807-1814) 6. Beethoven and Song 7. The Late Piano Music (1816-1824) 8. Daiku: The Big Ninth 9. The String Quartet in C# Minor, Op. 131 Glossary Selected Reading Selected Listening Works Discussed in Experiencing Beethoven About the Author.
  • (source: Nielsen Book Data)9781442245457 20161114
The life and music of Beethoven still fascinate classical music lovers, new and old. His many symphonies, sonatas, concertos, string quartets, and his one opera enchant audiences, challenge performers, engage students, and support scholars in their work. In Experiencing Beethoven, music historian Geoffrey Block explores in layman's terms a highly representative body of about two dozen Beethoven instrumental and vocal works, offering listeners who know him well, or are just discovering him, an opportunity to grasp the breadth and depth of his musical genius. Designed for those unversed in musical terminology or theory, Experiencing Beethoven places the composer's works within the evolving context of his personal and professional life and social and cultural milieu. Block sheds light on the public and private audiences of Beethoven's music, from the concerts for the composer's own financial benefit to the debut of the "Eroica" Symphony at the palace of Prince Lobkowitz to the historic public premiere of his Ninth Symphony. Experiencing Beethoven paints a portrait of the composer's youth in Bonn, his early triumphs and artistic maturation in Vienna, and-despite the challenges his music posed to his contemporaries- the recognition he received during his lifetime as the most acclaimed composer of the era. Block conveys the range and scope of Beethoven's achievement, from his heroic style to his lyricism, grappling throughout with the composer's power to communicate his idealistic musical vision to listeners in both his time and ours. Finally, Experiencing Beethoven explores why Beethoven's music continues to enjoy an unwavering appeal in an age saturated with a range of musical styles.
(source: Nielsen Book Data)9781442245457 20161114
Music Library
Book
265 pages : illustrations ; 19 cm
  • Histoire et genèse -- Une genèse compliquée -- Qui a écrit le livret ? -- Emanuel Schikaneder -- Que vaut le livret ? -- Les sources du livret -- Wieland -- Terrasson -- Ignaz von Born -- Le Theater auf der Wieden -- Réception de l'oeuvre -- Pour une vision plurielle -- Un grand opéra allemand -- Un opéra d'apprentissage -- Parcours d'apprentissage et morale tempérée -- La musique comme force de transformation -- Une histoire d'amour -- L'amour dans sa diversité -- Le désir ardent d'amour de Papageno -- L'amour source de souffrance et de frustration -- L'air du portrait ou la naissance du sentiment amoureux -- L'hymne à l'amour d'une princesse et d'un oiseleur -- Amour et déréliction -- Un opéra féerique -- Un Mârchenoper au merveilleux surnaturel -- Un manichéisme tempéré -- Une gaieté souriante et douce -- Une farce populaire -- Spécificités et noblesse du théâtre populaire -- Papageno, être sensible et emblème de l'oeuvre -- Comique et farce populaire -- Vertus et noblesse du Singspiel-Lied -- Une fable maçonnique -- Rappel historique - -- Les premières analyses maçonniques -- La vision de Jan Assmann : un opéra duplex -- Un serpent maléfique coupé en trois morceaux -- Indices et références maçonniques -- Les épreuves du feu et de l'eau -- Les couleurs maçonniques de l'orchestre -- Un drame sacré -- L'Aufarung, l'art et la religion -- Mozart, esprit religieux -- Trombones et musique d'église -- "O Isis et Osiris" ou le cantique de Sarastro -- Le choral des deux Hommes d'armes -- Une lutte de pouvoir -- Les enjeux -- Origine et nature du conflit -- Les forces en présence -- Une opposition de styles -- Un opéra des Lumières -- Le pouvoir magique de la musique -- Les précédents -- Un humanisme musical -- Un opéra alchimique.
"Opéra merveilleux et multiple, La Flûte enchantée fait partie de ces grandes oeuvres qui nous accompagnent et nous éclairent tout au long de notre vie. Dépassant la simple et belle expérience esthétique car complexe, profonde et mystérieuse, elle nous apprend aussi à penser, à élargir la conscience de soi, des autres et du monde. L'ultime et le plus populaire des opéras de Mozart est une oeuvre au contenu ésotérique que son mélange de gravité et de légèreté, de sacré et de profane, de comique et de tragique a pu rendre difficile à interpréter. S'appuyant sur les dernières recherches musicologiques allemandes, Éric Chaillier se propose ici de nous guider dans les méandres de l'oeuvre ; après avoir retracé sa genèse (du livret à la création dans le théâtre qu'Emanuel Schikaneder, l'auteur du texte, dirigeait dans les faubourgs de Vienne), il en évoque tous les aspects (l'amour, le pouvoir, le rituel initiatique, le sacré, la verve populaire, l'esprit d'enfance, la féerie) qui, combinés en un tout cohérent et fusionnés dans la sublime musique de Mozart, font de ce testament un hymne à la vie et au pouvoir magique de la musique."--Page 4 of cover.
Music Library
Book
xxi, 433 pages ; 25 cm
  • Golde's lament / Rokhl Brokhes
  • Shneur Zadobnik and Motke the Hatter / Abraham Cahan
  • Collecting rent / Morris Rosenfeld
  • Brownsville looks to the heavens ; Yente describes a strike ; Yente and Mendel look for rooms ; How Pinnie celebrated Election Day ; Yente and Mendel and Mendel Beilis ; Pinnie grows to be a businessman ; Rooms with steam heat ; Yente at the Metropolitan Opera / B. Kovner
  • Annie ; By a far shore / Roshelle Weprinsky
  • Compatriots / Sarah Hamer-Jacklyn
  • Friends / Hersh Dovid Nomberg
  • Who will prevail? / Avrom Reyzen
  • The devoted cousin ; The young widow ; She waits / Yente Serdatsky
  • At prayer ; A country girl ; To go, or not to go? ; The grandmother ; Poor Sammy! ; Her dowry / Lyala Kaufman
  • She wants to be different ; In the automat / Miriam Raskin
  • The Jewish soldier / Sholem Asch
  • On the eve of battle / David Bergelson
  • Bakhmatsch Station / Israel Joshua Singer
  • The edge of death / David Zaritski
  • After liberation / Wolf Karmiol
  • A holiday / Yona Rozenfeld
  • That which is forbidden / Zalman Schneour
  • In a friendly hamlet / Miriam Karpilove
  • A house on the hill / Kadya Molodowsky
  • The hotel / Isaac Bashevis Singer
  • Grandfathers and grandchildren / Chaim Grade
  • A journey back in time / Blume Lempel
  • Mona Bubbe / Yente Mash
  • Hallo / Mikhoel Felsenbaum
  • Studies in Solfège / Boris Sandler.
The Forward, founded in 1897, is the most renowned Yiddish newspaper in the world. It welcomed generations of immigrants to the United States, brought them news of Europe and the Middle East, and provided them with sundry comforts such as comic strips and noodle kugel recipes. It also published some of the most acclaimed Yiddish fiction writers of all time: Nobel Prize laureate Isaac Bashevis Singer on justice slyly being served when the governor of Lublin comes to town; celebrated Forward editor Abraham Cahan on how place and luck can change character; and Roshelle Weprinsky, setting her story in Florida, on the rupture between European parents and American children. Cahan described the newspaper as a "living novel, " with good reason. Taken together, these stories reveal the human side of the challenges that faced Jews throughout this time, including immigration, modernization, poverty, assimilation, the two world wars, and changing forms of Jewish identity. These concerns were taken up by a diverse group of writers, from novelists Sholem Asch and Chaim Grade to short-story writers like Lyala Kaufman and Miriam Karpilove. Ezra Glinter has combed through the archives to find the best stories published during the newspaper's 120-year history, digging up such varied works as wartime novellas, avant-garde fiction, and satirical sketches about immigrant life in New York. Glinter's introductions to the thematic sections and short biographies of the contributors provide insight into the concerns of not only the writers but also their avid readers. The collection has been rendered into English by today's best Yiddish translators, who capture the sound of the authors and the subtleties of nuance and context.
(source: Nielsen Book Data)9780393062700 20161213
Green Library
Book
xx, 254 pages : illustrations ; 23 cm.
  • The OMIKE theater in Goldmark Hall
  • The OMIKE artistic enterprise
  • Drama company
  • Musical life in the OMIKE artistic enterprise
  • The technical operation of OMIKE artistic enterprise
  • A few interesting statistical data.
In May 1938, Hungary passed anti-Semitic laws causing hundreds of Jewish artists to lose their jobs. In response, Budapest's Jewish community leaders organized an Artistic Enterprise under the aegis of OMIKE Orszagos Magyar Izraelita Kozm?vel?desi Egyesulet (Hungarian Jewish Education Association) to provide employment and livelihood for actors, singers, musicians, conductors, composers, writers, playwrights, painters, graphic artists, and sculptors. Between 1939 and 1944, activities were centered in Goldmark Hall beside the Dohany Street Synagogue in Budapest. Hundreds of artists from all over Hungary took part in about one thousand performances, including plays, concerts, cabaret, ballet, operas, and operettas. These performances appealed to the highly cultured Budapest Jewish community, ever desirous of high-caliber events, particularly under oppressive conditions of the time. Art exhibitions also were held for painters, graphic artists, and sculptors to sell their creations. Levai's 1943 book (with new, additional chapters by noted historians and musicians) is the core of this expanded edition and provides interviews with individual artists who recall their early lives and circumstances that led them to join the Artistic Enterprise. The book records the technical functioning, structure, and operation of this remarkable theater and concert venue. It provides fascinating details about those who worked behind the scenes: repetiteurs, hair stylists, and personnel involved with costumes, lighting, and scenery. Because the stage was small, clever choreographic and scenery improvisation had to be made, and the stagehands were clearly up to the task. Since these artists were not allowed to perform before the general public or advertise with posters on the streets, the book describes special means devised to overcome these difficulties and bring Jewish audiences into the theater in large numbers. Lastly, the book carries the theater's story up to Sunday morning, March 19, 1944, a day of infamy, when the German army marched into Hungary.
(source: Nielsen Book Data)9781557537645 20170213
Green Library
Book
pages cm
Music Library
Book
605 pages : illustrations, music ; 21 cm.
  • Vorwort
  • Einleitung
  • Kindheit, Jugend und Studium (1898-1922)
  • Kompositionsschüler bei Schönberg und Webern
  • Abendständchen
  • Mitarbeit im Verein für musikalische Privataufführungen
  • Bearbeitungen für Kammerorchester
  • Kapellmeisterkurs bei Webern
  • Beginn der Kapellmeisterkarriere (1922-28)
  • Korrepetitor und Chordirektor an der Wiener Volksoper (1922-25)
  • Reichenberg (1925-27)
  • Königsberg (1927-28)
  • Die Berliner und Wiesbadener Jahre (1928-33)
  • Verpflichtung an der Krolloper in Berlin (1928-31)
  • Rankl und die Arbeitermusikbewegung
  • Die Uraufführung von Brecht, Eislers Die Massnahme
  • Komposition von Arbeiterliedern und-chören
  • Erstellung des Klavierauszugs zu Schönbergs Oper Von heute auf morgen
  • Kapellmeister in Wiesbaden (1931-32)
  • Saison 1932-33
  • Liedkompositionen 1933
  • Engagements in Graz und Prag (1933-38)
  • Opernchef der Städtischen Bühnen in Graz (1933-37)
  • Streichquartett (1935)
  • Dirigent am Neuen Deutschen Theater in Prag (1937-38)
  • Die Uraufführung von Kreneks Karl V.
  • Erste Sinfonie (1938)
  • Stationen des Exils -auf Umwegen nach Grossbritannien (1938-41)
  • Flucht in die Schweiz und Rückkehr in die Tschechoslowakei (1938)
  • Ausreise nach England und Ankunft in Bristol (1939)
  • Internierung (1940)
  • Fortsetzung der Karriere in Grossbritannien (1941-45)
  • Neuanfang in Oxford, Wiederaufnahme der Dirigiertätigkeit (1941-45)
  • Kompositionen der Jahre 1941-44
  • Zweite Sinfonie (1941)
  • Liederzyklen opp. 5-10(1939-42)
  • Dritte Sinfonie (1944)
  • Chefposten in England und Schottland (1946-57)
  • Musical Director des Royal Opera House Covent Garden in London ( 1946-51)
  • Schallplattenaufnahmen für DECCA und Columbia
  • Deirdre of the Sorrows (1951)
  • Die Entstehung der Oper
  • Das Libretto und seine Vorlage
  • Die Komposition
  • Nach der Fertigstellung
  • Rankls kompositorische Rezeption der Oper
  • Freischaffender Dirigent in der Saison 1951-52
  • Versuch der Instrumentierung von Schönbergs Oratorium Die Jakobsleiter
  • Leiter des Scottish National Orchestra in Glasgow, Edinburgh (1952-57)
  • Kompositionen der Jahre 1952-57
  • March (1952)
  • Vierte Sinfonie (1952/53)
  • Suite for Strings (1951-53)
  • Fünfte Sinfonie (1953-55)
  • Sinfonietta Nr. 1 (1955-57)
  • Sonata concertante for Contra Bass and Piano ( 1957), Sinfonietta Nr. 2
  • Christmas Overture (1957)
  • Four Scottish songs arranged by Karl Rankl (1957)
  • Australisches Intermezzo (1958-60)
  • Musical Director des Elizabethan Opera Company Trust in Sydney (1958-60)
  • Australische Kompositionen
  • Variations on Waltzing Matilda (1959)
  • Sechste Sinfonie (1958-60)
  • Rückkehr nach Europa (1960-68)
  • Letzte Jahre in London und St. Gilgen
  • Alterswerk
  • Aus dem Liederbuch eines Schwarzwälder Uhrmachers (1961)
  • Siebte Sinfonie (1961-62)
  • Achte Sinfonie (1963)
  • Der Mensch (1963-64)
  • Zusammenfassung und Ausblick
  • Werkverzeichnis
  • Vorbemerkungen und Hinweise zur Benutzung
  • Verzeichnis der Abkürzungen für Stimmen und Instrumente
  • Liste der Werke
  • Vokalwerke
  • Vokalwerke mit Orchesterbegleitung
  • Chorwerke mit Instrumentalbegleitung
  • Chorwerke a cappella
  • Lieder mit Instrumentalbegleitung
  • Lieder mit Klavierbegleitung
  • Instrumentalwerke
  • Orchesterwerke
  • Kammermusik
  • Klavierwerke
  • Skizzen und Fragmente
  • Vokalwerke
  • Vokal werke mit Orchesterbegleitung
  • Chorwerke a cappella
  • Lieder mit Klavierbegleitung
  • Bearbeitungen fremder Werke
  • Diskographie
  • Veröffentlichte Aufnahmen
  • Unveröffentlichte Aufnahmen
  • Literatur- und Quellenverzeichnis
  • Abkürzungen
  • Quellen aus Archiven
  • Quellen aus Privatsammlungen
  • Literatur
  • Internetseiten
  • Namensregister.
Music Library
Book
xiii, 317 pages : illustrations ; 24 cm
  • Locating the voice in film : An introduction / Tom Whittaker and Sarah Wright
  • The Writing Voice in Cinema : A Preliminary Discussion / Rey Chow
  • Tito Schipa, Italian Film Sound, and Opera's Legacy on Screen / Jennifer Fleeger
  • The Voice of Argentina : Gender, Humour, and the National Soundscape in the Film Comedy of Niní Marshall / Christine Ehrick
  • Gender, Bawdiness, and Bodily Voices : Bombay Cinema's Audiovisual Contract and the 'Ethnic' Woman / Pavitra Sundar
  • Double Doublage : Vocal Performance in the French Dubbed Versions of Pixar's Toy Story and Cars / Colleen Montgomery
  • Anime's Star Voices : Voice Actor (Seiyu) Performance and Stardom in Japan / Rayna Denison
  • Woody's Spanish 'Double' : Vocal Performance, Ventriloquism, and the Sound of Dubbing / Tom Whittaker
  • Mad Max, Accented English, and Same-Language Dubbing / Tessa Dwyer
  • Anna Magnani : Voice, Body, Accent / Catherine O'Rawe
  • Carmen Miranda's Voice in Hollywood /Lisa Shaw
  • Feeling the Voice : Embodied Aural Encounters in Under the Bombs (Philippe Aractangi, 2007) / Nessa Johnston
  • Vocal Spaces and Oral Traces : Voice, Orality, and Ousmane Sembene's Early Postcolonial Critique / Alexander Fisher
  • Crude Extractions : The Voice in Iranian Cinema / Negar Mottadeheh
  • Spectral Voices and Resonant Bodies in Fernando Guzzoni's Dogflesh (Carne de perro, 2012) / Sarah Wright
  • Snowpiercer : Sound Designable Voices and the South Korean Global Film / Nikki J.Y. Lee and Julian Stringer
  • Performing Through Space : overflow, displacement, and the voice in Keep Your Right Up : A Place on Earth (Jean-Luc Godard, 1987) / Albertine Fox
  • A Dark and Shiny Place : the Disembodied Female Voice, Irigarayan Subjectivity, and the Political Erotics of Hearing Her (Spike Jonze, 2013) / Davina Quinlivan.
"Where is the place of the voice in film? Where others have focused on Hollywood film, this volume aims to extend the field to other cinemas from around the world, encompassing Latin America, Asia and Africa amongst others. Traditional theoretical accounts, based on classical narrative cinema, examine the importance of the voice in terms of a desired perfect match between visuals and sonic effects. But, as the chapters of this volume illustrate, what is normative in one film industry may not apply in another. The widespread practices of dubbing, postsynch sound and "playback singing" in some countries, for instance, provide an alternative means of understanding the location of the voice in the soundtrack. Through seventeen original chapters, this volume situates the voice in film across a range of diverse national, transnational and cultural contexts, presenting readings which challenge traditional readings of the voice in film in exciting new ways. By taking a comparative view, this volume posits that the voice may be best understood as a mobile object, one whose trajectory follows a broader network of global flows. The various chapters explore the cultural transformations the voice undergoes as it moves from one industry to another. In doing so, the volume addresses sound practices which have been long been neglected, such as dubbing and non-synch sound, as well the ways in which sound technologies have shaped nationally specific styles of vocal performance. In addressing the place of the voice in film, the book intends to nuance existing theoretical writing on the voice while applying these critical insights in a global context."-- Provided by publisher.
Green Library
Book
xxi, 353 pages : illustrations ; 24 cm.
  • List of Figures, Diagrams and Examples List of Tables Acknowledgements Notes to the Reader Introduction: Comparing Apples and Tomatoes: The Problematics of Restoration Masque and Opera 1 PART I: "Their greatest gallantry imaginable": Masques, Balls, and "Recreational" Acting at Court 1 Balls and the Growth of Shrovetide Entertainments 2 Youthful "Recreational" Theatrics, 1668-75 3 Masques and Plays at Court after 1675 PART II: "For such uses as the King shall direct": Through-Composed Opera, Foreign Musicians, and the Royall Academy of Musick 4 Operatic Experiments of the 1650s 5 Foreign Musicians at the Restoration Court, 1660-73 6 The Royall Academy of Musick, 1673-75 7 French Musicians at Court, 1675-89 8 Through-Composed Drama in the 1680s Appendix A: Transcription of National Archives, London, AO1/2053/28, ff. 4v-5r(Costumes for 1667 Court Ball) Appendix B: Letters Relating to Lord Sunderland's Court Ballet, 1686 Appendix C: Instrumental Music Associated with Early Operas and Masques Found in Contemporary Printed Collections, 1662-c.1725 Selected Bibliography Index.
  • (source: Nielsen Book Data)9781472446534 20161128
Masque and Opera in England, 1656-1688 presents a comprehensive study of the development of court masque and through-composed opera in England from the mid-1650s to the Revolution of 1688-89. In seeking to address the problem of generic categorization within a highly fragmentary corpus for which a limited amount of documentation survives, Walkling argues that our understanding of the distinctions between masque and opera must be premised upon a thorough knowledge of theatrical context and performance circumstances. Using extensive archival and literary evidence, detailed textual readings, rigorous tabular analysis, and meticulous collation of bibliographical and musical sources, this interdisciplinary study offers a host of new insights into a body of work that has long been of interest to musicologists, theatre historians, literary scholars and historians of Restoration court and political culture, but which has hitherto been imperfectly understood. A companion volume will explore the phenomenon of "dramatick opera" and its precursors on London's public stages between the early 1660s and the first decade of the eighteenth century.
(source: Nielsen Book Data)9781472446534 20161128
Music Library
Book
vii, 271 pages : illustrations ; 24 cm.
  • Introduction: The Popular Life of Things [Anna Malinowska and Karolina Lebek] Part 1: Theorizing the Popular and the Material 1. Culture: The 'Popular' and the 'Material' [John Storey] 2. Cultural Materialisms and Popular Processes of Late Modernity [Anna Malinowska] 3. The Secret Life of Things: Speculative Realism and the Autonomous Object [Grzegorz Czemiel] Part 2: From Material Media to Digital Materiality 4. The Representation of Book Culture in ItNarratives [Joanna Maciulewicz] 5. The Intimacy of Writing - Lost in a Digital Age? [Mayannah N. Dahlheim] 6. Popular Digital Imaging: Photoshop as Middlebroware [Frederik Lesage] 7. When You Are Not What You Do Not Have: Some Remarks on Digital Inheritance [Marcin Sarnek] Part 3: The Agency of Things and the Negotiation of Meaning 8. I See Faces: Popular Pareidolia and the Proliferation of Meaning [Joanne Lee] 9. From Piss-Communication to GraffARTi: Hegemony, Popular Culture and the Bastard Art [David Walton] 10. From Performance to Objects and Back: London's Inter-ion [Lucia Vodanovic] 11. Bohemian Bourgeoisie and Subversive Commodities [Bartosz Stopel] Part 4: Popular Narratives and Material Culture 12. Objects Don't Lie: The Truth and the Things in Detective Stories [Joanna Socko] 13. Emotional Territories: An Exploration of Wes Anderson's Cinemaps [Nicolas Llano Linares] 14. The Poetics of Objects in True Detective [Karolina Lebek] 15. Mapping the Daytime Landscape: World-Building on US Soap Opera [C. Lee Harrington and Byron Miller] Part 5: Material Culture and the Creative Self 16. In Reverse: Declining Automobility and the Accidents of Progress [Marcin Mazurek] 17. Living Dolls - A Food Studies Perspective [Nina Augustynowicz] 18. Contemporary Toys, Adults and Creative Material Culture: from Wow to Flow to Glow [Katriina Heliakka] 19. From Stuff to Material Civilization - Towards a Materiality of Childhood [David James].
  • (source: Nielsen Book Data)9781138657809 20161024
This book critically approaches contemporary meanings of materiality and discuses ways in which we understand, experience, and engage with objects through popular culture in our private, social and professional lives. Appropriating Arjun Appadurai's famous phrase: "the social life of things", with which he inspired scholars to take material culture more seriously and, as a result, treat it as an important and revealing area of cultural studies, the book explores the relationship between material culture and popular practices, and points to the impact they have exerted on our co-existence with material worlds in the conditions of late modernity.
(source: Nielsen Book Data)9781138657809 20161024
Green Library
Book
xvi, 243 pages : music ; 24 cm.
  • List of Music Examples List of Tables Preface Introduction. Opera and Didacticism in Early-Modern German Culture Chapter 1. Cultivating the Court and the Nation in Gluck's La rencontre imprevue Chapter 2. Die Entfuhrung aus dem Serail and the Didactic Aesthetics of the National Singspiel Chapter 3. Morality and Germanness in Die Zauberflote Chapter 4. Die Zauberflote and Subversive Morality in Suburban Operas Chapter 5.The Politics of Morality at the Court Theater in the Late 1790s Chapter 6. How German is Fidelio? Didacticism in Beethovenian Operas Epilogue Bibliography.
  • (source: Nielsen Book Data)9781472476579 20161128
This book explores how the Enlightenment aesthetics of theater as a moral institution influenced cultural politics and operatic developments in Vienna between the mid-eighteenth and early nineteenth centuries. Moralistic viewpoints were particularly important in eighteenth-century debates about German national theater. In Vienna, the idea that vernacular theater should cultivate the moral sensibilities of its German-speaking audiences became prominent during the reign of Empress Maria Theresa, when advocates of German plays and operas attempted to deflect the imperial government from supporting exclusively French and Italian theatrical performances. Morality continued to be a dominant aspect of Viennese operatic culture in the following decades, as critics, state officials, librettists, and composers (including Gluck, Mozart, and Beethoven) attempted to establish and define German national opera. Viennese concepts of operatic didacticism and national identity in theater further transformed in response to the crisis of Emperor Joseph II's reform movement, the revolutionary ideas spreading from France, and the war efforts in facing Napoleonic aggression. The imperial government promoted good morals in theatrical performances through the institution of theater censorship, and German-opera authors cultivated intensely didactic works (such as Die Zauberflote and Fidelio) that eventually became the cornerstones for later developments of German culture.
(source: Nielsen Book Data)9781472476579 20161128
Music Library
Book
vi, 244 pages : illustrations ; 24 cm.
  • Unfolding non-audist methodologies in music research : signing hip hop artist Signmark and becoming Deaf with music / Taru Leppänen
  • A micropolitics of becoming-woman and Moya Henderson's Rinse cycle / Sally Macarthur
  • Mattering Black life : time, the Rhizome and a Gullah-Geechee politics of rhythm / Jay Hammond
  • Singing non-human-centric relational futures : the algae opera as an assemblage / Milla Tiainen
  • Queer transversal : the spectacle Adam Lambert / Elizabeth Gould
  • "A people to come" in Himalayan village music : a Deleuzian-Guattarian study of musical performance / Pirkko Moisala
  • Experimental music and the question of what a body can do / Marie Thompson
  • Learning to listen : inorganization of the ear / Janne Vanhanen
  • Listening assemblages : re-sounding place and mapping the affects of sound / Michelle Duffy
  • Forming common notions in a kinetic research collaboration / Hanna Väätäinen.
Music Library