Encyclopedia of Aesthetics
4-Volume Set
Edited by Michael Kelly, Journal of Philosophy, Columbia University
Now available for the first time--a comprehensive, interdisciplinary survey of critical reflections on art and culture, society, and nature.
In four volumes and 600 original articles, this landmark reference source surveys an extraordinary range of ideas about the arts in human life.
Hundreds of leading scholars--philosophers, art critics and historians, literary theorists, musicologists, anthropologists, sociologists, and others--offer writings that link current critical thought about the contexts of art to long-standing philosophical questions on the nature, meaning, and experience of art.
From Theodor Adorno to Arnold Schoenberg, improvisation to interpretation, and African aesthetics to video, the articles in this encyclopedia examine a remarkable range of ideas and issues:
Other features include:
The Sound of Medieval Song: Ornamentation and Vocal Style According to
the Treatises
Timothy J. McGee, University of Toronto
Latin translations by Randall A. Rosenfeld
This study of how sacred and secular music were actually sung during the Middle Ages draws upon manuscript notations and statements found in approximately 50 theoretical treatises written between 600 and 1500. The writings describe various singing practices and illustrate desirable and undesirable vocal techniques, thus showing how singers approached the music of this period.
(Oxford Monographs on Music)
1998 232 pp.; 11 b/w plates, 3 maps, music examples
377. 816619-2 $65.00w/$52.00
Modal Counterpoint, Renaissance Style
Peter Schubert, McGill University
This book introduces the rules of writing and analyzing 16th-century music through a wide variety of carefully graded exercises. Unlike similar works, which bear little stylistic relation to the music of the period, this is the only species counterpoint book that uses examples and concepts taken directly from 16th-century treatises and contemporaneous theoretical sources. The authors make a clear distinction between technical requirements ("hard rules") and general stylistic guidelines ("soft rules"). Their selection of Renaissance repertoire examples comprises many genres, including the French chanson, the Spanish organ hymn, the Italian falsobordone, the British keyboard in nomine, and the Lutheran chorale, illustrating the range of possibilities within a given technical formula.
February 1999 304 pp.; 582 linecuts
66. 510912-0 spiral bound paper
$45.00w*/$36.00
Analyzing Bach Cantatas
Eric Chafe, Brandeis University
The Bach cantatas are among the highest achievements of Western musical art, yet studies of individual Bach cantatas that are both illuminating and detailed are few in number. Here, Eric Chafe combines theological, historical, analytical, and interpretive approaches to the cantatas to offer the reader and listener the richest possible experience in light of the composer's intentions as well as the enduring and universal qualities
of the works. Concentrating on a small number of representative cantatas, mostly from the Leipzig cycles of 1723-24 and 1724-25, and in particular on Cantata 77, Chafe illustrates how Bach strove to mirror both the dogma and mystery of religious experience in musical allegory.
January 1999 336 pp.; 39 music examples
215. 512099-X $55.00w/$44.00
Fantasy Pieces: Metrical Dissonance in the Music of Robert Schumann
Harald Krebs, University of Victoria, Canada
This book presents a theory of metrical conflict and applies it to the music of Robert Schumann, thereby placing that compser's distinctive metrical style in focus. Krebs describes various categories of metrical conflict that characterize the music of Schumann, investigates how states of conflict arise and are manipulated and resolved in the course of compositions, and studies the interaction of metrical conflict with form, pitch structure, and text. The theoretical material is fancifully interwoven with commentary by Florestan and Eusebius, fictional characters based on Schumann's names for contrasting aspects of his own personality, who provide numerous illustrations from "their" compositions. Rich in allusions to Schumann's titles, his writings, and his life, this work will appeal to all students and fans of this composer's music, as well as to theorists and scholars.
February 1999 304 pp.; 287 music examples
133. 511623-2 $70.00w/$56.00
The Gershwin Style: New Looks at the Music of George Gershwin
Edited by Wayne Schneider, University of Vermont
George Gershwin is at once one of America's most popular and least appreciated composers. He is loved and revered for his wonderful songs, a few instrumental works, and for the opera Porgy and Bess. But most of his music is virtually unknown--hundreds of songs, show music, and even several large and important instrumental works are gradually fading with the generations that first heard them. For an essay collection that promises to make a key contribution to American music research, Schneider has corralled some of the leading authorities in the area of Gershwin research alongside a few contributors who are approaching Gershwin for the first time (from the perspective of American music or popular music, generally). Essayists include Wayne Shirley, Charles Hamm, Edward Jablonski, and Artis Wodehouse, who has transcribed most of Gershwin's piano performances.
October 1998 336 pp.; 3 halftones, 2 linecuts
135. 509020-9 $35.00w*/$28.00
Rethinking Music
Edited by Nicholas Cook and Mark Everist, both at University of
Southampton
Offering a comprehensive re-evaluation of current thinking about music, this book collects the work of 24 distinguished musicologists, music theorists, and ethnomusicologists. The contributors review different dimensions of musical study, revealing a range of concerns that are shared across the discipline: the nature of musicological practice, its social and ethical dimensions, issues of canon and value, and the relationship between academic study and musical experience.
October 1998 752 pp.; 33 music examples
205. 879003-1 $98.00w/$78.40
Unfoldings: Essays in Schenkerian Theory and Analysis
Carl Schachter
Edited by Joseph N. Straus, both at Queens College and Graduate School,
City University of New York
Schachter is, by common consent, one of the most important music theorists currently at work in North America. He is the preeminent practioner in the world of the Schenkerian approach to the music of the 18th and 19th centuries, which focuses on the linear organization of music and now and again dominates discussions of the standard repertoire in both university classrooms and professional journals. His articles have appeared in a variety of journals, including some that are obscure or hard to obtain. This volume, then, gathers several of his finest essays, including discussions of rhythm in tonal music, Schenkerian theory, and text setting, as well as a pair of analytical monographs.
November 1998 352 pp.; 147 music examples
252. 512590-8 paper $24.95w*/$20.00
163. 512013-2 cloth $65.00w/$52.00
Philosophical Perspectives on Music
Wayne D. Bowman, Brandon University, Manitoba, Canada
This challenging introduction to the issues and problems of music philosophy explores diverse accounts of the nature and value of music. It offers an accessible, even-handed consideration of philosophical orientations without advocating any single one, demonstrating that there are a number of ways in which music may reasonably be understood. Bowman thus examines the strengths and advantages of each perspective--as well as its inevitable shortcomings. From the pre-Socratic Greeks to idealism, through phenomenology, and on to contemporary socio-cultural critiques, this survey examines the views of selected influential thinkers. Examining what music is, how it works, and what it is good for, the book encourages music students and musicians to join in important conversations that shape both how they practice their art and how they and others understand it.
1998 496 pp.
217. 511296-2 $45.00s/$36.00
Art and Emotion
Derek Matravers, The Open University
Here, Matravers examines how emotions form the bridge between our experience of art and life. We often find that a particular poem, painting, or piece of music carries an emotional charge; and we may experience emotions toward, or on behalf of, a particular fictional character. Matravers shows that what these experiences have in common, and what links them to the expression of emotion in non-artistic cases, is the role played by feeling. He carries out a critical survey of various accounts of the nature of fiction, attacks contemporary cognitivist accounts of expression, and offers an uncompromising defense of a controversial view about musical expression: that music works by expressing the emotions it causes its listeners to feel.
1998 248 pp.
175. 823638-7 $65.00w/$52.00
The Art and Science of Renaissance Music
James Haar
Harking back to a time when the inability to sing was met with consternation and disdain, when dancing offered a method of assessing a potential spouse's health, when people played virginals and serpents and shawms and racketts, The Science and Art of Renaissance Music (Princeton University Press; November 5, 1998; $45.00 US) presents noteworthy essays of analysis. James Haar, a distinguished scholar of Renaissance music, has had an abiding influence on how musicology is undertaken owing in great measure to a substantial body of articles published over the past three decades, and here provides representative pieces from those years. He discusses in turn the accomplished Antonfrancesco Doni; the Italian madrigal; various problems of theory; and the role of music in Renaissance culture, from advice given by sixteenth-century critics to the nineteenth century's attitudes to early music. In The Art and Science of Renaissance Music, Haar explores the same subject from several angles, giving a rich context for further exploration. He was one of the first to recognize the value of cultural study in general, and his work serves to remind us of the merit in examining music specifically. The articles contained in The Art and Science of Renaissance Music, published together for the first time, show the author's conviction that a good way to address large problems is to begin by focussing on small ones.
James Haar is William Rand Kenan, Jr., Emeritus Professor of Music at the University of North Carolina, Chapel Hill. Among his books are Essays on Italian Poetry and Music in the Renaissance and, with Iain Fenlon, The Italian Madrigal in the Early Sixteenth Century.
389 pages
Cloth $45.00 ISBN 0-691-02874-5
U.S. Publication date: November 5, 1998
Foreign Publication date: December 7, 1998
Contact: Sara Lerner
fax: 609/258-1335
e-mail: Sara_Lerner@pupress.princeton.edu
PUP Web site: http://pup.princeton.edu
Theories of Fugue from the Age of Josquin to the Age of Bach
Paul Mark Walker
Few bodies of Western music are as widely respected, studied, and emulated as the fugues of Johann Sebastian Bach. Despite the esteem which Bach's contributions brought to this genre, however, the origian and early history of the fugue remain surprisingly poorly understood. Theories of Fugue addresses both the history and methodology of the pre-Bach fugue (from roughly 1500-1700), and, of greatest significance, to the literature, it seeks to present a way out of the methodological dilemma of uncertainty which has plagued previous scholarly attempts by considering what musicians of the time had to say about the fugue: what it was, what it was not, how important it was, and where and how a composer should (or shouldn't) use it.
Paul Mark Walker is professor of musicology at the University of Virginia.
4 b/w illustrations
352 pp, 6 x 9
March 1999
Eastman Studies in Music Series, vol. 13
ISSN 1071-9989
Distributed by Boyd & Brewer, Ltd.
Elliot Carter: Colleged Essays and Lectures, 1937-1995
Jonathan Bernard, editor
"Carter is a very articulate and entertaining writer...This collection is a treasure and will be enjoyed by anyone interested in the serious music of the 20th-century. Very highly recommended." (Choice)
27 b/w illustrations
380 pages, 228 x 152
$24.95 (paperback)
1 580460 25 9
Musical Performance: A Philosophical Study
Stan Godlovitch, Lincoln University, Canterbury, New Zealand
Most music we hear comes to us via a recording medium on which sound has been stored. Such remoteness of music heard from music made has become so commonplace it is rarely considered. Musical Performance: A Philosophical Study considers the implications of this separation for live musical performance and music-making. Rather than examining the composition or perception of music as most philosophical accounts of music do, Stan Godlovitch takes up the problem of how the tradition of active music playing and performing has been challenged by technology and what problems this poses for philosophical aesthetics. Where does does the value of musical performance lie? Is human performance of music a mere transfer medium? Is the performance of music more expressive than recorded music? Musical Performance poses questions such as these to develop a fascinating account of music today. musicians - but via some recording medium on which sound has been stored.
'This is an impressive piece of work, which represents an original and imaginative contribution to aesthetics and the philosophy of music. - Alex Neill, University of St Andrews
'Godlovitch brings to bear not only a through knowledge philsophical aesthetics, but also a considerable understanding of musicianship. His book represents an original and imaginative contribution to aesthetics and the philosphy of music.' - Alex Neill, University of St. Andrews
'Stan Godlovitch is a distinctive voice in musical aesthetics. Musical Performancen offers a compelling picture of the performance of music and is essential reading for anyone in the field.' - Jerrold Levinson, University of Maryland
Published in the EU: September 1998
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