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Beethoven's music stands as a universal symbol of personal and artistic achievement.  As we reach and then surpass the 250th anniversary of the composer's birth, Jeremy Yudkin has commissioned a collection of new essays from some of the most insightful writers on Beethoven's accomplishments and brought them together in this remarkable volume.  Filled with careful explanations, this book gives us completely new insights into music known and loved by people around the world.      Ordinary music lovers as well as scholars will find countless new discoveries about Beethoven and his music.  Listeners will hear his compositions afresh, and scholars will find new results of research and analysis and new avenues for discovery.  Topics include Beethoven's cultural milieu, his personal life, his friends, his publishers, his instruments, his working methods, his own handwritten scores, and, of course, his music.  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This far-reaching collection of heretofore unpublished studies ushers in the two-hundredth anniversary of the birth of Hector Berlioz [1803-1869]. The contributors include leading music historians and two prominent historians of culture, Peter Gay and Jacques Barzun. The essays discuss Berlioz's views of the music of the \"past,\" Berlioz's interactions with music and musicians of his \"present,\" and views of Berlioz during the several generations after his death [the \"future\"]. A long-awaited piece by Richard Macnutt meticulously inventories and investigates more than two hundred letters and documents that are now known to have been forged but that have sometimes been accepted as authentic. Further contributions, from David Charlton, Heather Hadlock, Sylvia L'Ecuyer, Katherine Kolb, Catherine Massip, Kerry Murphy, Jean-Michel Nectoux, Cecile Reynaud, and Lesley Wright, consider specific aspects of Berlioz's creative work and critical reception.    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Boulanger accepted the position and began what would prove to be a warmand lasting dialogue with the Stravinsky family. For fifty years, Boulanger exchanged letters with Igor Stravinsky. An additional 140 letters exist written to Boulanger from Stravinsky's immediate family: his wife Catherine, hismother Anna, and his sons Th odore and Soulima. Nadia Boulanger and the Stravinskys: A Selected Correspondence makes available a rich selection from this many-sided dialogue. The letters are published here in English translation (most for the first time in their entirety or at all). The little-known French originals are available on the book's companion website. The letters allow us to follow the conversation shared between Boulanger andthe Stravinskys from 1929 until 1972, the year following Igor Stravinsky's death. Through the words they exchanged, we see Boulanger and Stravinsky transition from respectful colleagues to close friends to, finally, distant icons, with music serving always as a central topic. These letters are a testament to one master teacher's power to shape the cultural canon and one composer's desire to embed himself within historical narratives. Their words touch upon matters professional and personal, musical and social, with the overall narrative reflecting the turmoil of life during the twentieth century and the fragility of artists hoping to leave their mark on the modernist period. Kimberly A. Francis is Associate Professor of Music at the University of Guelph, Canada.","brand":"WoB","offers":[{"title":"GB \/ LIKE_NEW \/ INTERNAL","offer_id":50881247674641,"sku":"GOR014103362","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"GB \/ NEW \/ INGRAM","offer_id":52138065461521,"sku":"NLS9781580465960","price":0.0,"currency_code":"GBP","in_stock":true},{"title":"US \/ NEW \/ INGRAM","offer_id":52752500883729,"sku":"NIN9781580465960","price":0.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/158046596X.jpg?v=1750894988"},{"product_id":"concert-music-rock-and-jazz-since-1945-book-elizabeth-west-marvin-9781580460965","title":"Concert Music, Rock, and Jazz since 1945","description":"Interdisciplinary articles bridge the gulf between classical and popular music.  Modern musical-analytical techniques are applied to a wide range of  Western music, disregarding barriers between different kinds of music. 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Richard Hermann is assistant professor of music, University of New Mexico.","brand":"WoB","offers":[{"title":"US \/ GOOD \/ SBYB","offer_id":50954306781457,"sku":"CIN1580460968G","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"US \/ NEW \/ INGRAM","offer_id":51038249812241,"sku":"NIN9781580460965","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"GB \/ NEW \/ INGRAM","offer_id":52454482084113,"sku":"NLS9781580460965","price":0.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/1580460968.jpg?v=1751151091"},{"product_id":"consuming-music-book-emily-h-green-9781580465779","title":"Consuming Music","description":"This collection of nine essays investigates the consumption of music during the long eighteenth century, providing insights into the activities of composers, performers, patrons, publishers, theorists, impresarios, and critics.  The successful sale and distribution of music has always depended on a physical and social infrastructure. Though the existence of that infrastructure may be clear, its organization and participants are among the least preserved and thus least understood elements of historical musical culture. Who bought music and how did those consumers know what music was available? Where was it sold and by whom? How did the consumption of music affect its composition? How was consumers' musical taste shaped and by whom?    Focusing on the long eighteenth century, this collection of nine essays investigates such questions from a variety of perspectives, each informed by parallels betweenthe consumption of music and that of dance, visual art, literature, and philosophy in France, the Austro-German lands, and the United States. Chapters relate the activities of composers, performers, patrons, publishers, theorists,impresarios, and critics, exploring consumers' tastes, publishers' promotional strategies, celebrity culture, and the wider communities that were fundamental to these and many more aspects of musical culture.    CONTRIBUTORS: Glenda Goodman; Roger Mathew Grant; Emily H. Green; Marie Sumner Lott; Catherine Mayes; Peter Mondelli, Rupert Ridgewell, Patrick Wood Uribe, Steven Zohn    Emily H. Green is assistant professor of music at George Mason University. 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The volume includes essays in diatonic set theory, transformation theory, and neo-Riemannian theory -- the newest and most exciting fields in music theory today.  The essays constitute a close-knit body of work -- a family in the sense of tracing their descentfrom a few key breakthroughs by John Clough, David Lewin, and Richard Cohn in the 1980s and 1990s. They are integrated by the ongoing dialogue they conduct with one another.    The editors are Jack Douthett, a mathematician and music theorist who collaborated extensively with Clough; Martha M. Hyde, a distinguished scholar of twentieth-century music; and Charles J. Smith, a specialist in tonal theory. The contributors are all prominent scholars, teaching at institutions such as Harvard, Yale, Indiana University, and the University at Buffalo. Six of them (Clampitt, Clough, Cohn, Douthett, Hook, and Smith) have received the Society for Music Theory's prestigious PublicationAward, and one (Hyde) has received the ASCAP Deems Taylor Award. The collection includes the last paper written by Clough before his death, as well as the last paper written by David Lewin, an important music theorist also recently deceased.    Contributors: David Clampitt, John Clough, Richard Cohn, Jack Douthett, Nora Engebretsen, Julian Hook, Martha Hyde, Timothy Johnson, Jon Kochavi, David Lewin, Charles J. 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