Vocality and Instrumentality in 19th-Century Music
Edited by William Brooks
What can music tell us—without words? Can it depict scenes, narrate stories, elucidate beliefs? And can it be an instrument through which we access the inner lives not only of musicians from the past but of ourselves, today? In Ohne Worte five scholars and performers probe these and related questions to illuminate both the experience and performance of nineteenth-century music.
Drawing on a rich range of sources, they reveal the musical thought and practice of canonical composers like Berlioz, Mendelssohn, and Schumann. Their work challenges us to reconsider our musical practices and the voices manifested in them, and it encourages the creation of an art that is both historical and transcendental.
Contributors: Jean-Pierre Bartoli (Université Paris–Sorbonne), Hubert Moßburger (Staatlichen Hochschule für Musik und Darstellende Kunst Stuttgart), Jeanne Roudet (Université Paris–Sorbonne), Douglass Seaton (Florida State University School of Music), Edoardo Torbianelli (Hochschule der Künste Bern)
William Brooks is Senior Researcher and Editorial Board Officer at the Orpheus Institute and Professor of Music at the University of York.
Essays on and around Freeman Etudes, Fontana Mix, Aria
metaCage investigates the musical practice of John Cage in four essays written by current ORCiM Fellows. Three works serve as threads that link the contributions. A CD containing performances by the ORCiM Fellows of these works is included.
Sound and Score
Essays on Sound, Score, and Notation
This volume brings together music expertise from prominent international researchers and performers to explore the intimate relations between sound and score and the artistic possibilities that this relationship yields for performers, composers and listeners.