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Books on the topic 'Musical interpretations'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 February 2022

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1

Schirpenbach, Bernd. Ästhetische Regulation und hermeneutische Überschreibung: Zum Begriff und zur musikwissenschaftlichen Funktion einer korrelativen Hermeneutik im Ausgang von Interpretations- und Wissenschaftskonzeptionen bei Dahlhaus und Eggebrecht. Stuttgart: F. Steiner, 2006.

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2

Dance to Honour Kings (1996 King's College (University of London)). Dance & music in French baroque theatre: Sources & interpretations ; papers presented at Dance to honour kings : sources for court & theatrical entertainments, 1680-1740, King's College London, August 1996. London: Institute of Advanced Musical Studies, King's College London, 1998.

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3

Alfred Cortot's studies in musical interpretation. New York: Da Capo Press, 1989.

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4

Cortot, Alfred. Alfred Cortot's studies in musical interpretation. New York: Da Capo Press, 1989.

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5

Zacchini, Simone. Al di là della musica: Friederich Nietzsche nelle sue composizioni musicali. Milano: FrancoAngeli, 2000.

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6

Zacchini, Simone. Al di là della musica: Friederich Nietzsche nelle sue composizioni musicali. Milano: F. Angeli, 2000.

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7

Donington, Robert. The interpretation of early music. London: Faber and Faber, 1989.

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8

The interpretation of early music. New York: Norton, 1989.

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9

Hatten, Robert S. Musical meaning in Beethoven: Markedness, correlation, and interpretation. Bloomington: Indiana University Press, 2004.

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10

Musical meaning in Beethoven: Markedness, correlation, and interpretation. Bloomington: Indiana University Press, 1994.

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11

Zajaczkowski, Henry. Tchaikovsky's musical style. Ann Arbor, Mich: UMI Research, 1987.

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12

Zajaczkowski, Henry. Tchaikovsky's musical style. Ann Arbor: UMI Research Press, 1987.

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13

Roggenkamp, Peter. Schriftbild und Interpretation in neuer Klaviermusik. Wien: Universal Edition, 1996.

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14

Concert song as seen: Kinesthetic aspects of musical interpretation. Stuyvesant, NY: Pendragon Press, 1994.

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15

Reading musical interpretation: Case studies in solo piano performance. Burlington, VT: Ashgate, 2008.

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16

Turning notes into music: An introduction to musical interpretation. Lanham, Md: Scarecrow Press, 1996.

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17

Agawu, V. Kofi. Playing with signs: A semiotic interpretation of classic music. Princeton, N.J: Princeton University Press, 1991.

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18

Klier, Johannes. Werkanalyse und Interpretation auf der Gitarre. Wilhelmshaven: Heinrichshofen, 1985.

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19

Cube, Felix-Eberhard von. The book of the musical artwork: An interpretation of the musical theories of Heinrich Schenker. Lewiston [NY]: E. Mellen Press, 1988.

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20

Mozart: A musical biography. New York: Clarendon Press, 1995.

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21

Küster, Konrad. Mozart: A musical biography. Oxford: Clarendon Press, 1996.

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22

Schneider, Marius. Cosmic music: Musical keys to the interpretation of reality : essays. Rochester, Vt: Inner Traditions, 1989.

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23

Pierce, Alexandra. Deepening musical performance: The theory and practice of embodied interpretation. Bloomington: Indiana University Press, 2007.

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24

Zychowicz, James L. Mahler's Fourth Symphony (Studies in Musical Genesis, Structure, and Interpretation). New York, NY: Oxford University Press, 2005.

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25

Shakespeare's musical imagery. London: Continuum, 2011.

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26

Musik und Zeit: Kognitive Reflexion versus rhythmische Interpretation. Frankfurt am Main: P. Lang, 1997.

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27

Zimmermann, Bernd Alois. Dokumente und Interpretationen. Köln: Wienand, 1986.

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28

Wichert, Rolf. Vermittlung und Aneignung: Studien zum Konzept der didaktischen Interpretation von Musik. Augsburg: B. Wissner, 1994.

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29

Le songe musical: Claude Debussy. Paris: Gallimard, 2008.

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30

Tadié, Jean-Yves. Le songe musical: Claude Debussy. Paris: Gallimard, 2008.

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31

Albrecht, Riethmüller, and Zwierlein Otto, eds. Interpretation. Mainz: Akademie der Wissenschaften und der Literatur, 1998.

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32

Rötter, Günther. Musik und Zeit: Kognitive Reflexion versus rhythmische Interpretation. Frankfurt am Main: P. Lang, 1997.

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33

Adorno, Theodor W. Mahler: A musical physiognomy. Chicago: University of Chicago Press, 1992.

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34

Piñango, Agustín Pérez. La obra musical de Rafael Rengifo. Caracas, Venezuela: FUNDARTE/Alcaidía de Caracas, 1998.

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35

The musical language of Gabriel Fauré. New York: Garland Pub., 1989.

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36

Macht Ohnmacht Zufall: Aufführungspraxis, Interpretation und Rezeption im Musiktheater. Berlin: Theater der Zeit, 2011.

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37

Gabriel Fauré: A musical life. Cambridge [England]: Cambridge University Press, 1991.

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38

Rosenfeld, Paul. Musical Portraits: Interpretations of Twenty Modern Composers. Library Reprints, 2001.

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39

Rosenfeld, Paul. Musical Portraits: Interpretations of Twenty Modern Composers. BiblioBazaar, 2007.

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40

Rosenfeld, Paul. Musical Portraits (Interpretations of Twenty Modern Composers) (Interpretations of Twenty Modern Composers). IndyPublish, 2007.

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41

Rosenfeld, Paul. Musical Portraits (Interpretations of Twenty Modern Composers) (Interpretations of Twenty Modern Composers). IndyPublish, 2007.

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42

Musical Prodigies: Interpretations from Psychology, Education, Musicology, and Ethnomusicology. Oxford University Press, 2016.

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43

Rosenfeld, Paul. Musical Portraits (Large Print Edition): Interpretations of Twenty Modern Composers. BiblioBazaar, 2007.

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44

Music Math: Exploring Different Interpretations of Fractions (Powermath). PowerKids Press, 2004.

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45

Music Math: Exploring Different Interpretations of Fractions (Powermath). PowerKids Press, 2004.

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46

Reily, Suzel Ana. Local Music Making and the Liturgical Renovation in Minas Gerais. Edited by Jonathan Dueck and Suzel Ana Reily. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199859993.013.003.

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Suzel Reily’s essay discusses the implication of the universalist thrust of the Roman Catholic Church upon local traditions. While in Brazil local music making has been historically linked to Catholic practice, the clergy’s understandings of “the popular” derive from their interpretations of Vatican II directives along with a preoccupation with liturgical fidelity. In this setting, lay religious repertoires are being discouraged in favor of folk-like musics rooted in imagined local traditions. But alongside a clash in musical aesthetics, Reily shows how the musical practices associated with the new repertoire actually mitigate against collective singing, whilst threatening to shift local practices from the religious sphere to, at best, a secular folklorized arena.

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47

Decker, Gregory J., and Matthew R. Shaftel, eds. Singing in Signs. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190620622.001.0001.

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Singing in Signs is a collection of essays from prominent opera scholars that explores the rich interplay of symbols in the operatic genre, while simultaneously providing perspective on the state of opera study. Each author, whether explicitly or implicitly, uses the powerful tools of semiotics (the study of signs) to construct interpretations and discover relationships among music, lyrics, and drama. Authors in this collection use a combination of traditional and emerging methodologies to engage composer-constructed and work-specific music-semiotic systems, broader sociocultural music codes, and narrative strategies. Many of the essays have implications for performance and staging. Singing in Signs answers the call—through the lens of semiotics—to embrace opera on its own terms and to engage all of its constituent elements in interpretation. The purpose of the present volume is to “resurrect” serious musical study of opera—not because it has not been taking place—but in a larger sense as a multifaceted, interpretive discipline, by collecting some of these efforts in one volume. The essays here focus on the musical, dramatic, cultural, and performative in opera and demonstrate how these modes can create an intertext that informs interpretation. Operas explored in this volume span the late Baroque period through the present day, including composers from Handel to Wagner to Britten.

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48

Matthay, Tobias Augustus. Musical Interpretation: Its Laws and Principles. Library Reprints, 2001.

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49

Luigi, Attademo, Università degli studi del Piemonte orientale "Amedeo Avogadro." Dipartimento di studi umanistici., and Vercelli (Italy), eds. Musica e interpretazione: Soggettività e conoscenza nell'esecuzione musicale. Torino: Trauben, 2002.

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50

Wilson Kimber, Marian. Multiplying Voices. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040719.003.0008.

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“Verse-speaking” choirs led by women trained in elocutionary techniques were popular at women’s colleges in the 1930s and 1940s. School groups expressively speaking poetry together reflected the Depression-era values of social usefulness and civic unity. Pedagogical materials written by women consistently relied on musical terminology to describe choirs’ arrangements. Choirs undertook recitation utilizing differently pitched voices and alternating spoken solos with larger groups. The Wellesley College Choir, conducted by Cécile de Banke, was a leading representative of this style of musical interpretation of contemporary poetry. While elocution had featured female soloists in personal interpretations of literary works, the speech choir, with its patriotic overtones of civic good, was an even safer venue for feminine expression, as women’s personalities would be absorbed into the whole.

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