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Libros sobre el tema "End-of-life music"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 3 de febrero de 2022

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1

Music at the end of life: Easing the pain and preparing the passage. Praeger, 2010.

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2

Fantacci, Silvia, ed. Ruggero Jacobbi. Firenze University Press, 2008. http://dx.doi.org/10.36253/978-88-8453-688-4.

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"Ah, if only I were not so alive and so crowded with things, what a book I would write […] but there's so little time […]. There's lots of time to map them out, that's true, but it's not enough." This is the voice of the protagonist of Convalescenza, one of the stories in this book that – thanks to the painstaking editorial attention of Silvia Fantacci – presents the prose written by Ruggero Jacobbi starting from his precocious youth through to the Sixties. The nine sections, recording fragments of memories, vestiges of mystery and bitter solitude, meander between cinema and theatre, revoke th

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3

Vera, Alejandro. The Sweet Penance of Music. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190940218.001.0001.

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This book provides a fresh, comprehensive view of the musical life and its cultural context in Santiago, Chile, from its foundation in 1541 to the end of the colonial period, roughly in 1810. Combining the study of archival documents, secondary sources, and music scores, it deals with different aspects of musical life in the cathedral (Chapter 1), convents and monasteries (Chapter 2), private houses (Chapter 3), and public spaces (Chapter 4), considering, as well, the life and function of musicians as crucial agents in the music field (Chapter 5). Despite its focus on a particular city of Lati

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4

Schiff, David. A Brief Life of a Very Long Life. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190259150.003.0003.

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This chapter outlines the known facts about Carter’s life and tracks the reception history of his music. Carter grew up in a comfortable upper middle class New York household and was groomed to take over the successful importing business founded by his grandfather. His family gave him piano lessons but otherwise discouraged his pursuit of music which only began in earnest when he was in high school and first met Charles Ives. Even after that meeting, Carter studied literature, not music, as a Harvard undergraduate, and only received a full musical education when he went to Paris to study with

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5

McWilliam, Rohan. London's West End. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198823414.001.0001.

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How did the West End of London become the world’s leading pleasure district? What is the source of its magnetic appeal? How did the centre of London become Theatreland? London’s West End is the first ever history of the area which has enthralled millions. From the Strand up to Oxford Street, the West End came to stand for sensation and vulgarity but also the promotion of high culture. The reader will explore the growth of theatres, opera houses, galleries, restaurants, department stores, casinos, exhibition centres, night clubs, street life, and the sex industry. The West End produced shows an

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6

Watson, Tessa. The World is Alive! Music Therapy with Adults with Learning Disabilities. Edited by Jane Edwards. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199639755.013.22.

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This chapter describes music therapy work with adults with learning disabilities. This group of people have a cognitive disability that will not change, bringing with it challenges to living a fulfilled and satisfying life and sometimes associated health issues. A wide range of issues, from severe communication problems, bereavement, mental health problems, challenging behavior, to end-of-life issues require music therapists to bring a wide range of skills and approaches to their work. This chapter presents the diagnosis and history of this population, and the history of music therapy work in

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7

Sapiro, Ian. The Pop-Music Industry and the British Musical. Edited by Robert Gordon and Olaf Jubin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199988747.013.13.

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This chapter discusses the intersection of the pop music industry and the British musical through the genre of the rock opera. In the late 1960s British artists started using the LP to create longer songs and projects, and theatrical practice began to move away from a reliance on narrative linearity and towards increased spectacle. The result of this experimentation was the concept album, and where such albums contained narratives they were termed rock operas. This chapter considers Tommy (1969) and Jesus Christ Superstar (1970)—two works fundamental to the establishment of rock opera—as well

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8

White, Harry. The Musical Discourse of Servitude. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190903879.001.0001.

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The Musical Discourse of Servitude examines the music of Johann Joseph Fux (ca. 1660–1741) in relation to that of Johann Sebastian Bach and George Frideric Handel. Its principal argument is that Fux’s long indenture as a composer of church music in Vienna gains in meaning (and cultural significance) when situated along an axis that runs between the liturgical servitude of writing music for the imperial court service and the autonomy of musical imagination which transpires in the late works of Bach and Handel. To this end, The Musical Discourse of Servitude constructs a typology of the late Bar

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9

Yunhwa Rao, Nancy. An Examination of the Aria Song “Shilin Jita”. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040566.003.0006.

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Cantonese opera aria was a primary form of musical utterance in Chinatowns in the 1920s. They were heard not only at theaters but also as aria song on phonograph records at laundries, canneries, or stores, or through life performance at clubhouses of family associations. As an introduction to this sound world, this chapter examines a popular aria from that decade: Li Xuefang’s “Shilin Jita” from Madame White Snake. The lyrics are comprised of couplets of ten-syllable verses, and the aria is a fanxian erhuang type. Focusing on the transcription of a historical recording, the chapter delves into

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10

Bakan, Michael B. Graeme Gibson. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190855833.003.0007.

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Graeme Gibson is a man of many talents. He curates an online museum of more than four hundred world music instruments, plays many of those instruments himself, designs and builds others, and conducts copious research on music traditions worldwide. Because “world music involves numerous traditions [up] to contemporary musics,” Graeme says, “I prefer to think of it as a spectrum that includes numerous genres.” He sees parallels between the spectrum of world music and the autism spectrum, where he states that he “also found that everyone is different from their case, to my case and so on. I do ag

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11

Snyder, Jean E. The Impact of a Life. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039942.003.0018.

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This chapter examines Harry T. Burleigh's legacy in African American music. Burleigh retired in 1946 from his position as baritone soloist at St. George's Protestant Episcopal Church, marking the end of an exceptional public career. He died of cardiac failure on September 12, 1949. All too soon after the influx of laudatory obituaries, the press got wind of the conflict over Burleigh's estate. This chapter first considers the trial involving Burleigh's two wills, both of which were challenged by Louise Alston Burleigh and their son Alston because they suspected his longtime housekeeper, Thelma

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12

Welsh, Mary Sue. Afterword. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037368.003.0016.

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This chapter focuses on the achievements of Edna Phillips and Sam Rosembaum after the war. Sam did indeed pick up the strands of his career after he returned from the war, and his achievements in later life were impressive. At the end of 1948, the U.S. Secretary of Labor Maurice J. Tobin named him to the position of independent trustee of the Music Performance Trust Funds for the Recording Industries. Edna Phillips never stepped out of the world of music despite leaving the orchestra. She continued to commission works for the harp and work with composers to polish them, an ongoing responsibili

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13

Gill, Denise. Conclusion. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190495008.003.0007.

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The conclusion offers important departure points for scholars to push ahead with the study of music, emotion, feeling, sound, and affective practices. Identifying and interrogating one affective particular—“melancholy”—in Turkish classical musicians’ historicizing, narrative, sonic, artistic, performative, and transmission processes, the conclusion argues that melancholies must be understood as affective practice. The ending compares normative U.S. and Turkish assumptions about melancholy, and interrogates the author’s own performances of melancholy and a trip to the rhizomatic reed beds of so

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14

Bakan, Michael B. Donald Rindale. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190855833.003.0004.

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Years ago, long before he was diagnosed with Asperger’s syndrome at the age of twenty-one, Donald Rindale described music as “the only love of my life.” It’s different for Donald now. “Honestly, if my trombone got run over by a tank, I’d be delighted,” he asserts, adding that being a musician “was a wonderful chapter of my life, but that page has long been turned.” We first meet Donald as a musicology graduate student on the verge of falling out of love with musicology and in love with the study of law. At chapter’s end some four years later, he has just graduated from law school and is envisi

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15

Lange, Barbara Rose. Local Fusions. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190245368.001.0001.

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Local Fusions: Folk Music Experiments in Central Europe at the Millennium explores musical life in Hungary, Slovakia, and Austria between the end of the Cold War and the world financial crisis of 2008. It describes how artists made new social commentary and tried new ways of working together as the political and economic atmosphere changed. The book presents case studies from Budapest, Bratislava, and Vienna, drawing from ethnographic research and from conversations about the arts in Central European publications. The case studies illustrate how young musicians redefined a Central European his

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16

Brister, Wanda, and Jay Rosenblatt. Madeleine Dring. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781949979312.001.0001.

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This book is the first scholarly biography of Madeleine Dring (1923–1977). Using diaries, letters, and extensive archival research, the narrative examines her career and explores her music. The story of Dring’s life begins with her formal training at the Royal College of Music, first in the Junior Department and then as a full-time student, a period that also covers her personal experience of events both leading up to and during the early years of World War II. Her career is traced in detail through radio and television shows and West End revues, all productions for which she wrote music, as w

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17

Burford, Mark. Family Affairs, Part I. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190634902.003.0002.

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Mahalia Jackson’s family story begins with her grandparents, Paul and Celia Clark, who were enslaved and emancipated in Central Louisiana. The Clarks, including Jackson’s mother Charity, eventually moved to the densely populated “Black Pearl” neighborhood in New Orleans, where Jackson was born in 1911. Jackson experienced poverty and onerous family responsibilities but also a rich social and cultural life of multi-ethnic New Orleans that included the church, jazz, the Mississippi riverfront, and Harlem Renaissance thought. Jackson the singer also emerged under the influence of the music of the

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18

Nicholls, Simon, Michael Pushkin, and Vladimir Ashkenazy. The Preliminary Action. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190863661.003.0008.

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Skryabin’s uncompleted final work is examined in its relation to his planned life’s work, the Mystery, according to an account by the composer’s close friend Leonid Sabaneyev. Writing towards the end of Skryabin’s life and just after his death, Sabaneyev dramatizes the scenario involved in Skryabin’s apocalyptic world view. Critical comments from a contemporary on Sabaneyev’s account are included. The concept of a sacred performance, then current, is examined, as well as its influence on Skryabin’s ideas for the performance of the Preliminary Action. A description from Sabaneyev of Skryabin’s

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19

Doering, James M. New Alliances, New Media, New York. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037412.003.0005.

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This chapter talks about how Judson had transformed his professional life in less than five years. No longer a musical jack-of-all-trades, he was now a professional music manager, solidly established in the Philadelphia community. Judson's meteoric rise in the 1920s mirrored the United States' own economic prosperity during this era. But his success was more than a product of good economic times. Judson weighed his risks carefully, always kept a diverse management portfolio, and most importantly avoided pitting his various interests against each other. He had the ability to assure patrons of a

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20

Banner, Olivia, Nathan Carlin, and Thomas R. Cole, eds. Teaching Health Humanities. Oxford University Press, 2019. http://dx.doi.org/10.1093/med/9780190636890.001.0001.

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Teaching Health Humanities expands our understanding of what health humanities teaching currently does and what it could do. Its contributors describe the variety of degree programs where they teach, the politics and perspectives that inform how they teach, and methods for incorporating newer digital and multimodal technologies into their teaching practices. Each individual chapter lays out the theory that drives contributors’ teaching, then describes how it happens in practice at the broad level of such matters as syllabus design and at the finer level of lesson plans, class exercises, and/or

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21

Schmelz, Peter J. Alfred Schnittke's Concerto Grosso no. 1. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190653712.001.0001.

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This book provides for the first time an accessible, comprehensive study of Alfred Schnittke’s Concerto Grosso no. 1 (1977). One of Schnittke’s best-known and most compelling works, the Concerto Grosso no. 1 sounds the surface of late Soviet life, resonating as well with contemporary compositional currents around the world. This innovative monograph builds on existing publications about the Concerto Grosso no. 1 in English, Russian, and German, augmenting and complicating them. It adds new information from underused primary sources, including Schnittke’s unpublished correspondence and his many

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22

Johansen, Bruce, and Adebowale Akande, eds. Nationalism: Past as Prologue. Nova Science Publishers, Inc., 2021. http://dx.doi.org/10.52305/aief3847.

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Nationalism: Past as Prologue began as a single volume being compiled by Ad Akande, a scholar from South Africa, who proposed it to me as co-author about two years ago. The original idea was to examine how the damaging roots of nationalism have been corroding political systems around the world, and creating dangerous obstacles for necessary international cooperation. Since I (Bruce E. Johansen) has written profusely about climate change (global warming, a.k.a. infrared forcing), I suggested a concerted effort in that direction. This is a worldwide existential threat that affects every living t

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