The Cambridge Companion to Chopin

Cambridge University Press
Free sample

The Cambridge Companion to Chopin provides the enquiring music-lover with helpful insights into a musical style which recognises no contradiction between the accessible and the sophisticated, the popular and the significant. Twelve essays by leading Chopin scholars make up three parts. Part 1 discusses the sources of Chopin's style in the music of his predecessors and the social history of the period. Part 2 profiles the mature music, and Part 3 considers the afterlife of the music - its reception, its criticism and its compositional influence in the works of subsequent composers.
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Additional Information

Publisher
Cambridge University Press
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Published on
Dec 8, 1994
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Pages
370
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ISBN
9781139824996
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Language
English
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Genres
Music / General
Music / Individual Composer & Musician
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Content Protection
This content is DRM protected.
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“Here we come. Walking down the street. We get the funniest looks from everyone we meet. Hey, hey, we’re The Monkees!”


The idea of creating a tv series about a wacky rock group similar to The Beatles had been unsuccessfully kicked around Universal Pictures and Columbia Pictures since 1962, but by 1965, The Beatles were on their second tour, and their Help! album, single, and tour created a popularity wave called Beatlemania. The enormous success of their A Hard Day’s Night album and single convinced Screen Gems to green light the tv series idea, and The Monkees were born. 


A fake band seemed odd in the real world still reeling from race riots, John F. Kennedy’s assassination, and the Vietnam War, but delightful Davy Jones, peppy Peter Tork, madcap Micky Dolenz, and comparatively serious Michael Nesmith were too busy singing to bring anybody down. Fake became steak by late 1966, and with help from super musicians Tommy Boyce, Bobby Bart, Neil Diamond, Chip Douglas, Carole King, John Stewart, and others, the series skyrocketed to hit status along with #1music albums and hit singles, such as “The Last Train to Clarksville,” “I’m Not Your Steppin’ Stone,” and “I’m a Believer.”  


Authors Michael A. Ventrella and Mark Arnold now analyze all The Monkee’s songs and albums produced over 50 years. Discover the band’s detailed history, a listing of all live performances and TV appearances, and a listing of all of their singles and albums that made the Billboard charts.


Come and watch them sing and play. Discover the secrets of their recordings: which of The Monkees played what instruments on each song, when it was recorded, how well that song did on the charts, whether there were any interesting cover versions of the song done, and when it first appeared on a record.


Profusely illustrated with album covers, single covers, live performance pictures, and trivia pictures.Index.


About author Mark Arnold: a well-known historian of pop culture, he is also author of 
The Best of the Harveyville Fun Times!; Created and Produced by Total TeleVision productions; Mark Arnold Picks on The Beatles; Frozen in Ice: The Story of Walt Disney Productions; Think Pink: The Story of DePatie-Freleng; Pocket Full of Dennis the Menace  


About author Michael A.Ventrella: a musician, who was tremendously inspired by The Monkees, has published or edited Arch Enemies; The Axes of Evil; Bloodsuckers: A Vampire Runs for President; and the Tales of Fortannis series.

 

This lively new book, written by a general historian, explores the music of the great composer Giovanni Pierluigi da Palestrina (1525-1594). Palestrina worked during a tempestuous phase of European history – the Counter Reformation or Catholic Reform. More than four centuries of discussion and controversy have followed, continuing to highlight fundamental issues about music's relationships with emotion, imagination and the sublime. The large numbers and varieties of Palestrina's works are daunting for singers and listeners, but here's a guide to mapping one's way through the labyrinth. Even now much glorious music remains hidden away, still to be performed and enjoyed. Palestrina's music excels in its sensitivity to text, disciplined consonance and exploitation of the richly contrasting voice parts - cantus, alto, tenor and bass - and their varied interweavings. It delights in part-erotic love poetry while chiefly focussing on religious themes. Here is music for every changing event through the Church's Year, but also for underlying beliefs to be persistently symbolised about the eternal God as beauty, wonder, mercy, love and mystery. Particularly outstanding are certain parts of Palestrina's Masses, the Kyrie, Sanctus, Benedictus and Agnus Dei. The book explores different ways of enjoying and relating to the music, whatever one's beliefs. The author suggests that its combination of vocal diversity, equality and harmony symbolises good social relationships or ideal community. This is music which strikingly avoids tight metricality, mighty forces, tumult or disjunction. Its prevailing values are those of clarity, ensemble, balance and graceful flowingness.
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