Analytical Essays on Music by Women Composers: Concert Music, 1900-1960
Herausgeber: Parsons, Laurel; Ravenscroft, Brenda
Analytical Essays on Music by Women Composers: Concert Music, 1900-1960
Herausgeber: Parsons, Laurel; Ravenscroft, Brenda
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In Analytic Essays on Music by Women Composers: Concert Music, 1900-1960, editors Laurel Parsons and Brenda Ravenscroft collect innovative reinterpretations of women composers' work over the first half of the twentieth century.
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In Analytic Essays on Music by Women Composers: Concert Music, 1900-1960, editors Laurel Parsons and Brenda Ravenscroft collect innovative reinterpretations of women composers' work over the first half of the twentieth century.
Produktdetails
- Produktdetails
- Verlag: Oxford University Press, USA
- Seitenzahl: 296
- Erscheinungstermin: 30. August 2022
- Englisch
- Abmessung: 247mm x 158mm x 26mm
- Gewicht: 558g
- ISBN-13: 9780190236984
- ISBN-10: 0190236981
- Artikelnr.: 65338729
- Verlag: Oxford University Press, USA
- Seitenzahl: 296
- Erscheinungstermin: 30. August 2022
- Englisch
- Abmessung: 247mm x 158mm x 26mm
- Gewicht: 558g
- ISBN-13: 9780190236984
- ISBN-10: 0190236981
- Artikelnr.: 65338729
Laurel Parsons is Full Teaching Professor of Music Theory and Co-ordinator of Aural Skills at the University of Alberta. Her research interests focus on the music of British composer Elisabeth Lutyens, Danish composer Else Marie Pade, and aural skills pedagogy related to post-secondary students with learning differences. From 2012-15 she chaired the Society for Music Theory's Committee on the Status of Women. Brenda Ravenscroft is Professor of Music Theory and Dean of the Schulich School of Music at McGill University. Her research focuses on post-tonal American music, text and music, rhythmic organization, and pedagogy. She chaired the Society for Music Theory's Committee on the Status of Women from 2006 to 2009.
* Acknowledgements
* About the Companion Website
* Chapter 1. Introduction
* Laurel Parsons and Brenda Ravenscroft
* Part 1. Music for Voice
* Chapter 2. Alma Mahler-Werfel, "Licht in der Nacht" (1901): Searching
for the Light: Harmonic Cycles and Feedback Loops in Alma
Mahler-Werfel's "Licht in der Nacht"
* Kenneth M. Smith
* Chapter 3. Rebecca Clarke, "Tiger, Tiger" (1933): Extended Tonality
and Text-Setting in Rebecca Clarke's "Tiger, Tiger"
* Zachary Bernstein
* Chapter 4. Ethel Smyth, The Boatswain's Mate (1913-1914): A Wrinkle?
Gender and Motive in Ethel Smyth's The Boatswain's Mate
* Rachel Lumsden
* Chapter 5. Ruth Crawford, Chants for Women's Chorus (1930): "Not yet
accepted as singing": Ruth Crawford's "To An Angel" from Chants for
Women's Chorus
* Ellie M. Hisama
* Part 2. Instrumental Music
* Chapter 6. Florence B. Price, Piano Sonata in E minor (1932): Culture
and Craft in Florence Price's Piano Sonata in E minor (First
Movement)
* Horace J. Maxile, Jr.
* Chapter 7. Galina Ustvolskaya, Sonata for Violin and Piano (1952):
Motivic Patterns, Repetition, and Formal Structures in Galina
Ustvolskaya's Sonata for Violin and Piano
* Tim Sullivan
* Chapter 8. J. M. Beyer, String Quartet no. 2 (1933-34): Imagination
and Method: J. M. Beyer's String Quartet no. 2
* Marguerite Boland
* Chapter 9. Peggy Glanville-Hicks, Sinfonia da Pacifica (1952-53):
Avant-garde or Postmodern? The Melody-Rhythm Concept in Peggy
Glanville-Hicks's Sinfonia da Pacifica
* Victoria Rogers
* Glossary
* Bibliography
* Index
* About the Companion Website
* Chapter 1. Introduction
* Laurel Parsons and Brenda Ravenscroft
* Part 1. Music for Voice
* Chapter 2. Alma Mahler-Werfel, "Licht in der Nacht" (1901): Searching
for the Light: Harmonic Cycles and Feedback Loops in Alma
Mahler-Werfel's "Licht in der Nacht"
* Kenneth M. Smith
* Chapter 3. Rebecca Clarke, "Tiger, Tiger" (1933): Extended Tonality
and Text-Setting in Rebecca Clarke's "Tiger, Tiger"
* Zachary Bernstein
* Chapter 4. Ethel Smyth, The Boatswain's Mate (1913-1914): A Wrinkle?
Gender and Motive in Ethel Smyth's The Boatswain's Mate
* Rachel Lumsden
* Chapter 5. Ruth Crawford, Chants for Women's Chorus (1930): "Not yet
accepted as singing": Ruth Crawford's "To An Angel" from Chants for
Women's Chorus
* Ellie M. Hisama
* Part 2. Instrumental Music
* Chapter 6. Florence B. Price, Piano Sonata in E minor (1932): Culture
and Craft in Florence Price's Piano Sonata in E minor (First
Movement)
* Horace J. Maxile, Jr.
* Chapter 7. Galina Ustvolskaya, Sonata for Violin and Piano (1952):
Motivic Patterns, Repetition, and Formal Structures in Galina
Ustvolskaya's Sonata for Violin and Piano
* Tim Sullivan
* Chapter 8. J. M. Beyer, String Quartet no. 2 (1933-34): Imagination
and Method: J. M. Beyer's String Quartet no. 2
* Marguerite Boland
* Chapter 9. Peggy Glanville-Hicks, Sinfonia da Pacifica (1952-53):
Avant-garde or Postmodern? The Melody-Rhythm Concept in Peggy
Glanville-Hicks's Sinfonia da Pacifica
* Victoria Rogers
* Glossary
* Bibliography
* Index
* Acknowledgements
* About the Companion Website
* Chapter 1. Introduction
* Laurel Parsons and Brenda Ravenscroft
* Part 1. Music for Voice
* Chapter 2. Alma Mahler-Werfel, "Licht in der Nacht" (1901): Searching
for the Light: Harmonic Cycles and Feedback Loops in Alma
Mahler-Werfel's "Licht in der Nacht"
* Kenneth M. Smith
* Chapter 3. Rebecca Clarke, "Tiger, Tiger" (1933): Extended Tonality
and Text-Setting in Rebecca Clarke's "Tiger, Tiger"
* Zachary Bernstein
* Chapter 4. Ethel Smyth, The Boatswain's Mate (1913-1914): A Wrinkle?
Gender and Motive in Ethel Smyth's The Boatswain's Mate
* Rachel Lumsden
* Chapter 5. Ruth Crawford, Chants for Women's Chorus (1930): "Not yet
accepted as singing": Ruth Crawford's "To An Angel" from Chants for
Women's Chorus
* Ellie M. Hisama
* Part 2. Instrumental Music
* Chapter 6. Florence B. Price, Piano Sonata in E minor (1932): Culture
and Craft in Florence Price's Piano Sonata in E minor (First
Movement)
* Horace J. Maxile, Jr.
* Chapter 7. Galina Ustvolskaya, Sonata for Violin and Piano (1952):
Motivic Patterns, Repetition, and Formal Structures in Galina
Ustvolskaya's Sonata for Violin and Piano
* Tim Sullivan
* Chapter 8. J. M. Beyer, String Quartet no. 2 (1933-34): Imagination
and Method: J. M. Beyer's String Quartet no. 2
* Marguerite Boland
* Chapter 9. Peggy Glanville-Hicks, Sinfonia da Pacifica (1952-53):
Avant-garde or Postmodern? The Melody-Rhythm Concept in Peggy
Glanville-Hicks's Sinfonia da Pacifica
* Victoria Rogers
* Glossary
* Bibliography
* Index
* About the Companion Website
* Chapter 1. Introduction
* Laurel Parsons and Brenda Ravenscroft
* Part 1. Music for Voice
* Chapter 2. Alma Mahler-Werfel, "Licht in der Nacht" (1901): Searching
for the Light: Harmonic Cycles and Feedback Loops in Alma
Mahler-Werfel's "Licht in der Nacht"
* Kenneth M. Smith
* Chapter 3. Rebecca Clarke, "Tiger, Tiger" (1933): Extended Tonality
and Text-Setting in Rebecca Clarke's "Tiger, Tiger"
* Zachary Bernstein
* Chapter 4. Ethel Smyth, The Boatswain's Mate (1913-1914): A Wrinkle?
Gender and Motive in Ethel Smyth's The Boatswain's Mate
* Rachel Lumsden
* Chapter 5. Ruth Crawford, Chants for Women's Chorus (1930): "Not yet
accepted as singing": Ruth Crawford's "To An Angel" from Chants for
Women's Chorus
* Ellie M. Hisama
* Part 2. Instrumental Music
* Chapter 6. Florence B. Price, Piano Sonata in E minor (1932): Culture
and Craft in Florence Price's Piano Sonata in E minor (First
Movement)
* Horace J. Maxile, Jr.
* Chapter 7. Galina Ustvolskaya, Sonata for Violin and Piano (1952):
Motivic Patterns, Repetition, and Formal Structures in Galina
Ustvolskaya's Sonata for Violin and Piano
* Tim Sullivan
* Chapter 8. J. M. Beyer, String Quartet no. 2 (1933-34): Imagination
and Method: J. M. Beyer's String Quartet no. 2
* Marguerite Boland
* Chapter 9. Peggy Glanville-Hicks, Sinfonia da Pacifica (1952-53):
Avant-garde or Postmodern? The Melody-Rhythm Concept in Peggy
Glanville-Hicks's Sinfonia da Pacifica
* Victoria Rogers
* Glossary
* Bibliography
* Index