Philip Brett (1937-2002) was Distinguished Professor of Musicology at the University of California, Los Angeles. In addition to dozens of scholarly editions of English Renaissance music and pioneering articles in a wide variety of fields, he is author of Benjamin Britten: Peter Grimes and coeditor of Queering the Pitch: The New Gay and Lesbian Musicology, Cruising the Performative: Interventions into the Representation of Ethnicity, Nationality, and Sexuality, and Decomposition: Post-Disciplinary Performance. Joseph Kerman is Professor Emeritus of Music and Davitt Moroney is Professor of Music and University Organist at the University of California, Berkeley.
7 หนังสืออิเล็กทรอนิกส์โดย Joseph Kerman
Philip Brett: William Byrd and His Contemporaries
Throughout his distinguished career, Philip Brett wrote about the music of the Tudor period. He carried out pathbreaking work on the life and music of William Byrd (c.1540-1623), both as an editor an …
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Joseph Kerman: The Art of Fugue
A free ebook version of this title is available through Luminos, University of California Press’s new open access publishing program for monographs. Visit www.luminosoa.org to learn more. Fugue for J …
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Joseph Kerman: Art of Fugue
Fugue for J. S. Bach was a natural language; he wrote fugues in organ toccatas and voluntaries, in masses and motets, in orchestral and chamber music, and even in his sonatas for violin solo. The mor …
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Robert Curry & David Gable: Variations on the Canon
Masterful essays honoring the great pianist and critic Charles Rosen, on masterpieces from Bach and Beethoven to Chopin, Verdi, and Stockhausen. Charles Rosen, the pianist and man of letters, is perh …
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Joseph Kerman: Music at the Turn of the Century
Most of the essays in this book were solicited for the tenth anniversary of the journal 19th Century Music, which has sought to encourage innovative writing about music–musicological, theoretical, a …
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William Kinderman: String Quartets of Beethoven
"We do not understand music–it understands us." This aphorism by Theodor W. Adorno expresses the quandary and the fascination many listeners have felt in approaching Beethoven’s late quart …
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