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6 PART FIVE: MUSIC IN BRITAIN Pauline Graham (Griffith College): Intimations of Eternity in the Creedsfrom William Byrd’s Five-Voice Mass and Great Service John Cunningham (Bangor University): “An Irishman in an opera!
Everett (University of Missouri – Kansas City): The Great War, Propaganda, and Orientalist Musical Theatre: The Twin Histories of Katinka and Chu Chin Chow Richard Aldous (Bard College): “Flash Harry”: Sir Malcolm Sargentand the Progress of Music in England PART SIX: MUSIC HISTORIES WORLDWIDE Philip V.
Bohlman (University of Chicago): Worlds Apart: Resounding Selves and Others on Islands of Music History Ivano Cavallini (University of Palermo): A Counter-Reformation Reaction to Slovenian and Croatian Protestantism: The Symbol of St.
It is unprecedented in its design: a brilliantly selected group of essays on music coupled with lucid, deeply incisive, and in every way masterly analysis of Adorno's thinking about music.
No one who studies Adorno and music will be able to dispense with it; and if they can afford only one book on Adorno and music, this will be the one.
His previous books include Art and the Committed Eye: The Cultural Functions of Imagery (1996) and The Sight of Sound: Music, Representation, and the History of the Body (California, 1993).
Lorraine Byrne Bodley (Ed.), Wien: Hollitzer Verlag, 2018, 784 p., 17 x 24 cm, English, Hardcover with dust jacket ISBN 978-3-99012-401-7 (hbk) € 89,00ISBN 978-3-99012-403-1 (epub) € 79,99 - erhältlich u.a.
The folk music of England is tradition-based music, which has existed since the later medieval period.
It is often contrasted with courtly, classical and later commercial music.
Until now, English translations of Adorno's major essays on music have been scattered and often unreliable.
Until now, there has been no comprehensive scholarly treatment of Adorno's musical thinking.