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Write all these down : essays on music / Joseph Kerman.

By: Publication details: Berkeley : University of California Press, ©1994.Description: xiii, 359 pages : illustrations ; 27 cmContent type:
  • text
Media type:
  • unmediated
Carrier type:
  • volume
ISBN:
  • 0520083555
  • 9780520083554
Subject(s): Genre/Form: DDC classification:
  • 780 20
LOC classification:
  • ML60 .K37 1994
Other classification:
  • 24.40
  • 9,2
  • LP 16100
Online resources:
Contents:
Criticism : A profile for American musicology -- How we got into analysis, and how to get out -- A few canonic variations -- Critics and the classics -- Byrd, Tallis, Alfonso Ferrabosco : William Byrd and Elizabethan Catholicism -- Byrd, Tallis, and the art of imitation -- "Write all these down" : notes on a song by Byrd -- The Missa Puer natus est by Thomas Tallis -- An Italian musician in Elizabethan England -- Beethoven : Tovey's Beethoven -- An die ferne Geliebte -- Taking the fifth -- Beethoven's minority -- Opera and concerto : Translating The magic flute -- Wagner : thoughts in season --Verdi's use of recurring themes -- Two early Verdi operas; two famous teretti -- Reading Don Giovanni -- Mozart's piano concertos and their audience -- Tristan und Isolde : the prelude and the play.
Summary: Joseph Kerman is one of the most eminent, wide ranging, and readable of today's writers on music. Admirers of his many books - on musicology, opera, Beethoven, and Elizabethan music - will find much to interest them in this collection of essays, taken from general journals, such as the Hudson Review and the New York Review of Books, as well as more specialized publications.Summary: Included are several well-known pleas addressed by Kerman to his professional colleagues in an effort to get them to adopt a more critical orientation for their work. Other essays range from a moving account of William Byrd as a spokesman for the beleaguered Elizabethan Catholic minority to a discerning analysis of Beethoven's famous obsession with the key of C minor. The controversial tenets of Kerman's classic Opera as Drama (1956) are reaffirmed in essays on Don Giovanni, The Magic Flute, Tristan und Isolde, Ernani, and I Lombardi.Summary: Beautifully written, this book offers challenging models for a humane and historically informed music criticism.
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Holdings
Item type Current library Call number Status Date due Barcode
Books Academic Resource Center at Levitt General Stacks (LOWER Level) ML 60 .K37 1994 (Browse shelf(Opens below)) Available 89968

Includes bibliographical references and index.

Criticism : A profile for American musicology -- How we got into analysis, and how to get out -- A few canonic variations -- Critics and the classics -- Byrd, Tallis, Alfonso Ferrabosco : William Byrd and Elizabethan Catholicism -- Byrd, Tallis, and the art of imitation -- "Write all these down" : notes on a song by Byrd -- The Missa Puer natus est by Thomas Tallis -- An Italian musician in Elizabethan England -- Beethoven : Tovey's Beethoven -- An die ferne Geliebte -- Taking the fifth -- Beethoven's minority -- Opera and concerto : Translating The magic flute -- Wagner : thoughts in season --Verdi's use of recurring themes -- Two early Verdi operas; two famous teretti -- Reading Don Giovanni -- Mozart's piano concertos and their audience -- Tristan und Isolde : the prelude and the play.

Joseph Kerman is one of the most eminent, wide ranging, and readable of today's writers on music. Admirers of his many books - on musicology, opera, Beethoven, and Elizabethan music - will find much to interest them in this collection of essays, taken from general journals, such as the Hudson Review and the New York Review of Books, as well as more specialized publications.

Included are several well-known pleas addressed by Kerman to his professional colleagues in an effort to get them to adopt a more critical orientation for their work. Other essays range from a moving account of William Byrd as a spokesman for the beleaguered Elizabethan Catholic minority to a discerning analysis of Beethoven's famous obsession with the key of C minor. The controversial tenets of Kerman's classic Opera as Drama (1956) are reaffirmed in essays on Don Giovanni, The Magic Flute, Tristan und Isolde, Ernani, and I Lombardi.

Beautifully written, this book offers challenging models for a humane and historically informed music criticism.

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