Japan's jazz community--both musicians and audience--has been begrudgingly recognized in the United States for its talent, knowledge, and level of appreciation. Underpinning this tentative admiration, however, has been a tacit agreement that, for cultural reasons, Japanese jazz "can't swing." In Blue Nippon E. Taylor Atkins shows how, strangely, Japan's own attitude toward jazz is founded on this same ambivalence about its authenticity. Engagingly told through the voices of many musicians, Blue Nippon explores the true and legitimate nature of Japanese jazz. Atkins peers into 1920s dancehalls to examine the Japanese Jazz Age and reveal the origins of urban modernism with its new set of social mores, gender relations, and consumer practices. He shows how the interwar jazz period then became a troubling symbol of Japan's intimacy with the West--but how, even during the Pacific war, the roots of jazz had taken hold too deeply for the "total jazz ban" that some nationalists desired. While the allied occupation was a setback in the search for an indigenous jazz sound, Japanese musicians again sought American validation. Atkins closes out his cultural history with an examination of the contemporary jazz scene that rose up out of Japan's spectacular economic prominence in the 1960s and 1970s but then leveled off by the 1990s, as tensions over authenticity and identity persisted. With its depiction of jazz as a transforming global phenomenon, Blue Nippon will make enjoyable reading not only for jazz fans worldwide but also for ethnomusicologists, and students of cultural studies, Asian studies, and modernism.
Scenography - the manipulation and orchestration of the performance environment - is an increasingly popular and key area in performance studies. This book introduces the reader to the purpose, identity and scope of scenography and its theories and concepts. Settings and structures, light, projected images, sound, costumes and props are considered in relation to performing bodies, text, space and the role of the audience. Concentrating on scenographic developments in the twentieth century, the Introduction examines how these continue to evolve in the twenty-first century. Scenographic principles are clearly explained through practical examples and their theoretical context. Although acknowledging the many different ways in which design shapes the creation of scenography, the book is not exclusively concerned with the role of the theatre designer. In order to map out the wider territory and potential of scenography, the theories of pioneering scenographers are discussed alongside the work of directors, writers and visual artists.
Denne boka inneholder oppgaver som krever at man må ta i bruk ulike arbeidsmåter når man skal løse dem, forankret til hovedinstrument og ulike sjangre. Hovedmålet er å bidra til en tettest mulig sammenheng mellom hovedinstrumentopplæringen og gehørtreningen innenfor høyere utdanning i musikk. Forhåpentligvis vil boka også gi inspirasjon til at lærere kan lage egne oppgaver etter bokas mønster. Videre inneholder boka forslag til støttelitteratur i forbindelse med de enkelte delemnene, samt didaktiske betraktninger
Renowned Mozart scholar Daniel Heartz brings his deep knowledge of social history, theater, and art to a study of the last and great decade of Mozart's operas. Mozart specialists will recognize some of Heartz's best-known essays here; but six pieces are new for the collection, and others have been revised and updated with little-known documents on the librettist's, composer's, and stage director's craft. All lovers of opera will value the elegance and wit of Professor Heartz's writing, enhanced by thirty-seven illustrations, many from his private collection.
«Musikkvitenskap» er en innføring i de mange deldisiplinene som i dag utgjør studiet av musikk: musikkpsykologi, musikkterapi, musikkens sosiologi og antropologi, musikkestetikk, musikkhistorie og historiografi, musikkanalyse og musikkpedagogikk.
Hva er egentlig musikk? Spørsmålet stilles gjennom hele denne boken, og som lesere får vi mange svar. I tillegg får vi innblikk i musikkvitenskapens faghistorie, ulike vitenskapstradisjoner som preger musikkforskningen og et utvalg av musikkvitenskapens forskningsmetoder. Sentrale forskningstemaer presenteres, som forbindelsen mellom musikk og følelser, musikkens funksjoner i samfunnet og for den enkelte, forskjellige måter å lytte til musikk på og spørsmål knyttet til hva musikk kan uttrykke og bety.
Pierre Boulez's first piano pieces date from his youth, prior to his studies in Paris with Messiaen, and his subsequent meteoric rise to international acclaim as the leader of the musical avant-garde during the 1950s. His most recent published work is a solo piano piece, Une page d#65533;#65533;#65533;ride, written some sixty years after his first attempts at composition. The piano has remained central to Boulez's creative work throughout his career, and although his renown as a conductor has to some extent overshadowed his other achievements, it was as a performer of his own piano music that his practical gifts first found expression. Peter O'Hagan has given performances of various unpublished piano works by Boulez, including Antiphonie from the Third Sonata and Trois Psalmodies. In this study, he considers Boulez's writing for the piano in the context of the composer's stylistic evolution throughout the course of his development. Each of the principal works is considered in detail, not only on its own terms, but also as a stage in Boulez's ongoing quest to invent radical solutions to the renewal of musical language and to reinvigorate tradition. The volume includes reference to hitherto unpublished source material, which sheds light on his working methods and on the interrelationship between works.
The need to rethink and question the nature of dance history has not diminished since the first edition of Rethinking Dance History. This revised second edition addresses the needs of an ever-evolving field, with new contributions considering the role of digital media in dance practice; the expansion of performance philosophy; and the increasing importance of practice-as-research. A two-part structure divides the books contributions into: Why Dance History? ; the ideas, issues and key conversations that underpin any study of the history of theatrical dance. ; Researching and Writing discussions of the methodologies and approaches behind any successful research in this area. Everyone involved with dance creates and carries with them a history, and this volume explores the ways in which these histories might be used in performance-making from memories which establish identity to re-invention or preservation through shared and personal heritages. Considering the potential significance of studying dance history for scholars, philosophers, choreographers, dancers and students alike, Rethinking Dance History is an essential starting point for anyone intrigued by the rich history and many directions of dance.
In recent years, scholars and musicians have become increasingly interested in the revival of musical improvisation as it was known in the Renaissance and Baroque periods. This historically informed practice is now supplanting the late Romantic view of improvised music as a rhapsodic endeavour--a musical blossoming out of the capricious genius of the player--that dominated throughout the twentieth century. In the Renaissance and Baroque eras, composing in the mind (alla mente) had an important didactic function. For several categories of musicians, the teaching of counterpoint happened almost entirely through practice on their own instruments. This volume offers the first systematic exploration of the close relationship among improvisation, music theory, and practical musicianship from late Renaissance into the Baroque era. It is not a historical survey per se, but rather aims to re-establish the importance of such a combination as a pedagogical tool for a better understanding of the musical idioms of these periods. The authors are concerned with the transferral of historical practices to the modern classroom, discussing new ways of revitalising the study and appreciation of early music. The relevance and utility of such an improvisation-based approach also changes our understanding of the balance between theoretical and practical sources in the primary literature, as well as the concept of music theory itself. Alongside a word-centred theoretical tradition, in which rules are described in verbiage and enriched by musical examples, we are rediscovering the importance of a music-centred tradition, especially in Spain and Italy, where the music stands alone and the learner must distil the rules by learning and playing the music. Throughout its various sections, the volume explores the path of improvisation from theory to practice and back again.
Musikk er et språk. Som andre språk har musikk et budskap som vil forstås. På en lettfattelig måte forklarer forfatterne betydningen av musikalsk hermeneutikk; hvorfor det er viktig å tolke musikken på sin egen måte. Når man blir bevisst hva slags musikalsk uttrykk man ønsker å få frem, er det lettere å utøve og fremføre - til glede for seg selv og publikum. Å tolke musikk handler både om å gå i dybden og å utvide horisonten. Det handler om å søke kunnskap, men også om mot. Man må ikke være teknisk perfekt før man finner sin originalitet. Man skal ha respekt for tradisjon og musikkforståelse, men man må samtidig finne sitt særpreg for å bringe musikken ut mot publikum. Med denne boken ønsker forfatterne å oppmuntre musikkstudenter til å tolke friere. Og de ønsker å gi profesjonelle utøvere anledning til å reflektere over egen fortolkning, fordi det gir inspirasjon i en hverdag med repetisjon og rutine.
Creative Dance for All Ages, Second Edition, has had a long history of providing a dance curriculum to teachers and students preparing to teach creative dance. Author Anne Gilbert demystifies expectations when teaching creative dance and provides the theory, methods, and lesson ideas for success in a variety of settings and with students of all ages. This one-stop resource offers dance teachers everything they need, including a sequential curriculum, lesson plans, instructional strategies, assessment, and other forms. It's like having a seasoned dance teacher at your side offering inspiration and guidance all year long. Internationally recognized master teacher and author Anne Gilbert Green presents creative dance for everyone and tips on meeting the challenges of teaching it. She offers a complete package for teaching creative dance that includes the theory, methodology, and lesson plans for various age groups that can be used in a variety of settings. Gilbert also offers an entire dance curriculum for sequential teaching and learning. The second edition of her classic text has been revised, reorganized, and updated to meet all the needs of dance teachers.
This popular textbook offers a clear introduction to community dance practice today. With an expert panel of contributors, including dance artists, practitioners and academics, it combines lively discussions with practical advice on duty of care, inclusive practice and project coordination. This new edition has been thoroughly revised to offer expanded coverage of community dance practices throughout the world, including in the US, Australia, Japan and Scandinavia. Guidance on entering the profession has also been fully updated, offering the most recent and relevant information and contacts. Featuring definitions of community dance, engaging case studies, informative interviews and a substantial resources section, this book is essential reading for both students and practitioners of community dance.
En oversikt over norske komponister - klassikere og samtidskomponister - biografier og oversikt over deres viktigste verker. En oversikt over norske komponister - klassikere og samtidskomponister - biografier og oversikt over deres viktigste verker.
This volume presents a new collection of essays, all of them dealing with music, by Jerrold Levinson, one of the most prominent philosophers of art today. It follows in the line of Levinson's earlier collections, Music, Art, and Metaphysics (1990), The Pleasures of Aesthetics (1996), andContemplating Art (2006), and is representative of the most stimulating work being done under the rubric of analytic aesthetics. The essays, which are wide-ranging, should appeal to aestheticians, philosophers, musicologists, music theorists, music critics and music lovers of all kinds. Three of thetwelve essays comprising the volume have not previously been published, and in somewhat of a departure for Levinson, four of the essays focus on music in the jazz tradition.
The need to rethink and question the nature of dance history has not diminished since the first edition of Rethinking Dance History. This revised second edition addresses the needs of an ever-evolving field, with new contributions considering the role of digital media in dance practice; the expansion of performance philosophy; and the increasing importance of practice-as-research. A two-part structure divides the books contributions into: Why Dance History? ; the ideas, issues and key conversations that underpin any study of the history of theatrical dance. Researching and Writing; discussions of the methodologies and approaches behind any successful research in this area. Everyone involved with dance creates and carries with them a history, and this volume explores the ways in which these histories might be used in performance-making; from memories which establish identity to re-invention or preservation through shared and personal heritages. Considering the potential significance of studying dance history for scholars, philosophers, choreographers, dancers and students alike, Rethinking Dance History is an essential starting point for anyone intrigued by the rich history and many directions of dance.
From the #1 bestselling author of The Historian comes a mesmerizing novel that spans the past and the present--and unearths the troubled history of a gorgeous but haunted country. A young American woman, Alexandra Boyd, has traveled to Sofia, Bulgaria, hoping that life abroad will salve the wounds left by the loss of her beloved brother. Soon after arriving in this elegant East European city, however, she helps an elderly couple into a taxi--and realizes too late that she has accidentally kept one of their bags. Inside she finds an ornately carved wooden box engraved with a name: Stoyan Lazarov. Raising the hinged lid, she discovers that she is holding an urn filled with human ashes. As Alexandra sets out to locate the family and return this precious item, she will first have to uncover the secrets of a talented musician who was shattered by political oppression--and she will find out all too quickly that this knowledge is fraught with its own danger. Elizabeth Kostova's new novel is a tale of immense scope that delves into the horrors of a century and traverses the culture and landscape of this mysterious country. Suspenseful and beautifully written, it explores the power of stories, the pull of the past, and the hope and meaning that can sometimes be found in the aftermath of loss.
Skuespilleren skal mere end blot leve sig ind i en karakter, spille skuespil og modtage publikums bifald. Men hvad består arbejdet egentlig i? Og hvordan arbejder skuespilleren?
Bogen dykker ned i tolv skuespilteknikker – lige fra Konstantin Stanislavskijs til de nye postdramatiske arbejdsformer. Bogen giver dermed et struktureret overblik over skuespillerfagets forskelligheder, og drama- og skuespillerelever får en reflekteret bevidsthed om faget. Bogen er skrevet til alle, der interesserer sig for skuespil og drama, men den henvender sig særligt til elever og lærere på området.
Music plays a hugely important role in our emotional, intellectual, and even physical lives. It impacts the ways we work, relax, behave, and feel. It can make us smile or cry, it helps us bond with the people around us, and it even has the power to alleviate a range of medical conditions. The songs you love (and hate, and even the ones you feel pretty neutral about) don't just make up the soundtrack to your life--they actually help to shape it.
In WHY YOU LOVE MUSIC, scientist and musician John Powell dives deep into decades of psychological and sociological studies in order to answer the question "Why does music affect us so profoundly?" With his relaxed, conversational style, Powell explores all aspects of music psychology, from how music helps babies bond with their mothers to the ways in which music can change the taste of wine or persuade you to spend more in restaurants. WHY YOU LOVE MUSIC will open your eyes (and ears) to the astounding variety of ways that music impacts the human experience.
Nyhetsliste høst 2017
Her er et utvalg bøker, noter, CD og DVD innkjøpt i 2017. Nyhetene er lenket inn til bibliotekbasen vår, Oria, og kan bestilles dersom de er utlånt.
"The re-release of these films on DVD gives jazz guitar fans a glimpse at one of the all-time greats. Pat Martino's story is known well: surgery fora brain aneurysm in 1980 left him with no memory - and no ability to play guitar. The documentary lets folks in on the struggles he and his family endured when his health sidetracked his career.