Classical New York

During the rise of New York from the capital of an upstart nation to a global metropolis, the visual language of Greek and Roman antiquity played a formative role in the development of the city’s art and architecture. This compilation of essays offers a survey of diverse reinterpretations of classical forms in some of New York’s most iconic buildings, public monuments, and civic spaces. Classical New York examines the influence of Greco-Roman thought and design from the Greek Revival of the late eighteenth and early nineteenth centuries through the late-nineteenth-century American Renaissance and Beaux Arts period and into the twentieth century’s Art Deco. At every juncture, New Yorkers looked to the classical past for knowledge and inspiration in seeking out new ways to cultivate a civic identity, to design their buildings and monuments, and to structure their public and private spaces. Specialists from a range of disciplines—archaeology, architectural history, art history, classics, and history— focus on how classical art and architecture are repurposed to help shape many of New York City’s most evocative buildings and works of art. Federal Hall evoked the Parthenon as an architectural and democratic model; the Pantheon served as a model for the creation of Libraries at New York University and Columbia University; Pennsylvania Station derived its form from the Baths of Caracalla; and Atlas and Prometheus of Rockefeller Center recast ancient myths in a new light during the Great Depression. Designed to add breadth and depth to the exchange of ideas about the place and meaning of ancient Greece and Rome in our experience of New York City today, this examination of post-Revolutionary art, politics, and philosophy enriches the conversation about how we shape space—be it civic, religious, academic, theatrical, or domestic—and how we make use of that space and the objects in it.

A dazzling appraisal of the definitive classical music performances available today For classical music lovers, there is nothing more beguiling and exciting than the range of technique and emotion that can capture or transform the great works in the hands of a conductor and musicians. But with hundreds of recordings released every year, discovering the jewels is a challenge, for newcomers as well as for connoisseurs. New York Times classical music critic Allan Kozinn offers the ultimate collector's guide, packed with a rich history of the composers and performers who stir our souls. From Bach's eloquent Goldberg Variations performed by master pianist Glenn Gould at the beginning and end of his career in startlingly different interpretations, to a lyrical performance of Rimsky-Korsakov's Scheherezade conducted by Kiril Kondrashin shortly after his defection from the Soviet Union, Kozinn places each work in the greater context of musical development and stretches the listener's understanding of each pivotal composition. These original essays on the one hundred greatest recorded classical works provide both practical guidance for building a library and deep insight into the transcendent power of music itself.

Applies the recent `return to history' in film studies to the genre of classical Hollywood comedy as well as broadening the definition of those works considered central in this field.

All kinds of modern music from minimalism to electronic jazz are described and discographies of each are provided.

Classical Black Nationalism traces the evolution of black nationalist thought through several phases, from its "proto-nationalistic" phase in the late 1700s through a hiatus in the 1830s, through its flourishing in the 1850s, its eventual eclipse in the 1870s, and its resurgence in the Garvey movement of the 1920s. Moses incorporates a wide range of black nationalist perspectives, including African American capitalists Paul Cuffe and James Forten, Robert Alexander Young from his "Ethiopian Manifesto", and more well-known voices such as those of Marcus Garvey, W. E. B. Du Bois, and others.

A fresh perspective on the work of the most important figures of classical design from the seventeenth century to the present. Classical design employs a rich language developed across twenty-five centuries and many cultures. It is a language of details understood worldwide, with its powerful vocabulary of subtle nuance and inflection. Classical Interiors: Historical and Contemporary, a spectacular presentation of the myriad varieties of classical forms, demonstrates the enduring lessons of traditional interiors for designers and architects today. Extensively illustrated essays devoted to the development of classical design, from its ancient sources through its revivals from the seventeenth century to the present day, are written by noted historians David Watkin and Carol A. Hrvol Flores and architect and designer Richard Sammons. Portfolios of contemporary projects present the award-winning work of Juan Pablo Molyneux, Studio Peregalli, Quinlan & Francis Terry, Fairfax & Sammons, Gil Schafer, Historical Concepts, Ferguson & Shamamian, Allan Greenberg, Robert A. M. Stern, and many others. Classical Interiors: Historical and Contemporary is the authoritative survey of the best of classical design.

This book treats scattering of a classical particle in a scalar potential with one or more attracting Coulombic singularities. For more than two centers this is an important prototype of chaotic scattering, which is analysed in depth here using methods of differential geometry and ergodic theory. In particular, the Cantor set structure of all bounded orbits is described in terms of symbolic dynamics, and rigorous energy dependent bounds are derived for quantities such as the topological entropy of the flow, the Hausdorff dimension of the bounded orbits and the distribution of time delay. This shows that the chaotic behaviour ofsuch systems is universal in the high energy regime. Finally the scattering orbits are classified by use of a group. Most of the results in the bookare new. The first mathematically rigorous and comprehensive treatment of chaotic scattering in Coulombic potentials, including 13 figures are given. The book will be of interest to mathematical physicists, mathematicians, and physicists.

In lucid and engaging prose, the book explores the sources of classical music's power in a variety of settings, from concert performance to film and TV, from everyday life to the historical trauma of September 11. Addressed to a wide audience, this book will appeal to aficionados and skeptics alike.