Music Classical Romantic Modern

Musicians, both fictional and real, have long been subjects of cinema. From biopics of composers Beethoven and Mozart to the rise (and often fall) of imaginary bands in The Commitments and Almost Famous, music of all types has inspired hundreds of films. The Encyclopedia of Musicians and Bands on Film features the most significant productions from around the world, including straightforward biographies, rockumentaries, and even the occasional mockumentary. The wide-ranging scope of this volume allows for the inclusion of films about fictional singers and bands, with emphasis on a variety of themes: songwriter–band relationships, the rise and fall of a career, music saving the day, the promoter’s point of view, band competitions, the traveling band, and rock-based absurdity. Among the films discussed in this book are Amadeus, The Blues Brothers, The Buddy Holly Story, The Commitments, Dreamgirls, The Glenn Miller Story, A Hard Day’s Night, I’m Not There, Jailhouse Rock, A Mighty Wind, Ray, ’Round Midnight, The Runaways, School of Rock, That Thing You Do!, and Walk the Line.With entries that span the decades and highlight a variety of music genres, The Encyclopedia of Musicians and Bands on Film is a valuable resource for moviegoers and music lovers alike, as well as scholars of both film and music.

This volume brings together twenty-two of the most diverse and stimulating journal articles on classical and romantic performing practice, representing a rich vein of enquiry into epochs of music still very much at the forefront of current concert repertoire. In so doing, it provides a wide range of subject-based scholarship. It also reveals a fascinating window upon the historical performance debate of the last few decades in music where such matters still stimulate controversy.

This book examines the concepts of?classic? and?romantic? in their historical contexts and discusses the varying interpretations they have undergone, separately and in relation to each other. For each period, the author surveys the development of style characteristics, the treatment of rhythm, meter, and temp, of harmony and tonality, of motive and theme, genres and forms. He also considers such problems as national styles and the social position of music.

The past ten years have seen a rapidly growing interest in performing and recording Classical and Romantic music with period instruments; yet the relationship of composers' notation to performing practices during that period has received only sporadic attention from scholars, and many aspects of composers' intentions have remained uncertain. Brown here identifies areas in which musical notation conveyed rather different messages to the musicians for whom it was written than it does to modern performers, and seeks to look beyond the notation to understand how composers might have expected to hear their music realized in performance. There is ample evidence to demonstrate that, in many respects, the sound worlds in which Mozart, Beethoven, Wagner, and Brahms created their music were more radically different from ours than is generally assumed.

A ten volume set that describes the world of music in all its facets with a glossary at the end of each volume explaining the technical terms used in the text.

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