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This book will interest all students of the life and institutions of sixteenth-century Florence and of the Medici family. In addition, the author furnishes new evidence about the contexts for musical performances in early modern Europe. By describing such contexts, he ascertains much about how music was performed and how it sounded in this period of music history and shows that the modes of musical expression were more varied than is suggested by the relatively few surviving examples of actual pieces of music.\u003cbr\u003e\u003cbr\u003eOriginally published in 1992.\u003cbr\u003e\u003cbr\u003eThe \u003cb\u003ePrinceton Legacy Library\u003c\/b\u003e uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. 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The five late quartets, usually considered as a group, were written in the same period as the \u003ci\u003eMissa solemnis\u003c\/i\u003e and the Ninth Symphony, and are among the composer's most profound musical statements. Daniel K. L. Chua believes that of the five quartets the three that he studies trace a process of disintegration, whereas the last two, Opp. 131 and 135, reintegrate the language that Beethoven himself had destabilized.\u003cbr\u003e\u003cbr\u003eThrough analyses that unearth peculiar features characteristic of the surface and of the deeper structures of the music, Chua interprets the \"Galitzin\" quartets as radical critiques of both music and society, a view first proposed by Theodore Adorno. From this perspective, the quartets necessarily undo the act of analysis as well, forcing the analytical traditions associated with Schenker and Schoenberg to break up into an eclectic mixture of techniques. Analysis itself thus becomes problematic and has to move in a dialectical and paradoxical fashion in order to trace Beethoven's logic of disintegration. The result is a new way of reading these works that not only reflects the preoccupations of the German Romantics of that time and the poststructuralists of today, but also opens a discussion of cultural, political, and philosophical issues.\u003cbr\u003e\u003cbr\u003eOriginally published in 1995.\u003cbr\u003e\u003cbr\u003eThe \u003cb\u003ePrinceton Legacy Library\u003c\/b\u003e uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. 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Said, eminent literary critic and impassioned commentator on the Middle   East. Barenboim is an Argentinian-Israeli and Said a Palestinian-American; they are   also close friends.\u003cbr\u003e\u003cbr\u003e“[A] genuine give-and-take between keen minds and open hearts. . . . The fluidity of their relationship, like musicians in an orchestra, is a compelling model for a world often splintered by dogma, ideology and hermetically sealed minds.” –\u003ci\u003eLos Angeles Times\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e As they range across music, literature, and society, they open   up many fields of inquiry: the importance of a sense of place; music as a defiance   of silence; the legacies of artists from Mozart and Beethoven to Dickens and Adorno;   Wagner’s anti-Semitism; and the need for “artistic solutions” to the predicament   of the Middle East—something they both witnessed when they brought young Arab and   Israeli musicians together. 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Learn about Classic Music in this overview guide to the subject, great for novices looking to find out more and experts wishing to refresh their knowledge alike! \u003ci\u003eThe Classical Music Book \u003c\/i\u003ebrings a fresh and vibrant take on the topic through eye-catching graphics and diagrams to immerse yourself in. \u003cbr\u003e\u003cbr\u003e\u003cb\u003eThis captivating book will broaden your understanding of Classical Music, with:\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003e- More than 90 pieces of world-famous music \u003cbr\u003e- Packed with facts, charts, timelines and graphs to help explain core concepts\u003cbr\u003e- A visual approach to big subjects with striking illustrations and graphics throughout\u003cbr\u003e- Easy to follow text makes topics accessible for people at any level of understanding\u003cbr\u003e\u003cbr\u003e\u003ci\u003eThe Classical Music Book\u003c\/i\u003e is a captivating introduction to music theory, crucial composers and the impact of seminal pieces, aimed at adults with an interest in the subject and students wanting to gain more of an overview. 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Explore the main ideas underpinning the world’s greatest compositions and musical traditions, and define their importance to the musical canon and into their wider social, cultural, and historical context.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eThe Big Ideas Series\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003eWith millions of copies sold worldwide, \u003ci\u003eThe Classical Music Book\u003c\/i\u003e is part of the award-winning Big Ideas series from DK. 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Beginning with the famous example of Wagner's \"Ride of the Valkyries\" in \u003ci\u003eApocalypse Now\u003c\/i\u003e, Matthew Lau demonstrates that there is a significant continuity between classical music and modernist cinema that belies their seemingly ironic juxtaposition. Though often regarded as a stuffy, conservative art form, classical music has a venerable avant-garde tradition, and key films by important directors show that modernist cinema restores the original subversive energy of these classical masterworks. These films, Lau argues, remind us of what this music sounded like when it was still new and difficult; they remind us that great music remains new music. 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Listeners and students have often imagined in a too-casual way that Romantic music reveals the inner biographies of composers. That easy assumption, however, leads to misunderstandings of both the biographical composers and the actual but fictive personas who do express themselves in the music. In a dozen studies of works by major Romantic composers, in genres ranging from instrumental solos to symphonies and from songs to opera, Seaton presents new ways to understand these works within the context of the Romantic movement. The book demonstrates how a discerning approach to this music can unveil the fictive personalities who express themselves in each piece. Seaton embraces transmethodological approaches that harmonize close attention to the sound and structure of individual pieces, their cultural and social history, and what composers, critics, and listeners have said about them. 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