Masters in music : a monthly magazine.

Title from cover.

The Treasury of song for the home circle: the richest, best-loved gems, sacred and secular ... to which are appended brief biographies of eminent composers, performers and singers ...

Added t.p., colored.

Part songs, for three and four female voices /

Includes index.

The day of rest : a cantata for female voices /

Words also printed as text: p. [iii]-v.

Masters in music.

Mode of access: Internet.

English music (1604 to 1904) being the lectures given at the Music Loan Exhibition of the Worshipful Company of Musicians, held at Fishmongers' Hall, London Bridge, June-July, 1904.

The evolution of the pianoforte, by T.L. Southgate.- Our English songs, by W.H. Cummings.- The early English viols and their music, by H. Watson.- Madrigals, rounds, catches, glees, and part-songs, by E.M. Lee.- The recorder, flute, fife, and piccolo, by J. Finn.- Music in England in the year 1604, by Sir F. Bridge.- Our dances of bygone days, by A.S. Rose.- Masques and early operas, by A.H.D. Prendergast.- English opera after Purcell, by F.J. Sawyer.- Our cathedral composers and their works, by G.F. Huntley.- The single and double reed instruments, by D.J. Blaikley.- The water-organ of the ancients and the organ of to-day, by F.W. Galpin.- The regal and its successors: the harmonica, by T.L. Southgate.- The violin family and its music, by W.W. Cobbett.- The brass wind instruments, by J.E. Borland.- Some notes on early printed music, by A.H. Littleton.- Music of the country-side, by Sir E. Clarke.

The lyrical drama. Essays on subjects, composers, & executants of modern opera.

Extinction of the ballet. Operatic management. Musical agents. Libretti. Operatic and theatrical anomalies. The literary maltreatment of music. Dictionaries of music. Grove's musical dictionary. Quartett concerts and the classical in music. Reasonableness of opera. Tatra Füred, and the music of the Hungarian gipsies. The byeways of bookmaking.

Armenian Orchestral Music

Thesis (D.M.A.)--University of Washington, 2016-06

Evocations of Nature in the Piano Music of Franz Liszt and the Seeds of Impressionism

Thesis (D.M.A.)--University of Washington, 2016-06

Teaching Australian cello music to Intermediate students: An exploratory study of motivation through repertoire

This paper explores the motivational aspects of repertoire for intermediate student cellists. Research into interest and intrinsic motivation related to the learning of instrumental music has been limited to date. As a cello teacher interested in including contemporary and Australian music in my students' studies I started to research availability of Australian repertoire for intermediate cellists and found that there was limited accessibility to such pedagogical material at this level. This study emerged as a way of providing useful information to composers. It investigates intrinsic motivation by questioning students and their teachers about which aspects of music repertoire are most likely to inspire students to practice more and strive for excellence. This paper presents the findings of the purpose-designed questionnaire distributed to cello teachers in Queensland. A similar set of questions has been prepared for student cellists and information gathering from students is still underway. Musical aspects investigated include technique and its development, style, harmony, tempo (speed), and rhythm. The questionnaire gathered information on the most frequently used teaching repertoire and teachers' experiences in teaching contemporary and Australian repertoire. This information was balanced with questions regarding the technical developmental requirements perceived necessary for intermediate students as well as other motivational aspects. It is hoped that information collated from this research will be of benefit in the selection of motivational repertoire for intermediate student cellists and especially in promoting the composition of Australian pieces for intermediate cellists.

German pop music:a companion

The development of German pop music represents a fascinating cultural mirror to the history of post-war Germany, reflecting sociological changes and political developments. While film studies is an already established discipline, German pop music is currently emerging as a new and exciting field of academic study. This pioneering companion is the first volume to provide a comprehensive overview of the subject, charting the development of German pop music from the post-war period 'Schlager' to the present 'Diskursrock'. Written by acknowledged experts from Germany, the UK and the US, the various chapters provide overviews of pertinent genres as well as focusing on major bands such as CAN, Kraftwerk or Rammstein. While these acts have shaped the international profile of German pop music, the volume also undertakes in-depth examinations of the specific German contributions to genres such as punk, industrial, rap and techo. The survey is concluded by an interview with the leading German pop theorist Diedrich Diederichsen. The volume constitues an indispensible handbook for any student, teacher and scholar in the area of German studies interested in contemporary popular culture.

The Punk-Rock King: Musical Anachronism in Period Film

Music has a powerful indexical ability to evoke particular times and places. Such an ability has been exploited at length by the often-elaborate soundscapes of period films, which regularly utilise incidental scores and featured period songs to help root their narrative action in past times, and to immerse their audiences in the sensibilities of a different age. However, this article will begin to examine the ways in which period film soundtracks can also be used to complicate a narrative sense of time and place through the use of ‘musical anachronism’: music conspicuously ‘out of time’ with the temporality depicted on screen. Through the analysis of a sequence from the film W.E. (Madonna, 2011) and the consideration of existing critical and conceptual contexts, this article will explore how anachronistic soundtracks can function beyond ‘postmodern novelty’ or ‘nuisance’ to historical verisimilitude, instead offering alternative modes of engagement with story and history.

“Art Will Not Disappear Into Nothing; It Will Disappear Into Everything“: The Black Audio Film Collective and Latin America

The development of Latin American cinema in the 1960s was underwritten by a number of key texts that outlined the aesthetic and political direction of individual filmmakers and collectives (Solanas and Getino, 1969; Rocha, 1965; Espinosa, 1969). Although asserting the specificity of Latin American culture, the theoretical foundations of its New Wave influenced oppositional filmmaking way beyond its own regional boundaries. This chapter looks at how movements in British art cinema, especially the Black Audio Film Collective, were inspired and propelled by the theories behind New Latin American cinema. Facilitated by English translations in journals such as Jump Cut in the early ‘80s, Cuban and Argentine cinematic manifestoes provided a radical alternative to the traditional language of film theory available to filmmakers in Europe and works such as Signs of Empire (1983-4); Handsworth Songs (1986) and Seven Songs for Malcolm X (1993) grew out of this trans-continental exchange. The Black Audio Film Collective represented a merging of politics, popular culture, and art that was, at once, oppositional and melodic. Fusing postcolonial discourse with pop music, the avant-garde and re-imaginings of subalternity, the work of ‘The Collective’ provides us with a useful example of how British art cinema has drawn from theoretical foundations formed outside of Europe and the West. As this chapter will argue however, the Black Audio Film Collective’s work can also be read as a reaction to the specificity of British socio-politics of the ‘80s and ‘90s. Its engagement with the aesthetico-political strategies of Latin American cinema, then, undercut what was a solidly British project, rooted in (post)colonial history and emerging ideas of disaporic identity. If the propulsive thrust of The Black Audio Film Collective’s art was shaped by Third Cinema, its images and concerns were self-consciously British.