Music and Ultra-Modernism in France examines the priorities of three generational groupings: the pre-war Societe Musicale Independente of Ravel and his circle, Les Six in the 1920s and Jeune France in 1936. Exploring the ideas of consensus, resistance and rupture, the book contributes an important and nuanced reflection to the current debate on modernism in music. It considers the roles composers, critics and biographers played in shaping debates about contemporary music, showing how composers including Ravel, Poulenc, Milhaud, Jolivet and Messiaen and critics such as Paul Landormy, Andre Coeuroy and Roland-Manuel often worked in partnership to bring their ideas to a public forum. It also expands the notion of 'interwar' through the essential inclusion of World War I and the years before, reconfiguring the narrative for that period. This book challenges some of the stereotypes that characterise the period, in particular, neo-classicism and the dominance of secularism. It shows how Stravinsky worked closely with Ravel, Satie and Poulenc and invited audiences and critics to rethink what it meant to be modern. The interwar years were also marked by commemoration and loss. Debussy's wartime death in 1918 stimulated competing efforts (by Emile Vuillermoz, Leon Vallas and Henry Prunieres) to shape his legacy. They were motivated by nostalgia for a lost and glorious generation and a commitment to building a legacy of French achievement. Music and Ultra-Modernism in France argues for the vitality of French music in the period 1913-39 and challenges the received view that the period and its musical culture lacked dynamism, innovation or serious musical debate. BARBARA L. KELLY is Professor of Music at Keele University.
At the beginning of the twentieth century, Samuel Coleridge-Taylor (1875-1912) was one of Britain's most popular and acclaimed composers. The illegitimate child of an African doctor, Coleridge-Taylor managed to escape his humble roots by studying composition at the Royal College of Music, where he won a scholarship in 1893. Though he composed mainly for piano and violin, his Song of Hiawatha was performed nationwide for choir and orchestra to great critical acclaim. He died from pneumonia at the age of thirty-seven. Green's study is more than a biography of an Anglo-African composer. Using a wide range of public and private records, this extensively researched work becomes a social history based around an artist who lived at the height of British imperialism. The first comprehensive study of Coleridge-Taylor's life for almost a century, it reveals how class-ridden Britain could embrace even the most unlikely of cultural icons.
In the Mouldy Series of books for humorous children, Ant, his bossy sister Emma who calls herself M For Madwoman and his pesky little brother, Old Dan, learn to get along with one another. This is what Ant has to say about the book "Rotten, Mouldy, Music": - "My big sister Emma's studying 'Enterprise'. No one knows what enterprise is or where you can get some. They told her at Enterprise that adults choose the books children have got to read. Em says that's our problem: we need to sell this book to the adults who buy the books kids have got to like. The first rule of Enterprise is that I have to tell you I wasn't always this successful and I used to live on a trailer park. I asked Em if we ever lived in any kind of park, but she says to skip that part and she told me that I'm not successful at anything. Next I have to say what your problem is and how this book will solve your problem. So, your problem is, this is the book you need to buy but you don't know it yet. You can solve your problem by buying this book. The benefits are, you are going to learn a lot of neat things, like how to spell important words that don't exist and how to spell stupid words that the Guvermnt says we've got to learn, like 'anchor', which is a word no one ever uses. A boy in my class at school, called Daniel Withers, says that's where he disagrees with the Guvermnt. Yes Emma, he said it just like that. He said, "That's where I disagree with the Guvermnt." No, Em, I don't know how he spells it, but he said we should have to learn very useful words, like, however it is you spell 'Guvermnt' and how to spell 'thingy'. Bonus Material Now I have to give you what Em calls, "YOUR FREE BONUS." This is very important new stuff I don't normally tell anyone. In America you say that horrible things are moldy. You say to your mom, "Mom, this music is moldy." But as soon as you get off the aeroplane in London, you've got to start calling her Mum and say mouldy. Then, driving along, you can't say, "I'm super excited to be on this black top highway!" Say instead, "How jolly interesting to drive on a motorway and notice an anchor in the central reservation." So that's the benefits for adults. Now what about kids? Well kids, you are going to learn about sibling rivalry. (That's me and Dan versus Emma.) Then you will read about siblings without rivalry. (That's me and Dan versus Emma.) Obviously, it's also about families, because we've got to include my Mum, Mom, mother, who is the anchor of our family." What all this means is, you need to buy the book.
Time is the most precious of commodities. The old adage "Time is money" understates the matter, as time can often produce money, but money cannot produce more time. When your time is extremely limited, Bennett shows how to make the best use of your schedule to better yourself in every way mentally and emotionally. Chapters include: "The Daily Miracle," "The Desire to Exceed," "One's Programme," "Precautions Before Beginning," "The Cause of the Trouble," "Tennis and the Immortal Soul," "Remember Human Nature," "Controlling the Mind," "The Reflective Mood," "Interest in the Arts," "Nothing in Life is Humdrum," "Serious Reading," and "Dangers to Avoid."
Enoch Arnold Bennett (1867-1931) was an English novelist. His most famous works are the "Clayhanger" trilogy and "The Old Wives' Tale." These books draw on his experience of life in the Potteries, as did most of his best work. In his novels the Potteries are referred to as "the Five Towns"; Bennett felt that the name was more euphonious than "the Six Towns" so Fenton was omitted.
The search for the origins of language was one of the most pressing philosophical issues of the eighteenth century. What has often escaped notice, however, is the fact that music figures prominently in this search. This study analyses instances of thinking or reasoning about music and music theory as they appear within the logical and narrative structure of contemporary texts, including writings by Rousseau, Diderot, Rameau and Condillac. These can only be properly understood as part of an interdisciplinary project, as situated within a field of larger cultural issues and concerns. The author is interested in the ways in which music functions within this discursive framework to facilitate links between language and meaning, and between conceptions of an original society and an ideal social order.
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