Matters of authenticity. Chopin's Polish rhapsody / Ferdinand Gajewski -- Matters folkloric. L'emprunt, facteur de renouvellement musical dans les pays celtiques / Yves Defrance ; Gibbons in the Budapest Zoo : reflections on Hungarian folksong / Virginia James Kidd ; Folklore and reminiscence in Claude Debussy / Virginia Raad -- Matters instrumental. Frédéric Triebert (1813-1878), designer of the modern oboe : newly found archival documents featuring the inventory and auction of his musical instrument enterprise / Tula Giannini ; Marking the accord of instrument and style, 1709-1768 / Sally C. Park -- Matters naval. Jean Cras, the scientist : an explication of his navigational ruler ; Compass, la règle-rapporteur cras / Allan P. Archer -- Matters novel. Album-leaf : for piano 109 / John Davison -- Matters operatic. Naturaliste et dreyfusard : Alfred Bruneau, compositeur engagé / Jean-Max Guieu -- Deconstructive melodrama in the Hamlet of Ambroise Thomas / John Harrison ; Judith Gautier et les traductions de Parsifal / Danièle Pistone ; Gawain in opera 159 / Jerome V. Reel -- Matters operettic. The border territory between classical and broadway : a voyage ; Around and about Four saints in three acts and West Side story / Ralph P. Locke ; Manuel de Falla's early works for the theater / Elizabeth Seitz -- Matters of perception. Point-counter-point : Schoenberg meets Bach / John Daverio ; The problems of musical hermeneutics / Edward Lippman -- Matters of reception. From Haus to Konzerthaus : orchestrations of Schubert's : Erlkönig and other liede.

Jean Cras (1879-1932) was a remarkable man by anyone's measure. Twice a decorated hero of the Great War, this Rear-Admiral of the French navy, scientist, inventor and moral philosopher, was also a highly esteemed composer during his lifetime, enjoying the same stature and celebrity as Faur?Debussy and Ravel. Since his death, however, both Cras and his music have been almost completely overlooked. In this, the first critical biography of Cras, Paul-Andre Bempechat situates Henri Duparc's proteg?s a missing link between the French post-Romantic generation of composers and the Impressionists. The book explores, both historically and analytically, the methodology by which Cras evolved his eclectic brand of Impressionism, striking the delicate balance between Celtic folk idioms and exoticisms inspired by his travels. Cras' creative legacy extends beyond the world of music to the world of science. His five patented inventions include the navigational gyrocompass, which bears his name, still in use to this day by the French navy, coast guard and boating afficionados. Bempechat draws special attention to the humanist Jean Cras and his distinguished military career - he is credited with saving the Serbian army from extinction - drawing on primary source material such as family correspondence and wartime diaries to reaffirm this composer as a true Renaissance man of the twentieth century.

Wells presents a scholarly study of the American musical West Side Story, viewing the work from cultural, historical, and musical perspectives. --from publisher description.

Marching to the Canon examines the history of Schubert's Marche militaire no.1 from its beginnings, through its many arrangements, to its impact on dance, literature, film, and music. Marche militaire is Franz Schubert's most recognizable and beloved instrumental work. Originally published for piano four hands in 1826, this tuneful march -- Schubert's first of three military marches -- was arranged, adapted, and incorporated into new incarnations over the next two centuries. Its success was due to its chameleonlike ability to cross the still-porous borders between canonic and popular repertories, creating a performance life thatmade deep inroads into dance, literature, and film, and inspired quotations or allusions in other music Marching to the Canon examines the history of Schubert's storied Marche militaire from its modest beginnings as aduet published for domestic consumption to its now-ubiquitous presence. After detailing the composition, publication, and reception of the original march, the book analyzes the impact of transcriptions and arrangements for solo piano, orchestra, band, and other settings. In addition, it considers the ways the march was used symbolically, even manipulated, during the Franco-Prussian War and the two world wars, as well as the diverse creative uses of the piece by significant figures as varied as Willa Cather, Isadora Duncan, Walt Disney, and Igor Stravinsky. This study of the reception and impact of the Marche militaire offers a unique narrative illuminating the world that enshrined this remarkable score as one of the most memorable musical works of the nineteenth century. Scott Messing is the Charles A. Dana Professor of Music at Alma College, and the author of two works available from theUniversity of Rochester Press: Neoclassicism in Music and the two-volume Schubert in the European Imagination.

Through historical and contemporary examples, this book critically explores the relevance and expressions of multicultural representation in western European operatic genres in the modern world. It reveals their approaches to reflecting identity, transmitting meaning, and inspiring creation, as well as the ambiguities and contradictions that occur across the time and place(s) of their performance. This collection brings academic researchers in opera studies into conversation with previously unheard voices of performers, critics, and creators to speak to issues of race, ethnicity, and culture in the genre. Together, they deliver a powerful critique of the perpetuation of the values and practices of dominant cultures in operatic representations of intercultural encounters. Essays accordingly cross methodological boundaries in order to focus on a central issue in the emerging field of coloniality: the hierarchies of social and political power that include the legacy of racialized practices. In theorizing coloniality through intercultural exchange in opera, authors explore a range of topics and case studies that involve immigrant, indigenous, exoticist, and other cultural representations and consider a broad repertoire that includes lesser-known Canadian operas, Chinese- and African-American performances, as well as works by Haydn, Strauss, Puccini, and Wagner, and in performances spanning three continents and over two centuries. In these ways, the collection contributes to the development of a more integrated understanding of the interdisciplinary fields inherent in opera, including musicology, sociology, anthropology, and others connected to Theatre, Gender, and Cultural Studies.

Beginning several generations before Schubert, the Lied first appears as domestic entertainment. In the century that follows it becomes one of the primary modes of music-making. By the time German song comes to its presumed conclusion with Richard Strauss's 1948 Vier letzte Lieder, this rich repertoire has moved beyond the home and keyboard accompaniment to the symphony hall. This is a 2004 introductory chronicle of this fascinating genre. In essays by eminent scholars, this Companion places the Lied in its full context - at once musical, literary, and cultural - with chapters devoted to focal composers as well as important issues, such as the way in which the Lied influenced other musical genres, its use as a musical commodity, and issues of performance. The volume is framed by a detailed chronology of German music and poetry from the late 1730s to the present and also contains a comprehensive bibliography.

What difference does music make to performance poetry, and how did the ancients understand this relationship? This volume explores the interaction of music and language in ancient Greek poetry, arguing that music crucially informs the ways in which these texts create meaning and exploring its place in contemporary critical writings.