Essays by a prominent contemporary composer explore a current trend in classical music away from atonal characteristics and toward more traditional forms. Topics include cultural identity, musical meaning, and the aesthetics of beauty.

Essays by a prominent contemporary composer explore a current trend in classical music away from atonal characteristics and toward more traditional forms. Topics include cultural identity, musical meaning, and the aesthetics of beauty.

The Algebra of Revolution is the first book to study Marxist method as it has been developed by the main representatives of the classical Marxist tradition, namely Marx and Engels, Luxembourg, Lenin, Lukacs, Gramsci and Trotsky. This book provides the only single volume study of major Marxist thinkers' views on the crucial question of the dialectic, connecting them with pressing contemporary, political and theoretical questions. John Rees's The Algebra of Revolution is vital reading for anyone interested in gaining a new and fresh perspective on Marxist thought and on the notion of the dialectic.

An award-winning scholar and leading authority on American symphonic culture argues that classical music in the United States is peculiarly performance-driven, and he traces a musical trajectory rising to its peak at the close of the 19th century and receding after World War I.

Classical music is art music produced or rooted in the traditions of Western culture, including both liturgical (religious) and secular music. Historically, the term 'classical music' refers specifically to the musical period from 1750 to 1820 (the Classical period). This is a book designed to quickly diagnose and treat problems within the classical music industry. Classical music has been out-hustled. It lacks the common touch necessary to become a cultural force. Nobody knows about it. This book is a way of fighting back against the mishandling of great music. No time is wasted dwelling on the past or obsessing with how the music fell off. This book is a self-help guide, quick and dirty, for classical music.

Mention twentieth-century Russian music, and the names of three &"giants&"&—Igor Stravinsky, Sergei Prokofiev, and Dmitrii Shostakovich&—immediately come to mind. Yet during the turbulent decade following the Bolshevik Revolution, Stravinsky and Prokofiev lived abroad and Shostakovich was just finishing his conservatory training. While the fame of these great musicians is widely recognized, little is known about the creative challenges and political struggles that engrossed musicians in Soviet Russia during the crucial years after 1917. Music for the Revolution examines musicians&’ responses to Soviet power and reveals the conditions under which a distinctively Soviet musical culture emerged in the early thirties. Given the dramatic repression of intellectual freedom and creativity in Stalinist Russia, the twenties often seem to be merely a prelude to Totalitarianism in artistic life. Yet this was the decade in which the creative intelligentsia defined its relationship with the Soviet regime and the aesthetic foundations for socialist realism were laid down. In their efforts to deal with the political challenges of the Revolution, musicians grappled with an array of issues affecting musical education, professional identity, and the administration of musical life, as well as the embrace of certain creative platforms and the rejection of others. Nelson shows how debates about these issues unfolded in the context of broader concerns about artistic modernism and elitism, as well as the more expansive goals and censorial authority of Soviet authorities. Music for the Revolution shows how the musical community helped shape the musical culture of Stalinism and extends the interpretive frameworks of Soviet culture presented in recent scholarship to an area of artistic creativity often overlooked by historians. It should be broadly important to those interested in Soviet history, the cultural roots of Stalinism, Russian and Soviet music, and the place of music and the arts in revolutionary change.

"In the 20th and 21st century revolutions have become more urban, often less violent, but also more frequent and more transformative of the international order. Whether it is the revolutions against Communism in Eastern Europe and the USSR; the "color revolutions" across Asia, Europe and North Africa; or the religious revolutions in Iran, Afghanistan, and Syria; today's revolutions are quite different from those of the past. Modern theories of revolution have therefore replaced the older class-based theories with more varied, dynamic, and contingent models of social and political change. This new edition updates the history of revolutions, from Classical Greece and Rome to the Revolution of Dignity in the Ukraine, with attention to the changing types and outcomes of revolutionary struggles. It also presents the latest advances in the theory of revolutions, including the issues of revolutionary waves, revolutionary leadership, international influences, and the likelihood of revolutions to come. This volume provides a brief but comprehensive introduction to the nature of revolutions and their role in global history"--