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Book review: 'Revealing masks: exotic influences and ritualized performance in modernist music theater' by W. Anthony Sheppard
No full textReview of: 'Revealing Masks: Exotic Influences and Ritualized Performance in Modernist Music Theater' by W. Anthony Sheppard, xvi + 350 (California Studies in 20th‐Century Music, 1) University of California Press Berkeley and Los Angeles, 2001 $45/£28.50, 0–520–22302–0
Going for green: review of 'The English musical Renaissance 1840-1940: constructing a national music' by Merion Hughes and Robert Stradling
No full textReview of 'The cheque books of the Chapel Royal' transcribed and edited by Andrew Ashbee and John Harley
No full textWind instruments
No full textDescribes the changes in the design of wind instruments. The most significant change was the invention and application of valves in brass instruments, allowing the instruments to play all notes in the chromatic scale. Approaches to the use of vibrato and rubato are discussed, as well as the main changes in individual instruments (flute, oboe, clarinet, bassoon, saxophone family, trumpet, saxhorn, flugelhorn, tuba, french horn, and trombone)
Exploring co-performer communication
No full textThis paper examines the development and implementation of general social and specific non-verbal communication between two expert pianists who prepared and gave a recital of piano duo and duet music. All ensemble rehearsals and the final performance were video-taped. Following the performance, the musicians were interviewed in order to document their thoughts on the learning and performance processes. From the video-taped rehearsals and performance, data concerning musical coordination, social interaction, non-verbal gestures and looking behaviour were coded and counted. The results show that these excellent sight-readers used rehearsals to consolidate the timing, phrasing and sense of musical style. Moreover, an emergent set of coordinated, non-verbal gestures and eye-contact developed, with these actions increasing significantly over the rehearsal process at locations in the music identified by the pianists as “important for coordinating performance and communicating musical ideas”. Thus, the two performers acquired a deepening expressive and communicative assurance along with a familiarisation with the musical material. The findings are discussed in relation to their implications for musical performance by highlighting the elements of co-performer interaction that were negotiated and coordinated throughout the rehearsal process
Book review: Singing Archaeology: Philip Glass's 'Akhnaten' by J Richardson; Four Musical Minimalists: La Monte Young, Terry Riley, Steve Reich, Philip Glass by K Potter; Jonathan Harvey by A Whittall
No full textThis article reviews the following books:
Singing Archaeology: Philip Glass's ‘Akhnaten’ by John Richardson, pp. xiv + 294, ‘Music/Culture’ (Wesleyan University Press, Hanover, NH, & London, 1999, ISBN 0-811195-6342-0); Four Musical Minimalists: La Monte Young, Terry Riley, Steve Reich, Philip Glass by Keith Potter, pp. xv + 390, ’Music in the Twentieth Century‘ (Cambridge University Press, 2000, £45, ISBN 0-521-48250-X); Jonathan Harvey by Arnold Whittall, pp. [vi] + 90 (Faber & Faber, London & Boston, in association with IRCAM, Paris, 1999, £9.99 ISBN 0-571-19581-4)
