Daniel leech wilkinson (48 Ergebnisse)

Paperback. Zustand: Fair. Machaut's Messe de Notre Dame stands as an enduring monument of medieval musical art. As such it is one of the most widely studied and performed works of music written before 1600. The Mass itself, however, is surrounded by uncertainty; its date of composition is unknown, its purpose is unclear, and its construction yields much ambiguity. Daniel Leech-Wilkinson has now prepared a much-needed modern performing edition of this work, published by OUP's music department. This companion volume defines his editorial methods in the context of the minefield of controversies surrounding the principles of editing music of this period, and indeed of the many different interpretations of the compositional structure and function of the music. Relating the Mass to other works of the period, he provides the student and performer with an invaluable guide to its intricacies, while his approach will be welcomed by scholars as both controversial and stimulating. …

Paperback. Zustand: Fair. The item might be beaten up but readable. May contain markings or highlighting, as well as stains, bent corners, or any other major defect, but the text is not obscured in any way.

Zustand: Good. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Paperback. Zustand: Good. Machaut's Messe de Notre Dame stands as an enduring monument of medieval musical art. As such it is one of the most widely studied and performed works of music written before 1600. The Mass itself, however, is surrounded by uncertainty; its date of composition is unknown, its purpose is unclear, and its construction yields much ambiguity. Daniel Leech-Wilkinson has now prepared a much-needed modern performing edition of this work, published by OUP's music department. This companion volume defines his editorial methods in the context of the minefield of controversies surrounding the principles of editing music of this period, and indeed of the many different interpretations of the compositional structure and function of the music. Relating the Mass to other works of the period, he provides the student and performer with an invaluable guide to its intricacies, while his approach will be welcomed by scholars as both controversial and stimulating. …

Paperback. Zustand: Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Paperback. Zustand: Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

Paperback. Zustand: Very Good. Slight wear.

Zustand: New.

Paperback. Zustand: New. Medieval music has been made and remade over the past two hundred years. For the nineteenth century it was vocal, without instrumental accompaniment, but with barbarous harmony that no one could have wished to hear. For most of the twentieth century it was instrumentally accompanied, increasingly colourful and increasingly enjoyed. At the height of its popularity it sustained an industry of players and instrument makers, all engaged in recreating an apparently medieval performance practice. During the 1980s it became vocal once more, exchanging colour and contrast for cleanliness and beauty. But what happens to produce such radical changes of perspective? And what can we learn from them about the way we interact with the past? How much is really known about the way medieval music sounded? Or have modern beliefs been formed and sustained less by evidence than the personalities of scholars and performers, their ideologies and their musical tastes.…

Sheet music. Zustand: Brand New. 40 pages. Latin language. 10.79x8.11x0.32 inches. In Stock.

Super octavo soft cover (VG+); all our specials have minimal description to keep listing them viable. They are at least reading copies, complete and in reasonable condition, but usually secondhand; frequently they are superior examples. Ordering more than one book will reduce your overall postage costs.…

Zustand: New.

Hardcover. Zustand: Used; Good. **SHIPPED FROM UK** We believe you will be completely satisfied with our quick and reliable service. All orders are dispatched as swiftly as possible! Buy with confidence! Greener Books.

Zustand: As New. Unread book in perfect condition.

Zustand: New.

Zustand: New.

Zustand: As New. Unread book in perfect condition.

Zustand: As New. Unread book in perfect condition.

Zustand: New. A challenging book which questions how much is really known about the way medieval music sounded. Series: Musical Performance and Reception. Num Pages: 348 pages, 1 b/w illus. 5 music examples. BIC Classification: AVGC2; AVS. Category: (G) General (US: Trade); (P) Professional & Vocational. Dimension: 155 x 230 x 21. Weight in Grams: 562. . 2008. 1st Edition. Paperback. . . . . Books ship from the US and Ireland. …

paperback. Zustand: New. In shrink wrap. Looks like an interesting title.

Zustand: As New. Unread book in perfect condition.

Super octavo, blue heavy boards, white lettering to spine, xxxiii + 413pp, Near FINE (sl bruising to base of spine) in d/w, Near FINE (sl creasing to base).

Zustand: New. A challenging book which questions how much is really known about the way medieval music sounded. Series: Musical Performance and Reception. Num Pages: 348 pages, 1 b/w illus. 5 music examples. BIC Classification: AVGC2; AVS. Category: (G) General (US: Trade); (P) Professional & Vocational. Dimension: 155 x 230 x 21. Weight in Grams: 562. . 2008. 1st Edition. Paperback. . . . . …

Taschenbuch. Zustand: Neu. Druck auf Anfrage Neuware - Printed after ordering - Medieval music has been made and remade over the past two hundred years. For the nineteenth century it was vocal, without instrumental accompaniment, but with barbarous harmony that no one could have wished to hear. For most of the twentieth century it was instrumentally accompanied, increasingly colourful and increasingly enjoyed. At the height of its popularity it sustained an industry of players and instrument makers, all engaged in recreating an apparently medieval performance practice. During the 1980s it became vocal once more, exchanging colour and contrast for cleanliness and beauty. But what happens to produce such radical changes of perspective And what can we learn from them about the way we interact with the past How much is really known about the way medieval music sounded Or have modern beliefs been formed and sustained less by evidence than the personalities of scholars and performers, their ideologies and their musical tastes.…

Zustand: New.

Taschenbuch. Zustand: Neu. Druck auf Anfrage Neuware - Printed after ordering - From the cylinder to the download, the practice of music has been radically transformed by the development of recording and playback technologies. This Companion provides a detailed overview of the transformation, encompassing both classical and popular music. Topics covered include the history of recording technology and the businesses built on it; the impact of recording on performance styles; studio practices, viewed from the perspectives of performer, producer and engineer; and approaches to the study of recordings. The main chapters are interspersed by 'short takes' - short contributions by different practitioners, ranging from classical or pop producers and performers to record collectors. Combining basic information with a variety of perspectives on records and recordings, this book will appeal not only to students in a range of subjects from music to the media, but also to general readers interested in a fundamental yet insufficiently understood dimension of musical culture. …

Hardcover. Zustand: Very Good. Zustand des Schutzumschlags: Very Good. First Edition. Book and jacket in very tidy condition. No inscriptions or markings. Shape is a concept widely used in talk about music. Musicians in classical, popular, jazz and world musics use it to help them rehearse, teach and think about what they do. Yet why is a word that seems to require something to see or to touch so useful to describe something that sounds? Music and Shape examines numerous aspects of this surprisingly close relationship, with contributions from scholars and musicians, artists, dancers, filmmakers, and synaesthetes. The main chapters are provided by leading scholars from music psychology, music analysis, music therapy, dance, classical, jazz and popular music who examine how shape makes sense in music from their varied points of view. Here we see shape providing a key notion for the teaching and practice of performance nuance or prosody; as a way of making relationships between sound and body movement; as a link between improvisational as well as compositional design and listener response, and between notation, sound and cognition; and as a unimodal quality linked to vitality affects. Reflections from practitioners, between the chapters, offer complementary insights, embracing musical form, performance and composition styles, body movement, rhythm, harmony, timbre, narrative, emotions and feelings, and beginnings and endings. Music and Shape opens up new perspectives on musical performance, music psychology and music analysis, making explicit and open to investigation a vital factor in musical thinking and experience previously viewed merely as a metaphor.…

Paperback. Zustand: New. Medieval music has been made and remade over the past two hundred years. For the nineteenth century it was vocal, without instrumental accompaniment, but with barbarous harmony that no one could have wished to hear. For most of the twentieth century it was instrumentally accompanied, increasingly colourful and increasingly enjoyed. At the height of its popularity it sustained an industry of players and instrument makers, all engaged in recreating an apparently medieval performance practice. During the 1980s it became vocal once more, exchanging colour and contrast for cleanliness and beauty. But what happens to produce such radical changes of perspective? And what can we learn from them about the way we interact with the past? How much is really known about the way medieval music sounded? Or have modern beliefs been formed and sustained less by evidence than the personalities of scholars and performers, their ideologies and their musical tastes.…

Zustand: New.

Zustand: New.