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Journeys Through Galant Expositions
by L. Poundie BursteinEver since the nineteenth century, descriptions of musical form have tended to rely heavily on architectonic analogies. In contrast, earlier discussions more often invoked the metaphor of a journey to describe the structure of a composition. In Journeys Through Galant Expositions, author L. Poundie Burstein encourages readers to view the form of Galant music through this earlier metaphorical lens, much as those who composed, performed, improvised, and listened to music in the mid-1700s would have experienced it. By elucidating eighteenth-century ideas regarding musical form and applying them to works by a wide range of composers including Haydn and Mozart, as well as a host of others who are often overlooked this innovative study provides an accessible new window into the music of this time. Rather than dissecting concepts from the 1700s as a mere historical exercise or treating them as a precursor of later theories, Burstein invigorates the ideas of theorists such as Heinrich Christoph Koch and shows how they can directly impact our understanding and appreciation of Galant music as audiences and performers.
Journeys Through Galant Expositions
by L. Poundie BursteinEver since the nineteenth century, descriptions of musical form have tended to rely heavily on architectonic analogies. In contrast, earlier discussions more often invoked the metaphor of a journey to describe the structure of a composition. In Journeys Through Galant Expositions, author L. Poundie Burstein encourages readers to view the form of Galant music through this earlier metaphorical lens, much as those who composed, performed, improvised, and listened to music in the mid-1700s would have experienced it. By elucidating eighteenth-century ideas regarding musical form and applying them to works by a wide range of composers including Haydn and Mozart, as well as a host of others who are often overlooked this innovative study provides an accessible new window into the music of this time. Rather than dissecting concepts from the 1700s as a mere historical exercise or treating them as a precursor of later theories, Burstein invigorates the ideas of theorists such as Heinrich Christoph Koch and shows how they can directly impact our understanding and appreciation of Galant music as audiences and performers.
The Male Dancer: Bodies, Spectacle, Sexualities
by Ramsay BurtIn this challenging and lively book, Burt examines the representation of masculinity in twentieth century dance. The Male Dancer has proven to be essential reading for anyone interested in dance and the cultural construction of gender.
The Male Dancer: Bodies, Spectacle, Sexualities
by Ramsay BurtIn this challenging and lively book, Burt examines the representation of masculinity in twentieth century dance. The Male Dancer has proven to be essential reading for anyone interested in dance and the cultural construction of gender.
Ungoverning Dance: Contemporary European Theatre Dance and the Commons (Oxford Studies in Dance Theory)
by Ramsay BurtUngoverning Dance examines the work of progressive contemporary dance artists in continental Europe from the mid 1990s to 2015. Placing this within the context of neoliberalism and austerity, the book argues that these artists have developed an ethico-aesthetic approach that uses dance practices as sites of resistance against dominant ideologies, and that their works attest to the persistence of alternative ways of thinking and living. In response to the way that the radical values informing their work are continually under attack from neoliberalism, these artists recognise that they in effect share common pool resources. Thus, while contemporary dance has been turned into a market, they nevertheless value the extent to which it functions as a commons. Work that does this, it argues, ungoverns dance. The book offers close readings of works from the 1990s and 2000s by two generations of European-based dance artists: that of Jérôme Bel, Jonathan Burrows, La Ribot, and Xavier Le Roy who began showing work in the 1990s; and that of artists who emerged in the 2000s including Fabián Barba, Faustin Linyekula, Ivana Müller, and Nikolina Pristas. Topics examined include dance and precarious life, choreographing friendship, re-performance, the virtual in dance, and a dancer's experience of the Egyptian revolution. Ungoverning Dance proposes new ways of understanding recent contemporary European dance works by making connections with their social, political, and theoretical contexts.
UNGOVERNING DANCE OSDT C: Contemporary European Theatre Dance and the Commons (Oxford Studies in Dance Theory)
by Ramsay BurtUngoverning Dance examines the work of progressive contemporary dance artists in continental Europe from the mid 1990s to 2015. Placing this within the context of neoliberalism and austerity, the book argues that these artists have developed an ethico-aesthetic approach that uses dance practices as sites of resistance against dominant ideologies, and that their works attest to the persistence of alternative ways of thinking and living. In response to the way that the radical values informing their work are continually under attack from neoliberalism, these artists recognise that they in effect share common pool resources. Thus, while contemporary dance has been turned into a market, they nevertheless value the extent to which it functions as a commons. Work that does this, it argues, ungoverns dance. The book offers close readings of works from the 1990s and 2000s by two generations of European-based dance artists: that of Jérôme Bel, Jonathan Burrows, La Ribot, and Xavier Le Roy who began showing work in the 1990s; and that of artists who emerged in the 2000s including Fabián Barba, Faustin Linyekula, Ivana Müller, and Nikolina Pristas. Topics examined include dance and precarious life, choreographing friendship, re-performance, the virtual in dance, and a dancer's experience of the Egyptian revolution. Ungoverning Dance proposes new ways of understanding recent contemporary European dance works by making connections with their social, political, and theoretical contexts.
OCR GCSE Music Listening Tests (PDF)
by Ian BurtonThis book contains a series of questions that will help you to prepare fully for Unit 4 (Listening Test) of your GCSE exam. It has been carefully written by an experienced teacher and examiner to match the requirements of the new OCR GCSE Music specification (for first teaching in 2009 and first exam in 2011). Contents include: Shared music Dance music Descriptive music
Posthuman Rap
by Justin Adams BurtonPosthuman Rap listens for the ways contemporary rap maps an existence outside the traditional boundaries of what it means to be human. Contemporary humanity is shaped in neoliberal terms, where being human means being viable in a capitalist marketplace that favors whiteness, masculinity, heterosexuality, and fixed gender identities. But musicians from Nicki Minaj to Future to Rae Sremmurd deploy queerness and sonic blackness as they imagine different ways of being human. Building on the work of Sylvia Wynter, Alexander Weheliye, Lester Spence, LH Stallings, and a broad swath of queer and critical race theory, Posthuman Rap turns an ear especially toward hip hop that is often read as apolitical in order to hear its posthuman possibilities, its construction of a humanity that is blacker, queerer, more feminine than the norm.
POSTHUMAN RAP C
by Justin Adams BurtonPosthuman Rap listens for the ways contemporary rap maps an existence outside the traditional boundaries of what it means to be human. Contemporary humanity is shaped in neoliberal terms, where being human means being viable in a capitalist marketplace that favors whiteness, masculinity, heterosexuality, and fixed gender identities. But musicians from Nicki Minaj to Future to Rae Sremmurd deploy queerness and sonic blackness as they imagine different ways of being human. Building on the work of Sylvia Wynter, Alexander Weheliye, Lester Spence, LH Stallings, and a broad swath of queer and critical race theory, Posthuman Rap turns an ear especially toward hip hop that is often read as apolitical in order to hear its posthuman possibilities, its construction of a humanity that is blacker, queerer, more feminine than the norm.
Olivier Messiaen: Texts, Contexts, and Intertexts (1937--1948)
by Richard D BurtonThe 20th century French composer Olivier Messiaen was a devout Roman Catholic and notably claimed that his music was an expression of his faith. Unsurprisingly, many performers and listeners consider Messiaen's strong religiosity central to their appreciation of the composer's music. Music scholars have devoted much energy to exploring how Messiaen's music was an extension of his religious beliefs. Yet, these works tend to discuss Messiaen's Catholicism solely in terms of personal religious identity and ignore the composer's broader connections to the cultural landscape of Roman Catholicism in France. In Olivier Messiaen: Texts, Contexts, and Intertexts (1937-1948) the late French literature scholar Richard Burton examines nine of Messiaen's works in the context of the broader French Catholic intellectual tradition. Drawing on an expansive knowledge of the Catholic literature and the surrealist tradition, Burton reveals that Messiaen's middle-period compositions are filled with intertextual references to the Bible and other theological writings, which Messiaen, given his reputation for falsifying facts, may have gone to great lengths to obscure. As a Catholic, Messiaen is presented as somewhat removed from the ethos of his time and place, taking no part in the social side of Catholicism that found expression in the P?tainist litany of 'Patrie, Famille, Travail'. Rather, Messiaen regarded himself as having a 'vertical' relationship with God, which could make him seem unworldly and even uncaring. With insights into the artistic careers of Messiaen's notable contemporaries and historical perspectives on the breakdown of French politics during World War II, Burton creates a vivid picture of the previously unexamined spiritual and philosophical inspirations behind Messiaen's pivotal mid-century compositions.
Ready, Set, Improvise!: The Nuts and Bolts of Music Improvisation
by Suzanne Burton Alden SnellImprovisation - the creation of a unique combination of musical content within a musical context - is core to musicianship. As authors Suzanne L. Burton and Alden H. Snell II demonstrate, students already build skills that drive improvisation when they listen to music or imitate rhythmic patterns. Building from this observation, Ready, Set, Improvise! addresses improvisation in a cogent, clear, practical, and sequential manner. As an essential resource for music educators, this book synthesizes what we know about exemplary music teaching and learning, provides an easy-to-follow sequence for guiding improvisation instruction, and gives techniques for assessment of students' skill and conceptual development. Burton and Snell explore lessons in singing, rhythmic chanting, moving, and playing instrument exercises that prepare students to improvise. This all-in-one guide gives music teachers the necessary tools with which to plan the next steps for students to become independent musicians.
READY,SET,IMPROVISE! C: The Nuts and Bolts of Music Improvisation
by Suzanne Burton Alden SnellImprovisation - the creation of a unique combination of musical content within a musical context - is core to musicianship. As authors Suzanne L. Burton and Alden H. Snell II demonstrate, students already build skills that drive improvisation when they listen to music or imitate rhythmic patterns. Building from this observation, Ready, Set, Improvise! addresses improvisation in a cogent, clear, practical, and sequential manner. As an essential resource for music educators, this book synthesizes what we know about exemplary music teaching and learning, provides an easy-to-follow sequence for guiding improvisation instruction, and gives techniques for assessment of students' skill and conceptual development. Burton and Snell explore lessons in singing, rhythmic chanting, moving, and playing instrument exercises that prepare students to improvise. This all-in-one guide gives music teachers the necessary tools with which to plan the next steps for students to become independent musicians.
Another Year of Wonder: Classical Music for Every Day
by Clemency Burton-Hill'Clemency Burton-Hill makes classical music absolutely accessible, magical and medicinal. Another Year of Wonder is, indeed, another wonder.' Dolly Alderton, broadcaster, writer and bestselling author'Clemmie's recommendations have broadened my mind, sharpened my imagination, tugged on my heartstrings and given me a song for every mood. Read this book and let yourself float away for a moment or two. What a gift.' Emma Gannon, bestselling author and host of the Ctrl Alt Delete podcastANOTHER YEAR OF WONDER IS A CAREFULLY CURATED COLLECTION OF CLASSICAL MUSIC OFFERING ONE PIECE TO LISTEN TO EVERY DAY OF THE YEAR.WITH A FOREWORD BY ELIZABETH DAYIn this follow-up to her much-loved Year of Wonder, award-winning broadcaster, journalist and violinist Clemency Burton-Hill continues her mission to demystify and open up the world of classical music to everyone, offering up one extraordinary piece of music to listen to every day of the year.'There is no algorithm to this book: it is a thoughtfully curated selection given from one human to another. It is not a history book, or a formal 'guide to classical music'. It is simply from my heart to yours. I have chosen pieces I love, or think historically interesting, or which have some resonance for me personally or in the world. But what matters is what you think; how they make you feel as you listen. I hope that you will fall in love with most of them, or at least be fascinated by their historical context, or find them curious in other ways, because then you are already in a relationship with classical music. This is your book, as much it is mine.'Another Year of Wonder shows that, whoever you are and wherever you come from, classical music can be a soundtrack for your everyday life and a reminder that finding a space to sit and listen to a piece of music every day can be a singular gift.
Journal of Wonder: 366 days of musical inspiration to reflect upon and soothe your soul
by Clemency Burton-Hill'Clemmie writes about each piece of music with such energy and passion that you can't help but immediately want to stop what you're doing and seek it out' Eddie RedmayneAn inspirational journal that will guide you through a year of music, from award-winning broadcaster Clemency Burton-Hill .From the author of the bestselling Year of Wonder series, this day-by-day journal will take you from January to December with classical music every day. Each piece, from medieval masterpieces to contemporary works, arrives with a brief introduction to the content and composer, along with plenty of space for you to listen, reflect and journal your thoughts. You'll find 52 prompts, one for each week, encouraging you to set goals for your year, and integrate your reflections and experiences on your journey of self-discovery. With beauty and inspiration on every page, this is another enlightening celebration of classical music by an author who wants to share its diverse wonders with others, whether complete novices or lifetime enthusiasts.'The only requirements for enjoying classical music are open ears and an open mind.' Clemency Burton-Hill
YEAR OF WONDER: Classical Music To Enjoy Day By Day
by Clemency Burton-Hill*Exclusively for iBooks* Discover and Share the Year of Wonder Playlists on Apple Music.'Year of Wonder is an absolute treat - the most enlightening way to be guided through the year.' Eddie RedmayneClassical music for everyone - an inspirational piece of music for every day of the year, celebrating composers from the medieval era to the present day, written by award-winning violinist and BBC Radio 3 presenter Clemency Burton-Hill.Have you ever heard a piece of music so beautiful it stops you in your tracks? Or wanted to discover more about classical music but had no idea where to begin? Year of Wonder is a unique celebration of classical music by an author who wants to share its diverse wonders with others and to encourage a love for this genre in all readers, whether complete novices or lifetime enthusiasts. Clemency chooses one piece of music for each day of the year, with a short explanation about the composer to put it into context, and brings the music alive in a modern and playful way, while also extolling the positive mindfulness element of giving yourself some time every day to listen to something uplifting or beautiful. Thoughtfully curated and expertly researched, this is a book of classical music to keep you company: whoever you are, wherever you're from.'The only requirements for enjoying classical music are open ears and an open mind.' Clemency Burton-Hill
YEAR OF WONDER: Classical Music For Every Day
by Clemency Burton-HillAs featured in the Telegraph and on Radio 4's Today programme. 'A magnificent treasury . . . a fascinating tour de force.' Observer'Year of Wonder is an absolute treat - the most enlightening way to be guided through the year.' Eddie RedmayneClassical music for everyone - an inspirational piece of music for every day of the year, celebrating composers from the medieval era to the present day, written by award-winning violinist and BBC Radio 3 presenter Clemency Burton-Hill.Have you ever heard a piece of music so beautiful it stops you in your tracks? Or wanted to discover more about classical music but had no idea where to begin? Year of Wonder is a unique celebration of classical music by an author who wants to share its diverse wonders with others and to encourage a love for this genre in all readers, whether complete novices or lifetime enthusiasts. Clemency chooses one piece of music for each day of the year, with a short explanation about the composer to put it into context, and brings the music alive in a modern and playful way, while also extolling the positive mindfulness element of giving yourself some time every day to listen to something uplifting or beautiful. Thoughtfully curated and expertly researched, this is a book of classical music to keep you company: whoever you are, wherever you're from.'The only requirements for enjoying classical music are open ears and an open mind.' Clemency Burton-HillPlaylists are available on most streaming music platforms including Apple Music.
Studio-Based Instrumental Learning (SEMPRE Studies in The Psychology of Music)
by Kim BurwellIn Studio-Based Instrumental Learning, Kim Burwell investigates the nature of lesson interactions in instrumental teaching and learning. Studio lesson activity is represented as a private interaction, dealing with skill acquisition and reflecting a tradition based in apprenticeship, as well as the personal attributes and intentions of participants. The varied and particular nature of such interaction does not always lend itself well to observation or - when observed - to easy interpretation. This presents particular problems for practitioners wishing to share aspects of professional knowledge, and for researchers seeking to explain the practice. Focusing on a single case study of two clarinet lessons, Burwell uses video observations and interviews to analyse collaborative lesson activity, through the 'rich transcription' of performance, verbal and nonverbal behaviours. The foregrounded lesson interactions are also contextualised by the background consideration of social, cultural and institutional frameworks. The research is aimed a helping to create a framework that can support reflection among practitioners as they continually develop their work, not only experientially - through the tradition of 'vertical transmission' from one musician to another - but collaboratively, through the 'horizontal' sharing of good practice.
Studio-Based Instrumental Learning (SEMPRE Studies in The Psychology of Music)
by Kim BurwellIn Studio-Based Instrumental Learning, Kim Burwell investigates the nature of lesson interactions in instrumental teaching and learning. Studio lesson activity is represented as a private interaction, dealing with skill acquisition and reflecting a tradition based in apprenticeship, as well as the personal attributes and intentions of participants. The varied and particular nature of such interaction does not always lend itself well to observation or - when observed - to easy interpretation. This presents particular problems for practitioners wishing to share aspects of professional knowledge, and for researchers seeking to explain the practice. Focusing on a single case study of two clarinet lessons, Burwell uses video observations and interviews to analyse collaborative lesson activity, through the 'rich transcription' of performance, verbal and nonverbal behaviours. The foregrounded lesson interactions are also contextualised by the background consideration of social, cultural and institutional frameworks. The research is aimed a helping to create a framework that can support reflection among practitioners as they continually develop their work, not only experientially - through the tradition of 'vertical transmission' from one musician to another - but collaboratively, through the 'horizontal' sharing of good practice.
Women in Jazz: Musicality, Femininity, Marginalization
by Marie BuscattoWomen in Jazz: Musicality, Femininity, Marginalization examines the invisible discrimination against female musicians in the French jazz world and the ways in which women thrive as professionals despite such conditions. The author shines a light on the paradox for women in jazz: to express oneself in a "feminine" way is to be denigrated for it, yet to behave in a "masculine" manner is to be devalued for a lack of femininity. This masculine world ensures it is more difficult for women to be recognized as jazz musicians than it is for men – even when musicians, critics and audiences are ideologically opposed to discrimination. Female singers are confined by the feminine stereotypes of their profession, while female instrumentalists must comport themselves into traditionally masculine roles. The author explores the academic and professional socializations of these musicians, the musical choice they make and how they are perceived by jazz professionals as a result. First published in French by CNRS Editions in 2007 (and later reissued in paperback in 2018, with the author’s postscript that "nothing much has changed"), Women in Jazz: Musicality, Femininity, Marginalization expands the conversation beyond the French border, identifying female jazz musicians as a discriminated minority all around the world.
Women in Jazz: Musicality, Femininity, Marginalization
by Marie BuscattoWomen in Jazz: Musicality, Femininity, Marginalization examines the invisible discrimination against female musicians in the French jazz world and the ways in which women thrive as professionals despite such conditions. The author shines a light on the paradox for women in jazz: to express oneself in a "feminine" way is to be denigrated for it, yet to behave in a "masculine" manner is to be devalued for a lack of femininity. This masculine world ensures it is more difficult for women to be recognized as jazz musicians than it is for men – even when musicians, critics and audiences are ideologically opposed to discrimination. Female singers are confined by the feminine stereotypes of their profession, while female instrumentalists must comport themselves into traditionally masculine roles. The author explores the academic and professional socializations of these musicians, the musical choice they make and how they are perceived by jazz professionals as a result. First published in French by CNRS Editions in 2007 (and later reissued in paperback in 2018, with the author’s postscript that "nothing much has changed"), Women in Jazz: Musicality, Femininity, Marginalization expands the conversation beyond the French border, identifying female jazz musicians as a discriminated minority all around the world.
Hans Pfitzner und der Nationalsozialismus
by Sabine BuschJeder Dirigent oder Intendant, der das Werk des Komponisten Hans Pfitzner (1869 1949) zur Aufführung bringen will, muss sich mit der Rolle des Komponisten im Nationalsozialismus auseinandersetzen. Dabei konnten bisher nur Mutmaßungen über die Position des Komponisten im kulturellen Leben und der Kulturpolitik des »Dritten Reiches« angestellt werden. In gründlicher Recherche wurden Pfitzners Ehrungen und Zurücksetzungen durch den Nationalsozialismus, seine persönlichen Kontakte mit Politprominenz und z. T. jüdischen Künstlerkollegen beleuchtet und zu einem Bild zusammengefügt, das jede Schwarzweißmalerei zu vermeiden versucht. Dabei wurden neben dem Nachlass auch die einschlägigen politischen Archive sowie die Entnazifizierungsakte Pfitzners hinzugezogen. Weit über einen biographischen Exkurs zu einem strittigen Komponisten hinaus entsteht so ein Fallbeispiel für die vielfältigen Verstrickungen und Verästelungen von Kunst und Kulturpolitik im »Dritten Reich«.
Beethoven-Bilder: Was Kunst- und Musikgeschichte (sich) zu erzählen haben
by Werner Busch Martin GeckBeethoven-Bildnisse gibt es seit über 200 Jahren, und jenseits des omnipräsenten Titanenhauptes gibt es eine Vielfalt von Gestaltungen in gezeichneter, gemalter und plastischer Form, die viel über ihre jeweilige Zeit und über unsere Zugänge zu Beethovens Musik zu erkennen geben. Eine originelle Perspektive auf 200 Jahre Kulturgeschichte eröffnet dieses Gespräch zwischen einem Musik- und einem Kunsthistoriker beim Betrachten diverser Beethoven-Bilder und -Denkmäler. Das reicht vom Klassizismus der Goethezeit bis zum Dekonstruktivismus der Gegenwart, von Joseph Stieler bis Markus Lüpertz, von Napoleon Bonaparte bis Wilhelm Furtwängler und Mauricio Kagel. Ein unterhaltsames und erhellendes Gespräch zweier ausgewiesener Vertreter ihres Fachs.
Kate: Inside the Rainbow
by John Carder BushA MUST-HAVE COLLECTION OF RARE AND UNSEEN PHOTOGRAPHS OF KATE BUSH.WITH ESSAYS BY HER BROTHER, JOHN CARDER BUSH, ABOUT KATE'S LIFE AND CAREER.Stunning and unique images from throughout Kate Bush's career including:Outtakes from classic album shoots and never-before-seen photographs from The Dreaming and Hounds of Love sessionsRare candid studio shots and behind-the-scenes stills from video sets, including 'Army Dreamers' and 'Running Up that Hill'Includes original essays from Kate's brother: From Cathy to Kate: Describes in vibrant detail their shared childhood and the whirlwind days of Kate's career Chasing the Shot: A vivid evocation of John's experience of photographing his sister 'For me, each of these images forms part of a golden thread that shoots through the visual tapestry of Kate's remarkable career. Storytelling has always been the heartbeat of Kate's body of work, and it has been a privilege to capture these photographic illustrations that accompany those magical tales' John Carder Bush
The Search for Medieval Music in Africa and Germany, 1891-1961: Scholars, Singers, Missionaries (New Material Histories of Music)
by Anna Maria Busse BergerThis innovative book reassesses the history of musicology, unearthing the field’s twentieth-century German and global roots. In the process, Anna Maria Busse Berger exposes previously unseen historical relationships such as those between the modern rediscovery of medieval music, the rise of communal singing, and the ways in which African music intersected with missionary work in the German colonial period. Ultimately, Busse Berger offers a monumental new account of the early twentieth-century music culture in Germany and East Africa. The book unfolds in three parts. Busse Berger starts with the origins of comparative musicology circa 1900, when early proponents used ideas from comparative linguistics to test whether parallels could be drawn between nonwestern and medieval European music. She then turns to youth movements of the era—the Wandervogel, Jugendmusikbewegung, and Singbewegung—whose focus on joint music making influenced many musicologists. Finally, she considers case studies of Protestant and Catholic mission societies in what is now Tanzania, where missionaries—many of them musicologists and former youth-group members—extended the discipline via ethnographic research and a focus on local music and communities. In highlighting these long-overlooked transnational connections and the role of global music in early musicology, Busse Berger shapes a fresh conception of music scholarship during a pivotal part of the twentieth century.
The Search for Medieval Music in Africa and Germany, 1891-1961: Scholars, Singers, Missionaries (New Material Histories of Music)
by Anna Maria Busse BergerThis innovative book reassesses the history of musicology, unearthing the field’s twentieth-century German and global roots. In the process, Anna Maria Busse Berger exposes previously unseen historical relationships such as those between the modern rediscovery of medieval music, the rise of communal singing, and the ways in which African music intersected with missionary work in the German colonial period. Ultimately, Busse Berger offers a monumental new account of the early twentieth-century music culture in Germany and East Africa. The book unfolds in three parts. Busse Berger starts with the origins of comparative musicology circa 1900, when early proponents used ideas from comparative linguistics to test whether parallels could be drawn between nonwestern and medieval European music. She then turns to youth movements of the era—the Wandervogel, Jugendmusikbewegung, and Singbewegung—whose focus on joint music making influenced many musicologists. Finally, she considers case studies of Protestant and Catholic mission societies in what is now Tanzania, where missionaries—many of them musicologists and former youth-group members—extended the discipline via ethnographic research and a focus on local music and communities. In highlighting these long-overlooked transnational connections and the role of global music in early musicology, Busse Berger shapes a fresh conception of music scholarship during a pivotal part of the twentieth century.