Listen Again

A New History of Music

Nonfiction, Entertainment, Music, Theory & Criticism, Theory, History & Criticism, Reference
Cover of the book Listen Again by David Wulstan, Rowman & Littlefield Publishers
View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart
Author: David Wulstan ISBN: 9781442237506
Publisher: Rowman & Littlefield Publishers Publication: October 29, 2015
Imprint: Rowman & Littlefield Publishers Language: English
Author: David Wulstan
ISBN: 9781442237506
Publisher: Rowman & Littlefield Publishers
Publication: October 29, 2015
Imprint: Rowman & Littlefield Publishers
Language: English

How do you tell the key of a piece—without looking at a score? How do you know when a musical work ended before an audience applauds or a radio announcer returns on air? Was there, in fact, a ‘breakdown of tonality’ in the nineteenth and twentieth centuries? These questions and others are the focus of David Wulstan’s Listen Again: A New History of Music. He also shows where the nuove musiche of the early Baroque era came from and what the two critical but unlinked chords in the middle of Bach’s Brandenburg Concerto No. III signify.

Previous literature in music does not properly address these questions and innumerable others. In Listen Again, Wulstan illustrates how music from Bach to Bartók was far less "revolutionary" than customarily imagined and that the "inversionist" doctrine of Rameau and kindred acoustical misconceptions, courtesy of Heinrich Schenker and other analysts, solve fewer problems than their purveyor claim. In Listen Again, Wulstan takes to task early theorists, who were mostly clerics who ignored non-ecclesiastical music, and their modern equivalents, who consider only the blinding white of the written or printed score, whilst ignoring music as heard and interpreted by the ear and brain. Instead, Wulstan enquires into the musical activities of the common folk to addressing key issues that early and modern theorists have regularly overlooked.

The book will appeal anyone who has dismissed "harmony," "theory" and the like as alien, in effect, to practical music. Readers will find in Listen Again that the true history of music has far more practical relevance for performers than the aridity of music theory coursework, demonstrating by example how this work a book about music, not, as in the case of so much theoretical work, a "book about books."

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

How do you tell the key of a piece—without looking at a score? How do you know when a musical work ended before an audience applauds or a radio announcer returns on air? Was there, in fact, a ‘breakdown of tonality’ in the nineteenth and twentieth centuries? These questions and others are the focus of David Wulstan’s Listen Again: A New History of Music. He also shows where the nuove musiche of the early Baroque era came from and what the two critical but unlinked chords in the middle of Bach’s Brandenburg Concerto No. III signify.

Previous literature in music does not properly address these questions and innumerable others. In Listen Again, Wulstan illustrates how music from Bach to Bartók was far less "revolutionary" than customarily imagined and that the "inversionist" doctrine of Rameau and kindred acoustical misconceptions, courtesy of Heinrich Schenker and other analysts, solve fewer problems than their purveyor claim. In Listen Again, Wulstan takes to task early theorists, who were mostly clerics who ignored non-ecclesiastical music, and their modern equivalents, who consider only the blinding white of the written or printed score, whilst ignoring music as heard and interpreted by the ear and brain. Instead, Wulstan enquires into the musical activities of the common folk to addressing key issues that early and modern theorists have regularly overlooked.

The book will appeal anyone who has dismissed "harmony," "theory" and the like as alien, in effect, to practical music. Readers will find in Listen Again that the true history of music has far more practical relevance for performers than the aridity of music theory coursework, demonstrating by example how this work a book about music, not, as in the case of so much theoretical work, a "book about books."

More books from Rowman & Littlefield Publishers

Cover of the book The United States and China by David Wulstan
Cover of the book Financial Meltdown in the Mainline? by David Wulstan
Cover of the book The Expanded Social Scientist's Bestiary by David Wulstan
Cover of the book How to be a "HIP" College Campus by David Wulstan
Cover of the book Paying Attention by David Wulstan
Cover of the book Everyday Surveillance by David Wulstan
Cover of the book Ethics and Experience by David Wulstan
Cover of the book Promise and Peril by David Wulstan
Cover of the book No One Left Standing by David Wulstan
Cover of the book Assembling the Pieces of a Systematic Review by David Wulstan
Cover of the book Germany's Foreign Policy of Reconciliation by David Wulstan
Cover of the book Community Engagement Findings Across the Disciplines by David Wulstan
Cover of the book Discovering the Other by David Wulstan
Cover of the book Leaving China by David Wulstan
Cover of the book Public Women, Public Words by David Wulstan
We use our own "cookies" and third party cookies to improve services and to see statistical information. By using this website, you agree to our Privacy Policy