The Oxford History Of Western Music, Volume 1: ...

Listen to any one of these interviews below, first broadcast in late 2004, and you'll get a glimpse of the Grand Canyon-sized scope of knowledge that Taruskin had at his fingertips, surveying 1000 years of music history. He firmly believed that no music, no composer could be separated from their socio-political circumstances, and that our vision of the past is always clouded by looking through the lens of present.

The Oxford History of Western Music, Volume 1: ...

The five-volume Oxford History of Western Music by Richard Taruskin is an amazing achievement. For a single musicologist, even one of the stature of Taruskin, to have produced a detailed, accurate, informative and well-illustrated history is nothing short of amazing. It's over nine inches wide on the shelf and runs to a total of nearly 4,000 pages. The five volumes divide the roughly thirteen hundred years of western music as follows: from eighth to the sixteenth centuries; the seventeenth and eighteenth centuries; the nineteenth centuries; the early twentieth century roughly to Shostakovich; finally, the late twentieth century including the many technical developments which accompany actual music making and composition. Each volume is between 800 and 900 pages long, contains its own index, bibliography and chapter-by-chapter notes and references. There are brief introductions to each volume such that each could be considered self-contained, if, say, the music of only one period interested you. There is something to be gained, nevertheless, by having all five volumes on hand, even if you don't necessarily work your way through them in their entirety. At a typical retail price of about US$125, such a use of them is neither impossible, nor too costly. This is a reissue of the hardback printing: each volume is also, in fact, available separately, if desired.

Most of the news in classical music takes place on stage or on disc. But at the moment, one of the biggest stories (in more ways than one) is taking place on the printed page. --The New York Times Erudite, engaging, and suffused throughout with a mixture of brilliance and delirium. --Washington Post Readers will profit from his sharp analysis and unabashed opinions... Taruskin has succeeded in writing a stimulating overview of Western society, setting a standard that will not be surpassed for a very long time... --Library Journal Taruskin's chef-d'oeuvre, however, is a feast of contrarian ideas, with enough spice to sting the palate of anyone with a stake in telling the old stories in the old way. It aims for nothing less than the revaluation of practically everything you thought you knew about classical music....Taruskin's magnum opus is a must-read, and in its way, a real page-turner of detective non-fiction. It's a cinch to become the most discussed music title o Praise for Richard Taruskin's Oxford History of Western MusicR, 6-volume set Most of the news in classical music takes place on stage or on disc. But at the moment, one of the biggest stories (in more ways than one) is taking place on the printed page. --The New York Times Erudite, engaging, and suffused throughout with a mixture of brilliance and delirium. --Washington Post Readers will profit from his sharp analysis and unabashed opinions... Taruskin has succeeded in writing a stimulating overview of Western society, setting a standard that will not be surpassed for a very long time... --Library Journal Taruskin's chef-d'oeuvre, however, is a feast of contrarian ideas, with enough spice to sting the palate of anyone with a stake in telling the old stories in the old way. It aims for nothing less than the revaluation of practically everything you thought you knew about classical music....Taruskin's magnum opus is a must-read, and in its way, a real page-turner of detective non-fiction. It's a cinch to become the most discussed music title of the year, if not of the decade. -- The Globe & Mail The book is nothing short of spectacular - New Music Box There's plenty to keep you amused and enlightened - it's very good reading. - American Record Guide Rather than assemble an overview, Taruskin has written a critical, subjective history in which he examines the influence of key figures, works, and musical ideas against the backdrop of world affairs and cultural history. -Berkeleyan Musicians, students, historians, and other readers wishing a detailed narrative about the career, patronage, musical influences, reception, and creative productionof western composers, as well as the development of musical styles will find this a fascinating and satisfying resource. --Reference and Research Library Book News

This article describes Mediate: An Annotation Tool for Audiovisual Media, developed at the University of Rochester, and emphasizes the platform as a source for the understanding of film, television, poetry, pop songs, live performance, music, and advertising as shown in three cases studies from film and media studies, music history, and linguistics. In each case collaboration amongst students was not only key, but also enabled by Mediate, which allows students to work in groups to generate large amounts of data about audiovisual media. Further, the process of data generation produces quantitative and qualitative observation of the mediated interplay of sight and sound. A major outcome of these classes for the faculty teaching them has been the concept of audiovisualities: the physically and culturally interpenetrating modes of audiovisual experience and audiovisual inscription where hearing and seeing remediate one another for all of us as sensory and social subjects. Throughout the article, we chart how audiovisualities have emerged for students and ourselves out of digital annotation in Mediate.

This article describes Mediate: An Annotation Tool for Audiovisual Media, developed at the University of Rochester, and emphasizes the platform as a source for the understanding of film, television, poetry, pop songs, live performance, music, and advertising as shown in three cases studies from film and media studies, music history, and linguistics.

Most of the traditions represented at ESM are heavily reliant on musical notation, a highly advanced system of written symbols that has, over many centuries, enabled the development and circulation of music that originated in Western Europe. In many respects, the very presence of notation constitutes the tradition . Musical notation can also be understood as a form of audiovisual inscription that communicates specific information about both how to perform music and also how an individual piece functions melodically, harmonically, rhythmically, and formally . Reading music, as we would say, is a presumed skill that students rely upon as they move through the robust series of classes in music theory and history, both of which differently emphasize score-based analysis of internal (within a piece) and external (within a tradition) musical features. As a result, students are very comfortable working with written music, as well as the specialized language used to describe it. Still, the culture surrounding classical music has calcified certain perspectives, especially on what it means to do analysis. For many students, music analysis is too often conceived of as an action solely in visual terms, rather than an act that takes place in a far more expanded audiovisual realm.

According to the editors I talked to, the strong subjects with new ideas emerging are politics (especially since 9/11), philosophy, economics, sociology, maths and physics; history, religion and psychology are burgeoning, as is the history of science (particularly at CUP); while music, popular science and illustrated art books are softening. 041b061a72