Background
Strunk, Oliver was born on March 22, 1901 in Ithaca, New York, United States. Son of William Junior, and Olivia Emilie (Locke) S. student Cornell, 1917-1919, 27, U. Berlin, 1927-1928.
(This is one of the five volumes that is self-contained an...)
This is one of the five volumes that is self-contained and devoted to the music of a particular period. The four chapters here feature readings on the Greek view of music, the early christian view, music as liberal art and music theory in the middle ages.
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(Will be shipped from US. Used books may not include compa...)
Will be shipped from US. Used books may not include companion materials, may have some shelf wear, may contain highlighting/notes, may not include CDs or access codes. 100% money back guarantee.
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(A representative selection of the great writings on music...)
A representative selection of the great writings on music from the Renaissance, which marked the first stirrings of modern concepts among musicians. Chapters: (1) Musical Theorists of the Renaissance: Joannes Tinctoris, Bartolome Ramos, Pietro Aron, Gioseffe Zarlino, Pietro Cerone, & Thomas Morley; (2) Music in Renaissance Life & Thought: Baldassare Castiglione, Pierre de Ronsard, Giovanni de Bardi, G.P. da Palestrina, Orlando di Lasso, William Byrd, & Henry Peacham; & (3) Reformation & Counter-Reformation: Martin Luther, Johann Walther, Jean Calvin, Claude Goudimel, Jacob de Kerle, & Pope Gregory XIII.
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( In this companion volume to Essays on Music in the West...)
In this companion volume to Essays on Music in the Western World, Oliver Strunk focuses on the area of study that has dominated his interest for the last thirty years―the chant and liturgy of the Eastern Orthodox church. In twenty-two essays that comprise this collection, Dr. Strunk discusses aspects of musical development and style from late antiquity to that period of Byzantine history corresponding to the early Renaissance. His contributions in the study of medieval Slavic chants and Carolingian music, for examples, have served as pace setters for all who have done research in this field. Through the writings presented here, the craft and intellectual artistry of this extraordinary scholar are revealed. Kenneth Levy, a gifted Byzantine scholar and former student of Dr. Strunk’s, has provided a foreword that places this body of works in perspective. Taken in conjunction with the companion volume, these essays stand as a mighty testimonial to the stature of pre-eminent figure in American musicology.
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(Twentieth-century music has been described as complex, vi...)
Twentieth-century music has been described as complex, vital, diverse, uncertain, experimental, self-conscious, innovative-the list is long and growing. Composers have been both credited with and accused of always searching for something "new," writing works that are mechanistic but romantic, meaningful but unskilled, beautiful but ugly! In The Twentieth Century, Robert P. Morgan helps us grasp the flavor of the era by presenting forty-five readings from the period, nearly all written by active participants in the musical developments of the time. Thus we tune in to the voices of some thirty composers-from Busoni to Babbitt, Ives to Xenakis, Satie to Stravinsky-and learn from performers Anderson and Landowska, philosopher-critics Adorno, Dahlhaus, and Meyer, and writers Cocteau, Barthes, and Eco.
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music educator musicologist university professor
Strunk, Oliver was born on March 22, 1901 in Ithaca, New York, United States. Son of William Junior, and Olivia Emilie (Locke) S. student Cornell, 1917-1919, 27, U. Berlin, 1927-1928.
He attended Cornell University from 1917 to 1919 and again in 1927, studying under Otto Kinkeldey. He studied at Berlin University from 1927 to 1928 and then worked at the Library of Congress, becoming head of the Music Division in 1934.
While never earning a university degree, he received honorary degrees from the University of Rochester in 1936 and from the University of Chicago in 1970. He began his teaching career as a lecturer at the Catholic University of America in 1934, and in 1937 joined the faculty of Princeton University, becoming a full professor in 1950. Retiring from teaching in 1966 he moved to Grottaferrata, Italy, continuing his research on Byzantine music at the Abbey of Santa Maria (Badia Greca) there.
He directed the Monumenta Musicae Byzantinae, 1961-1971.
His scholarship was exceptionally broad, covering the notation of early Byzantine music, the ars nova, Renaissance motets, Haydn, and Verdi. He was one of the leading figures in post–World World War II American musicology.
His Source Readings in Music History (1950. Rev 1998 by Leo Treitler) was and is a standard primary-source text for music historians.
( In this companion volume to Essays on Music in the West...)
(Twentieth-century music has been described as complex, vi...)
(A representative selection of the great writings on music...)
(Source Readings in Music History, Antiquity and the Middl...)
(This is one of the five volumes that is self-contained an...)
(A must have for musicology students)
(Will be shipped from US. Used books may not include compa...)
(Will be shipped from US. Used books may not include compa...)
(Music)
Member of faculty Princeton, 1937-1966, Professor music, 1950-1966, professor emeritus, 1966-1980, acting department chairman, 1942-1943, 51-52, 60. Member Institute Advanced Study, 1944, International Congress for Sacred Music Rome, 1950. Fellow Medieval Academy American.
Member Royal Danish Academy, Music library association (president 1935-1937), American Musicol.
Society (president 1959-1960, journal editor 1947-1948. Member), American Academy Arts and Sciences, International Musicological Society, Royal Museum Association (honorary foreign), Dansk selskab for Musikforskning, Gesellschaft fär Musikforschung, Vereniging voor Nederlandse Muziekgeschiedenis, Societá italiana di musicologia.
Married Mildred Altemose, June 23, 1930 (deceased.