Television, Power, and the Public in Russia Ellen Mickiewicz ebook pdf
Publisher: Cambridge University Press
ISBN: 0521888561, 9780521888561
From Library Journal
Roeder (music, Univ. of Alberta) offers an exhaustive survey of the concerto from its conception during the late Renaissance to its present-day maturity. Roeder highlights a number of important works for especially detailed analytical treatment and aesthetic discussion, and he includes mention of even the least significant composers who worked within the genre. While the subject matter is thoroughly covered and technical terms are fully explained, the subject itself is narrow enough to limit the appeal of this volume to working musicians, music students, music teachers, and lay readers with a special interest in the concerto. Music libraries will find this well-written volume a necessary purchase, while large public libraries will find it a useful addition.
- James E. Perone, Canisius Coll., Buffalo, N.Y.
Copyright 1994 Reed Business Information, Inc.
In the popular imagination, the concerto is a piece of music shaped by the interplay between a virtuoso soloist and an accompanying orchestra. In fact, from its earliest days in the Baroque era, there have been concertos involving just the orchestra or, in the concerto grosso, the orchestra and a small body drawn from its ranks, and there are numerous examples of the solo concerto. As one of music's oldest forms, the concerto has a long and varied history that continues today. Roeder covers this history in detail (including musical examples) and quite accurately, starting with the concerto's origins in sixteenth-century Italy. He considers the form's treatment by music's masters and provides reliable information about lesser and virtually unknown figures who have worked with it. He explains well the interplay between an era's overall musical style and its concertos. Generally well-written, Roeder's effort accurately reflects its subject's protean history and is even up-to-date. John Shreffler