Muziek - Film en Theaterboeken

Wie had twintig jaar geleden gedacht dat tv-series zo belangrijk zouden worden? De acteurs zijn opeens sterren van Hollywoodniveau. Tv-studio's en streamingdiensten vechten om de beste regisseurs. Spoilers zijn een zaak van staatsbelang. Veel series zijn van hoge kwaliteit. Het zijn artistieke werken met diepgang. De twijfel die 'Westworld' zaait over de grenzen tussen realiteit en fictie, gaat helemaal terug op de avonturen van Don Quichot. 'Breaking Bad' maakt Goethes 'Faust' weer actueel. 'Game of thrones' borduurt voort op theorieën over macht die Leo Tolstoj in 'Oorlog en vrede' ontwikkelde. 'Spoiler' verbindt Amerikaanse series met klassieke literatuur. Zo nam 'In Treatment' het stokje over van Italo Svevo's literaire mijlpaal 'Bekentenissen van Zeno', varieert 'The West Wing' op Tomas More's 'Utopia' en herkennen we in Chandler Bing ('Friends') een moderne Hamlet. Daarnaast bekijken we hoe de Amerikaanse tv reageerde op 9/11 en wat Nabokov ons kan leren over spoilers (die in dit boek overigens tot een minimum beperkt blijven). Bij wijze van special features bevat 'Spoiler' ten slotte een hoofdstuk over de oermoeder van alle goede series ('Twin Peaks' dus) en een over de precieze verhouding tussen literatuur en tv fictie.

The psychological theory of expectation that David Huron proposes in Sweet Anticipation grew out of the author's experimental efforts to understand how music evokes emotions. These efforts evolved into a general theory of expectation that will prove informative to readers interested in cognitive science and evolutionary psychology as well as those interested in music. The book describes a set of psychological mechanisms and illustrates how these mechanisms work in the case of music. All examples of notated music can be heard on the Web.

Huron proposes that emotions evoked by expectation involve five functionally distinct response systems: reaction responses (which engage defensive reflexes); tension responses (where uncertainty leads to stress); prediction responses (which reward accurate prediction); imagination responses (which facilitate deferred gratification); and appraisal responses (which occur after conscious thought is engaged). For real-world events, these five response systems typically produce a complex mixture of feelings. The book identifies some of the aesthetic possibilities afforded by expectation, and shows how common musical devices (such as syncopation, cadence, meter, tonality, and climax) exploit the psychological opportunities. The theory also provides new insights into the physiological psychology of awe, laughter, and spine-tingling chills. Huron traces the psychology of expectations from the patterns of the physical/cultural world through imperfectly learned heuristics used to predict that world to the phenomenal qualia we experienced as we apprehend the world.

Four Parts, No Waiting investigates the role that vernacular, barbershop-style close harmony has played in American musical history, in American life, and in the American imagination. Starting with a discussion of the first craze for Austrian four-part close harmony in the 1830s, Averill traces the popularity of this musical form in minstrel shows, black recreational singing, vaudeville, early recordings, and in the barbershop revival of the 1930s. In his exploration of barbershop, Averill uncovers a rich musical tradition--a hybrid of black and white cultural forms, practiced by amateurs, and part of a mythologized vision of small-town American life. Barbershop harmony played a central -- and overlooked -- role in the panorama of American music. Averill demonstrates that the barbershop revival was part of a depression-era neo-Victorian revival, spurred on by insecurities of economic and social change. Contemporary barbershop singing turns this nostalgic vision into lived experience. Arguing that the "old songs" function as repositories of idealized social memory, Averill reveals ideologies of gender, race, and class. This engagingly-written, often funny book critiques the nostalgic myths (especially racial myths) that have surrounded the barbershop revival, but also celebrates the civic-minded, participatory spirit of barbershop harmony. The contents of the CD have been replaced by a companion website with helpful links, resources, and audio examples.

Can a song change a nation? In 1964, Marvin Gaye, record producer William 'Mickey' Stevenson, and Motown songwriter Ivy Jo Hunter wrote 'Dancing in the Street.' Recorded at Motown's Hitsville USA Studio by Martha and the Vandellas, it was supposed to be an upbeat dance recording - a precursor to disco, a song about the joyousness of dance, the song of a summer. But events overtook it, and the song became one of the anthems of American pop culture.

The Beatles landed in the United States in early 1964. By that summer, the '60s were in full swing. 1964 was the Mississippi Freedom Summer, the Berkeley Free Speech Movement, the Vietnam War, the Civil Rights Act, and the lead-up to a dramatic election that completely changed American politics. As the country grew more radicalized in those few months, 'Dancing in the Street' gained currency as an activist anthem. The song took on new meanings, multiple meanings, for many different groups that were all altered as the country changed.

From the writer legendary for finding the big story in unlikely places, Mark kurlansky's Ready for a Brand New Beat recounts that extraordinary time and showcases the role that a simple song about dancing played in our nation's history.

Praise for Mark Kurlansky

'Every once in a while a writer of particular skill takes a fresh, seemingly improbable idea and turns out a book of pure delight.' David McCullough

'Fascinating stuff . . . Kurlansky has a keen eye for odd facts and natural detail.' The Wall Street Journal

'Kurlansky continues to prove himself remarkably adept at taking a most unlikely candidate and telling its tale with epic grandeur.' Los Angeles Times

Bill Bryson's biography of William Shakespeare unravels the superstitions, academic discoveries and myths surrounding the life of one of our greatest poets and playwrights.

One evening, journalist Eric Siblin attended a recital of Johann Sebastian Bach's Cello Suites and began an epic quest that would unravel three centuries of intrigue, politics, and passion. Winner of the Mavis Gallant Prize for Nonfiction and the McAuslan First Book Prize, The Cello Suites weaves together three dramatic narratives: the disappearance of Bach's manuscript in the eighteenth century; Pablo Casals's discovery and popularization of the music in Spain in the late-nineteenth century; and Siblin's infatuation with the suites in the present day. The search led Siblin to Barcelona, where Casals, just thirteen and in possession of his first cello, roamed the backstreets with his father in search of sheet music and found Bach's lost suites tucked in a dark corner of a store. Casals played them every day for twelve years before finally performing them in public. Siblin pursues the mysteries that continue to haunt this music more than 250 years after its composer's death: Why did Bach compose the suites for the cello, then considered a lowly instrument? What happened to the original manuscript? A seamless blend of biography and music history, The Cello Suites is a true-life journey of discovery, fueled by the power of these musical masterpieces.

The oldest written tradition of European music, the art we know as Gregorian chant, is seen from an entirely new perspective in Katherine Bergeron's engaging and literate study. Bergeron traces the history of the Gregorian revival from its Romantic origins in a community of French monks at Solesmes, whose founder hoped to rebuild the moral foundation of French culture on the ruins of the Benedictine order. She draws out the parallels between this longing for a lost liturgy and the postrevolutionary quest for lost monuments that fueled the French Gothic revival, a quest that produced the modern concept of "restoration."
Bergeron follows the technological development of the Gregorian restoration over a seventy-year period as it passed from the private performances of a monastic choir into the public commodities of printed books, photographs, and Gramophone records. She discusses such issues as architectural restoration, the modern history of typography, the uncanny power of the photographic image, and the authority of recorded sound. She also shows the extent to which different media shaped the modern image of the ancient repertory, an image that gave rise to conflicting notions not only of musical performance but of the very idea of music history.

Verkenningen over muziek en van de muzikale belevingswereld van de auteur.

Explores the historical and cultural evolution of the theoretical language of the stage

Filmgeschiedenis, met register achterin

Scenario van en documentatie over de gelijknamige film, waarin een vrouw in Nieuw Zeeland zich alleen in pianospel kan uiten. (Gouden Palm, Cannes 1993)

Schetsen over (opera)zangers; met cd.

Autobiografie van de gitarist/medeoprichter van de Rolling Stones.

In detailing the relationship of three women filmmakers' lives and films to the changing institutions of the post-World War II era, Lauren Rabinovitz has created the first feminist social history of the North American avant-garde cinema.

At a time when there were few women directors in commercial films, the postwar avant-garde movement offered an opportunity. Rabinovitz argues that avant-garde cinema, open to women because of its marginal status in the art world, included women as filmmakers, organizers, and critics.

Focusing on Maya Deren, Shirley Clarke, and Joyce Wieland, Rabinovitz illustrates how women used bold physical images to enhance their work and how each provided entrée to her subversive art while remaining culturally acceptable. She combines archival materials with her own interviews to show how the women's labor and films, even their identities as women filmmakers, were produced, disseminated, and understood. With a new preface and an updated bibliography, Points of Resistance simultaneously demonstrates the avant-garde's importance as an organizational network for women filmmakers and the processes by which women remained marginal figures within that network.

theaterspektakel over arn eb rijk

This collection of essays, written by a team of leading scholars in the field, undertakes not simply to recover the names and careers of women playwrights but to call into question the whole idea of what a playwright is, and what she does, and why it matters. Gender inquiry is the start: destabilising the category of playwrights loosens the borders of theatre history making it possible to reconceptualize theatre and drama not as a product of culture but as social processes dynamically interacting with culture.

The Norton Critical Edition is again based on the First Folio (1623), the only authoritative text of the play. The volume includes a revised introduction and new annotations and textual notes.



The Second Edition also includes the innovative feature "The Actors' Gallery," which presents famous actors and actresses--among them David Garrick, Sarah Siddons, Ian McKellen, Hira Mikijirô, Patrick Stewart, and Kate Fleetwood--reflecting on their roles in major productions of Macbeth for stage and screen.



"Sources and Contexts" provides readers with an understanding of Macbeth's origins in earlier texts, specifically the works of the Roman playwright Seneca, the Tudor historian Raphael Holinshed, and the medieval drama The Slaughter of the Innocents and the Death of Herod. Contexts for the play include contemporary debates on predestination versus free will (Martin Luther versus Erasmus), witchcraft as fiction or fact (Reginald Scott versus King James I), the ethics of regicide (an Elizabethan homily versus Jan de Mariana, S.J.), and the ethics of equivocation (Henry Garnet, S.J., versus--new to the Second Edition--Sir Edward Coke).



Eight carefully chosen essays represent four hundred years of critical and theatrical interpretation. Contributors include Simon Forman, Samuel Johnson, Samuel Taylor Coleridge, Thomas De Quincey, Harry Levin, Stephen Orgel, Peter Holland, and, presenting the latest arguments on the authorship controversy, Gary Taylor. Finally, an engaging new selection of Macbeth's "Afterlives" includes excerpts from Giuseppi Verdi's Macbeth and related letters, Eugène Ionesco's Macbett (1972), Bill Cain's Equivocation (2009), and more.



This edition also provides a list of online and print resources.

Now a Broadway play starring Mark Ruffalo, Tony Shalhoub, Danny DeVito, and Jessica Hecht, Miller’s riveting story about family, sacrifice, and the struggle to make peace with the past.

Years after an angry breakup, Victor and Walter Franz are reunited by the death of their father. As they sort through his possessions in an old brownstone attic, the memories evoked by his belongings stir up old hostilities. The Price was nominated for two Tony Awards, including best play.