Kent Greenawalt
- Published in print:
- 2010
- Published Online:
- January 2011
- ISBN:
- 9780199756131
- eISBN:
- 9780199855292
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199756131.001.0001
- Subject:
- Law, Philosophy of Law
This book focuses on textual interpretation of the law. All law needs to be interpreted, and there are many ways to do it. The book covers the dominant methods of legal interpretation, explaining ...
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This book focuses on textual interpretation of the law. All law needs to be interpreted, and there are many ways to do it. The book covers the dominant methods of legal interpretation, explaining their underlying structure and efficacy. But there are other issues involved. Which perspective should we prioritize—the writer or the reader? Should interpretation be abstract or contextual? Should it have a specific aim or a general objective? To answer these tough questions, the book explores how interpretive strategies from other disciplines—the philosophy of language, literary and musical interpretation, religious interpretation, and general interpretive theory—can augment and enrich our methods of legal interpretation.Less
This book focuses on textual interpretation of the law. All law needs to be interpreted, and there are many ways to do it. The book covers the dominant methods of legal interpretation, explaining their underlying structure and efficacy. But there are other issues involved. Which perspective should we prioritize—the writer or the reader? Should interpretation be abstract or contextual? Should it have a specific aim or a general objective? To answer these tough questions, the book explores how interpretive strategies from other disciplines—the philosophy of language, literary and musical interpretation, religious interpretation, and general interpretive theory—can augment and enrich our methods of legal interpretation.
R. Allen Lott
- Published in print:
- 2003
- Published Online:
- May 2008
- ISBN:
- 9780195148831
- eISBN:
- 9780199869695
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195148831.003.0019
- Subject:
- Music, History, Western
Hans von Bülow made two tours of the Midwest, where he essentially gave solo recitals with only a brief respite by the Canadian-American soprano Lizzie Cronyn (1852-1921). Letters that Bülow wrote ...
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Hans von Bülow made two tours of the Midwest, where he essentially gave solo recitals with only a brief respite by the Canadian-American soprano Lizzie Cronyn (1852-1921). Letters that Bülow wrote while in America vividly record the rigors of constant traveling, which eventually wreaked havoc on his already depleted nervous system, forcing him to withdraw from his contract after fulfilling only 139 concerts out of 172. Bülow's performances, though possessing greater perfection than Rubinstein's, did not create the same sensation as Rubinstein's overtly emotional ones. However, Bülow's greater faithfulness to the intentions of the composers helped establish orthodox interpretations of the canonic piano repertoire for the next generation of serious performers and teachers.Less
Hans von Bülow made two tours of the Midwest, where he essentially gave solo recitals with only a brief respite by the Canadian-American soprano Lizzie Cronyn (1852-1921). Letters that Bülow wrote while in America vividly record the rigors of constant traveling, which eventually wreaked havoc on his already depleted nervous system, forcing him to withdraw from his contract after fulfilling only 139 concerts out of 172. Bülow's performances, though possessing greater perfection than Rubinstein's, did not create the same sensation as Rubinstein's overtly emotional ones. However, Bülow's greater faithfulness to the intentions of the composers helped establish orthodox interpretations of the canonic piano repertoire for the next generation of serious performers and teachers.
Susan Gillingham
- Published in print:
- 2013
- Published Online:
- April 2014
- ISBN:
- 9780199652419
- eISBN:
- 9780191766053
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199652419.003.0008
- Subject:
- Religion, Biblical Studies, Judaism
Chapter 8 focuses on musical interpretations. Jewish examples include a reconstruction of Jewish cantillation of Psalm 1 by Mitchell, and, in the twentieth century, compositions for performance ...
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Chapter 8 focuses on musical interpretations. Jewish examples include a reconstruction of Jewish cantillation of Psalm 1 by Mitchell, and, in the twentieth century, compositions for performance outside the synagogue (Weiner’s Yiddish version of Psalm 1 and Bernstein’s use of Psalm 2 in Chichester Psalms). Christian compositions are more prolific , especially from the sixteenth century onwards. Liturgical compositions include those by Merbecke, Tallis, Beale, and Elgar, and metrical psalms by Sternhold and Hopkins, Lawes, Tate and Brady, Watts, and Charles Wesley. Non-liturgical compositions include those by Schütz, Handel, and Mendelssohn. Twentieth-century liturgical examples include those in the Gelineau Psalter, Psalm Praise and Rachmaninov’s All Night Liturgy; modern compositions for the concert hall include Williams (Psalm 2) and Goodall (Psalm 1). The more secular musical ‘performance’ of both psalms, independent of either faith tradition, has made them more universally known.Less
Chapter 8 focuses on musical interpretations. Jewish examples include a reconstruction of Jewish cantillation of Psalm 1 by Mitchell, and, in the twentieth century, compositions for performance outside the synagogue (Weiner’s Yiddish version of Psalm 1 and Bernstein’s use of Psalm 2 in Chichester Psalms). Christian compositions are more prolific , especially from the sixteenth century onwards. Liturgical compositions include those by Merbecke, Tallis, Beale, and Elgar, and metrical psalms by Sternhold and Hopkins, Lawes, Tate and Brady, Watts, and Charles Wesley. Non-liturgical compositions include those by Schütz, Handel, and Mendelssohn. Twentieth-century liturgical examples include those in the Gelineau Psalter, Psalm Praise and Rachmaninov’s All Night Liturgy; modern compositions for the concert hall include Williams (Psalm 2) and Goodall (Psalm 1). The more secular musical ‘performance’ of both psalms, independent of either faith tradition, has made them more universally known.
Joseph M. Ortiz
- Published in print:
- 2011
- Published Online:
- August 2016
- ISBN:
- 9780801449314
- eISBN:
- 9780801460920
- Item type:
- chapter
- Publisher:
- Cornell University Press
- DOI:
- 10.7591/cornell/9780801449314.003.0001
- Subject:
- Literature, Shakespeare Studies
This introductory chapter provides an overview of the book's key themes. This book aims to recover the multiplicity of ideas about music in Renaissance England, arguing that Shakespeare is extremely ...
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This introductory chapter provides an overview of the book's key themes. This book aims to recover the multiplicity of ideas about music in Renaissance England, arguing that Shakespeare is extremely skeptical about the claims to authority made on their behalf. It documents the ways in which Shakespeare denaturalizes his culture's presumptions about music, both in the text of the plays and in their musical performances. It argues that the plays of Shakespeare reveal connections between theories of music and specific ideological ends. Throughout, the book presents examples that throw into relief the ideological and cultural presumptions behind theories of music. Rather than approach music in Shakespeare's plays as a code to be deciphered, the book examines the ideological implications of musical codes themselves.Less
This introductory chapter provides an overview of the book's key themes. This book aims to recover the multiplicity of ideas about music in Renaissance England, arguing that Shakespeare is extremely skeptical about the claims to authority made on their behalf. It documents the ways in which Shakespeare denaturalizes his culture's presumptions about music, both in the text of the plays and in their musical performances. It argues that the plays of Shakespeare reveal connections between theories of music and specific ideological ends. Throughout, the book presents examples that throw into relief the ideological and cultural presumptions behind theories of music. Rather than approach music in Shakespeare's plays as a code to be deciphered, the book examines the ideological implications of musical codes themselves.
Elizabeth Hellmuth Margulis
- Published in print:
- 2013
- Published Online:
- January 2014
- ISBN:
- 9780199990825
- eISBN:
- 9780199357871
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199990825.003.0006
- Subject:
- Music, Psychology of Music
Performers have unique experiences of musical repetition due to the extensive motor involvement and the hours they spend playing and replaying passages in the practice room. A large part of musical ...
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Performers have unique experiences of musical repetition due to the extensive motor involvement and the hours they spend playing and replaying passages in the practice room. A large part of musical training involves the close imitation of particular sound sequences, giving performers a unique perspective on repetition. Additionally, they have interesting choices to make with regard to notated repetitions; do they manipulate unfixed expressive parameters differently each time a score instructs them to repeat, or do they attempt to fix elements like expressive timing and dynamics and replicate them as closely as possible with each iteration? This chapter examines evidence suggesting that performers actively seek to highlight the perceptual roles of repetition outlined in the other chapters.Less
Performers have unique experiences of musical repetition due to the extensive motor involvement and the hours they spend playing and replaying passages in the practice room. A large part of musical training involves the close imitation of particular sound sequences, giving performers a unique perspective on repetition. Additionally, they have interesting choices to make with regard to notated repetitions; do they manipulate unfixed expressive parameters differently each time a score instructs them to repeat, or do they attempt to fix elements like expressive timing and dynamics and replicate them as closely as possible with each iteration? This chapter examines evidence suggesting that performers actively seek to highlight the perceptual roles of repetition outlined in the other chapters.
Jerrold Levinson
- Published in print:
- 2015
- Published Online:
- April 2015
- ISBN:
- 9780199669660
- eISBN:
- 9780191800771
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199669660.003.0009
- Subject:
- Philosophy, Aesthetics
This chapter provides an account of what the vocal interpretation of a jazz standard consists in; of how such an interpretation functions in context; and of what is communicated by such an ...
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This chapter provides an account of what the vocal interpretation of a jazz standard consists in; of how such an interpretation functions in context; and of what is communicated by such an interpretation. How does the listener understand what is conveyed by a jazz version of a song, through the narrowly musical choices involved, but also the voice, body, and gestures, of the singer? And in what way does jazz vocal interpretation of a standard differ most importantly from jazz instrumental interpretation of a standard? In the last part of the chapter some of the points made and positions taken are illustrated in connection with an array of performances of a well-known standard, Cole Porter’s “You’d Be So Nice to Come Home To.”Less
This chapter provides an account of what the vocal interpretation of a jazz standard consists in; of how such an interpretation functions in context; and of what is communicated by such an interpretation. How does the listener understand what is conveyed by a jazz version of a song, through the narrowly musical choices involved, but also the voice, body, and gestures, of the singer? And in what way does jazz vocal interpretation of a standard differ most importantly from jazz instrumental interpretation of a standard? In the last part of the chapter some of the points made and positions taken are illustrated in connection with an array of performances of a well-known standard, Cole Porter’s “You’d Be So Nice to Come Home To.”
Tina K. Ramnarine
- Published in print:
- 2020
- Published Online:
- June 2020
- ISBN:
- 9780190611538
- eISBN:
- 9780190611576
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190611538.003.0006
- Subject:
- Music, History, Western
Records are instrumental in analyzing the history of performing traditions from the twentieth century onward and they have implications for theorizing virtuosity. There is a rich archive facilitating ...
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Records are instrumental in analyzing the history of performing traditions from the twentieth century onward and they have implications for theorizing virtuosity. There is a rich archive facilitating the comparison of different recorded interpretations of Sibelius’s Violin Concerto in D Minor (op. 47). This chapter discusses select recorded examples of Sibelius’s violin concerto beginning with Jascha Heifetz’s 1935 recording, which is a key moment in the history of this work. It then turns to examples of particular historical interest by Anja Ignatius, Ida Haendel, and Haimo Haitto. Key topics include musical biography, the child prodigy, and women virtuosos carving out a new vista of gender equality in the twentieth century. The discussion highlights issues around interpretation that inform listening to recordings and studying the concerto as a performer.Less
Records are instrumental in analyzing the history of performing traditions from the twentieth century onward and they have implications for theorizing virtuosity. There is a rich archive facilitating the comparison of different recorded interpretations of Sibelius’s Violin Concerto in D Minor (op. 47). This chapter discusses select recorded examples of Sibelius’s violin concerto beginning with Jascha Heifetz’s 1935 recording, which is a key moment in the history of this work. It then turns to examples of particular historical interest by Anja Ignatius, Ida Haendel, and Haimo Haitto. Key topics include musical biography, the child prodigy, and women virtuosos carving out a new vista of gender equality in the twentieth century. The discussion highlights issues around interpretation that inform listening to recordings and studying the concerto as a performer.
Peter Townsend
- Published in print:
- 2019
- Published Online:
- November 2019
- ISBN:
- 9780198848400
- eISBN:
- 9780191882968
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780198848400.001.0001
- Subject:
- Physics, History of Physics
Music is an international key aspect of humanity which impacts life, from love songs to religion, politics, and warfare. Changes in culture and developments in science drove musical progress from ...
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Music is an international key aspect of humanity which impacts life, from love songs to religion, politics, and warfare. Changes in culture and developments in science drove musical progress from printing and distribution to instrumental improvements, innovation, and the acoustics of buildings and concert halls. Every aspect increased public demand and changed compositional styles, plus heightened the need for virtuosic star performers. Conversely, the attempts to record and distribute music inspired the growth of recording systems, microphones, and electronic amplifiers, which has resulted in the electronically dominated world as we now know it. The book maps these continuous changes and how they have influenced musical evolution, and it not only explores the past, but attempts to predict the near future in terms of the potential for new electronic instruments and the ongoing shifts between recording and broadcasting techniques (tapes, vinyl, CDs, streaming, etc.), together with their impact on, and the survival of, the music industry. Examples of changes for keyboard, string, and brass instruments, current understanding of voice production, hearing, and brain processing of music are all discussed. This book is for those interested in all aspects of music, from classical to jazz and pop. It does not require either scientific or musical backgrounds, but it will enhance enjoyment of music, and reveal the probable future of musical trends.Less
Music is an international key aspect of humanity which impacts life, from love songs to religion, politics, and warfare. Changes in culture and developments in science drove musical progress from printing and distribution to instrumental improvements, innovation, and the acoustics of buildings and concert halls. Every aspect increased public demand and changed compositional styles, plus heightened the need for virtuosic star performers. Conversely, the attempts to record and distribute music inspired the growth of recording systems, microphones, and electronic amplifiers, which has resulted in the electronically dominated world as we now know it. The book maps these continuous changes and how they have influenced musical evolution, and it not only explores the past, but attempts to predict the near future in terms of the potential for new electronic instruments and the ongoing shifts between recording and broadcasting techniques (tapes, vinyl, CDs, streaming, etc.), together with their impact on, and the survival of, the music industry. Examples of changes for keyboard, string, and brass instruments, current understanding of voice production, hearing, and brain processing of music are all discussed. This book is for those interested in all aspects of music, from classical to jazz and pop. It does not require either scientific or musical backgrounds, but it will enhance enjoyment of music, and reveal the probable future of musical trends.
Erik Ryding and Rebecca Pechefsky
- Published in print:
- 2001
- Published Online:
- October 2013
- ISBN:
- 9780300087130
- eISBN:
- 9780300129274
- Item type:
- book
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300087130.001.0001
- Subject:
- Music, History, Western
Bruno Walter, one of the greatest conductors in the twentieth century, lived a fascinating life in difficult times. This book starts by describing Walter's early years in Germany, where his successes ...
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Bruno Walter, one of the greatest conductors in the twentieth century, lived a fascinating life in difficult times. This book starts by describing Walter's early years in Germany, where his successes in provincial theaters led to positions at the Berlin State Opera and the Vienna State Opera. It then tells of his decade-long term as Bavarian music director and his romantic involvement with the soprano Delia Reinhardt; his other positions in the musical community until he was ousted from Germany when the Nazi Party came to power in 1933; and his return to Vienna, where he was artistic director of the Opera House until he was again forced out by the Nazis. Finally it examines his career in the United States, where he led the New York Philharmonic and other orchestras and in his last years made numerous recordings with the Columbia Symphony Orchestra, an ensemble created especially for him. The book makes use of the thousands of unpublished letters in the Bruno Walter Papers, now in the New York Public Library for the Performing Arts.Less
Bruno Walter, one of the greatest conductors in the twentieth century, lived a fascinating life in difficult times. This book starts by describing Walter's early years in Germany, where his successes in provincial theaters led to positions at the Berlin State Opera and the Vienna State Opera. It then tells of his decade-long term as Bavarian music director and his romantic involvement with the soprano Delia Reinhardt; his other positions in the musical community until he was ousted from Germany when the Nazi Party came to power in 1933; and his return to Vienna, where he was artistic director of the Opera House until he was again forced out by the Nazis. Finally it examines his career in the United States, where he led the New York Philharmonic and other orchestras and in his last years made numerous recordings with the Columbia Symphony Orchestra, an ensemble created especially for him. The book makes use of the thousands of unpublished letters in the Bruno Walter Papers, now in the New York Public Library for the Performing Arts.
