Inicio The Oxford Handbook of Music and Medievalism de Stephen C. Meyer (Editor); Kirsten Yri (Editor) (ISBN: 9780190658441)

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The Oxford Handbook of Music and Medievalism Tapa dura - 2020

Name: The Oxford Handbook of Music and Medievalism
Price: 211.63 GBP
Availability: InStock
Author: Meyer, Stephen C. (Editor)/ Yri, Kirsten (Editor)
ISBN: 9780190658441

de Stephen C. Meyer (Editor); Kirsten Yri (Editor)

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Detalles

Título The Oxford Handbook of Music and Medievalism
Autor Stephen C. Meyer (Editor); Kirsten Yri (Editor)
Encuadernación Tapa dura
Páginas 848
Volúmenes 1
Idioma ENG
Editorial Oxford University Press, USA
Fecha de publicación 2020-03-02
ISBN 9780190658441 / 0190658444
Peso 3.2 libras (1.45 kg)
Dimensiones 9.8 x 6.9 x 2 pulgadas (24.89 x 17.53 x 5.08 cm)
Temas
- Chronological Period: Medieval (500-1453) Studies
Library of Congress subjects Music, Music - History and criticism
Número de catálogo de la Librería del Congreso de EEUU 2019955815
Dewey Decimal Code 780.903

Acerca del autor

Stephen C. Meyer is Professor of Musicology at the University of Cincinnati's College-Conservatory of Music. He is the author of Carl Maria von Weber and the Search for a German Opera (2003) and Epic Sound: Music in Postwar Hollywood Biblical Films (2015) as well as numerous articles on topics ranging from nineteenth-century German opera to film music to the history of recorded sound. He is editor of Music in Epic Film: Listening to Spectacle (2016), and from 2014 to 2018 he served as the Editor-in-Chief for the Journal of Music History Pedagogy.

Kirsten Yri is Associate Professor of Musicology at the Faculty of Music at Wilfrid Laurier University in Canada. She has published widely on the role of the early music revival and the intersections between music and medievalism in American Music, Intersections, Early Music, and Women and Music. Her work on medievalism and rock music (Dead Can Dance, Black Sabbath, and Corvus Corax) has been published in Current Musicology, Popular Music, and Postmedieval. Her recent research examines parody, gender, and social programs in Carl Orff's Trionfi against a context of German contemporary literary and philosophical debates.