There are two main French speaking groups in Canada: the Québécois and the lesser-known Acadians, who have a fascinating but tragic history in Canada. After failing to establish a post on St Croix Island (present-day Maine) in 1604, the Acadians became the first French colonial group to settle on Canadian soil in 1605 (in present-day Nova Scotia), three years prior to the arrival of the Québécois.
We can get so bogged down with mysterious notation that we miss the point of the score: the composer’s message. Obsession over details—why did the composer use newly available extra keys in one piece but not another? Why did the composer use particular articulation in this spot but fail to maintain consistency later?
Rebecca Clarke (1886-1979) is most commonly known as a violist and composer, in particular for her famous Viola Sonata (1919), which has remained one of the most significant in the instrument’s repertoire since its composition. Her Shorter Pieces for viola and piano, as well as a number of solo songs, have gained increasing recognition since the turn of the millennium, as more of her music has begun to be published and researched.
Whether you’re new to the stage or eagerly counting down the days until the curtains lift, explore some of our recent titles looking behind the scenes of musical theater.
Like many aspects of choral composition, choosing the words is a combination of practical and creative considerations. If you want your music to be performed (and most composers do!), thinking about who might sing the words, and on what occasion, is as important as their inspirational qualities.
When I look back at my childhood, I see that I was just starting down the path that has defined the music I write: I was trying to find places between my cultural identities that felt resonant to me. TāReKiṬa is one of those resonant places.
Already during the initial spread of the coronavirus pandemic during the early months of 2020, when the organizers of the Eurovision Song Contest determined the world’s largest and most extravagant musical competition could not take place in May, plans were underway for its return a year later, on 22 May, 2021 in Rotterdam. The intervening year was one of introspection.
I first became aware of the work of Edna St. Vincent Millay after composer Alison Willis set one of her poems (‘The Ballad of the Harp-Weaver’) for Juice Vocal Ensemble, a group I co-founded with fellow singers and composers, Kerry Andrew and Anna Snow. The collection from which this particular poem is taken won Millay the Pulitzer Prize for Poetry in 1923 and helped to further consolidate her blossoming career not only as a poet but also as a writer of plays and short stories, receiving mass-recognition under the pseudonym, Nancy Boyd.
We all know the joyful anticipation of that exciting phrase. Whether getting ready for a “race” with my granddaughter or waiting for the gun at the start of a half-marathon, just the thought of it brings a bit of an adrenaline rush. This mindset transcends culture, space, and time, and presents itself structurally in Classical Era music.
OUP have recently announced our support for the newly created SHAPE initiative—Social Sciences, Humanities, and the Arts for People and the Economy. To further understand the crucial role these subjects play in our everyday lives, we have put three questions to four British Academy SHAPE authors and editors—social and cultural historian Lucy Noakes, historian of objects and faith Eyal Poleg, historical sociolinguist Laura Wright, and Lecturer in Contemporary Art History Mary Kelly—on what SHAPE means to them, and to their research.
November 2018 saw the release of the first ever professional recording of Arthur Sullivan’s oratorio, The Light of The World, based on Biblical texts and focused on the life and teaching of Jesus. The critical reaction to this work, which had been largely ignored and rarely performed for over 140 years, was extraordinary.
It’s April Fool’s Day, which means the time has come to reveal the winner of the 20th anniversary edition of Grove Music Online’s Spoof Article Contest.
Musicians from Haydn to Liszt were captivated by the rich tone and mechanical refinement of the pianos and harps invented by Sébastien Erard, whose firm dominated nineteenth-century musical life. Erard was the first piano builder in France to prioritise the grand piano model, a crucial step towards creating a modern pianistic sonority.
This second part of our Q&A with Sophie Goldsworthy, Director of Content Strategy & Acquisitions at OUP, and Professor Julia Black CBE FCA, Strategic Director of Innovation and Professor of Law at the London School of Economics and Political Science, and President-elect of the British Academy, reflects on how SHAPE disciplines can help us to understand the impact of the events of the pandemic and look towards the future of SHAPE.
Research for Transcending Dystopia over the course of almost a decade was truly a journey, piecing together disparate snippets that have been transmitted in different repositories to gain insight into the musical practices and lives of Jews in postwar Germany. Among the 26 archives and private collections I consulted, two experiences stand out—the first being somewhat unusual, the second being quite extraordinary.
OUP is excited to support the newly created SHAPE initiative—Social Sciences, Humanities, and the Arts for People and the Economy. SHAPE has been coined to enable us to clearly communicate the value that these disciplines bring to not only enriching the world in which we live, but also enhancing our understanding of it. In the first instalment this two-part Q&A, we spoke to Sophie Goldsworthy and Professor Julia Black to find out more about SHAPE and what it means to them.