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Music that contains a large number of independent parts (e.g., a double concerto accompanied by 100 orchestral instruments with many interweaving melodic lines) is generally said to have a "thicker" or "denser" texture than a work with few parts (e.g., a solo flute melody accompanied by a single cello).
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David Remnick, writing in The New Yorker, praised it as "a rich, riffy, funny, and completely engaging book of essays". [13] The book was described as "absolutely one of the best books about popular music ever written" by Chris Willman in Variety. [14] Rolling Stone included it in a list of the "best music books of 2022". [15]
The essay was used in its entirety by Australian film director Baz Luhrmann on his 1998 album Something for Everybody, as "Everybody's Free (To Wear Sunscreen)". Also known as "The Sunscreen Song", [ 4 ] it samples Luhrmann's remixed version of the song " Everybody's Free (To Feel Good) " by Rozalla , and opens with the words, "Ladies and ...
Philosophy of New Music, translated by Robert Hullot-Kentor. Minneapolis: University of Minnesota Press. ISBN 0816636664. Adorno, Theodor W. 2009. Night Music: Essays on Music 1928–1962, edited by Rolf Tiedemann; translated by Wieland Hoban. London and New York: Seagull Books. ISBN 1906497214.
The musicologist Winton Dean has suggested that "music is probably the most difficult of the arts to criticise." [2] Unlike the plastic or literary arts, the 'language' of music does not specifically relate to human sensory experience – Dean's words, "the word 'love' is common coin in life and literature: the note C has nothing to do with breakfast or railway journeys or marital harmony."
In 1944, a posthumous seventh volume appeared on chamber music. In 1989, a new version was published with some essays omitted and the remainder of Volumes I-VI consolidated into two volumes. Tovey's Essays were written as introductory notes for the concert-going public and are occasionally light-hearted in tone. Nevertheless, they analyse the ...
New musicology is a wide body of musicology since the 1980s with a focus upon the cultural study, aesthetics, criticism, and hermeneutics of music. It began in part a reaction against the traditional positivist musicology—focused on primary research—of the early 20th century and postwar era.