Europe 1789 to 1914 Volume 5: Encyclopedia of the Age of Industry and Empire
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For example, volume 1 opens with a seven-page introductory essay that provides a snapshot of Europe's post history. In addition, each of the five volumes contains a set of nine maps, including ones depicting the "Versailles Settlement," "The Gulag at Its Zenith," and "Post Europe. Additionally, an eight-page section of color plates with a particular theme for example, "Popular Culture," "Soviet Union and Communism" is contained in each volume.
Finally, volume 5 has a detailed index, which facilitates access to the main text. Engaging and highly readable, the encyclopedia should appeal to general readers and students and scholars of European history. It is recommended for academic and large public libraries. All rights reserved. Convert currency.
Books to Get You Started - European History - Research Guides at Thompson Rivers University Library
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Book Description Cengage Gale. A copy that has been read, but remains in excellent condition. Pages are intact and are not marred by notes or highlighting, but may contain a neat previous owner name. World Eras e-Book Series. Volume 1: European Renaissance and Reformation, Volume 2: the Rise and Spread of Islam, This link opens in a new window. Volume 3: Roman Republic and Empire, B. This link opens in a new window. Volume 4: Medieval Europe, Volume 5: Ancient Egypt, B. Volume 6:Classical Greek civilization, B.
In Philosophie ward, one finds sections of metric irregularity-that der neuen Musik ; Philosophy of modern is, with a shifting sense of where the "downbeats" music , he too argued that Schoenberg and fall-as well as sections of superimposed patterns, Stravinsky were at the polarized extremes of con- each internally consistent but combined to form temporary music. For Adorno, however, Stravinsky's cycles of polyrhythniic activity. The first of the composer's period-delimiting "crises" was precipitated by the outbreak of World Given the dichotomy described above, it came War I in and exacerbated by' the Russian as a surprise to many that in Stravinsky's third com- Revolution of The result was what he positional phase he adopted a method closely described as his "loss of Russia and its language associated with Schoenberg: serialism.
It must be ofwords as well as of music" Stravinsky and Craft, stressed that serialism is neither a "style" nor a p. During the years that followed, as he lived monolithic system.
It is a pliable method whereby first in Switzerland and then in a composer establishes an ordering of musical ele- France , his so-called second musical ments-most commonly notes, or more precisely style developed: the neoclassic. Generally speaking, the intervals between the notes-that will become neoclassic music imitates that of the past-espe- referential for a work. Those who appropriated the cially that of the baroque and high classical periods method adapted it to their idiomatic inclinations, as of the eighteenth century-but more by translating did Stravinsky, who fashioned many distinctive pro- the older idioms into those of the present day than cedures.
As for the "crisis" that brought about this by exactly replicating the older styles. If the music new orientation, Stravinsky remarked later that it was steeped in counterpoint and textures reminis- was a product of the intense period of over three cent of the baroque, the motto "Back to Bach" was years in which he was immersed in The Rake s Prog- often attached. Stravinsky's foray into neoclassicism ress. That is, having exhausted himself in the has been associated with the composition of var- consummation of three decades of work in neoclas- ious works, including the ballet Pulcinella , sicism, he needed a creative change.
Other factors which Stravinsky himself later suggested as a turn- also played a role. After World War II serialism had ing point.
The new style was confirmed with the been adopted by many of the composers deemed Octet for Wind Instruments ; its zenith most "progressive," especially in parts of Europe. In came in , with the completion of The Rake s , when Stravinsky visited Europe for the first Progress, an opera that harkened back to Wolfgang time in a dozen years, he became aware that he was Amadeus Mozart Craft, Robert. Stravinsky: Glimpses of a Life. New York, Another important influence came in the form The Stravinsky Legacy. Cambridge, U. Craft Cross, Jonathan, ed.
The Cambridge Companion to Stra- had joined the Stravinsky household in , where vinsky. Craft later affirmed that he had been a catalyst for Joseph, Charles M. Stravinsky Inside Out. New Haven, the work the composer undertook in this period. As Conn. For example, the Sep- Taruskin, Richard.
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Berkeley, its passacaglia and gigue movements. On the other Calif. France,