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The Oxford Companion to Music, tenth edition.
The Oxford Companion to Music is a music reference book in the series of Oxford Companions produced by the Oxford University Press. It was originally conceived and written (almost single-handedly) by Percy Scholes and published in 1938. Since then, it has undergone two distinct rewritings, one by Denis Arnold, in 1983, and the latest edition by Alison Latham in 2002. It is "arguably the most successful book on music ever produced" (Wright, p.99).
[edit] Single volume edition by Percy Scholes
The first edition, a single volume work, was produced in 1938, edited by Percy Scholes, and written almost entirely by him alone. This work took him six years to produce and consisted of over a million words (exceeding the length of the Bible).
Scholes tried, wherever possible, to use primary source material, rather than summarising other people's work and his preface to the First Edition describes how he played and read through thousands of sheets of music, as well as reading thousands of concert programmes and studying "old literature and long-bygone musical journals". From this research, he produced about fifty-five volumes of notes, each devoted to a separate branch of musical knowledge. He then sought peer review of each of these volumes with specialists in the particular branch of musical knowledge. Finally, these volumes were broken up and re-constituted in alphabetical order.
Scholes' intention was to produce a work which was of relevance to a wide range of readers, from the professional musician to the concert-goer, "gramaphonist", or radio-listener. His work was aimed at a reader for whom it "will neither be beyond the scope of his pocket nor embarrass him by a manner of expression so technical as to add new puzzles to the puzzle which sent him to the book". The result was a work which was highly accessible to the general reader, as well as being of use to the specialist.
Scholes' style, whilst being scholarly and well-researched, was also sometimes quirky and opinionated. For instance, his original articles on some of the twentieth century composers were highly dismissive, as were his articles on genres such as jazz. His entry on the Can-can concludes "Its exact nature is unknown to anyone connected with this Companion."
He produced several revisions prior to his death (in 1958), with the last full revision being the 9th edition in 1955. The Tenth Edition, published in 1970, was a revision of Scholes' work by John Owen Ward. Ward considered it "inappropriate to change radically the characteristic rich anecdotal quality of Dr. Scholes' style" and, although he brought some of the articles up to date, he left much of Scholes' distinctive work intact.
[edit] New Oxford Companion to Music
The New Oxford Companion to Music, 1983
In 1983 a wholly revised two volume work, titled The New Oxford Companion to Music, was introduced. This was edited by Denis Arnold who made extensive use of other specialist contributors, some 90 in all. The work was significantly broader in coverage than Scholes' original (there was for instance a perceptive article on Bob Dylan), and is the most extensively illustrated of the three versions.
Arnold expressed his intention of adhering to Scholes’ principles and indeed included much of Scholes’ material in the new work. Nevertheless, he cut out much of the personal opinion and quirkiness which was characteristic of the original, but which increasingly appeared politically incorrect[vague] and Eurocentric. For instance, he substantially increased the coverage of female composers and performers, who were almost totally absent from Scholes' work.
There were no further revisions of this version, probably due to Arnold's own early death in 1986, and the relative unpopularity in some circles[vague] of the bulk and expense of a two volume work.
[edit] 2002 revision
The Oxford Companion to Music, 2002 edition
In 2002, a third work was produced. This one, edited by Alison Latham, goes back to the original title and to the single-volume format.
Latham assembled her own team of over 120 contributors, some of whom had contributed to the prior (Arnold) edition, and others drawn from her own previous editing work (for example on the Grove Concise Dictionary of Music). This edition consists of some 7400 articles and aims to bring the work up-to-date, for example, in its coverage of areas such as electronic music and computers.
The 2002 revision is, indeed, more up to date, handier and more affordable than its predecessor.[vague] However, the 2002 revision abridges the text and eliminates most of the illustrations and on certain subjects is clearly[citation needed] less useful.
[edit] References
- Arnold, Denis (1983). The New Oxford Companion to Music : Volume 1: A-J; Volume 2: L-Z. Oxford: OUP. ISBN 0-19-311316-3
- Latham, Alison, ed. (2002). The Oxford Companion to Music. London: Oxford University Press. ISBN 0-19-866212-2. OCLC 59376677.
- Scholes, Percy A. (1938). The Oxford Companion to Music: Self-indexed and with a Pronouncing Glossary. London: OUP.
- Wright, Simon (1998). "Oxford University Press and Music Publishing: A 75th Anniversary Retrospective." Brio 35, 2 (Autumn-Winter), p. 89-100.
 Oxford Music Online This is a tutorial on Oxford Music Online. Oxford Music Online offers users the ability to access and cross-search the vast resources of Oxford's music reference in one location. The cornerstone of this database is Grove Music Online which provides the full texts of five music reference titles including The New Grove Dictionary of Music and Musicians, 2nd Edition and The Oxford Companion to Music. Oxford Music Online also features the Encyclopedia of Popular Music, the most comprehensive reference work devoted exclusively to popular music. Search and browse capabilities allow users to refine their results by source, and specific era or subject category. Users can also choose to view biographies, subject entries, or images when searching or browsing. |  Nebo Philharmonic Orchestra - Sobre Las Olas Nebo Philharmonic Orchestra - performing Sobre Las Olas (Over the Waves) on March 11, 2011. The waltz "Sobre las Olas" (or "Over the Waves") is the best known work of Mexican composer Juventino Rosas (1868--1894). It "remains one of the most famous Latin American pieces worldwide," according to the "Latin America" article in The Oxford Companion to Music. This classic waltz has often been mistakenly thought by many to be Viennese, and frequently attributed to Johann Strauss II. It was first published by Rosas in 1884 when he was in New Orleans, Louisiana with the popular Mexican band at the World Cotton Centennial World's Fair. It was later republished in Mexico and Europe in 1888, and 1891; these later years are sometimes incorrectly given as the piece's first publication date. It remains popular as a classic waltz, and has also found its way into New Orleans Jazz and Tejano music. The song remains popular with country and old-time fiddlers in the United States. |  Taiwan Taipei Shilin Xingfu Street rubbish collection Part One April 2011.AVI At last - Taipei rubbish collection on film! All the usual suspects out, including barking nut-case dog! Part One - recycling truck: compost in blue bucket, leftovers in red bucket, plastics in one bag, packaging in other bag, dead umbrellas to rubbish officer. Part Two to come - the rubbish truck... The recycling truck music? "A Maiden's Prayer" by Polish composer Tekla Bądarzewska-Baranowska (1834-1861). Thank you Wikipedia, who cite this wonderful review by Percy Scholes (The Oxford Companion to Music (9th edition, reprinted 1967)): "...[In her] brief lifetime [Bądarzewsk] accomplished, perhaps, more than any composer who ever lived, for she provided the piano of absolutely every tasteless sentimental person in the so-called civilised world with a piece of music which that person, however unaccomplished in a dull technical sense, could play. It is probable that if the market stalls and back-street music shops of Britain were to be searched The Maiden's Prayer would be found to be still selling, and as for the Empire at large, Messrs. Allen of Melbourne reported in 1924, sixty years after the death of the composer, that their house alone was still disposing of 10000 copies a year." |  Schumann: Fantasiestücke for Piano & Clarinet (200th Birthday Tribute) On June 8th, 2010, the world will celebrate the 200th birthday of master composer Robert Alexander Schumann. This is my tribute to him as one of the most inspiring composers (to me, at least) of 19th century Romanticism. The recording is live... Enjoy! High Definition mp3 of the full work is available for free at www.whosthatguy.com (CORRECTION This concert was in March of 2007... NOT 2006.) Sheets: imslp.org PERFORMERS: Piano - Maestro Alexandre Rabinovitch-Barakovsky www.rabinovitch-barakovsky.com Clarinet - yours truly, Bryan A. Crumpler http ABOUT SCHUMANN: "Robert Schumann,[1] sometimes given as Robert Alexander Schumann,[2] (8 June 1810 -- 29 July 1856) was a German composer, aesthete and influential music critic. He is one of the most famous and important Romantic composers of the 19th century." "Schumann was born in Zwickau, Saxony, the fifth and last child of the family[3]. Schumann began to compose before the age of seven, but his boyhood was spent in the cultivation of literature as much as music -- undoubtedly influenced by his father, August Schumann, a bookseller, publisher, and novelist." "Schumann's interest in music was kindled when he was a child by the performance of Ignaz Moscheles playing at Karlsbad, and he later developed an interest in the works of Ludwig van Beethoven, Franz Schubert and Felix Mendelssohn." "Schumann exerted considerable influence in the nineteenth century and beyond, despite his adoption of more conservative modes of composition ... |  Into the Music -- Multimedia Étude no. 1 Live Performance Version This work was awarded the Rayson Huang Scholarship in Music 2009-2010 at University of Hong Kong. Performed at Loke Yew Hall, University of Hong Kong, on april 15th 2009, under the University Artist Scheme. Unfortunately, due to several technical problems during the performance, I do not have a proper video and audio recording of the live performance. The audio monitoring and PA systems always affect the results of a performance, in my case, drastically. I decided to use the original audio. The violin sound is computer generated, what a pity, if I had a good recording I would have the sound of Mrs Yao. This rendition is an attempt to demonstrate what could have happened in the first live performance of this work if the audio system worked properly. Joao Marcos Gomes Mascarenhas: Composition and Keyboards. Yao Jue: Violin Into the Music -- Multimedia Étude No. 1 According to Paul Griffiths, mixed media and multimedia are "terms invented in the 1960s to cover performances of the time combining live music with other means of expression: recorded or electronic music, dance, speech, lighting, video or film display, etc." [Griffiths, Paul. "mixed media." In The Oxford Companion to Music, edited by Alison Latham. Oxford Music Online, www.oxfordmusiconline.com (accessed April 9, 2009)] Into the Music -- Multimedia Étude no. 1 is my first attempt to compose and produce such artwork. In order to realize my artistic decisions at low cost, knowledge about computer software managing ... |  My Choice - Juventino Rosa: Over the Waves (Loveliest Night. The waltz "Sobre las Olas" (or "Over the Waves") is the best known work of Mexican composer Juventino Rosas (1868--1894). It "remains one of the most famous Latin American pieces worldwide," according to the "Latin America" article in The Oxford Companion to Music. It was first published by Rosas in 1888. It remains popular as a classic waltz, and has also found its way into New Orleans Jazz and Tejano music. The song remains popular with country and old-time fiddlers in the United States. Rosas was born in Santa Cruz de Galeana, Guanajuato, now renamed Santa Cruz de Juventino Rosas. Rosas began his musical career as a street musician and playing with dance music bands in Mexico City. Most of Rosas's compositions—among them "Sobre las Olas" ("Over the Waves") were issued by Wagner y Levien and Nagel Sucesores in Mexico City. In the late 1880s, Rosas is reported to have been a member of a military band. In 1894 he went for a several-month tour to Cuba with an Italian-Mexican ensemble, where he came down with major health problems and had to stay behind in Surgidero de Batabanó. As a result of spinal myelitis he died there at the age of 26. Fifteen years later, in 1909, his remains were brought back to Mexico. "The Loveliest Night of the Year", which was sung by Ann Blyth in MGM's film The Great Caruso. It remains popular with country and old-time fiddlers in the United States. Music is copyrighted by its corresponding owners. No infringement of copyright is meant and if it ... |  Over the waves My version of "over the waves", learnt from the Kenny Baker track on the album "Portrait of a bluegrass fiddler". The waltz "Sobre las Olas" (or "Over the Waves") is the best known work of Mexican composer Juventino Rosas (1868--1894). It "remains one of the most famous Latin American pieces worldwide," according to the "Latin America" article in The Oxford Companion to Music. It was first published by Rosas in 1888[1]. It remains popular as a classic waltz, and has also found its way into New Orleans Jazz and Tejano music. The song remains popular with country and old-time fiddlers in the United States. |  Prog Rock Track (HQ-Sound) All4sounds-2010 Eric1love instrumental Guitar Psychadelic Progressive rock Groove October 21st 2010 Progressive rock (also referred to as prog rock or prog) is a subgenre of rock music[1] that developed in the late 1960s and early 1970s as part of a "mostly British attempt to elevate rock music to new levels of artistic credibility."[2] Progressive rock bands pushed "rock's technical and compositional boundaries" by going beyond the standard rock or popular verse-chorus-based song structures. The Oxford Companion to Music states that progressive rock bands "...explored extended musical structures which involved intricate instrumental patterns and textures and often esoteric subject matter."[3] Additionally, the arrangements often incorporated elements drawn from classical, jazz, and world music. Instrumentals were common, while songs with lyrics were sometimes conceptual, abstract, or based in fantasy. Progressive rock bands sometimes used "concept albums that made unified statements, usually telling an epic story or tackling a grand overarching theme."[2] Progressive rock developed from late 1960s psychedelic rock, as part of a wide-ranging tendency in rock music of this era to draw inspiration from ever more diverse influences. The term was initially applied to the music of bands such as King Crimson, Yes, Genesis, Jethro Tull, Pink Floyd, Soft Machine, and Emerson, Lake & Palmer,[2] reaching its peak of popularity in the mid 1970s. |  George Dyson - Concerto "leggiero" for piano and strings (2/3) Sir George Dyson (1883 - 1964) was a well-known English musician and composer. His son is the physicist Freeman Dyson and his grandchildren are the science historian George Dyson and Esther Dyson. He was born in Halifax, Yorkshire on 28 May 1883 and died in Winchester 28 September 1964. He attended the Royal College of Music and was a winner of the Mendelssohn Travelling Scholarship which enabled him to spend some years in Italy and Germany. in 1914 he joined the Royal Fusiliers, and during this time wrote a widely-used training pamphlet on the use of grenades. After being invalided home with shell-shock in 1916 and recovering, he joined the Royal Air Force and became involved in their military bands. In 1921 he took up posts as music master at Wellington College and as professor of composition at the Royal College of Music. He then worked for thirty years as a school music teacher (at Rugby, Wellington and Winchester), before being appointed as Director of the Royal College of Music in 1937. He received a knighthood in 1941 and was made a Knight Commander of the Royal Victorian Order (KCVO) in 1953. His compositions include a symphony in G major (1937), a violin concerto, and a number of other works, many of them for choir. Ernest John Moeran's symphony of the same decade (and completed the same year) has some similarities of style and ambition with Dyson's. Both are among the longest works of each at about 45 minutes, and both show some influence, harmonically and in ... |  George Dyson - Concerto "leggiero" for piano and strings (1/3) Sir George Dyson (1883 - 1964) was a well-known English musician and composer. His son is the physicist Freeman Dyson and his grandchildren are the science historian George Dyson and Esther Dyson. He was born in Halifax, Yorkshire on 28 May 1883 and died in Winchester 28 September 1964. He attended the Royal College of Music and was a winner of the Mendelssohn Travelling Scholarship which enabled him to spend some years in Italy and Germany. in 1914 he joined the Royal Fusiliers, and during this time wrote a widely-used training pamphlet on the use of grenades. After being invalided home with shell-shock in 1916 and recovering, he joined the Royal Air Force and became involved in their military bands. In 1921 he took up posts as music master at Wellington College and as professor of composition at the Royal College of Music. He then worked for thirty years as a school music teacher (at Rugby, Wellington and Winchester), before being appointed as Director of the Royal College of Music in 1937. He received a knighthood in 1941 and was made a Knight Commander of the Royal Victorian Order (KCVO) in 1953. His compositions include a symphony in G major (1937), a violin concerto, and a number of other works, many of them for choir. Ernest John Moeran's symphony of the same decade (and completed the same year) has some similarities of style and ambition with Dyson's. Both are among the longest works of each at about 45 minutes, and both show some influence, harmonically and in ... |
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La Copa Criterio
Fri, 11 May 2012 23:45:27 -0700
Bitrán participó en el equipo de traductores del diccionario especializado The Oxford Companion to Music, publicado por el Fondo de Cultura Económico en 2009 y ha traducido gran cantidad de artículos para revistas especializadas.
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