Ravens simon (46 résultats)

Hardcover. Etat : Good. DJ will be clean and have at most light wear. Book will have been read but remains in excellent condition. Clean and tight binding. Cover may show slight wear. Contents will be clean and free from markings.

Etat : Very Good. Former library copy. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Paperback. Etat : Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Paperback or Softback. Etat : New. Tradition Is Laziness: How classical music's past can inhibit or inspire. Book.

Paperback. Etat : New.

Etat : New.

Paperback. Etat : New.

Hardcover. Etat : Brand New. 256 pages. 9.13x6.57x1.11 inches. In Stock.

Paperback. Etat : Brand New. 210 pages. 6.69x0.57x9.61 inches. In Stock.

Compact Disc. Etat : Brand New. 5.59x4.72x0.39 inches. In Stock.

Etat : New.

Paperback. Etat : New.

hardcover. Etat : Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority.

Etat : new.

Etat : New.

HRD. Etat : New. New Book. Shipped from UK. Established seller since 2000.

Paperback. Etat : New.

Etat : As New. Unread book in perfect condition.

HRD. Etat : New. New Book. Shipped from UK. Established seller since 2000.

Etat : New.

Etat : New. Covering a period from the Ancient World to the present day, the book suggests that until very recently, falsettists and counter-tenors have been distinct vocal genres. Num Pages: 254 pages, 3 black & white illustrations, 14 black & white line drawings. BIC Classification: AVGC. Category: (P) Professional & Vocational. Dimension: 243 x 157 x 21. Weight in Grams: 570. . 2014. UK ed. Hardcover. . . . . …

Etat : As New. Unread book in perfect condition.

Hardback. Etat : New. Covering a period from the Ancient World to the present day, the book suggests that until very recently, falsettists and counter-tenors have been distinct vocal genres.`The use of high male voices in the past has long been one of the most seriously misunderstood areas of musical scholarship and practice. In opening up this rich subject (to readers of all sorts) with refreshingly clear perspectives and plenty of new material, Simon Ravens' well-researched book goes a very long way to rectifying matters. Ravens writes damnably well, and if the story that emerges is necessarily a complex one, his treatment of it is always engagingly comprehensible.' ANDREW PARROTT Tracing the origins, influences and development of falsetto singing in Western music, Simon Ravens offers a revisionist history of high male singing from the Ancient Greeks to Michael Jackson. This history embraces not just singers of counter-tenor and alto parts up to and including our own time but the castrati of the Ancient world, the male sopranists of late Medieval and Renaissance Europe, and the dual-register tenors of the Baroque and Classical periods. Musical aesthetics aside, to understand the changing ways men have sung high, it is also vital to address extra-musical factors - which are themselves in a state of flux. Tothis end, Ravens illuminates his chronological survey by exploring topics as diverse as human physiology, the stereotyping of national characters, gender identity, and the changing of boys' voices. The result is a complex and fascinating history sure to appeal not only to music scholars but to performers and all those with an interest particularly in early music. Simon Ravens is a performer, writer, and director of Musica Contexta, with whom hehas performed in Britain and Europe, regularly broadcast, and made numerous acclaimed recordings. Ravens had previously founded and directed Australasia's foremost early music choir, the Tudor Consort. Between 2002 and 2007 his regular monthly column Ravens View appeared in the Early Music Review, to which he still regularly contributes.…

Hardback. Etat : New. Covering a period from the Ancient World to the present day, the book suggests that until very recently, falsettists and counter-tenors have been distinct vocal genres.`The use of high male voices in the past has long been one of the most seriously misunderstood areas of musical scholarship and practice. In opening up this rich subject (to readers of all sorts) with refreshingly clear perspectives and plenty of new material, Simon Ravens' well-researched book goes a very long way to rectifying matters. Ravens writes damnably well, and if the story that emerges is necessarily a complex one, his treatment of it is always engagingly comprehensible.' ANDREW PARROTT Tracing the origins, influences and development of falsetto singing in Western music, Simon Ravens offers a revisionist history of high male singing from the Ancient Greeks to Michael Jackson. This history embraces not just singers of counter-tenor and alto parts up to and including our own time but the castrati of the Ancient world, the male sopranists of late Medieval and Renaissance Europe, and the dual-register tenors of the Baroque and Classical periods. Musical aesthetics aside, to understand the changing ways men have sung high, it is also vital to address extra-musical factors - which are themselves in a state of flux. Tothis end, Ravens illuminates his chronological survey by exploring topics as diverse as human physiology, the stereotyping of national characters, gender identity, and the changing of boys' voices. The result is a complex and fascinating history sure to appeal not only to music scholars but to performers and all those with an interest particularly in early music. Simon Ravens is a performer, writer, and director of Musica Contexta, with whom hehas performed in Britain and Europe, regularly broadcast, and made numerous acclaimed recordings. Ravens had previously founded and directed Australasia's foremost early music choir, the Tudor Consort. Between 2002 and 2007 his regular monthly column Ravens View appeared in the Early Music Review, to which he still regularly contributes.…

Hardcover. Etat : new. Hardcover. Covering a period from the Ancient World to the present day, the book suggests that until very recently, falsettists and counter-tenors have been distinct vocal genres.`The use of high male voices in the past has long been one of the most seriously misunderstood areas of musical scholarship and practice. In opening up this rich subject (to readers of all sorts) with refreshingly clear perspectives and plenty of new material, Simon Ravens' well-researched book goes a very long way to rectifying matters. Ravens writes damnably well, and if the story that emerges is necessarily a complex one, his treatment of it is always engagingly comprehensible.' ANDREW PARROTTTracing the origins, influences and development of falsetto singing in Western music, Simon Ravens offers a revisionist history of high male singing from the Ancient Greeks to Michael Jackson. This history embraces not just singers of counter-tenor and alto parts up to and including our own time but the castrati of the Ancient world, the male sopranists of late Medieval and Renaissance Europe, and the dual-register tenors of the Baroque and Classical periods. Musical aesthetics aside, to understand the changing ways men have sung high, it is also vital to address extra-musical factors - which are themselves in a state of flux. Tothis end, Ravens illuminates his chronological survey by exploring topics as diverse as human physiology, the stereotyping of national characters, gender identity, and the changing of boys' voices. The result is a complex and fascinating history sure to appeal not only to music scholars but to performers and all those with an interest particularly in early music.Simon Ravens is a performer, writer, and director of Musica Contexta, with whom hehas performed in Britain and Europe, regularly broadcast, and made numerous acclaimed recordings. Ravens had previously founded and directed Australasia's foremost early music choir, the Tudor Consort. Between 2002 and 2007 his regular monthly column Ravens View appeared in the Early Music Review, to which he still regularly contributes. Covering a period from the Ancient World to the present day, the book suggests that until very recently, falsettists and counter-tenors have been distinct vocal genres. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Hardback. Etat : New. New copy - Usually dispatched within 4 working days.

Etat : New. In English.

Etat : New. Covering a period from the Ancient World to the present day, the book suggests that until very recently, falsettists and counter-tenors have been distinct vocal genres. Num Pages: 254 pages, 3 black & white illustrations, 14 black & white line drawings. BIC Classification: AVGC. Category: (P) Professional & Vocational. Dimension: 243 x 157 x 21. Weight in Grams: 570. . 2014. UK ed. Hardcover. . . . . Books ship from the US and Ireland. …

Hardcover. Etat : New. Brand new book, sourced directly from publisher. Dispatch time is 7-8 days from our warehouse. Book will be sent in robust, secure packaging to ensure it reaches you securely.

Hardback. Etat : New. Covering a period from the Ancient World to the present day, the book suggests that until very recently, falsettists and counter-tenors have been distinct vocal genres.`The use of high male voices in the past has long been one of the most seriously misunderstood areas of musical scholarship and practice. In opening up this rich subject (to readers of all sorts) with refreshingly clear perspectives and plenty of new material, Simon Ravens' well-researched book goes a very long way to rectifying matters. Ravens writes damnably well, and if the story that emerges is necessarily a complex one, his treatment of it is always engagingly comprehensible.' ANDREW PARROTT Tracing the origins, influences and development of falsetto singing in Western music, Simon Ravens offers a revisionist history of high male singing from the Ancient Greeks to Michael Jackson. This history embraces not just singers of counter-tenor and alto parts up to and including our own time but the castrati of the Ancient world, the male sopranists of late Medieval and Renaissance Europe, and the dual-register tenors of the Baroque and Classical periods. Musical aesthetics aside, to understand the changing ways men have sung high, it is also vital to address extra-musical factors - which are themselves in a state of flux. Tothis end, Ravens illuminates his chronological survey by exploring topics as diverse as human physiology, the stereotyping of national characters, gender identity, and the changing of boys' voices. The result is a complex and fascinating history sure to appeal not only to music scholars but to performers and all those with an interest particularly in early music. Simon Ravens is a performer, writer, and director of Musica Contexta, with whom hehas performed in Britain and Europe, regularly broadcast, and made numerous acclaimed recordings. Ravens had previously founded and directed Australasia's foremost early music choir, the Tudor Consort. Between 2002 and 2007 his regular monthly column Ravens View appeared in the Early Music Review, to which he still regularly contributes.…