305 products were found matching your search for Polyphony in 4 shops:

This is the latest volume in the critically acclaimed Polyphony anthology series. Featuring a mix of established and new authors, this edition offers 21 original works of short fiction.

A Modern Classic ReinventedThe module has the same controls with the same the same ease of use as the keyboard version. Best of all, it sounds just as awesome, because it's exactly the same on the inside - Dave Smith's reimagining of his now-classic Prophet '08 poly synth.The Prophet Rev2 retains all of the key features of the Prophet '08 and expands on them. It has twice the polyphony, twice the mod matrix, waveshape modulation on all waveforms, digital effects per layer in stacked or split voi

A Modern Classic ReinventedThe module has the same controls with the same the same ease of use as the keyboard version. Best of all, it sounds just as awesome, because it's exactly the same on the inside - Dave Smith's reimagining of his now-classic Prophet '08 poly synth.The Prophet Rev2 retains all of the key features of the Prophet '08 and expands on them. It has twice the polyphony, twice the mod matrix, waveshape modulation on all waveforms, digital effects per layer in stacked or split voi

Polyphony associated with the Parisian cathedral of Notre Dame marks a historical turning point in medieval music. Yet a lack of analytical or theoretical systems has discouraged close study of twelfth- and thirteenth-century musical objects, despite the fact that such creations represent the beginnings of musical composition as we know it. Is musical analysis possible for such medieval repertoires? Catherine A. Bradley demonstrates that it is, presenting new methodologies to illuminate processes of musical and poetic creation, from monophonic plainchant and vernacular French songs, to polyphonic organa, clausulae, and motets in both Latin and French. This book engages with questions of text-music relationships, liturgy, and the development of notational technologies, exploring concepts of authorship and originality as well as practices of quotation and musical reworking.

Polyphony is a new biannual anthology of original short fiction. Featuring a mix of established and new writers, Polyphony Volume 1 offers a dozen stories that skate gracefully across the boundaries of science fiction, fantasy, magic realism, and literary fiction.

Polyphony Jasper Blom Quartet - LP 4055388386693

Polyphony Jasper Blom Quartet - CD 7061111331066

INTRODUCTION It’s been a long, strange road since the first volume of Polyphony was conceived by the dashboard lights along the lonely miles of I-5 in the Willamette Valley. Two and a half years have gone by, three volumes have been published in the series, markets have changed, production technology has evolved, and somehow, our book has found a home in genre. When Polyphony first took off, it was on a wing and a prayer, with the help of a few dozen supporters and a hell of a lot of hope. New Weird was not the topic of the hour, the definition of slipstream was even more arguable than it is now. The phrase "interstitial arts" hadn't crept into the critical lexicon, let alone spawned a foundation or a conference. We weren't even sure whether to call Polyphony "cross-genre" or "slipstream" or "literary with a genre sensibility" (the last being the least elegant but most descriptive). As Supreme Court Justice Potter STewart said in another context, "We know it when we see it." We weren’t the first. Lady Churchill’s Rosebud Wristlet, Leviathan and Strange Horizons, to name several, had charted this oh-so-literate genre territory before us. We haven’t necessarily been the best—only the years will tell that. But we have been privileged to make a mark, and perhaps even set a standard, for a kind of fiction that many wanted to write, and many more wanted to read. We could fill this book thanking all the mentors, authors, publishers, reviewers, critics, booksellers, friends, fans, and family members that have helped drive that winding road. Instead we thought we’d fill this book with stories. Curl up and read. That’s what we’ll be doing because we still love short fiction. Deborah Layne and Jay Lake Portland, Oregon July, 2004

INTRODUCTION It’s been a long, strange road since the first volume of Polyphony was conceived by the dashboard lights along the lonely miles of I-5 in the Willamette Valley. Two and a half years have gone by, three volumes have been published in the series, markets have changed, production technology has evolved, and somehow, our book has found a home in genre. When Polyphony first took off, it was on a wing and a prayer, with the help of a few dozen supporters and a hell of a lot of hope. New Weird was not the topic of the hour, the definition of slipstream was even more arguable than it is now. The phrase "interstitial arts" hadn't crept into the critical lexicon, let alone spawned a foundation or a conference. We weren't even sure whether to call Polyphony "cross-genre" or "slipstream" or "literary with a genre sensibility" (the last being the least elegant but most descriptive). As Supreme Court Justice Potter STewart said in another context, "We know it when we see it." We weren’t the first. Lady Churchill’s Rosebud Wristlet, Leviathan and Strange Horizons, to name several, had charted this oh-so-literate genre territory before us. We haven’t necessarily been the best—only the years will tell that. But we have been privileged to make a mark, and perhaps even set a standard, for a kind of fiction that many wanted to write, and many more wanted to read. We could fill this book thanking all the mentors, authors, publishers, reviewers, critics, booksellers, friends, fans, and family members that have helped drive that winding road. Instead we thought we’d fill this book with stories. Curl up and read. That’s what we’ll be doing because we still love short fiction. Deborah Layne and Jay Lake Portland, Oregon July, 2004

Polyphony associated with the Parisian cathedral of Notre Dame marks a historical turning point in medieval music. Yet a lack of analytical or theoretical systems has discouraged close study of twelfth- and thirteenth-century musical objects, despite the fact that such creations represent the beginnings of musical composition as we know it. Is musical analysis possible for such medieval repertoires? Catherine A. Bradley demonstrates that it is, presenting new methodologies to illuminate processes of musical and poetic creation, from monophonic plainchant and vernacular French songs, to polyphonic organa, clausulae, and motets in both Latin and French. This book engages with questions of text-music relationships, liturgy, and the development of notational technologies, exploring concepts of authorship and originality as well as practices of quotation and musical reworking.

The overall aim of this book is the application of stylistic theories and frameworks to literary texts for a deeper level of interpretation. For this purpose the author conducted an analysis based upon the concepts of ‘polyphony’ and ‘focalization’ of three novels from different literary periods commonly labeled ‘Pre-modernism’, ‘Modernism’, and ‘Postmodernism’, namely, George Eliot’s Middlemarch (1871-2), Joseph Conrad’s Nostromo (1904), and Saul Bellow’s Herzog (1964). Inspired by the work of Russian linguist-philosopher Mikhail Bakhtin the author attempts to clarify stylistically how polyphony is textualized in each novel and how each mode of polyphony reflects less parochial literary and cultural trends.

Polyphony is a new biannual anthology of original short fiction. Featuring a mix of established and new writers, Polyphony Volume 1 offers a dozen stories that skate gracefully across the boundaries of science fiction, fantasy, magic realism, and literary fiction.

Book is in Used-VeryGood condition. Pages and cover are clean and intact. Used items may not include supplementary materials such as CDs or access codes. May show signs of minor shelf wear and contain very limited notes and highlighting. 0.94

In this detailed study Simha Arom takes a new and original approach to the understanding of the complex and sophisticated patterns of polyphony and polyrhythm that characterise African music. Considering in particular the harp, sanza, xylophone and percussion music of Central Africa, Simha Arom develops a rigorous method for the analysis of the music and for the recording and deciphering of the many strands of polyphony and polyrhythm. Through a systematic breakdown of the many layers of apparently improvised rhythm he reveals the essential structure which underlies this rich and complex music. Inspired also by linguistic techniques, Professor Arom regards the music very much as a grammatical system.

In this detailed study Simha Arom takes a new and original approach to the understanding of the complex and sophisticated patterns of polyphony and polyrhythm that characterise African music. Considering in particular the harp, sanza, xylophone and percussion music of Central Africa, Simha Arom develops a rigorous method for the analysis of the music and for the recording and deciphering of the many strands of polyphony and polyrhythm. Through a systematic breakdown of the many layers of apparently improvised rhythm he reveals the essential structure which underlies this rich and complex music. Inspired also by linguistic techniques, Professor Arom regards the music very much as a grammatical system.

Book is in NEW condition. 1.41

The musical culture of the Low Countries in the early modern period was a flourishing one, apparent beyond the big cathedrals and monasteries, and reaching down to smaller parish churches. Unfortunately, very few manuscripts containing the music have survived from the period, and what we know rests to a huge extent on six music books preserved from St Peter's Church, Leiden. This book describes the manuscripts, their provenance, history and repertory, and the zeven-getijdencollege, the ecclesiastical organisations which ordered the music books, in detail. These organisations have their roots in fifteenth-century piety, founded on the initiative of individuals and town administrators throughout Holland, principally to ensure that prayers and Masses were said for those in the afterlife. Music, both chant and polyphony, played an important part in these commemorative practices; the volume also looks at the choristers and choirmasters, and how such services were organised. ERIC JAS is a lecturer in music at the university of Utrecht.

The musical culture of the Low Countries in the early modern period was a flourishing one, apparent beyond the big cathedrals and monasteries, and reaching down to smaller parish churches. Unfortunately, very few manuscripts containing the music have survived from the period, and what we know rests to a huge extent on six music books preserved from St Peter's Church, Leiden. This book describes the manuscripts, their provenance, history and repertory, and the zeven-getijdencollege, the ecclesiastical organisations which ordered the music books, in detail. These organisations have their roots in fifteenth-century piety, founded on the initiative of individuals and town administrators throughout Holland, principally to ensure that prayers and Masses were said for those in the afterlife. Music, both chant and polyphony, played an important part in these commemorative practices; the volume also looks at the choristers and choirmasters, and how such services were organised. ERIC JAS is a lecturer in music at the university of Utrecht.

Book is in Used-VeryGood condition. Pages and cover are clean and intact. Used items may not include supplementary materials such as CDs or access codes. May show signs of minor shelf wear and contain very limited notes and highlighting. 1.41

New Book. Shipped from UK. Established seller since 2000.