Martin van Schaik Livres

This topical examination of a key moment in modern architecture pointedly and critically evaluates the role of the neo-avant-garde in today’s world. International in scope and exhaustive in detail, the book explores important exponents of "visionary" and "utopian" architecture in the closing juncture of the modernist era, coinciding with the cultural upheavals and social transformations of the 1960s and ’70s. By revisiting "New Babylon," the magnum opus of the Dutch painter Constant Nieuwenhuys, whose vision of a situationist urban environment made him one of the most influential artists of this time, this collection of essays re-examines decisive work by Yona Friedman, the Archigram group, the Italian Radicals Superstudio and Archizoom, Koolhaas/Zenghelis and the Office for Metropolitan Architecture, and Léon Krier. Timely, in-depth essays and exhaustive project documentations trace the decline of avant-garde projects in architecture. The result is a significant work of architectural theory and history, which will interest anyone studying ideologies of the past and dreaming the cities of tomorrow.

The series ‘Bibliographies of Ancient Musical Instruments and Music Cultures’, of which the present compilation by Martin van Schaik is the first volume, provides a long-expected research tool for the study of archaeological and/or historical musical instruments, and related music cultures. Music Archaeology is still an emerging discipline, and combines a variety of long-established and newly developed scientific approaches that are sometimes unrelated in conventional academic activities. Consequently researchers are often faced with published information that is widely dispersed, often in rather rare journals and books, and it can take decades to reach a satisfactory overview in any given cultural/historical area. Fortunately a number of music archaeologists, concentrating on specific topics since the 1980s and 1990s, have compiled bibliographical surveys. It is the purpose of the present series to make this valuable information more widely available. Of course no single volume can claim to be exhaustive. But we do hope to present here the most important works, and many particular studies, that are otherwise easily overlooked or even remain unrecognized.

Der in Fachkreisen wohlbekannte Sankt Galler Klosterlehrer Notker Labeo, Notker III. oder Teutonicus (ca. 950–1022), hinterließ als erster in Westeuropa eine Reihe umfangreicher Werke, in denen er viele musikalische Fachtermini aus der lateinischen und griechischen Sprache in die Volkssprache (das Althochdeutsche) übersetzte und ausführlich kommentierte. Der vorliegende Band untersucht Notkers Kommentar und ermöglicht neue Einsichten in Bezug auf die Musik des 10. und 11. Jahrhunderts. Die Untersuchungen sollen unseren Kenntnisstand über Musikinstrumente, aber auch über Spielbezeichnungen, Klangbezeichnungen, Namen von Personen, Völkern und mythischen Gestalten in Beziehung zur Musik, Gattungen und Incipits erweitern. Eine Konkordanz der Notkerschen Musik Termini, verbunden mit einem Kommentar, welcher die Lemmata knapp in ihrem musikgeschichtlichen Kontext darstellt, erwies sich als die hierfür meist adäquate Darstellungsform. Der Band trägt damit zur Ergänzung und Revision des aktuellen musikhistorischen Forschungsstands bei.