Art music, orchestral and formal music Books
Edition Peters JAHRESZEITEN OP37A PIANO 12 Charakterstcke fr
Book Synopsis
£14.20
Edition Peters Missa in Angustiis Hob. XXII11 Nelson Mass
Book SynopsisComposed in 1798, Haydn''s ''Mass for Troubled Times'' was written against the backdrop of Napoleon''s campaign against the British in Egypt. It acquired its nickname the ''Nelson'' Mass, following news of the defeat of Napoleon by Admiral Lord Nelson at the Battle of the Nile in August 1798. It is one of Haydn''s greatest and most popular works. This Edition Peters vocal score is edited by Klaus Burmeister and is a library choice for any practical singer. Based on the new scholarly Edition Peters edition of the work, it contains cleanly set Latin text, a concluding essay, and matches the publisher''s orchestral materials.Missa in Angustiis Hob. XXII:11 Nelson-Messe (Klavierauszug)Haydns Messe für unruhige Zeiten entstand 1798 vor dem Hintergrund von Napoleons Feldzug gegen die Briten in Ägypten. Ihren Spitznamen Nelson-Messe erhielt sie nach der Nachricht von der Niederlage Napoleons durch Admiral Lord Nelson in der Schlacht am Nil im August 1798. Sie
£13.25
Edition Peters The Creation Hob. XXI2 Vocal Score
Book SynopsisComposed in 1797-1798, Josef Haydn''s ''The Creation'' / Die Schöpfung was one of his greatest successes, a masterwork of Enlightenment musical thought, and remains as popular now with choirs and audiences as ever. Klaus Burmeister''s authoritative edition is here presented in a classic vocal score, perfect for study or practical performance. It contains parallel English and German texts, beautifully set notation, and an informative concluding essay in German and English.Die Schöpfung Hob. XXI:2 (Klavierauszug)Haydn wurde während seiner England-Aufenthalte angeregt, ein Oratorium zu komponieren. Er war stark von den großen Oratorien Händels beeindruckt und wollte ähnliches in die mittlerweile gereifte Wiener Klassik transportieren. Die Solisten verkörpern die Erzengel und kommentieren die sechs Tage der Schöpfung. Der Chor wird meist als feierlicher Schlussakt eines Schöpfungstages eingesetzt.
£11.35
Edition Peters Mass in F minor double bass
Book SynopsisThe double bass part of Mass in F minor, one of Bruckner''s most important works, and it is also one of the most important works in the genre of mass settings. This extensive work is available here in a representative Urtext edition, edited by Rüdiger Bornhöft, in which Bruckner''s autograph and the two surviving copyist''s copies of the score have been analysed critically and the Bruckner Complete Edition has also been consulted for comparison.Dies ist die Kontrabassstimme zur Messe f-Moll für Solisten, gemischten Chor, Orchester und Orgel WAB 28 von Anton Bruckner. Sie gilt als eines der bedeutendsten Werke Bruckners. Das umfangreiche Werk liegt hier in einer neu überarbeiteten Urtextausgabe vor, herausgegeben von Rüdiger Bornhöft. Dazu wurde das Autograph Bruckners und die beiden erhaltenen Kopistenabschriften der Partitur kritisch ausgewertet und die Bruckner-Gesamtausgabe zum Vergleich herangezogen.
£11.35
Edition Peters Piano Sonata No. 14 in Csharp minor Op. 27 No. 2
Book SynopsisBeethoven's Piano Sonata No. 14 in C-sharp minor Quasi una fantasia, Op. 27, No. 2, popularly known as the Moonlight Sonata was completed in 1801 and dedicated in 1802 to his pupil, Countess Giulietta Guicciardi. This edition of the popular work is based on the thorough review of the first editions of op. 27, comparisons with its follow-up editions, and Beethoven's original manuscript.Klaviersonate Nr. 14 cis-Moll op. 27 Nr. 2 Mondschein-SonateUm die Fantasie-Sonate op. 27 Nr. 2, im Volksmund Mondscheinsonate genannt, rankt sich eine Fülle von Legenden und Betrachtungen. Die Neuausgabe des beliebten Werks beruht auf der gründlichen Durchsicht der Erstausgaben von op. 27, dem Vergleich mit ihren Folgeauflagen, den Skizzen und dem im Beethoven-Haus Bonn befindlichen Manuskript.
£8.18
Edition Peters Symphony No. 6 2010 Edition
Book SynopsisThe complete score of Gustav Mahler's Symphony No. 6 including a foreword by Reinhold Kubik. This work is made up of four movements which are ordered; Allegro, Andante, Scherzo, Finale. However, Mahler's initial idea was to place the Scherzo before the Andante and this was the way the first edition of the score was published. It was on the day of the premiere that he conducted in 1906 in Essen, Germany, that the composer decided to reverse the order.Die Ausgabe enthält die vollständige Partitur der Symphonie Nr. 6 von Gustav Mahler mit einem Vorwort von Reinhold Kubik. Dieses Werk besteht aus vier Sätzen, die in der Reihenfolge Allegro, Andante, Scherzo, Finale stehen. Ursprünglich hatte Mahler die Idee, das Scherzo vor das Andante zu setzen, und in der Form wurde auch die erste Ausgabe der Partitur veröffentlicht. Erst am Tag der Uraufführung, die er 1906 in Essen dirigierte, beschloss der Komponist, die Reihenfolge umzukehren.
£89.25
Edition Peters Sonate A minor Opus 5
Book SynopsisEnglish composer, Dame Ethel Mary Smyth was a proud member of the women's suffrage movement. Her compositions include songs, works for piano, chamber music, orchestral works, choral works and operas. This Cello Sonata in A minor, Op. 5, dates from 1887 and is suitable for intermediate cellist. Dame Ethel Mary Smyth DBE war eine englische Komponistin und ein Mitglied der Frauenwahlrechtsbewegung Anfang des 20. Jahrhunderts. Zu ihren Kompositionen gehören Lieder, Klavierwerke, Kammermusikstücke, Orchesterwerke, Chorwerke und Opern. Die Violincellosonate in a-Moll op. 5 stammt aus dem Jahr 1887 und ist für fortgeschrittene Cellistinnen und Cellisten geeignet.
£17.05
Edition Peters Les Baricades MistÃrieuses
Book Synopsis
£999.99
Edition Peters 15 Twopart Inventions
Book SynopsisThe complete two-part inventions, BWV 772-786, freely transcribed for guitar by Richard F. Sayage. The volume includes suggested fingerings and positions. Eight of the inventions have been transposed to keys more suitable for the guitar (Nos. 2, 5, 6, 8, 9, 11, 14 & 15). Sayage notes: The top line, typically played by the right hand on the keyboard, is in fact, complete. The left hand, however, has undergone some larger transformation. The feasibility of performance remains the driving issue behind said editing.' Diese freie Transkription der 15 zweistimmigen Inventionen BWV 772-786 für Gitarre ist von Richard F. Sayage. Der Band enthält Vorschläge für Fingersätze und Positionen. Acht der Inventionen wurden in für die Gitarre geeignetere Tonarten transponiert (Nr. 2, 5, 6, 8, 9, 11, 14 & 15). Sayage merkt an: Die oberste Zeile, die normalerweise von der rechten Hand auf der Klaviatur gespielt wird, ist in der Tat vollständig. Die linke Hand hat jedoch eine größere Umgestaltung erfahren. Die Durchführbarkeit der Aufführung bleibt die treibende Kraft hinter dieser Bearbeitung.
£999.99
Edition Peters Symphonie Espagnole Op.21
Book SynopsisPremiered in 1875, one month before the first performance of Georges Bizet's opera 'Carmen', Edouard Lalo's violin concerto in all but name 'Symphonie espagnole' reflected the current enthusiasm for all things Spanish. It has become one of the most popular of all works for violin and orchestra. This classic edition presents the work arranged for piano and violin with the solo part edited by Yehudi Menuhin. Contains a piano score and separate violin part.Das 1875, einen Monat vor der Uraufführung von Georges Bizets Oper Carmen, uraufgeführte Violinkonzert Symphonie espagnole d-Moll op. 21 von Édouard Lalo spiegelt die damals aktuelle Begeisterung für alles Spanische wider. Es wurde zu einem der beliebtesten Werke für Violine und Orchester überhaupt. Diese Ausgabe ist eine Bearbeitung für Klavier und Violine, die Solostimme wurde von Yehudi Menuhin herausgegeben.
£19.76
Edition Peters Phantasy Op. 47
Book SynopsisSchoenberg's Phantasy (Op. 47) for violin and piano accompaniment part of the 1978 corrected reprint. Includes separate violin part, as well as the editorial notes of the reprint corrections.Schoenbergs Phantasy for Violin with Accompaniment of the Piano op. 47 für Violine und Klavier. Bei dieser Ausgabe handelt es sich um den korrigierten Nachdruck von 1978. Die vorliegende Klavierpartitur enthält zusätzlich die Violinstimme und die Einzelnachweise zu den Korrekturen des Nachdrucks.
£17.58
Edition Peters Canon in D Arranged for Violin and Piano
Book SynopsisWhile Pachelbel was highly accomplished as a composer of organ works and Lutheran church music, his Canon in D has long been one of his most celebrated compositions. It combines two time-honoured compositional devices. The first of these is of course the canon, a procedure whereby a melody in one part is strictly imitated by one or more other parts. The second device involves a short bass line (referred to as a ground bass) that is repeated constantly, over which the composer writes continuous variations. In its original form, the work consists of an initial statement of an eight note ground bass, followed by 27 variations in strict canonic style for three violins above that bass. In addition to these four essential parts, an appropriate harmonic background would have been improvised on harpsichord, lute or organ. In the present arrangement, Pachelbel''s note values have been doubled for greater ease of reading, and the work''s canonic structure has been somewhat modified in order t
£8.90
Edition Peters Sonatas and Partitas for Violin Solo BWV 10011006
Book SynopsisThe aim of this edition is to make Bachs landmark works for solo violin accessible to viola players by presenting a musical text that remains close to the original but also has a distinctly practical focus. Additionally, it provides interpretative guidance on Baroque performance practices and how they can be applied to the viola. In this transcription, all pieces have been transposed down by a fifth, but no further changes were made.Sonaten und Partiten für Violine solo BWV 10011006 (Übertragung für Viola)Bachs Sonaten und Partiten für Violine solo gelten seit ihrer Entstehung als ein Höhepunkt der Violinliteratur. Im 19. Jahrhundert wurden sie durch Joseph Joachim einem größeren Konzertpublikum vorgestellt. Heute zeichnen sie sich durch alles aus, was ein Werkkomplex zu sein vermag: großartige Konzertliteratur, vorzügliches Studienmaterial für Schüler und nicht zuletzt Abbilder einer ausgereiften Kompositionstechnik.Das Ziel dieser Ausgabe ist es, Bra
£18.00
Edition Peters Schubert Meisterwerke am Klavier Masterpieces
Book SynopsisSchubert: Masterpieces for Piano brings together original piano works by Franz Schubert, suitable for intermediate to advanced level players. Arranged in progressive order, the collection features a mixture of favourites and lesser-known works, with a complete sonata - Sonata in A major, D664 - at the end of the book. The cover features Wasserfall mit Muhle by Austrian painter Albert Rieger (1834-1905).The Masterpieces for Piano series presents superb collections of core repertoire by the great piano composers. These beautifully produced, carefully curated editions provide pianists with an excellent overview of each composer and should be an essential part of all players' libraries. Suitable for intermediate to advanced level players.Der Band Schubert: Meisterwerke am Klavier vereint ausgewählte Original-Klavierwerke von Franz Schubert in einer Ausgabe, welche bestens für Klavierspielende auf mittlerem bis fortgeschrittenem Spielniveau geeignet sind. Enthalten ist eine spannende Mischung aus beliebten und weniger bekannten Stücken, angeordnet nach aufsteigendem Schwierigkeitsgrad. Den Abschluss bildet eine vollständige Sonate die Sonate in A-Dur D664. Das Titelbild zeigt den Wasserfall mit Mühle des österreichischen Malers Albert Rieger (18341905).Die Reihe Meisterwerke am Klavier bietet herausragende Sammlungen des Kernrepertoires großer Klavierkomponisten. Diese wunderschön gestalteten, sorgfältig kuratierten Ausgaben ermöglichen Pianistinnen und Pianisten einen umfassenden Überblick über das Schaffen des jeweiligen Komponisten und sollten in keiner Notensammlung fehlen. Geeignet für mittleres bis fortgeschrittenes Niveau.
£17.95
Edition Peters Suites for Solo Trumpet
Book Synopsis
£999.99
Faber Music GmbH Piano Works Vol. 1 Klavierwerke
Book Synopsis
£16.10
Edition Peters Clara Schumann Masterpieces for Piano
a huge range and FREE tracked UK delivery on ALL orders.
£19.51
Edition Peters Adagietto from Symphony No. 5
Book SynopsisMahler's Adagietto from Symphony No. 5, arranged for solo piano by Ian Flint. The arrangement attempts to adhere as closely as possible, in all respects, to Mahler's original score. Gustav Mahlers Adagietto aus seiner 5. Sinfonie, herausgegeben für Klavier von Ian Flint. Die Bearbeitung strebt eine möglichste Nähe zu Mahlers Originalpartitur an.
£8.95
Edition Peters Meditation from Thais Arranged for Violin and
Book SynopsisThis arrangement for violin and piano of the famous Méditation from Massenet''s opera Thaïs from Edition Peters contains separate violin and piano parts and has been arranged and edited by Roger Nichols. One of the world''s foremost authorities on the music of France, Roger Nichols has published and broadcast extensively on the music of composers such as Ravel, Satie, Debussy, Chabrier and Berlioz. In 2006 he was appointed chevalier de la Légion d''honneur for his services to French music.Thaïs, Massenet''s tenth completed opera, had its première at the Paris Opéra on 16 March 1894 with the American soprano Sibyl Sanderson in the title role. The libretto by Louis Gallet was based on Anatole France''s novel of the same name, serialized in the Revue des deux mondes in 1889 and published in book form the following year.The story tells of the conversion to Christianity of the courtesan Thaïs by the holy man Athanael, and his parallel but opposite conversion to a life dominated by lust f
£9.98
Edition Peters Trio in B flat major Op. 11
Book SynopsisTrio in B flat major Op. 11 by Ludwig van Beethoven for clarinet in B flat or violin, cello and piano. Edited by Carl Herrmann and Paul Grümmer. Score and parts.Trio in B-Dur op. 11 von Ludwig van Beethoven für Klarinette in B oder Violine, Violoncello und Klavier. Herausgegeben von Carl Herrmann und Paul Grümmer. Partitur und Stimmen.
£17.58
Edition Peters Le tombeau de Couperin for Piano
Book SynopsisNew Urtext Edition of the music of Maurice Ravel by Roger Nichols. In preparing this Urtext edition of Ravel''s piano music, Roger Nichols consulted no fewer than 14 sources - including sound recordings by Ravel himself and other pianists with whom the composer worked. As a result he is uniquely qualified to evaluate the complexity of the sources and, with this edition, has provided today''s pianists with the tools to make their own well-informed performance choices about this infinitely-rewarding repertoire. This volume contains Le tombeau de Couperin, Ravel''s elegy for friends who had died in the First World War. Contains a preface in French, English and German, critical commentary, and authoratitive text of the score.Le tombeau de Couperin für KlavierNeue Urtextausgabe der Musik von Maurice Ravel von Roger Nichols. Bei der Erstellung dieser Urtextausgabe von Ravels Klaviermusik hat Roger Nichols nicht weniger als 14 Quellen herangezogen darunter To
£15.15
Edition Peters Concerto No. 1 in B flat minor Op.23
Book SynopsisTchaikovsky Piano Concerto No. 1 in B flat minor (Op. 23), abridged and arranged for piano solo by Noel Fisher.Tschaikowskys 1. Klavierkonzert in B-Moll op. 23, gekürzt und arrangiert für Klavier solo von Noel Fisher.
£9.45
Edition Peters 3 Popular Pieces from Cantatas BWV 140 147 208
Book SynopsisArrangements for piano duet by Leonard Duck of 3 of Bach''s most famous pieces from his Cantatas: Jesu, Joy of Man''s Desiring; Sheep May Safely Graze; Sleepers, Wake. Landscape performance to facilitate performance.3 beliebte Stücke aus d. Kantaten BWV 140, 147, 208 (Bearb. f. Klavier zu 4 Hd.)Jesus bleibet meine Freude, Schafe können sicher weiden, Wachet auf
£12.30
Edition Peters Waltzes for Piano
Book SynopsisA new Urtext critical edition of Chopin''s numerous Waltzes, edited by Christophe Grabowski.There is evidence to suggest that waltzes featured among Chopin''s very first and last compositions alike. This volume includes the eight Waltzes published during Chopin''s lifetime followed by those released after 1849. An Appendix includes variant versions based on other major sources. The Complete Chopin, ''A New Critical Edition'' from Edition Peters is a landmark in the publication of this composer''s music. Three of the world''s most respected Chopin specialists have been appointed as Series Editors: John Rink, Jim Samson and Jean-Jacques Eigeldinger. With further expertise provided by Christophe Grabowski, the Editorial Consultant, their unrivalled collective knowledge imbues this project with unique authority, drawing upon the latest international scholarship to ensure the stylistic integrity and consistency of the edition. Key Features include:An introductory essay in
£999.99
Edition Peters 13 NOCTURNES PIANO
Book Synopsis
£22.46
Edition Peters 10 Voluntaries Op.6
Book SynopsisOrgan Voluntaries, Vol. 2, Op. 6, by John Stanley is a collection 10 organ voluntaries and the second of 3 volumes. The complete work, The Thirty Organ Voluntaries provide examples of several well defined forms of composition. These are as follows: cornet voluntary, trumpet voluntary, echo voluntary and full voluntary,Ten Organ Voluntaries op. 6, Band 2, von John Stanley ist eine Sammlung von 10 Orgelvoluntaries und der erste von drei Bänden. Das Gesamtwerk The Thirty Organ Voluntaries bietet Beispiele für verschiedene Kompositionsformen wie Cornet Voluntary, Trumpet Voluntary, Echo Voluntary und Full Voluntary.
£22.46
Dantone Invisible Rainbows
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£16.80
Independently Published Concerto in C Minor, Wq 31
Book Synopsis
£7.95
Independently Published Concerto in C Minor, Wq 37
Book Synopsis
£7.95
Independently Published OperEnsemble12, Il Trovatore (G.Verdi): Reduced
Book Synopsis
£25.65
Luncheon Magazine Ltd The Hinterland of the Senses
£11.40
Edition Peters 40 Daily Exercises Op.337
Book SynopsisCzerny''s 40 Daily Exercises (Op. 337) is a collection of studies for piano to help improve student''s technique and performance abilities. Czerny''s own instructions above the studies read: ''Each repetition should be played 20 times without interruption,'' or other numbers of repetitions. ''Daily Exercises'' does not mean that all 40 studies are to be played every day, but the composer recommends that about one hour be devoted to studying part of them every day, requiring about three or four days to get through all 40 of them.Czernys 40 Tägliche Übungen op. 337 ist eine Sammlung von Klavierübungen zur Verbesserung der Technik und der Spielfähigkeit des Lernenden. Czernys eigene Anweisungen zu den Übungen lauten: Jede Wiederholung sollte 20 Mal ohne Unterbrechung gespielt werden oder eine andere Anzahl von Wiederholungen. Tägliche Übungen bedeutet nicht, dass alle 40 Übungen jeden Tag gespielt werden sollen, aber der Komponist empfiehlt, jed
£14.21
Edition Peters The Art of Finger Dexterity Op. 740 699 for Piano
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£26.06
Edition Peters 60 Studies for Piano Selected and ed. by Hans von
Book SynopsisJohann Baptist Cramer''s 60 Selected Studies, for Solo Piano. These studies are an excellent preparation for passage-work, as well as being interesting pieces in their own right.60 Etüden für Klavier, ausgewählt und hg. von Hans von BülowIm Gegensatz zu vielen seiner technisch sehr anspruchsvollen Kompositionen sind Cramers Etüden von eher einfacher Struktur. Hans Bülow überarbeitete diese Etüden, die seit jeher ihren festen Platz in der Unterrichtsliteratur einnehmen.
£20.36
University of California Press Musical Meaning
Book SynopsisRanging widely over classical music, jazz, popular music, and film and television music, Musical Meaning uncovers the historical importance of asking about meaning in the lived experience of musical works, styles, and performances. Lawrence Kramer has been a pivotal figure in the development of new resources for understanding music. In this accessible and eloquently written book, he argues boldly that humanistic, not just technical, meaning is a basic force in music history and an indispensable factor in how, where, and when music is heard. He demonstrates that thinking about music can become a vital means of thinking about general questions of meaning, subjectivity, and value. First published in 2001, Musical Meaning anticipates many of the musicological topics of today, including race, performance, embodiment, and media. In addition, Kramer explores music itself as a source of understanding via his composition Revenants for piano, revised for this edition and available on the UC Table of ContentsList of Illustrations Acknowledgments Introduction. Sounding Out: Musical Meaning and Modern Experience 1. Hermeneutics and Musical History: A Primer without Rules, an Exercise with Schubert 2. Hands On, Lights Off: The "Moonlight" Sonata and the Birth of Sex at the Piano 3. Beyond Words and Music: An Essay on Songfulness 4. Franz Liszt and the Virtuoso Public Sphere: Sight and Sound in the Rise of Mass Entertainment 5. Rethinking Schumann’s Carnaval: Identity, Meaning, and the Social Order 6. Glottis Envy: The Marx Brothers' A Night at the Opera 7. Hercules' Hautboys: Mixed Media and Musical Meaning 8. The Voice of Persephone: Musical Meaning and Mixed Media 9. Powers of Blackness: Jazz and the Blues in Modern Concert Music 10. Long Ride in a Slow Machine: The Alienation Effect from Weill to Shostakovich 11. Chiaroscuro: Coltrane’s American Songbook 12. Ghost Stories: Cultural Memory, Mourning, and the Myth of Originality Notes Index
£27.00
Cornell University Press Singing Like Germans
Book SynopsisIn Singing Like Germans, Kira Thurman tells the sweeping story of Black musicians in German-speaking Europe over more than a century. Thurman brings to life the incredible musical interactions and transnational collaborations among people of African descent and white Germans and Austrians. Through this compelling history, she explores how people reinforced or challenged racial identities in the concert hall. Throughout the nineteenth and twentieth centuries, audiences assumed the categories of Blackness and Germanness were mutually exclusive. Yet on attending a performance of German music by a Black musician, many listeners were surprised to discover that German identity is not a biological marker but something that could be learned, performed, and mastered. While Germans and Austrians located their national identity in music, championing composers such as Bach, Beethoven, and Brahms as national heroes, the performance of their works by Black musicTrade ReviewSinging Like Germans is a superb piece of historical research enlivened by its author's deep fascination with her subject matter. This book will be fascinating to a wide body of readers who are interested in classical music, German history, and African American history. * New York Journal of Books *Thurman's exacting research, synthesizing a kaleidoscope of source material, paints a rich portrait of Black classical music-making in Europe spanning well over a century. Filled with compelling accounts of the contradictions inherent in classical music's universalist claims, Singing Like Germans demonstrates that the lives of Black classical musicians cannot be reduced to a narrative of struggle. * Boston Review *Sometimes, a book comes along that completely breaks new ground—a total eye-opener. And that's the book called Singing Like Germans. It's meticulously researched, but the writing style goes down like water. Most importantly, it uncovers a story of people and a performance practice and rebuilds an unknown period in music history. * NPR *In Singing Like Germans, the historian Kira Thurman adds a new dimension to the story by focusing on African American classical musicians who studied, performed, or settled in German-speaking Europe, offering valuable insights into how Germans viewed these Black artists. * New York Review of Books *We love history like this that explores how people reinforced or challenged racial identities in specific circumstances. * East Bay Booksellers, Oakland, CA *Thurman's study of Black musicians is an indispensable and foundational achievment. Thurman's work represents a monumental and necessary step towards rewritng the history of German music. * Monatshefte *With Singing Like Germans, Thurman joins Naomi Adele André, author of Black Opera, at the vanguard of cultural histories reexamining musical production and consumption through the lens of critical race theory. * Los Angeles Review of Books *Table of ContentsIntroduction Part I: 1870–1914 1. How Beethoven Came to Black America: German Musical Universalism and Black Education after the Civil War 2. African American Intellectual and Musical Migration to the Kaiserreich 3. The Sonic Color Line Belts the World: Constructing Race and Music in Central Europe Part II: 1918–1945 4. Blackness and Classical Musicin the Age of the Black Horror on the Rhine Campaign 5. Singing Lieder, Hearing Race: Debating Blackness, Whiteness, and German Music in Interwar Central Europe 6. "A Negro Who Sings German Music Jeopardizes German Culture": Black Musicians under the Shadow of Nazism Part III: 1945–1961 7. "And I thought they were a decadent race": Denazification, the Cold War, and (African) American Involvement in Postwar West German Musical Life 8. Breaking with the Past: Race, Gender, and Opera after 1945 9. Singing in the Promised Land: Black Musicians in the German Democratic Republic Conclusion
£18.04
Boydell & Brewer Ltd Music and Instruments of the Elizabethan Age: The
Book SynopsisUses the rare depictions of musical instruments and musical sources found on the Eglantine Table to understand the musical life of the Elizabethan age and its connection to aspects of culture now treated as separate disciplines of historical study. The reign of Elizabeth I (1558-1603) has often been regarded as the Golden Age of English music. Many works of high quality, both vocal and instrumental, were composed and performed by native and immigrant musicians, while balladry and minstrelsy flourished in hall, street and alehouse. No single source of the sixteenth century presents this rich musical culture more vividly than the inlaid surface of the Eglantine Table. This astonishing piece of furniture was made in the late 1560s for the family of Elizabeth or 'Bess' of Hardwick, Countess of Shrewsbury (1527-1608). The upper surface bears a wealth of marquetry that depicts, amidst the briar roses and other plants, numerous Elizabethan musical instruments in exquisite detail together with open books or scrolls of music with legible notation. Given that depictions of musical instruments and musical sources are rare in all artistic media of the Elizabethan period, the Eglantine Table is a very important resource for understanding the musical life of the age and its connection to aspects of culture now treated separately in disciplines such as art history, social and political history or the study of material culture. This volume assembles a group of leading scholars in the history of instruments and associated fields to ground future research upon the most expert assessment of the depicted instruments, the music and the decorative imagery that is currently attainable. A final section of the book takes a broad view, placing the Table and the musical components of its decoration in relation to the full range of Elizabethan musical life.Trade ReviewThe book is beautifully produced [...] copiously illustrated throughout [...] the book represents a major contribution to knowledge of the cultural history of England during the early years of Elizabeth I's reign. * JOURNAL OF THE AMERICAN MUSICAL INSTRUMENT SOCIETY *It is a delight to see an entire book devoted to this one item from myriad viewpoints. -- JOURNAL OF BRITISH STUDIESTable of ContentsList of Illustrations Foreword Acknowledgements Note to the Reader Abbreviations Introducing the Eglantine Table The Table: models and artistic context Botany, the Table and Hardwick New Hall The playing cards and gaming boards The writing implements The music in staff notation The book of lute tablature 'A full and lively pourtraiture': The Table as evidence for Tudor musical instruments The bowed instruments and bows The gittern or guitar The cittern The lute The harp The wind instruments The Table and the music of the 1560s Pipers, Fiddlers and the Musical Lives of the Majority Tables of the Mind Appendix 1: The renovation of the Eglantine Table by Tankerdale Ltd, 1996 Appendix 2: The Table in the context of furnishings in Bess of Hardwick's houses Glossary List of Contributors Select Bibliography Index
£42.75
Boydell & Brewer Ltd A Medieval Songbook: Trouvère MS C
Book SynopsisDetailed exploration of an enigmatic manuscript containing the texts to hundreds of songs, but no musical notation. The medieval songbook known variously as trouvère manuscript C or the "Bern Chansonnier" (Bern, Burgerbibliothek, Cod. 389) is one of the most important witnesses to musical life in thirteenth-century France. Almost certainly copied in Metz, it provides the texts to over five hundred Old French songs, and is a unique insight into cultures of song-making and copying on the linguistic and political borders between French and German-speaking lands in the Middle Ages. Notably, the names of trouvères, including several female poet-musicians, are found in its margins, names which would be unknown today without this evidence. However, the manuscript has received relatively little scholarly attention, partly because the songs' musical staves remained empty for reasons now unknown, and partly because of where it was copied. This collection of essays is the first to consider C on its own terms and from a range of disciplinary perspectives, including philology, art history, literary studies, and musicology. The contributors explore the process of creating the complex object that is a music manuscript, examining the work of the scribes and artists who worked on C, and questioning how scribes acquired and organised exemplars for copying. The peculiarly Messine flavour of the repertoire and authors is also discussed, with contributors showing that C frames the tradition of Old French song from a unique perspective. As a whole, the volume demonstrates how in this eastern hub of music and poetry, poet-composers, readers, and scribes interacted with the courtly song tradition in fascinating and unusual ways.Table of ContentsIntroduction Elizabeth Eva Leach, Joseph W. Mason, and Matthew P. Thomson 1. The Trouvère Manuscripts of the Bern Burgerbibliothek Florian Mittenhuber, translated by Henry Hope 2. The Lorraine Repertoire of C Mélanie Lévêque-Fougre 3. Chansonnier C: Contents, Stemmatic Position, Particularities Paola Moreno 4. A Note on the Decoration of C and its Artistic Context Alison Stones 5. Author Ascriptions and Genre Labels in C Luca Gatti 6. Common Exemplars of U and C Robert Lug 7. Shared Small Sources for Two Early Fourteenth-Century Metz Chansonniers? Elizabeth Eva Leach 8. The Legacy of Thibaut de Champagne in C Daniel E. O'Sullivan 9. Strategies of Appropriation in Jacques de Cambrai's Devotional Contrafacts Christopher Callahan 10. Jeux-Partis and their Contrafacts in C Joseph W. Mason 11. C and Polyphonic Motets: Exemplars, Adaptations, and Scribal Priorities Matthew P. Thomson Appendix: List of Songs in C Bibliography of Works Cited General Index
£76.00
Boydell & Brewer Ltd Demystifying Scriabin
Book SynopsisAn innovative contribution to Scriabin studies, covering aspects of Scriabin's life, personality, beliefs, training, creative output, and interaction with contemporary Russian culture. This book is an innovative contribution to Alexander Scriabin (1872-1915) studies, covering aspects of Scriabin's life, personality, beliefs, training, creative output, as well as his interaction with contemporary Russian culture. It offers new and original research from leading and upcoming Russian music scholars. Key Scriabin topics such as mysticism, philosophy, music theory, contemporary aesthetics, and composition processes are covered. Musical coverage spans the composer's early, middle and late period. All main repertoire is being discussed: the piano miniatures and sonatas as well as the symphonies. In more detail, chapters consider: Scriabin's part in early twentieth-century Russia's cultural climate; how Scriabin moved from early pastiche to a style much more original; the influence of music theory on Scriabin's idiosyncratic style; the changing contexts of Scriabin performances; new aspects of reception studies. Further chapters offer: a critical understanding of how Scriabin's writings sit within the traditions of Mysticism as well as French and Russian Symbolism; a new investigation into his creative compositional process; miniaturism and its wider context; a new reading of the composer's mysticism and synaesthesia. Analytical chapters reach out of the score to offer an interpretative framework; accepting new approaches from disability studies; investigating the complex interaction of rhythm and metre and modal interactions, the latent diatonic 'tonal function' of Scriabin's late works, as well as self-regulating structures in the composer's music.Table of ContentsIntroduction: Demystifying Scriabin Kenneth Smith & Vasilis Kallis Part I. Shaping Creativity 1 About That Chord, and about Scriabin as a Mystic Simon Morrison 2 Scriabin and the Russian Silver Age Rebecca Mitchell 3 Scriabin as a Writer: The Development of Scriabin's Thought as Shown in a Lifetime's Writings Simon Nicholls 4 Russian Pedagogy in Composition and Music Theory during Scriabin's Creative Period Kostantin Zenkin 5 Studying Scriabin's Autographs: Reflections of the Creative Process Pavel Shatskiy Part II. The Music as Prism 6 Scriabin's Miniaturism Stephen Downes 7 The Scriabin Tremor and Its Role in His Oeuvre Inessa Bazayev 8 Demystifying the Mystic Vasilis Kallis 9 Temporal Perspectives in Scriabin's Late Music Antonio Grande 10 Scriabin's Multi-dimensional Accelerative Sonata Forms Kenneth Smith 11 Setting Mystical Forces in Motion: The Dialectics of Scale-Type Integration in Three Late Works Ross Edwards Part III. Reception and Tradition 12 Scriabin's Synaesthesia: the Legend, the Evidence, and Its Implications for Multimedia Counterpoint Anna Gawboy 13 Playing Scriabin: Reality and Enchantment Marina Frolova-Walker 14 Scriabin and Music Analysis: The Search for the Holy Grail Vasilis Kallis & Kenneth Smith 15 Scriabin and the Classical Tradition Ildar Khannanov 16 Scriabin's Critical Reception: 'Genius or madman?' James Kreiling Bibliography Index
£96.13
Boydell & Brewer Ltd The New Reynard: Three Satires: Renart le
Book SynopsisA translation of three works from the second half of the 13th century: Rutebeuf's Renart le Bestourné, the anonymous Le Couronnement de Renart and Jacquemart Gielée's Renart le Nouvel. These savage and highly entertaining satires are in a league of their own, and Renart le Nouvel contains important music which is reproduced in the text. Rarely can a medieval work have resonated with the mood of the present as uncannily as do these three satires. Acerbic, raging and finally apocalyptic, these poems from the second half of the thirteenth century, richly entertaining and wickedly comic though they are, express a vision of the world and its descent into corruption and disaster which mirrors our own state of rampant alarm. The animal tales of the 12th- and 13th-century Roman de Renart - the Romance of Reynard the Fox - were immensely popular. Any satire in those original tales was generally light of touch, but the characters created in them, fox and wolf and ass and lion to name but four, were an open invitation to anyone of a more scathing satirical bent. The poet Rutebeuf, in his short but startling Renart le Bestourné ('Reynard Transformed'), deploys the beasts to make a venomous attack on the mendicant orders and on 'Saint' Louis IX of France. The anonymous Le Couronnement de Renart ('Reynard Crowned') then has the Fox crowned king, establishing a reign of every vice. And most ambitiously of all, Jacquemart Gielée in his Renart le Nouvel ('The New Reynard'), gripped by an increasingly pervasive sense of apocalypse, ends his poem with the Fox, the epitome of deceit and lying, not merely crowned king, but seated in permanent, malign control of the world atop a chocked, unturning Fortune's Wheel. The New Reynard is of special interest not only to students of medieval literature but also to musicologists. Music, in the form of numerous songs, plays an important part in Renart le Nouvel's satirical and apocalyptic message, and the poem is renowned as the most abundant source of late medieval refrains. The notations have survived, and the music is edited in this volume by Matthew P. Thomson.Table of ContentsIntroduction Reynard Transformed Reynard Crowned The New Reynard Love, and love songs Hope ... and the opposite Entertainment Satire general, satire specific Authors, Dates, Manuscripts and Editions Translating the verse The Refrains in Renart le Nouvel Further Reading Reynard Transformed Renart le Bestourné Reynard Crowned Le Couronnement de Renart The New Reynard Renart le Nouvel Index
£66.50
Boydell & Brewer Ltd Minstrels and Minstrelsy in Late Medieval England
Book SynopsisA major new study piecing together the intriguing but fragmentary evidence surrounding the lives of minstrels to highlight how these seemingly peripheral figures were keenly involved with all aspects of late medieval communities.Minstrels were a common sight and sound in the late Middle Ages. Aristocrats, knights and ladies heard them on great occasions (such as Edward I's wedding feast for his daughter Elizabeth in 1296) and in quieter moments in their chambers; town-dwellers heard and saw them in civic processions (when their sound drew attention to the spectacle); and even in the countryside people heard them at weddings, church-ales and other parish celebrations. But who were the minstrels, and what did they do? How did they live, and how easily did they make a living? How did they perform, and in what conditions? The evidence is intriguing but fragmentary, including literary and iconographic sources and, most importantly, the financial records of royal and aristocratic households and of towns. These offer many insights, although they are often hard to fit into any coherent picture of the minstrels' lives and their place in society. It is easy to see the minstrels as peripheral figures, entertainers who had no central place in the medieval world. Yet they were full members of it, interacting with the ordinary people around them, as well as with the ruling classes: carrying letters and important verbal messages, some lending huge sums of money to the king (to finance Henry V's Agincourt campaign in 1415, for instance), some regular and necessary civic servants, some committing crimes or suffering the crimes of others. In this book Rastall and Taylor bring to bear the available evidence to enlarge and enrich our view of the minstrel in late medieval society.
£35.99
Springer Quantum Mechanics and AvantGarde Music
Book Synopsis1. Introduction.- 2. Correlations in timeline.- 3. Entropy in the development of tonality.- 4. Heisenberg's uncertainty principle and aleatoric technique in music.- 5. Phenomena of Silence, 0 and Void.- 6. Performance as experiment.
£22.49
Cornell University Press Franz Liszt
Book SynopsisThe third volume in Alan Walker's magisterial biography of Franz Liszt.Trade Review"Alan Walker's biography of Liszt ... has been widely hailed as a groundbreaking work of scholarship... Not only did his dogged research correct numerous, mostly damaging preconceptions about Liszt, but his cogent musical analyses made the case for the importance of the music... Love him or hate him as a saint or a sinner, Liszt still has the capacity to stir great passions ... and Mr. Walker has done a great service in correcting many misconceptions and thus raising the question about the true character of Liszt."-Johanna Keller, The New York Times. January 14, 2001 "A conscientious scholar passionate about his subject. Mr. Walker makes the man and his age come to life. These three volumes will be the definitive work to which all subsequent Liszt biographies will aspire."-Harold C. Schonberg, Wall Street Journal "What distinguishes Walker from Liszt's dozens of earlier biographers is that he is equally strong on the music and the life. A formidable musicologist with a lively polemical style, he discusses the composer's works with greater understanding and clarity than any previous biographer. And whereas many have recycled the same erroneous, often damaging information, Walker has relied on his own prodigious, globe-trotting research, a project spanning twenty-five years. The result is a textured portrait of Liszt and his times without rival."-Elliot Ravetz, Time "You can't help but keep turning the pages, wondering how it will all turn out: and Walker's accumulated readings of Liszt's music have to be taken seriously indeed."-D. Kern Holoman, New York Review of Books "The prose is so lively that the reader is often swept along by the narrative... This three-part work ... is now the definitive work on Liszt in English and belongs in all music collections."-Library Journal
£22.79
Nimbus Publishing (CN) The Raga Guide
Book Synopsis
£999.99
Taylor & Francis Ltd Singing and Dictation for Todays Musician
Book SynopsisSinging and Dictation for Today''s Musician expands the Today''s Musician family of textbooks to encompass the essential elements of musicianship and aural skills training. Featuring chapters that correspond to the organization of Theory for Today''s Musician, this new textbook complements the theory text to offer a complete curriculum package, allowing students and instructors to reinforce written theory skills with relevant musicianship exercises. Combining sight singing and dictation in a single volume, this new textbook underscores the value of combining the human senses in understanding the intellectual and analytic concepts of music theory.Features of this text include: Flexibility for the instructor in using moveable or fixed Do, scale degree numbers, and neutral syllables for singing Both singing and dictation exercises included in each unit, allowing the two skills to be fully integrated CompaniTable of ContentsPART ONE FUNDAMENTALS Introduction Assorted Preliminaries Singing: A Voice Leading/Schenkerian Approach Notations and Pitch Matters: Clefs The Solfege Syllable System Solmization Chromatic Inflections Raising Pitch Lowering Pitch The Fixed "Do" System versus Moveable "Do" System and Other Methods UNIT 1 The Church Modes Part I: Singing Singing Exercise #1 Singing Exercise #2 Simple and Compound Meter Singing Exercise #3 Part II: Dictation Mode Identification and Spelling In-Class Dictation 1-1 Assignment Dictation 1-2 UNIT 2 Intervals of the Major and Minor Scale Part I: Singing I. Intervals of the Major and Minor Scale Singing Exercise #1: Ascending Intervals of the Major Scale Singing Exercise #2: Descending Intervals of the Major Scale Singing Exercise #3: Ascending Intervals of the Natural Minor Scale Singing Exercise #4: Descending Intervals of the Natural Minor Scale The Major/Minor 2nd in Major and Minor Keys Singing Exercise Set #1: The Major/Minor 2nd in Major Keys In-Class and Assignment Singing Exercise Set #2: The Major/Minor 2nd in Minor Keys Melodies 2-1 Rhythm Reading 2-2: Simple Meter, Divisions of the Beat In-Class Interval Singing: 2-3 (Quizzing) Part II: Dictation In-Class Identification 2-1 (Dictation): Interval Identification In-Class Dictation 2-2: Melody Identification (An Introduction to Melodic Dictation) Assignment Dictation 2-3: Rhythm Assignment Dictation 2-4: Melody (Online Listening) PART TWO DIATONIC HARMONY UNIT 3 Basic Harmonic Structures Part I: Singing Singing Exercise 3-1 Singing Exercise 3-1a Singing Exercise 3-2 Melodies 3-1 Singing Exercise 3-3 Melodies 3-2 In-Class Interval Singing 3-3 (Quizzing) Rhythm 3-1: Error Detection Part II: Dictation Interval Identification 3-1 (may be repeated) In-Class Melodic Dictation 3-2: Introduction to Melodic Dictation Assignment Dictation 3-3Assignment Dictation 3-4 Melodic Dictation UNIT 4 Intervals/Melodic Sequence Part I: Singing Singing Exercise 4-1 In-Class Rhythm Exercise and Error Detection 4-2 (may be repeated) Major Key Number Patterns: Introduction to the "Tritone" (Augmented 4th) Melodies 4-1 Part II: Dictation Interval Identification 4-1: Mixed Intervals In-Class Melodic Error Detection 4-2 Assignment Dictation 4-3 Assignment Dictation 4-4 Major Scale Number Pattern (Scale Degree) Identification Assignment Dictation 4-5 UNIT 5 Harmonies of the Major and Minor Scale Part I: Singing Singing Exercise 5-1: Triad Quality Singing Exercise Singing Exercise 5-2: Scale Degree Number Patterns Major Key Scale Degrees Singing Exercise 5-3: Minor Scale Degree Number Patterns Melodic Minor Key Scale Degrees Harmonic Key Scale Degrees Singing Exercise 5-4: Primary Triad Exercise Melodies 5-1: Triad Building: 3rds and 5ths Singing Exercise 5-5: Seventh Chord Quality Melodies 5-2: The Dominant 7th Part II: Dictation In-Class Dictation 5-1: Triad Quality Identification In-Class Dictation 5-2: 7th Chord Quality Identification Assignment Dictation 5-3: Triad Quality Identification Assignment Dictation 5-4: 7th Chord Quality Identification Assignment Dictation 5-5: Rhythm: Dots, Ties, Divisions, Subdivisions, and Rests Assignment Dictation 5-4: Melodic Error Detection UNIT 6 Cadences Part I: Singing Preliminary Exercises Singing Exercise 6-1: Primary Triads Singing Exercise 6-1a: Triad Quality Singing Exercise 6-1b: Seventh Chord Quality Singing Exercise 6-2a: Major Scale Number Patterns Singing Exercise 6-2b: Melodic Minor Key Scale Degrees Melodies 6-1: Compound Meter, Cadences Melodies 6-2 Part II: Dictation In-Class Dictation 6-1: Triad and Seventh-Chord Quality In-Class Melodic Dictation 6-2: Compound Meter, Primary Triads, Cadences In-Class Dictation 6-3: Introduction to Harmonic Dictation: Cadences in Root Position In-Class Dictation 6-4 Assignment Dictation 6-5: Harmonic Dictation: Cadences in Root Position PART THREE MELODIC PRINCIPLES UNIT 7 Melodic Pitch and Rhythm Part I: Singing Motive and Sequence Repetition and Sequence Singing Exercise 7-1: Motive and Sequence Singing Singing Exercise 7-2: Rhythmic Reading: Triplets, Subdivisions, Dots, Ties, and Rests Melodies 7-1: Motive and Sequence: Intervals: 2nds, 3rds, 4ths, and 5ths Part II: Dictation In-Class Dictation 7-1: Rhythm In-Class Melodic Dictation 7-2: Motive and Sequence In-Class Harmonic Dictation 7-3: Cadences: Four- and Five-Chord Formulas Assignment Dictation 7-4: Rhythm Error Detection Assignment Dictation 7-5: Melodies: Motive and Sequence, Theme and Variation Assignment Dictation 7-6: Harmonic Dictation: Four-and Five-Chord Cadential Formulas UNIT 8 Embellishing Tones Part I: Singing Singing Exercise 8-1 Singing Exercise 8-2: Scale Degree Number Patterns Singing Exercise 8-3: Moveable "Do" Solfege Interval Singing: The 6th Singing Exercise 8-4: In-Class Interval Identification: Ascending and Descending Major/Minor 6ths Review: Embellishing Tones Melodies 8-1: The 6th in Arpeggiations and Appoggiaturas Singing Exercise 8-5: The Seventh Major Scale Degree Number Patterns and the 7th Singing Exercise 8-6: Solfege Functions and the Seventh Singing Exercise 8-7: In-Class Interval Identification: Ascending and Descending Major/Minor 7ths Melodies 8-2: The Seventh: Retardation, Appoggiatura, and Chord Tones Part II: Dictation In-Class Dictation 8-1: Melodies: The 6th and the 7th In-Class Dictation 8-2: Harmonic/Melodic: Cadences and Embellishing Tones Assignment Dictation 8-3: Interval Identification: 6ths and 7ths Assignment Dictation 8-4: Melodies: The 6th and the 7th Assignment Dictation 8-5: Cadences with Melodies: Embellishing Tones UNIT 9 Melodic Form/First Inversion Harmonies Part I: Singing All Interval Singing Singing Exercise 9-1 All Interval Identification: Consonance versus Dissonance Listening to and Classifying Intervals Singing Exercise 9-2: All Interval Identification Intervals and Inversion Singing Exercise 9-3: Ascending Intervals and Inversion Singing Exercise 9-4: Descending Intervals and Inversion Melodies 9-1 Part II: Dictation Melodic Form In-Class Dictation 9-1: Phrase Relationship Identification Harmonic Inversion Types of Inversions for Dictation In-Class Harmonic Dictation 9-2: The Supertonic and Dominant in First Inversion Assignment Dictation 9-3: Period Form Assignment Dictation 9-4: Harmonic Dictation: Cadences, Inversion PART 4 VOICE LEADING UNIT 10 Melodic Principles/The Outer-Voice Framework Part I: Singing Play-and-Sing (at the Keyboard) or Sing-and-Sing (Duets) Play-and-Sing/Duets 10-1 1:1 First Species, Note-Against-Note: Play-and-Sing or Singing Duets Play-and-Sing/Duets 10-2 2:1 Second Species, Two Notes Against One: Play-and-Sing or Singing Duets Part II: Dictation Introduction to Two-Part In-Class Dictation 10-1: 1:1 Two-Voice Dictation In-Class Dictation 10-2: 2:1 Two-Voice Dictation Counterpoint and Imitation Assignment Dictation 10-3 UNIT 11 Mediants Part I: Singing Mediants, iii, vi Major Scale Number Patterns Singing Exercise 11-1: Mediants Melodies 11-2: Mediants iii(III), vi(VI) Part II: Dictation Melodic Error Detection In-Class Error Detection 11-3 In-Class Harmonic Dictation 11-4: Mediants, V6, Longer Progressions Assignment Dictation 11-1: Melodies with Mediants Assignment Dictation 11-2: Harmonic Dictation UNIT 12 Harmonic Progression Part I: Singing Singing Exercise 12-1 Harmonic Progression Tonic Class Predominant Class The Dominant Class Melodies 12-2 Part II: Dictation In-Class Error Detection 12-1 In-Class Harmonic Dictation 12-2: Suspensions, Inversions, the Dominant 7th Assignment Dictation 12-3: Harmonic Dictation UNIT 13 Seventh Chords/Second-Inversion Harmonies Part I: Singing Singing Exercise 13-1-a: Seventh Chord Quality Singing Exercise 13-1 Rhythm 13-2: Syncopation Melodies 13-3: Dominant and Non-Dominant Seventh Chords, Syncopation Part II: Dictation Syncopation, the Six-Four Chord, Suspension, Retardation In-Class Rhythmic Dictation 13-1 In-Class Melodic Dictation 13-2 Harmonic Dictation: Second Inversion The Cadential Six-Four The Pedal Six-Four What to Listen For In-Class Harmonic Dictation 13-3 What to Listen For Assignment Dictation 13-4: Rhythmic Dictation Assignment Dictation 13-5: Melodic Dictation Assignment Dictation 13-6: Harmonic Dictation UNIT 14 Uses of the Six-Four Chord Part I: Singing All-Inversion Harmonic Dictation All Suspensions/Retardations Harmonic Dictation The Passing Six-Four The Arpeggiating Six-Four The Dominant in Third Inversion – V 4/2 In-Class Harmonic Dictation 14-1 In-Class Harmonic Dictation 14-2 Assignment Dictation 14-3: The Six-Four Chord and the V 4/2 Assignment Dictation 14-4: The Six-Four Chord and Suspensions (Retardation) PART FIVE CHROMATIC MATERIALS UNIT 15 Secondary Function I Part I: Singing Singing Exercise 15-1: V/V Singing Exercise 15-2: Other Secondary Functions: V/ii, V/iii, V/iv, V/vi, V/VII Adding a 7th to a Secondary Dominant: The Tonicizing Tritone Melodies 15-3 Part II: Dictation Secondary Dominants In-Class Melodic Dictation 15-1 In-Class Harmonic Dictation 15-2 Assignment Dictation 15-3: Melodic Dictation Assignment Dictation 15-4: Harmonic Dictation UNIT 16 Secondary Function II The Secondary Leading Tone Chord Part I: Singing Preliminary Exercises Singing Exercise 16-1 Melodies 16-2 Part II: Dictation In-Class Melodic Dictation 16-1 In-Class Harmonic Dictation 16-2: Secondary Leading Tone Seventh Chords Assignment Dictation 16-3: Melodic Dictation Assignment Dictation 16-4: Mixed Secondary Function: Secondary Dominants and Leading Tone Chords UNIT 17 Modulation I Closely Related Keys Modulation by Common Chord Part I: Singing In-Class Exercise 17-1 Melodies 17-2: Modulation to Closely Related Keys Part II: Dictation In-Class Dictation 17-1: Modulating Pitch Patterns In-Class Harmonic Dictation 17-2: Progressions Modulating to Closely Related Keys Assignment Dictation 17-3: Melodies Modulating to Closely Related Keys Assignment Dictation 17-4: Progressions Modulating to Closely Related Keys PART SIX COUNTERPOINT UNIT 18 The Art of Countermelody Part I: Singing Singing Exercise 18-1: Play-and-Sing Part II: Dictation In-Class Dictation 18-1 Assignment Dictation 18-2: Theme and Variations UNIT 19 The Fugue Part I: Singing Singing Exercise 19-1: Subjects and Answers Part II: Dictation Subjects and Answers In-Class Dictation 19-1 Assignment Dictation 19-2 PART SEVEN ADVANCED CHROMATIC HARMONY AND FORM UNIT 20 Mixing Modes Modal Borrowing versus Change of Mode Part I: Singing Singing Exercise 20-1: Modal Borrowing Melodies 20-2 Part II: Dictation In-Class Melodic Dictation 20-1 In-Class Harmonic Dictation 20-2 Assignment Dictation 20-3 Assignment Dictation 20-4 UNIT 21 Altered Pre-Dominant I The Neapolitan Chord Part I: Singing Singing Exercise 21-1 Melodies 21-2 Part II: Dictation In-Class Dictation 21-1 In-Class Dictation 21-2 UNIT 22 Altered Pre-Dominant II The Augmented Sixth Chord Part I: Singing Singing Exercise 22-1 Melodies 22-2 Part II: Dictation In-Class Dictation 22-1: Melodic Pitch Patterns: The Augmented Sixth In-Class Dictation 22-2 Assignment Dictation 22-3: Harmonic Dictation UNIT 23 Modulation II Chromatic Modulation Part I: Singing Singing Exercise 23-1 Enharmonic Modulations Using the Diminished Seventh Chord and the German Sixth The Diminished Seventh Linear Uses of the Diminished Seventh Singing Drill 23-1 Linear Uses of the German Sixth Singing Drill 23-2 Singing Exercise 23-2: Modulations Using the Enharmonic Diminished Seventh and German Sixth/Dominant Seventh Melodies 23-3 Part II: Dictation In-Class Harmonic Dictation 23-1 Assignment Dictation 23-2: Harmonic Dictation UNIT 24 Harmonic Extensions The Dominant 9th, 13th, and Supertonic 9th Part I: Singing Singing Exercise 24-1 Melodies 24-2 The Predominant (Supertonic) 9th Singing Exercise 24-2: Supertonic 9ths and Dominant 13ths Part II: Dictation In-Class Dictation 24-1 In-Class Dictation 24-2 Assignment Dictation 24-3 Assignment Dictation 24-4 Assignment Dictation 24-5 UNIT 25 Binary and Ternary Forms Review and Reinforcement Binary and Ternary Forms Part I: Singing Melodies 25-1 Review and Reinforcement Part II: Dictation In-Class Dictation 25-1: Melodic Dictation and Form Identification Assignment Dictation 25-2: Melodic Dictation and Form Identification PART EIGHT TWENTIETH-CENTURY MATERIALS UNIT 26 Syntax and Vocabulary Part I: Singing Modality Review and Reinforcement Singing Exercise 26-1a: Church Modes The Pentatonic Scale Singing Exercise 26-1b: Pentatonic Scales Quartal and Quintal Harmony Clustering Singing Exercise 26-1c Modes of Limited Transposition: The Whole Tone and Octatonic Scale The Octatonic Scale Singing Exercise 26-1d Melodies 26-1 Part II: Dictation In-Class 26-1: Sonority Identification In-Class 26-2: Pitch Patterns In-Class 26-3: Harmonic Dictation Planing: Modal Triads, Non-Functional Dominant, Whole Tone, Quartal Procedures for dictation In-Class 26-4: Harmonic Dictation: Planing Assignment Dictation 26-5: Sonority Identification Assignment Dictation 26-6: Melodic Dictation Assignment Dictation 26-7: Harmonic Dictation: Planing UNIT 27 New Tonal Methods Part I: Singing Quartal and Quintal Harmonies Singing Exercise 27-1 Singing Exercise 27-2 Polytonality/Bitonality Singing Exercise 27-3: Duets/Play-and-Sing Bimodality/Polymodality Singing Exercise 27-4: Duets/Play-and-Sing Part II: Dictation In-Class Dictation 27-1: Bichord Identification: Mix and Match What to Listen For In-Class 27-2: Two-Part Melodic Dictation: Bimodal Assignment Dictation 27-3: Two-Part Melodic Dictation: Bitonal and Bimodal Assignment Dictation 27-4: Polychord/Bichord Identification UNIT 28 Non-Serial Atonality Atonality Part I: Singing Singing Exercise 28-1: Trichords and Tetrachords Singing Exercise 28-2: Trichord Set Singing and Improvisation Singing Exercise 28-3: Tetrachord Set Singing and Improvisation Singing Exercise 28-4: Set to Superset Improvisation Singing Exercise 28-5: Set Inversion Improvisation Melodies 28-1: Trichords, Tetrachords, Pentachords, and Hexachords Part II: Dictation In-Class 28-1: Set Identification Assignment Dictation 28-2: Trichord and Tetrachord Identification Assignment Dictation: Dictation UNIT 29 Serial Atonality Basic Tenets of the Twelve-Tone Method Part I: Singing Singing Exercise 29-1 Other Forms of the Row: Combinatoriality Singing Exercise 29-2 Singing Exercise 29-3 Row Symmetry: Derived Sets Melodies 29-1 Part II: Dictation In-Class Row Dictation 29-1 In-Class Row Dictation 29-2 Assignment Dictation 29-3: Row Dictation Assignment Dictation 29-4: Melodic Dictation Assignment Dictation 29-5: Two-Part Dictation Glossary Index
£73.14
Kahn & Averill Valentin Berlinsky
Book SynopsisThe Borodin Quartet was to the string quartet what Richter was to the piano, Oistrakh to the violin, Rostropovich to the cello. But the story of this Soviet ensemble - the first to come out of the USSR to give concerts abroad - was inextricably linked to the personality of its founder and cellist for more than six decades, Valentin Berlinsky.Trade Review'On so many levels, this is one of the most fascinating books I have ever read: a history of the legendary Borodin Quartet, not coincidentally packed with musical wisdom enlightening, or at least food for thought, to any musician. Furthermore, it's a memoir of the extraordinary talent among both teachers and students of the Moscow Conservatory in the 1940s (Shostakovich, David Oistrakh and Rostropovich just some of the most famous); and - perhaps most intriguing of all - a candid portrait of the Borodin's long-standing cellist, Valentin Berlinsky. Conjured from a rich mix of sources - Berlinsky's diary, reviews, interviews published for the first time - what emerges from the book is a profound musician fanatically dedicated to the quartet and the repertoire it excelled in. Anyone disappointed by their Christmas haul should not hesitate but treat themselves.' 5 stars Daniel Jaffe, BBC Music Magazine, February 2019; 'The more I read, the more absorbed and touched I was' Steven Isserlis, September 2018Table of ContentsForeword, Author's Preface, Publisher's Note, Family and Childhood, Moscow Central Music School, Moscow Tchaikovsky Conservatory, Birth of a Quartet, Beginnings - First Appearances at Moscow Conservatory, Ethics and Ideals - Moscow Philharmonic Quartet, Stabilising the Quartet, Borodin Quartet on the Road, Dmitri Dmitriyevich Shostakovich, Like a Phoenix from the Ashes, On Leadership, On Teaching, On Audiences - on Russia, David Oistrakh, On Criticism - Mstislav Rostropovich, On Sviatoslav Richter - on family, In Praise of Examples, Anatoly Zverev, Tempo, Yevgeny Fyodorovich Svetlanov, Finale, Valentin Berlinsky by Family and Friends - Ludmila Berlinskaya - Dmitri Shebaline - Irina Antonova - Rostislav Burkin - Natalia Shakhovskaya, Appendices, Notes on Contributors, Index of Names
£18.00
Springer-Verlag Berlin and Heidelberg GmbH & Co. KG Im Taumel der Zwanziger: 1923: Musik in einem
Book SynopsisIn den 1920er-Jahren gerät nicht nur die Welt, sondern auch die Musik und das Musikleben ins Taumeln: zwischen Krise und Krieg, Abschottung und Austausch, dem resignativen Blick zurück und neuer Dynamik. Wie eng Musik und Gesellschaft miteinander verflochten sind, zeigt das Jahr 1923. Geprägt ist es durch Geschehnisse, Debatten und Entwicklungen, die uns auch heute noch beschäftigen.Im besetzten Ruhrgebiet wird Musik zu einem Mittel des politischen Kampfes; in der von der Hyperinflation erschütterten Weimarer Republik verschärft sich die Krise des Konzertlebens und der Kartenpreis steigt im Herbst auf 200 Milliarden Mark; in den USA machen afroamerikanische Blues- und Jazz-Größen wie Bessie Smith, oder Louis Armstrong im Rahmen der sogenannten „race records“ ihre ersten Schallplattenaufnahmen; In Wien vollendet Arnold Schönberg seine ersten zwölftönigen Werke; In Paris schockiert Igor Strawinsky die Avantgarde mit seinem neoklassizistischen Bläseroktett und in Budapest setzt Béla Bartók mit seiner Tanz-Suite ein musikalisches Zeichen gegen den Nationalismus. Im Berliner Voxhaus wird mit der Ausstrahlung der ersten Funkstunde auf dem Höhepunkt der politischen und ökonomischen Krise das Zeitalter des öffentlichen Rundfunks in Deutschland eingeläutet.- Das Buch von Tobias Bleek erzählt auf faszinierende Weise, wie die Musik in das kulturelle, gesellschaftliche und politische Leben dieses Jahres der Extreme eingebettet ist.Trade Review“... Wie vielfältig und dramatisch die politischen Ereignisse in Europa um das Jahr 1923 waren und wie heterogen gleichzeitig künstlerische Strömungen, Trends und Erfindungen, das weiß dieses Buch beeindruckend zu schildern.” (Hans Georg Nicklaus, in: OE1, oe1.ORF.at, 22. September 2023)“... Tobias Bleek hat diese belangvollen Ereignisse und wegweisenden Innovationen sorgfältig und gründlich untersucht und bis aufs Einzelne zu Papier gebracht. Doch damit nicht genug. Denn darüber hinaus setzt er sie in einen Kontext zu den politischen, gesellschaftlichen und wirtschaftlichen Geschehnissen als da sind etwa Migration, Antisemitismus, Rassismus und Militarismus. Des Weiteren zeigt er auf, welche Wirkung sie auf die Musiker, Komponisten und deren Kompositionen ausübten. … Flüssig und allgemeinverständlich ist der Band verfasst und ist somit eine fesselnde Lektüre.” (Hartmut Sassenhausen, in: O-Ton, o-ton.online, 18. August 2023)“... Das anregende, elegant geschriebene Buch legt die erhebliche Wechselwirkung zwischen Musik, Gesellschaft und Politik dar. Diese Fundgrube für musik- wie historisch Interessierte mit Literaturverzeichnis, zahlreichen Anmerkung und einem Register wird dringend empfohlen.” (Johannes Vesper, in: Musenblätter, musenblaetter.de, 15. August 2023)“... Bleeks Buch liest sich nicht nur wie ein (dazu präzise mit historischen Aufnahmen bebilderter) Roman, sondern ist darüber hinaus pointiert und witzig. … Der Zoom von «allgemeiner» Geschichte im Großen zur Musik im Kleinen»: Er funktioniert an jeder Stelle dieses vergnüglich zu lesenden und doch intensiv immersiven Buches. Dabei holt Bleek den Leser immer von der Haltestelle richtig vermuteten Vorwissens ab ...” (Arno Lücker, in: Opernwelt, August 2023)“Noch ein Band zu den Zwanzigern? – ja, diesen gern! … eine sehr lebendige Kulturgeschichte zu einer Zeit, die nicht nur musikalisch in alle denkbaren Richtungen explodierte.” (Michael Wackerbauer, in: Neue Musikzeitung, Juni 2023) “... Endlich gibt es eines der beliebten „Jahresbücher“ auch für die Musik. ... Bleek behandelt das krisenhafte Umbruchsjahr zum einen sehr strukturiert ... Zum enorm sinnlichen Erlebnis wird die Lektüre zum anderen durch „eine Vielzahl historischer Quellen: Briefe, Tagebücher und andere private Aufzeichnungen, Artikel aus Zeitungen und Journalen, Fotografien und Bilder. Schallplatten, historische Notendrucke und Musikmanuskripte, Programmzettel, Annoncen, Eintrittskarten ...” (Ingo Hoddick, in: das Orchester, Heft 12, 2023)“... Bewundernswert ist ... sein Buch sowohl für eine Leserschaft ohne spezielle Fachkenntnis oder Studium als auch für ein wissenschaftlich gebildetes Publikum zu schreiben, weshalb es für alle Musik- und Kulturinteressierten lesenswert ist. Ein Anhang mit Hunderten von Anmerkungen, einem ausführlichen Literatur- und Quellenverzeichnis sowie Register runden dieses überaus spannend geschriebene, sehr empfehlenswerte Buch ab.” (Michael van Gee, in: Jazz ´n´ More, Das Schweizer Jazz & Blues Magazin, Heft 6, 2023)Table of ContentsSelbsterneuerung eines Migranten: Igor Strawinskys Metamorphosen.- Komponieren in Zeiten des Nationalismus: Béla Bartóks Tanz-Suite im kulturpolitischen Kontext.- „deutsche Treue … und deutscher Sang“: Die Nationalhymne und Musik in Zeiten der Ruhrbesetzung.- Black Music Matters – Bessie Smith erobert den Tonträgermarkt.- Von der Peripherie ins Zentrum – Louis Armstrong, Joe Oliver, Lilian Hardin und die Creole Jazz Band.- Arnold Schönberg und die „Hegemonie der deutschen Musik“: Die Entwicklung der Zwölftontechnik als Kompositionsverfahren und kulturpolitisches Projekt.- Eine Konzertkarte für 200 Milliarden Mark – Musikleben in Zeiten der Hyperinflation – „Start up“ am Küchentisch: Karl Vötterle gründet den Bärenreiter-Verlag.- Fritz Kreisler im Äther – Medienwelten 1923.
£23.74
Kahn & Averill Bela Bartok: An Analysis of His Music
Book Synopsis'The publication of this study of the music of Bela Bartok is an important event. Many descriptive analyses of particular works of his have appeared, but here for the first time is an authoritative and convincing exposition of the theoretical principles which the composer worked out for himself but refrained, as far as is known, from expounding it to anyone during his lifetime. Erno Lendvai has disclosed the fact that Bela Bartok, in his early thirties, evolved for himself a method of integrating all the elements of music; the scales, the chordal structure with the melodic motifs appropriate to them, together with the proportions of length as between movements in a whole work, main divisions within a movement such as exposition, development and recapitulation and even balancing phrases within sections of movements, according to one single basic principle.' Alan BushTrade Review'Erno Lendvai is a Bartok specialist of the highest order...a theorist of genius.' Tempo; 'Essential reading for any composition student.' Composer; 'His analysis of the Sonata for Two Pianos and Percussion is remarkable.' The ListenerTable of ContentsIntroduction, 1. Tonal Principles - The Axis System, 2. Form Principles - Golden Section, 3. Fibonacci Series, 4. The Use of Chords and Intervals - Chromatic System, 5. Diatonic System, Appendices
£15.95
