Musical instruments Books

Book SynopsisWITH AN INTRODUCTION BY CRAIG BROWN, BESTSELLING AUTHOR OF ONE TWO THREE FOUR Everybody knows the Beatles: John, Paul, George, Ringo ... and Brian. The Fab Four's meteoric rise is one of the most famous rags-to-riches stories ever told. And behind it all was Brian Epstein, the 'fifth Beatle' and legendary manager, who transformed the group from a small-time club band into global superstars. What was his secret? How did one man lead these scruffy Liverpool lads to change the world of popular music forever? A Cellarful of Noise is Brian Epstein's original 1964 memoir of a life spent making music history. It includes thirty contemporary photographs which offer a glimpse of Brian and the Beatles on their way to phenomenal success. Eye-opening, moving and constantly entertaining, this is essential reading for every Beatles fan.

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Book SynopsisKeyboard Skills for the Practical Musician provides undergraduate music majors in class piano courses with the techniques and fundamentals they need to flourish into independent, versatile musicians who play with confidence and sensitivity. Organized by skill (rather than level), the topics sequenced in this textbook offer endless flexibility for instructors while guiding students in a step-by-step approach through the development of essential keyboard skillssuch as reading, harmonization, improvisation, and accompanimentsupporting concepts learned in music theory, ear training, private lessons, methods classes, and ensemble courses. One can draw from many sections of the book in any given class or semester, covering a wide range of piano skills that foster abilities frequently used in a myriad of musical professions.Features: Over 400 sightreading, transposition, and score reading examples, along with 125 harmonization Melodies Project assignmentTable of ContentsPART I – Skills / 1. Keyboard Theory / 2. More Keyboard Theory – Scales, Broken Chords and Arpeggios, and Choral Warmups / 3. Sightreading and Transposition / 4. Harmonization / 5. Improvisation / 6. Blues Improvisation / 7. Chorales / 8. Score Reading / 9. Accompaniment / PART II – Repertoire / 10. Solo Repertoire / 11. Duet Repertoire / 12. Ensemble Repertoire

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Book SynopsisMost guitarists today think of the USA as the land of the guitar. Classical guitars come from Spain but rock, jazz and folk guitars must surely be American? They know the great' names Gibson, Epiphone, Fender, Gretsch, Martin. How many of them know that Christian Friedrich Martin was born in Markneukirchen, Germany, in 1796 and emigrated to the USA at the age of thirty-seven? The Bate Collection is a museum of musical instruments in the University of Oxford and owns a collection of guitars donated by the author. Half of them were made by German-speaking Czech craftsmen expelled from their homeland after the Second World War, resettling in Bavaria; the other half by their former neighbours in Saxony, with whom they had worked closely for three centuries but who now found themselves behind the Iron Curtain. This book offers a summary of the socio-political background and the way it led to the decline and almost the extinction of what was once the most productive centre of stringed-instrument making in the world. Lavishly illustrated with photos of all of the carefully-researched instruments in the collection, plus a unique guide to help the collector to identify the maker of his instrument.

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Book SynopsisWomp, womp! This Sad Trombone, positioned on trombone case base, includes everything you need for a soundtrack to your epic fails:- Plays music: plays the notorious womp-womp-womp-womp sound when the trombone is slightly tilted- Trombone replica: Includes a 3 replica of a real trombone resting on a trombone case base- Includes Stickers: Two stickers to decorate and personalize your trombone case- Illustrated mini book: Includes a 32-page mini book about the origins of the sad trombone notes and trombone songs- Perfect gift: humorous gag gift or stocking stufferIncludes button cell batteries.

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Book Synopsis'This book distils what, at my advanced age, I feel able to say about music, musicians, and matters of my pianistic profession.' Ever since Alfred Brendel bid farewell to the concert stage after six decades of performing, he has been passing on his insight and experience in the form of lectures, readings and master-classes.

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Book SynopsisÊRolling Stones GearÊ is the first book to historically document all of the Rolling Stones' musical equipment. It's also the story of the Rolling Stones but with a new twist: their history as told through the instruments they used. This book covers not only the group's personal background but also every tour and studio session from their inception in 1962 to date with detailed documentation illustrating what instruments and equipment were used during these periods. Every song recorded by the band including demos and out-takes are also documented with input from within the Stones' ranks as well as from people who were involved with the band. This lavishly illustrated book contains hundreds of photographs and rare images many of which have never been published including the Rolling Stones' actual guitars and equipment which were specially photographed for this book and are seen here for the first time. Whether you are a musician a Stones fan or just the casual reader you will learn many new facts about the band from their monumental fifty-year existence.Þ±Win the brands of the Rolling Stones!± Check out this fabulous Guitar Player Magazine contest!

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Book Synopsis

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Book SynopsisTable of ContentsForeword xvii Introduction 1 About This Book 1 Conventions Used in This Book 2 Foolish Assumptions 3 Icons Used in This Book 3 Accessing the Audio Tracks 3 Beyond the Book 4 Part 1: Being Bitten by the Mandolin Bug 5 Chapter 1: Becoming Acquainted with Your Mandolin 7 Riding the Mandolin Wave 7 Loving the mandolin sound 8 Joining a vibrant community 8 Enjoying a great choice of mandolins 9 Meeting the Mandolin Family 10 Reaching the highest notes: Mandolin 11 Playing with an alto voice: Mandola 11 Lowering the tone: Mando-cello 12 Spotting the rarely seen mando-bass 13 Accompanying the family: Octave mandolin 14 Getting to Know Your Mandolin’s Anatomy 15 Looking at the body 17 Introducing the neck 18 Using string vibrations to produce sound 20 Chapter 2: Getting to Grips with Tuning and Terminology 21 Coming to Terms with Musical Terminology 22 Identifying musical notes with letters 22 Sharpening up and flatting down your notes 23 Stepping up to the mark: Distances between notes 23 Scaling the heights with chords and scales 23 Grasping the Tuning Basics 24 Sounding Tuneful: Methods for Tuning Your Mandolin 25 Using an electronic tuner 25 Tuning your mandolin to itself 26 Tuning to another instrument 28 Chapter 3: Getting a Handle on Your Mandolin 29 Sitting Down on the Job 30 Playing While Standing Up 32 Strapping Yourself in to Play 34 Part 2: Starting to Play the Mandolin 37 Chapter 4: Making Music on the Mandolin 39 Playing without Having to Read Music 39 Understanding tablature 40 Reading chord diagrams 41 Developing a musical ear 42 Keeping the Musical Beat by Counting 43 Feeling the beat 43 Counting to four 43 Dividing up beats 44 Extending notes: Half notes and whole notes 45 Dotting and tying notes 46 Resting: Playing the silence 47 Repeating sections of a song 48 Simplifying time signatures 48 Introducing Your First Five Chords 51 Getting to grips with the G chord 51 Choosing the C chord 52 Discovering the D chord 53 Adding the A chord 54 Examining the E chord 55 Strumming chords: Getting some rhythm patterns together 56 Breaking Down the Parts of a Song 57 Finding the beat: Rhythm 57 Moving on to chord progressions 57 Strumming the chords 58 Performing the melody 59 Playing along with other people 59 Playing Your First Songs 60 “Ode to Joy” theme 61 “Down in the Valley” 62 “Go Tell Aunt Rhodie” 63 “Skip to My Lou” 63 “Red River Valley” 64 Chapter 5: Picking with the Right Hand 65 Holding the Pick 65 Supporting and Guiding Your Right Hand 66 Touching the bridge 66 Brushing the pinky 67 Resting on the rib 68 Arching your wrist while strumming 68 Picking Up and Down 69 Picking alternate strong and weak beats 69 Getting down with down-strokes 72 Visiting Ireland: Jig picking 72 Rolling out the notes: Cross picking 73 Developing Good Tone 74 Finding the sweet spot 75 Picking the right pick 76 Keeping a loose grip 76 Getting your pick angle right 77 Following through: The rest stroke 77 Keeping things loose: It’s all in the wrist 77 Playing Louder Isn’t Always Better 78 Understanding dynamics 78 Knowing when not to play loudly 79 Choosing when to play loudly 79 Balancing act: Four strings are louder than one 79 Sustaining a Note: Tremolo 80 Staying in time: Measured tremolo 80 Varying the pace: Free tremolo 82 Playing melody with slow tremolo 83 Practicing Your Skills 83 Trying out alternate-picking exercises 83 Keeping-time exercises 86 Chilling out with rest exercises 88 Becoming dynamic with volume exercises 88 Stretching out with tremolo exercises 90 Chapter 6: Fretting Notes and Chords with the Left Hand 93 Positioning and Working with Your Left Hand 94 Positioning your left hand 94 Tying your fingers to the frets 96 Exercising the left hand 97 Creating effects with your left hand 97 Discovering More Essential Chords 103 Trying out a few major chords 103 Becoming sadder with some minor chords 104 Opening up to seventh chords 106 Focusing on barré chords 106 Trying out Left-Hand Techniques 110 Changing your left-hand position 110 Moving up the mandolin’s neck 110 Playing two notes simultaneously: Double stops 112 Chapter 7: Playing “Jethro”-Style Three-String Chords 117 Introducing Jethro Burns’s Three-String Chord Style 118 Perfecting Three-String Major Chords 119 Root-on-top major chords 119 Third-on-top major chords 119 Fifth-on-top major chords 120 Mastering Three-String Minor Chords 120 Root-on-top minor chords 121 Third-on-top minor chords 121 Fifth-on-top minor chords 122 Trying on a Few Seventh Chords for Size 122 Root-on-top seventh chords 123 Third-on-top seventh chords 124 Fifth-on-top seventh chords 124 Seventh-on-top seventh chords 125 Revving up for Jazzy Chords: Nice! 126 Sounding unresolved with diminished chords 126 Adding augmented chords to your mandolin armory 127 Dressing up some minor chords: Minor sevenths 128 Chapter 8: Playing Mandolin Music: Scales and Melody 133 Understanding How to Play Melody 134 Listening to the great players 134 Speaking a tune 135 Rising to the challenge of scales 135 Exploring Some Major Scales 136 Discovering the D major scale 136 Accessing the A major scale 139 Getting to grips with the G major scale 142 Avoiding sharps and flats with the C major scale 144 Trying Out Minor Scales 146 Mining the A minor scale for two different approaches 147 Playing solo with chord melodies 149 Experiencing the Power of the Pentatonic 152 Taking five with the major pentatonic scale 152 Moving on to the minor pentatonic scale 154 Part 3: Putting Playing Styles into Practice 157 Chapter 9: Playing Music from Yesteryear: Old Time, Rags and Blues 159 Searching out the Past: Old-Time Music 160 Strumming for old-time fiddle tunes 161 Waltzing on the mandolin 164 Playing All Raggedy on Purpose: Ragtime 168 Syncopating your mandolin melodies 169 Practicing ragtime chord progressions and patterns 169 Playing away Your Sorrows: The Blues 174 Introducing the blues rhythm 174 Chording up for the blues 176 Playin’ the blues: Some tips and techniques 179 Influencing other genres 183 Chapter 10: Giving Your Mandolin a Speedy Workout: Bluegrass 191 Getting a Grip on That Bluegrass Rhythm 192 Gathering Together the Bluegrass Elements: An Original Mandolin Style 194 Fiddling about with fiddle tunes 195 Adding the blues style 197 Using tremolo 197 Adding extra bars: Irregular time 197 Picking up Bluegrass Melodic Techniques 198 Using the right hand 198 Playing out-of-chord positions: The left hand 201 Exploring other left-hand ornamentations 205 Building Bluegrass Instrumental Breaks 208 Learning the song 209 Making your break sound like bluegrass 209 Chapter 11: Travelling to the Emerald Isle: Irish Mandolin 213 Following the Melody One Note at a Time 214 Listening to learn Irish tunes 214 Swinging with triplets and the lilt 215 Discovering the Irish Music Modes 217 Using a standard major scale (Ionian mode) 217 Tackling a standard minor scale (Dorian mode) 217 Meeting the other major scale (Mixolydian mode) 218 Encountering the relative minor scale (Aeolian mode) 219 Playing Irish Rhythms and Tunes 219 “Reeling in the Years” 220 Jigging around the dance floor 222 Slipping in a jig 224 Being all at sea in a good way: The hornpipe 226 Playing Irish Tunes with Other Musicians 228 Chapter 12: Taking a Quick World Tour 229 Returning to the Mandolin’s Birthplace: Italy 229 Strolling to play 230 Making great use of tremolo 230 Varying the tremolo speed 233 Visiting the Concert Hall: Classical Mandolin 233 Gliding towards acquiring a classical mandolin technique 233 Exploring arpeggio uses in classical music 234 Introducing mandolin orchestras 238 Heading to Brazil 238 Getting hold of some basic choro rhythms 239 Trying out some choro chord progressions 241 Considering choro melody 241 Chapter 13: Swinging to Those Jazzy Rhythms 245 “It Don’t Mean a Thing .”: Swingin’ the Melody 246 Introducing swing 246 Respecting the mighty eighth note 247 Using syncopated rhythms 247 Playing in all 12 keys 249 Simplifying Jazz Chords 250 Working with Jazzy Chord Progressions 253 Keeping it moving: The 1-6-2-5 progression 253 Getting the blues, jazz style 254 Achieving a good swing feel 257 Swingin’ with rhythm changes 258 Changing keys with the 2-5-1 progression 261 Accompanying yourself: Chord melody 261 Mixing Things up: Jazz with Other Styles 264 Heading down to Texas: Western swing 264 Waltzing with the Muppets 266 Blending jazz with other genres 267 Chapter 14: Blending Styles: Dawg Music 271 Meeting David Grisman 272 Groovin’ to Some Dawg Music 272 Heading down south: Dawg Latin 272 Get up, get on up: Dawg funk 274 Accenting Your Grooves, Dawg-Style 276 Scratching like the Dawg 276 Stretching out with one long chord 277 Part 4: Purchasing and Caring for Your Mandolin 281 Chapter 15: Selecting and Buying a Mandolin 283 Exploring the World of Mandolins 284 Finding out about F-style mandolins 284 Assessing A-style mandolins 285 Rounding out F- and A-style mandolins 286 Tossing around pancake and other flat-top mandolins 287 Plugging in with electric mandolins 287 Bandying about with a bandolim 288 Noticing Neapolitan mandolins 288 Spending the Right Amount 290 Discovering What Makes One Mandolin Better than Another 290 Barking up the right tree: Types of wood for mandolins 290 Polishing off the types of finish 291 Getting comfortable: Mandolin playability 291 Making it up: Types of mandolin manufacture 292 Aging well: New versus used mandolins 293 Locating Mandolins for Sale 293 Buying in bricks-and-mortar shops 293 Going online 294 Putting a Mandolin through Its Paces 295 Chapter 16: Building Your Accessories Kit 297 Gathering Together the Must-Haves 297 Picking extra picks 298 Clipping on an electronic tuner 298 Strapping on the mandolin 298 Protecting your mandolin 299 Stringing along your mandolin 300 Buying Extras That Improve Your Playing 301 Keeping steady with a metronome 301 Taking lessons from books, DVDs, and online courses 301 Leaning on a music stand 301 Recording made easy 302 Playing along with backing tracks 302 Slowing down the music 303 Using a webcam for online lessons 303 Bringing on the Bling 304 Attaching accessories to your mandolin 304 Making life easier in other ways 306 Chapter 17: All Change: Replacing Your Mandolin’s Strings 307 Preparing to Change Your Strings 307 Knowing when to change strings 308 Selecting the right strings 308 Removing the Old Strings 310 Re-stringing Your Mandolin 312 Chapter 18: Caring for and Repairing Your Mandolin 317 Maintaining Your Mandolin’s Health 317 Wiping down your mandolin 318 Controlling the climate 318 Getting a good case or bag 319 Keeping an instrument stand handy 319 Setting Up Your Mandolin Yourself: Only for the Brave 320 Adjusting the action 321 Tackling the truss-rod adjustment 322 Slotting the nut 323 Setting the bridge: Intonation 324 Turning to the Professionals 325 Dressing or replacing the frets 325 Repairing cracks 326 Part 5: The Part of Tens 327 Chapter 19: Ten (or So) Tips on Becoming a Good Mandolin Player 329 Listen to Mandolin Music 330 Get a Good Teacher 330 Keep Your Mandolin Nearby 330 Play Your Mandolin Every Day 331 Find People to Play Music With 331 Practice with a Metronome 332 Go to Mandolin Camps or Workshops 332 Practice Slowly Using Good Technique 332 Develop a Musical Ear 333 Acquire Some Music Theory 333 Record Yourself 334 Have Fun! 334 Chapter 20: Ten Mandolin Players You Need to Know 335 Bill Monroe (1911–1996) 335 Chris Thile (Born 1981) 336 Jethro Burns (1920–1989) 336 David Grisman (Born 1945) 337 Dave Apollon (1897–1972) 338 Jacob do Bandolim (1918–1969) 338 Yank Rachell (1910–1997) 338 Mike Marshall (Born 1957) 339 Caterina Lichtenberg (Born 1969) 340 Carlo Aonzo (Born 1967) 340 Chapter 21: Ten Ways of Tapping into the Mandolin Subculture 341 Attending Acoustic Music Concerts 341 Trying Out Mandolin Workshops 342 Visiting Mandolin Camps 342 Going to Acoustic Music Festivals 343 Checking Out a Jam Session or Orchestra 344 Joining the Online Mandolin Community 344 Finding Courses on the Internet 345 Joining a National Organization 346 Exploring Your Own Town 347 Spreading the News 347 Part 6: Appendixes 349 Appendix A: Chord Charts 351 Appendix B: Reading Standard Musical Notation 355 Meeting the Musical Staff 355 Starting at the beginning: Treble and bass clefs 356 Signing in with the key signature 356 Timing is everything: Time signatures 357 Getting the speed right: Tempo 357 Knowing the style 358 Following the Musical Directions 359 Noting the Musical Notes 361 Pitching in with high and low notes 361 Discovering note duration 362 Dotting and tying notes 363 Getting louder and quietening down: Dynamics 364 Articulating your playing 365 Appendix C: Audio Tracks 367 Discovering What’s on the Audio Tracks 367 Index 373

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Book SynopsisA practical but scholarly guide to Japanese instruments by one of the country's leading composers. The unique sounds of the biwa, shamisen, and other traditional instruments from Japan are heard more and more often in works for the concert hall and opera house. Composing for Japanese Instruments is a practical orchestration and instrumentation manual with contextual and relevant historical information for composers who wish to learn how to compose for traditional Japanese instruments. Widely regarded as the authoritative text on the subject in Japan and China, it contains hundreds of musical examples, diagrams, photographs, and fingering charts. Many of the musical examples can be heard on a companion website. The book also contains valuable appendices, one of works author Minoru Miki composed using Japanese traditional instruments, and one of works by other composers -- including Toru Takemitsu and Henry Cowell -- using these instruments. Minoru Miki was a composer of international renown, recognized in Japan as a pioneer in writing for Japanese traditional instruments. Marty Regan is associate professor of music at Texas A&M University. Philip Flavin is associate professor at the Osaka University of Economicsand Law and adjunct senior research associate of Monash University in Melbourne, Australia.Trade ReviewThe standard reference work on the subject. A fascinating book. Helpful advice on what may bother or help a player of a specific traditional Japanese instrument. [Now that the book has been reprinted without CDs,] we can listen to [the] musical examples on-line. The five and a half page introduction should be required reading for anyone interested in any traditional Japanese art form, as it deals with what makes Japanese music Japanese, and by extension what makes Japanese art and aesthetics Japanese. * NOSTALGIA (LUTE & EARLY GUITAR SOCIETY OF JAPAN *An invaluable resource for all composers, scholars, and performers who are interested in Japanese instruments. The aptly chosen examples from both traditional repertoire and Miki's own contemporary pieces, clear charts for ranges and fingerings, and in-depth discussion of idiomatic performance techniques go a long way to help demystify these beautiful instruments. I wish I had this book many, many years ago. -- Ken Ueno, Rome Prize-winning composer and Professor at the University of California, BerkeleyComposing for Japanese Instruments is a well-organized and systematic manual on how to approach, listen to, and compose for traditional Japanese instruments. When Minoru Miki first published it in 1996, he brought alive the arcane world of traditional Japanese instruments and music for a new generation of Japanese composers. Now, with the English edition, composers and scholars from around the world will have the same opportunity to discover and utilize the rich musical possibilities inherent in these beautiful instruments. --, Shakuhachi performer, Artistic Director, The International House of Japan, Inc. -- Christopher Yohmei BlasdelThis is the book I've always wished to have. It is not only complete in teaching about Japanese instruments but also challenging and inspiring for those of us who have an interest in new sounds and ways of making music. --Hyo-shin Na, composer * . *A most welcome addition to the few items available in English concerning Japanese musical instruments. -- Philip Gelb, composer and shakuhachi playerTable of ContentsWind Instruments String Instruments (Lutes) String Instruments (Zithers) Percussion Instruments Afterword Appendix I: Works for Japanese Instruments by Minoru Miki Appendix II: Contemporary Works for Traditional Japanese Instruments by Composers Other than Minoru Miki, 1981-2015 Notes Glossary Index

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Book SynopsisThe two-volume Oxford Handbook of Music Performance provides the most comprehensive and authoritative resource for musicians, educators and scholars currently available. It is aimed primarily for practicing musicians, particularly those who are preparing for a professional career as performers and are interested in practical implications of psychological and scientific research for their own music performance development; educators with a specific interestor expertise in music psychology, who will wish to apply the concepts and techniques surveyed in their own teaching; undergraduate and postgraduate students who understand the potential of music psychology for informing music education; and researchers in the area of music performance who consider it importantfor the results of their research to be practically useful for musicians and music educators.Table of ContentsIntroduction: Gary E. McPherson Section 1: Development and Learning - Section Editor Gary E. McPherson 1. The origins of musical expertise: Alexander P. Burgoyne, David Z. Hambrick & Lauren Julius Harris 2. Musical potential, giftedness and talent development: Gary E. McPherson, Jennifer Blackwell & Sue Hallam 3. Readiness for learning to perform: Jennifer Blackwell (& Gary E. McPherson 4. Talent development in music: Daniel Müllensiefen; Aaron Kozbelt; Paula M. Olszewski-Kubilius; Rena Subotnik; Frank Worrell; & Franzis Preckel 5. Self-directed learning strategies: Self-directed learning strategies: Kelly A. Parkes 6. High impact teaching mindframes: Gary E. McPherson & John Hattie Section 2: Proficiencies - Section Editor Peter Miksza 7. Practice: Peter Miksza 8. Playing by ear: Warren Haston & Gary E. McPherson 9. Sight-reading: Katie Zhukov & Gary E. McPherson 10. Improvisation: Raymond MacDonald 11. Memorization: Jane Ginsborg 12. Conducting: Steven Morrison & Brian A. Silvey 13. Musical expression: Emery Schubert 14. Body movement: Jane Davidson Section 3: Performance Practices - Section Editor Jane Davidson 15. Performance practices for Baroque and Classical repertoire: Dorottya Fabian 16. Performance practices for Romantic and Modern repertoire: Neal Peres Da Costa ( 17. New music: Performance institutions and practices: Ian Pace 18. Emotion and performance practices: Stephanie Rocke, Jane Davidson & Frederic Kiernan 19. Musical creativity in performance: Dylan van der Schyff & Andrea Schiavio 20. Performing in the studio: Mark Slater 21. Diversity, inclusion and empowerment: Tawnya Smith & Karin Hendricks Section 4: Psychology - Section Editor Paul Evans 22. Self-regulated learning music microanalysis: Gary E. McPherson 23. Self-determination theory: Paul Evans & Richard Ryan 24. Personality and individual differences: Emese Hruska & Arielle Bonneville-Roussy 25. Buoyancy, resilience, and adaptability: Andrew Martin & Paul Evans 26. Identity and the performing musician: Jane Oakland & Raymond MacDonald 27. Synesthesia and music performance: Solange Glasser Index

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Book SynopsisLucie Manén presents the findings of her extensive investigation into the original Italian art of Bel Canto singing. After summarizing the history of Bel Canto and some mistaken teaching methods, she describes in detail her own research into the physiological aspects of Bel Canto - from posture and breathing to details of messa di voce and coloratura.This is a completely revised and expanded version of Lucie Manén''s The Art of Singing: A Manual of Bel Canto (Faber Music Ltd, 1974; 2nd edition 1981). It is illuminated throughout by the author''s practical and musical insights, and illustrated with exercises from original Bel Canto manuals.`The publication of this book must surely herald a change of attitude. Lucie Manén''s clear exposition of her solidly grounded theories and well-tried practice will prompt wise, healthy, and positive questioning of established methods, and should serve to bring about a long-overdue revolution in that least-regulated of all professions, the teaching of singing.'' (From the Preface by Brian Trowell)`Lucie Manén has more qualifications than any singer I have ever met for writing a Manual for singers. There have been learned books on the voice but the authors have not been singers; there have been biographies and autobiographies whose subjects have revealed a personal secret or two. But there have been few who have combined experience as a singer with a deep and wide learning so convincingly as Madame Manén.'' Peter PearsTrade Reviewshould serve to bring about a long-overdue revolution in that least-regulated of all professions, the teaching of singing"From the preface by Brian TrowellLucy Manën has more qualifications than any singer I have met for writing a Manual for singers ... there have been few who have combined experience as a singer with a deep and wide learning so convincingly as Madame Manën. * Peter Pears *

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Book SynopsisIn The Symphony, renowned critic Michael Steinberg offers music lovers a monumental guide to this most celebrated of musical forms, with perceptive commentaries on some 118 works by 36 major composers.Trade Reviewa treat for those addicted to reading the program notes before the concert begins * Booklist *an essential book for any concertgoer and any new or veteran fan of classical music * Michael Tilson Thomas, Music Director, The San Francisco Symphony *

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Trade Review[The author's] breezy prose and insight into the quintessentially American lives of his subjects make Drummin' Men well worth reading. * The New York Times Book Review *A brilliant account of a very important period in the history of American music. * Max Roach *A splendid achievement. * Artie Shaw *A book that illuminates not only the pantheon of jazz drummers in classical jazz but also makes clear the very essence of the jazz spirit. * Nat Hentoff *

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Book SynopsisA book on jazz's central modern music style: bebop. Focusing on jazz drumming, it shows how deftness, speed, fury, precision, and adventure changed the music's beat and was instrumental in establishing bebop, Korall weaves an account of the music that makes it one of the classic books on the subject.Trade Review"Korall's eagerly awaited sequel to his swing-era treatise is a lively, fascinatingly detailed text composed of narrative, exegesis, interviews and musical examples. Korall tells you exactly what these tub-thumpers did to make their music sound the way it did, from the obscure Lou Fromm to the familiar Kenny Clarke."--Seattle Times/Post-Intelligencer"If you want to know what modern drumming is all about, this is your book. Burt Korall has done a remarkable job, and I strongly recommend it."--Artie Shaw"Nobody writes about jazz drumming like Burt Korall. He gets inside the important drummers, the jazzmen who played with them, the arrangers and the leaders, to capture the excitement, the feel, even the sound of the Bebop Era. What an achievement!"--Dom Cerulli, The Jazz Word"Attention drummers, jazz lovers, bebop lovers, and students of jazz history! Run--I repeat, run--do not walk to your local bookstore and purchase this absolutely wonderful book."--Allegro"Korall digs deep into the hippest period in drumming history. A fascinating must-read for any drummer of style or lover of modern jazz."--William F. Miller, Editorial Director, Modern Drummer Magazine"Burt Korall uses the topic of bebop drumming to range across the larger territory of music. Masterly in concept, scope and detail, his book tells the stories of the great bop drummers, and Korall is a superb story teller."--Doug Ramsey, author of Jazz Matters: Reflections on the Music and Some of its Makers"Unexpected coverage of artists like Tiny Kahn, Stan Levey, Shadow Wilson, and Don Lamond provide diversity and a greater understanding of how bop drumming evolved. It is a readable tome that would appeal to jazz enthusiasts and jazz scholars alike."--Library Journal

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Book SynopsisThe Musician''s Journey escorts musicians, performing artists, music teachers, and advanced music students along the road toward a successful career, offering a vast array of resources to guide them from envisioning the process to achieving the practical details. Jill Timmons provides key tools throughout the journey, from sources as diverse as the world of myth to current brain research, which illuminate compelling real-world examples of music entrepreneurs who forged their own paths to success.In addition to chapters on careers in higher education, guidance in how to develop a dynamic business plan, and effective time management, this expanded second edition includes up-to-date strategies for meeting the challenges of today''s current marketplace, including a greatly expanded section on grant writing and financial development. The new edition also offers a new collection of diverse and inspiring stories taken from interviews with a range of successful musicians, along with personal nTrade ReviewJill Timmons' book is indispensable for musical performers, teachers, non-profit administrators, and grant writers. In the present reality, many of us are "all of the above." The Musician's Journey is a wonderfully comprehensive guide for the vision-plan continuum, the idea of joining heaven and earth, and fully embracing one's role as an artist entrepreneur. * John Thiessen, Executive Director, Gotham Early Music Scene Faculty, The Juilliard School *In today's global marketplace, musicians need resources and wisdom that support and nurture a thriving career along with a satisfying musical life. The Musician's Journey outlines an achievable process, including thought-provoking insight, gained through the author's decades of experience. It positively encourages us to contemplate a wider horizon, which ultimately will lead toward greater artistic and personal fulfillment. * Peter Ellefson, Professor of Music (Trombone), Jacobs School of Music, Indiana University *Entrepreneurship education is taking its essential place in the music curriculum, and Timmons' book is an ideal companion. The updated, expanded edition includes teaching entrepreneurship to high school and college students, managing social media networks, striving during the Covid pandemic, and new information on grant writing in the arts. The Musician's Journey inspires personal confidence to discover a wider lens, to engage a synthesis of practical, creative, and artistic skills, and to empower a successful career in music and the arts in a changing world. * Faun Tanenbaum Tiedge, Professor of Music Emerita, Linfield University *The Musician's Journey is filled with useful information about how to make a good living and to feel fulfilled as a musician. It is exceptionally helpful and also entertaining to read. It is valuable not just for musicians, but for anyone in the arts.This second edition features a new and expanded narrative on grant writing, inspiring true-life stories of diverse artists thriving in today's global market place, and real world advice for artists new to entrepreneurship. This book should be required reading for anyone contemplating a career in the arts. * Seldy Cramer, Founder and Principal, Seldy Cramer Artists, Inc. *Timmons guides us through the aspirational, the theoretical, and the practical in a way that speaks not only to the concert musicians she intended, but, indeed, to any inspired artist who is called to develop and share their gifts. If we have the skills and passion, this book shows us the method... So, buckle up, roll down your windows, and drive this car with its top off. You will love every vista you encounter. * Martin D. Jean, Professor of Organ, Director, Institute of Sacred Music, Yale University *This is a bold book that aims to offer an inspirational and practical resource for musicians embarking on their careers, or perhaps re-evaluating and making changes in their professional portfolio. Its tone is emphatically optimistic, and it is suffused with useful information, practical tips, uplifting quotations, and stories. It draws on an intriguingly broad set of reference points from ancient philosophies to spiritual texts, contemporary neuroscience to personal experience. * British Journal of Music Education *I hope this book will inspire you to create an artistic vision and craft a plan to realize your own thriving career in music. This is the musician's journey.This book is a roadmap for musicians who are eager to accept responsibility for their own careers and are looking for guidance on how to do so. * Rhonda Rizzo, No Dead Guys *Table of ContentsAbout the Companion Website Foreword Preface Acknowledgments 1 A CAREER IN MUSIC Musicians and Their World The World of Music: Where We Are Today A Thriving Career in Music: The New Normal 2 NEWS FROM THE FRONT Client Questionnaire The Accidental Entrepreneur A Call to Change 3 MUSICIANS AND THE PATH OF ENTREPRENEURSHIP Preparing Today's Music Entrepreneurs The Benefits of Entrepreneurship 4 PREPARING FOR CHANGE Brain Neuroplasticity: A Personal Story Definitions Harnessing the Power of the Neuroplastic Brain Brain Health and Higher-Level Creativity Desire as the Genesis for Change 5 CREATING YOUR VISION The Quest for a Vision Discover Inspiration: Inviting the Muse Knowing and Facing Your Fears Ten Showstoppers 6 FROM VISION TO PLAN Music Professionals in Today's Market Place: The Dynamic Entrepreneur Vision and Plan: The Intersection of Heaven and Earth Creating the Plan: The Pathway to a Dynamic Career The Plan versus Income Sources of Income Jobs: Is It a Jay-Oh-Be or Part of Your Career Path? Internships and Volunteerism: The Fast Track to Professional Experience Grant Writing and the World of Philanthropy Your Plan: The Devil Is in the Details Troika of Success Survive or Thrive Mentors for Your Vision-Plan Road Blocks to the Planning Process 7 YOUR PLAN: TAKING CARE OF BUSINESS Mission Statement Legal Identity Goods and Services Financial Plan Marketing Marketing Starter Kit Management Team Other Members of Your Management Team Timelines Financing Your Plan Business Plan Checklist 8. GRANT WRITING: THE MONEY SAFARI Overview Persuasive Writing: No Term Papers Here! Budgets: The Numbers Make It Real Phantoms That Derail Your Proposals Moving Forward 9. BUILDING YOUR CONSORTIUM OF SUPPORT Overview Guerilla Fundraising Grant Writing, One Musician's Story Lessons Learned 10. MUSIC JOBS IN HIGHER EDUCATION Entering the World of Higher Education: The Price of Admission Academia: The Ideal What Price Glory? Tenure Assessment Competencies Survival of the Fittest 11. EDUCATING THE EMERGING ENTERPRENEUR 12. TRUE-LIFE STORIES 13.EPILOGUE Notes Selected Bibliography Index

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Book SynopsisA practical guide to jazz composition, illustrating technical and instrumental variations on themes.

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Book SynopsisThis book attempts to survey this large field afresh, and to do so in connected, chronological fashion. It takes notice of the fact that concertos, overtures, ballets, and suits- often overlooked or minimized in other books on symphonic music- are also parts of the literature.

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Book SynopsisAn invention of the Industrial Revolution, the accordion provided the less affluent with an inexpensive, loud, portable, and durable 'one-man-orchestra' capable of producing melody, harmony, and bass all at once. Imported from Europe into the Americas, the accordion with its distinctive sound became a part of the aural landscape for millions of people but proved to be divisive: while the accordion formed an integral part of working-class musical expression, bourgeois commentators often derided it as vulgar and tasteless. This rich collection considers the accordion and its myriad forms, from the concertina, button accordion, and piano accordion familiar in European and North American music to the exotic-sounding South American bandoneon and the sanfoninha. Capturing the instrument''s spread and adaptation to many different cultures in North and South America, contributors illuminate how the accordion factored into power struggles over aesthetic values between elites aTrade Review"An excellent collection of ethnomusicology scholarship that will be of interest to those who like world music, ethnography, or unusual instruments."--Library Journal"This book should help lift the accordion's reputation to the place it deserves for its role in music history. Highly recommended."--Choice"The Accordion in the Americas offers a history rich in insights drawn from the complex intertwining of society, race and culture in American music-making."--Times Literary Supplement"The Accordion in the Americas tells of the symbolism of the accordion and the role the instrument and its genres play in a variety of cultures. Few world instruments are as pervasive as the accordion and few are as under-represented in scholarly literature."--Journal of Folklore Research"Ridiculed as the old-world instrument of minority ethnic groups, the accordion has also been largely dismissed as a topic of historical or folkloristic inquiry. This edited volume rights this wrong and traces the accordion from its central European roots to 11 regional forms in the Americas. In this volume, the accordion has received its due recognition and respect as a folk instrument."--Journal of American Folklore"An in-depth introduction to the mechanical, musical, and social workings of free-reed instruments in the New World."--Journal of the Society for American Music"This cultural study of the accordion makes a major contribution to understanding the instrument's important social function within different ethnic cultures. The impressive group of contributors illuminates the importance of studying mass culture and indicates the accordion's enduring significance to many cultural and personal identities."--Victor R. Greene, author of A Singing Ambivalence: American Immigrants between Old World and New, 1830–1930Table of ContentsIntroduction 1 HELENA SIMONETTChapter 1 From Old World to New Shores 19 HELENA SIMONETTChapter 2 Accordion Jokes: A Folklorist's View 39 RICHARD MARCHChapter 3 From Chanky-Chank to Yankee Chanks: The Cajun Accordion as Identity Symbol 44 MARK F. DeWITTChapter 4 'Garde ici et 'garde la-bas: Creole Accordion in Louisiana 66 JARED SNYDERChapter 5 "Tejano and Proud": Regional Accordion Traditions of South Texas and the Border Region 87 CATHY RAGLANDChapter 6 Preserving Territory: The Changing Language of the Accordion in Tohono O'odham Waila Music 112 JANET L. STURMANChapter 7 Accordions and Working-Class Culture along Lake Superior's South Shore 136 JAMES P. LEARYChapter 8 Play Me a Tarantella, a Polka, or Jazz: Italian Americans and the Currency of Piano-Accordion Music 156 CHRISTINE F. ZINNIChapter 9 The Klezmer Accordion: An Outsider among Outsiders 178 JOSHUA HOROWITZChapter 10 Beyond Vallenato: The Accordion Traditions in Colombia 199 EGBERTO BERMUDEZChapter 11 "A Hellish Instrument": The Story of the Tango Bandoneon 233 MARIA SUSANA AZZIChapter 12 No ma'se oye el fuinfuan: The Noisy Accordion in the Dominican Republic 249 SYDNEY HUTCHINSONChapter 13 Between the Folds of Luiz Gonzaga's Sanfona: Forro Music in Brazil 268 MEGWEN LOVELESSChapter 14 The Accordion in New Scores: Paradigms of Authorship and Identity in William Schimmel's Musical "Realities" 295 MARION S. JACOBSON Glossary 315 Contributors 319 Index 323

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Book SynopsisCuba's social and cultural complexity interpreted through the history and expressive power of rumba.Table of ContentsPREFACE1. Introduction: Portraits of a Dance2. Cuban Dance Culture3. Cuban People and Rumberos4. Performance of Rumba5. Symbolic Aspects of Rumba6. Social and Aesthetic Change in CubaAPPENDIX: LABANOTATIONNOTESBIBLIOGRAPHYINDEX

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Book SynopsisThe cornett is made of wood but has a brass cup mouthpiece and uses woodwind finger technique. It is capable of great virtuosic display and was featured in works by Monteverdi, Giovanni Gabrieli, and Praetorius, and later by Bach, Handel, and Gluck. This book compiles detailed listings of pieces from 200 printed collections.Trade Review"... a major contribution to cornett research and belongs in the library of every cornettist." Historic Brass Society "... scrupulously detailed... The first successful attempt to provide a comprehensive reference book on the cornett and its music. Recommended for both upper-division undergraduate libraries and collections serving music scholars and performers." Choice " ... it will likely stand as the definitive bibliography of cornett music for many years." Notes "... this is a groundbreaking study of the subject ... likely to remain the only major study of the instrument and the music composed for it." American Reference Books Annual "... every cornett player owes an immense debt of gratitudeto [the authors and their assistants] for revealing such a wealth of performing opportunities ..." European Journal of Early Music

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Book SynopsisAn insightful and imaginative study to deepen the performer's approach to musicTrade ReviewWell-written and opinionated treatise on almost every aspect of the art of musicianship, taking as its basis the methods of Tabuteau, but moving well beyond into discussions of auditioning, intonation, and an extended section on the Baroque performance movement.September 11, 2008 * PBDB Book Review *What is phrasing? What is line? What is music? Logically and with acute attention to detail, Sound in Motion takes the reader on a philosophical journey rooted in the teachings of Marcel Tabuteau, John deLancie, John Minsker, and Sol Schoenbach, the timeless performances of Maria Callas, deLancie, and others, as well as McGill's own career as an orchestral bassoonist. * The Double Reed *The book takes a modern look at Marcel Tabuteau's classic method. * Los Angeles Times *. . . offers a clean, modern take on Tabuteau's legacy, strong advice for aspiring wind players, and a range of observations that should inspire or provoke any serious musician. . . . Recommended. * Choice *Table of ContentsContentsPrefaceAcknowledgmentsPart 1. A Style Is BornPart 2. What Is Music?Fun?Magic?Feeling?Talent?Selflessness?ProfessionalismMotionPart 3. Note GroupingSound Writing (?)What Is Note Grouping?Basic GroupingHarmonic GroupingRhythmic GroupingMotivic GroupingRange and ScalingThe Tabuteau Number SystemWhy Does Grouping Sound Natural?Part 4. The Larger PictureSound ConnectionType and FunctionSkeletal StructureWhat Is Phrasing?RepetitionWhat Is Line?The Four Elements of MusicPart 5. Wind TechniquesBreathingThe Long ToneThe Singing IntervalThe FingersScalesUsing the WindArticulationPart 6. ControversyToneIntonationVibratoOrnamentsWas There a Baroque Style of Playing?Music SpeaksPortato: Herald of a New Romanticism"Technique" vs. "Musicality"Part 7. The ProfessionPracticingAuditioningOrchestral ProtocolPerformingAccompanyingTeachingPart 8. The SearchPostscriptAppendix 1. Recommended RecordingsAppendix 2. Further StudyAppendix 3. To Clip or Not to ClipNotesBibliographyIndexAbout the Author

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Book SynopsisA comprehensive manual of performance practice for 17th century musicTrade Review[A] welcome update to a highly valuable resource for the study of performance practice, and should be a staple for any collection supporting a curriculum of music history and/or historically informed approaches to performing music of the seventeenth century. * Music Reference Services Quarterly *A Performer's Guide to Seventeenth-Century Music is an invaluable resource for both students and professional musicians: it brings musicians up to date on musical research for the period; it helps performers to see the seventeenth-century as (almost) a separate era within the Baroque. * Mu Phi Epsilon *There's a vast amount of information here, and considerable wisdom. Those exploring 17th-century music should buy a copy. * Early Music Review *Full of interest, this performer's guide sometimes seems aimed at the listener and musical historian as much as the performer. * Classical Music *Table of ContentsList of IllustrationsOctave Designation ChartPreface to the Second Edition \ Jeffery Kite-PowellPreface to the First Edition \ Stewart CarterAcknowledgmentsPart 1. Vocal/Choral Issues 1. National Singing Styles \ Sally Sanford 2. The Bel Canto Singing Style \ Julianne Baird 3. Choral Music in France and England \ Anne Harrington Heider 4. Choral Music in Italy and the Germanic Lands \ Gary TownePart 2. Wind, String, and Percussion Instruments 5. Woodwinds \ Herbert Myers 6. Cornett and Sackbut \ Bruce Dickey 7. Trombone \ Stewart Carter 8. Trumpet and Horn \ Steven E. Plank 9. Percussion and Timpani \ John Michael Cooper 10. The Violin: Technique and Style \ David Douglass 11. Historical Approaches to Playing the Violin \ Julie Andrijeski 12. The Viola da Gamba Family \ Stuart Cheney with Barbara Coeyman 13. Violoncello and Violone \ Marc Vanscheeuwijck 14. Keyboard Instruments \ Mark Kroll 15. Plucked String Instruments \ Paul O'DettePart 3. Performance Practice and Practical Considerations 16. Ornamentation in Early Seventeenth-Century Italian Music \ Bruce Dickey 17. Basso Continuo \ Jack Ashworth and Paul O'Dette 18. Meter and Tempo \ George Houle 19. Tuning and Temperament \ Herbert Myers 20. Pitch and Transposition \ Herbert MyersPart 4. The Seventeenth-Century Stage 21. Dance \ Dorothy Olsson 22. Theatrical Productions \ James MiddletonAppendix A. List of Names and DatesAppendix B. A Performer's Guide to Medieval Music: ContentsAppendix C. A Performer's Guide to Renaissance Music: ContentsBibliographyList of ContributorsIndex

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Book SynopsisHow to Play Keyboards offers an exciting new way to learn to play. Its easy-to-follow instructions and systematic approach enable you to start playing popular tunes on your keyboard within minutes-even if you''ve never played a musical instrument before. You''ll learn keyboard basics like:--fingering--chords--special effects--playing by ear--how to read sheet music--playing with drum backingand much more.Filled with a wealth of instruction and inspiration, How to Play Keyboards is like having your own personal tutor.

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Book SynopsisThis book bridges a gap in existing scholarship by foregrounding the contribution of women to the nineteenth-century Lied. Building on the pioneering work of scholars in recent years, it consolidates recent research on womenâs achievements in the genre, and develops an alternative narrative of the Lied that embraces an understanding of the contributions of women, and of the contexts of their engagement with German song and related genres. Lieder composers including Fanny Hensel, Clara Schumann, Pauline Viardot-Garcia and Josephine Lang are considered with a stimulating variety of analytical approaches. In addition to the focus on composers associated with history and theory of the Lied, the various chapters explore the cultural and sociological background to the Liedâs musical environment, as well as engaging with gender studies and discussing performance and pedagogical contexts. The range of subject matter reflects the interdisciplinary nature of current research in the field, and thTrade Review"This is an important book. (…) This rich collection assembled by Aisling Kenny and Susan Wollenberg is a ‘must-have’ for those interested in the history of lieder, the musical practices of women, and the social landscape of the nineteenth century." – Marcia J. Citron, Rice University."Women and the Nineteenth-Century Lied takes nineteenth-century music scholarship a considerable step closer toward a greater inclusiveness of repertoire, composers and methodologies, and for that it is profoundly welcome." – Laura K.T. Stokes, Brown University"… a fine volume for lieder scholars…" - Susan H. Borwick, Journal of the International Alliance for Women in MusicTable of ContentsPart 1 Contexts for Women's Lieder, I: Blurring the gendered dichotomies: issues of gender and creativity for the female Lied composer. Absence and dialogue: Pauline von Decker in a performing and cultural context. In pursuit of a single flame: Fanny Hensel's 'musical salon'. Part 2 Individual Composers and their Lieder, I: Early 19th Century: 'Der Jungling und Das Madchen': Fanny Hensel, Felix Mendelssohn and the Zwolf Lieder, op. 9. Functions of piano introductions in the Lieder of Josephine Lang. Clara Schumann's 'Liebst du um Schonheit' and the integrity of a composer's vision. Part 3 Individual Composers and their Lieder, II: Later 19th Century: Pauline Viardot-Garcia's 'Ne poj, krasavica, pri mne' and the genre of Russian romance. (Re)claiming space for Ingeborg von Bronsart's Wildenbruch Lieder, op. 16. Cyclic organization, narrative and self-construction in Ethel Smyth's Lieder und Balladen, op. 3 and Lieder, op. 4, Cornelia Bartsch; Contrasting concepts of love in two songs by Alma Schindler(-Mahler) and Gustav Mahler. Part 4 Contexts for Women's Lieder, II: 'Und das hat mit ihrem Singen, Die Lore-Ley gethan': subjectivity and objectification in two Heine settings. Echoes of the Lied: women's vocal repertoire in 19th-century Ireland. Women composers of Lieder: selected sources.

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Book Synopsis"No voice teacher, no coach, no accompanist, no singer, and for that matter, no music-lover should be without this publication . . . from a man whose knowledge of this repertoire is so complete and profound as to make his treatment of it definitive and without equal." —Notes

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Book SynopsisThis title is part of UC Press's Voices Revived program, which commemorates University of California Pressâs mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1963.

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W. Dean Sutcliffe investigates one of the greatest yet least understood repertories of Western keyboard music: the 555 keyboard sonatas of Domenico Scarlatti. Scarlatti occupies a position of solitary splendour in musical history. The sources of his style are often obscure and his immediate influence is difficult to discern. Further, the lack of hard documentary evidence has hindered musicological activity. Dr Sutcliffe offers not just a thorough reconsideration of the historical factors that have contributed to Scarlatti's position, but also sustained engagement with the music, offering both individual readings and broader commentary of an unprecedented kind. A principal task of this book is to remove the composer from his critical ghetto (however honourable) and redefine his image. In so doing it will reflect on the historiographical difficulties involved in understanding eighteenth-century musical style.

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Book SynopsisTwelve of today's most distinguished scholar-performers offer essays in this volume on new and intriguing aspects of baroque keyboard music. Topics include fresh evidence on music of the seventeenth century (Frescobaldi, Froberger and Purcell), the place of the keyboard in concerted music and on comparative teaching methods (Couperin, Marpurg and Roeser), studies of the repertoire of J. S. Bach and his sons (including ornamentation in C. P. E. Bach and the Polonaises of Wilhelm Friedemann), and writing on the later eighteenth century (including Mozart) and on matters of repertoire and performance practice (continuo playing, improvisation). The volume gives a balanced picture of the latest theories and discoveries in keyboard music, of interest to both academic and performing musicians, and includes a new arrangement for keyboard of Bach's D minor Violin Partita, published here for the first time.Trade ReviewReview of the hardback: 'The very experienced writers know how to relate particular issues to broader contexts, so there is much for the enthusiast, and several of the articles will henceforth be standards on my reading lists.' The British Clavichord SocietyReview of the hardback: 'May this collection encourage by example and stimulate further generations of Leonhardt's under-gardeners to labour for their art.' The ConsortTable of ContentsPart I. Seventeenth-Century Keyboard Music: 1. On Frescobaldi's recreation of the Chaconne and the Passacaglia Alexander Silbiger; 2. Hanß Jacob Froberger's travels 1649–1653 Rudolf Rasch; 3. New perspectives on Lynar A 1 Pieter Dirksen; 4. Creating the corpus: the 'Complete Keyboard Music' of Henry Purcell Christopher Hogwood; Part II. The Early Eighteenth Century: 5. Towards a genealogy of the keyboard concerto John Butt; 6. Couperin, Marpurg and Roeser: A Germanic Art de Toucher le Clavecin, or a French Wahre Art? Davitt Moroney; Part III. The Bach Family: 7. Invention, composition and the improvement of nature: apropos Bach the teacher and practical philosopher Christoph Wolff; 8. Is there an anxiety of influence discernible in J. S. Bach's Clavierübung I? Peter Williams; 9. 'Toward the most elegant taste': developments in keyboard accompaniment from J. S. to C. P. E. Bach David Schulenberg; 10 '… welche dem größten Concerte gleichen': the polonaises of Wilhelm Friedemann Bach Peter Wollny; Part IV. The Later Eighteenth Century: 11. Schnellen: a quintessential articulation technique in eighteenth-century keyboard playing Menno van Delft; 12. Mozart's non-metrical keyboard preludes Robert D. Levin; Part V. Musical envoi: 13. J. S. Bach: Keyboard Partita in A Minor after BWV 1004 Lars Ulrik Mortensen.

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