String instruments Books

Book SynopsisThere is a growing awareness that international law insufficiently protects common global interests and that States and non-State actors need to work together to protect global aims. The focus of this book is on the different fields of international law where there is a need for global cooperation to achieve common aims, for example: the law of the sea; protection of world cultural heritage; sustainable development, biological diversity and climate change; human rights; and international crimes. The volume also identifies the legal developments which have taken place, for example treaties which use the language of 'common heritage of mankind' or 'common concern of humanity', thereby identifying global concerns and reflecting a global set of values and interests independent of the interests of States.Table of ContentsContents: Introduction; Part I Conceptual Issues: Common concern of humanity, Dinah Shelton; Justice and the distribution of greenhouse gas emissions, Simon Caney; Common but differentiated responsibilities in international law, Christopher D. Stone; Conceptualising the relationship between Jus Cogens and Erga Omnes rules, Michael Byers; The common heritage of mankind: utopia or reality?, Alexandre Kiss. Part II Responsibility to Protect: Jurisdiction without territory: from the Holy Roman Empire to the responsibility to protect, Anne Orford; Responsibility to protect: political rhetoric or emerging legal norm?, Carsten Stahn. Part III Universal Jurisdiction: Imagining the international community: the constitutive dimension of universal jurisdiction, Adeno Addis; The legal limits of universal jurisdiction, Anthony J. Colangelo. Part IV International Spaces: Imagine there are no possessions: legal and moral basis of the common heritage principle in space law, Gbenga Oduntan; The common heritage of mankind: an adequate regime for managing the deep seabed?, Edward Guntrip. Part V Environmental Law: Solidarity, justice and climate change law, Angela Williams; Common concern of humankind and its implications in international environmental law, Jimena Murillo Chávarro; Custodial sovereignty: reconciling sovereignty and global environmental challenges amongst the vestiges of colonialism, Werner Scholtz. Part VI Cultural Heritage: Beyond state sovereignty: the protection of cultural heritage as a shared interest of humanity, Francesco Francioni; World cultural heritage: obligations to the international community as a whole?, Roger O’Keefe. Part VII Human Rights and Development: Correcting globalisation in health: transnational entitlements versus the ethical imperative of reducing aid-dependency, Gorik Ooms and Rachel Hammonds; Human rights, the Millennium Development Goals, and the future of development cooperation, Paul J. Nelson; Transnational human rights obligations

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Book SynopsisA new compact format from best-selling music author Jake Jackson. 20 scales per key, organised with notation and TAB, this is a simple, direct solution for anyone learning the guitar or needing a quick reminder. Great for beginners and intermediate players, and for those needing a straightforward reference.

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Book SynopsisThis volume is the continuation of the first volume. It includes further exercises and etudes as well as further technical requirements such as changing positions, bowing, etc.Violoncello-Schule, Band 2Der hier vorliegende band bildet die Fortsetzung des ersten Bandes. Es beinhaltet weitere Übungen und Etüden sowie weitere technische Anforderungen wie Lagenwechsel, Bogenführung etc.

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Book SynopsisOne of the most important study books for beginner violinists, Heinrich Ernst Kayser''s 36 Elementary and Progressive Studies, Op. 20 covers a wide variety of bowing, shifting and fingering technique. This set of studies provides a strong foundation for the more advanced technical books such as Kreutzer and Kreisler. Edited by Hugo Seling in German Language only. Contains methodological hints with performance notes for each Etude with musical samples.36 Etüden op. 20 für ViolineDie 36 Etüden op. 20 von Heinrich Ernst Kayser stellen eines der wichtigsten Übungswerke für die ersten Schritte an der Geige dar und decken eine große Bandbreite an Bogenführung, Lagenwechsel und Grifftechnik ab. Diese Etüden bilden eine solide Basis für die fortgeschritteneren technischen Übungen von Kreutzer und Kreisler. Mit methodischen Tipps und aufführungstechnischen Hinweisen zu allen Etüden sowie Notenbeispielen. Herausgegeben von Hugo Seling.

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Book SynopsisEine Einführung für neugierige Erwachsene teilweise mit Begleitung eines zweiten Violoncellos oder KlavierbegleitungKlare und übersichtliche Lernschritte Schritt für Schritt und praxisnah werden die Schüler an das Notenlesen herangeführt Kurze Stücke steigern die Motivation Zahlreiche Duette für Schüler und Lehrer schulen das Gehör Durch Anregungen zur Improvisation kommt auch die eigene Phantasie nicht zu kurz Darüber hinaus vermitteln kleine Exkurse musikgeschichtliche Grundlagen.

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Book SynopsisSimon Fischers Basics sind ...Übungen und praktische Anleitungen zur Geigentechnik für den täglichen Einsatz, nicht fürs Bücherregalfür Spieler jeder Leistungsstufe, vom Anfänger bis zum Profiideal für eine fundierte Grundlage bereits im Anfängerunterrichtbestens geeignet, um alle Facetten der Geigentechnik schnell und nachhaltig zu verbessernDie 300 Übungen ...sind meist einfach und kurz und führen rasch zu maximalen Ergebnissenlösen geigerische Probleme oft schon nach ein- und zweimaligem Durchspielenenthalten auch elementare Aufgaben oder Einspielübungen zur regelmäßigen Wiederholungbilden das derzeit ausführlichste und detaillierteste praktische Kompendium zum Geigenspiel.Basics (German Language Edition)German Edition of Simon Fischer''s popular Violin Studies Book. Basics is a collection of practice methods and exercises, and belongs on the music stand, not on the bookshelf. It can be used by players of all standards, from concert violinists to students. Much of the material is also suitable for teaching elementary players.Each exercise is designed to achieve the maximum possible result in the least possible time. Some are very short and need to be done only once or twice to explore a particular aspect of technique. Others are practice routines or warm-up exercises that can returned to regualarly.Basics is not a book to play through from cover to cover (though, for easy reference, the exercises are numbered sequentially throughout). Everybody''s needs are different, and there is little point in practising anything that does not need to be practised.The book is invaluable, however, in its presentation of the most effective technical work in a single volume, making it possible to work directly on any aspect of technique that needs attention.

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Book SynopsisThis is a portrait of a fiddle-based folk revival in Norway, investigating the people and events in Norwegian folk fiddling, and tracing the history of Norwegian folk music and the growth and diversification of the folk music revival. It uses a wide anthology of carefully-transcribed folk tunes.

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Book SynopsisThe story of the banjo''s journey from Africa to the western hemisphere blends music, history, and a union of cultures. In Banjo Roots and Branches, Robert B. Winans presents cutting-edge scholarship that covers the instrument''s West African origins and its adaptations and circulation in the Caribbean and United States. The contributors provide detailed ethnographic and technical research on gourd lutes and ekonting in Africa and the banza in Haiti while also investigating tuning practices and regional playing styles. Other essays place the instrument within the context of slavery, tell the stories of black banjoists, and shed light on the banjo''s introduction into the African- and Anglo-American folk milieus. Wide-ranging and illustrated with twenty color images, Banjo Roots and Branches offers a wealth of new information to scholars of African American and folk musics as well as the worldwide community of banjo aficionados. Contributors: Greg C. Adams, Nick BambTrade ReviewNicholas Bessaraboff Prize, American Musical Instrument Society, 2020 "Anyone with a strong interest in the early history of the banjo or in the broader history of American instrumental music in oral tradition will want a copy of this fine collection. All the work is imaginative, careful, and thoroughly documented. The essays flow smoothly." --Western Folklore"Banjo Roots and Branches is a comprehensively researched and pathbreaking piece of banjo roots scholarship. " --Music in American Life"Inspired by Dena Epstein, this is the first book to use a holistic approach in exploring the history of the banjo; it is an excellent compilation of articles for those interested in the music of Africa and the Americas."--Jacqueline Cogdell DjeDje, author of Fiddling in West Africa: Touching the Spirit in Fulbe, Hausa, and Dagbamba Cultures"Winans makes a rich addition to the literature. Recommended." --Choice"As far as I know this book has no real equivalents. Several of the essays are pioneering contributions to the esoteric but intriguing field of banjo research and folklore and ethnomusicology generally."--Robert S. Cantwell, author of Bluegrass Breakdown: The Making of the Old Southern Sound"An excellent book with plenty of material for both specialist and casual readers." --Galpin Society Journal"Roots and Branches collects an extraordinary amount of research into the ongoing discovery of the banjo's Byzantine history. . . .Each essay speaks directly to all others, lending the book an unusual level of cohesion for an edited volume." --The World of Music"A significant contribution to our understanding of the history and current significance of the banjo." --Ethnomusicology

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Book SynopsisTrade ReviewThis is a most stimulating book and one which every serious lutenist should read and understand. While Dolata may not persuade us that all or even most professional lutenists used meantone he makes a strong case that some did, and that equal temperament, while understood and widely used, was avoided by the most fastidious. He gives the reader the means to understand the issues and lots of practical advice on going beyond equal temperament towards better sound. * The Lute *While Dolata's book is aimed primarily at lutenists and gambists, the wealth of information he provides is of potential value to performers and scholars outside this limited circle. In particular, those who perform with—or conduct—lutenists and gambists can profit from learning what is involved in setting up fretted instruments in unequal systems. * Journal of Seventeenth-Century Music *[This book] handles a difficult subject with clarity and vigor, and I imagine it will find a welcome place on the bookshelf of the serious student interested in exploring the unique soundscape attainable only through meantone temperament. * Notes *There is a wealth of knowledge here for more advanced performers and those with an interest in historical temperaments. * Music Reference Services Quarterly *This is an excellent, well-written book. There is a wealth of information about how players of fretted instruments found different solutions to the problems of tuning; the section on the theory of temperaments is a good read in spite of the dryness of its subject matter; and there is much good practical advice to help us improve our playing by getting our instruments well in tune. * The Viola da Gamba Society Journal *This book is well written in a friendly style, and it fulfills its tutorial intention very well. * The Consort *Table of ContentsList of DiagramsList of TablesList of Audio FilesAcknowledgmentsIntroductionPart One: PrecedentPart One Introduction1. Historical Performance, Thought, and Perspective2. Surviving Fixed Metal-Fret Instruments3. Fretting Pattern IconographyPart One ConclusionPart Two: TheoryPart Two Introduction4. Inside the Numbers: How Tuning Systems Work and Why We Need Them5. Tour through Tuning SystemsPart Two ConclusionPart Three: PracticePart Three Introduction6. Physical and Environmental Factors7. The Zen of Tuning8. Continuo9. ViolsConclusionAppendix 1: CleartuneAppendix 2: Equal Temperament Offset ChartsNotesBibliographyIndex

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Book SynopsisTrade ReviewThe hurdy-gurdy is currently enjoying a renaissance in early music circles. The second edition of Green's book offers an update that includes valuable new insights and is sure to inspire future performers to delve into the repertoire and performance practices of the period. * French History *"This book will be of value to anyone researching or intending to play the instrument and its delightful music." * Notes *Table of ContentsIntroduction to the Second EditionPreface to the Original Edition1. Historical Background2. The Music3. Musical Interpretation and Performance4. The Repertory5. The Vielle in the Literature of Seventeenth- and Eigteenth-Century France Appendix: Translation of the Avertissements in Works by Jean-Baptiste DupuitsBibliographyIndex

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Book SynopsisTrade ReviewThe 2007 revision of Harps and Harpists by Roslyn Rensch is the fourth in its line by the author. Even cursory glances at the precursors of the present work show her lifetime odyssey and love affair with her instrument, and make interesting comparisons with one another.June 2008 * Notes *Table of ContentsList of IllustrationsPrefacePart 1. The Harp in the Ancient World1. The Beginning2. Beyond the Earliest SourcesPart 2. The Non-Pedal Harp in Western Europe and North America3. Early Representations4. The Harp in Art, 1200–16655. The Harp in Literature and Music6. Concerning Non-pedal Harps and HarpistsPart 3. The Pedal Harp in Western Europe and North America7. Some Early Harps, Harpists, and Music8. From Single to Double Action9. The Colonies and the United States10. The Harp InternationalPart 4. Retrospection and the Future11. Some Notable Events12. Four Essays by the AuthorAppendixNotesSelected BibliographyIndex

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Book SynopsisTrade Review"I have known Maureen for many years and have watched her evolve into an excellent violinist. She has analyzed the methodology of violin playing at a phenomenal level, along with illustrations. I consider this book to be a unique and valuable asset that every serious-minded violinist should have in their library."—Max Hobart, former Boston Symphony Orchestra, Associate Concertmaster"Maureen has written a book which provides a phenomenal amount of information presented in a way that gives true insight into violin playing. Progressive Form is the most precise method out there and is without precedence in violin literature."—Victor Romanul, violinist of the Boston Symphony OrchestraTable of ContentsPrefaceAcknowledgmentsIntroductionPART ONE: Left Arm1. Left Arm Overview2. Left Arm Subdivisions3. Total Left Arm4. Left Wrist5. Left Palm6. Left-Hand Knuckles7. Left-Hand Fingers8. Left-Hand Finger Action9. Left Thumb10. Finer Balances of the Left Hand11. Left Hand Formation12. Lower Outside Corner13. Shifts14. Scales15. Trills16. VibratoPART TWO: Right Arm17. Right Forearm18. Right Wrist19. Total Right Arm20. Bow Form and Application21. The Bow Stroke: Speed, Balance, and Mental ProjectionPART THREE: Integration22. Full Body Balance23. An Expanded Approach to Scales and Arpeggios24. Mental Training and Progressive FormAppendixGlossaryIndex

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Book SynopsisA young woman leaves Appalachia for life as a classical musicianor so she thinks.Trade Review"Sardonic, moving." -- The New Yorker"Brave and captivating." -- The Los Angeles Review of Books"[An] outrageously funny, shrewdly meta memoir." -- O, The Oprah Magazine

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Book SynopsisAmerican slaves drew on memories of African musical traditions to construct instruments from carved-out gourds covered with animal skin. Providing a sense of rootedness, solidarity, and consolation, banjo picking became an essential part of black plantation life, and its unmistakable sound remains versatile and enduring today, Laurent Dubois shows.Trade ReviewDubois illuminates the banjo’s complicated cultural history…This lively account is not without surprises. * New Yorker *Dubois attempts to trace the evolution of the modern instrument from its African antecedents to the present day, prudently noting that a linear account is likely to be misleading…There is enough anecdote and lore to satisfy both the casual and the specialist reader. -- Lou Glandfield * Times Literary Supplement *Dubois relates here a history of the instrument that is both learned and entertaining. His enthusiasm shines through every page. -- John Check * Weekly Standard *[A] riveting history of the banjo…While the story Dubois tells is primarily historical and sociological, it is also musical, and he never lets us forget the magical hum that distinguishes the banjo from the guitar and other stringed instruments…Dubois combines erudition with obvious enjoyment. His limpid prose easily bears the weight of his impressive research. -- Tom Gilling * The Australian *In his astonishing work The Banjo: America’s African Instrument, DuBois convincingly and compellingly demonstrates the instrument’s historical role as both symbol and product of diaspora and dislocation…The Banjo is a masterful accomplishment that reframes the broader cultural history of the world. By following the instrument from precontact to postmillennium, this celebrated historian has created a powerful tribute to the music, its performers, and its listeners…With its depth and power, The Banjo achieves an impact commensurate with its namesake. -- Charles Hughes * American Historical Review *This is one of the very best books on the banjo published to date…It is also one with a grand scope of the life of the banjo. If you are interested enough in the banjo to understand the instrument and its uses more fully, you cannot do better than to read this lively, superb account. -- Wayne Shrubsall * Banjo Newsletter *If you own a banjo you should probably own this book. But fair warning, it will probably lead you to buy more banjos, maybe even one made from a gourd. If you enjoy history on a grand but approachable scale…you will also find the book fascinating. * Syncopated Times *A wonderful offering, and a fascinating and illuminating read. This is the most comprehensive book yet about the history of the banjo. The instrument’s story is told here with such depth and detail that it comes alive. I loved reading this. -- Béla Fleck, banjoistFollowing the strings of the banjo from Africa across the Atlantic to the Caribbean and then to the United States, Laurent Dubois provides a new perspective on the African diaspora. The Banjo: America’s African Instrument is a rich, original view of our sonic landscape. It is impossible to follow Dubois’s trail without a smile and the satisfaction of hearing the world anew. -- Ira Berlin, author of Generations of Captivity: A History of African American SlavesDubois reveals the banjo as a vital medium for the ideas and struggles of the people who make it, play it, and hear it. Combining storytelling and scholarship as seamlessly as the banjo condenses rhythm and melody, this special book is a melodious read by an extraordinary writer of Atlantic history. -- Vincent Brown, author of The Reaper’s Garden: Death and Power in the World of Atlantic Slavery

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Book SynopsisShinichi Suzuki, of the eponymous Suzuki Method, debunked Western stereotypes about “authentic” classical performance while transforming music education globally. Yet as Eri Hotta shows, his movement was about much more than developing music skills. A committed humanist, he aspired to nurture the potential, musical or otherwise, in every child.Trade ReviewHotta is an unobtrusive narrator whose personal anecdotes are like grace notes on the larger score of Suzuki’s life. * Wall Street Journal *Hotta takes on the life story of the man who made the mini-masters…The Suzuki story turns out to be a fascinating study in the hybrid nature of human culture, tracing a remarkable cross-century triple play—European music to Japanese discipline, ending with a putout at a first base manned by mad American parental ambition. -- Adam Gopnik * New Yorker *Moving and beautifully written…Eri Hotta’s vivid account analyses the nature, therapeutic social uses and massive global influence of the ‘Suzuki Method’, which is now big business in America. But it fascinates at other levels too, bringing in some of Suzuki’s world-famous musical friends and protégés, and providing a sharply accusatory chronicle of 20th-century Japan’s bureaucratically blighted history as a backdrop. -- Michael Church * BBC Music Magazine *Suzuki will take a deserved place as the definitive account of his life, and will be a valuable resource for scholars, teachers, and music students alike. Hotta’s writing strikes a perfect balance between scholarly precision and engaging narrative…Conjures a vibrant and moving portrait of both the man and his revolutionary vision. -- Andrew Braddock * The Strad *Eri Hotta’s book does a wonderful job of bringing to life the real magic of the man and his vision while discarding the hocus-pocus in which they are often disguised. Using entertaining vignettes, concise sociohistorical surveys and reflections drawn from her experience as a Suzuki parent, she manages to reconstruct and map out the unique conditions that allowed Suzuki to see that teaching young children to play the violin together could be a wonderful way to guide them towards a society in which individuals are at peace with themselves and in harmony with each other. -- Guy Dammann * Times Literary Supplement *This well-researched, conceived, and executed book seems to be the first objective account of the man and his life. It is a revelation on many levels…[Suzuki] is about optimism, gentleness, doggedness, belief in children, humanity, and the affirmative properties of art in the face of violence and ignorance. -- David Mehegan * Arts Fuse *Eri Hotta gives us a detailed, enthusiastic biography of a multitalented educator whose name lives on but whose method is largely forgotten…Suzuki is a readable, fascinating story about the man who believed everyone has potential. * International Examiner *Hotta does not present a conventional biography as much as a history of 20th-century Japan and its relationships with the West and Russia, ingeniously weaving events from Suzuki’s long life and experiences throughout it. * Limelight *Hotta, an erstwhile Suzuki violin student and the author of an excellent book on Pearl Harbor from the Japanese perspective, is the ideal person to show how Suzuki’s 99-year life rubbed up against the rollercoaster of Japan’s 20th century…[An] arresting slice of social history. -- Iona McLaren * The Spectator *It is hard to imagine a more extensively researched account of Suzuki’s life and development of the Suzuki movement during his life. Hotta draws on a wealth of resources in both English and Japanese to paint a wonderfully detailed picture of Suzuki’s vision and the measures he took to make that vision a reality. -- Adam Symborski * International Journal of Education & the Arts *With eloquence and perception, Eri Hotta reveals how Suzuki began a musical revolution that has influenced countless young people across the world. Coming from the Method myself, I benefited greatly from many of Suzuki’s deep convictions, including his core belief that great ‘talent’ emerges from nurtured training. As Suzuki recognized, and as this wonderful book reminds us, music joins composer, performer, and audience in a powerful existential bond. -- Leila Josefowicz, MacArthur Award–winning classical violinistA terrific, groundbreaking, and engrossing study of Shinichi Suzuki, whose approach to teaching young people transformed music education in the second half of the twentieth century. His effective and popular method made serious instruction widely accessible, without limiting the aspirations of all in deference to the gifted few. Transcending the formidable barriers of politics and culture, his achievement helped pave the way for traditions of music developed in the West to be integrated, celebrated, and reinvented in Asia. Suzuki’s story is central to the flourishing of music as a vibrant international art. -- Leon Botstein, President of Bard College and Music Director and Principal Conductor of the American Symphony OrchestraWritten with a warmth echoing that of its subject, this wonderful account is at once a biography and an intimate window into Japan’s momentous twentieth century. -- Christopher Harding, author of The Japanese: A History in Twenty LivesA captivating historical perspective on a global phenomenon. Eri Hotta’s account of Suzuki’s fascinating life story unmasks the man and reveals the overall achievement of a musical hero. -- Fred Sherry, cellist and former Artistic Director of the Chamber Music Society of Lincoln Center

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Book SynopsisThis work focuses on old-time fiddling in Alabama from the settlement of the state through to World War II. It shows the effects of events, inventions, ethnic groups and individuals upon fiddlers' styles and what they played.

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Book SynopsisA rediscovered treasury of old-time fiddle music with over 300 musical annotationsWhile in the Mississippi State Archives tracking down Abbot Ferris''s beautiful photographic portraits of musicians from 1939, author Harry Bolick discovered, to his amazement, a treasure trove of earlier fiddle tunes in manuscript form. Since then he has worked to understand how this collection came to exist and be set aside. With Stephen T. Austin, Bolick has transcribed the subsequent 1939 audio recordings. Mississippi Fiddle Tunes and Songs from the 1930s presents the history of the collecting work, with over three hundred of the tunes and songs and a beautiful selection of period photographs.In the summer of 1936, over one hundred fiddle tunes, many of them unique, along with thousands of songs, were collected and notated throughout a large part of Mississippi. Roughly 130 novice field workers captured beautiful tunes and tantalizing fragments. As a body of work, it is an unparalleled and fascinating

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Book SynopsisA unique volume that is the only book solely about antebellum American fiddling. It includes more than 250 easy-to-read and clearly notated fiddle tunes alongside biographies of fiddlers and careful analysis of their personal tune collections.

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Book SynopsisPathbreaking study of a vast and intriguing repertoire: arrangements for keyboard instruments of songs, arias, and other vocal pieces, from the age William Byrd to that of Handel. Keyboard arrangements of vocal music flourished in England between1560 and 1760. Songs without Words, by noted harpsichordist and early-music authority Sandra Mangsen, is the first in-depth study of this topic, uncovering abody of material that is remarkably varied, musically interesting, and indicative of major trends in musical and social life at the time. Mangsen's Songs without Words argues that the pieces upon which these keyboardarrangements were based constituted a shared repertoire, akin to the jazz standards of the twentieth century. In Restoration England, the ballad tradition saw tunes and texts move between oral, manuscript, and printed transmissionand from street to playhouse and back again. During the eighteenth century, printed keyboard arrangements were aimed particularly at female amateur keyboardists and helped opera to become a widely popular genre. Songs without Words considers a wide range of model pieces, including songs of many kinds and arias and other numbers from operas and oratorios. The resulting keyboard versions range from simple and pedagogically oriented to highly virtuosic. Two central issues -- the relationship between an arrangement and its model and the reception and aesthetics of arrangements -- are explored in the framing chapters. The result is a study that will be of great interest toscholars, performers, and anyone who loves the music of the late Renaissance, Baroque, and early Classic eras. Sandra Mangsen is professor emerita of music at the University of Western Ontario.Trade ReviewOffers a useful introduction to selected repertories of vocal music arranged for keyboard in England between the sixteenth and eighteenth centuries and also charts some territory that will be unfamiliar to most readers. * EARLY MUSIC PERFORMER *The subject of musical arrangement is one that has begun to arouse increasing interest among musicologists in recent years, as they have moved away from a long-standing tendency to deride such reworkings. It is thus particularly welcome that musicology's re-evaluation of arrangement as a creative activity has included a strong focus on early music, especially that of the seventeenth and eighteenth centuries. Sandra Mangsen's book is the first full-length study of the topic for the early modern period, so it forms an important addition to the field. * MUSIC & LETTERS *A well-documented book on a very attractive topic that is still little researched. The prose is clear and the tables are detailed and informative. [Mangsen] considers the purposes and motivations for the dissemination of arrangements in a longer chronological perspective, aligning Babell's virtuoso display with that of Liszt or Godowsky. * EARLY MUSIC *Mangsen should be congratulated for her thorough investigation into such a broad subject with numerous sources of disparate natures. This repertory has not received such thoughtful interrogation in a book-length publication, and Songs without Words has taken a large step toward helping us understand the complex interweaving of theatre culture, domestic markets, social interaction, and the role of performers/composers/copyists in musical transmission between 1560 and 1760. . . . [A] valuable and significant contribution to the literature on English music and will significantly aid future examinations that further our understanding of this exciting period. * NABMSA REVIEWS *Sandra Mangsen brings deep and thorough research to [her] central topic. The book raises and answers questions like: What was the market for the keyboard arrangements of songs from the pop culture of the day? Did it vary by gender? Were they intended for professionals, good amateurs, or dilettantes? What purposes did these pieces serve before the age of recording? Does the absence of a song's words imply anything for performances? Should keyboard arrangements of songs be considered as important repertoire alongside original keyboard pieces? . . . Physically deluxe, . . . a nice-looking book. * AMERICAN RECORD GUIDE *Table of ContentsIntroduction Ballads Transformed Arias Domesticated: The Ladys Entertainment and Other Early Eighteenth-Century Anthologies With Their Symphonies: William Babell and The Ladys Entertainment Books 3 and 4 Opera Remix: Babell's Suits of 1717 After Babell: Arrangements for Ladies and Gentlemen Afterthoughts Appendix: The Ladys Banquet (Second Series): Contents, Concordances, and Dissemination Notes Bibliography Index

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Book SynopsisThe Guitar in America offers a history of the instrument from America's late Victorian period to the Jazz Age. The narrative traces America's BMG (banjo, mandolin, and guitar) community, a late nineteenth-century musical and commercial movement dedicated to introducing these instruments into America's elite musical establishments.Using surviving BMG magazines, the author details an almost unknown history of the guitar during the movement's heyday, tracing the guitar's transformation from a refined parlor instrument to a mainstay in jazz and popular music. In the process, he not only introduces musicians (including numerous women guitarists) who led the movement, but also examines new techniques and instruments. Chapters consider the BMG movement's impact on jazz and popular music, the use of the guitar to promote attitudes towards women and minorities, and the challenges foreign guitarists such as Miguel Llobet and Andres Segovia presented to America's musicians.This volume opens a new chapter on the guitar in America, considering its cultivated past and documenting how banjoists and mandolinists aligned their instruments to it in an effort to raise social and cultural standing. At the same time, the book considers the BMG community within America's larger musical scene, examining its efforts as manifestations of this country's uneasy coupling of musical art and commerce.

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Book SynopsisDuring the early nineteenth century, the harp was transformed into a sophisticated instrument that became as popular as the piano. This was largely the result of the harp's intensive technical, musical and visual upgrading, which gradually led to the transition from the single- to the double-action pedal harp. A major figure in this process was Sébastien Erard (1752-1831), a tireless inventor and prolific manufacturer of harps and pianos operating branches in Paris and London. With the introduction in 1811 of the so-called 'Grecian' model, the first commercially built double-action harp, the Erard firm managed to establish the harp not only as a novel, state-of-the-art instrument, but also as a powerful symbol of luxury, wealth and status. Drawing upon a wide variety of primary sources, including surviving instruments, archival documents and iconographical evidence, this book provides a comprehensive overview of the development, production and consumption of the Erard Grecian harp in Regency England. The innovative approaches employed by the Erard firm in the manufacture and marketing of harps are measured against competitors but also against the work of leading entrepreneurs in related trades, ranging from the mechanical devices and precision tools of James Watt, Henry Maudslay or Jacques Holtzapffel, through the ornamental pottery of Josiah Wedgwood, to the clocks and watches of George Prior or Abraham-Louis Breguet. In addition, the book examines the omnipresent role of the harp in the education, art, fashion and literature of the Regency era, discussing how the image and perception of the instrument were shaped by groundbreaking advances, such as the Industrial Revolution, Neoclassicism, and the Napoleonic Wars.Table of ContentsIntroduction 1 The Shift from the Single- to the Double-Action Harp: The Emergence of the Erard Grecian Model 2 The Design and Engineering of the Erard Grecian Harp: Influences from Industry and Business 3 The Decoration and Branding of the Erard Grecian Harp: Innovation, Adaptation and Substitution 4 Manufacturing the Erard Grecian Harp: Aspects of Organisation, Management and Operation 5 Marketing the Erard Grecian Harp: Promotional Strategies and the Establishment of a Refined Clientele 6 Erard and the Harp in Education, Art and Fashion: 'Evening Dress' for a Private Concert 7 Erard and the Harp's Literary Footprint: From Pride and Prejudice to War and Peace 8 The Erard Grecian Harp as an Artefact of Cultural Heritage: 'Self-destruction' and Resurrection Conclusions Appendix Bibliography Index of Names Index of Places Index of Themes

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Book SynopsisThe first book devoted to the composers, instrument makers and amateur players who advanced the great guitar vogue throughout Western Europe during the early decades of the nineteenth century. Contemporary critics viewed the fashion for the guitar with sheer hostility, seeing in it a rejection of true musical value. After all, such trends advanced against the grain of mainstream musical developments of ground-breaking (often Austro-German) repertoire for standard instruments. Yet amateur musicians throughout Europe persisted; many instruments were built to meet the demand, a substantial volume of music was published for amateurs to play, and soloist-composers moved freely between European cities. This book follows these lines of travel venturing as far as Moscow, and visiting all the great musical cities of the period, from London to Vienna, Madrid to Naples. The first section of the book looks at eighteenth-century precedents, the instrument - its makers and owners, amateur and professional musicians, printing and publishing, pedagogy, as well as aspects of repertoire. The second section explores the extensive repertoire for accompanied song and chamber music. A final substantive section assembles chapters on a wide array of the most significant soloist-composers of the time. The chapters evoke the guitar milieu in the various cities where each composer-player worked and offer a discussion of some representative works. This book, bringing together an international tally of contributors and never before examined sources, will be of interest to devotees of the guitar, as well as music historians of the Romantic period.Table of ContentsForeword - Richard Savino Introduction - Christopher Page, Paul Sparks and James Westbrook Eighteenth-century precedents: the role of Paris - Damián Martín Gil and Erik Stenstadvold The Great Vogue for the guitar: an overview - Christopher Page The instrument and its makers - James Westbrook Printing and publishing music for the guitar with Appendix: Matteo Carcassi - Erik Stenstadvold Amateurs and professionals - Christopher Page Teaching and learning the guitar - Erik Stenstadvold Early-nineteenth-century guitars in the saleroom, private hands and public collections - James Westbrook Music for early-nineteenth-century guitars in the saleroom, private hands and public collections - Kenneth Sparr Accompanied song - Jelma van Amersfoort Chamber music for the guitar - Jukka Savijoki Ferdinando Carulli (1770-1841) - Mario Torta Mauro Giuliani (1781-1829) - Gerhard Penn Fernando Sor (1778-1839) - Erik Stenstadvold Dionisio Aguado (1784-1849) - Luis Briso de Montiano Emilia Giuliani (1813-1850) - Nicoletta Confalone Giulio Regondi (1822/23-1872) and Catharina Pratten née Pelzer (1824-1895) - Sarah Clarke Appendix: A note on string-making - Jenny Nex Bibliography

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Book SynopsisNew research throws light on the history of the viol after Purcell, including its revival in the late eighteenth century through Charles Frederick Abel. It is normally thought that the bass viol or viola da gamba dropped out of British musical life in the 1690s, and that Henry Purcell was the last composer to write for it. Peter Holman shows how the gamba changed its role and function in the Restoration period under the influence of foreign music and musicians; how it was played and composed for by the circle of immigrant musicians around Handel; how it was part of the fashion for exotic instruments in themiddle of the century; and how the presence in London of its greatest eighteenth-century exponent, Charles Frederick Abel, sparked off a revival in the 1760s and 70s. Later chapters investigate the gamba's role as an emblem of sensibility among aristocrats, artists, and intellectuals, including the Countess of Pembroke, Sir Edward Walpole, Ann Ford, Laurence Sterne, Thomas Gainsborough and Benjamin Franklin, and trace Abel's influence and legacy far into the nineteenth century. A concluding chapter is concerned with its role in the developing early music movement, culminating with Arnold Dolmetsch's first London concerts with old instruments in 1890. PETER HOLMAN is Professor of Historical Musicology at Leeds University, and director of The Parley of Instruments, the choir Psalmody, and the Suffolk Villages Festival.Trade Review[O]utstanding research [...] a valuable reference book that I will no doubt consult again and again. * EIGHTEENTH CENTURY MUSIC *[A] fascinating study that has significantly enlightened the dark ages of a much loved instrument. * MUSIC & LETTERS *[Eine] spannenede und extreme informative Abhandlung. * VIOLA DA GAMBA *This is a book not only for those interested in the viola da gamba but also in musical social history in Britain from the 17th to the end of the 19th century. It is rich in scholarly detail and is entertaining to read. * STRINGENDO *[B]eautifully presented and Holman's lucid and elegant prose is a joy to read. [...] This is a book suitable for players and scholars alike, which makes a valuable contribution to our understanding of the viol; I recommend it wholeheartedly. * EARLY MUSIC *[This] volume draws on a truly vast range of documentation [...] and is written in an unpretentious, descriptive prose [...] the coverage is impressive and its result will be of use in many connections: indeed a reference work. * MUSICAL TIMES *There are so many new insights into the life of the viol in this book [...] that the reader is put on a steep learning curve and sent on a truly fascinating journey through the centuries. [...] it can easily be used as a reference book by delving into the sub-chapters or consulting the very comprehensive index, or be read like an exciting novel. * THE CONSORT *No one better could have written this book, which is superb. [...] Applying to the task his extensive research, close acquaintance with the instruments and their music, stellar command of the literature, and lively narrative, Holman demonstrates the extent to which viol playing in Britain survived. * CHOICE *Holman has the knack of finding interesting information and writing interestingly about it. [...] It is a book to dip into. * EARLY MUSIC REVIEW *Table of ContentsIntroduction 'Musitians on the Viol de Gamba': Professional Players in Restoration England 'The Noble Bass Viol': Amateur Players around 1700 'Per la Viola da Gamba': Immigrants in Early Eighteenth-Century London 'Awake my Cetra, Harp and Lute': John Frederick Hintz and the Cult of Exotic Instruments 'A Solo on the Viola da Gamba': Charles Frederick Abel as a Performer 'Composed to the Soul': Abel's Viola da Gamba Music 'The Heart of Sensibility': Writers, Artists and Aristocrats 'The Art of Playing it has never Died Out in this Country': Abel's Competitors, Followers and Successors 'Performed upon the Original Instruments for which it was Written': the Viola da Gamba and the Early Music Revival

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