String instruments Books

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Book SynopsisIn the nineteenth century, use of the violone, a bass instrument with many sizes and variations, was nearly eliminated from musical repertoires, and its traditional parts were parceled out to other instruments such as the violoncello. The following phases of revival of the double-bass have been hampered by a lack of physical evidence and diligent research into the historical uses of the instrument. The Baroque Double Bass Violone is a comprehensive study that examines a cross-section of standard works to enhance contemporary violone research, and provide information for musicologists, music publishers, ensemble leaders, and revivalists, all of whom have been unable to reconstruct an essential part of Baroque music. This translation finally makes the most exhaustive study of the double bass violone accessible to English-speaking musical enthusiasts. The book includes lists of terminology, the most comprehensive bibliography to date, and 48 illustrations that make this a compendium of Trade ReviewFor double bassists interested in assessing the original documents for themselves, I can think of no better introduction to the subject, or list of sources...a tremendous amount of information may be gleaned from Planyavsky's book. Much praise is due both to the author, for his pioneering, inspiring and long-standing contributions to this field, and the translator, James Barket, for having made them widely accessible to the English-speaking community at last. * Bass World *A rich history of the violone is developed both in prose and in 58 illustrations...an important work to have rendered in English...an important read for anyone interested in the early history of stringed instruments. * CASJ *...an important resource for double bassists and others interested in the origin and evolution of the instrument. -- Jerry Fuller * The Strad *Planyavsky's book is full of very valuable information. Now that it is available in English there is no longer an impediment keeping players of these large instruments from learning about their history. * Early Music *Planyavsky's significant contributions to the English-language musical literature could stimulate the continued development of bass playing by enlightening players and their public as to the bassist's role in orchestra, chamber music, and solo playing, as well as the bassist's place in history. * Strings *He has been the most prolific writer on this subject during the last thirty years...a tremendous amount of information may be gleaned from Planyavsky's book. Much praise is due both to the author, for his pioneering, inspiring and long-standing contributions to this field, and the translator, James Barket, for having made them widely accessible to the English-speaking community at last. * International Society Of Bassists *...Planyavsky's book...should lead the way to future studies in early bass instrumentation. * Journal of The American Musical Instrument Society *

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Book SynopsisComprehensive database of original works written for the standard string quartet during the twentieth century. The sources of information include publishers'' list, music reference materials, data from national music information centers, programmes, composers'' correspondence and other publicity materials. Lawrence lists countries that have produced string quartets throughout the century, as well as the context of a composer''s string-quartet output within the wider range of his/her work. Lawrence''s book is a solid, comprehensive basis for investigation, welcome in universities and conservatories, as well as in any music enthusiast''s library.

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Book SynopsisThis book is designed to complement Harp Music Bibliography: Compositions for Solo Harp and Harp Ensemble (Bloomington: Indiana University Press, 1995). The IU Press title has 3356 entries; the supplement has almost 3000 entries, nearly doubling the total number of listings of works for harp. Following the design of the earlier title, the Supplement contains citations for harp music published between 1800 and 2000 in a classified arrangement: 1) Method books; 2) Orchestral studies; 3) Solos (original works for harp); 4) Solo arrangements (arrangements of works originally for other combinations of instruments); 5) Harp ensembles; and 6) Arranged harp ensembles. Each entry includes information needed to accurately identify a work, including uniform titles when needed, publisher information, pagination when available, and complete contents listings for anthologies. Following the main sections is an index of names and titles. Specifically excluded are manuscript and rental material, student theses and dissertations, and reprints by the same publisher. Finally, there is an index of music playable on non-pedal or folk harps.Trade ReviewComplementing the author's 1995 Harp Music Bibliography; Compositions for Solo Harp and Harp Ensembles (Indiana U. Press). Which has 3, 356 entries, this supplement has nearly 3, 000. Citations thoroughly identify music published between 1800 and 2000-method books, orchestral studies, solos, and solo arrangements. Indexing is by names and titles, and there is also an index to music playable on non-pedal or "folk" harps. * Reference and Research Book News *...a healthy third volume in a format harmonious with the last, starting with a terse essay on previous surveys. Method books, orchestral studies, and original and arranged solo and ensemble works are the classification headers for the 2,879 entries, all new but for a few corrections. These are each alphabetized by composer, with title page transcriptions and, as needed, uniform titles. Imprint data and pagination are provided, as well as contents notes. There is an index by composer as well as one by title. Additionally, works that can be played on the early harp (before pedals were added) have an index. Harp lovers are certainly blessed by this author's contributions. * American Reference Books Annual *Table of ContentsChapter 1 Acknowledgments Chapter 2 Introduction Chapter 3 List of Abbreviations Chapter 4 How to Use the Bibliography Chapter 5 Method Books Chapter 6 Orchestral Studies Chapter 7 Original Works for Solo Harp Chapter 8 Arranged Works for Solo Harp Chapter 9 Original Works for Harp Ensemble Chapter 10 Arranged Works for Harp Ensemble Chapter 11 Name Index Chapter 12 Title Index Chapter 13 Index of Works Playable on Non-Pedal Harp Chapter 14 About the Author

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Book SynopsisThis resource considers the Baroque cello''s revival as part of the period instrument movement from the viewpoints of over forty cellists from three generations and four luthiers who have worked on period cellos. What emerges is a nuanced and detailed picture of the cello in the past and present and the varied instruments now played under the label Baroque cello. Period instruments played with appropriate techniques have become a major presence in classical music in recent decades. For the cello, which changed substantially between the end of the sixteenth and early eighteenth centuries, it is challenging to describe specific traits for certain time periods, let alone how it was played in those periods. By chronicling the searches of over forty top cellists in England, Europe, and North America, the author goes far in revealing the great variety of forms that exist. This is the first study in which the revival of a single period instrument has been considered in such qualified detaiTrade ReviewAlthough Laird has been a performer, teacher, and musicologist for decades, he tells us that the genesis of this book was YoYo Ma's initial flirtation with Baroque cello in 1999. The author says, 'If a cellist as famous as Ma wish to play the instrument, then surely it had arrived at a significant point in its revival.' If Ma was the spark, Laird has certainly done his part to fan the flames with this celebration of 'cello culture.' Indeed, the book is something of an ethnography; starting with a discussion of historical prototypes and bows, it continues with 46 interviews of cellists, separating the sections into 'Soloists, Pioneers, and the Generation.'...His last chapter, 'The Baroque Cello...Found,' pulls together interview, background, narrative, and author's perspective to provide a refreshing, rather quirky glimpse into a formerly unlit corner of the early music community that charmed this reader, and may charm you, as well. * Early Music America *...this is a wonderful book whose reach should extend far beyond the early-music community. The informal style and engaging conversation make The Baroque Cello Revival an interesting and informative book for any musician. * Strings Magazine *This book gives a voice to dozens of contemporary instrumentalists who may be called 'Baroque Cellists.' It provides a welcome opportunity for players to explain and justify their approaches, and for listeners to understand them....I enjoyed reading it, and felt that I had learnt things from it. * The Galpin Society Journal *The revival is part of the historical performance movement, which can be traced back to the early 19th century and has played a major part in Western musical life in the past four decades. Laird...interviewed 46 cellists to discover what drew them to the Baroque instrument, how they play it, how they translate their understandings of Baroque performance into practical music making, whether they have explored other historical periods, and other topics. * Reference and Research Book News *Table of ContentsChapter 1 List of Tables Chapter 2 Acknowledgments Chapter 3 Introduction Chapter 4 1. In Search of the Baroque Cello Chapter 5 2. The Soloists Chapter 6 3. The Pioneers Chapter 7 4. The New Generations Chapter 8 5. The Baroque Cello...Found Chapter 9 Bibliography Chapter 10 Index Chapter 11 About the Author

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Book SynopsisThe baryton is a unique string instrument that provides both bowed melody and plucked accompaniment simultaneously. It emerged in the Baroque era as a solo, self-accompanying viol and was later adopted as a virtuoso melodic instrument to enhance the dramatic arias of the day. A History of the Baryton and Its Music: King of Instruments, Instrument of Kings is the only reference available on this intriguing instrument. This presents a detailed history of the baryton, guidance on playing technique, information on its design and manufacture, descriptions and photos of extant instruments, and a repertoire of hitherto unpublished music. Carol A. Gartrell details the origins and development of the baryton through the instruments that have survived, and through a unique collection of music representing different styles and genres. In addition to a bibliography and an index, the book concludes with two galleries containing an extensive inventory: the first provides detailed descriptions of all extant instruments and more than 20 photographs, while the second gallery catalogs extant manuscripts and supplies a representative selection of complete transcriptions, illustrating the range and variety of baryton music and providing musicians with previously unpublished music they could perform. Complete with a selected discography of baryton recordings, A History of the Baryton and Its Music is an interesting and necessary resource for the musicologist, organologist, and performer.Trade ReviewIt is the first published study of the baryton, and as such will surely be of great interest to players and scholars in the viol world, to which this kingly and courtly instrument is closely related....The huge body of evidence that they have presented thus far is a tremendous resource, and one that I am certain will prove interesting and useful to scholars and players alike. * Vdgsa News *The book contains a wealth of information invaluable to a study of the baryton and not available anywhere else....A significant contribution to our understanding of a part of musical history. * Early Music America *

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Book SynopsisString players face a bewildering array of terms related to their instruments. Because string playing is a living art form, passed directly from master to student, the words used to convey complex concepts such as bow techniques and fingering systems have developed into an extensive vocabulary that can be complicated, vague, and even contradictory. Many of these terms are derived from French, Italian, or German, yet few appear in any standard music dictionary. Moreover, the gulf separating classical playing from fiddle, bluegrass, jazz, and other genres has generated style-specific terms rarely codified into any reference work. All Things Strings: An Illustrated Dictionary bridges this gap, serving as the only comprehensive resource for the terminology used by the modern string family of instruments. All of the terms pertaining to violin, viola, cello, and double bass, inclusive of all genres and playing styles, are defined, explained, and illustrated in a single text.Entries include tTrade ReviewPlayers of bowed stringed instruments–violin, viola, violoncello, double bass–have a well-developed yet complex array of terminology related to the construction of, composition for, and performance on their instruments. While these instruments have long and well-documented histories, a dictionary of formal and vernacular terminology has been lacking. Nardolillo's long-overdue work includes terms ranging from parts of instruments through biographical entries for key performers, composers, and builders of instruments. The volume's concise definitions include language of origin, boldfaced cross-references, and see also references. In addition to biographies, entries include terminology, instrument names, titles of musical works and books, and performance techniques unique to the bowed string literature. Accompanying some entries are drawings by T. M. Larsen, depicting instruments and parts of instruments, that help readers visualize the related definitions or concepts. Musical examples illustrate, for example, the performance of ornaments, articulations, and bowings. The author is a violinist and violist with numerous concerts, premieres, and writings to her credit. A table of bow strokes relates terminology to actual performance. This work concludes with an excellent list of additional readings. Summing Up: Recommended. Upper-level undergraduates through professionals/practitioners. * CHOICE *As the title indicates, this reference work cover terms of interest to violin, viola, cello, and double bass string players. The book places historical terms in a modern context and serves to meet the needs of the classical as well as the bluegrass and jazz string students and performers. The work is very comprehensive in nature and covers topics such as: bowing, shifting, fingerboard mapping, instrument structure and repair, accessories, and types of strings. Select famous luthiers, teachers, and performers further inform the reader concerning stringed instruments. A large number of terms in the book are of French, Italian, and German origin, and these are often difficult to locate, but can be found with ease in this work. Terms and instruments are illustrated with line drawings that often cannot be found elsewhere. There is a classed bibliography of further reading at the end of the book. Tables include: bow strokes (e.g., slur, shoeshine) and a stringed instrument pitch chart. General reference libraries and music collections will find this work indispensable. * American Reference Books Annual *The complex and multilayered art of music making includes a bevy of tools and terminology – not to mention a sea of genres. It's wonderfully overwhelming and daunting to think that one book could capture all of this information in a logical arrangement within a portable casing. But. . . .Jo Nardolillo and. . . .T.M. Larson set out to tackle just that with All Things String: An Illustrated Dictionary. With encyclopedic breadth, they caalog instruments, techniques, musical terms, gear and accessories, and include short bios for prominent luthiers, teachers, and musicians. * Strings *Ambitious in its scope, this illustrated dictionary bills itself as a one-stop resource, covering all the terminology a modern string player could ever need. . . .The book is elegantly set out, packed with invaluable nuggets of knowledge and dotted with helpful instructions by double bassist T.M. Larsen. It’s a lovely book to browse through. . . .All told, it’s a great resource for students and teachers and even includes a huge list of book for further reading. * The Strad *Nardolillo has produced an excellent resource for bowed string players and those interested in bowed stringed instruments. It is a valuable reference work for school libraries, to be sure, but also the private libraries of teachers, performers and students. * American Musical Instrument Society *All Things Strings is set up in the style of a dictionary. Included are alphabetical listings of hundreds of musical terms, many translated from their original Italian, French, and German. We find brief biographies of exemplary luthiers, violinists, teachers, and composers. Many obscure bowed stringed instruments, including the trumpet marine and rehab, are described and well-illustrated. A violinist and violist herself, Ms. Nardolillo’s knowledge of popular, jazz, and folk styles in addition to the world of classical music has allowed her to produce a comprehensive reference work. . . .Fascinating and highly recommended! * Fiddler Magazine *With All Things Strings – An Illustrated Dictionary, Jo Nardolillo has created a comprehensive reference book and a fascinating read for anyone interested in the string tradition. . . .While the design of the book will appeal to students and teachers, this should not deter others from venturing within its covers. The book is a valuable resource for any string player. It is well-researched and informed by the author’s professional experience, and is clearly designed to foster understanding and communication across cultures and genres. . . .In compiling this book, Jo Nardolillo makes a fine contribution to the diverse world of string playing. All Things Strings – An Illustrated Dictionary will find a place not only 'at the side of the veteran performer, the experienced teacher, the avid student, and even the curious intermediate player' but equally at the side of the passionate amateur musician or individual appreciator of the string tradition. * Australian Journal Of Music Education *[The book] is a pleasure to dip into, stands reading purely for interest as well as to find a particular definition and would certainly find a place both in public and educational libraries, not to mention instrumentalists’ private collections. * s *Table of ContentsForeword Acknowledgments Introduction Pitch Chart The Dictionary Table 1: Bowstrokes Further Reading About the Author and the Illustrator

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Book SynopsisIn Violin Secrets: 101 Performance Strategies for the Advanced Violinist, author and violinist Jo Nardolillo surveys the cutting edges of current violin technique, combining in one volume tradition with innovationTrade ReviewThis is a clever and thorough collection of the aspects of teaching the advanced violin student, it is well written and illustrated, and is an easy-to-read reference for the teacher looking for that extra spark of knowledge or a simple reminder in a moment of uncertainty. * American Music Teacher *Jo Nardolilo adds another valuable resource, surveying violin technique, combining tradition and innovation in one volume. Part of a series designed for the advanced player, it fills a niche for those who are now at professional levels. The first chapter addresses that most vexed question; how to achieve fine intonation. Extensive sections on practice strategies (another weighty conundrum), mastering various bowings, controlling vibrato, and interesting for me personally, small-hand technique and navigating high positions, all provide valuable insights. Further topics include tips on orchestral playing (both leading and as a team player), artistry, performance anxiety, auditioning and chamber music rehearsing. Zen philosophy, shifting techniques and improving basic skills in just 15 minutes a day will interest time-poor readers. Nardolilo’s book is an indispensable resource for all serious players. * Stringendo *Table of Contents1. Intonation 2. The Left Hand 3. Shifting and Playing High 4. Vibrato Strategies 5. Tone and the Bow 6. Practice Strategies 7. Artistry 8. Performance Strategies 9. Chamber Music Strategies 10. Orchestra Strategies Further Readings

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Book SynopsisTrade ReviewPublished in the ‘Listener's Companion’ series, which is intended to ‘give readers a deeper understanding of pivotal musical genres and ... iconic composers and performers,’ this volume offers historical background and somewhat sentimental, literary-styled stories. On the plus side, the book is comprehensive. All the genres are covered, and major violin composers are well represented. The book's organization is logical, as are the subsections within the chapters. . . .Summing Up: Recommended. . . . .Lower- and upper-division undergraduates; general readers. * CHOICE *Violinist and scholar, Professor Sciannameo invites readers into the world of the violin concerto, tracing its history from The Four Seasons tothe pillars of modernism such as the Berg and Bartók, Stravinsky, Shostakovich and Prokofiev, Szymanowski and Martinu concertos. He also explores the stories of the composers who wrote these celebrated masterpieces, and the virtuosi who performed them. Sciannameo allows the reader to truly experience these fabled works by evoking the era and circumstances surrounding their genesis. * Stringendo *Table of ContentsChapter 1: In the Baroque: Vivaldi’s Four Seasons and Bach’s Four Harpsichords Chapter 2: Mozart – Haydn – Brunetti – Tomasini Chapter 3: Viotti and Beethoven Chapter 4: The Meteoric Paganini and His Epigones Chapter 5: At the Heart of German Romanticism: Mendelssohn, Schumann, and Bruch Chapter 6: Brahms’ Violin Concerto and the End of an Era Chapter 7: In the After-Brahms: Monsters and Leprechauns Chapter 8: Pillars of Modernism: Stravinsky, Prokofiev, Berg, and Bartôk Chapter 9: Barber and Korngold, Shostakovich and…Schoenberg Chapter 10: Music without Anxieties

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Book SynopsisIn The String Instrument Ownerâs Guide, Michael Pagliaro surveys the complete âœownership life cycleâ of bowed string instruments.Trade ReviewThis volume offers a great deal of information for new and seasoned string-instrument owners. There is a very brief history of string instruments, discussing their predecessors and development. Half the book focuses on descriptive aspects of string instruments: how they work, different kinds of string instruments (based on time period or body style), and information on the makers. The second half is instructional for current or potential string-instrument players: how to buy or rent the instruments; their basic care; the science of their sound; accessories one might need; and a 'diary' for players to keep track of repairs, maintenance, and so forth. The information is useful and well researched. * Booklist *Michael Pagliaro has valiantly attempted to encapsulate the whole history of the stringed-instrument family into a 200-page volume. * Stringendo *Table of ContentsPreface Acknowledgments Introduction Chapter 1: Where These Instruments Came From Chapter 2: How These Instruments Work Chapter 3: Different Kinds of Violins, Violas, Cellos, and Double Basses Chapter 4: Who Makes Them and How They Are Made Chapter 5: How to Choose and Buy a String Instrument Chapter 6: How to Rent an Instrument Chapter 7: How to Take Care of Your Instrument Chapter 8: Accessories Chapter 9: How String Instruments Compare to Each Other Chapter 10: Learning to Play Chapter 11: The Science of Sound Appendix: Instrument Diary Glossary of Terms

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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 Synopsis

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Book Synopsis

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Book Synopsis

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Book Synopsis

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Book Synopsis

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