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Book SynopsisBarry Tuckwell was, until his retirement, one of the world's leading horn virtuosos and thus eminently suited to writing this Guide. This versatile musician combines a soloists experience, an orchestral player's inside knowledge and a conductor's broad view of the horn and its music. He tells the fascinating story of the taming of the horn from a loud, rough signalling instrument to one that is mellow and emotive - described by Schumann as the soul of the orchestra. The history of the horn we know today is closely related to technical developments both in playing and in writing, and with a wealth of musical examples Barry Tuckwell tells us of these changes and the people who made them. He then deals with the difficulties of building and maintaining this difficult instrument, providing invaluable insights into the practicalities of the craft. Useful advice is given on all aspects of learning, practising and playing for the beginner, amateur and teacher. Finally the reader is given the benefit of an inside view of the life of a professional horn player, whether rehearsing, recording or performing live down to so basic (and easily overlooked) a consideration as fatigue - the players' need to spread the load - the explanation for what often seems to the concert-goer to be one more horn player than is necessary.Table of ContentsPreface by Yehudi Menuhin; Author's Preface; 1. Ancestry; 2. Valves and the Modern Horn; 3. Composers and the Horn; 4. Some Masters of the Horn; 5. Building the Horn – A Transposing Instrument; 6. Advice for Beginners; 7. The Horn Player, Artist and Technician; 8. Teaching the Horn; Index

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Book SynopsisGeschickt ausgewählte Lieder und Spielstücke wecken Freude am Flötenspiel! Vor allem das gemeinsame Musizieren steht im Vordergrund. Die umfangreiche Sammlung ist sowohl für den Einzel- als auch für den Gruppenunterricht geeignet. Sie richtet sich an Kinder ab etwa 6 Jahren, die Sopran- oder Tenorblockflöte lernen wollen, ist aber in ihrer Auswahl auch für erwachsene Anfänger und Wiedereinsteiger interessant.Bei dieser Schule bleibt dem Lehrenden viel Freiraum für den individuellen Unterrichtsstil.

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Book SynopsisBy relating biography to the cultural and musical contours of contemporary American life, Ronald M. Radano observes jazz practice as part of the complex interweaving of postmodern culture. Radano accomplishes this by analyzing the creative life of Anthony Braxton.

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Book SynopsisAfter the establishment of the Turkish Republic, Turkey's secularized society disdained the ney, the Sufi reed flute long associated with Islam. The instrument's remarkable revival in today's cities has inspired the creation of teaching and learning sites that range from private ney studios to cultural and religious associations and from university clubs to mosque organizations.Banu Şenay documents the years-long training required to become a neyzena player of the ney. The process holds a transformative power that invites students to create a new way of living that involves alternative relationships with the self and others, changing perceptions of the city, and a dedication to craftsmanship. Şenay visits reed harvesters and travels from studios to workshops to explore the practical processes of teaching and learning. She also becomes an apprentice ney-player herself, exploring the desire for spirituality that encourages apprentices and masters alike to pursue ney music aTrade Review”Musical Ethics and Islam is easy on the mind's eye and the ear, full of insight, and a genuine pleasure to read. ªenay well understands her instrument, the crafting of its sounds and the complex demands of her teacher's 'jealous gift'. It charts a new and distinct route through the cultural complexities of Islamic revival in Turkey and beyond; her conclusions will be of real interest to anthropologists of music and of Islam alike.”—Martin Stokes, coeditor of Islam and Popular Culture”Musical Ethics and Islam is a ground-breaking ethnography of the interplay of aesthetic experience and social ideology, art and life. Banu Senay expertly interleaves personal experiences of 'sweet servitude' to a ney master with luminous accounts of the ethical, affective, and political aspects of music in post-Kemalist Turkey and the ney revival of recent years.”—Michael Jackson, author of The Work of Art: Rethinking the Elementary Forms of Religious Life

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Trade Review”Musical Ethics and Islam is easy on the mind's eye and the ear, full of insight, and a genuine pleasure to read. ªenay well understands her instrument, the crafting of its sounds and the complex demands of her teacher's 'jealous gift'. It charts a new and distinct route through the cultural complexities of Islamic revival in Turkey and beyond; her conclusions will be of real interest to anthropologists of music and of Islam alike.”—Martin Stokes, coeditor of Islam and Popular Culture”Musical Ethics and Islam is a ground-breaking ethnography of the interplay of aesthetic experience and social ideology, art and life. Banu Senay expertly interleaves personal experiences of 'sweet servitude' to a ney master with luminous accounts of the ethical, affective, and political aspects of music in post-Kemalist Turkey and the ney revival of recent years.”—Michael Jackson, author of The Work of Art: Rethinking the Elementary Forms of Religious Life

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Book SynopsisUnlike the violin, which has flourished largely unchanged for close to four centuries, the trumpet has endured numerous changes in design and social status from the battlefield to the bandstand and ultimately to the concert hall. This title deals with this topic.Trade ReviewWhether an enthusiastic student or a seasoned professional, I wholeheartedly endorse this book. Elisa Koehler should be commended for this wonderful addition to the market—I can guarantee it will remain a resource that will get you reaching for your shelf time and time again. * The Brass Herald *Elisa Koehler has given us a thoughtful and much needed reference book and guide for the contemporary trumpeter. Her gentle conversational style may convince more players to expore trumpet history and even the broader cultural history in which trumpet music is firmly placed.2014 * Historic Brass Society Journal *Fanfares and Finesse is a wonderful addition to the literature on trumpet history. It is a fabulous resource for performers, while historians and pedagogues will find great value in it as well. Dr. Koehler is to be commended for such a valuable contribution to our discipline. * ITG Journal *[T]his book is highly recommended for any moderately advanced trumpet player or for inclusion in any library serving even a small population of trumpeters. It will be a valuable resource for anyone interested in understanding historically informed performance practice for the trumpet and its many predecessors. * Notes *Koehler has created a compendium of trumpet history with short, fact-filled chapters. It will serve both amateur and professional musicians alike, and few could read this text without learning something. Fanfares and Finesse is a thorough sampling of trumpet topics, including something of interest for every trumpet player, brass enthusiast, or curious reader. * Pan Pipes *Serving as a concise guide linking the history of trumpet to performance, this book includes information on band music, bugle calls, orchestral repertoire, and jazz. Particularly useful are the sections on transposition, and how jazz is written versus played. . . . Teachers and performers alike will benefit from this book. * American Reference Books Annual *Trumpet players in a wide variety of situations and at many levels will find a great deal of useful information, presented in a clear, engaging, reader-friendly way yet backed by solid research. While some topics are covered in more depth than others, Koehler's breadth of vision and thoroughness are commendable. Helpful appendixes and an extensive bibliography are a bonus. For all trumpeters and anyone who teaches them. * Choice *Table of ContentsList of IllustrationsAuthor's NoteAcknowledgements1. Fanfares and Finesse: An Introduction2. The Natural Trumpet3. The Modern Baroque Trumpet with Vent Holes4. The Cornetto5. The Slide Trumpet6. The Quest for Chromaticism: Hand-Stopping, Keys, and Valves7. Bugles, Flügels, and Horns8. The Cornet9. Changing of the Guard: Trumpets in Transition10. Smaller Trumpets11. Pitch, Temperament, and Transposition12. Early Repertoire and Performance Practice13. Baroque Repertoire14. Classical Repertoire15. Signals, Calls, and Fanfares16. Strike up the Band17. The Modern Orchestral Trumpet18. Jazz and the Trumpet19. Solo Repertoire after 190020. Brass Chamber Music21. Trumpeting in the Twenty-First CenturyAppendix A: List of Names and DatesAppendix B: Significant Events in Trumpets HistoryAppendix C: Selected Recordings: An Annotated ListAppendix D: Museums with Instrument CollectionsAppendix E: Period Instrument ResourcesNotesBibliographyIndex

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Book SynopsisTrade Review[T]his book is certainly 'must have' material for anyone who is serious about the French horn! * Horn Matters *This is a comprehensive guide to music for solo horn. . . [Those] who have appreciated the various volumes on piano music by Maurice Hinson will likewise find "Guide to the Solo Horn Repertoire" useful for brass performers. * American Reference Books Annual *This volume should find a place in any music library serving a population of horn players at undergraduate or graduate levels, as well as in the personal libraries of horn performers and teachers. * Notes *Table of ContentsPreface Scope Using the Guide1. Music for Unaccompanied Horn2. Music for Horn and Keyboard: Piano, Organ, Harpsichord3. Music for Horn and Ensemble: Orchestra, String Orchestra, Band, Wind Ensemble, or Other Instrumental groupIndexes Title Index Name Index for Premieres, Commissions and Dedications Index - Music for Horn with Band, Wind Ensemble, or Brass Ensemble Index - Music for Horn with Small Instrumental Ensemble Alphabetical List by Composer Nationality

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Book SynopsisTrade ReviewThis book will be informative, interesting, and beneficial for anyone who is involved with the performance of music in the United States, whether in the field or in academe.June 2009 -- Lois Kuyper-Rushing * Louisiana State University *Laila Storch . . . is generous in her admiration of [Marcel Tabuteau's] compelling artistry. She has produced a monumental tribute to an extraordinary musician whose influence remains alive in each generation of American oboists.87 Summer 2009 -- Anthony McColl * Double Reed News *[This biography is] movingly personal . . . . may prove to be one of the most accomplished and important musical biographies of the 21st century.8/1/10 -- Christopher Brodersen * Fanfare *Laila Storch's biography of Marcel Tabuteau provides a detailed and intimate portrait of the life and artistry of the man widely considered to be the father of the American school of oboe playing. Vol. 33, No. 2, Summer 2010 * The Double Reed *Storch's intriguing book will appeal to a broad audience, not just oboists. Anyone interested in music will find Tabuteau's philosophies and Storch's research beneficial and applicable.January 2009 * Choice *Table of ContentsPrefaceAcknowledgmentsIntroductionAccessing the Audio Files1. Compiègne and the Tabuteau Family2. Paris Conservatoire: Tabuteau's Studies with Georges Gillet, 1902-19043. Arrival in America: Walter Damrosch and the New York Symphony Orchestra, 1905-19084. The Metropolitan Opera: Singers and Conductors of the "Golden Age," 1908-19145. San Francisco Interlude: The Panama-Pacific International Exposition Orchestra, 19156. The Philadelphia Orchestra: The Stokowski Years, 1915-19407. Tabuteau as Soloist with the Philadelphia Orchestra: 1915-19548. Tabuteau at the Curtis Institute of Music: 1924-19469. Lessons with Tabuteau: My Arrival in Philadelphia, January 194310. My First Year with Tabuteau at the Curtis Institute: October 1943-May 194411. Tabuteau Conducts the Curtis Orchestra: Fall 1944-Spring 194512. Tabuteau's Summers in Canada: Salmon Fishing in Nova Scotia13. Another Year of Study with Tabuteau: 1945-194614. Summers in France: The Pingouinette; Back to Philadelphia, 194815. Tabuteau's Last Years at the Curtis Institute: 1946-195416. The Casals Festivals in Prades and Perpignan: 1950, 1951, and 195317. Tabuteau as Seen by His Philadelphia Orchestra Colleagues18. Retirement in France: La Coustiéro, 1954-195919. Tabuteau's Final Years in Nice: 1959-196620. Philadelphia Postlude: Tabuteau's Playing; His Musical Ideas and InfluenceAppendix 1. Introduction and Text Transcription for the Tabuteau-Wolsing Audio FilesAppendix 2. The Students of Marcel Tabuteau at the Curtis Institute of MusicAppendix 3. The Tabuteau System: Essay and Outline by Marc MostovoyGlossary of Terms Used by OboistsNotesSelected BibliographyIndex

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Book SynopsisThe story of the trumpet from prehistory to the present day, written by two of its outstanding performers and teachersTrade Review“Well cited, solidly illustrated, and easy to read.”—Choice * Choice *

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Book SynopsisAn authoritative account of the 500-year history of the bassoon, with new research findings and dozens of rare illustrationsTrade ReviewSelected as a Choice Outstanding Academic Title for 2013 in the Music Category. -- Outstanding Academic Title * Choice *

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Book SynopsisOffers unique perspectives on the clarinet's historical role in various styles, genres, and ensembles, from jazz and ethnic traditions to classical chamber music, concertos, opera, and symphony orchestras. With essays written by leading performer-scholars, The Clarinet offers unique perspectives on the clarinet's historical role in various styles, genres, and ensembles. Beginning with a chapter on clarinet iconography, the book continues with an overview of the instrument's early history, chapters on the clarinet in the opera orchestra and the traditional symphony orchestra, and examinations of important genres involving the clarinet (the concerto and the clarinet quintet). Also included are chapters on leading twentieth-century clarinetists, the instrument's use in the historically informed performance (HIP) movement, and an expansive look at the clarinet's use in ethnic traditions and early jazz. The emphasis on topics not covered elsewhere makes this book an important contribution to the clarinet literature. Written in an accessible style, this volume engages a wide range of readers, from professional musicians to clarinet aficionados and music lovers with less specialized knowledge. Contributors to this volume include Jane Ellsworth, Eric Hoeprich, Albert R. Rice, Ingrid Pearson, Julian Rushton, David Schneider, Marie Sumner Lott, Colin Lawson, and S. Frederick Starr.Trade ReviewThrough her network of star contributors we are given a broad image of the most up-to-date ideas concerning the clarinet universe. Ellsworth, as editor, has succeeded in keeping the tone of the chapters level; while being accurate, they are not eruditely cumbersome. The topics and writing style will engage clarinetists of all ages, and the footnotes, bibliographic in nature, point the motivated researcher further afield. This is a unique volume that is contemporary in tone and message while standing on the firmest of research foundations. [Starr's chapter is] mind-opening. -- Gregory Barrett * The Clarinet *This collection comprises compact essays on specific topics concerning clarinet performance, composition, and repertoire. . . . Also provided is insightful discussion of idiomatic use of the instrument as evidenced in certain major operatic and orchestral works. . . . Useful for persons looking for information about orchestral music that does not include solo keyboards or string instruments. -- C. A. Kolczynski, Boston Public Library * CHOICE *Table of ContentsList of Illustrations Notes to the Reader Acknowledgements Introduction (Jane Ellsworth) 1. Clarinet Iconography (Eric Hoeprich) 2. The Chalumeau and Clarinet Before Mozart (Albert R. Rice) 3. From "Little Trumpet" to Unique Voice: The Clarinet in the Concert Orchestra (Jane Ellsworth) 4. The Clarinet in Opera Before 1830: Instrument and Genre Come of Age (Ingrid Pearson) 5. The Clarinet in Nineteenth-Century Opera (Julian Rushton) 6. Innovation and Convention in the "Golden Age" of the Clarinet Concerto, ca. 1800-1830 (David Schneider) 7. Joining the Conversation: The Clarinet Quintet in Classical and Romantic Chamber Music (Marie Sumner Lott) 8. Important Clarinetists Since 1900: A Concise Introduction (Jane Ellsworth) 9. Recreating History? The Early Clarinet in Theory and Practice (Colin Lawson) 10.The Clarinet in Vernacular Music (S. Frederick Starr) Index Contributors

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Book SynopsisWhat does freedom sound like in the context of traditional Japanese theater? Where is the space for innovation, and where can this kind of innovation be located in the rigid instrumentation of the Noh drama? In Piercing the Structure of Tradition, Mariko Anno investigates flute performance as a space to explore the relationship between tradition and innovation. This first English-language monograph traces the characteristics of the Noh flute (nohkan), its music, and transmission methods and considers the instrument's potential for development in the modern world. Anno examines the musical structure and nohkan melodic patterns of five traditional Noh plays and assesses the degree to which Issō School nohkan players maintain to this day the continuity of their musical traditions in three contemporary Noh plays influenced by Yeats. Her ethnographic approach draws on interviews with performers and case studies, as well as her personal reflection as a nohkan performer and disciple under the tutelage of Noh masters. She argues that traditions of musical style and usage remain influential in shaping contemporary Noh composition and performance practice, and the existing freedom within fixed patterns can be understood through a firm foundation in Noh tradition.Trade ReviewAnno's writing is clear and engaging, and her enthusiasm for the subject is contagious[.]This book will become essential reading for anyone interested in East Asian music or theatre, and many of themes discussed here should be of broad interest to ethnomusicologists, performers, music educators, and music theorists. * Ethnomusicology Forum *Table of ContentsIntroduction 1. History and Construction of the Nohkan 2. The Nohkan and Oral Transmission: Transcription in Western Staff Notation 3. The Role and Melodic Patterns of the Nohkan in Relation to Structural Principles 4. The Nohkan's Part in Atsumori as Planned, Prepared, and Per for med 5. The Continuity of Tradition Today: The Nohkan's Part in Adaptations of W. B. Yeats's At the Hawk's Well Reflections and Directions

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Trade ReviewI would recommend this book to every serious flute student, and it should be required reading by every teacher. * The Flutist Quarterly *Table of ContentsAbout the Companion Website ; Figures ; Plates ; Terminology used in this book ; Preface ; Acknowledgments ; THE INSTRUMENT ; 1. The Flute Today ; What Is a Flute? / Manufacturing: The State of the Art ; 2. How to Choose an Instrument ; To Rent or To Buy / Setting Priorities / Materials / Open or Closed Holes / C or B Footjoint / Mechanical Options / Testing an Instrument ; 3. Care and Maintenance of the Flute ; Preventive Maintenance: Assembling the Instrument / Daily Cleaning / Storage / Polishing / Replating / Lubrication / The Headjoint Cork / Mechanical Problems ; 4. A Brief History of the Flute ; Old System Flutes / The Boehm Flute / Other Nineteenth Century Flutes / Minor Modifications to the Boehm System ; 5. The Flute Family ; The Piccolo / The Alto Flute / The Bass Flute / The Contr'alto, Contrabass, and Subcontrabass Flutes / The Flute Choir ; PERFORMANCE ; 6. Breathing ; Posture / Inhalation / Suspension / Exhalation / The Diaphragm / Exercises / Breathing and Phrasing / Circular Breathing ; 7. Tone ; The Acoustical Basis / Tone Production / Focus and Projection / Homogeneity of Sound / Interpretation through Tone Development / Intonation / National Styles of Flute Playing ; 8. Vibrato ; What is Vibrato? / The History of Vibrato / The Uses of Vibrato ; 9. Articulation ; The Bowing Analogy / Single-Tonguing / Double-Tonguing / Triple-Tonguing / Flutter-Tonguing / Tongueless Attack / Legato / Note Endings / Practice ; 10. Technique ; Position / Practice / Fingering / Harmonics / The B-flat Thumb Key / Three Fingering Tricks ; 11. Style ; Virtuosity and Interpretation / The Theoretical Background: Basic Musicianship / Analysis / Phrasing / Performance Practice / The Early Music Movement and Questions of Authenticity ; 12. Performance ; Opportunities for Performance / Planning a Recital Program / Accompanists and Assisting Artists / Choosing a Recital Hall / The Printed Program / Publicity / Preparation and Rehearsal / Stage Protocol / The Entrance / Playing the Program / Memorization / Breaks between Pieces / Encores ; 13. Recordings ; Building a Recording Collection / How to Listen / Playing Along / Making Your Own Recordings ; THE MUSIC ; 14. The Baroque Era ; Flute Versus Recorder / Musical Forms / France / Italy / England / Germany ; 15. The Classic Era ; Musical Forms / Paris / Germany / Spain / England / Vienna ; 16. The Romantic Era ; Music by Nonflutists / Music by Flutists ; 17. The Modern Era ; France / Great Britain / Elsewhere in Western Europe / Eastern Europe / The United States / The Avant-Garde / The Flute and Electronics ; REPERTOIRE CATALOG ; Introduction ; A. The Baroque Era ; B. The Classic Era ; C. The Romantic Era ; D. The Modern Era ; E. Study Materials ; APPENDICES ; A. Fingering Chart for the Boehm Flute ; B. Flute Manufacturers ; C. Repair Shops ; D. Sources for Instruments and Accessories ; E. Sources for Music and Books ; F. Journals, Societies, and Service Organizations ; G. Flute Clubs and Societies ; Notes ; Selected Bibliography ; Index

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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