This book is a facsimile reprint and may contain imperfections such as marks, notations, marginalia and flawed pages.

This book is a facsimile reprint and may contain imperfections such as marks, notations, marginalia and flawed pages.

In the first book to account for the growing prominence of Asians in the world of Western classical music, Mari Yoshihara grapples with the significance of this trend. This is a book about the about the origins of a social and cultural phenomenon, but it is also about the lives and work of individual musicians devoted to their art.

Imposing Harmony is a groundbreaking analysis of the role of music and musicians in the social and political life of colonial Cuzco. Challenging musicology's cathedral-centered approach to the history of music in colonial Latin America, Geoffrey Baker demonstrates that rather than being dominated by the cathedral, Cuzco's musical culture was remarkably decentralized. He shows that institutions such as parish churches and monasteries employed indigenous professional musicians, rivaling Cuzco Cathedral in the scale and frequency of the musical performances they staged.Building on recent scholarship by social historians and urban musicologists and drawing on extensive archival research, Baker highlights European music as a significant vehicle for reproducing and contesting power relations in Cuzco. He examines how Andean communities embraced European music, creating an extraordinary cultural florescence, at the same time that Spanish missionaries used the music as a mechanism of colonialization and control. Uncovering a musical life of considerable and unexpected richness throughout the diocese of Cuzco, Baker describes a musical culture sustained by both Hispanic institutional patrons and the upper strata of indigenous society. Mastery of European music enabled elite Andeans to consolidate their position within the colonial social hierarchy. Indigenous professional musicians distinguished themselves by fulfilling important functions in colonial society, acting as educators, religious leaders, and mediators between the Catholic Church and indigenous communities.

In its scope and command of primary sources and its generosity of scholarly inquiry, Nikolai Findeizen's monumental work, published in 1928 and 1929 in Soviet Russia, places the origins and development of music in Russia within the context of Russia's cultural and social history.

Volume 2 of Findeizen s landmark study surveys music in court life during the reigns of Elizabeth I and Catherine II, music in Russian domestic and public life in the second half of the 18th century, and the variety and vitality of Russian music at the end of the 18th century."

In its scope and command of primary sources and its generosity of scholarly inquiry, Nikolai Findeizen's monumental work, published in 1928 and 1929 in Soviet Russia, places the origins and development of music in Russia within the context of Russia's cultural and social history.

Volume 2 of Findeizen s landmark study surveys music in court life during the reigns of Elizabeth I and Catherine II, music in Russian domestic and public life in the second half of the 18th century, and the variety and vitality of Russian music at the end of the 18th century."

In his concertos Beethoven joined in a sort of human expression that seems almost universal: a discourse of the individual and the group, or of leader and followers who sometimes work together in harmony and sometimes appear pitted one against the other (early definitions of the concerto, indeed, were divided as to which was the main idea of the genre cooperation or conflict). In his concertos Beethoven typically cast himself as leader; the concerto was for him mainly a youthful preoccupation intimately bound up with his prowess and ambition as a public pianist. The hope is that a wide-ranging consideration of the historical context will serve to cast new light upon the music itself, which remains the central focus of this study."

The Third Symphony is Brahms at his most masterful and most appealing, from the great fanfare motive of its opening measures to the lyrical melancholy of the world-famous POCO ALLEGRETTO movement. The work appears here in full score, with bar-numbered movements and ample margins at the bottom of each page for notes and analysis.

Medtner's outstanding one-movement concerto was composed from 1914 to 1917 and given its premiere at a special concert in Moscow on May 12, 1918, featuring the composer as piano soloist and Serge Koussevitzky as conductor. For the first time, this work is now available in a clear, easy-to-read and affordable score.

This book is a facsimile reprint and may contain imperfections such as marks, notations, marginalia and flawed pages.

"I am sure harpists throughout the world will love to read this inspiring account of Henriette Renie's life as seen through the eyes of one of her oldest and dearest friends and former students. Available now in this fine English edition prepared with devotion by Jaymee Haefner, this small volume gives the reader a glimpse of the heart and soul of this great harpist and pedagogue." Susann McDonald ----- "This is truly one of the finest and most detailed compilations of Renie's life in existence today. It has always been sad to me that Mlle Renie did not receive the tributes via the media that she so truly deserved, probably because of the time in which she lived. For Carlos Salzedo to say, 'Mlle Renie is higher above all harpists than the heavens above the earth' is very profound. It is so helpful to the harp world to have the information provided in this book and I will encourage all my students and friends to read it. This book represents many hours and years of careful research and devotion to an important cause." Linda Wood Rollo ----- "Henriette Renie was one of the most inspirational harpists in history. She set a standard of excellence that harpists for generations will aspire to. This thorough and comprehensive look at Renie's life and achievements is a treasure, containing information that is imperative to all harpists." Dr. Carrol McLaughlin ----- "The Legend of Henriette Renie is the most extensive resource currently available on the life of this significant artist in the history of the harp whose life reflected, intersected, and influenced many of the artistic and cultural trends in late nineteenth to early-mid-twentieth century France. It is an immeasurable contribution to the harp world and to those who are interested in learning about a person who profoundly affected her chosen profession yet also reflected the cultural and social restrictions of her time." Dr. Ann Yeung ----- "There are so few harpists in the world that each of the great ones leaves an identifiable imprint. Renie has had a far reaching effect on the world of the harp, and the opportunity to learn about her life and philosophy should be part of the education of every serious harpist. She also has much to offer those who consider the place of faith in everyday life." Anna Vorhes

Composed in 1718 while Handel was residing in Cannons Park. Like the other Chandos Anthems, it was comissioned by the Earl of Carnarvon James Brydges, subsequently named First Duke of Chandos. The anthem was first performed that year under the composer's direction ay St. Lawrence's Church in Cannons Park. The text is taken from Psalms 117, 135, and 148 in Nahum Tate and Nicolas Brady's 1696 "New Versions of the Psalms."This complete vocal and pano score, edited by Max Seiffert with a piano reduction by Karl Pasler, is an unabridged reprint of the score first issued by Breitkopf & Hartel, Leipzig ca. 1900.

While in examining the earlier works, the praise bestowed on them was often largely mixed with censure, and the admiration felt for them tempered by dissatisfaction; we shall have little else than pure praise and admiration for the works that remain to be considered, at least for the vast majority of them. One thing, however, seems to me needful before justice can be done to the composer Chopin: certain prejudices abroad concerning him have to be combated. I shall, therefore, preface my remarks on particular compositions and groups of compositions by some general observations.

Dowani 3 Tempi Play Along is an effective and time-tested method of practicing that offers more than conventional play-along editions. Dowani 3 Tempi Play Along enables you to learn a work systematically and with accompaniment at different tempi. The first thing you hear on the CD is the concert version in a first-class recording with solo instrument and orchestral, continuo, or piano accompaniment. Then the piano or harpsichord accompaniment follows in slow and medium tempo for practice purposes with the solo instrument heard softly in the background at a slow tempo. Finally, you can play at the original tempo to the accompaniment of an orchestra, piano, or basso continuo. All versions appearing on the CD were recorded live by renowned soloists, accompanists, and orchestras. There are no synthesised sounds in a Dowani edition!

The fundamental characteristics of Chopin's style--the loose-textured, wide-meshed chords and arpeggios, the serpentine movements, the bold leaps--are exaggerated in the works of this group, and in their exaggeration become grotesque, and not unfrequently ineffective. These works show us, indeed, the composer's style in a state of fermentation; it has still to pass through a clearing process, in which some of its elements will be secreted and others undergo a greater or less change.

"Whether you know a lot about music or nothing at all, Miles Hoffman will help you think about what you listen to and how you listen. This book is a great achievement. There's nothing else out there like it." -- Wynton Marsalis, composer, trumpeter, and winner of the Pulitzer Prize in music
An irresistible tour through the lexicon of classical music, The NPR Classical Music Companionoffers an essential education certain to increase any listener's understanding and appreciation of this potentially daunting musical genre. Miles Hoffman sheds light on more than 130 words and concepts that listeners may encounter in CD booklets, on the radio, in classical concert programs, or in newspaper reviews. These wholly delightful, accessible entries touch on fascinating topics, including what makes a good or a bad conductor, what musical term is most often misused, and why opera was invented. Whether you are an experienced concertgoer or have only recently been introduced to the music of Mozart and Beethoven, Hoffman's clear explanations will both enlighten and entertain.
"A musical guide filled with wit and unique charm. There are delicious musical morsels to delight everyone, from the novice to the scholar." -- Eugenia Zukerman, author, flutist, and arts correspondent for CBS News Sunday Morning
" Hoffman] takes the myth and starch out of classical music." -- Cleveland Plain Dealer
"Carefully researched . . . informal and informative. . . a reader-friendly book." -- Washington Post
Miles Hoffman is music commentator for National Public Radio(R) 's Morning Edition(R). A graduate of Yale University and the Juilliard School, he is the violist and artistic director of the American Chamber Players.

"On the Field from Denver, Colorado!" is one man's view of the inside world of competitive junior drum corps. Whether you've marched 50 years ago, this past year or just yearned to be standing on the field, G.M. Kuzma's personal tale will give you a new appreciation for this musical art form."Good morning Blue Knights. Welcome to DCI Finals. The lights are on, stretch is in 12 and three quarter minutes." A couple of chuckles and moans ensue as we rise to face our destiny. It was "finally" here, three months of hard work, 12-hour practices, too many performances to count and now we are at the day of Finals.

Journey along with the young men and women of the 1994 Blue Knights Drum and Bugle Corps. Experience the Drum Corps International Summer Music Games and the intense preparations it took to arrive there.

Become a part of the action, stand on the field and learn what this life is really like in a drum & bugle corps on tour. The sacrifices, the joys, the heartbreak, the physical agony, the lifelong friendships, the lessons learned and earned.

"This is an essential read for all drum corps enthusiasts!"--Mark Arnold, Director

A riotous, rambling and incomplete history of classical music, complete with leg measurements. 'Hello, I'm Stephen Fry. Now time for the first outing of a brand, spanking new feature here on The Incomplete and Utter History of Classical Music...putting some unsuspecting figure in music under the spotlight.' In his Incomplete & Utter History of Classical Music, Stephen Fry presents a potted and brilliantly rambling 700-year history of classical music and the world as we know it. Along this musical journey he casually throws in references to pretty much whatever takes his fancy, from the Mongol invasion of Russia and Mr Khan (Genghis to his friends), the founding of the MCC, the Black Death (which once again became the new black in England), to the heady revolutionary atmosphere of Mozart's Don Giovanni and the deep doo-doo that Louis XVI got into (or 'du-du' as the French would say). It's all here - Ambrose and early English plainsong, Bach, Mozart (beloved of mobile phones everywhere), Beethoven, Debussy, Wagner (the old romantic), right up to the present day.; Entertaining and brilliantly written, this is a pretty reckless romp of a history through classical music and much much mo