(Schott). Marcel Moyse has become one of the legendary great flautists of the 20th century. As a pupil of Tannanel and successor to Gaubert at the Conservatoire National de Paris, he stands in the direct tradition of the 'French School'. How I Stayed in Shape is his last book of studies (1974), presented here for the first time in a trilingual edition (French, German, English). His pedagogic and artistic experiences are set out in their entirety with the aim of helping professional flute players who have little time to practise, and also 'everyone who loves the flute, while not forgetting the music'. This volume aims to improve the basic aspects of flute playing (formation of tone, intonation, articulation, phrasing) using examples from the repertoire and Moyse's own detailed comments.

(Piano Collection). Contents: Kuhlau: Sonatinas Op. 20 (No. 1 in C, No. 2 in G, No. 3 in F), Sonatinas Op. 55 (No. 1 in C, No. 2 in G, No. 3 in C) * Clementi: Sonatinas Op. 36 (No. 1 in C, No. 2 in G, No. 3 in C, No. 4 in F, No. 5 in G, No. 6 in D) * Haydn: Sonatina in C * Mozart: Rondo in D, Sonata I in C * Beethoven: Rondo, Op. 51, No. 1 in C, Andante from Symphony No. 1, Sonatinas Op. 49 (No. 1 in G minor, No. 2 in G) * Dussek: Sonatina Op. 20, No. 1 in G * J.S. Bach: Prelude No. 1 in C * Haydn: Adagio in E, Andante grazioso in Bo, Allegro in F, Andante in C * Schubert: from Impromptu Op. 142, No. 3; Scherzo in Bo, Op. posth.; from Sonata in A, Op. 120 * Weber: Variation on "Vien qua Dorina bella" Op. 7 * Mendelssohn: Fantasia in A minor, Op. 16, No. 1.

Tonality and Transformation is a groundbreaking study in the analysis of tonal music. Focusing on the listener's experience, author Steven Rings employs transformational music theory to illuminate diverse aspects of tonal hearing - from the infusion of sounding pitches with familiar tonal qualities to sensations of directedness and attraction. In the process, Rings introduces a host of new analytical techniques for the study of the tonal repertory, demonstrating their application in vivid interpretive set pieces on music from Bach to Mahler. The analyses place the book's novel techniques in dialogue with existing tonal methodologies, such as Schenkerian theory, avoiding partisan debate in favor of a methodologically careful, pluralistic approach. Rings also engages neo-Riemannian theory-a popular branch of transformational thought focused on chromatic harmony-reanimating its basic operations with tonal dynamism and bringing them into closer rapprochement with traditional tonal concepts. Written in a direct and engaging style, with lively prose and plain-English descriptions of all technical ideas, Tonality and Transformation balances theoretical substance with accessibility: it will appeal to both specialists and non-specialists. It is a particularly attractive volume for those new to transformational theory: in addition to its original theoretical content, the book offers an excellent introduction to transformational thought, including a chapter that outlines the theory's conceptual foundations and formal apparatus, as well as a glossary of common technical terms. A contribution to our understanding of tonal phenomenology and a landmark in the analytical application of transformational techniques, Tonality and Transformation is an indispensible work of music theory.

Topics are musical signs developed and employed primarily during the long eighteenth century. Their significance relies on associations that are clearly recognizable to the listener with different genres, styles and types of music making. Topic theory, which is used to explain conventional subjects of musical composition in this period, is grounded in eighteenth-century music theory, aesthetics, and criticism, while drawing also from music cognition and semiotics. The concept of topics was introduced into by Leonard Ratner in the 1980s to account for cross-references between eighteenth-century styles and genres. As the invention of a twentieth-century academic, topic theory as a field is comparatively new, and The Oxford Handbook of Topic Theory provides a much-needed reconstruction of the field's aesthetic underpinnings. The volume grounds the concept of topics in eighteenth-century music theory, aesthetics, and criticism. Documenting the historical reality of individual topics on the basis of eighteenth-century sources, it traces the origins of topical mixtures to transformations of eighteenth-century musical life, and relates topical analysis to other methods of music analysis conducted from the perspectives of composers, performers, and listeners. Focusing its scope on eighteenth-century musical repertoire, The Oxford Handbook of Topic Theory lays the foundation for further investigation of topics in music of the nineteenth, twentieth, and twenty-first centuries.

(Amadeus). Everyone loves to laugh, to wonder, and to be amazed. High Notes and Low presents interesting and unusual anecdotal information about classical music and musicians in a down-to-earth, easily readable form. Free of technical jargon, the book is appealing not only to the musician but to the general reader as well, and offers information that all can enjoy. The book is divided into six sections that provide general categories of anecdotes Composers, Performers, Critics, Conductors, Compositions, and This and That and encompasses information from all periods of music history. Whether it's camels onstage during the performance of an opera, a conductor's faux pas with a queen, an enraged wife burning her husband's only copy of a symphony, or a look into the many complexities of the Metropolitan Opera building at Lincoln Center, readers will find a vast assortment of fascinating, unexpected, and often unusual facts to keep them enthralled. No other book on the market provides such a wide, enthusiastic, and all-encompassing look into the facts and foibles of classical music. Originally designed for broadcast on KLRE-FM, Arkansas' premier classical music station, High Notes and Low proves that the world of the classical musician is indeed a wonderful, and sometimes zany, place to visit

In this magisterial volume, Harvey Sachs, author of the highly acclaimed biography Toscanini, takes readers into the heart of ten great works of classical music-works that have endured because they were created by composers who had a genius for drawing music out of their deepest wellsprings. These masters-Mozart and Beethoven; Schubert, Schumann, Berlioz, Verdi and Brahms; Sibelius, Prokofiev and Stravinsky-communicated their life experiences through music and through music they universalised the intimate. By expanding our perceptions of these ten pieces-composed in the years between 1784 and 1966-Sachs, in lush, exquisite prose, invites us to consider why music stimulates, disturbs, exalts and consoles us. He has lived with these masterpieces for a lifetime and his descriptions of them and the dramatic lives of the composers who wrote them bring a heightened dimension to the musical perceptions of readers who may be casual listeners, students, professional musicians or anyone in between.

This volume offers an up-to-date overview of historical performance, surveying the various current issues (such as the influence of recording) and suggesting possible future developments. Its core comprises discussion of the period performer's myriad primary source materials and their interpretation, the various aspects of style and general technique that combine to make up a well-grounded, period interpretation, and a survey of performance conditions and practices, focusing on the period c. 1700-c. 1900. Many of the principles outlined are illustrated in case studies of works by Bach, Mozart, Berlioz and Brahms.

A celebration of music from the creator of Alan Partridge, The Thick of It, Veep and The Death of Stalin. All my days, I've felt pressurized by the anonymous Keepers of the Cool who tell us what we should be wearing this year, what digital boxsets we should bunker ourselves in to enjoy, what amazing app is the only one we should be shrieking emotions at our recently acquired friends with. Thankfully, I have the one consolation that if I don't quite fit into all of this, everyone else probably feels the same way. So, I say defiantly, I get more moved and excited by classical music than by any other musical genre. I believe that it is there for us all, inviting us to reach out and touch it. In Hear Me Out Armando Iannucci brilliantly conveys the joy of his musical exploration, each discovery suggesting a fresh direction of travel, another piece, another composer, another time.

Selected by piano teachers for piano teachers, EPTA Teachers' Choice Piano Collection 1 is a collection of the most popular pieces for Grade 1-4 level students, as voted for by members of the European Piano Teacher's Association (EPTA). Each piece is introduced with a comment from a teacher, providing first-hand insights, tips and technical advice.

English music studies often apply rigid classifications to musical materials, their uses, their consumers, and performers. The contributors to this volume argue that some performers and manuscripts from the early modern era defy conventional categorization as "amateur" or "professional," "native" or "foreign." These leading scholars explore the circulation of music and performers in early modern England, reconsidering previously held ideas about the boundaries between locations of musical performance and practice.

Nostalgia for the Future is the first collection in English of the writings and interviews of Luigi Nono (1924-1990). One of the most prominent figures in the development of new music after World War II, he is renowned for both his compositions and his utopian views. His many essays and lectures reveal an artist at the center of the analytical, theoretical, critical, and political debates of the time. This selection of Nono's most significant essays, articles, and interviews covers his entire career (1948-1989), faithfully mirroring the interests, orientations, continuities, and fractures of a complex and unique personality. His writings illuminate his intensive involvements with theatre, painting, literature, politics, science, and even mysticism. Nono's words make vividly evident his restless quest for the transformative possibilities of a radical musical experience, one that is at the same time profoundly engaged with its performers and spaces, its audiences, and its human and social motivations and ramifications.

(Guitar Method). A modern method ideal for all beginning guitarists, studying individually or in a class. Technique and reading skills are developed through two-, three- and four-part ensemble arrangements of traditional and newly composed music. Also includes an introduction to chord playing. Also available: Phase 2 Book 50449470 $7.95

A rare case among history's great music contemporaries, Gustav Mahler (1860-1911) and Richard Strauss (1864-1949) enjoyed a close friendship until Mahler's death in 1911. Unlike similar musical pairs (Bach and Handel, Haydn and Mozart, Schoenberg and Stravinsky), these two composers may have disagreed on the matters of musical taste and social comportment, but deeply respected one another's artistic talents, freely exchanging advice from the earliest days of professional apprenticeship through the security and aggravations of artistic fame. Using a wealth of documentary material, this book reconstructs the 24-year relationship between Mahler and Strauss through collage-"a meaning that arises from fragments," to borrow Adorno's characterization of Mahler's Sixth Symphony. Fourteen different topics, all of central importance to the life and work of the two composers, provide distinct vantage points from which to view both the professional and personal relationships. Some address musical concerns: Wagnerism, program music, intertextuality, and the craft of conducting. Others treat the connection of music to related disciplines (philosophy, literature), or to matters relevant to artists in general (autobiography, irony). And the most intimate dimensions of life-childhood, marriage, personal character-are the most extensively and colorfully documented, offering an abundance of comparative material. This integrated look at Mahler and Strauss discloses provocative revelations about the two greatest western composers at the turn of the 20th century.

This text contains Arnold Schoenberg's thoughts on classical and romantic harmony. It presents a resume of the principles of the "Theory of Harmony", then demonstrates the concept of "monotonality". The music examples range from the entire development sections of classical symphonies. Ninety integrated music examples range fromthe entire development sections of classical symphonies to analyses of the harmonic progressions of Strauss, Debussy, Reger and his own early music.

This is a study of the way in which popular words and music relate to American life. The question of what popular song was, and why it came into existence, as well as how each song fit within the context of the larger 20th Century society are considered and explained clearly and fruitfully. Songs of the Jazz Age and Swing Era are considered primarily in terms of song-types and their relation to the times. Post World War II songs are shown to have splintered into a multitude of different styles and variations within each style. Many 20th Century songs came to be closely identified with particular singers and performance groups, shifting the attention to the styles identified with particular performers and the audiences they reached. Tawa avoids overly-technical vocabulary, making this examination of hundreds of popular songs accessible to a wide variety of readers seeking to better their understanding of the often perplexing musical landscape of the time.

Chances are you've probably heard Handel's Messiah at least once, if not many times. Maybe you've even performed it, as have countless musicians around the world. After all, it's probably one of the best-loved, and certainly one of the best-known, musical works in the standard repertoire. But if you thought you knew all there was to know about the great composer's famous oratorio, think again. For example, it may surprise you to learn that: Handel's first impulse to compose the work came not from religious or even musical inspiration. It had a whole lot more to do with money. The first performance of Messiah took place not in London but in Dublin - and not with a huge choir and orchestra but with only a relative handful of musicians. Although church groups and clergy members now praise Messiah as a fine example of religious music at its best, Handel had to disguise his oratorio for its first performance in London in order to sneak it past the church authorities. The Hallelujah chorus wasn't originally called that at all, but had a different name. Although Handel was proud of Messiah, he didn't think it was his best work. His favorite oratorio is one hardly anyone has ever heard of, much less heard. All these and many more entertaining (and entirely true ) facts await your discovery as internationally bestselling author David W. Barber takes you on another delightful romp through the pages of music history - as it ought to be taught