While the history of musical instruments is nearly as old as civilisation itself, the science of acoustics is quite recent. By understanding the physical basis of how instruments are used to make music, one hopes ultimately to be able to give physical criteria to distinguish a fine instrument from a mediocre one. At that point science may be able to come to the aid of art in improving the design and performance of musical instruments. As yet, many of the subtleties in musical sounds of which instrument makers and musicians are aware remain beyond the reach of modern acoustic measurements. This book describes the results of such acoustical investigations - fascinating intellectual and practical exercises. Addressed to readers with a reasonable grasp of physics who are not put off by a little mathematics, this book discusses most of the traditional instruments currently in use in Western music. A guide for all who have an interest in music and how it is produced, as well as serving as a comprehensive reference for those undertaking research in the field.

Learning to play an instrument can be fund and, at times, frustrating. This lively, accessible book helps young people cope with the difficulties involved in learning a new instrument and remaining dedicated to playing and practicing. Teens from renowned music programs - including the Juilliard School's Pre-College Program and Boston University's Tanglewood Institute - join pro musicians such as Wynton Marsalis, Paula Robison, and James Galway in offering practical answers to questions from what instrument to play to where the musical road may lead.
In this revised and expanded edition, Amy Nathan has updated the book to address today's more technologically-minded young musician. Expanded sections cover the various ways students can use technology to assist in mastering an instrument and in making practice time more productive, from using the Internet to download pieces to be learned and playing along with downloaded tunes to practicing with computer-based practice programs, CDs, and videos/DVDs of musical performances. She also addresses concerns of young composers and conductors, two groups not mentioned in the original edition. The book's updated Resource Guide suggests where to get additional help, both online and off.

Uses the rare depictions of musical instruments and musical sources found on the Eglantine Table to understand the musical life of the Elizabethan age and its connection to aspects of culture now treated as separate disciplines ofhistorical study. The reign of Elizabeth I (1558-1603) has often been regarded as the Golden Age of English music. Many works of high quality, both vocal and instrumental, were composed and performed by native and immigrant musicians, while balladry and minstrelsy flourished in hall, street and alehouse. No single source of the sixteenth century presents this rich musical culture more vividly than the inlaid surface of the Eglantine Table. This astonishing piece of furniture was made in the late 1560s for the family of Elizabeth or 'Bess' of Hardwick, Countess of Shrewsbury (1527-1608). The upper surface bears a wealth of marquetry that depicts, amidst the briar roses and other plants, numerous Elizabethan musical instruments in exquisite detail together with open books or scrolls of music with legible notation. Given that depictions of musical instruments and musical sources are rare in all artistic media of the Elizabethan period, the Eglantine Table is a very important resource for understanding the musical life of the age and its connection to aspects of culture now treated separately in disciplines such as art history, social and political history or the study of material culture. This volume assembles a group of leading scholars in the history of instruments and associated fields to ground future research upon the most expert assessment of the depicted instruments, the music and the decorative imagery that is currently attainable. A final section of the book takes a broad view, placing the Table and the musical components of its decoration in relation to the full range of Elizabethan musical life.

The work of French musicologist, ethnologist, curator, and critic Andre Schaeffner (1895 - 1980) grew naturally out of his first organological studies of the history of Western classical instruments in the late 1920s and came to be encapsulated in his monumental and wide-ranging Origine des instruments de musique, the fruit of labour in Paris and in the field between 1931 and 1936. Almost 80 years after its first publication, the scientific relevance and influence of Schaeffner's primary hypothesis - that the origins of music can be traced to the human body through gesture, dance, and the movements involved in the use of musical instruments and their ancestor tools - remains pertinent in fields which have returned to informed speculative and empirical research on the origins of music. This first English edition is accompanied by editorial footnotes and introductory texts, and the influence of Schaeffner's thought on several generations of musicologists makes his work an essential piece of reading for ethnomusicologists, music psychologists, organologists and musicologists interested in the history of their field. Schaeffner's text is an intellectual link between the studies of Hornbostel and Sachs and the contrasting research of later generations, notably figures with which he had direct contact, such as John Blacking and Simha Arom. More than a simple field guide and system of classification, the Origin of Musical Instruments is also a profound reflection on the nature and origins of music and musical activity, as well as the place of that activity in human society.

This convenient chord chart lists all the basic ukulele chords in every key

In The Symphony, renowned critic Michael Steinberg offers music lovers a monumental guide to this most celebrated of musical forms, with perceptive commentaries on some 118 works by 36 major composers.

The International Sweethearts of Rhythm, a popular women's jazz band of the 1940s, has earned a reputation as the 'best all-women's swing band ever to perform.' This revised and updated edition provides fascinating reading for jazz enthusiasts and students of American history, music, and women's history. It is the most comprehensive and objective history of the band to date. Handy documents all sides of the band's controversial story and interviews members of the band. She updates the careers of band members who remained in the music business. Accompanied by an extensive bibliography and many photographs.

Duke Ellington (1899-1974) is widely considered the jazz tradition's most celebrated composer. This engaging yet scholarly volume explores his long career and his rich cultural legacy from a broad range of in-depth perspectives, from the musical and historical to the political and international. World-renowned scholars and musicians examine Ellington's influence on jazz music, its criticism, and its historiography. The chronological structure of the volume allows a clear understanding of the development of key themes, with chapters surveying his work and his reception in America and abroad. By both expanding and reconsidering the contexts in which Ellington, his orchestra, and his music are discussed, Duke Ellington Studies reflects a wealth of new directions that have emerged in jazz studies, including focuses on music in media, class hierarchy discourse, globalization, cross-cultural reception, and the role of marketing, as well as manuscript score studies and performance studies.

This is an essential guide for students of the nine Beethoven symphonies and a starting-point for young conductors. Drawing on his lifelong experience of conducting these works, Del Mar offers an analysis of the music's structure, pointing out key events in the score and offering advice on how to achieve the desired effect. He also compares variant readings in the different editions and further traces the development of Beethoven's style and that of the symphony over the 24 years of their composition.

This ultimate guide to all the gear used by the Beatles details exactly which guitars drums amplifiers and keyboards the Fab Four embraced throughout their brief but revolutionary career from their earliest days as the Quarry Men to the dissolution of the Beatles in 1970. It provides fascinatingly fresh insights into Beatle history exploding myths and uncovering dozens of new stories along the way. John Paul George and Ringo's moves from cheap early instruments to the pick of 1960s technology are carefully and entertainingly documented in an easy-to-read narrative fully illustrated with many previously unseen photographs a cache of rare memorabilia and a unique collection of specially photographed instruments used by the Beatles.THAs we continue to find new ways to explore their sound from vivid remasters of their original recordings to cutting-edge video games the Beatles remain at the forefront of popular music. This landmark book is perfect for the fan absorbed by music rather than hairstyles for the tribute-band member with an eye for detail and for any reader with an abiding interest in the 1960s. With a foreword by acclaimed Beatle author Mark Lewisohn EBeatles GearE tells it like it was.

What are instrumental lessons for? And why do so many students want to 'give up' when they have only just begun? These are just some of the questions examined in this thought-provoking and entertaining book, which draws on research and on the author's wealth of experience to encourage teachers to build upon the strengths of current practice. Instrumental Teaching is for both those who have been teaching for many years and those who are starting out. It focuses on learning by young people but also ranges more widely, and it relates to all teachers, wherever they teach. Janet Mills asks probing questions such as 'why teach?' - and 'why learn?' - and provides practical advice on subjects including 'the first lesson'. She addresses the thorny issue of practice, and explores myths such as the notion that some instruments require particular physical or personal attributes. This book will challenge and inspire anyone who is, or is thinking of becoming, an instrumental teacher.

This comprehensive but concise guide for the student of orchestration is also an excellent book of reference for the practicing musician. Each instrument is considered within its respective group and helpful details are given on compass, technique, and timbre. The author takes many passages written for keyboard instruments and shows how they may be scored for a variety of combinations, thereby showing in the clearest possible manner the principles underlying effective orchestration. Exercises at the end of each chapter lead the student, by gradual stages, from simpler scoring for strings to the more complex art of writing for full orchestra. For this new edition Dr. Jacob has revised the text to reflect recent developments, particularly in wind and percussion instruments writing.

Imogen Holst, 1907-84, was a much-loved source of inspiration for countless musicians and students who encountered her over the years of her involvement with the Dartington Summer School of Music and the Aldeburgh Festival. This book conveys her infectious enthusiasm and insight as a choral conductor. Here she sets out, clearly and concisely, a wealth of practical information on the physical business of conducting which will be of particular value to the amateur conductor. She deals with the forming and training of a choir, the presentation and rehearsal of the music, and how to approach public performances and competitions. Her final chapter gives advice on the rehearsal of specific choruses by Purcell, Handel, and Britten. Originally published in 1973, this edition has been corrected and updated by Lowinger Maddison, Archivist for the Holst Foundation.

Features 27 top hits from this pop icon's highly successful solo career, including: Against All Odds (Take a Look at Me Now) * Another Day in Paradise * Do You Remember * Easy Lover * I Don't Care Anymore * I Missed Again * In the Air Tonight * One More Night * Separate Lives * Sussudio * Take Me Home * Two Worlds * We Wait and We Wonder * You Can't Hurry Love * You'll Be in My Heart * and more.

Gloria's Spanish album is breathtaking! Each song is in Spanish with English lyric pages. Titles are: Ayer * Con Los AAos Que Me Quedan * Hablas de MA- * Hablemos el Mismo Idioma * Mi Buen Amor * Mi Tierra * Montuno * No Hay Mal Que Por Bien no Venga * ASi SeAor!... * Tradicion * Tus Ojos * VolverAs.

Joachim Tielke was an outstanding instrument maker in the Baroque period who is famous above all for his elaborately decorated works. The book presents new instruments made by him that have only recently become known. This has made it possible to expand on various aspects of his work and to clarify questions regarding dating more precisely. This book provides new insights into Tielke's work and supplements the extensive volume Joachim Tielke. Kunstvolle Musikinstrumente des Barock (2011).

Collaborative Insights provides new perspectives informed by interdisciplinary thinking on musical care throughout the life course. In this book, volume editors Katie Rose M. Sanfilippo and Neta Spiro define musical care as the role that music - music listening as well as music-making - plays in supporting any aspect of people's developmental or health needs, for example physical and mental health, cognitive and behavioural development, and interpersonal relationships. Musical care is relevant to several types of music, approach, and setting, and through the introduction of that new term musical care, the authors prioritise the element of care that is shared among these otherwise diverse contexts and musical activities, celebrating the nuanced interweaving of theory and practice. The multifaceted nature of musical care requires reconciling perspectives and expertise from different fields and disciplines. This book shows interdisciplinary collaboration in action by bringing together music practitioners and researchers to write each chapter collaboratively to discuss musical care from an interdisciplinary perspective and offer directions for future work. The life course structure, from infancy to end of life, highlights the connections and themes present in approach, context, and practices throughout our lives. Thus, the book represents both the start of a conversation and a call to action, inspiring new collaborations that provide new insights to musical care in its many facets.

Rooted in the experience of a professional choral conductor, this book provides a guide to practical issues facing conductors of choral ensembles at all levels, from youth choruses to university ensembles, church and community choirs, and professional vocal groups. Paired with the discussion of practical challenges is a discussion of over fifty key works from the choral literature, with performance suggestions to aid the choral conductor in directing each piece. Dealing with often-overlooked yet vital considerations such as how to work with composers, recording, concert halls, and choral tours, A Practical Guide to Choral Conducting offers a valuable resource for both emerging choral conductors and students of choral conducting at the undergraduate and graduate levels.

This series of beginning fake books for players new to "faking" includes: 100 memorable songs, all in the key of C * lyrics * chords which have been simplified, but remain true to each tune * easy-to-read, large music notation. 100 songs from the '60s: Baby Love * Dancing in the Street * The Girl from Ipanema * Good Vibrations * Hey Jude * I Heard It Through the Grapevine * Leaving on a Jet Plane * Respect * (Sittin' On) the Dock of the Bay * Soul Man * Turn! Turn! Turn! * and more.

Few bodies of Western music are as widely respected, studied, and emulated as the fugues of Johann Sebastian Bach. Despite the esteem which Bach's contributions brought to the genre, however, the origin and early history of the fugue remain poorly understood. Theories of Fugue from the Age of Josquin to the Age of Bach addresses both the history and methodology of the pre-Bach fugue (from roughly 1500 to 1700), and, of greatest significance to the literature, it seeks to present a way out of the methodological dilemma of uncertainty which has plagued previous scholarly attempts by considering what musicians of the time had to say about the fugue: what it was, what it was not, how important it was, and where and how a composer should (or shouldn't) use it. Paul Mark Walker is director of the Early Music Ensemble at the University of Virginia and an expert on the history of the fugue.

Following Roy Newsome's highly acclaimed study Brass Roots: One Hundred Years of Brass Bands and their Music, this book takes up the story of bands and their development from the 1930s to the start of the new millennium. Brass band contests continued to play a significant role in the twentieth century, and this new book contains a detailed consideration of both local and regional contests and larger-scale national events such as the British Open and the National Brass Band Championships. As in previous times, the repertoire of bands has been greatly influenced by these contests. Newsome explores competition works, but also the development of an increasing number of concerto-style works intended for concert performance. One of the keys to the continuing popularity and success of the banding movement has been the creation of school and youth brass bands. Sections of the book devoted to younger generations of band players examine the changes that have taken place in such bands. There is also an investigation of the impact of radio, television and commercial recording on the brass band industry. The book also contains a wealth of information about leading bands and band personalities, and concludes with an overview of the spread of interest in British-style banding overseas.

42 songs for the Broadway belter. All songs have been especially chosen for this voice type, with careful attention to range and key. This expanded second edition includes: As Long As He Needs Me (from Oliver!) * Defying Gravity (from Wicked) * Don't Cry for Me Argentina (from Evita) * Hit Me with a Hot Note (from Sophisticated Ladies) * Maybe This Time (from Cabaret) * Tell Me on a Sunday (from Song & Dance) * and more.