This research guide is an annotated bibliography of sources dealing with the string quartet. This second edition is organized as in the original publication (chapters for general references, histories, individual composers, aspects of performance, facsimiles and critical editions, and miscellaneous topics) and has been updated to cover research since publication of the first edition. Listings in the previous volume have been updated to reflect the burgeoning interest in this genre (social aspects, newly issued critical editions, doctoral dissertations). It also offers commentary on online links, databases, and references.

This book will teach you additional information about your instrument that will help you better understand how it works, how to work it, care for it, and how to be a more knowledgeable cellist.

`Valentin Berlinsky (1925-2008) was a founding member of the Borodin Quartet and its cellist and mainstay for more than six decades. A proud Russian but also a man of compromise, his was a life lived for and through the Borodin Quartet. This book tells his story in his own words, lovingly compiled and edited by his grand-daughter, Maria Matalaev, from his diaries, correspondence and interviews, and his accounts of his close friendships with the likes of Shostakovich and Richter, Rostropovich and Oistrakh. Supplemented by tributes from family and friends, as well as an impressive annexure giving every performance, broadcast and recording made by the Borodin Quartet, this book constitutes one of the most revealing chronicles of Soviet and post-Soviet Russian musical life. In 2005, at the celebrations for both his 80th birthday and the 60th anniversary of the Borodin Quartet, Valentin Berlinsky sat down at a table with his students and said: `My dears, please, keep going: never leave Russia!'

After decades of stagnation during the reign of his father, the 'Barracks King', the performing arts began to flourish in Berlin under Frederick the Great. Even before his coronation in 1740, the crown prince commenced recruitment of a group of musician-composers who were to form the basis of a brilliant court ensemble. Several composers, including C.P.E. Bach and the Graun brothers, wrote music for the viola da gamba, an instrument which was already becoming obsolete elsewhere. They were encouraged in this endeavour by the presence in the orchestra from 1741 of Ludwig Christian Hesse, one of the last gamba virtuosi, who was described in 1766 as 'unquestionably the finest gambist in Europe'. This study shows how the unique situation in Berlin produced the last major corpus of music written for the viola da gamba, and how the more virtuosic works were probably the result of close collaboration between Hesse and the Berlin School composers. The reader is also introduced to the more approachable pieces which were written and arranged for amateur viol players, including the king's nephew and ultimate successor, Frederick William II. O'Loghlin argues that the aesthetic circumstances which prevailed in Berlin brought forth a specific style that is reflected not only in the music for viola da gamba. Characteristics of this Berlin style are identified with reference to a broad selection of original written sources, many of which are hardly accessible to English-speaking readers. There is also a discussion of the rather contradictory reception history of the Berlin School and some of its composers. The book concludes with a complete thematic catalogue of the Berlin gamba music, with a listing of original manuscript sources and modern publications. The book will appeal to professional and amateur viola da gamba players as well as to scholars of eighteenth-century German music.

Since the publication of Solomon Volkov's disputed memoirs of Dmitri Shostakovich, the composer and his music has been subject to heated debate concerning how the musical meaning of his works can be understood in relationship to the composer's life within the Soviet State. While much ink has been spilled, very little work has attempted to define how Shostakovich's music has remained so arresting not only to those within the Soviet culture, but also to Western audiences - even though such audiences are often largely ignorant of the compositional context or even the biography of the composer. This book offers a useful corrective: setting aside biographically grounded and traditional analytical modes of explication, Reichardt uncovers and explores the musical ambiguities of four of the composer's middle string quartets, especially those ambiguities located in moments of rupture within the musical structure. The music is constantly collapsing, reversing, inverting and denying its own structural imperatives. Reichardt argues that such confrontation of the musical language with itself, though perhaps interpretable as Shostakovich's own unique version of double-speak, also poignantly articulates the fractured state of a more general form of modern subjectivity. Reichardt employs the framework of Lacanian psychoanalysis to offer a cogent explanation of this connection between disruptive musical process and modern subjectivity. The ruptures of Shostakovich's music become symptoms of the pathologies at the core of modern subjectivity. These symptoms, in turn, relate to the Lacanian concept of the real, which is the empty kernel around which the modern subject constructs reality. This framework proves invaluable in developing a powerful, original hermeneutic understanding of the music. Read through the lens of the real, the riddles written into the quartets reveal the arbitrary and contingent state of the musical subject's constructed reality, reflecting pathologies ende

Born in 1885 in Porto, Portugal, to a middle-class musical family, Guilhermina Suggia began playing cello at the age of five. A child prodigy, she was already a seasoned performer when she won a scholarship to study with Julius Klengel in Leipzig at the age of sixteen. Suggia lived in Paris with fellow cellist Pablo Casals for several years before World War I, in a professional and personal partnership that was as stormy as it was unconventional. When they separated Suggia moved to London, where she built a spectacularly successful solo career. Suggia's virtuosity and musicianship, along with the magnificent style and stage presence famously captured in Augustus John's portrait, made her one of the most sought-after concert artists of her day. In 1927 she married Dr Jose Casimiro Carteado Mena and settled down to a comfortable life divided between Portugal and England. Throughout the 1930s, Suggia remained one of the most respected musicians in Europe. She partnered on stage with many famous instrumentalists and conductors and completed numerous BBC broadcasts. The war years kept her at home in Portugal, where she focused on teaching, but she returned to England directly after the war and resumed performing. When Suggia died in 1950, her will provided for the establishment of several scholarship funds for young cellists, including England's prestigious Suggia Gift. Mercier's study of Suggia's letters and other writings reveal an intelligent, warm and generous character; an artist who was enormously dedicated, knowledgeable and self-disciplined. Suggia was one of the first women to make a career of playing the cello at a time when prejudice against women playing this traditionally 'masculine' instrument was still strong. A role model for many other musicians, she was herself a fearless pioneer.

Acoustic Blues Guitar Styles is an introduction to fingerstyle acoustic blues guitar, the style made popular by Robert Johnson, Bill Broonzy, and Mance Lipscomb. Following the success of the popular Acoustic Guitar Styles, Larry Sandberg's Acoustic Blues Guitar Styles is an instructional book geared towards the intermediate guitar player, not only to teach fingerstyle blues technique, but also to approach the music creatively and with feeling and rhythm. Part One teaches you the preliminaries, such as reading a chord chart and working out a 12-bar blues in different keys. Part Two teaches you touch, timing, and basic fingerpicking technique. Part Three teaches you how to play stylistically, with lessons on how to incorporate bends, vibrato, alternating bassnotes, and rhythmic variations into your playing. All musical exercises are presented in both standard notation and tablature, and are supported by audio tracks. Customers purchasing the eBook version of this title will be able to download the supporting audio tracks. Instructions on downloading the files can be found on the contents page.

Pick and roll your way through bluegrass banjo basics The banjo nearly defines the bluegrass sound, and you'll be playing your own favorite tunes--or maybe writing some new ones--with the help of this book. Bluegrass Banjo For Dummies is the place to start if you're ready to start learning banjo or upgrade your skills to play in the bluegrass style. Written by an expert musician and educator, this book makes it easy to start plucking your 5-string banjo using common bluegrass techniques. You'll also have access to over 100 online audio files, and 35 video lessons, so you can see and hear the techniques in practice. This book serves as your first step to becoming a bluegrass banjo player, even if you're completely new to playing musical instruments. Choose the right banjo, pick up the basics, learn classic banjo licks, and more--the easy way. Learn how to read banjo tablature and perform on a five-string banjo Get insight on playing as part of a bluegrass combo band Practice with classic bluegrass tunes and banjo licks Create banjo solos that will wow your audiences This friendly For Dummies guide is great for fledgling banjo players interested in the bluegrass style. Whether or not you already play another instrument, you'll pick up the banjo basics you can show off at your next local bluegrass festival.

Lionel Tertis (1876-1975) stands in the company of YsaYe, Kreisler, Casals, Thibaud and Rubinstein as one of the greatest instrumentalists - and arguably the greatest viola player - of all time. Many composers, including Bax, Holst and Vaughan Williams, wrote significant works for him; he was a member of a number of prominent string quartets; and he was later to design and promote his own 'Tertis model' viola. Tertis is virtually synonymous with the increasing importance of the viola as a solo and recital instrument alongside the violin and the cello. This updated paperback edition tells how he rose from humble beginnings to become 'the father of the modern viola'. It explores in detail his long and distinguished career, persuading composers to write works for the viola, arranging existing works for the instrument, editing and performing, and teaching and coaching, notably at the Royal Academy of Music. JOHN WHITE is a prominent viola teacher and performer. He was a founder member of the Alberni String Quartet and later played with the London Philharmonic Orchestra and the Stadler Trio and collaborated with composers Alan Bush, Lennox Berkeley and Alan Richardson in performances of their works. White was Professor of Viola at the Royal Academy of Music for over thirty years and has chaired four international viola congresses in the UK since 1978. In recognition of his outstanding contributions to the viola, he was awarded the Silver Alto Clef for 2010 by the International Viola Society.

Giovanni Battista Buonamente was among the most original and inventive Italian composers of the seventeenth century. Peter Allsop reveals his importance as part of a tradition that stands in direct antithesis to that of the Corellian sonata today regarded as the 'norm'. This development is traced in a series of likely teacher-pupil relationships from Salamone Rossi to Marco Uccellini, the most prolific Italian composers of instrumental ensemble music in the first half of the seventeenth century. The first half of the book sets out what is known of Buonamente's turbulent career as he moved from the courtly environments of the Gonzaga household and Habsburg court to several less auspicious posts at various religious institutions, ending his life as maestro di cappella at the mother house of his order, S. Francesco in Assisi. A fascinating picture emerges of the nature of musical patronage against a background of war and plague in this time of great political instability. The later chapters comprise detailed discussions, supported with over 100 music examples, of the unusually wide range of genres for which Buonamente wrote: sinfonias, free sonatas, sets of variations, canzonas, dances; and he was the first Italian to cultivate the ensemble suite to any extent. The book concludes with an examination of his influence on his probable pupil Marco Uccellini and the interest Buonamente instigated in canonic writing, which was passed via Uccellini to a succession of Modenese composers.

First published in 1999, this biography from David Tunley draws on newly researched documentary evidence to chart Campoli's early success and his later struggle for recognition as a serious artist. Campoli's early success and his later struggle for recognition as a serious artist. Campoli's career emerges as one particularly shaped and directed by the great economic and social forces of the first half of the century, and the story here is as much that of his times, as of his life. Described by Szigeti as 'one of the last great individualists among violinists', Alfredo Campoli was a household name in the field of British light music prior to the Second World War. Having made his debut at the Wigmore Hall in 1923 Campoli toured with Melba and Butt, then turned to light music during the Depression. He became one of Decca's early recording artists and broadcast frequently for the BBC with his light music ensembles and pursued a long, successful career as a distinguished international performer.

Learning About the Violin: A Practical Supplemental Handbook is designed to enrich the learning experience of students who are using a traditional violin method lesson book. Method books only teach one how to play an instrument. This Supplemental Handbook teaches everything else about the instrument, including: 1. the parts of the violin and how they work 2. how to care for a violin outfit 3. how to plan a practice session 4. what items (accessories) are needed to help one play the violin. 5. how violins are made 6. the history of the violin 7. how violin bows are made 8. the history of violin bows The book also contains a dictionary for violin terms and a comprehensive index to facilitate topic location. With this book included in a curriculum, a student will also have greater insight into the violin's relationship to the viola, cello, and double bass with which they will be working. Being exposed to this expanded enrichment will result in a well-rounded musician in place of one who can just play an instrument.

Double Bass Basics is a landmark method by two of the leading figures in music education, Paul Harris and Jessica O'Leary. Comprising pupil's tutor book, free downloadable accompaniment parts and online audio, Double Bass Basics provides everything you need to get playing. The method presents a step-by-step technical progression supported by fun exercises and warm-ups with a wide range of imaginative repertoire. Helpful fact files, rhythm boxes, music theory and musicianship activities provide a holistic approach for beginners.

First published in 1999, this biography from David Tunley draws on newly researched documentary evidence to chart Campoli's early success and his later struggle for recognition as a serious artist. Campoli's early success and his later struggle for recognition as a serious artist. Campoli's career emerges as one particularly shaped and directed by the great economic and social forces of the first half of the century, and the story here is as much that of his times, as of his life. Described by Szigeti as 'one of the last great individualists among violinists', Alfredo Campoli was a household name in the field of British light music prior to the Second World War. Having made his debut at the Wigmore Hall in 1923 Campoli toured with Melba and Butt, then turned to light music during the Depression. He became one of Decca's early recording artists and broadcast frequently for the BBC with his light music ensembles and pursued a long, successful career as a distinguished international performer.

Tatjana Goldberg reveals the extent to which gender and socially constructed identity influenced female violinists' 'separate but unequal' status in a great male-dominated virtuoso lineage by focussing on the few that stood out: the American Maud Powell (1867-1920), Australian-born Alma Moodie (1898-1943), and the British Marie Hall (1884-1956). Despite breaking down traditional gender-based patriarchal social and cultural norms, becoming celebrated soloists, and greatly contributing towards violin works and the early recording industry (Powell and Hall), they received little historical recognition. Goldberg provides a more complete picture of their artistic achievements and the impact they had on audiences.

The 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.

The last quarter of the twentieth-century saw a renewed interest in the hammered dulcimer in the United States at the grassroots level as well as from elements of the Folk Revival. This book offers the reader a discussion of the medieval origins of the dulcimer and its subsequent spread under many different names to other parts of the world. Drawing on articles the author has written in English as well as articles by specialists in their own languages, Gifford explains the history and evolution of the instrument. Special attention is paid to the North American tradition from the early 18th-century to the 1970s revival. Drawing from local histories, news clippings, photographs, and interviews, the book examines the playing of the dulcimer and its associated social meanings.

Fiddle Time Joggers is a landmark book in the popular Fiddle Time series, which is enjoyed by students and teachers all over the world. It contains Kathy and David Blackwell's trademark attractive and engaging compositions that appeal to learners of all ages. This book contains piano accompaniments for Fiddle Time Joggers. Characterful and easy to play, these piano parts provide stylish accompaniments to all of the pieces in the pupil book. Essential for teachers and musical parents, this book will help motivate all young violinists as they learn to play.

Barcelonian Gaspar Cassado (1897-1966) was one of the greatest cello virtuosi of the twentieth century and a notable composer and arranger, leaving a vast and heterogeneous legacy. In this book, Gabrielle Kaufman provides the first full-length scholarly work dedicated to Cassado, containing the results of seven years of research into his life and legacy, after following the cellist's steps through Spain, France, Italy and Japan. The study presents in-depth descriptions of the three main parts of Cassado's creative output: composition, transcription and performance, especially focusing on Cassado's plural and multi-facetted creativity, which is examined from both cultural and historical perspectives. Cassado's role within the evolution of twentieth-century cello performance is thoroughly examined, including a discussion regarding the musical and technical aspects of performing Cassado's works, aimed directly at performers. The study presents the first attempt at a comprehensive catalogue of Cassado's works, both original and transcribed, as well as his recordings, using a number of new archival sources and testimonies. In addition, the composer's significance within Spanish twentieth-century music is treated in detail through a number of case studies, sustained by examples from recovered score manuscripts. Illuminated by extraordinary source material Gaspar Cassado: Cellist, Composer and Transcriber expands and deepens our knowledge of this complex figure, and will be of crucial importance to students and scholars in the fields of Performance Practice and Spanish Music, as well as to professional cellists and advanced cello students.

An instructional book that helps rock guitarists of all levels hone their chops and learn from the masters. Offering lessons, licks, and tips drawn from rock guitar masters, this how-to guide boosts players' soloing techniques, rhythm playing, and understanding of rock theory. Fully updated and expanded, it reveals secrets of nu-metal stars such as Rage Against the Machine, provides lessons on roots-rock legends including Carl Perkins, teaches riffs from rock gods such as Jimi Hendrix and Eddie Van Halen, and spotlights the latest on gear and recording. This book is like taking a private lesson with Eric Clapton, Jeff Beck, or Keith Richards. Beginners get how-to guidance plus notational symbols for building a solid rock 'n' roll fretboard foundation. Experienced players will find insights from guitar greats to use at the next gig. Outlining the basics as well as some of the masters' techniques, the easy-to-use book covers pentatonic scales, double- and triple-stop approaches to chords and solos, open tuning, wah-wah, the Hendrix rhythm style, and more. With the online recordings bringing these lessons to life, players can pick apart the music by string, fret, and finger while hearing exactly how it should sound.

(Guitar Method). Newly revised The second edition of this world-famous method by Will Schmid and Greg Koch is preferred by teachers because it makes them more effective while making their job easier. Students enjoy its easy-to-follow format that gives them a solid music education while letting them play songs right away. Book 1 provides beginning instruction including tuning, 1st position melody playing, C, G, G7, D7, and Em chords, rhythms through eighth notes, solos and ensembles and strumming. Features a chord chart, and traditional songs like: Amazing Grace * Greensleeves * and When the Saints Go Marching In.

This book includes biographical information on Carlos Prieto, his contributions to music, as well as a detailed catalog of 72 pieces commissioned and/or dedicated to him. A graduate of MIT and a former director of Fundidora, the biggest steel company in Mexico, Carlos Prieto decided at the age of 38 to abandon his career as a business man and become a full time professional cellist. Since then he has premiered over 90 pieces, most of them commissioned and/or dedicated to him by Latin-American composers. These commissions and dedications represent about 50 percent of the music written for the cello by Latin-American composers. This is the first time a study has been conducted on this body of music.

First published in 1972, Walter Kolneder's Das Buch der Violine quickly established itself as the standard work on the violin, dealing with every aspect of the instrument in truly encyclopedic fashion. This first English-language translation, by eminent scholar and educator Reinhard G. Pauly, is based on the fifth German edition, published in 1993. Ours is more than a translation, however. Dr. Pauly also took the opportunity to revise the text, for American and English readers particularly, and has included information on recent developments not available to the author. The book begins with an examination of the violin's construction and history. Part One offers fascinating detail on woods, glues, varnishes, shapes and dimensions, and bows and strings; Part Two traces the evolution of the instrument's form, from the violin's pre-history through the five centuries, roughly, that have elapsed since it took its present shape. Part Three is a chronological survey of the violin's musical aspects, treating performance techniques, pedagogical philosophy, and literature for the violin. Kolneder examines the various national schools for their distinguishing characteristics and shows the influence of composers (Bach and Beethoven, among others), virtuosos (Paganini, Kreisler), and teachers (including Tartini and Geminiani) upon the development of the modern violin and its music. Together the three parts form the best single volume on the violin and its music, an extraordinary encyclopedic resource for the general music-lover as well as for violinists.

Dip into this stockingful of easy Christmas music for cello! Unwrap a traditional carol, dance to the 'Skaters' Waltz' and a 'Christmas Calypso', and pull a cracker full of solos and duets. With words to sing along, chords for guitar or keyboard, and a fantastic play-along CD, Cello Time Christmas is the perfect gift for any young cellist.