The French flute player and conductor Paul Taffanel (1844-1908) was an extraordinary virtuoso and a major figure in fin-de-siecle Parisian musical life. Based on a treasure trove of private documents of Taffanel's previously unpublished letters and papers, Taffanel: Genius of the Flute
recounts the rich story of his multi-faceted career as a player, conductor, composer, teacher, and leader of musical organizations.
As a player, Taffanel had a rare vision of the flute as a serious, expressive instrument and his name sits at the center of the extraordinary lineage of flutists. At a crucial moment in the flute's history -- after it had been completely remodeled by Theobald Boehm -- Taffanel had far-ranging
influence, creating the modern French school of playing which has since been widely adopted throughout the world, and re-establishing the instrument in the mainstream of music. Taffanel was also an inspiring teacher at the Paris Conservatoire, to whom many modern flutists can trace their roots.
Taffanel also pioneered a renaissance in playing and composing chamber music for wind instruments. He founded the Societe de musique de chambre pour instruments a vent (Society of Chamber Music for Wind Instruments) in 1879, reviving the wind ensemble music of Mozart and Beethoven, and stimulating
the composition of many new works, among them Gounod's Petite symphonie. The ensemble broke the dominance of piano and strings in recital and chamber music and fostered many of the canonic works in that repertoire.
Although foremost a flutist and teacher, Taffanel was also an important opera and orchestra conductor, virtually without rival in Paris. From 1890, he served as chiefconductor at the Paris Opera and the Society des concerts du Conservatoire (Paris Conservatory Orchestra) - the first time a flutist,
rather then a string player, had been appointed to such key positions. At the Opera he was charged with all new productions and gave notable French premieres of various Wagner operas and Verdi's Otello. At the Societe des concerts he championed contemporary French composers, particularly his great
friend Saint-Saens, and gave the world premiere of Verdi's Sacred Pieces.
Beyond his work as a performer, teacher and conductor, Taffanel was a fluent composer for the flute and wind quintet, a formidable administrator of several musical organizations, and was a major personality in Parisian musical life. Blakeman expertly places Taffanel's story in the rich political and
cultural backdrop of the time, evoking Conservatoire intrigues, the Societe des concerts, and Taffanel's relationships with various musicians and major composers. Blakeman details the circumstances surrounding landmark commissions, performances, and repertoire, and weaves the details from Taffanel's
correspondence with first-person interviews and flute lore. What emerges is a portrait of an all-round musician who was also a modest and genial man.

Afro-Cuban music evolved into one of the great musical traditions of the twentieth century. Trompeta: Chappott'n, Chocolate, and the Afro-Cuban Trumpet Style provides a comprehensive history of mainstream Cuban music, examining the music of all its eras from the perspective of two seminal trumpet players: FZlix Chappott'n and Alfredo 'Chocolate' Armenteros. One or the other was present at almost every significant turning point in the stylistic development of Cuban music. An overview of the entire Afro-Cuban genre and its development is provided, as well as an in-depth examination of both Chappott'n's and Armenteros' performance styles.

The Art of Oboe Playing is actually two books in one -- one part by Robert Sprenkle on playing the oboe, and another part by David Ledet on reed-making. Sprenkle was the renowned teacher of some of the finest oboists, among them Robert Bloom of the Rochester Philharmonic. Ledet has an exceptionally broad professional background, including assistant band director, teacher of oboe and theory, and administrator.

The book is an outline of the Armenian duduk, a cylindrical double-reed aerophone made of apricot-wood, and its relation to the Armenian identity. It attempts to deepen our understanding of musical instruments not only through an examination of musical and constructional features, but also through the application of a sociocultural framework which allows a theorization of the idea of the instrument as social being. The discussion is centered on the different contexts in which the duduk is played. These are divided into two categories: solo and ensemble. Solo duduk performance includes the remarkable phenomenon of Armenian funeral music activity. Other contexts include special celebrations of national culture, duduk competitions, the recording studio and the film music studio. The main ensemble contexts of duduk performance are the Armenian folk orchestras. These are essentially Soviet creations designed to "advance" folk music. Their impact on folk music and folk musical life on Armenia is discussed with special attention to the "adjustments" which were necessary for the success of this institution. Folk ensembles have long been emblems of Armenian national culture which might explain how they have survived the collapse of the Soviet Union and its Marxist-Leninist policies which were these orchestras' very raison d'etre. The book will appeal to anyone with an interest in organological theory, Armenian culture, or world music.

This book contains nine pieces selected from ABRSM's Grade 3 Flute syllabus from 2022. Key features: Nine pieces in a range of styles, chosen from Lists A, B and C - ideal for both Practical and Performance Grade exams. -Classic repertoire and newly commissioned pieces and arrangements.- Audio performances of the nine pieces by expert musicians, plus accompaniment-only tracks for use when practising (download code included in the book) Contents: Prelude from Te Deum, H. 146 [Marc-Antoine Charpentier] Study in F (No. 7 from 30 Etudes faciles et progressives pour la flute) [Giuseppe Gariboldi] Tiptoe and Tango [Sarah Watts] Mazurka Op. 138 [Aleksandr Tikhonovich Grechaninov] Distant Shores: No. 6 from 42 More Modern Studies for Solo Flute [James Rae] Pokarekare Ana [Trad. Maori / P. H. Tomoana] Blanche-Neige au bois Dormant (from Fantaisies, No. 5) [Octave Juste] The St Louis Rag [Tom Turpin] He's a Pirate (from 'Pirates of the Caribbean: The Curse of The Black Pearl') [Hans Zimmer / Klaus Badelt / Geoff Zanelli]

This is the definitive study of the history and music of the traditional British Brass Band. It explores the origins of the brass band, in its unique and exclusive world, whilst demonstrating its relevance to the wider spheres of music and social history.

Titles in Dictionaries for the Modern Musician series offer both the novice and the advanced artist key information designed to convey the field of study and performance for a major instrument or instrument class, as well as the workings of musicians in areas from conducting to composing. Unlike other encyclopedic works, contributions to this series focus primarily on the knowledge required by the contemporary musical student or performer. Each dictionary covers topics from instrument parts to playing technique and major works to key figures. A must-have for any musician's personal library! Trumpeters today perform a vast repertoire of musical material spanning 500 years, much of it in a variety of styles and even on a number of related instruments. In A Dictionary for the Modern Trumpet Player, scholar and performer, Elisa Koehler has created a key reference work that addresses all of the instruments in the high brass family, providing ready answers to issues that trumpeters, conductors, and musicians commonly-and sometimes not so commonly-encounter. Drawing on a broad range of scholarly sources, A Dictionary for the Modern Trumpet Player includes entries on historic instruments like the cornetto, keyed bugle, and slide trumpet; jazz trumpet techniques; mutes and accessories; and ancient ancestors of the trumpet and related non-Western instruments. In addition to its concise and detailed definitions, this work includes biographies of prominent performers, teachers, instrument makers, and composers of trumpet solo and ensemble literature often omitted from other musical references. Carefully labeled illustrations illuminate the inner workings of various valve mechanisms, allowing readers to visualize the more technical points of high brass instruments. Appendixes include a time line of trumpet history, a survey of valve mechanisms, a list of prominent excerpts from the orchestral and operatic repertoire, and an extensive bibliography. From quick definitions of confusing terms in a musical score to an in-depth overview of trumpet history, A Dictionary for the Modern Trumpet Player is an ideal reference for students, professionals, and music lovers.

Withheld by leading pedagogues in an effort to control competition, the art of reed making in the early 20th century has been shrouded in secrecy, producing a generation of performers without reed making fluency. While tenets of past decades remain in modern pedagogy, Christin Schillinger details the historical pedagogical trends of bassoon reed making to examine the impact different methods have had on the practice of reed making and performance today. Schillinger traces the pedagogy of reed making from the earliest known publication addressing bassoon pedagogy in 1687 through the publication of Julius Weissenborn's Praktische Fagott-Schule and concludes with an in-depth look at contemporary methodologies developed by Louis Skinner, Don Christlieb, Norman Herzberg, and Lewis Hugh Cooper. Aimed at practitioners and pedagogues of the bassoon, this book provides a deeper understanding of the history and technique surrounding reed-making craft and instruction.

This comprehensive, annotated resource of solo repertoire for the horn documents in detail the rich catalogue of original solo compositions for the instrument. Intended as a guide for practical use and easy reference, it is organized into three large sections: works for unaccompanied horn, works for horn and keyboard, and works for horn and ensemble. Each entry includes publisher information, a brief description of the form and character of a work, technical details of the horn writing, and information on dedication and premiere. The authors also include commentary on the various techniques required and the performance challenges of each piece. Representing over ten years of careful compilation and notation by an expert in horn performance and pedagogy, and by a seasoned music librarian and natural horn performer, Guide to the Solo Horn Repertoire will be an invaluable resource for performers, educators, and composers.

An excellent primer for those with little or no experience playing the flute

Always wanted to play the flute? Are you a former flautist who wants to refresh your skills? "Flute For Dummies "is the guide for you." "Following along with the book's accompanying CD, you will learn the nuances of playing the flute as an accompanying instrument or for playing a solo, in a variety of musical styles. Readers will learn how to play, step-by-step - from the correct angle for blowing into the mouthpiece and controlling pitch, to proper breathing, creating vibrato, and much moreThe book's accompany CD allows readers to play what they are learning, and listen to the accompanying track to see if they're getting it rightKaren Moratz is Principal Flutist with the Indianapolis Symphony Orchestra and Artist in Residence and Adjunct Professor of Flute at the School of Music/Jordan College of Fine Arts at Butler University

Easy-to-understand methods and instructions make learning to play this beautiful instrument as simple and straightforward as possible

First Published in 2001. Routledge is an imprint of Taylor & Francis, an informa company.

In Opera at the Bandstand: Then and Now, George W. Martin surveys the role of concert bands during the nineteenth and early twentieth centuries in making contemporary opera popular. He also chronicles how in part they lost their audience in the second half of the twentieth century by abandoning operatic repertory. Martin begins with the Dodworth bands in New York City from the 1850s and moves to the American tour of French conductor and composer Louis Antoine Jullien, bandmaster Patrick S. Gilmore's jubilee festivals, the era of John Philip Sousa from 1892 to 1932, performances of the Goldman Band of New York City from 1920 to 2005, and finally the wind ensembles sparked by Frederick Fennell. He illustrates the degree to which operatic material comprised these bands' overall repertory and provides detailed programs in the appendixes. Opera at the Bandstand describes how the technological advancements sweeping the country, such as radio, automobiles, recordings, television, and air conditioning, along with changes in demographics, affected the country's musical life. It will appeal to bandmasters and their players, as well as those with an interest in American history, music, popular culture, and opera.

Developing Expression in Brass Performance and Teaching helps university music teachers, high school band directors, private teachers, and students develop a vibrant and flexible approach to brass teaching and performance that keeps musical expression central to the learning process. Strategies for teaching both group and applied lessons will help instructors develop more expressive use of articulation, flexibility in sound production, and how to play with better intonation. The author shares strategies from today's best brass instrument performers and teachers for developing creativity and making musical expression central to practicing and performing. These concepts presented are taken from over thirty years of experience with musicians like Wynton Marsalis, Barbara Butler, Charles Geyer, Donald Hunsberger, Leonard Candelaria, John Haynie, Bryan Goff, members of the Chicago Symphony and New York Philharmonic and from leading music schools such as the Eastman School of Music, The University of North Texas and The Florida State University. The combination of philosophy, pedagogy, and common sense methods for learning will ignite both musicians and budding musicians to inspired teaching and playing.

The authors' new approach to learning two playing techniques offers a systematic method for mastering the modern, legato technique needed for organ music composed after 1750, as well as an articulated technique for earlier works. The authors also present useful information on accompanying anthems and solos and on adapting piano and orchestral accompaniments to the organ.

Developing Expression in Brass Performance and Teaching helps university music teachers, high school band directors, private teachers, and students develop a vibrant and flexible approach to brass teaching and performance that keeps musical expression central to the learning process. Strategies for teaching both group and applied lessons will help instructors develop more expressive use of articulation, flexibility in sound production, and how to play with better intonation. The author shares strategies from today's best brass instrument performers and teachers for developing creativity and making musical expression central to practicing and performing. These concepts presented are taken from over thirty years of experience with musicians like Wynton Marsalis, Barbara Butler, Charles Geyer, Donald Hunsberger, Leonard Candelaria, John Haynie, Bryan Goff, members of the Chicago Symphony and New York Philharmonic and from leading music schools such as the Eastman School of Music, The University of North Texas and The Florida State University. The combination of philosophy, pedagogy, and common sense methods for learning will ignite both musicians and budding musicians to inspired teaching and playing.

First Published in 1988. Routledge is an imprint of Taylor & Francis, an informa company.

for SATB, clarinet, and piano Every Thing That Grows is an meaningful and uplifting setting of Shakespeare's Sonnet 15. Chilcott employs captivating vocal lines, a flowing piano part, and expressive clarinet interludes to reflect on the text's theme of mortality, with a profound closing section calling the listener to reflect upon the immortalising couplet 'And all in war with Time for love of you, As he takes from you, I engraft you new'.

"The Premier Oboist of Europe": A Portrait of Gustave Vogt describes the life and achievements of the most prolific composer of oboe music in the nineteenth century. This book attempts to stimulate appreciation of Gustave Vogt (1781-1870) as musician and historical personality. It brings together portraiture, personal correspondence, concert reviews, autographs, and countless other documents including Vogt's Conservatoire exam reports, a detailed work list of Vogt's compositions, and the first complete transcription and translation of his unpublished oboe method. Despite his exceptional career and the seminal position in the history of the oboe, Vogt's long and active career have been largely passed over. He is remembered primarily for being the teacher of oboists who took up posts in France and England. In truth, however, during his long life Vogt witnessed huge transformations, affecting not only musical fashion but the social fabric of the world about him. After being trained at the Paris Conservatoire, he earned considerable repute from his appearances in concert hall and salon. Like most artists of his day, Vogt performed his own compositions but was also praised for his skill as a chamber musician, most notably in the wind quintet that premiered the works of Anton Reicha. As well as reawakening appreciation of a musician, known in his day as Europe's greatest oboist, this book posits an alternative viewpoint by writing history from the perspective of a musician caught up in the flow of his times-an extraordinary personality who was representative of the place and time in which he lived, rather than an exception to them.

Mozart's Clarinet Concerto is of supreme importance as his last instrumental work. Yet there are a number of special problems surrounding the piece, since the autograph is lost and the unique instrument for which it was written has not survived. This book presents a wealth of background information, an analysis of the Concerto, discussion of performance practice and details of surviving relevant instruments.

Artie Shaw, the world famous clarinet-playing bandleader who became popular during the Swing Era, was immersed in the music business as a performer for 30 years, from the summer of 1924, when he began to study saxophone, until the summer of 1954, when he stopped performing. This period of activity is the focus of this musical biography and discography, a detailed account of Shaw's musical career and recorded output. The book begins with a summary of Shaw's career in the contexts of jazz history and social setting, then moves into more detail. The chronologically arranged sections, mirroring each phase of his career, incorporate contemporary reviews and interview quotes to create an insightful narrative. The discography lists all known recordings and is separate from the text to facilitate easy reference. Includes appendixes and index.

This book will prove to be of inestimable value to the student, the teacher and the professional trumpet player. It not only traces the development of the trumpet from the earliest times to the present day, but gives clear and concise practical instruction for playing instruments of the trumpet family, with numerous musical examples. Both experienced and aspiring trumpeters will be guided from the basic elements to the rediscovery of forgotten skills of the past. These include not only conventional trumpet and cornet playing but also directions regarding the art of "Clarino" playing with further instructions for Baroque trumpet, Renaissance cornetto, cavalry trumpet, bugle, coach horn, Flatt-trumpet, slide trumpet, keyed-trumpet, keyed bugle, cornopean, mutes and many more - all with photographic illustration. The history and mechanisms of even the most obscure instruments are examined, and guidance is also offered upon attitudes to breathing, relaxation, posture, presentation and the important subject of choosing a mouthpiece.Exercises are suggested for extending range and stamina and guidance provided to solving the problems encountered by many players at some time in their careers.

Thomas Ravenscroft is best-known as a composer of rounds owing to his three published collections: Pammelia and Deuteromelia (both 1609), and Melismata (1611), in addition to his harmonizations of the Whole Booke of Psalmes (1621) and his original sacred works. A theorist as well as a composer and editor, Ravenscroft wrote two treatises on music theory: the well-known A Briefe Discourse (1614), and 'A Treatise of Practicall Musicke' (c.1607), which remains in manuscript. This is the first book to bring together both theoretical works by this important Jacobean musician and to provide critical studies and transcriptions of these treatises. A Briefe Discourse furthermore introduces an anthology of music by Ravenscroft, John Bennet, and Ravenscroft's mentor, Edward Pearce, illustrating some of the precepts in the treatise. The critical discussion provided by Duffin will help explain Ravenscroft's complicated consideration of mensuration, in particular.

Phillip Rehfeldt has assembled here techniques of dealing with clarinet performances as they have evolved since 1950. He catalogs contemporary practices that differ from those formerly standardized, provides perspective on performance capabilities and limitations, and includes suggestions for performance based on his own experience. The new edition has been completely rewritten, corrected where necessary, and updated. Rehfeldt has added the complete list of William O. Smith's clarinet compositions and recordings to the previous listing of his early multiphonic fingerings. The new edition also includes an appendix containing Eric Mandat's quarter-tone fingerings; a second, extensive music bibliography, the "International Update"; and an updated and annotated bibliography of music literature.

The Tennessee Tech Tuba Ensemble (TTTE) is one of the most successful performing collegiate ensembles in history, with an enviable record of 25 recording projects, seven Carnegie Hall appearances, two World's Fairs performances, numerous national and international conference engagements, and a performance history in venues like Preservation Hall in New Orleans, the Spoleto Festival in Charleston, and the Kennedy Center in Washington. The Tennessee Tech Tuba Ensemble and R. Winston Morris: A 40th Anniversary Retrospective lists all of these events and more. It tells how Morris founded an ensemble comprised only of tubas and euphoniums (the "underdogs" of the orchestra) and catapulted it to international recognition, establishing and defining the standards for tuba ensemble performance practices and creating a monumental influence on both the tuba and music education throughout the world. The book provides a biography of Morris that includes the influences that led to the development of the TTTE, and it describes the early years of the ensemble and its development as one of the most recognizable groups of its kind. Several lists of reference information specific to Morris and the group and general to tuba and euphonium music are offered. Details about concerts, performances, activities, and recordings of the ensemble are presented, as well as recordings, awards, honors, and publications by Morris. Former members of the group are listed and pictured in more than 85 photos comprising a photographic history. Winston and the TTTE are responsible for the composition and arrangement of more music for the tuba than any other single source, and a comprehensive list of those works is supplied here."

Originally published in 1966, this was the first book on this subject to be published for over a hundred years. It covers all facets including little-known types of Gaelic song, the bagpipes and their music, including the esoteric subject of pibroch, the Ceol Mor or 'Great Music' of the pipes. It gives a comprehensive review of the fiddle composers and their music, and of the Clarsach and its revival, with an example of all-but-extinct Scottish harp music. A chapter is devoted to the music of Orkney and Shetland and the book contains over 100 examples of music many of which were from the author's own collection and published here for the first time.