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.

Musica getutscht (Basel, 1511) is the earliest printed treatise on musical instruments in the West. Written by a priest and chapel singer named Sebastian Virdung, it provided rudimentary instruction on playing three instruments: the clavichord, the lute and the recorder. This early 'do-it-yourself' manual of instruction not only tells us about music-making in that era, it also illumines other aspects of society in the years just before the Reformation. Its author communicates in a popular style, choosing a mixture of media: a written text in the guise of an informal conversation, coupled with woodcut illustrations and visual aids. Enthusiasts of early music and its performance as well as historians of art, society and the German language will welcome Beth Bullard's substantial introduction and annotations, which help explain the text of this important work and its place in intellectual history.

This book describes instrumental music and its context in German society of the late middle ages - from about 1350 to 1520. Players at that time improvised, much like jazz musicians of our day, but because they did not use notated music, only scant remnants of their activity have survived in written sources, and much has been left obscure. This book attempts to reconstruct an image of their music, discussing the instruments, ensembles, and performance practices of the time. What emerges from this study is a fundamental reappraisal of late medieval culture. A musical life is reconstructed which was not only extraordinary in its own time, but which also laid the foundations of an artistic culture that later produced such giants as Schutz, Bach, Mozart and Beethoven.

This book explores the fundamentals of popular music performance for students in contemporary music institutions. Drawing on the insights of performance practice research, it discusses the unwritten rules of performances in popular music, what it takes to create a memorable performance, and live popular music as a creative industry. The authors offer a practical overview of topics ranging from rehearsals to stagecraft, and what to do when things go wrong. Chapters on promotion, recordings, and the music industry place performance in the context of building a career. Performing Popular Music introduces aspiring musicians to the elements of crafting compelling performances and succeeding in the world of today's popular music.

Characteristic symphonies have texts associating them with literature, politics, religion, and other aspects of eighteenth- and early nineteenth-century European culture. Examining both the music and its aesthetic and social contexts, this first full-length study of the genre demonstrates how symphonies constructed individual and collective identities through their subjects, representing emotion, human bodily movement, and the passage of time. Examples discussed include the Pastoral and Eroica symphonies of Beethoven and works by Haydn, Dittersdorf, and other composers of the era. An Appendix provides a thematic index of the entire repertory.

52 CCM faves in a value-priced songbook: All to You * Be Near * Breathe * Come On Back to Me * Deeper * Faithful to Me * I Wanna Sing * King * Maker of All Things * Oceans from the Rain * Pray * Song of Love * These Hands * This Is Your Life * Wisdom * more.

Practicing Music by Design: Historic Virtuosi on Peak Performance explores pedagogical practices for achieving expert skill in performance. It is an account of the relationship between historic practices and modern research, examining the defining characteristics and applications of eight common components of practice from the perspectives of performing artists, master teachers, and scientists. The author presents research past and present designed to help musicians understand the abstract principles behind the concepts. After studying Practicing Music by Design, students and performers will be able to identify areas in their practice that prevent them from developing. The tenets articulated here are universal, not instrument-specific, borne of modern research and the methods of legendary virtuosi and teachers. Those figures discussed include: Luminaries Franz Liszt and Frederic Chopin Renowned performers Anton Rubinstein, Mark Hambourg, Ignace Paderewski, and Sergei Rachmaninoff Extraordinary teachers Theodor Leschetizky, Rafael Joseffy, Leopold Auer, Carl Flesch, and Ivan Galamian Lesser-known musicians who wrote perceptively on the subject, such as violinists Frank Thistleton, Rowsby Woof, Achille Rivarde, and Sydney Robjohns Practicing Music by Design forges old with new connections between research and practice, outlining the practice practices of some of the most virtuosic concert performers in history while ultimately addressing the question: How does all this work to make for better musicians and artists?

Nearly 50 of the most popular folk songs of our time, including: Blowin' in the Wind * The House of the Rising Sun * I Ain't Marching Anymore * If I Had a Hammer (The Hammer Song) * Jamaica Farewell * Kum Ba Yah * Man of Constant Sorrow * Puff the Magic Dragon * Scarborough Fair/Canticle * Sunshine on My Shoulders * This Land Is Your Land * Time in a Bottle * The Times They Are A-Changin' * Turn! Turn! Turn! (To Everything There Is a Season) * The Unicorn * Where Have All the Flowers Gone? * and more.

Following the earlier volumes in the Studies in Musical Genesis and Structure series, Mahler's Fourth Symphony is a study of origins of one of Mahler's most popular and accessible works. James Zychowicz examines how the composition evolved from the earliest ideas to the finished score, and in doing so sheds new light on Mahler's working process.

(Yorktown). This is the definitive work on consummate piano teaching. Edited by world-renowned piano pedagogue Denes Agay, this comprehensive volume covers a wide range of musical styles and concepts, coaching processes, and teaching materials. As well as exploring every possible technical aspect of teaching piano, the book contains a great deal of commonsense advice on communicating with pupils, encouraging good behavior, and establishing a genuinely creative teacher/pupil relationship. Twelve distinguished contributing authors cover topics that include instilling performance and keyboard skills; teaching both young children and adult beginners; designing teaching programs for handicapped students; giving group piano classes; organizing and presenting recitals; and more.

In the 1930s swing music was everywhere-on radio, recordings, and in the great ballrooms, hotels, theatres, and clubs. Perhaps at no other time were drummers more central to the sound and spirit of jazz. Benny Goodman showcased Gene Krupa. Jimmy Dorsey featured Ray McKinley. Artie Shaw helped make Buddy Rich a star while Count Basie riffed with the innovative Jo Jones. Drummers were at the core of this music; as Jo Jones said, "The drummer is the key-the heartbeat of jazz." An oral history told by the drummers, other musicians, and industry figures, Drummin' Men is also Burt Korall's memoir of more than fifty years in jazz. Personal and moving, the book is a celebration of the music of the time and the men who made it. Meet Chick Webb, small, fragile-looking, a hunchback from childhood, whose explosive drumming style thrilled and amazed; Gene Krupa, the great showman and pacemaker; Ray McKinley, whose rhythmic charm, light touch, and musical approach provided a great example for countless others, and the many more that populate this story. Based on interviews with a collection of the most important jazzmen, Drummin' Men offers an inside view of the swing years that cannot be found anywhere else.

After the death of Mahler in 1911 the great Austro-German symphonic line was carried on mainly in England, America, Scandinavia and Russia. The Fifth Symphony of Carl Nielsen, Denmark's greatest composer, was composed in 1921-22 and is not only his masterpiece but one of the finest of all twentieth-century symphonies, representing a powerful renewal of the Beethovenian tradition. David Fanning's detailed and absorbing guide blends detailed analytical commentary with less formal summaries of the music's character. It is the only non-Danish publication on Nielsen to take full account of Danish scholarship and criticism.

After the death of Mahler in 1911 the great Austro-German symphonic line was carried on mainly in England, America, Scandinavia and Russia. The Fifth Symphony of Carl Nielsen, Denmark's greatest composer, was composed in 1921-22 and is not only his masterpiece but one of the finest of all twentieth-century symphonies, representing a powerful renewal of the Beethovenian tradition. David Fanning's detailed and absorbing guide blends detailed analytical commentary with less formal summaries of the music's character. It is the only non-Danish publication on Nielsen to take full account of Danish scholarship and criticism.

Brahms' First Symphony has been hailed as Beethoven's Tenth. Its controversial status and relationship in the Beethovenian tradition is considered alongside other important issues in the early reception history of this key work in the symphonic repertory. In this 1997 book, David Brodbeck begins with an account of the lengthy genesis and complicated background to the writing of the symphony, before providing a thorough critical reading of the work, movement by movement. In particular, the author reveals a dense web of extra-compositional allusions - references in the music to works by J. S. Bach, Beethoven, Schubert, and Robert Schumann - in which, the author argues, much meaning resides.

Brahms's First Symphony has been hailed as Beethoven's Tenth. Its controversial status and relationship in the Beethovenian tradition is considered alongside other important issues in the early reception history of this key work in the symphonic repertory. David Brodbeck begins with an account of the lengthy genesis and complicated background to the writing of the symphony, before providing a thorough critical reading of the work, movement by movement. In particular, Professor Brodbeck reveals a dense web of extra-compositional allusions--references in the music to works by J. S. Bach, Beethoven, Schubert, and Robert Schumann--in which, the author argues, much meaning resides.

An engaging window into a century of musical life, as seen in the history of the Pro Arte String Quartet, first organized in 1912 and still performing today. First organized in Brussels in 1912 by precocious young Belgian musicians, the Pro Arte String Quartet has survived two world wars and is still performing more than a century later -- a durability unique in the annals of such ensembles. Its membership has included such extraordinary musicians as founding first violinist Alphonse Onnou and his successor, Rudolf Kolisch. The Pro Arte was the first string quartet to be affiliated with an American university,a significant and much-imitated status, and the group continues to function in residence at the University of Wisconsin. This book traces the Pro Arte Quartet's history from its beginnings to the present, highlighted byportraits of the diverse, fascinating, and colorful personalities, musicians and others, who have been a part of that history. The phases of its repertoires are analyzed, and the legacy of its recordings, many of pioneering significance, is reviewed. As a whole, the volume offers a panoramic window into a century of musical life. John W. Barker is Emeritus Professor of History at the University of Wisconsin-Madison. He is the author of Wagner and Venice (2008) and Wagner and Venice Fictionalized: Variations on a Theme (2012), both available from the University of Rochester Press.

Beethoven's Pastoral Symphony is in many ways his most startlingly original. It has a programmatic content, it is in five movements, and its mood is quite different from the usual barnstorming image of the composer. Why did he want to compose such a work? Why did it take him five years to realize his vision? What was he hoping to communicate? How did he achieve it? Finally, how was the work received? David Wyn Jones addresses all these vital questions in a fascinating account of this popular work and the context in which it was written.

This book is the first comprehensive guide to Holst's orchestral suite The Planets. It considers the music in detail and places the work in its historical context, describing the circumstances of its composition and its meteoric rise to popular acclaim. Starting with Holst's particular interest in astrology, Greene reveals a profound statement of human character and Holst's own psychological journey toward the mystical state. Using parallels in the verbal and visual arts, Greene weaves here a fascinating tale of musical communication.

La Mer stands at the center of Debussy's achievement. Described by the composer as "a seascape without figures," it is arguably the greatest and most original French symphony. In this study, La Mer is considered in the context of Debussy's personal and musical development. Detailed discussion of performance styles draw on current recordings, and two analytical chapters trace the growth of ideas through the work. Studies of rhythm, motif and tonality show how Debussy generates "narratives" across the three movements.

Fresh perspectives on teaching and evaluating music performance in higher education are offered in this book. One-to-one pedagogy and Western art music, once default positions of instrumental teaching, are giving way to a range of approaches that seek to engage with the challenges of the music industry and higher education sector funding models of the twenty-first century. Many of these approaches - formal, informal, semi-autonomous, notated, using improvisation or aleatory principles, incorporating new technology - are discussed here. Chapters also consider the evolution of the student, play as a medium for learning, reflective essay writing, multimodal performance, interactivity and assessment criteria. The contributors to this edited volume are lecturer-practitioners - choristers, instrumentalists, producers and technologists who ground their research in real-life situations. The perspectives extend to the challenges of professional development programs and in several chapters incorporate the experiences of students. Grounded in the latest music education research, the book surveys a contemporary landscape where all types of musical expression are valued; not just those of the conservatory model of decades past. This volume will provide ideas and spark debate for anyone teaching and evaluating music performance in higher education.

Berlioz's "dramatic symphony" Roméo et Juliette is regarded by many as his finest work; it is certainly among the most original. This book summarizes the complex genesis of the work before examining the music closely and always with a view to understanding its dramatic implications. Julian Rushton quotes and discusses the early and later critical reception and concludes by suggesting a way of hearing the work that recognizes the value of its mixed genre. The complete libretto is provided in both English and French.

This guide to Mozart's last and most celebrated symphony explores the historical background and aesthetic context of the work as well as the music itself. The early chapters examine the expectations of the symphony in Mozart's Vienna, Mozart's career in 1788 - the year of the three last symphonies - and the changing reception of the 'Jupiter' over the subsequent two hundred years. A separate chapter is then devoted to each movement of the symphony with musical discussion illuminated by a broad array of topics. Finally, a lucid exposition of rhetoric reveals the connections between elevated and learned styles and the sublime, enabling the reader to grasp the effect Mozart's music had upon his contemporaries.

Musica getutscht (Basel, 1511) is the earliest printed treatise on musical instruments in the West. Written by a priest and chapel singer named Sebastian Virdung, it provided rudimentary instruction on playing three instruments: the clavichord, the lute and the recorder. This early 'do-it-yourself' manual of instruction not only tells us about music-making in that era, it also illumines other aspects of society in the years just before the Reformation. Its author communicates in a popular style, choosing a mixture of media: a written text in the guise of an informal conversation, coupled with woodcut illustrations and visual aids. Enthusiasts of early music and its performance as well as historians of art, society and the German language will welcome Beth Bullard's substantial introduction and annotations, which help explain the text of this important work and its place in intellectual history.