As Robert Schumann put it, 'Only few works are as clearly stamped with their author's imprint as his'. This book explores Schubert's stylistic traits in a series of chapters each discussing an individual 'fingerprint' with case studies drawn principally from the piano and chamber music. The notion of Schubert's compositional fingerprints has not previously formed the subject of a book-length study. The features of his personal style considered here include musical manifestations of Schubert's 'violent nature', the characteristics of his thematic material, and the signs of his 'classicizing' manner. In the process of the discussion, attention is given to matters of form, texture, harmony and gesture in a range of works, with regard to the various 'fingerprints' identified in each chapter. The repertoire discussed includes the late string quartets, the String Quintet, the E flat Piano Trio and the last three piano sonatas. Developing ideas which she first proposed in a series of journal articles and contributions to symposia on Schubert, Professor Wollenberg takes into account recent literature by other scholars and draws together her own researches to present her view of Schubert's 'compositional personality'. Schubert emerges as someone exerting intellectual control over his musical material and imbuing it with poetic resonance.

In Studio-Based Instrumental Learning, Kim Burwell investigates the nature of lesson interactions in instrumental teaching and learning. Studio lesson activity is represented as a private interaction, dealing with skill acquisition and reflecting a tradition based in apprenticeship, as well as the personal attributes and intentions of participants. The varied and particular nature of such interaction does not always lend itself well to observation or - when observed - to easy interpretation. This presents particular problems for practitioners wishing to share aspects of professional knowledge, and for researchers seeking to explain the practice. Focusing on a single case study of two clarinet lessons, Burwell uses video observations and interviews to analyse collaborative lesson activity, through the 'rich transcription' of performance, verbal and nonverbal behaviours. The foregrounded lesson interactions are also contextualised by the background consideration of social, cultural and institutional frameworks. The research is aimed a helping to create a framework that can support reflection among practitioners as they continually develop their work, not only experientially - through the tradition of 'vertical transmission' from one musician to another - but collaboratively, through the 'horizontal' sharing of good practice.

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.

What does it mean to talk about musical coherence at the end of a century characterised by fragmentation and discontinuity? How can the diverse influences which stand behind the works of many late twentieth-century composers be reconciled with the singular immediacy of the experiences that they can create? How might an awareness of the distinctive ways in which these experiences are generated and controlled affect the way we listen to, reflect upon and write about this music? Mark Hutchinson outlines a novel concept of coherence within Western art music from the 1980s to the turn of the millennium as a means of understanding the work of a number of contemporary composers, including Thomas Ades, Kaija Saariaho, Toru Takemitsu and Gyoergy Kurtag, whose music cannot be fitted easily into a particular compositional school or analytical framework. Coherence is understood as a multi-layered phenomenon experienced, above all, in the act of listening, but reliant upon a variety of other aspects of musical experience, including compositional statements, analysis, and connections of aesthetic, as well as listeners' own, imaginative conceptualisations. Accordingly, the approach taken here is similarly multi-faceted: close analytical readings of a number of specific works are combined with insights drawn from philosophy and aesthetics, music perception, and critical theory, with a particular openness to novel metaphorical presentations of basic musical ideas about form, language and time.

1) This is the only book that is written as a coursebook for Improv, and directed to the college classroom. 2) Brings various aspects of the jazz learning process together -- practicing scales, chord arpeggios and melodic motives in 12 keys, along with the assimilation of the rhythmic nature of jazz and its related forms of (primarily African American) music -- in one systematic, organized and easy-to-assimilate manner. 3) Chapters are organized with: - a paragraph or two explaining a particular scale/harmonic basis or a common form used in jazz repertoire - suggested exercises, from basic scales to advanced melodic motives taken directly from recordings - a repertoire list that employs the harmonic, melodic or formal aspects being discussed in each chapter - concludes with a transcription of an improvised solo by a jazz master which illustrates how theory is put into practice. 4) Includes supplementary materials such as recordings of the transcribed solos, relevant Aebersold Play-Along recordings, and fake books

A collection of Joni Mitchell's finest songs, arranged for piano, voice and guitar.

The purpose of The Organists' Manual is to provide, within a single volume, technical studies, diverse compositions, and technical information for beginning organists.

At fifteen, Sanford Brunson Campbell (1884-1952) became enchanted with the new sounds of ragtime and ran away from his rural Kansas home, hopping a train to Sedalia, Missouri, determined to take piano lessons from a black musician he had never met. Scott Joplin nicknamed his white protege ""The Ragtime Kid."" A composer and entertainer at the dawn of the ragtime era, ""Brun"" was a prime mover in the ragtime revival of the 1940s and helped establish Joplin's prominence as an American virtuoso. Campbell's own legacy was tarnished by his inability to tell a straight story and he was often dismissed as a liar and a clown. Based on his memoirs, musical compositions and correspondence with music industry notables, this first comprehensive biography of Campbell reveals an engaging storyteller and a devotee wholly dedicated to a musical genre that had been given up as dead. His firsthand account of life as an itinerant pianist in the Midwest provides a unique picture of life a century ago.

The Recital Books congratulate students for a job well done by providing correlated repertoire to their Lesson Books that are based on concepts they've already learned. As a result, the pieces are quickly mastered. Recital Book Level 4 comprises mostly arrangements of familiar tunes like "'Country Gardens" and "Amazing Grace," and a few new originals as well.

This work provides orchestra teachers with techniques for conducting, choosing repertoire, program development, recruiting, playing styles, and preparing for competitions. This is the latest in MENC's popular Spotlight series, comprising articles that have appeared in state MEA journals.

The art of improvising chord-style solos is an important part of any musician's resources. This book has been written to improve that art for guitar, vibes and all keyboard instruments. A careful study of these solos will give you a thorough understanding of chordal playing and substitutions. It is great for voicing as well as improvisation.

Longtime collectors of video recordings (VHS) of piano, both solo and with orchestra desire nothing more than a catalog listing only piano performances. This catalog provides the means whereby music professionals, average piano students, and piano aficionados can study piano performance in both its audio and video aspects. Part I provides information on nearly 200 piano performance videos that where personally heard by the authors. There is a brief evaluation of each video, the authors thoughts as well as the opinions of highly regarded critics in the music performance field. Part II lists supplemental video recordings containing performances by more than one pianist, as in collections, competitions, and documentaries. Part III cross-references the catalog by composer. Each composition relates to a piano performance listed in Part I or Part II. In some instances, the pianist plays only excerpts of compositions, but these musical fragments are included because they are the only VHS performances the authors could find by that particular pianist or simply because they are so representative of the pianist's style. The video recording provides an evocative look at the pianist, how he produces his particular sound, what hand position he prefers when playing a concerto, and his rapport with both orchestra and conductor. A useful tool for piano music enthusiasts, for those looking to hear piano performance, and for skilled pianists looking for new insights.

Tristram Cary's remarkable encyclopedia is the first comprehensive book on the technology of music. Its 600 copiously illustrated main entries and 200 subsidiary ones cover an immense musical field. Included are entries on traditional and electronic instruments, and on such topics as computer music composition, microphone placement, and psychoacoustics. They are carefully cross-referenced so that readers can approach a topic from different angles and then be drawn into its complexities, both technical and musical, as far as they wish.

This volume will be an essential reference work for music and audio professionals, students, and all music lovers wanting to know more about the techniques behind the music.

The double bass - the preferred bass instrument in popular music during the 1960s - was challenged and subsequently superseded by the advent of a new electric bass instrument. From the mid-1960s and throughout the 1970s, a melismatic and inconsistent approach towards the bass role ensued, which contributed to a major change in how the electric bass was used in performance and perceived in the sonic landscape of mainstream popular music. Investigating the performance practice of the new, melodic role of the electric bass as it appeared (and disappeared) in the 1960s and 1970s, the book turns to the number one songs of the American Billboard Hot 100 charts between 1951 and 1982 as a prime source. Through interviews with players from this era, numerous transcriptions - elaborations of twenty bass related features - are presented. These are juxtaposed with a critical study of four key players, who provide the case-studies for examining the performance practice of the melodic electric bass. This highly original book will be of interest not only to bass players, but also to popular musicologists looking for a way to instigate methodological and theoretical discussions on how to develop popular music analysis.

First Published in 2004. Routledge is an imprint of Taylor & Francis, an informa company.

First Published in 2003. Routledge is an imprint of Taylor & Francis, an informa company.

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.

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.

This volume contains valuable practice material for candidates preparing for ABRSM Violin exams, Grades 6-8. Includes many specimen tests for the revised sight-reading requirements from 2012, written in attractive and approachable styles and representative of the technical level expected in the exam.

Among the major changes that swept through the music industry during the mid-nineteenth century, one that has received little attention is how musical performances were managed and directed. Yet this was arguably the most radical change of all: from a loose control shared between the violin-leader, musical director and maestro al cembalo to a system of tight and unified control under a professional conductor-manager. This process brought with it not only baton conducting in its modern form, but also higher standards of training and discipline, a new orchestral lay-out and a more focused rehearsal regime. The resulting rise in standards of performance was arguably the greatest achievement of English music in the otherwise rather barren mid-Victorian period. The key figure in this process was Michael Costa, who built for himself unprecedented contractual powers and used his awesome personal authority to impose reform on the three main institutions of mid-Victorian music: the opera houses, the Philharmonic and the Sacred Harmonic Society. He was a central figure in the battles between the two rival opera houses, between the Philharmonic and the New Philharmonic, and between the venerable Ancient Concerts and the mass festival events of the Sacred Harmonic Society. Costa's uniquely powerful position in the operatic, symphonic and choral world and the rapidity with which he was forgotten after his death provide a fascinating insight into the politics and changing aesthetics of the Victorian musical world.

Each piece in the Solo Books coordinates page-by-page with the Lesson Books, reinforcing newly learned concepts presented at the lesson. Includes adorable full-color illustrations that enhance each piece.

A must-have for any conductor, conducting student and orchestral librarian. How does a conductor know whether the score they use is what the composer wrote? How do orchestral players know that their parts are reliable and reflect the latest scholarship? As Jonathan Del Mar reminds us in this ground-breaking book, editions of the orchestral repertoire are beset by textual problems: simple misprints, mistakes in the score or player's part, or hopelessly outdated scores at odds with current scholarship. Driven by a fundamental respect for what the composer actually wrote, Jonathan Del Mar addresses these problems through textual reports on over 100 orchestral masterpieces of classical music. Each report is introduced with essential guidance and succinct commentary on the first performance and publication of the work. Critical editions are compared with commonly used editions, and in those cases where no Urtext Edition exists, this much-needed reference work functions as a replacement for an Urtext Edition. Orchestral Masterpieces under the Microscope will be an indispensable reference tool for all who care about performances honouring the correct text that composers have left us. It serves as an essential survival guide for conductors and musicians to make informed choices, and it offers much-needed clarity on the latest scholarship for musicologists and music librarians alike

Neuhaus taught at the Moscow Conservatory and his pupils included some of the greatest pianists of the twentieth century: Emil Gilels, Sviatoslav Richter, Nina Svetlanova, Alexei Lubimov and Radu Lupu. His legacy continues today and many teachers around the world regard this book as the most authoritative on the subject of piano playing.

First published in 2007. Routledge is an imprint of Taylor & Francis, an informa company.

The Academy Award winning film Shine made pianist David Helfgott a household name. While purporting to be a true story, the movie is actually full of fabrications. Now for the first time, Margaret, David Helfgott's eldest sister, who knows him better than anyone from their early years, sets the record straight. Dispelling the many untruths propogated by the movie, Margaret tells the real story of her extraordinary brother, of a life, a career, and a legacy that will remain foever...Out Of Tune.