As his mother was dying, Philip Kennicott began to listen to the music of Bach obsessively. It was the only music that didn't seem trivial or irrelevant, and it enabled him to both experience her death and remove himself from it. For him, Bach's music held the elements of both joy and despair, life and its inevitable end. He spent the next five years trying to learn one of the composer's greatest keyboard masterpieces, the Goldberg Variations. In Counterpoint, he recounts his efforts to rise to the challenge and to fight through his grief by coming to terms with his memories of a difficult, complicated childhood. He describes the joys of mastering some of the piano pieces, the frustrations that plague his understanding of others, the technical challenges they pose, and the surpassing beauty of the melodies, harmonies and counterpoint that distinguish them. While exploring Bach's compositions he sketches a cultural history of playing the piano in the twentieth century. And he raises two questions that become increasingly interrelated, not unlike a contrapuntal passage in one of the variations itself: What does it mean to know a piece of music? What does it mean to know another human being?

Examines the life and work of Scottish cellist and antiquarian John Gunn (1766-1824) through newly discovered sources. The Scottish cellist and antiquarian John Gunn (1766-1824) is unique among British writers on music in the late eighteenth and early nineteenth century. Learned and practical, at home in classical and modern languages, knowledgeable in a wide range of musical topics and with even wider-ranging interests, and committed to the ideal of progress through rational thought, he typified the Enlightenment. His published output was large and diverse: a cello treatise in two quite different editions; two books on the flute and one on the piano; a treatise on figured bass; a history of the harp in the Highlands; and a translation of a French work of music theory. The list of his unrealised publications is even longer, including a proof of the oriental origins of the Scots. He married Anne Young, a well-known Edinburgh piano teacher, and his letters cast new light on the circumstances and date of her death. Taking account of Gunn's diverse experiences as a musician-scholar in Cambridge, London and Edinburgh, studying his sundry occupations, and exploring his social connections through a recently unearthed cache of his letters, this study moves away from 'treatise archaeology' and offers a broader view than is usually possible with such figures. The book will be of interest to those studying historical performance practice, music education in Enlightenment Britain, and the dissemination of Enlightenment thought.

Innovations in music technology bring with them a new set of challenges for describing and understanding the electroacoustic repertoire. This edited collection presents a state-of-the-art overview of analysis methods for electroacoustic music in this rapidly developing field. The first part of the book explains the needs of differing electroacoustic genres and puts forward a template for the analysis of electroacoustic music. Part II discusses the latest ideas in the field and the challenges associated with new technologies, while Part III explores how analyses have harnessed the new forces of multimedia, and includes an introduction to new software programme EAnalysis, which was created by the editors as the result of an Arts and Humanities Research Council grant. The final part of the book demonstrates these new methods in action, with analyses of key electroacoustic works from a wide range of genres and sources.

Aristide Cavaille-Coll (1811-1899) is often referred to as the greatest organ builder of all time. The pipe-organ, being the most complicated musical instrument mechanically and tonally, as well as the most expensive, adds significantly to that world's greatest designation. The talents required to be such a person range far from music-making to advanced physics, architecture, and engineering. That, plus the obvious knack to raise vast sums of money. Cavaille-Coll's Monumental Organ Project for Saint Peter's, Rome: Bigger Than Them All, by Ronald Ebrecht, is the story of the quest to build the largest-ever mechanical-action organ in the biggest church at the time. Cavaille-Coll's model for that organ and the book he wrote outlining his proposal are the core of Ebrecht's discussion. Cavaille-Coll bestrode a century as well as an art-form. His century complicated the project with the most intricate, intractable problems. Saint-Peter's Square, now a part of the Vatican City State, was then part of the newly-united Italy, which had just deposed the pope as ruler of the center of Italy and taken the papal lands. The east end of the basilica facing the square and the Tiber became a much disputed boundary. It was a part of the Italian state so hotly contested that the Italian Republicans would not accept the concept of an organ hanged from the basilica wall, lest it shift. Before, or since, has the music sphere ever provoked such a question that could bring nations to swords?

In The New Guitarscape, Kevin Dawe argues for a re-assessment of guitar studies in the light of more recent musical, social, cultural and technological developments that have taken place around the instrument. The author considers that a detailed study of the guitar in both contemporary and cross-cultural perspectives is now absolutely essential and that such a study must also include discussion of a wide range of theoretical issues, literature, musical cultures and technologies as they come to bear upon the instrument. Dawe presents a synthesis of previous work on the guitar, but also expands the terms by which the guitar might be studied. Moreover, in order to understand the properties and potential of the guitar as an agent of music, culture and society, the author draws from studies in science and technology, design theory, material culture, cognition, sensual culture, gender and sexuality, power and agency, ethnography (real and virtual) and globalization. Dawe presents the guitar as an instrument of scientific investigation and part of the technology of globalization, created and disseminated through corporate culture and cottage industry, held close to the body but taken away from the body in cyberspace, and involved in an enormous variety of cultural interactions and political exchanges in many different contexts around the world. In an effort to understand the significance and meaning of the guitar in the lives of those who may be seen to be closest to it, as well as providing a critically-informed discussion of various approaches to guitar performance, technologies and techniques, the book includes discussion of the work of a wide range of guitarists, including Robert Fripp, Kamala Shankar, Newton Faulkner, Lionel Loueke, Sharon Isbin, Steve Vai, Bob Brozman, Kaki King, Fred Frith, John 5, Jennifer Batten, Guthrie Govan, Dominic Frasca, I Wayan Balawan, Vicki Genfan and Hasan Cihat A-rter.

Following methods known to have been adopted by Bach himself, the exercises provided in chorale harmonization are graded in such a way as to encourage the student to develop both technique and imagination within a closely-defined framework. The instrumental counterpoint section is based on Bach's two-and three-part Inventions. By close analysis the author helps the reader to recognize the procedures Bach adopted in various musical situations. The exercises are taken largely from Bach's keyboard works.

A thorough examination of Shostakovich's string quartets is long overdue. Although they can justifiably lay claim to being the most significant and frequently performed twentieth-century oeuvre for that ensemble, there has been no systematic English-language study of the entire cycle. Judith Kuhn's book begins such a study, undertaken with the belief that, despite a growing awareness of the universality of Shostakovich's music, much remains to be learned from the historical context and an examination of the music's language. Much of the controversy about Shostakovich's music has been related to questions of meaning. The conflicting interpretations put forth by scholars during the musicological 'Shostakovich wars' have shown the impossibility of fixing a single meaning in the composer's music. Commentators have often heard the quartets as political in nature, although there have been contradictory views as to whether Shostakovich was a loyal communist or a dissident. The works are also often described as vivid narratives, perhaps a confessional autobiography or a chronicle of the composer's times. The cycle has also been heard to examine major philosophical issues posed by the composer's life and times, including war, death, love, the conflict of good and evil, the nature of subjectivity, the power of creativity and the place of the individual - and particularly the artist - in society. Soviet commentaries on the quartets typically describe the works through the lens of Socialist-Realist mythological master narratives. Recent Western commentaries see Shostakovich's quartets as expressions of broader twentieth-century subjectivity, filled with ruptures and uncertainty. What musical features enable these diverse interpretations? Kuhn examines each quartet in turn, looking first at its historical and biographical context, with special attention to the cultural questions being discussed at the time of its writing. She then surveys the work's reception history, and follows with a critical discussion of the quartet's architectural and harmonic features. Using the new tools of Sonata Theory, Kuhn provides a fresh analytical approach to Shostakovich's music, giving valuable and detailed insights into the quartets, showing how the composer's mastery of form has enabled these works to be heard as active participants in the Soviet and Western cultural discourses of their time, while remaining compelling and relevant to twenty-first-century listeners.

(Guitar Recorded Versions). Transcriptions for 14 favorites from the hard-living kings of Southern rock. Hits include: Call Me the Breeze * Free Bird * Gimme Three Steps * Saturday Night Special * Swamp Music * Sweet Home Alabama * That Smell * What's Your Name * You Got That Right * and more.

for solo violin, upper-voice choir (women's and/or advanced children's choir), with harp, and strings or organ This four-movement work is inspired by the idea of 'Jerusalem' both as a Holy City and a utopian ideal of heavenly peace and seraphic bliss. The composer has selected four biblical texts, in English and Latin, that express different aspects of this vision. This organ part is for use with the reduced instrumentation.

Warm, lyrical, cantabile melodies and rich harmonic structures are found in this expressive series.

Chamber Music: A Research and Information Guide is a reference tool for anyone interested in chamber music. It is not a history or an encyclopedia but a guide to where to find answers to questions about chamber music. The third edition adds nearly 600 new entries to cover new research since publication of the previous edition in 2002. Most of the literature is books, articles in journals and magazines, dissertations and theses, and essays or chapters in Festschriften, treatises, and biographies. In addition to the core literature obscure citations are also included when they are the only studies in a particular field. In addition to being printed, this volume is also for the first time available online. The online environment allows for information to be updated as new research is introduced. This database of information is a "live" resource, fully searchable, and with active links. Users will have unlimited access, annual revisions will be made and a limited number of pages can be downloaded for printing.

The composer and pianist Michael Finnissy (b. 1946) is an unmistakeable presence in the British and international new music scene, both for his immeasurable generosity as prolific composer for many different types of musicians, major advocate for the works of others, and performer and conductor who has also been a driving force behind ensembles; he was also President of the International Society for Contemporary Music from 1990 to 1996. His vast and enormously varied output confounds those who seek easy categorisations: once associated strongly with the 'new complexity', Finnissy is equally known as composer regularly engaged with many different folk musics, for working with amateur and community musicians, for a long-term engagement with sacred music, or as an advocate of Anglo-American 'experimental' music. Twenty years ago, a large-scale volume entitled Uncommon Ground: The Music of Michael Finnissy gave the first major overview of the output of any 'complex' composer. This new volume brings a greater plurality of perspectives and critical sensibility to bear upon an output which is almost twice as large as it was when the earlier book was published. A range of leading contributors - musicologists, composers, performers and others - each grapple with particular questions relating to Finnissy's music, often in ways which raise questions relating more widely to new music, and provide theoretical foundations for further of study both of Finnissy and other composers.

Sonata form is fundamentally a dramatic structure that creates, manipulates, and ultimately satisfies expectation. It engages its audience by inviting prediction, association, and interpretation. That sonata form was the chief vehicle of dramatic instrumental music for nearly 200 years is due to the power, the universality, and the tonal and stylistic adaptability of its conception. This book presents nine studies whose central focus is sonata form. Their diversity attests both to the manifold analytical approaches to which the form responds, and to the vast range of musical possibility within the form's exemplars. At the same time, common compositional issues, analytical methods, and overarching perspectives on the essential nature of the form weave their way through the volume. Several of the essays approach the musical structure directly as drama, casting the work as an expression of its composer's engagement with an idea or principle that is dynamic and at times intensely difficult. Others concentrate their attention on a composer's use of "motive," which typically takes the form of a simple melodic span that shapes the musical architecture through an interdependent series of structural levels. Integrating these motivic threads within the musical fabric often warrants departures from formal norms in other areas. Analyses that seek to understand works with anomalous formal qualities-whether engendered by a motivic component or not-have a prominent place in the volume. Among these, accounts of idiosyncratic tonal discourse that threatens to undermine the unfolding of form-defining qualities or events are central.

This new volume in Schirmer's Library of Musical Classics brings together Books I and II of Bach's classic repertoire at an affordable price.

Focusing on one of the legendary musicians in jazz, this book examines Miles Davis's often overlooked music of the mid-1960s with a close examination of the evolution of a new style: post bop. Jeremy Yudkin traces Davis's life and work during a period when the trumpeter was struggling with personal and musical challenges only to emerge once again as the artistic leader of his generation.

A major force in post-war American jazz, Miles Davis was a pioneer of cool jazz, hard bop, and modal jazz in a variety of small group formats. The formation in the mid-1960s of the Second Quintet with Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams was vital to the invention of the new post bop style. Yudkin illustrates and precisely defines this style with an analysis of the 1966 classic Miles Smiles.

Student learning in school music ensembles is often focused on technical skill development. Give your students broader experience involving multiple music learnings, technical proficiency, cognition, and personal meaning. The Comprehensive Musicianship through Performance (CMP) model will help you plan instruction for school ensembles that promotes a holistic form of music learning and will allow you to use your creativity, passion, and vision. With model teaching plans and questions for discussion, this book can give you richer, more meaningful challenges and help you provide your students with deeper musical experiences. Sindberg combines the theoretical foundations of CMP with practical applications in a book that's useful for practicing teacher-conductors, scholars, and teacher educators alike.

English keyboard music reached an unsurpassed level of sophistication in the late sixteenth and early seventeenth centuries as organists such as William Byrd and his students took a genre associated with domestic, amateur performance and treated it as seriously as vocal music. This book draws together important research on the music, its sources and the instruments on which it was played. There are two chapters on instruments: John Koster on the use of harpsichord during the period, and Dominic Gwynn on the construction of Tudor-style organs based on the surviving evidence we have for them. This leads to a section devoted to organ performance practice in a liturgical context, in which John Harper discusses what the use of organs pitched in F may imply about their use in alternation with vocal polyphony, and Magnus Williamson explores improvisational practice in the Tudor period. The next section is on sources and repertoire, beginning with Frauke Jurgensen and Rachelle Taylor's chapter on Clarifica me Pater settings, which grows naturally out of the consideration of improvisation in the previous chapter. The next two contributions focus on two of the most important individual manuscript sources: Tihomir Popovic challenges assumptions about My Ladye Nevells Booke by reflecting on what the manuscript can tell us about aristocratic culture, and David J. Smith provides a detailed study of the famous Fitzwilliam Virginal Book. The discussion then broadens out into Pieter Dirksen's consideration of a wider selection of sources relating to John Bull, which in turn connects closely to David Leadbetter's work on Gibbons, lute sources and questions of style.

Many tombs dating to the Eastern Zhou (770-221 BCE) and Han (206 BCE-220 AD) periods contain musical instruments or their visual representations in the form of wood, stone, and ceramic figures, tomb tiles, and engravings. These finds suggest that music was viewed as an important part of the afterlife. While bells have survived more frequently than wooden instruments, and therefore have received the most scholarly attention, strings, winds, and drums are the focus of discussion in this book. The book examines the use of these three instrument types in both solo and ensemble music, as well as the social, ritual, and entertainment functions of each. When combined with bells (and chime stones), strings, drums, and winds appear to have been associated with formal ritual ceremonies. However, when appearing alone or in assemblages with other wooden instruments during Zhou, they appear to be connected with warfare and entertainment. By Han times, strings, winds, and drums seem to be associated almost exclusively with entertainment, pointing to a shift in the social life of the times. Another topic explored in this book is the association of musical instruments with wealth. When combined with bells and chime stones, they are only found in the wealthiest tombs. However, when found by themselves, strings, winds, and drums appear in small to large, modest to wealthy tombs, suggesting that they were available to a broad range of peoples in early Chinese elite society. This book analyzes an often disregarded aspect of early Chinese music, the role of strings, winds, and drums. Music in Ancient China will be a valuable book for those interested in ethnomusicology and music history, Asian art history and archaeology, and Asian studies.

The 60 exercises by C. L. Hanon, The Virtuoso Pianist, are a classic textbook of technical training widely used by piano students, teachers and professionals.

However, in the hundred years or so that have elapsed since these exercises first appeared, the technical demands made on students and pianists have enormously changed and developed.

Therefore, the famous two-piano team of Gold and Fizdale has attempted to bring Hanon's exercises up-to-date. It is hoped that Hanon Revisited will serve students and pianists as a preparation for the increasingly complicated technical requirements of present-day piano performance and study.

Celebrate the world's most seductive instrument. An obsessive, full-colour gift book, Guitar captures the soul, the significance, the history, the magic, the raw mojo of the guitar in all of its beauty and variety. Written by David Schiller, author of Guitars and the Guitars wall calendar, here are 200 instruments in stunning detail. Iconic instruments - Leo Fender's history-making "Broadcaster," Les Paul's log, the Gretsch Country Gentleman, the trio of Martins (D-18, D-28, OM-28) collected, coveted and also copied by every important guitar builder since. Historic instruments - Eric Clapton's Brownie, George Harrison's hand-painted Rocky, Prince's Yellow Cloud, Willie Nelson's Trigger, the Hauser that was inextricably bound up with Andres Segovia's preeminent artistry. Hand-carved archtop jazz guitars, pinnacles of the luthier's art, from John D'Angelico to Ken Parker. There are instruments from a new wave of female builders, including Shelley D. Park, Joshia de Jonge, and Rosie Heydrich of England, with a guitar she built out of 5,000 year-old wood retrieved from a peat bog. And quirky, one-of-a-kind guitars, like Juha Ruokangas's steampunk masterpiece, "Captain Nemo," and Linda Manzer's Pikasso II built for Pat Metheny - four necks, 72 strings, and a thousand pounds of pressure. Marrying pure visual pleasure with layers of information, Guitar is a glorious gift for any guitar lover.

Piano Pedagogy: A Research and Information Guide provides a detailed outline of resources available for research and/or training in piano pedagogy. Like its companion volumes in the Routledge Music Bibliographies series, it serves beginning and advanced students and scholars as a basic guide to current research in the field. The book will includes bibliographies, research guides, encyclopedias, works from other disciplines that are related to piano pedagogy, current sources spanning all formats, including books, journals, audio and video recordings, and electronic sources.

Worldwide in scope and covering the second half of the 20th century, this work provides biographies and discographies of some 500 conductors and composers in many aspects of light and popular orchestral music, including film, show, theatre, and mood music. This is the first time the lives and recordings of such artists as Kostelanetz, Faith, Gould, as well as the orchestral recordings of such great popular composers as Gershwin, Kern, Porter, Rodgers, Berlin, and Coward, have been adequately documented and consolidated in an encyclopedic fashion. Almost 5,000 records and CDs are listed. Of interest to scholars, students, disc jockeys, record and CD collectors, film music buffs, and mood and production music enthusiasts. Popular orchestral music has been a neglected and often erroneously perceived and misunderstood genre in the 20th century. It has certainly not received the attention that it deserves and seems to be viewed as a "Cinderella" in relation to classical music and jazz. The genre, especially in the last 50 years, has been graced by exceptionally fine and highly esteemed conductors and arrangers, and also by a large number of highly regarded composers.