First published in 1998, this volume is the first book to focus on the American symphony. Neil Butterworth surveys the development of the symphony in the United States from early European influences in the last century to the present day, and asks why American composers have shown such allegiance to a musical form which their European contemporaries appear to have discarded. An overview of the growth of musical societies in America during the eighteenth century and the establishment of the first professional orchestras during the early part of the nineteenth century is followed by chronological analyses of the works of those composers who have played important parts in the progress of symphony in the United States, from Charles Ives, Aaron Copland and Leonard Bernstein, to contemporary figures such as William Bolcom and John Harbison. Complete with a comprehensive catalogue of symphonies and an extensive discography, this book is an indispensable reference work.

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.

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.

Michael Roeder's A History of the Concerto traces the concerto from its origins in the sixteenth and seventeenth centuries to its incarnation in the present. Basic to the concerto idea is the division of the performance group into two parts - one solo and the other orchestral - but the relationships between these two have undergone fundamental changes over the centuries. In many of the more familiar works from the nineteenth century, the composer frequently juxtaposes a dazzling soloist against a more conservative orchestral voice, but this has not always been the case. The developing concerto form, while always maintaining the dramatic opposition of solo and orchestral forces, evolved many rich variations specific to time, place, and composer. Whether in Vivaldi's The Four Seasons, Beethoven's "Emperor", or Calandrelli's Concerto for Jazz Clarinet, the dual elements of cooperation and contention come into play. The changing role of the soloist; the development of instruments; the evolution of music's function in society; the influence of local, regional, and international culture; and the composer's individual story are all part of Roeder's documentation of concerto history. The book is divided into four sections corresponding to the major historical-stylistic periods of Western music and of concerto development - Baroque, Classical, Romantic, and Twentieth Century. Within these sections, attention is given to geographical regions where strikingly different approaches to concerto style are found. Roeder explores major works as well as the pieces of lesser-known composers whose contributions were important to the changing character of the concerto. A History of the Concerto may be readfrom cover to cover, but readers may also use the extensive index to focus on specific concertos and their composers. Numerous musical examples illuminate critical points. While some readers may want to study the more detailed analyses with scores in hand, this is not essential for an understanding of the text. Michael Roeder's lucid and detailed historical study of the concerto will inform and delight those interested in understanding this popular and dynamic musical form.

Luck s in My Corner is a comprehensive biography of one of the most compelling jazz musicians of the Swing Era, Oran "Hot Lips Page. Page was the greatest of the Kansas City trumpeters, whose crackling, growling solos made him the go-to man during Count Basie s earliest days as a bandleader. Page went on to be a featured trumpeter with Artie Shaw, a star of New York s 52nd street, and a pioneer of the R & B scene of the 1950s. This book presents an in-depth chronology of Page s career, with special attention paid to the development of his trumpet style.

Luck s in My Corner examines the life and music of a forgotten figure of the Swing Era and returns him to his rightful place as a leading light in the world of jazz. Todd Bryant Weeks has combined genealogical, musicological, discographical and historical research, resulting in a revealing and entertaining examination of a life that spanned major changes in American popular music. This book includes a new and complete discography by the author and dozens of unpublished photos. "

(Faber Piano Adventures ). Major and minor pentascales; intervals through the 6th; C. G, and F major scales. Contents include: Almost Like a Dream * America * American Fiddle Tune * Beach Party * Beethoven's Fifth Symphony Theme * Blues Train * The Boogie Machine * Brahms' Lullaby * Can-Can * Cathedral Chimes * Chord Jumps * Classical Dance * Cross-Hand Arpeggios * El Matado.

This book contains nine pieces from ABRSM's Grade 1 Piano syllabus for 2021 & 2022, three pieces chosen from each of Lists A, B and C. The pieces have been carefully selected to offer an attractive and varied range of styles, creating a collection that provides an excellent source of repertoire to suit every performer. The book also contains helpful footnotes and, for those preparing for exams, useful syllabus information. The enclosed CD features inspiring recordings of all 30 pieces on the Grade 1 syllabus, performed by Nikki Iles, Dinara Klinton, Robert Thompson and Anthony Williams.

Hot Lips Page was a seminal figure in the history of jazz trumpet. After making his name as the top trumpeter in Kansas City in the middle 1930s, he moved to New York City and performed in Harlem and on 52nd Street, headlining at the Apollo Theater and in Greenwich Village. He was a star trumpet soloist with Artie Shaw's Orchestra in 1941. He recorded with Billie Holiday and Pearl Bailey and made many early TV appearances in the 1950s. Perhaps most significantly, Page was also one of the greatest blues players of his generation. Dizzy Gillespie may have said it best, When it comes to the blues, don't mess with Lips, nobody not Louis, not Roy, not me.Despite his many successes, Page's personal life was fraught with troubles. His father died when his son was eight, and the boy was forced to leave school and go to work to help support his family. Page's second wife, Myrtle, who by all accounts was the love of his life, died suddenly in New York in 1946 at the age of twenty-eight, leaving Hot Lips as the sole parent of their young son, Oran Jr. Throughout the 1940s, he struggled to maintain his audience as the popular style of music changed from Swing to Bebop to Rhythm and Blues.He died suddenly of a heart attack in 1954, at age forty-six. Through the use of interviews, anecdotes and oral histories, author Todd Bryant Weeks has pieced together Page's personal story. He has contacted dozens of people (many in their eighties and nineties), who knew Page personally, and has spent many hours interviewing several of Page's family members, including his son, Oran Page, Jr., who is now a Municipal Judge in Jackson, Mississippi. Weeks has also been granted access to files, photographs and personal scrapbooks belonging to Page at the Institute of Jazz Studies in Newark, New Jersey. Luck's In My Corner: The Life and Music of Hot Lips Page is the definitive work on this legendary jazz figure.

New in paperback! A unique directory for individuals who need to locate music for specific program needs. Goodenberger has brought together a spectrum of classical instrumental music cataloged according to programmatic content. Over 200 subject headings include Literature, Art, The Bible, Greek Myths, Animals, Cities, The Ocean, The Universe, Love, and Death. Each entry includes composer, title, translation, nickname, opus number, and type of work, such as orchestral, string quartet, or piano. Music teachers, conductors, producers in theatre, film, radio, and television, and individuals working in integrated arts will rely on this guide as an authoritative source. Cloth edition previously published in 1989.

The Athletic Musician is an innovative approach that teaches musicians how to prevent and manage injuries, presented in a unique format that combines sound medical protocol with a musician's point of view. Harrison, a musician, discusses the magnitude of the problem of musicians' injuries with reference to statistical surveys and discusses the emotional and psychological impact of injury on the individual musician. Paull, an orthopedic physiotherapist describes, in layman's terms, the athletic approach to a musician's injuries. Each commonly injured area is examined in turn, from neck, back and shoulder pain to arm, wrist and hand problems. For each area, the anatomy is described, followed by an explanation of what causes the injury and how to avoid or prevent the injury from occurring. Musicians should regard themselves as elite "musical athletes" and protect themselves from injury by following athletic training protocols. The authors present appropriate stretching regimes and postural corrections for both on and off stage, as well as ergonomic changes to instrument and playing positions. The text is amply illustrated with sketches for every exercise and stretch, photographs of musicians demonstrating playing postures, and unique anatomical drawings of musicians. The Athletic Musician presents research-based, scientific material in a format that is relevant, clear, and practical for all musicians. The combination of a medical and musical perspectives makes it an indispensable guide for all musicians and the health care professionals who aspire to help them.

Isolde Ahlgrimm (1914-1995) was an important pioneer in the revival of Baroque and Classical keyboard instruments in her native city, Vienna, and later, throughout Europe and the United States. She trained as a pianist at the Musikakademie in Vienna under the instruction of Viktor Ebenstein, Emil von Sauer and Franz Schmidt. In 1934 she met the musical instrument collector, Dr Erich Fiala, whom she married in 1938. His activities opened up the world of early instruments to her. Using a 1790 fortepiano by Michael Rosenberger, Isolde Ahlgrimm began her career as a specialist on early keyboard instruments with the first in her notable series of Concerte fA1/4r Kenner und Liebhaber, given in Vienna's Palais Palffy in February 1937. Ahlgrimm's career as a harpsichordist also began in 1937, when a new instrument was commissioned from the Ammer brothers in Eisenberg, Germany. In 1943 Ahlgrimm performed her first all-harpsichord programme, which consisted of the Goldberg Variations by J.S. Bach. From 1949 to 1956, she devoted herself to performing and recording nearly all of Bach's harpsichord music for the newly-founded Dutch label, Philips, presenting her new approach to the harpsichord to a wider audience. Ahlgrimm's performances of Baroque music represented a radical departure from the distinctly twentieth-century interpretations by the much more famous Wanda Landowska and her followers. Most obviously, Ahlgrimm's harpsichord performances eliminated frequent registration changes (her instrument had hand stops rather than pedals to change registers), and largely eschewed the massive ritardandi and other anachronistic performance practices that were hallmarks of Landowska's essentially Romantic style. Ahlgrimm researched and emphasized rhetorical traditions on which the music was based. This became more pronounced throughout the course of her later performing, writing and teaching career, and it was the beginning of an approach to the performance of eighteenth-century music which was later further developed by Gustav Leonhardt, Nikolaus Harnoncourt and their students. Peter Watchorn provides an engaging study of this pioneer, and argues that Isolde Ahlgrimm's contribution to the harpsichord and fortepiano revival was pivotal, and that her use of period instruments and the inspiration she instilled in younger musicians, including Nikolaus Harnoncourt and Gustav Leonhardt, has been almost entirely overlooked by the wider musical world.

Play-along with the best-known selections from the first five movies in the Harry Potter series String books include a play-along CD with a backing and performance track for each title as well as a pull-out piano part. Titles include: Hedwig's Theme * Harry's Wondrous World * Nimbus 2000 * Fawkes The Phoenix * Double Trouble * A Window to the Past * Hogwarts' March * Hogwarts' Hymn * Professor Umbridge * Fireworks (Grade 2-3) This title is available in SmartMusic.

First emerging in North America and Europe in the late 1920s, contemporary percussion practices have transitioned from the fringes of contemporary music to the forefront over the past 90 years. In the 1960s contemporary percussion practices reached Australian shores and a new generation of artists added their voices to this narrative. The role of Australian activity is not yet embedded in the wider narrative of international contemporary percussion, nor is the significance of developments in contemporary percussion practices fully realised in the context of Australian music history. In this monograph, political, social and cultural influences on this art form will be examined for the first time in a historical survey of contemporary percussion music in Australia over a 50-year period, from 1960 to 2010. The rise of the percussion ensemble in the twentieth century to a standard chamber music ensemble is now recognised as one of the major advances in western art music practice internationally. A focus will be placed on ensemble activity via definitive documentation and analysis of ensembles that are amongst the most pioneering and longest established of Australian contemporary music organisations, including the Australian Percussion Ensemble, Synergy Percussion, Adelaide Percussions, Nova Ensemble, Tetrafide Percussion, Taikoz, Clocked Out and Speak Percussion amongst others. Closing with a discussion of influences and identity, this historical narrative will expand our understanding of the impact of Australian contributions to the international contemporary music scene while simultaneously examining how developments in contemporary percussion have contributed to Australia's cultural identity.

Thomas Schuttenhelm provides a detailed account of the events leading up to and throughout the compositional process associated with Michael Tippett's Fifth String Quartet and a comprehensive analysis of the entire quartet. The commentary discusses this work in the context of Tippett's creative development and places it within the historical context of the genre of the string quartet. The commentary includes interviews with the members of the Lindsay String Quartet, who premiered the work, as well as previously unpublished letters from the composer and interviews with Tippett in which he discusses the quartet in detail. Special attention is given to Tippett's preliminary attempts, which were only recently discovered (2011) and to the evidence that suggests he altered the original ending. Included are images from the composer's sketchbooks and manuscripts, as well as the original beginning and the altered ending.

Growing out of the collaborative research of an American ethnomusicologist and Zimbabwean musician, Paul F. Berliner's The Art of Mbira documents the repertory for a keyboard instrument known generally as mbira. At the heart of this work lies the analysis of the improvisatory processes that propel mbira music's magnificent creativity. In this book, Berliner provides insight into the communities of study, performance, and worship that surround mbira. He chronicles how master player Cosmas Magaya and his associates have developed their repertory and practices over more than four decades, shaped by musical interaction, social and political dynamics in Zimbabwe, and the global economy of the music industry. At once a detailed exposition of the music's forms and practices, it is also an indispensable historical and cultural guide to mbira in a changing world. Together with Berliner and Magaya's compendium of mbira compositions, Mbira's Restless Dance, The Art of Mbira breaks new ground in the depth and specificity of its exploration of an African musical tradition, and in the entwining of the authors' collaborative voices. It is a testament to the powerful relationship between music and social life--and the rewards of lifelong musical study, performance, and friendship.

This book contains nine pieces from ABRSM's Grade 6 Piano syllabus for 2021 & 2022, three pieces chosen from each of Lists A, B and C. The pieces have been carefully selected to offer an attractive and varied range of styles, creating a collection that provides an excellent source of repertoire to suit every performer. The book also contains helpful footnotes and, for those preparing for exams, useful syllabus information. The enclosed CD features inspiring recordings of all 30 pieces on the Grade 6 syllabus, performed by Yulia Chaplina, Mei Yi Foo, Nikki Iles, Dinara Klinton, Charles Owen, Robert Thompson and Richard Uttley.

Keyboard artists in the time of J.S. Bach were simultaneously performers, composers, and improvisers. By the twentieth century, however, the art of improvisation was all but lost. Today, vanishingly few classically-trained musicians can improvise with fluent, stylistic integrity. Many now question the system of training that leaves players dependent upon the printed page, and would welcome a new approach to musicianship that would enable modern performers to recapture the remarkable creative freedom of a bygone era. The Pianist's Guide to Historic Improvisation opens a pathway of musical discovery as the reader learns to improvise with confidence and joy. Useful as either a college-level textbook or a guide for independent study, the book is eminently practical. Author John Mortensen explains even the most complex ideas in a lucid, conversational tone, accompanied by hundreds of musical examples. Mortensen pairs every concept with hands-on exercises for step-by-step practice of each skill. Professional-level virtuosity is not required; players of moderate skill can manage the material. Suitable for professionals, conservatory students, and avid amateurs, The Pianist's Guide leads to mastery of improvisational techniques at the Baroque keyboard.

In this book, Julian Hellaby presents a detailed study of English piano playing and career management as it was in the middle years of the twentieth century. Making regular comparisons with early twenty-first-century practice, the author examines career-launching mechanisms, such as auditions and competitions, and investigates available means of career sustenance, including artist management, publicity outlets, recital and concerto work, broadcasts, recordings and media reviews. Additionally, Hellaby considers whether a mid-twentieth-century school of English piano playing may be identified and, if so, whether it has lasted into the early decades of the twenty-first century. The author concludes with an appraisal of the state of English pianism in recent years and raises questions about its future. Drawing on extensive research from a wide variety of primary and secondary sources, this book is structured around case-studies of six pianists who were commencing and then developing their careers between approximately 1935 and 1970. The professional lives and playing styles of Malcolm Binns, Peter Katin, Moura Lympany, Denis Matthews, Valerie Tryon and David Wilde are examined, and telling comparisons are made between the state of affairs then and that of more recent times. Engagingly written, the book is likely to appeal to professional and amateur pianists, piano teachers, undergraduate and postgraduate music students, academics and anyone with an interest in the history of pianists, piano performance and music performance history in general.

'Internationally acclaimed pianist, author and all-round nice guy James Rhodes promises that this book can teach anyone with access to a piano or an electric keyboard and 45 minutes to practice every a day, the tools they need to learn to play Bach's Prelude No. 1 in C Major in 6 weeks' RED MAGAZINE Learn to play one of Bach's most exquisite preludes in just 6 weeks, even if you have never played the piano before. An accessible and inspiring book by the pianist and international bestselling writer James Rhodes, who promises that it gives anyone with two hands, a piano or an electric keyboard and just 45 minutes a day the tools they need to learn to play Bach's Prelude No. 1 in C Major in 6 weeks, even if they know nothing about music and have never even touched a piano before. How often do we convince ourselves that it's just too late - too late to learn how to ride a bike, too late to know how to meditate, too late to travel the world... As we get older and time slips through our fingers like water, we become resigned, almost defeatist, about abandoning our dreams. For James Rhodes, after the inevitable "How many hours a day do you practice?" and "Show me your hands", the most common thing people say to him when they hear he's a pianist is "I used to play the piano as a kid. I really regret giving it up". Where does this mourned and misplaced creativity go? For Rhodes, it's still there to be tapped into by all of us, at any point. This inspirational book gives us the means to do this, by breaking up Bach's seminal Prelude No. 1 from the Well-Tempered Clavier into manageable segments, teaching us the basics of piano playing - how to read music, the difference between the treble and the bass clef, sharp and flat notes, how to practice etc.. - and encouraging personal interpretation in a way that is guaranteed to soothe the mind, feed the soul and unleash creative powers we didn't know we still had. All of this will culminate in an ability to perform one of Bach's masterpieces. "If listening to music is soothing for the soul, then playing music is achieving enlightenment. It's going from kicking a ball around with a few pals to playing alongside Ronaldo."

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?

Jazz Guitar Styles is an instruction book designed for the guitarist who already knows the fundamentals but wishes to explore the "classic" style of swing-era guitar. It offers a clear, concise introduction to the basics of jazz guitar, built on the student's basic knowledge of forming chords and basic picking patterns. Jazz Guitar Styles opens this world to any guitarist who has a basic knowledge of guitar technique and willingness to learn.

In 1942, drummer Viola Smith sent shock waves through the jazz world by claiming in Down Beat magazine that "hep girls" could sit in on any jam session and hold their own. In Women Drummers: A History from Rock and Jazz to Blues and Country, Angela Smith takes Viola at her word, offering a comprehensive look at the world of professional drumming and the women who had the courage and chops to break the barriers of this all-too-male field. Combining archival research with personal interviews of more than fifty female drummers representing more than eight decades in music history, Smith paints a vivid picture of their struggles to overcome discrimination-not only as professional musicians but in other parts of their lives. Women Drummers outlines the evolution of female drumming from pre-biblical times when women held important leadership roles to their silencing by the church during the Middle Ages to spearheading the fight for women's rights in the modern era. The stories and personal accounts of female drummers who bucked tradition and societal norms are told against the backdrop of the times in which they performed and the genres they represented, from rock and jazz to blues and country. Although women have proven time and time again that they can more than hold their own against their male counterparts, female drummers not only remain a minority, but their contributions have been obscured by the traditional chauvinistic attitudes in the music business and gender stereotypes that surround the drum itself as a "male" instrument. Women Drummers takes a major step forward in undoing this misconception by acknowledging the talent, contribution, and growing power of women drummers in today's music environment.

Noted organist and scholar Anthony Hammond tells the full story, for the first time, of one of the great organists of the twentieth century. Described by his teacher Marcel Dupre as "a phenomenon without equal in the history of the contemporary organ," Pierre Cochereau is considered one of the twentieth century's greatest French organists.This book tells, for the firsttime, the full story of of his extraordinary life and glittering, worldwide career. In 1955 Cochereau was appointed Organiste Titulaire at Notre-Dame de Paris, where he restored the cathedral's musical glory and oversawa far-reaching and controversial transformation of its organ. As a recitalist, he toured South America, Australia, Asia, Canada, and Europe in addition to twenty-five tours of the United States. He was the first western organist to perform in the former Soviet Union., played with many major orchestras under the batons of distinguished conductors, participated in numerous music festivals in Europe, made over eighty recordings, and was one of the founders of the Chartres International Organ Competition. He was honored several times for his achievements, including being named an Officer of the Legion of Honor (1978). A tireless campaigner for standards in music education, Cochereau also served as director at many of France's prominent conservatories, including Le Mans, Lyons, and Nice, which under his directorhsip became one of the leading music schools in France. Biographer AnthonyHammond draws from a variety of of prominent primary sources, notably Marcel Dupre's papers in the Bibliotheque Nationale, Paris, but also from Cochereau's surviving family and friends, and uses recordings and previously overlooked archive films in the Institut National de l'Audiovisuel, France to construct this definitive account and critical appraisal of one of France's most distinguished organists. Anthony Hammond is an English concert organist, improviser, and musicologist who specializes in French Romantic and twentieth-century organ music.