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.

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.

The Belwin Student Instrumental Course is a course for individual instruction and class instruction of like instruments, at three levels, for all band instruments. Each book is complete in itself, but all books are correlated with each other. Although each book can be used separately, all supplementary books should be used as companion books with the method.

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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.

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.

As the 1970s gave way to the 80s, New York's party scene entered a ferociously inventive period characterized by its creativity, intensity, and hybridity. Life and Death on the New York Dance Floor chronicles this tumultuous time, charting the sonic and social eruptions that took place in the city's subterranean party venues as well as the way they cultivated breakthrough movements in art, performance, video, and film. Interviewing DJs, party hosts, producers, musicians, artists, and dancers, Tim Lawrence illustrates how the relatively discrete post-disco, post-punk, and hip hop scenes became marked by their level of plurality, interaction, and convergence. He also explains how the shifting urban landscape of New York supported the cultural renaissance before gentrification, Reaganomics, corporate intrusion, and the spread of AIDS brought this gritty and protean time and place in American culture to a troubled denouement.

The Suzuki MethodA(R) of Talent Education is based on Dr. Shinichi Suzuki's view that every child is born with ability, and that man is the son of his environment. According to Dr. Suzuki, a world-renowned violinist and teacher, the greatest joy an adult can know comes from developing a child's potential so he/she can express all that is harmonious and best in human beings. Students are taught using the "mother-tongue" approach. Suzuki Violin School materials include: Violin Parts (Vol. 1-10) * Piano Accompaniments (Vol. 1-10) * Cassettes (Vol. 1-3 performed by Shinichi Suzuki, Vol. 4-8 performed by Koji Toyoda) * Compact Discs (Vol. 5-8, performed by Koji Toyoda) * David Cerone Performs Suzuki Violin School (Cassettes & Compact Discs, Vol. 1-4) * David Nadien Performs Suzuki Violin School (Cassettes and Compact Discs, Vol. 1-4). Suzuki Method Core Materials available for piano, violin, viola, cello, string bass, flute, harp, guitar, and recorder.

The Piano Player: Wintertide Collection presents 20 seasonal and wintry pieces of classical music, specially arranged for intermediate solo piano. Contents include Carol Of The Bells by Mykola Leontovych, Sleigh Ride by Leroy Anderson, Dance of the Sugar Plum Fairy by Pyotr Ilyich Tchaikovsky and Sinfonia from Christmas Oratorio by J.S. Bach. The cover features Edward Bawden's watercolour Great Bardfield, 1955, and a double-side colour print provides the full artwork as a beautiful collectible. With its gorgeous presentation, superb musical selection, adept pianistic arrangements and helpful fingering, it is very easy to recommend this publication to late intermediate and more advanced players everywhere.The Wintertide Collection really is a fabulous gift, and one that will bring joy for many winters to come! Andrew Eales, November 2023, pianodao.com

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.

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.

This full size book, CD & DVD pack is an easy and informative introduction to playing the Electric Bass. The emphasis is on making music right from the start. Includes all the essential techniques and music fundamentals as they apply to Bass Playing. Both theCD & DVD match the lessons and exercises in the book.

Acoustic Blues Guitar Styles is an introduction to fingerstyle acoustic blues guitar, the style made popular by Robert Johnson, Bill Broonzy, and Mance Lipscomb. Following the success of the popular Acoustic Guitar Styles, Larry Sandberg's Acoustic Blues Guitar Styles is an instructional book geared towards the intermediate guitar player, not only to teach fingerstyle blues technique, but also to approach the music creatively and with feeling and rhythm. Part One teaches you the preliminaries, such as reading a chord chart and working out a 12-bar blues in different keys. Part Two teaches you touch, timing, and basic fingerpicking technique. Part Three teaches you how to play stylistically, with lessons on how to incorporate bends, vibrato, alternating bassnotes, and rhythmic variations into your playing. All musical exercises are presented in both standard notation and tablature, and are supported by audio tracks. Customers purchasing the eBook version of this title will be able to download the supporting audio tracks. Instructions on downloading the files can be found on the contents page.

One of the most admired qualities of Claude Debussy's music has been its seemingly effortless evocation and assimilation of exotic musical strains. He was the first great European composer to discern the possibilities inherent in the gamelan, the ensemble consisting mainly of tuned percussion instruments that originated in Java. Echoes from the East: The Javanese Gamelan and its Influence on the Music of Claude Debussy argues Debussy's encounter with the gamelan in 1889 at the Paris Exposition Universelle had a far more profound effect on his work and style than can be grasped by simply looking for passages and pieces in his output that sound "Asian" or "like a gamelan." Kiyoshi Tamagawa recounts Debussy's individual experience with the music of Java and traces its echoes through his entire compositional career. Echoes from the East adds a commentary on the modern-day issue of cultural appropriation and a survey of Debussy's contemporaries and successors who have also attempted to merge the sounds of the gamelan with their own distinctive musical styles.

Twelve-tone and serial music were dominant forms of composition following World War II and remained so at least through the mid-1970s. In 1961, Ann Phillips Basart published the pioneering bibliographic work in the field.

Encore is the official collection of best-loved ABRSM piano exam pieces, selected from syllabuses of the past few decades. Pianists will find an appealing mix of repertoire, while teachers can be confident that the perfect balance of content has been selected at every level. Book 1 features 21 popular pieces at Grades 1 and 2. Have fun exploring timeless classics and modern favourites, like Hook's Gavotte, or Vampire Blues by Wooding. Footnotes provide background information, a summary of the key skills that each piece develops, and new ideas for exploring the music. Whether you're working through our exams, playing informally, or planning a performance, Encore is full of music you'll want to play again and again! Perfect for learners exploring repertoire for the own-choice piece in ABRSM's Performance Grade exams

Viola Basics is a landmark method by two of the leading figures in music education. Includes a pupil's tutor book with online audio and downloadable teacher's accompaniments, Viola Basics, providing everything you need to get playing. This book starts at absolute beginner level and progresses to Grade 1. Step-by-step technical progression is supported by fun exercises and warm-ups, alongside a wide range of imaginative repertoire, helpful fact files and rhythm boxes. Music theory and general musicianship activities help students to become well-rounded musicians.

This directory is the most comprehensive index of music written for orchestra with chorus in print today. Offering performance information about choral works by more than 900 conductors, the more than 3,500 entries include such details as instrumentation, languages, timings, publishers, and composer information in an easy-to-follow reference style. Users can also browse categorized appendices of works, composers, and popular and original titles.

Students of all ages will delight in these 26 simple piano arrangements of familiar melodies such as "Jesu, Joy of Man's Desiring" and "Wachet Auf," plus other fun-to-play pieces.

Encore is the official collection of best-loved ABRSM piano exam pieces, selected from syllabuses of the past few decades. Pianists will find an appealing mix of repertoire, while teachers can be confident that the perfect balance of content has been selected at every level. Book 2 features 20 popular pieces at Grades 3 and 4. Have fun exploring modern favourites and timeless classics, like Top Cat! or Burgmuller's Ballade. Footnotes provide background information, a summary of the key skills that each piece develops, and new ideas for exploring the music. Whether you're working through our exams, playing informally, or planning a performance, Encore is full of music you'll want to play again and again! Perfect for learners exploring repertoire for the own-choice piece in ABRSM's Performance Grade exams