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Books > Music > Musical instruments & instrumental ensembles
Movie Heroes for Students, Book 1, is arranged at the
late-elementary level. Dotted-quarter notes and triplets have been
avoided with minimal use of eighth notes. Key signatures are
limited to one sharp or flat. A maximum of two-note intervals in
either hand and simple meters of 4/4 or 3/4 allow for greater
accessibility. Titles: Batman Theme * Hedwig's Theme (from Harry
Potter and the Sorcerer's Stone) * Iron Man * James Bond Theme *
Luke and Leia (from Star Wars: Return of the Jedi) * The Medallion
Calls (from Walt Disney's Pirates of the Caribbean: The Curse of
the Black Pearl) * Raiders March (from Raiders of the Lost Ark) *
Star Wars (Main Theme) * Theme from Superman.
Vladimir Ussachevsky (1911-1990), a pioneer in electronic music,
was also a composer, teacher and administrator of the
Columbia-Princeton Electronic Music Center. His more than 44 works
involving electroacoustics reflect the importance of his
contribution to electronic music. Ussachevsky studied with Howard
Hanson, Bernard Rogers and Otto Luening and his style varied from
neoromantic and Russian Orthodox influences in choral music and
other compositions before 1952 to electronic and computer music
from 1952 to his death in 1990. This volume in the Greenwood series
Bio-Bibliographies in Music includes a brief biography and detailed
list of works and performances, discography, mediagraphy, and
bibliography of writings about and by Ussachevsky.
Music scholars, especially those with an interest in electronic
music or those interested in learning more about Vladimir
Ussachevsky, will appreciate the detailed information about his
works and writings compiled in this one volume. The works and
performances section is organized by type of music, including
electronic, orchestral, chamber, keyboard, choral and vocal. Also
included are both an alphabetical and chronological list of
compositions, a list of Ussachevsky's collaborations, arrangements
and sound effects, and an index.
During the nineteenth century, nearly one hundred symphonies were
written by over fifty composers living in the United States. With
few exceptions, this repertoire is virtually forgotten today. In
Orchestrating the Nation: The Nineteenth-Century American Symphonic
Enterprise, author Douglas W. Shadle explores the stunning
stylistic diversity of this substantial repertoire and uncovers why
it failed to enter the musical mainstream. Throughout the century,
Americans longed for a distinct national musical identity. As the
most prestigious of all instrumental genres, the symphony proved to
be a potent vehicle in this project as composers found inspiration
for their works in a dazzling array of subjects, including Niagara
Falls, Hiawatha, and Western pioneers. With a wealth of musical
sources at his disposal, including never-before-examined
manuscripts, Shadle reveals how each component of the symphonic
enterprise-from its composition, to its performance, to its
immediate and continued reception by listeners and
critics-contributed to competing visions of American identity.
Employing an innovative transnational historical framework,
Shadle's narrative covers three continents and shows how the music
of major European figures such as Beethoven, Schumann, Wagner,
Liszt, Brahms, and Dvorak exerted significant influence over
dialogues about the future of American musical culture. Shadle
demonstrates that the perceived authority of these figures allowed
snobby conductors, capricious critics, and even orchestral
musicians themselves to thwart the efforts of American symphonists
despite widespread public support of their music. Consequently,
these works never entered the performing canons of American
orchestras. An engagingly written account of a largely unknown
repertoire, Orchestrating the Nation shows how artistic and
ideological debates from the nineteenth century continue to shape
the culture of American orchestral music today.
For three decades, Anthony Braxton has been alternately celebrated,
dismissed, and attacked for his musical innovations. His ambitious
efforts to reconcile and personalize the historically divergent and
often conflicting worldviews and principles of African-American
(jazz), American Experimental (post-Ives), and Western European
(post-serial) traditions have attracted both loyal supporters and
passionate critics. Mike Heffley has followed Braxton's widely
varied music from its beginning, and in 1988 began a professional
musical relationship with him. His "biography" of Braxton's music
is just that--a look at the music as if it were a living entity,
with a traceable ancestry, a describable place in the world, and a
history full of drama, intrigue, and passion. The music scholar
will find here all the information necessary to understand the
contents, contexts, and concepts of Braxton's music, and to further
that understanding. The general reader will find the human and
trans-human qualities that make the music so compelling to its
makers and lovers.
In a music business amply buffered against surprise, Danny Gatton
swam stubbornly, from country, to gospel, rockabilly, soul, and
standards. "Redneck Jazz" became Gatton's calling card for playing
whatever and whenever he wanted. Hailed as the best unknown guitar
player by both Rolling Stone and Guitar player magazines, he was a
players' player who never received the popular acclaim he deserved.
The struggle to reach a wider audience while staying true to his
own muse proved to much for him to bear, and in 1994 he took his
own life. Gatton's legend has only grown since his untimely death,
along with appreciation for his blinding speed, effortless
genre-hopping, flawless technique, and never-ending appetitie for
tinkering and problem-solving. Unfinished Business places Gatton's
musical contributions into context, as well as his influence on
those peers who admired him most, including Albert Lee, Vince Gill,
Arlen Roth, and Lou Reed.
Join the superhero world of Lang Lang and come on a piano adventure
with The Lang Lang Piano Method Level 2. Level 2 builds on the
first book by introducing: eighth notes (quavers) simple hands
together and thumb-under technique. The five progressive books in
The Lang Lang Piano Method provide a unique and imaginative way for
complete beginners to learn the piano with the world's most
successful concert pianist, Lang Lang. There's plenty to play all
around the keyboard right from the start. Fun, imaginative pieces
develop the left and right hands equally and supporting audio
features exclusive performances by Lang Lang of the concert pieces.
Musicianship is developed through theory pages and listening to
exclusive performances by Lang Lang of piano classics for children.
"I've written The Lang Lang Piano Method to inspire today's kids
with my passion for the piano." Lang Lang
(Faber Piano Adventures ). Book C of the Fabers' young beginner
method continues the staff-reading adventure with the introduction
of skips (3rds). Students first explore skips aurally and
kinesthetically across the full range of the keyboard. A delightful
variety of songs follow which carefully and comfortably guide the
child toward line-line and space-space staff recognition. The new
CD for Book C offers a unique listening experience with outstanding
orchestrations and vocals. The recordings demonstrate a key
principle of the course: when children listen, sing, tap, and move
to their piano music, they play more musically.
A Pianist's Dictionary is an exploration of the world of the
classical pianist and piano professor. The author deconstructs the
many familiar words that help describe these worlds as well as
their practitioners. Based upon a lifetime of experience as an
active concert artist and college professor, this book will
resonate with both past and current students of the piano and with
music lovers with even a passing interest in these worlds. Written
in an accessible style, A Pianist's Dictionary covers the piano
world from accompanist to tone and voicing, and helps the reader
understand the mysteries of practicing and the challenges of how to
find a suitable piano teacher. Filled with amusing anecdotes and
observations, this book is a welcome addition to the literature
about pianos and pianists.
A comprehensive study of jazz great Charlie Parker, including
details of record dates, more than 200 musical illustrations, and
biographical material arranged chronologically and linked with
Parker's recordings. The "Bird Stories" are all here, from Parker's
Kansas City roots to his untimely death, as well as the seminal
journal article on Parker's music, "Ornithology" that appeared in
the Journal of Jazz Studies.
This catalogue completes the bibliographic survey of French
harpsichord music begun in Bruce Gustafson's French Harpsichord
Music of the Seventeenth Century: A Thematic Catalogue of Sources
with Commentary (Ann Arbor, 1979). It has entries for all of the
printed music known to have existed, over 230 volumes, and 150
manuscripts. It offers precise transcriptions of the title pages,
full contents, dating, locations, editions, facsimiles, evaluations
in the contemporary press, identifications of dedicatees, and
stylistic comments. The eighteenth-century French harpsichord
repertory is shown to extend from 1699 to about 1780, from Louis
Marchand's Pieces de clavecin to the four Symphonies concertantes
by Jean-Francois Tapray that juxtapose the harpsichord and piano as
solo instruments. All original keyboard music is included. Since
the introduction of the piano into France occurred during the
twenty years preceding 1780, this Catalogue includes some music
that may have been intended for that instrument rather than for the
harpsichord. This period of transition is discussed in full in the
Introduction.
Contents are: Chorus from Judas Maccabaeus (G.F. Handel) * Musette,
Gavotte II or the Musette from English Suite II in G Minor for
Klavier, BWV 808 (J.S. Bach) * Hunters' Chorus from 3rd Act of the
opera Der Freischutz (C.M. von Weber) * Long, Long Ago (with
variation) (T.H. Bayly) * Waltz, Op. 39, No. 15 (J. Brahms) *
BourrA(c)e, Sonata in F Major for Oboe, HHA IV/18, No. 8 (G.F.
Handel) * The Two Grenadiers, Die Beiden Grenadier, Op. 49, No. 1
for Voice and Piano (R. Schumann) * Theme from Witches' Dance (N.
Paganini) * Gavotte from Mignon (A. Thomas) * Gavotte (J.B. Lully)
* Minuet in G, Wo0 10, No. 2 (L. van Beethoven) * Minuet from Sei
Quintetti per Archi No. 11, Op. 11, No. 5 in E Major (L.
Boccherini) * Practice Suggestions (Doris Preucil).
In Chopin's set of 24 interconnected "Preludes (Op. 28)," we are
presented with 24 distinct compositional surfaces, aiming at as
many distinguishable emotional expressions. As such, the Preludes
stand as a virtual survey of the developing musical manners of the
19th century--which was, after all, the stylistic period in which
mood was promoted most energetically and frankly. Under analytic
investigation, the technical means to these varied expressive ends
can be discovered and assessed. 24 separate explorations reveal
themselves to the inquiring musician, who can investigate any or as
many of the pieces as is wished or needed. At the same time, the
Preludes form a fairly compelling total entity, related by precise
balances of mood and key, as well as certain subtler
interconnecting details.
The individual analyses aim at conjoined descriptive statements
that take into account the various separable, but ultimately fused,
musical elements: line and harmony in the pitch domain; rhythm in
terms of local detail, but also at the levels of meter, phrase, and
form; and the various expressive modifications of dynamics and
articulation. Form is seen to grow out of the harnessed progress of
these elements, which together determine expressive content. "The
Chopin Preludes," a centerpiece of 19th-century Romanticism, are
unique: two dozen distinct moods that seem to summarize the musical
manners of the time, they also function as an organic whole. This
book is a detailed guide through the "Preludes," both individually
and as a group. The analyses assess technical and expressive means
and ends.
While the history of musical instruments is nearly as old as civilisation itself, the science of acoustics is quite recent. By understanding the physical basis of how instruments are used to make music, one hopes ultimately to be able to give physical criteria to distinguish a fine instrument from a mediocre one. At that point science may be able to come to the aid of art in improving the design and performance of musical instruments. As yet, many of the subtleties in musical sounds of which instrument makers and musicians are aware remain beyond the reach of modern acoustic measurements. This book describes the results of such acoustical investigations - fascinating intellectual and practical exercises. Addressed to readers with a reasonable grasp of physics who are not put off by a little mathematics, this book discusses most of the traditional instruments currently in use in Western music. A guide for all who have an interest in music and how it is produced, as well as serving as a comprehensive reference for those undertaking research in the field.
Play everyone's favorite songs with this collection of the most
memorable hits of the 1960s, '70s, and early '80s Classic rock fans
will have a blast applying their talent to more than 40 enduring
songs made famous by legendary artists like The Beatles, David
Bowie, Journey, Led Zeppelin, Pink Floyd, The Rolling Stones, Rush,
The Who, and more. The arrangements in this collection capture the
essence of the original recordings in fun, easy piano renditions
that are great for solo performance or sing-alongs. Titles: 50 Ways
to Leave Your Lover (Paul Simon) * Africa (Toto) * All Along the
Watchtower (Jimi Hendrix) * All My Love (Led Zeppelin) * Behind
Blue Eyes (The Who) * Big Yellow Taxi (Joni Mitchell) * Blinded by
the Light (Manfred Mann's Earth Band) * Blowin' in the Wind (Bob
Dylan) * Born to Run (Bruce Springsteen) * Bridge Over Troubled
Water (Simon and Garfunkel) * Closer to the Heart (Rush) * Dancing
in the Moonlight (King Harvest) * Do You Feel Like We Do (Peter
Frampton) * Don't Stop Believin' (Journey) * Faithfully (Journey) *
Fool in the Rain (Led Zeppelin) * From Me to You (The Beatles) *
Give Up the Funk (Tear the Roof Off the Sucker) (Parliament) *
Going Up the Country (Canned Heat) * The Great Gig in the Sky (Pink
Floyd) * I Love L.A. (Randy Newman) * I Saw Her Standing There (The
Beatles) * Like a Rolling Stone (Bob Dylan) * Live and Let Die
(Paul McCartney) * Love Reign O'er Me (The Who) * Money (Pink
Floyd) * Nights in White Satin (The Moody Blues) * Paranoid (Black
Sabbath) * P-Funk (Wants to Get Funked Up) (Parliament) * Pinball
Wizard (The Who) * River (Joni Mitchell) * Saturday in the Park
(Chicago) * She Loves You (The Beatles) * She's a Rainbow (The
Rolling Stones) * The Sound of Silence (Simon and Garfunkel) *
Space Oddity (David Bowie) * St. Stephen (Grateful Dead) * Stairway
to Heaven (Led Zeppelin) * Thunder Road (Bruce Springsteen) * Tom
Sawyer (Rush) * Uncle John's Band (Grateful Dead) * A Whiter Shade
of Pale (Procol Harum) * Wild Hors
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