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Books > Music > Musical instruments & instrumental ensembles
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.
This research guide is an annotated bibliography of sources dealing
with the string quartet. This second edition is organized as in the
original publication (chapters for general references, histories,
individual composers, aspects of performance, facsimiles and
critical editions, and miscellaneous topics) and has been updated
to cover research since publication of the first edition. Listings
in the previous volume have been updated to reflect the burgeoning
interest in this genre (social aspects, newly issued critical
editions, doctoral dissertations). It also offers commentary on
online links, databases, and references.
SPANISH EDITION. This is one of the most popular hymnals, used by
million of believers because it contains traditional hymns as well
as praise and worship songs.
Mozart's piano sonatas are among the most familiar of his works and
stand alongside those of Haydn and Beethoven as staples of the
pianist's repertoire. In this study, John Irving looks at a wide
selection of contextual situations for Mozart's sonatas, focusing
on the variety of ways in which they assume identities and achieve
meanings. In particular, the book seeks to establish the
provisionality of the sonatas' notated texts, suggesting that the
texts are not so much identifiers as possibilities and that their
identity resides in the usage. Close attention is paid to reception
matters, analytical approaches, organology, the role of autograph
manuscripts, early editions and editors, and aspects of historical
performance practice - all of which go beyond the texts in opening
windows onto Mozart's sonatas. Treating the sonatas collectively as
a repertoire, rather than as individual works, the book surveys
broad thematic issues such as the role of historical writing about
music in defining a generic space for Mozart's sonatas, their
construction within pedagogical traditions, the significance of
sound as opposed to sight in these works (and in particular their
sound on fortepianos of the later eighteenth-century) , and the
creative role of the performer in their representation beyond the
frame of the text. Drawing together and synthesizing this wealth of
material, Irving provides an invaluable reference source for those
already familiar with this repertoire.
Piano Star is an exciting series for young pianists, offering a
rich selection of new repertoire to help players build confidence
and musical skills. Piano Star 1 is suitable for learners who have
worked through a first tutor and includes compositions by David
Blackwell, Jane Sebba, Nancy Litten, Mike Cornick, Sarah Watts,
Edmund Jolliffe, Andrew Eales, Kathy Blackwell, Aisling Greally,
Alan Bullard, Alasdair Spratt, and Karen Marshall. Key features of
the series: - Solo pieces, plus a number of duets - A rich mix of
musical styles, with techniques introduced progressively - Fun
extension activities - Beautifully illustrated
Piano Star is an exciting series for young pianists, offering a
rich selection of new repertoire to help players build confidence
and musical skills. Piano Star 2 is at ABRSM Prep Test level and
provides alternative repertoire for that assessment and includes
compositions by David Blackwell, Edmund Jolliffe, Mike Cornick,
Aisling Greally, Christopher Norton, Mark Tanner, Sarah Watts,
Alasdair Spratt, Andrew Eales, Heather Hammond, Karen Marshall,
Nicholas Scott-Burt, Nancy Litten, Paul Harris, Alan Bullard, and
Peter Gritton. Key features of the series: - Solo pieces, plus a
number of duets - A rich mix of musical styles, with techniques
introduced progressively - Fun extension activities - Beautifully
illustrated
On the CD you will find two specially and professionally recorded
'soundalike' tracks for each song, the first being a full
demonstration with guitar showing exactly how the song should
sound. The second version is a full backing track without guitar
for you to play along with Metallica themselves! The matching music
book contains both standard notation and tablature for every song
plus chord symbols and complete lyrics for vocalists. This title
includes songs such as: "Enter Sandman"; "Fade to Black"; "Nothing
Else Matters"; and; "Ain't My Bitch".
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.
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.
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.
Each of us carries a song inside us, the song that makes us human.
ZEN GUITAR provides the key to unlocking this song - a series of
life lessons presented through the metaphor of music. Philip Sudo
offers his own experiences with music to enable us to rediscover
the harmony in each of our lives and open ourselves to Zen
awareness uniquely suited to the Western Mind. Through fifty-eight
lessons that provide focus and a guide, the reader is led through
to Zen awareness. This harmony is further illuminated through
quotes from sources ranging from Eric Clapton and Jimi Hendrix to
Miles Davis. From those who have never strummed a guitar to the
more experienced, ZEN GUITAR shows how the path of music offers
fulfillment in all aspects of life - a winning idea and an instant
classic.
No band would be complete without a bass element giving depth and
unity. "How to Play Bass Guitar" contains everything the new or
intermediate bass player needs to perfect their playing of this
vital instrument. Highly practical, the book leads you from the
basics of how to hold, fret, pluck and play scales through to
playing chord-framing patterns and muted percussive rhythms -
understanding how the bass underpins the harmonies of a band. The
clear text is accompanied by illustrative photos and diagrams, and
the guide is complemented by a chord finder, scales and modes
finder, a glossary and further reading.
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.
Teach kids how to play the recorder with fun lessons and sheet
music for beginners. The recorder is the most widely taught
instrument in schools. For the majority of children, it is their
first introduction to playing and reading music. This book which is
part of a scheme is designed for teaching new notes - D, F sharp
and high D. Recorder magic is an acclaimed recorder method for
beginners, with fresh new tunes and performance opportunities right
from the start. Perfect resources for whole class teaching of
recorders in the Wider Opportunities classroom. Suitable for both
generalist and specialist teachers.
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.
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.
First published in 1999, this biography from David Tunley draws on
newly researched documentary evidence to chart Campoli's early
success and his later struggle for recognition as a serious artist.
Campoli's early success and his later struggle for recognition as a
serious artist. Campoli's career emerges as one particularly shaped
and directed by the great economic and social forces of the first
half of the century, and the story here is as much that of his
times, as of his life. Described by Szigeti as 'one of the last
great individualists among violinists', Alfredo Campoli was a
household name in the field of British light music prior to the
Second World War. Having made his debut at the Wigmore Hall in 1923
Campoli toured with Melba and Butt, then turned to light music
during the Depression. He became one of Decca's early recording
artists and broadcast frequently for the BBC with his light music
ensembles and pursued a long, successful career as a distinguished
international performer.
Tatjana Goldberg reveals the extent to which gender and socially
constructed identity influenced female violinists' 'separate but
unequal' status in a great male-dominated virtuoso lineage by
focussing on the few that stood out: the American Maud Powell
(1867-1920), Australian-born Alma Moodie (1898-1943), and the
British Marie Hall (1884-1956). Despite breaking down traditional
gender-based patriarchal social and cultural norms, becoming
celebrated soloists, and greatly contributing towards violin works
and the early recording industry (Powell and Hall), they received
little historical recognition. Goldberg provides a more complete
picture of their artistic achievements and the impact they had on
audiences.
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.
(Music Sales America). Noel 2 is an exciting collection of Advent,
Christmas and Epiphany music for mixed voice choirs, from the easy
to learn to the more challenging and unconventional. The contents
range from the Renaissance to the present: from Bach and Sweelinck,
familiar settings of traditional and lesser known carols through
the ages to Howells and Leighton and works by today's composers
include Richard Rodney Bennett, Eric Whitacre, John Tavener, Tarik
O'Regan and Richard Allain. Among the 43 anthems, mixed voice
choirs of all levels will find new arrangements of favorite carols,
hymns with new descants, as well as stimulating original works for
the Christmas season. Songs include; Angelus Ad Virginem * Coventry
Carol * E'en So, Lord Jesus, Quickly Come (Manz) * Gloria, Dei Sir
Gesungen (Bach) * Hark! The Herald Angels Sing (Mendelssohn) *
Lullay My Liking (Holst) * Once in Royal David's City * Of a Rose
(McDowall) * Resonet in Laudibus (Praetorius) * Rocking (Tavener) *
Threshold of Night (O'Regan) * Torches (Joubert) * What Sweeter
Music (Allain) * and more.
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