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.

“A hot-rod joy ride through mid-20th-century American history” (The New York Times Book Review), this one-of-a-kind narrative masterfully recreates the rivalry between the two men who innovated the electric guitar’s amplified sound—Leo Fender and Les Paul—and their intense competition to convince rock stars like the Beatles, Jimi Hendrix, and Eric Clapton to play the instruments they built. In the years after World War II, music was evolving from big-band jazz into rock ’n’ roll—and these louder styles demanded revolutionary instruments. When Leo Fender’s tiny firm marketed the first solid-body electric guitar, the Esquire, musicians immediately saw its appeal. Not to be out-maneuvered, Gibson, the largest guitar manufacturer, raced to build a competitive product. The company designed an “axe” that would make Fender’s Esquire look cheap and convinced Les Paul—whose endorsement Leo Fender had sought—to put his name on it. Thus was born the guitar world’s most heated rivalry: Gibson versus Fender, Les versus Leo. While Fender was a quiet, half-blind, self-taught radio repairman, Paul was a brilliant but headstrong pop star and guitarist who spent years toying with new musical technologies. Their contest turned into an arms race as the most inventive musicians of the 1950s and 1960s—including bluesman Muddy Waters, rocker Buddy Holly, the Beatles, Bob Dylan, and Eric Clapton—adopted one maker’s guitar or another. By 1969 it was clear that these new electric instruments had launched music into a radical new age, empowering artists with a vibrancy and volume never before attainable. In “an excellent dual portrait” (The Wall Street Journal), Ian S. Port tells the full story in The Birth of Loud, offering “spot-on human characterizations, and erotic paeans to the bodies of guitars” (The Atlantic). “The story of these instruments is the story of America in the postwar era: loud, cocky, brash, aggressively new” (The Washington Post).

Festival hymn with introductory fanfare for mixed choir, brass ensemble (4 trumpets, 2 trombones or 2 horns, bass trombone and optional tuba), timpani, percussion and organ An alternative orchestral accompaniment is available on hire. No. 1 of Two Hymns of Praise

EThe Guitar Amp Handbook: Understanding Tube Amplifiers and Getting Great Sounds Updated EditionE brings fresh information to the table to help guitarists understand everything about what makes their amps tick and how to use them to sound better than ever. It builds on the popular original edition of the book first published in 2005.THCentral to the book's success is the way it walks musicians through the significance of each crucial circuit stage and component of a great number of classic and modern tube amp designs helping guitarists get the most from the amps they already own or choose new amps that are best suited to their needs.THEThe Guitar Amp HandbookE reveals many of the tips and tricks used by today's top designers and builders and it debunks the hype used by the marketing departments at large manufacturers keen on selling specific amps that might not be right for particular players. The book is designed to help guitarists understand what really goes on inside tube amps and where the tone comes from. This new updated and expanded edition adds further knowledge to the foundation ensuring it continues as the most thorough and authoritative publication on the subject to be found anywhere.

This book assesses the influence and reception of many different forms of guitar playing upon the classical guitar and more specifically through the prism of John Williams. Beginning with an examination of Andres Segovia and his influence upon Williams' life's work, a further three incisive chapters cover key areas such as performance, perception, education and construction, considering social and cultural contexts of the guitar over the past century. A final chapter on new directions in classical guitar examines the change in reception of the instrument from the mid-1970s to the present day, and Williams' impact upon what might be termed 'standard classical guitar repertoire'. With in-depth discussion of the cultural and perceptual impact of Williams' more daring crossover projects and numerous musical examples, this is an informative reference for all classical guitar practitioners, as well as scholars and researchers of guitar studies, reception studies, cultural musicology and performance studies. An online lecture by the author and a transcript of the author's interview with John Williams are also available as e-resources.

What does it mean to perform expressively on the cello? In Cello Practice, Cello Performance, professor Miranda Wilson teaches that effectiveness on the concert stage or in an audition reflects the intensity, efficiency, and organization of your practice. Far from being a mysterious gift randomly bestowed on a lucky few, successful cello performance is, in fact, a learnable skill that any player can master. Most other instructional works for cellists address techniques for each hand individually, as if their movements were independent. In Cello Practice, Cello Performance, Wilson demonstrates that the movements of the hands are vitally interdependent, supporting and empowering one another in any technical action. Original exercises in the fundamentals of cello playing include cross-lateral exercises, mindful breathing, and one of the most detailed discussions of intonation in the cello literature. Wilson translates this practice-room success to the concert hall through chapters on performance-focused practice, performance anxiety, and common interpretive challenges of cello playing. This book is a resource for all advanced cellists-college-bound high school students, undergraduate and graduate students, educators, and professional performers-and teaches them how to be their own best teachers.

Join the superhero world of Lang Lang and come on a piano adventure with The Lang Lang Piano Method Level 5. Level 5 progresses with the following: extending technique, rhythms and keys through progressive repertoire featuring fun original pieces, classic themes and evocative world tunes. 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

Thomas Ravenscroft is best-known as a composer of rounds owing to his three published collections: Pammelia and Deuteromelia (both 1609), and Melismata (1611), in addition to his harmonizations of the Whole Booke of Psalmes (1621) and his original sacred works. A theorist as well as a composer and editor, Ravenscroft wrote two treatises on music theory: the well-known A Briefe Discourse (1614), and 'A Treatise of Practicall Musicke' (c.1607), which remains in manuscript. This is the first book to bring together both theoretical works by this important Jacobean musician and to provide critical studies and transcriptions of these treatises. A Briefe Discourse furthermore introduces an anthology of music by Ravenscroft, John Bennet, and Ravenscroft's mentor, Edward Pearce, illustrating some of the precepts in the treatise. The critical discussion provided by Duffin will help explain Ravenscroft's complicated consideration of mensuration, in particular.

Vaughan Williams's Prelude and Fugue in C minor (1921) is characterized by a sense of drama and punctuated by bristling dissonances. The Prelude's ritornello-like alternation of chordal grandeur and rapid imitative sections recalls Bach's great organ Prelude and Fugue in the same key, while the rhythmically complicated Fugue, whose subject looks ahead to the composer's Sixth Symphony, displays great ingenuity in its counterpoint, fully justifying the assertiveness of its final peroration in C major.

While written works of nineteenth and early twentieth century flute virtuosos remain a foundation of modern flute study, and despite a recent proliferation of historical recordings reissued on CD, much less is known about their recorded legacy. The recordings, now more accessible, allow increased awareness of these musicians, their repertoire, and their performance styles. The availability of these compact discs and their importance shows the need for a thorough discography of the flute. The Flute on Record: The 78 rpm Era serves as a comprehensive and practical guide to the wealth of flute recordings made between 1889 and 1954. The discography lists commercial, private, and unpublished recordings, on cylinders and 78 rpm discs, for over two hundred national and international flutists. Recordings are logged in meticulous detail, including dates and locations, matrix numbers, domestic and foreign catalog numbers, and corresponding long-playing reissues. Solo works, chamber music, and vocal and orchestral works that feature flute passages are addressed in the citations, and in complete appendixes of anonymous recordings. Details about broadcast transcriptions, live performance transcriptions, and films are also included. Notes and bibliographies offer background information on additional recordings and repertory, and provide a link between modern study and historical evidence. With a list of record labels and numerical series, as well as indexes for composers and additional musicians, this important resource is accessible to researchers, collectors, and general users alike. The various components combine to create a fuller understanding of the importance of these classic recordings.

for organ manuals
This collection of 25 titles includes preludes, postludes, and other music for services and concerts. All pieces can be played effectively on a one-manual organ with appropriate stops. This is the second book in a progressive series.

In Chamber Orchestra and Ensemble Repertoire, Dirk Meyer provides conductors, musicians, and librarians with all the information needed to plan their performances of modern chamber music. Meyer lists almost 4,000 works written during the 20th and 21st centuries, representing more than 1,100 composers. Entries are divided into three categories: Chamber Orchestra, String Orchestra, and Ensemble. Presented alphabetically by composer, each entry fully describes the composition, including its duration, year of composition, availability, publisher, and complete instrumentation. The comprehensive appendix allows users to search for repertoire based on a variety of criteria, such as instrumentation, duration, solo instruments, and solo voices. As a catalog of modern music, the appendix also provides categories for 21st-century repertoire as well as compositions that use electronics.

The Black Horn: The Story of Classical French Hornist Robert Lee Watt tells the story of the first African American French Hornist hired by a major symphony in the United States. Today, few African Americans hold chairs in major American symphony orchestras, and Watt is the first in many years to write about this uniquely exhilarating-and at times painful-experience. The Black Horn chronicles the upbringing of a young boy fascinated by the sound of the French horn. Watt walks readers through the many obstacles of the racial climate in the United States, both on and off stage, and his efforts to learn and eventually master an instrument little considered in the African American community. Even the author's own father, who played trumpet, sought to dissuade the young classical musician in the making. He faced opposition from within the community-where the instrument was deemed by Watt's father a "middle instrument suited only for thin-lipped white boys"-and from without. Watt also documented his struggles as a student at a nearly all-white major music conservatory, as well as his first job in a major symphony orchestra after the conservatory canceled his scholarship. Watt subsequently chronicles his triumphs and travails as a musician when confronting the realities of race in America and the world of classical music. This book will surely interest any classical musician and student, particularly those of color, seeking to grasp the sometimes troubled history of being the only "black horn."

The largest Satie collection of piano works yet published, 17 in all, reprinted from the original French editions.

As part of Scarecrow Press's Music Finders series, this go-to reference source provides pertinent information about the standard repertoire of works heard today in the great concert halls and recorded by the most prominent professionals. Drawing on extensive research of musical programs performed on the world's stages, Nardolillo selects only those works performed and recorded by great performers and regularly studied in conservatories by students of leading pedagogues. Organized alphabetically by composer, each entry in The Canon of Violin Literature includes the title, date of composition, date and performer of premiere, key, duration, instrumentation, and movements of the work. In addition, entries include brief notes offering historical, technical, and performance information crucial to study of the work. Finally, each entry offers information on the publishers, editions, and editors of the sheet music, concluding with a list of several recordings by famous artists and recommended books for further information about the piece. Appendixes include a chronological listing of the works, a grouping by genre, an index of piece titles, an index of performers, and a bibliography of other reference books for violinists. In addition to hard-to-find information on premieres, commissions, and editions, The Canon of Violin Literature supplies performers and teachers with the name of the violinist who provided fingerings and bowings for each edition, as well as accurate dates for when the work was edited. The Canon of Violin Literature is for performers of violin repertoire; private teachers and college professors in need of a guide to help them assign appropriate works for students' recitals, juries, and competitions; and chamber series directors, musicologists, and editors planning concert seasons, creating programs, and writing liner notes for recordings.

This definitive encyclopaedic work explores the origins of percussion through the development of the early drums and xylophones right up to the wide range of modern instruments and the sounds they make. James Blades covers these early developments globally from China and the Far East, India and Tibet, the early civilisations in Mesopotamia, Egypt, Greece, Rome and Persia through to mediaeval and renaissance Europe. He continues to examine the role of percussion in the classical and romantic orchestras and finally looks at the ways composers have pushed the boundaries in modern music. Each chapter has its own photographs, illustrations and bibliography and there are comprehensive indices referencing all the composers and works discussed. This extended edition includes two important new chapters. The first covers the rise of the solo percussionist and is written by the world's leading practitioner and one of Blades' former pupils, Dame Evelyn Glennie, who also contributes a new Foreword, while recent developments in orchestral percussion are covered by Neil Percy, Head of Timpani and Percussion at the Royal Academy of Music and Principal Percussionist of the London Symphony Orchestra.

A book that clearly explains the principles of jazz soloing. Logically organized, with hundreds of musical examples, this method is the result of many years of Ted's teaching and research.

(Faber Piano Adventures ). The 2nd Edition Level 2B Lesson Book offers a systematic approach to scales, primary chords (I, IV, V7), and transposition for the keys of C, G, and F major. This new edition features nine new songs, plus enhanced arrangements of favorite pieces from the first edition. The new "Scale and Chord Adventures" appendix offers teachers the flexibility to explore major and minor scale and chord patterns in all twelve keys.

Since the early days of silent film accompaniment, the piano has played an integral part in the history of cinema. Film's fascination with the piano, both in soundtracks and onscreen as a status symbol and icon of popular romanticism, offers a revealing opportunity to chart the changing perception of the instrument. From Mozart to Elton John, this book surveys the cultural history of the piano through the instrument's cinematic functions. Composer biopics, such as A Song to Remember, romantic melodramas like the Liberace vehicle Sincerely Yours, and horror films such as The Hands of Orlac, along with animated cartoons featuring Bugs Bunny and Tom and Jerry demonstrate just how pervasive the cinematic image of the piano once was during a period when the piano itself began its noticeable decline in everyday life. By examining these depictions of the piano onscreen, readers will begin to understand not only the decline of the piano but also the decline of the idealistic culture to which it gave birth in the nineteenth century.

More than eighty years have passed since Edgard Varese's catalytic work for percussion ensemble, Ionisation, was heard in its New York premiere. A flurry of pieces for this new medium dawned soon after, challenging the established truths and preferences of the European musical tradition while setting the stage for percussion to become one of the most significant musical advances of the twentieth century. This 'revolution', as John Cage termed it, was a quintessentially modernist movement - an exploration of previously undiscovered sounds, forms, textures, and styles. However, as percussion music has progressed and become woven into the fabric of Western musical culture, several divergent paths, comprised of various traditions and a multiplicity of aesthetic sensibilities, have since emerged for the percussionist to pursue. This edited collection highlights the progressive developments that continue to investigate uncharted musical grounds. Using historical studies, philosophical insights, analyses of performance practice, and anecdotal reflections authored by some of today's most engaged performers, composers, and scholars, this book aims to illuminate the unique destinations found in the artistic journey of the modern percussionist.

for cello Cello Time Joggers is a landmark book in the popular Cello Time series, which is enjoyed by students and teachers all over the world. It contains Kathy and David Blackwell's trademark attractive and engaging compositions that appeal to learners of all ages. Lively original pieces, traditional tunes, and easy duets take the learner from open strings to all fingers down in finger pattern 0-1-34. Appealing and exciting play-along tracks, with live band, are available on major streaming platforms or to download from a companion website. Stylish piano and cello accompaniments are also available in separate books.

Piano Makers in Russia in the Nineteenth Century is a richly detailed thematic study of the history of the piano in Russian society from its beginnings with the European artisans who settled in St. Petersburg in the early decades of the century through the transition to Russian-owned family firms. The piano played a defining role in the shaping of Russia's musical culture in the nineteenth century, as artisans and entrepreneurs provided the foundation for the great tradition of the Russian virtuoso in the performance and the composition of piano music. It also helped bring about a transformative change in the material culture as the piano expanded its reach from the court and the nobility to include music enthusiasts from all social classes and Russian families in their homes. This historical study brings to light the impact of neglected piano artisans in nineteenth-century Russia, and presents a fresh view of the social and economic ties between the state and the piano-manufacturing artisans in an era largely defined by handcrafting and entrepreneurship. It contributes significantly to current issues surrounding the role of the piano and the entrepreneur-artisans in the urban centers of imperial Russia and represents an expansion of what is currently known about the piano builders who established workshops in Russia beginning in the late 1830s and 1840s, well before the heyday of the virtuoso in that country. Rare documents, including letters, memoirs, gazettes, exhibition catalogs, music journals, and administrative reports, form the nucleus of this book and provide fascinating insights about state and private patronage and the class/economic issues related to the affordability and prestige of the piano in Russia. Issues surrounding the transformation of the music industry in Russia, the role of women as patrons and performers, the exportation of instruments to the Russian Far East, and the complex system of tariffs and trade protection that benefited domestic piano manufacturers provide this book's thematic links. Conclusions indicate that while favorable tariff laws and state-imposed economic policies benefited the family-owned firms in the nineteenth century, they remained in effect in the decades after the nationalization of the piano industry in 1917.

The Theory Books of the DAVID CARR GLOVER PIANO LIBRARY are written in "programed instruction" style, one of the most effective means of learning in modern education. Programed instruction is based on three generally accepted principles: 1. The material is presented in small steps called "frames." 2. The student makes an immediate written response to each frame so that his learning is constantly checked. 3. The student knows if his answer is correct. The Theory Books are written for the Preparatory Age piano student. However, the fundamentals of music are presented in a logical order making the books useful for any beginner. The Theory books are correlated to the DAVID CARR GLOVER PIANO LIBRARY, but can be used with any course on music of this level of advancement.

Robert M. Garcia, a professional drummer from the age of 17, attended Florida A&M University (FAMU), in Tallahassee, and later studied at the Berklee College of Music, in Boston, Massachusetts. During his freshman and sophomore years at FAMU (1968-1970), he was on the drum line of the world famous band, the FAMU Marching 100. Through the years, Garcia became widely known as a master drummer. However, later in his life, for reasons revealed in this book, he switched his focus from drums to the grand harp. Robert Garcia became a skilled and versatile harpist. His music was a joy to the many people who saw and heard him perform. . . . The fact that Robert was able to move over to the harp is a sign that he always had a pitched-instrument player nestled within his musical gift. It is a great blessing that he was able to express this part of his musical personality later in his career. The fact that he enjoyed such success at this is clearly a testament to the versatility and depth of his musical talent. -Vern C. Falby, Ph.D. Faculty, Music Theory Peabody Conservatory of the Johns Hopkins University