As the first compendium of musical instruments in the Bible, this volume is both a reference book and a piece of serious scholarly research based on historical facts, comparative linguistic analysis, and careful musical study. In researching the musical instruments in the Bible, the sources drawn on include the main translations of the Bible both ancient and modern, the works of rabbinic teachers, Church Fathers, medieval exegetes and contemporary scholars. The Compendium contains a historical survey and 34 specific entries. The survey outlines the background of Hebrew instrumental music, its origin and links with neighbouring cultures, the role of instruments in the religious, social, public and private life of ancient Israel, and the system of musical education. It also traces the development of Hebrew musical instruments in post-biblical times, showing their new symbolic significance in the writings of the Church Fathers, in the comments of the Medieval and Renaissance exegetes, and culturally based interpretations of the terms for the instruments in translations of the Bible into different languages both ancient and modern. The specific entries include the whole range of instrumental terminology, including ambiguous terms that may have instrumental meaning. The Compendium also contains indices, a glossary of Biblical and Talmudic terms, a bibliography, a list of all the references to musical instruments in the Bible, a table of instrumental ensembles and a summary table of their names as found in different Bible versions. The Compendium is intended for specialists in various disciplines: theologians, historians, philologists and Bible translators, as well as for all who would like to have a deeper understanding of the Book of Books.

"Both as a person and as a musician, he was number one in my book." -Benny Carter Bassist George Duvivier (1920-1985) was one of the most universally respected musicians in jazz. His impeccable musicianship graced the big bands in the 1940s and led to musical associations with virtually every important jazz and popular artist. His prolific recording career spanned all styles of music, from Eubie Blake to Eric Dolphy, Billie Holiday to Barry Manilow. Duvivier was a most astute and articulate observer of the musical scene. A large part of this book is devoted to his own reflections on growing up in Harlem in the 1920s and 1930s, the evolution of the bass, life in the commercial studios, and his memories of close associates-Coleman Hawkins, Jimmie Lunceford, Bud Powell, Lena Horne, and many others. In addition, twenty of Duvivier's colleagues, including Louie Bellson, Ron Carter, Milt Hinton, Ed Shaughnessy, Arthur Taylor, and Joe Wilder, have contributed, covering a variety of musical and social issues, as well as providing a loving portrait of an extraordinary artist. Duvivier's musical style is discussed by David Chevan, who has included transcriptions of several solos. An extensive discography/solography traces Duvivier's incredibly diverse recording career. With dozens of previously unpublished photos.

The first detailed contextual study of chamber music in Beethoven's Vienna, at a time when the string quartet reigned supreme among the different chamber genres This book is the first detailed contextual study of string quartets in Beethoven's Vienna, at a time when that genre reigned supreme among the different chamber genres. Focusing on a key transition period in the early nineteenth century, which bore witness to fundamental shifts in the 'private' sphere of music-making, it explores the 'cultivation' of string quartets by composers, critics, listeners, performers, publishers and patrons. The book highlights these parties' interactions, ideas and ideals, which were central to defining the unique cultures of chamber music arising at this time. We gain fresh insights into publishing and marketing, performance venues and practices, review culture, listening theories and practices, and composition in early nineteenth-century Vienna. Until now, the unique theatricality of chamber music, and the 'social' nature of its discourse, has been poorly appreciated. Cultivating String Quartets in Beethoven's Vienna addresses this misconception and enriches our understanding of this crucial period of change, in which concert life began and previously 'private' music was moved out onto the stage. NANCY NOVEMBER is Associate Professor in Musicology at the University of Auckland.

Since the publication of Solomon Volkov's disputed memoirs of Dmitri Shostakovich, the composer and his music has been subject to heated debate concerning how the musical meaning of his works can be understood in relationship to the composer's life within the Soviet State. While much ink has been spilled, very little work has attempted to define how Shostakovich's music has remained so arresting not only to those within the Soviet culture, but also to Western audiences - even though such audiences are often largely ignorant of the compositional context or even the biography of the composer. This book offers a useful corrective: setting aside biographically grounded and traditional analytical modes of explication, Reichardt uncovers and explores the musical ambiguities of four of the composer's middle string quartets, especially those ambiguities located in moments of rupture within the musical structure. The music is constantly collapsing, reversing, inverting and denying its own structural imperatives. Reichardt argues that such confrontation of the musical language with itself, though perhaps interpretable as Shostakovich's own unique version of double-speak, also poignantly articulates the fractured state of a more general form of modern subjectivity. Reichardt employs the framework of Lacanian psychoanalysis to offer a cogent explanation of this connection between disruptive musical process and modern subjectivity. The ruptures of Shostakovich's music become symptoms of the pathologies at the core of modern subjectivity. These symptoms, in turn, relate to the Lacanian concept of the real, which is the empty kernel around which the modern subject constructs reality. This framework proves invaluable in developing a powerful, original hermeneutic understanding of the music. Read through the lens of the real, the riddles written into the quartets reveal the arbitrary and contingent state of the musical subject's constructed reality, reflecting pathologies ende

Worldwide in scope and covering the second half of the 20th century, this work provides biographies and discographies of some 500 conductors and composers in many aspects of light and popular orchestral music, including film, show, theatre, and mood music. This is the first time the lives and recordings of such artists as Kostelanetz, Faith, Gould, as well as the orchestral recordings of such great popular composers as Gershwin, Kern, Porter, Rodgers, Berlin, and Coward, have been adequately documented and consolidated in an encyclopedic fashion. Almost 5,000 records and CDs are listed. Of interest to scholars, students, disc jockeys, record and CD collectors, film music buffs, and mood and production music enthusiasts. Popular orchestral music has been a neglected and often erroneously perceived and misunderstood genre in the 20th century. It has certainly not received the attention that it deserves and seems to be viewed as a "Cinderella" in relation to classical music and jazz. The genre, especially in the last 50 years, has been graced by exceptionally fine and highly esteemed conductors and arrangers, and also by a large number of highly regarded composers.

This book, the first of its kind, is a study of Bolognese instrumental music during the height of the city's musical activity in the late seventeenth century. The period"marked by a rapid expansion of the cappella musicale of the principal city church, San Petronio, by the founding of the Accademia Filarmonica, and by increasingly lavish patronage of musical events"witnessed the proliferation of repertory for instrumental ensembles. This music not only reveals crucial stages in the development of the sonata and concerto but also recalls the elaborate church rituals and the opulent public and private celebrations in which they figured prominently. Moreover, the late seventeenth century saw the heyday of Bolognese music publishing, whose output of sonatas and related instrumental genres easily surpassed that of the once-dominating Venetian presses. The approach taken here departs from composer- and genre-centered monographs on Italian instrumental music in order to illuminate an array of topics that center on the Bolognese repertory: the social condition of instrumentalist-composers; the acumen of music publishers in the creation of the repertory; the diverse contexts of the instrumental dances; the influence of liturgical traditions on sonata topoi; the impact of psalmodic practice on tonal style; and the innovative climate that led to experiments with scoring and form in the earliest instrumental concertos. In sum, this book not only illustrates the historically significant and defining features of the music, but also links the surviving repertory to the flourishing musical culture in which it was created.

After decades of stagnation during the reign of his father, the 'Barracks King', the performing arts began to flourish in Berlin under Frederick the Great. Even before his coronation in 1740, the crown prince commenced recruitment of a group of musician-composers who were to form the basis of a brilliant court ensemble. Several composers, including C.P.E. Bach and the Graun brothers, wrote music for the viola da gamba, an instrument which was already becoming obsolete elsewhere. They were encouraged in this endeavour by the presence in the orchestra from 1741 of Ludwig Christian Hesse, one of the last gamba virtuosi, who was described in 1766 as 'unquestionably the finest gambist in Europe'. This study shows how the unique situation in Berlin produced the last major corpus of music written for the viola da gamba, and how the more virtuosic works were probably the result of close collaboration between Hesse and the Berlin School composers. The reader is also introduced to the more approachable pieces which were written and arranged for amateur viol players, including the king's nephew and ultimate successor, Frederick William II. O'Loghlin argues that the aesthetic circumstances which prevailed in Berlin brought forth a specific style that is reflected not only in the music for viola da gamba. Characteristics of this Berlin style are identified with reference to a broad selection of original written sources, many of which are hardly accessible to English-speaking readers. There is also a discussion of the rather contradictory reception history of the Berlin School and some of its composers. The book concludes with a complete thematic catalogue of the Berlin gamba music, with a listing of original manuscript sources and modern publications. The book will appeal to professional and amateur viola da gamba players as well as to scholars of eighteenth-century German music.

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.

Written when the composer was just 17 to 18 years of age, these romantic-styled pieces for piano trio were dedicated to 3 friends, Natalya, Lyudmila, and Vera Skalon. They feature a short passage that would later be used in Rachmaninoff's 2nd Piano Concerto, beginning the 2nd movement. It is an especially nice, and playable, ensemble concert piece, technically within the reach of late intermediate artists.

This volume considers the influences and development of the English organ sonata tradition that began in the 1850s with compositions by W. T. Best and William Spark. With the expansion of the instrument's capabilities came an opportunity for organist-composers to consider the repertoire anew with many factors reinforcing a desire to elevate the literature to new heights. This study begins by examining the legacy of the keyboard sonata in Britain and especially the pedagogical lineage that was to be seen through Mendelssohn and ultimately the early organ sonatas. The abiding influence of William Crotch's lectures are studied to illuminate how a culture of conservatism emboldened the organist-composers towards compositions that were seen to represent the ideals of the Classical era but in a contemporary vein. The veneration of Bach, Mozart and Beethoven is then examined as composers wrote "portfolio" sonatas, each with a movement in a contrasting style to exhibit their compositional prowess while providing repertoire for the novice and connoisseur alike. Finally the volume considers how the British organist-composers who studied at the Leipzig Conservatorium had a direct bearing on the furtherance of an organ culture at home that in turn set the ground for the seminal work in the genre, Elgar's Sonata of 1895.

A very popular middle C approach that develops in a methodical manner. Not only a treat to the ear but the illustrations are a delight to the eye!

Puerto Rican born Jesus Maria Sanroma (1902-1984) was one of the leading pianists in the United States. After graduating from the New England Conservatory, he embarked on an enviable concert career as official pianist for the Boston Symphony Orchestra, as well as soloist with other leading American orchestras. He was an accompanist, a recording artist, and a teacher, and he also stimulated and commissioned composers to write new music, fueled by his eagerness to present it to the general public. Jesus Maria Sanroma: An American Twentieth-Century Pianist is the first biography of this talented performer and one of the first books written about a native Puerto Rican classical musician. The book depicts many facets of Sanroma's life: his youth in Puerto Rico; his training at the Conservatory and abroad; his amazing concert career and collaboration with first-class musicians, conductors, and composers; his historical performances and recordings; and the zenith of his musical life when he returned home. Alberto Hernandez provides abundant information about Sanroma's life, career, and professional relationships, uniquely documenting the pianist's close association and collaboration with Paul Hindemith, Serge Koussevitzky, Walter Piston, Nicolas Slonimsky, Vladimir Dukelsky, Mrs. Edward MacDowell, Arthur Fiedler, William Primrose, and many others. Two appendixes offer the complete sound archives and a list of Sanroma's impressive orchestra repertory, making this book a valuable reference as well as an informative read for music lovers and students of American and Latin American history.

From the swelling synths of Depeche Mode to the dance-friendly grooves of Thomas Dolby and from the power ballads of Journey to the New Power Generation of Prince the music of the '80s was infused with the sound of keyboards. You'll learn:THU How technological developments in keyboards helped artists such as Erasure Human League Peter Gabriel Kraftwerk Bruce Hornsby Frank Zappa and Jam and Lewis create entirely new sounds a and how their production tricks can help you make great music today.THU How to recreate the sounds of the '80s using the soft synths and recording software you already have on your computer.THU The breakdowns of the piano and keyboard parts for stadium rockers by Night Ranger Journey and Bon Jovi.

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. "

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.

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.

Improve your guitar-playing rhythm, feel, and timing If you want to improve your timing, sharpen your technique, or get inspired by new ideas, Guitar Rhythm & Technique For Dummies breaks down the basics of reading, counting, strumming, and picking rhythms on guitar to make you an ace on the axe in no time. With the help of this friendly guide, you'll learn to play examples of eighth and sixteenth note rhythms including common strum patterns heard in popular music to improve your guitar rhythm, feel, and timing. Plus, access to audio downloads and online video lessons complement the coverage presented in the book, giving you the option of supplementing your reading with additional visual and audio learning. There's no denying that guitar is one of the coolest musical instruments on the planet. Okay, perhaps undeniably the coolest. Whether you bow at the feet of Chuck Berry, Keith Richards, the Edge, or Eddie Van Halen, they all have one thing in common: they make it look incredibly, naturally easy! However, anyone who's actually picked up a guitar knows that mastering rhythm and technique is something that takes a lot of practice not to mention good coaching. Luckily, Guitar Rhythm & Technique For Dummies makes your aspirations to play guitar like the pros attainable with loads of helpful step-by-step instruction on everything from mastering hammer-ons, pull-offs, and slides to perfecting your picking and beyond. * Covers strum patterns, articulations, picking techniques, and more * Showcases musical styles such as pop, rock, blues, folk, and funk * Includes techniques for playing with both your right and left hand * Provides access to online audio tracks and video instruction so you can master the concepts and techniques presented in the book Whether you're new to guitar or an advanced player looking to improve your musical timing and skills, Guitar Rhythm & Technique For Dummies quickly gets you in the groove before the rhythm gets you.

(Faber Piano Adventures ). The 2nd Edition Level 1 Lesson Book introduces all the notes of the grand staff, elementary chord playing, and the concept of tonic and dominant notes. Students play in varied positions, reinforcing reading skills and recognizing intervals through the 5th. Musicianship is built with the introduction of legato and staccato touches. This level continues the interval orientation to reading across the full range of the Grand Staff. The 5-finger approach is presented here in a fresh, musically appealing way.

for SATB and organ This setting of Psalm 139 by Chilcott is warm and mesmerizing. The chant-like texture and shifting tonalities impart the sensation of being entranced in prayer. The words offer respite, as one is safe in the omnipresence of God. Tranquil yet powerful, this work captures a sense of the total stillness after a storm. The sustained chords in the organ swell and fall, binding and supporting the choir's phrases while adding to the magical atmosphere of the anthem.

This volume contains valuable practice material for candidates preparing for the ABRSM Grade 6 Piano exams. The book is written in attractive and approachable styles and representative of the technical level expected in the exam.

(Guitar Method). Guitarists of all levels will find a wealth of practical music knowledge in this special book and CD package. Veteran guitarist and author Tom Kolb dispels the mysteries of music theory using plain and simple terms and diagrams. The accompanying CD provides 94 tracks of music examples, scales, modes, chords, ear training, and much more

Meticulously collected from recordings, square and contra dances, fiddle contests, jam sessions and individual fiddlers- this book is meant to provide a snapshot of what American fiddlers were playing and listening to in the latter part of the 20th Century. As the vinyl record format disappears from the marketplace, a great deal of recorded fiddle music will no longer be available. In this book, Stacy Phillips shares the fruits of some timely collecting for all fiddlers to enjoy. Bowings, fingerings, and guitar chords are provided for each melody line.

This is the first book to develop both the theory and the practice of synthesizing musical sounds using computers. Each chapter starts with a theoretical description of one technique or problem area and ends with a series of working examples (over 100 in all), covering a wide range of applications. A unifying approach is taken throughout; chapter two, for example, treats both sampling and wavetable synthesis as special cases of one underlying technique. Although the theory is presented quantitatively, the mathematics used goes no further than trigonometry and complex numbers. The examples and supported software -- along with a machine-readable version of the text -- are available on the web and maintained by a large online community. The Theory and Techniques of Electronic Music is valuable both as a textbook and as professional reading for electronic musicians and computer music researchers.