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Books > Arts & Architecture > Music > Musical instruments & instrumental ensembles

The Australian Symphony from Federation to 1960 (Paperback): Rhoderick Mcneill The Australian Symphony from Federation to 1960 (Paperback)
Rhoderick Mcneill
R1,532 Discovery Miles 15 320 Ships in 12 - 17 working days

The symphony retained its primacy as the most prestigious large-scale orchestral form throughout the first half of the twentieth century, particularly in Britain, Russia and the United States. Likewise, Australian composers produced a steady stream of symphonies throughout the period from Federation (1901) through to the end of the 1950s. Stylistically, these works ranged from essays in late nineteenth-century romanticism, twentieth-century nationalism, neo-classicism and near-atonality. Australian symphonies were most prolific during the 1950s, with 36 local entries in the 1951 Commonwealth Jubilee Symphony competition. This extensive repertoire was overshadowed by the emergence of a new generation of composers and critics during the 1960s who tended to regard older Australian music as old-fashioned and derivative. The Australian Symphony from Federation to 1960 is the first study of this neglected genre and has four aims: firstly, to show the development of symphonic composition in Australia from Federation to 1960; secondly, to highlight the achievement of the main composers who wrote symphonies; thirdly, to advocate the restoration and revival of this repertory; and, lastly, to take a step towards a recasting of the narrative of Australian concert music from Federation to the present. In particular, symphonies by Marshall-Hall, Hart, Bainton, Hughes, Le Gallienne and Morgan emerge as works of particular note.

Piano Time 2 (Sheet music, New): Pauline Hall Piano Time 2 (Sheet music, New)
Pauline Hall
R345 Discovery Miles 3 450 Ships in 9 - 15 working days

Piano Time 2 builds on the techniques acquired in Piano Time 1, extending the range of notes and time signatures and including tones and semitones, chords and triads, arpeggios, major and minor scales, and keep-fit exercises for the left hand. It also introduces simple pedalling, new signs and symbols, and pieces to help players get around the whole keyboard.

Heinrich Wilhelm Ernst: Virtuoso Violinist (Paperback): Mark Rowe Heinrich Wilhelm Ernst: Virtuoso Violinist (Paperback)
Mark Rowe
R1,621 Discovery Miles 16 210 Ships in 12 - 17 working days

From 1840-57, Heinrich Ernst was one of the most famous and significant European musicians, and performed on stage, often many times, with Berlioz, Mendelssohn, Chopin, Liszt, Wagner, Alkan, Clara Schumann, and Joachim. It is a sign of his importance that, in 1863, Brahms gave two public performances in Vienna of his own and Ernst's music to raise money for the now mortally ill violinist. Berlioz described Ernst as 'one of the artists whom I love the most, and with whose talent I am most sympathetique', while Joachim was in no doubt that Ernst was 'the greatest violinist I ever heard; he towered above the others'. Many felt that he surpassed the expressive and technical achievements of Paganini, but Ernst, unlike his great predecessor, was also a tireless champion of public chamber music, and did more than any other early nineteenth-century violinist to make Beethoven's late quartets widely known and appreciated. Ernst was not only a great virtuoso but also an accomplished composer. He wrote two of the most popular pieces of the nineteenth century - the Elegy and the Carnival of Venice - and he is best known today for two solo pieces which represent the ne plus ultra of technical difficulty: the transcription of Schubert's Erlking, and the sixth of his Polyphonic Studies, the variations on The Last Rose of Summer. Perhaps he made his greatest contribution to music through his influence on Liszt's outstanding masterpiece, the B minor piano sonata. In 1849, Liszt conducted Ernst playing his own Concerto Pathetique, a substantial single-movement work, in altered sonata form, using thematic transformation. Soon after this performance, Liszt wrote his Grosses Konzertsolo (1849-50), his first extended single-movement work, using altered sonata form, and thematic transformation. This is now universally acknowledged to be the immediate forerunner of the sonata, which refines and develops all these techniques. Liszt made his debt clear when, three years after completi

Early English Viols: Instruments, Makers and Music (Hardcover): Michael Fleming, John Bryan Early English Viols: Instruments, Makers and Music (Hardcover)
Michael Fleming, John Bryan
R4,678 Discovery Miles 46 780 Ships in 12 - 17 working days

Winner of the Nicholas Bessaraboff Prize Musical repertory of great importance and quality was performed on viols in sixteenth- and early seventeenth-century England. This is reported by Thomas Mace (1676) who says that 'Your Best Provision' for playing such music is a chest of old English viols, and he names five early English viol makers than which 'there are no Better in the World'. Enlightened scholars and performers (both professional and amateur) who aim to understand and play this music require reliable historical information and need suitable viols, but so little is known about the instruments and their makers that we cannot specify appropriate instruments with much precision. Our ignorance cannot be remedied exclusively by the scrutiny or use of surviving antique viols because they are extremely rare, they are not accessible to performers and the information they embody is crucially compromised by degradation and alteration. Drawing on a wide variety of evidence including the surviving instruments, music composed for those instruments, and the documentary evidence surrounding the trade of instrument making, Fleming and Bryan draw significant conclusions about the changing nature and varieties of viol in early modern England.

Musical Creativity: Insights from Music Education Research (Paperback): Oscar Odena Musical Creativity: Insights from Music Education Research (Paperback)
Oscar Odena
R1,474 Discovery Miles 14 740 Ships in 12 - 17 working days

How do we develop musical creativity? How is musical creativity nurtured in collaborative improvisation? How is it used as a communicative tool in music therapy? This comprehensive volume offers new research on these questions by an international team of experts from the fields of music education, music psychology and music therapy. The book celebrates the rich diversity of ways in which learners of all ages develop and use musical creativity. Contributions focus broadly on the composition/improvisation process, considering its conceptualization and practices in a number of contexts. The authors examine how musical creativity can be fostered in formal settings, drawing examples from primary and secondary schools, studio, conservatoire and university settings, as well as specialist music schools and music therapy sessions. These essays will inspire readers to think deeply about musical creativity and its development. The book will be of crucial interest to music educators, policy makers, researchers and students, as it draws on applied research from across the globe, promoting coherent and symbiotic links between education, music and psychology research.

The Sociology of Wind Bands - Amateur Music Between Cultural Domination and Autonomy (Paperback): Vincent Dubois, Jean-matthieu... The Sociology of Wind Bands - Amateur Music Between Cultural Domination and Autonomy (Paperback)
Vincent Dubois, Jean-matthieu Meon, translated by Jean-Yves Bart
R1,621 Discovery Miles 16 210 Ships in 12 - 17 working days

Despite the musical and social roles they play in many parts of the world, wind bands have not attracted much interest from sociologists. The Sociology of Wind Bands seeks to fill this gap in research by providing a sociological account of this musical universe as it stands now. Based on a qualitative and quantitative survey conducted in northeastern France, the authors present a vivid description of the orchestras, the backgrounds and practices of their musicians, and the repertoires they play. Their multi-level analysis, ranging from the cultural field to the wind music subfield and to everyday life relationships within bands and local communities, sheds new light on the social organisation, meanings and functions of a type of music that is all too often taken for granted. Yet they go further than merely portraying a musical genre. As wind music is routinely neglected and socially defined in terms of its poor musical quality or even bad taste, the book addresses the thorny issue of the effects of cultural hierarchy and domination. It proposes an imaginative and balanced framework which, beyond the specific case of wind music, is an innovative contribution to the sociology of lowbrow culture.

The New Guitarscape in Critical Theory, Cultural Practice and Musical Performance (Paperback): Kevin Dawe The New Guitarscape in Critical Theory, Cultural Practice and Musical Performance (Paperback)
Kevin Dawe
R1,614 Discovery Miles 16 140 Ships in 12 - 17 working days

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.

Interpreting Chopin: Analysis and Performance (Paperback): Alison Hood Interpreting Chopin: Analysis and Performance (Paperback)
Alison Hood
R1,525 Discovery Miles 15 250 Ships in 12 - 17 working days

Music theory is often seen as independent from - even antithetical to - performance. While music theory is an intellectual enterprise, performance requires an intuitive response to the music. But this binary opposition is a false one, which serves neither the theorist nor the performer. In Interpreting Chopin Alison Hood brings her experience as a performer to bear on contemporary analytical models. She combines significant aspects of current analytical approaches and applies that unique synthetic method to selected works by Chopin, casting new light on the composer's preludes, nocturnes and barcarolle. An extension of Schenkerian analysis, the specific combination of five aspects distinguishes Hood's method from previous analytical approaches. These five methods are: attention to the rhythms created by pitch events on all structural levels; a detailed accounting of the musical surface; 'strict use' of analytical notation, following guidelines offered by Steve Larson; a continual concern with what have been called 'strategies' or 'premises'; and an exploration of how recorded performances might be viewed in terms of analytical decisions, or might even shape those decisions. Building on the work of such authors as William Rothstein, Carl Schachter and John Rink, Hood's approach to Chopin's oeuvre raises interpretive questions of central interest to performers.

Style and Performance for Bowed String Instruments in French Baroque Music (Paperback): Mary Cyr Style and Performance for Bowed String Instruments in French Baroque Music (Paperback)
Mary Cyr
R1,532 Discovery Miles 15 320 Ships in 12 - 17 working days

Mary Cyr addresses the needs of researchers, performers, and informed listeners who wish to apply knowledge about historically informed performance to specific pieces. Special emphasis is placed upon the period 1680 to 1760, when the viol, violin, and violoncello grew to prominence as solo instruments in France. Part I deals with the historical background to the debate between the French and Italian styles and the features that defined French style. Part II summarizes the present state of research on bowed string instruments (violin, viola, cello, contrebasse, pardessus de viole, and viol) in France, including such topics as the size and distribution of parts in ensembles and the role of the contrebasse. Part III addresses issues and conventions of interpretation such as articulation, tempo and character, inequality, ornamentation, the basse continue, pitch, temperament, and "special effects" such as tremolo and harmonics. Part IV introduces four composer profiles that examine performance issues in the music of A0/00lisabeth Jacquet de La Guerre, Marin Marais, Jean-Baptiste Barriere, and the Forquerays (father and son). The diversity of compositional styles among this group of composers, and the virtuosity they incorporated in their music, generate a broad field for discussing issues of performance practice and offer opportunities to explore controversial themes within the context of specific pieces.

Studio-Based Instrumental Learning (Paperback): Kim Burwell Studio-Based Instrumental Learning (Paperback)
Kim Burwell
R1,474 Discovery Miles 14 740 Ships in 12 - 17 working days

In Studio-Based Instrumental Learning, Kim Burwell investigates the nature of lesson interactions in instrumental teaching and learning. Studio lesson activity is represented as a private interaction, dealing with skill acquisition and reflecting a tradition based in apprenticeship, as well as the personal attributes and intentions of participants. The varied and particular nature of such interaction does not always lend itself well to observation or - when observed - to easy interpretation. This presents particular problems for practitioners wishing to share aspects of professional knowledge, and for researchers seeking to explain the practice. Focusing on a single case study of two clarinet lessons, Burwell uses video observations and interviews to analyse collaborative lesson activity, through the 'rich transcription' of performance, verbal and nonverbal behaviours. The foregrounded lesson interactions are also contextualised by the background consideration of social, cultural and institutional frameworks. The research is aimed a helping to create a framework that can support reflection among practitioners as they continually develop their work, not only experientially - through the tradition of 'vertical transmission' from one musician to another - but collaboratively, through the 'horizontal' sharing of good practice.

The Instrumental Music of Schmeltzer, Biber, Muffat and their Contemporaries (Paperback): Charles E. Brewer The Instrumental Music of Schmeltzer, Biber, Muffat and their Contemporaries (Paperback)
Charles E. Brewer
R1,621 Discovery Miles 16 210 Ships in 12 - 17 working days

Based on primary sources, many of which have never been published or examined in detail, this book examines the music of the late seventeenth-century composers, Biber, Schmeltzer and Muffat, and the compositions preserved in the extensive Moravian archives in Kromeriz. These works have never before been fully examined in the cultural and conceptual contexts of their time. Charles E. Brewer sets these composers and their music within a framework that first examines the basic Baroque concepts of instrumental style, and then provides a context for the specific works. The dances of Schmeltzer, for example, functioned both as incidental music in Viennese operas and as music for elaborate court pantomimes and balls. These same cultural practices also account for some of Biber's most programmatic music, which accompanied similar entertainments in Kromeriz and Salzburg. The many sonatas by these composers have also been misunderstood by not being placed in a context where it was normal to be entertained in church and edified in court. Many of the works discussed here remain unpublished but have, in recent years, been recorded. This book enhances our understanding and appreciation of these recordings by providing an analysis of the context in which the works were first performed.

Isolde Ahlgrimm, Vienna and the Early Music Revival (Paperback): Peter Watchorn Isolde Ahlgrimm, Vienna and the Early Music Revival (Paperback)
Peter Watchorn
R1,621 Discovery Miles 16 210 Ships in 12 - 17 working days

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.

I Drum, Therefore I Am - Being and Becoming a Drummer (Paperback): Gareth Dylan Smith I Drum, Therefore I Am - Being and Becoming a Drummer (Paperback)
Gareth Dylan Smith
R1,474 Discovery Miles 14 740 Ships in 12 - 17 working days

Despite their central role in many forms of music-making, drummers have been largely neglected in the scholarly literature on music and education. But kit drummers are increasingly difficult to ignore. While exponents of the drum kit are frequently mocked in popular culture, they are also widely acknowledged to be central to the musical success and aesthetic appeal of any musical ensemble in which they are found. Drummers are also making their presence felt in music education, with increasing opportunities to learn their craft in formal contexts. Drawing on data collected from in-depth interviews and questionnaires, Gareth Dylan Smith explores the identities, practices and learning of teenage and adult kit drummers in and around London. As a London-based drummer and teacher of drummers, Smith uses his own identity as participant-researcher to inform and interpret other drummers' accounts of their experiences. Drummers learn in multi-modal ways, usually with a keen awareness of exemplars of their art and craft. The world of kit drumming is highly masculine, which presents opportunities and challenges to drummers of both sexes. Smith proposes a new model of the 'Snowball Self', which incorporates the constructs of identity realization, learning realization, meta-identities and contextual identities. Kit drummers' identities, practices and learning are found to be intertwined, as drummers exist in a web of interdependence. Drummers drum; therefore they are, they do, and they learn - in a rich tapestry of means and contexts.

John W. Schaum Piano Course - A-The Red Book : Leading to Mastery of the Instrument (Paperback, Revised ed.): John W. Schaum John W. Schaum Piano Course - A-The Red Book : Leading to Mastery of the Instrument (Paperback, Revised ed.)
John W. Schaum 1
R268 R218 Discovery Miles 2 180 Save R50 (19%) Ships in 10 - 15 working days

A time-honored tradition just got better! The John W. Schaum Piano Course has been newly revised with 100 percent new engravings and typesetting, color highlighting for concept emphasis, updated song titles and lyrics, and full-color illustrations.

Developing Expression in Brass Performance and Teaching (Hardcover): Gregory R.  Jones Developing Expression in Brass Performance and Teaching (Hardcover)
Gregory R. Jones
R4,208 Discovery Miles 42 080 Ships in 12 - 17 working days

Developing Expression in Brass Performance and Teaching helps university music teachers, high school band directors, private teachers, and students develop a vibrant and flexible approach to brass teaching and performance that keeps musical expression central to the learning process. Strategies for teaching both group and applied lessons will help instructors develop more expressive use of articulation, flexibility in sound production, and how to play with better intonation. The author shares strategies from today's best brass instrument performers and teachers for developing creativity and making musical expression central to practicing and performing. These concepts presented are taken from over thirty years of experience with musicians like Wynton Marsalis, Barbara Butler, Charles Geyer, Donald Hunsberger, Leonard Candelaria, John Haynie, Bryan Goff, members of the Chicago Symphony and New York Philharmonic and from leading music schools such as the Eastman School of Music, The University of North Texas and The Florida State University. The combination of philosophy, pedagogy, and common sense methods for learning will ignite both musicians and budding musicians to inspired teaching and playing.

Developing Expression in Brass Performance and Teaching (Paperback): Gregory R.  Jones Developing Expression in Brass Performance and Teaching (Paperback)
Gregory R. Jones
R1,408 Discovery Miles 14 080 Ships in 12 - 17 working days

Developing Expression in Brass Performance and Teaching helps university music teachers, high school band directors, private teachers, and students develop a vibrant and flexible approach to brass teaching and performance that keeps musical expression central to the learning process. Strategies for teaching both group and applied lessons will help instructors develop more expressive use of articulation, flexibility in sound production, and how to play with better intonation. The author shares strategies from today's best brass instrument performers and teachers for developing creativity and making musical expression central to practicing and performing. These concepts presented are taken from over thirty years of experience with musicians like Wynton Marsalis, Barbara Butler, Charles Geyer, Donald Hunsberger, Leonard Candelaria, John Haynie, Bryan Goff, members of the Chicago Symphony and New York Philharmonic and from leading music schools such as the Eastman School of Music, The University of North Texas and The Florida State University. The combination of philosophy, pedagogy, and common sense methods for learning will ignite both musicians and budding musicians to inspired teaching and playing.

Twentieth-Century Chamber Music (Hardcover, 2nd edition): James McCalla Twentieth-Century Chamber Music (Hardcover, 2nd edition)
James McCalla
R3,945 Discovery Miles 39 450 Ships in 12 - 17 working days

First Published in 2003. Routledge is an imprint of Taylor & Francis, an informa company.

Michael Costa: England's First Conductor - The Revolution in Musical Performance in England, 1830-1880 (Hardcover, New... Michael Costa: England's First Conductor - The Revolution in Musical Performance in England, 1830-1880 (Hardcover, New Ed)
John Goulden
R4,360 Discovery Miles 43 600 Ships in 12 - 17 working days

Among the major changes that swept through the music industry during the mid-nineteenth century, one that has received little attention is how musical performances were managed and directed. Yet this was arguably the most radical change of all: from a loose control shared between the violin-leader, musical director and maestro al cembalo to a system of tight and unified control under a professional conductor-manager. This process brought with it not only baton conducting in its modern form, but also higher standards of training and discipline, a new orchestral lay-out and a more focused rehearsal regime. The resulting rise in standards of performance was arguably the greatest achievement of English music in the otherwise rather barren mid-Victorian period. The key figure in this process was Michael Costa, who built for himself unprecedented contractual powers and used his awesome personal authority to impose reform on the three main institutions of mid-Victorian music: the opera houses, the Philharmonic and the Sacred Harmonic Society. He was a central figure in the battles between the two rival opera houses, between the Philharmonic and the New Philharmonic, and between the venerable Ancient Concerts and the mass festival events of the Sacred Harmonic Society. Costa's uniquely powerful position in the operatic, symphonic and choral world and the rapidity with which he was forgotten after his death provide a fascinating insight into the politics and changing aesthetics of the Victorian musical world.

The Quest for the Melodic Electric Bass - From Jamerson to Spenner (Hardcover, New Ed): Per Elias Drablos The Quest for the Melodic Electric Bass - From Jamerson to Spenner (Hardcover, New Ed)
Per Elias Drablos
R3,921 Discovery Miles 39 210 Ships in 12 - 17 working days

The double bass - the preferred bass instrument in popular music during the 1960s - was challenged and subsequently superseded by the advent of a new electric bass instrument. From the mid-1960s and throughout the 1970s, a melismatic and inconsistent approach towards the bass role ensued, which contributed to a major change in how the electric bass was used in performance and perceived in the sonic landscape of mainstream popular music. Investigating the performance practice of the new, melodic role of the electric bass as it appeared (and disappeared) in the 1960s and 1970s, the book turns to the number one songs of the American Billboard Hot 100 charts between 1951 and 1982 as a prime source. Through interviews with players from this era, numerous transcriptions - elaborations of twenty bass related features - are presented. These are juxtaposed with a critical study of four key players, who provide the case-studies for examining the performance practice of the melodic electric bass. This highly original book will be of interest not only to bass players, but also to popular musicologists looking for a way to instigate methodological and theoretical discussions on how to develop popular music analysis.

Directory of Choral-Orchestral Music (Paperback): Michael Rosewall Directory of Choral-Orchestral Music (Paperback)
Michael Rosewall
R1,482 Discovery Miles 14 820 Ships in 12 - 17 working days

First published in 2007. Routledge is an imprint of Taylor & Francis, an informa company.

Mandolin Chords (Paperback): Mel Bay Mandolin Chords (Paperback)
Mel Bay
R383 R312 Discovery Miles 3 120 Save R71 (19%) Ships in 12 - 17 working days
Trombone - Its History and Music, 1697-1811 (Paperback): D. M. Guion Trombone - Its History and Music, 1697-1811 (Paperback)
D. M. Guion
R1,415 Discovery Miles 14 150 Ships in 12 - 17 working days

First Published in 1988. Routledge is an imprint of Taylor & Francis, an informa company.

Tree of strings - Crann nan teud: a history of the harp in Scotland (Hardcover): Keith Sanger, Alison Kinnaird Tree of strings - Crann nan teud: a history of the harp in Scotland (Hardcover)
Keith Sanger, Alison Kinnaird
R3,482 Discovery Miles 34 820 Ships in 12 - 17 working days

This is the first history of the harp in Scotland to be published. It sets out to trace the development of the instrument from its earliest appearance on the Pictish stones of the 8th century, to the present day. Describing the different harps played in the Highlands and the Lowlands of Scotland, the authors examine the literary and physical evidence for their use within the Royal Courts and "big houses" by professional harpers and aristocratic amateurs. They vividly follow the decline of the wire-strung clarsach from its links with the hereditary bards of the Highland chieftains to its disappearance in the 18th century, and the subsequent attempts at the revival of the small harp during the 19th and 20th centuries. The music played on the harp, and its links with the great families of Scotland are described. The authors present, in this book, material which has never before been brought to light, from unpublished documents, family papers and original manuscripts. They also make suggestions, based on their research, about the development and dissemination of the early Celtic harps and their music. This book, therefore, should be of great interest, not only to harp players but to historians, to all musicians in the fields of traditional and early music, and to any reader who recognises the importance of these beautiful instruments, and their music, throughout a thousand years of Scottish culture.

Alfred's Kid's Guitar Course 1 - The Easiest Guitar Method Ever! (Paperback): Ron Manus, L. C Harnsberger Alfred's Kid's Guitar Course 1 - The Easiest Guitar Method Ever! (Paperback)
Ron Manus, L. C Harnsberger
R406 R333 Discovery Miles 3 330 Save R73 (18%) Ships in 10 - 15 working days
Keyboard Music Before 1700 (Hardcover, 2nd edition): Alexander Silbiger Keyboard Music Before 1700 (Hardcover, 2nd edition)
Alexander Silbiger
R4,787 Discovery Miles 47 870 Ships in 12 - 17 working days

Keyboard Music Before 1700 begins with an overview of the development of keyboard music in Europe. Then, individual chapters by noted authorities in the field cover the key composers and repertory before 1700 in England, France, Germany and the Netherlands, Italy, and Spain and Portugal. The book concludes with a chapter on performance practice, which addresses current issues in the interpretation and revival of this music.

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