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Books > Arts & Architecture > Music > Musical instruments & instrumental ensembles > String instruments
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brought to light, from unpublished documents, family papers and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.
Technology and the Stylistic Evolution of the Jazz Bass traces the
stylistic evolution of jazz from the bass player's perspective.
Historical works to date have tended to pursue a 'top down'
reading, one that emphasizes the influence of the treble
instruments on the melodic and harmonic trajectory of jazz. This
book augments that reading by examining the music's development
from the bottom up. It re-contextualizes the bass and its role in
the evolution of jazz (and by extension popular music in general)
by situating it alongside emerging music technologies. The bass and
its technological mediation are shown to have driven changes in
jazz language and musical style, and even transformed creative
hierarchies in ways that have been largely overlooked. The book's
narrative is also informed by investigations into more commercial
musical styles such as blues and rock, in order to assess how, and
the degree to which, technological advances first deployed in these
areas gradually became incorporated into general jazz praxis.
Technology and the Jazz Bass reconciles technology more thoroughly
into jazz historiography by detailing and evaluating those that are
intrinsic to the instrument (including its eventual
electrification) and those extrinsic to it (most notably evolving
recording and digital technologies). The author illustrates how the
implementation of these technologies has transformed the role of
the bass in jazz, and with that, jazz music as an art form.
for solo violin and orchestra or piano This serene romance is one
of Vaughan Williams's most enduring popular works. Taking its title
from a poem by George Meredith, the music perfectly evokes the
lark's 'chirrup, whistle, slur, and shake'. This beautifully
presented new edition of the violin and piano score includes a
preface by Michael Kennedy.
(Bass Method). The critically acclaimed Hal Leonard Electric Bass
Method Second Edition in a handy composite edition Contains 3 books
and 3 CDs for Levels 1, 2 and 3.
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
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.
One of the finest books available on jazz guitar chords. Joe covers
all the bases with two sections on chord forms and chord passages.
Chords are divided into six categories: Major, Seventh, Augmented,
Minor, Diminished, and Minor Seventh Flat Fifth, each showing
substitutions and inversions that Joe would play when confronted
with "basic" chord symbols. The chord passage section is divided
into nine categories, including such topics as Major Sounds,
Diminished Sounds, Augmented Sounds, Standard Patter Chord
Substitutions, and other chord progression - related topics.
In Brian May's Red Special you will discover everything about Brian
May's unique, home-made guitar. Brian reveals all, from the
guitar's origins to playing on the roof of Buckingham Palace, from
Live Aid to the closing ceremony of the London 2012 Olympics, from
the set of Bohemian Rhapsody to opening the Academy Awards in 2019
where the film scooped four Oscars. All of this is accompanied by
original diagrams, sketches and notes from the building of the
guitar, as well as a selection of classic photographs including
Brian on stage with his guitar, close-ups and even an X-ray. Rare
images are included throughout, as the entire guitar was dismantled
and photographed for the book.
'They are not for you but for a later age!' Ludwig van Beethoven,
on the Opus 59 quartets Beethoven's sixteen string quartets are
some of the most extraordinary and challenging pieces of music ever
written. They have inspired artists of all kinds - not only
musicians - and have been subject to endless reinterpretation. What
does it feel like to be a musician taking on these iconic works?
And how do the four string players who make up a quartet interact,
both musically and personally? The Takács is one of the world's
pre-eminent string quartets. Performances of Beethoven have shaped
their work together for over forty years. Using the history of both
the Takács Quartet and the Beethoven quartets as the backbone to
his story, Edward Dusinberre, first violinist of the Takács since
1993, recounts the exhilarating challenge of tackling these pieces.
Beethoven for a Later Age takes the reader inside the daily life of
a quartet, vividly showing the necessary creative tension between
individual and group expression and how four people can enjoy
making music together over a long period of time. The key, the
author argues, is in balancing continuity with change and
experimentation - a theme that lies at the heart of Beethoven's
remarkable compositions. No other composer has posed so many
questions about the form and emotional content of a string quartet,
and come up with so many different answers. In an accessible style,
suitable for novices and chamber music enthusiasts alike,
Dusinberre illuminates the variety and inherent contradictions of
Beethoven's quartets, composed against the turbulent backdrop of
the Napoleonic Wars and their aftermath, and shows that engaging
with this radical music continues to be as invigorating now as it
was for its first performers and audiences.
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.
(String). The Wohlfahrt Op. 45 Studies are a mainstay of violin
study. Book 1 (50256580) and Book 2 (50256590) are bestsellers in
the Schirmer Library. The entire set, Books 1 and 2 combined, is
available in this new complete publication, value priced at only
$7.95
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.
Sebastien Erard and the firm that carried his name are seminal in
the history of musical instruments. Erard's inventions - especially
the double escapement for the piano and the double-action for the
harp - have had an enormous impact on instruments and musical life
and are still at the foundation of piano and harp building today.
The recently discovered archives of the Erard piano and harp
building firm are perhaps the largest and most complete record of
musical instrument making anywhere, containing
never-before-published correspondence from musicians including
Mendelssohn, Liszt and Faure. These volumes present the archive's
records and documents in two parts, the first relating to
inventions, business, composers and performers and the second to
the Erard family correspondence. In both the original French and
with English translations, the documents offer fascinating insights
into the musical landscape of Europe from the start of Erard's
career in 1785 to the closure of the firm in 1959.
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.
No single American could personify what Henry Luce called the
American Century but Isaac Stern came closer than most. Despite
modest origins as the child of Jewish immigrants in San Francisco,
by the early 1940s talent and practice had brought him a Carnegie
Hall debut, critical acclaim and the attention of the legendary Sol
Hurok. As America came of age, so too did Stern. He would go on to
make music on five continents, records in formats from 78 rpm to
digital, friends as different as Frank Sinatra and Isaiah Berlin,
and policy from Carnegie Hall to Washington, Jerusalem and
Shanghai. He also loaned instruments to young players, brokered
gigs for Soviet emigres and replied in person to inquiring fans.
Wide-ranging yet intimate, The Lives of Isaac Stern is a portrait
of an artist and musical statesman who left a profound musical and
cultural legacy.
We are living in an emerging technoculture. Machines and gadgets
not only weave the fabric of daily life, but more importantly
embody philosophical and religious values which shape the
contemporary moral vision-a vision that is often at odds with
Christian convictions. This book critically examines those values,
and offers a framework for how Christian moral theology should be
formed and lived-out within the emerging technoculture. Brent
Waters argues that technology represents the principal cultural
background against which contemporary Christian moral life is
formed. Addressing contemporary ethical and religious issues, this
book will be of particular interest to students and scholars
exploring the ideas of Heidegger, Nietzsche, Grant, Arendt, and
Borgmann.
The two volumes of Trott's widely used etudes are combined into one
convenient, affordable volume.
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