The preponderance of early Black composers wrote choral music and even the most outstanding among them did not compose works for woodwinds. However, the later half of the twentieth century has witnessed a rise in compositions for woodwinds, both for solo and chamber ensembles by relatively unknown Black composers. This pioneering volume will become the standard source of information on nineteenth and twentieth century Black composers from three continents as well as their woodwind compositions. It contains the most current and complete biographical data on 90 African composers, Afro-American composers, Afro-Latin composers, and Afro-European composers, including their education and professional experience and information on their continuing musical influence. A distinctive feature is the separate, easy-to-use woodwind music index of both published and unpublished works for solo and chamber ensembles that groups the music by medium and numbers into 27 categories that contain some 430 works. Exact instrumentation, dedication or commission, premiere performance, and publisher are also found here. A list of abbreviations, key to publishers, collections, and manuscripts, and a discography of 38 recordings of woodwind works by 26 of the included composers complete the volume.

This first bibliography of woodwind music by Black composers is an excellent reference work for Black composers, for the woodwind repertoire, and for American music in general. It will be highly useful in college-level courses such as "Survey of Afro-American Music and Woodwind Literature" as well as to woodwind players, ensemble directors, and scholars.

For three decades, Anthony Braxton has been alternately celebrated, dismissed, and attacked for his musical innovations. His ambitious efforts to reconcile and personalize the historically divergent and often conflicting worldviews and principles of African-American (jazz), American Experimental (post-Ives), and Western European (post-serial) traditions have attracted both loyal supporters and passionate critics. Mike Heffley has followed Braxton's widely varied music from its beginning, and in 1988 began a professional musical relationship with him. His "biography" of Braxton's music is just that--a look at the music as if it were a living entity, with a traceable ancestry, a describable place in the world, and a history full of drama, intrigue, and passion. The music scholar will find here all the information necessary to understand the contents, contexts, and concepts of Braxton's music, and to further that understanding. The general reader will find the human and trans-human qualities that make the music so compelling to its makers and lovers.

The harmonica is one of the most important, yet overlooked, instruments in music. This definitive volume celebrates the history of the world's most popular musical device, its impact on various forms of music, folk, country, blues, rock, jazz and classical music. The author traces the development of the harmonica from the ancient Chinese sheng to futuristic harmonica sythesizers. Nearly seventy harmonica masters are profiled including Stevie Wonder, Little Walter, Bob Dylan, Jimmy Reed, Charlie McCoy, Sonny Terry, and John Popper. This updated edition includes an extensive new afterword, an expanded discography of the finest harmonica recordings, and a listing of the best harmonica resources on the internet.

This unique discography of 78 RPM recordings extensively profiles solo and group horn performers, including chamber ensemble and orchestra recordings. This work provides, in addition to detailed data about individual recordings, invaluable commentary on actual selected 78 RPM recordings. Some of the recordings are no longer available in reissue and are therefore not easily accessible to the general public. Biographical information contributes to the wealth of researched information this discography provides. This discography of 78 RPM horn recordings fills a gap in bibliographic literature concerning horn recordings. A valuable reference to hornists, musicians, and discographers, the exhaustive, descriptive detail consists of data collected from numerous sources. Both well-known and obscure artists are researched.

The American Wind Symphony Editions comprises the more than 150 works commissioned by Robert Austin Boudreau for the American Waterways Wind Orchestra and published by the C. F. Peters Corporation. They are here presented for the first time in a complete catalog with detailed descriptive data, biographical information on the composers or arrangers, and score facsimiles. The published music represents about half of the over 300 works commissioned by the orchestra since 1957 in the largest such project in wind instrument history. Presented in this catalog are the published works of 83 composers from 28 countries, including such notables as Alan Hovhaness, Toshiro Mayuzumi, Krzysztof Penderecki, Ned Rorem, and Heitor Villa-Lobos. Genres include original concert and chamber music, incidental and occasional music, and theatrical and pop pieces, as well as arrangements of past masters. The compositional characteristics of each work are described, and data on number of performers, date of composition, duration, score accessibility, composer nationality and dates, and itemized instrumentation is listed. The catalog further provides appendixes classifying the music by composer nationality, duration of works, type of soloist, number of performers, programming category, and other fields. A selective discography is included, as are indexes of works by composer and title. Background history on the wind orchestra and music publisher is also provided.

Titles: Mary Had a Little Lamb (Folk Song) * Fireflies (Children's Song) * Kagome Kagome (Children's Song) * Cuckoo (Folk Song) * Lightly Row (Folk Song) * Twinkle, Twinkle, Little Star Variations (Suzuki-Takahashi) * Go Tell Aunt Rhody (Folk Song) * Amaryllis (J. Ghys) * Allegro (Shinichi Suzuki) * The Honeybee (Folk Song) * Long, Long Ago (T.H. Bayly) * Lullaby, Op. 98, No. 2 (F. Schubert) * The Moon over the Ruined Castle (R. Taki) * Minuet, Minuet III from Suite in G Minor for Klavier, BWV 822 (J.S. Bach) * Minuet, BWV Anh. II 114/Anh. III 183 (J.S. Bach) * Minuet, BWV Anh. II 116 (J.S. Bach) * Bourr?e from Sonata No. 3 in G Major for Flute and Basso Continuo, Op. 1, No. 5, HHA IV/3 No. 5 (G.F. Handel) * Fingering Chart. This title is available in SmartMusic.

for Oboe and Piano John Rutter creates a peaceful and contemplative atmosphere in this new arrangement of the traditional German carol, Lo, how a Rose e'er blooming.

This comprehensive study treats the wind works of Anton Bruckner as a complete genre and uses them to illustrate how the composer evolved in style throughout his career. A major nineteenth-century composer, organist, and church musician, Bruckner's compositional style changed dramatically in the early 1860s, dividing his career into two distinct parts. During his early career he immersed himself in the study of traditional musical principles including form, harmony, counterpoint, and orchestration. The second phase of his career, in which he composed the symphonies upon which much of his current reputation rests, was marked by his experimental approaches to harmony and tonality. Many of his early compositions exhibit landmarks of his later style. The wind instrument pieces incorporate the best aspects of both of Bruckner's styles and reflect the progress of his professional life.

Organized chronologically, the music is studied and classified within set time periods. Each wind work of a particular period is reviewed according to the historical circumstances contributing to its creation, its specific musical content, and its success as a musical work in relation to wind music and specifically to Bruckner's development. The analyses of Bruckner's compositions are enhanced by musical examples throughout the text.

The flageolet occupies a unique niche in musical history, and this book traces its history from its beginnings to its peak of popularity in the nineteenth century.. The flageolet is a recorder-like instrument whose history may be traced back to the seventeenth century. Predominantly an instrument of the amateur, the flageolet seldom featured in the orchestra but nevertheless occupied a smallbut unique niche in musical history. MacMillan traces the history of the instrument from its origin through to its heyday in England in the nineteenth century. The book is centred on an organological study of the flageolet, coupled with discussion of its repertoire, pedagogy, and place in musical society. It will be of interest to woodwind organologists, players of the flute and recorder, and to those who study the integration of musical instruments and their repertoire in relation to societal aspects of musical practice.

Music from all three films arranged for wind instruments. Desirable and collectible, these instrumental folios are loaded with full-color photos of scenes from all three films. They are printed on top-quality antique paper stock, and the covers showcase the new "trilogy" artwork. The wind instrument books are completely compatible with each other and can be played together or as solos. Each book contains a carefully edited part that is appropriate for the Level 2-3 player and a fully orchestrated accompaniment CD. Each theme on the CD is presented as a "demo" track (which features that particular instrument) and as a "play-along" track without the solo instrument. New icons are used in the books to guide the players through the accompaniment options. A separate piano accompaniment book with CD is available for the wind series. The instrumental solo part, in concert pitch, is added above the piano part. The CD features live demonstration performances of various instrument tracks from the series. Titles are the twelve major themes from the blockbuster trilogy: from The Fellowship of the Ring: The Prophecy * In Dreams * Concerning Hobbits * Many Meetings * The Black Rider; from The Two Towers: Gollum's Song * Rohan * Evenstar * Forth Eorlingas; from The Return of the King: Into the West * The Steward of Gondor * Minas Tirith. This title is available in SmartMusic.

This unique one-volume discography provides a convenient reference to recordings of solo horn, horn duos and trios, multiple horns, and horns in combination with other solo instruments and with voice. Entries are organized by type of instrumental group or performance, with recordings of each artist listed under the composer of the work. Record label and number and an abbreviated list of reviews are provided, together with indexes of composers, hornists, and ensembles.

The BBC's Jazz Book of the Year for 2008. Few jazz musicians have had the lasting influence or attracted as much scholarly study as John Coltrane. Yet, despite dozens of books, hundreds of articles, and his own recorded legacy, the "facts" about Coltrane's life and work have never been definitely established. Well-known Coltrane biographer and jazz educator Lewis Porter has assembled an international team of scholars to write The John Coltrane Reference, an indispensable guide to the life and music of John Coltrane. The John Coltrane Reference features a a day-by-day chronology, which extends from 1926-1967, detailing Coltrane's early years and every live performance given by Coltrane as either a sideman or leader, and a discography offering full session information from the first year of recordings, 1946, to the last, 1967. The appendices list every film and television appearance, as well as every recorded interview. Richly illustrated with over 250 album covers and photos from the collection of Yasuhiro Fujioka, The John Coltrane Reference will find a place in every major library supporting a jazz studies program, as well as John Coltrane enthusiasts.

Georges Barrere (1876-1944) holds a preeminent place in the history of American flute playing. Best known for two of the landmark works that were written for him--the Poem of Charles Tomlinson Griffes and Density 21.5 by Edgard Varese--he was the most prominent early exemplar of the Paris Conservatoire tradition in the United States and set a new standard for American woodwind performance.
Barrere's story is a musical tale of two cities, and this book uses his life as a window onto musical life in Belle Epoque Paris and twentieth-century New York. Recurrent themes are the interactions of composers and performers; the promotion of new music; the management, personnel, and repertoire of symphony orchestras; the economic and social status of the orchestral and solo musician, including the increasing power of musicians' unions; the role of patronage, particularly women patrons; and the growth of chamber music as a professional performance medium.
A student of Paul Taffanel at the Paris Conservatoire, by age eighteen Barrere premiered the landmark Prelude to the Afternoon of a Faun. He went on to become solo flutist of the Concerts Colonne and to found the Societe Moderne d'Instruments a Vent, a pioneering woodwind ensemble that premiered 61 works for 40 composers in its first ten years. Invited by Walter Damrosch to become principal flute of the New York Symphony in 1905, he founded the woodwind department at the Institute of Musical Art (later Juilliard). His many ensembles toured the United States, building new audiences for chamber music and promoting French repertoire as well as new American music. Toff narrates Barrere's relationships with the finest musicians and artists ofhis day, among them Isadora Duncan, Yvette Guilbert, Andre Caplet, Paul Hindemith, Albert Roussel, Wallingford Riegger, and Henry Brant. The appendices of the book, which list his 170 premieres and the 50 works dedicated to Barrere, are a resource for a new generation of performers.
Based on extensive archival research and oral histories in both France and the United States, this is the first biography of Barrere. It is being published in conjunction with the centennial of his arrival in the United States in May 1905.

This hauntingly beautiful piece, arranged for flute and piano by the composer, is extracted from Rutter's large-scale work Visions. The expressive solo line features long phrases and a quasi-improvised section, making it an ideal concert work for intermediate to advanced flautists.