The first edition of Albert R. Rice's The Baroque Clarinet is widely considered the authoritative text on the European clarinet during the first half of the eighteenth century. Since its publication in 1992, its conclusions have influenced the approaches of musicologists, instrument historians, and clarinet performers. Twenty-eight years later, Rice has updated his renowned study in a second edition, with new chapters on chalumeau and clarinet music, insights on newly found instruments and additional material on the Baroque clarinet in society. Expanding the volume to include the chalumeau, close cousin and predecessor to the clarinet, Rice draws on nearly three decades of new research on the instrument's origins and music. Discoveries include two recently found chalumeaux in a private collection, one by Johann Heinrich Eichentopf of Leipzig, and attributions based on historical evidence for three more chalumeaux. Rice furthers the discussion to recently uncovered early instruments and historical scores, which shed light on the clarinet's evolution. Most essentially, Rice highlights the chalumeau's substantial late-seventeenth and early-eighteenth century repertory, comprising over 330 works by 66 composers, and includes a more expansive list of surviving Baroque clarinet works, organized by date, composer, and tonality/range. The Baroque Clarinet and Chalumeau provides a long-awaited follow-up to Rice's groundbreaking volume, drawing from a variety of sources-including German, Italian, Dutch, Swedish, Norwegian, Danish, Finnish, Flemish, Czech, and Catalan research-to bring this new information to an English-speaking audience. With his dedication to scholarly accuracy, Rice brings the Baroque clarinet into sharper focus than ever before.

In Opera at the Bandstand: Then and Now, George W. Martin surveys the role of concert bands during the nineteenth and early twentieth centuries in making contemporary opera popular. He also chronicles how in part they lost their audience in the second half of the twentieth century by abandoning operatic repertory. Martin begins with the Dodworth bands in New York City from the 1850s and moves to the American tour of French conductor and composer Louis Antoine Jullien, bandmaster Patrick S. Gilmore's jubilee festivals, the era of John Philip Sousa from 1892 to 1932, performances of the Goldman Band of New York City from 1920 to 2005, and finally the wind ensembles sparked by Frederick Fennell. He illustrates the degree to which operatic material comprised these bands' overall repertory and provides detailed programs in the appendixes. Opera at the Bandstand describes how the technological advancements sweeping the country, such as radio, automobiles, recordings, television, and air conditioning, along with changes in demographics, affected the country's musical life. It will appeal to bandmasters and their players, as well as those with an interest in American history, music, popular culture, and opera.

This comprehensive, annotated resource of solo repertoire for the horn documents in detail the rich catalogue of original solo compositions for the instrument. Intended as a guide for practical use and easy reference, it is organized into three large sections: works for unaccompanied horn, works for horn and keyboard, and works for horn and ensemble. Each entry includes publisher information, a brief description of the form and character of a work, technical details of the horn writing, and information on dedication and premiere. The authors also include commentary on the various techniques required and the performance challenges of each piece. Representing over ten years of careful compilation and notation by an expert in horn performance and pedagogy, and by a seasoned music librarian and natural horn performer, Guide to the Solo Horn Repertoire will be an invaluable resource for performers, educators, and composers.

First Published in 2001. Routledge is an imprint of Taylor & Francis, an informa company.

The authors' new approach to learning two playing techniques offers a systematic method for mastering the modern, legato technique needed for organ music composed after 1750, as well as an articulated technique for earlier works. The authors also present useful information on accompanying anthems and solos and on adapting piano and orchestral accompaniments to the organ.

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 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.

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

Mozart's Clarinet Concerto is of supreme importance as his last instrumental work. Yet there are a number of special problems surrounding the piece, since the autograph is lost and the unique instrument for which it was written has not survived. This book presents a wealth of background information, an analysis of the Concerto, discussion of performance practice and details of surviving relevant instruments.

In The Shofar, Jeremy Montagu offers a detailed study of the ram's horn of the Bible, describing its history and use-both ritual and secular-from biblical times to the present. Because the same person normally blows the shofar each year during the Jewish High Holy Days, few are aware of the wide differences among communities around the world: the varying points in the Jewish liturgical service when the shofar is blown, what sound combinations exist, and the many varieties of the instrument. This is the first work of its kind to detail the full range of historical, musical, antiquarian, and religious issues surrounding the ancient instrument with all relevant citations from the Bible, the Talmud, and key post-Talmudic sources. Jeremy Montagu carefully examines horn types, sound characteristics, liturgical uses, and community functions to illustrate how the shofar has reflected local custom, regional needs, and religious practice. Chapters provide difficult-to-find information on how shofars are made; advice on how to choose, prepare, and maintain shofars; and instructions for aspiring blowers on a variety of traditions. With more than sixty photographs from the author's personal collection, this is an ideal work for Jews and Christians, religious scholars and musicologists, and even practicing musicians seeking to understand the crucial role of this instrument in the life of a people.

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.

This book will prove to be of inestimable value to the student, the teacher and the professional trumpet player. It not only traces the development of the trumpet from the earliest times to the present day, but gives clear and concise practical instruction for playing instruments of the trumpet family, with numerous musical examples. Both experienced and aspiring trumpeters will be guided from the basic elements to the rediscovery of forgotten skills of the past. These include not only conventional trumpet and cornet playing but also directions regarding the art of "Clarino" playing with further instructions for Baroque trumpet, Renaissance cornetto, cavalry trumpet, bugle, coach horn, Flatt-trumpet, slide trumpet, keyed-trumpet, keyed bugle, cornopean, mutes and many more - all with photographic illustration. The history and mechanisms of even the most obscure instruments are examined, and guidance is also offered upon attitudes to breathing, relaxation, posture, presentation and the important subject of choosing a mouthpiece.Exercises are suggested for extending range and stamina and guidance provided to solving the problems encountered by many players at some time in their careers.

Originally published in 1966, this was the first book on this subject to be published for over a hundred years. It covers all facets including little-known types of Gaelic song, the bagpipes and their music, including the esoteric subject of pibroch, the Ceol Mor or 'Great Music' of the pipes. It gives a comprehensive review of the fiddle composers and their music, and of the Clarsach and its revival, with an example of all-but-extinct Scottish harp music. A chapter is devoted to the music of Orkney and Shetland and the book contains over 100 examples of music many of which were from the author's own collection and published here for the first time.

A Choice "Best Academic" book in its first edition, The Recorder remains an essential resource for anyone who wants to know about this instrument. This new edition is thoroughly redone, takes account of the publishing activity of the years since its first publication, and still follows the original organization.

Strategies, Tips, and Activities for the Effective Band Director: Targeting Student Engagement and Comprehension is a resourceful collection of highly effective teaching strategies, solutions, and activities for band directors. Chapters are aligned to cover common topics, presenting several practical lesson ideas for each topic. In most cases, each pedagogical suggestion is supported by excerpts from standard concert band literature. Topics covered include: score study shortcuts; curriculum development; percussion section management; group and individual intonation; effective rehearsal strategies; and much more! This collection of specific concepts, ideas, and reproducible pedagogical methods-not unlike short lesson plans-can be used easily and immediately. Ideal for band directors of students at all levels, Strategies, Tips, and Activities for the Effective Band Director is the product of more than three decades of experience, presenting innovative approaches, as well as strategies that have been borrowed, revised, and adapted from scores of successful teachers and clinicians.

Richard Egues and Jose Fajardo are universally regarded as the leading exponents of charanga flute playing, an improvisatory style that crystallized in 1950s Cuba with the rise of the mambo and the chachacha. Despite the commercial success of their recordings with Orquesta Aragon and Fajardo y sus Estrellas and their influence not only on Cuban flute players but also on other Latin dance musicians, no in-depth analytical study of their flute solos exists. In Cuban Flute Style: Interpretation and Improvisation, Sue Miller-music historian, charanga flute player, and former student of Richard Egues-examines the early-twentieth-century decorative style of flute playing in the Cuban danzon and its links with the later soloistic style of the 1950s as exemplified by Fajardo and Egues. Transcriptions and analyses of recorded performances demonstrate the characteristic elements of the style as well as the styles of individual players. A combination of musicological analysis and ethnomusicological fieldwork reveals the polyrhythmic and melodic aspects of the Cuban flute style, with commentary from flutists Richard Egues, Joaquin Oliveros, Polo Tamayo, Eddy Zervigon, and other renowned players. Miller also covers techniques for flutists seeking to learn the style-including altissimo fingerings for the Boehm flute and fingerings for the five-key charanga flute-as well as guidance on articulation, phrasing, repertoire, practicing improvisation, and working with recordings. Cuban Flute Style will appeal to those working in the fields of Cuban music, improvisation, music analysis, ethnomusicology, performance and performance practice, popular music, and cultural theory.

Drawing on five years of research and well over 100 interviews with students, colleagues, and family members of flutist Marcel Moyse, author McCutchan distills a truthful, vital portrait of this charismatic, complex, and sometimes puzzling man.

Focusing on one of the legendary musicians in jazz, this book examines Miles Davis's often overlooked music of the mid-1960s with a close examination of the evolution of a new style: post bop. Jeremy Yudkin traces Davis's life and work during a period when the trumpeter was struggling with personal and musical challenges only to emerge once again as the artistic leader of his generation.

A major force in post-war American jazz, Miles Davis was a pioneer of cool jazz, hard bop, and modal jazz in a variety of small group formats. The formation in the mid-1960s of the Second Quintet with Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams was vital to the invention of the new post bop style. Yudkin illustrates and precisely defines this style with an analysis of the 1966 classic Miles Smiles.

Laila Storch is a world-renowned oboist in her own right, but her book honors Marcel Tabuteau, one of the greatest figures in twentieth-century music. Tabuteau studied the oboe from an early age at the Paris Conservatoire and was brought to the United States in 1905, by Walter Damrosch, to play with the New York Symphony Orchestra. Although this posed a problem for the national musicians' union, he was ultimately allowed to stay, and the rest, as they say, is history. Eventually moving to Philadelphia, Tabuteau played in the Philadelphia Orchestra and taught at the Curtis Institute of Music, ultimately revamping the oboe world with his performance, pedagogical, and reed-making techniques. In 1941, Storch auditioned for Tabuteau at the Curtis Institute, but was rejected because of her gender. After much persistence and several cross-country bus trips, she was eventually accepted and began a life of study with Tabuteau. Blending archival research with personal anecdotes, and including access to rare recordings of Tabuteau and Waldemar Wolsing, Storch tells a remarkable story in an engaging style.

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.

for SATB, clarinet, and piano Every Thing That Grows is an meaningful and uplifting setting of Shakespeare's Sonnet 15. Chilcott employs captivating vocal lines, a flowing piano part, and expressive clarinet interludes to reflect on the text's theme of mortality, with a profound closing section calling the listener to reflect upon the immortalising couplet 'And all in war with Time for love of you, As he takes from you, I engraft you new'.