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1. Discovering music [2018]

Book
xxxvi, 611 pages : illustrations (chiefly color) ; 26 cm
Music Library

2. Listen to this [2018]

Book
xxv, 550 pages : illustrations (some color), color maps ; 25 cm
  • The Elements of Music: A Brief Introduction PART I: THE MIDDLE AGES 1. Hildegard von Bingen, Play of Virtues (excerpt) 2. San Ildefonso Indians of New Mexico, Eagle Dance 3. Plainchant Alleluia, "Caro mea" 4. Francesco Landini, "Behold, Spring" 5. Guillaume de Machaut, "No More than One Man Could Count the Stars" 6. Alfonso el Sabio, Songs to the Virgin Mary, no. 147, "The Talking Sheep" PART II: THE RENAISSANCE 7. Josquin des Prez, "The Cricket" 8. Thomas Weelkes, "Since Robin Hood" 9. William Byrd, "Sing Joyfully" 10. Giovanni Pierluigi da Palestrina, Pope Marcellus Mass, "Gloria" 11. Rhyming Singers of the Bahamas, "My Lord Help Me to Pray" 12. Tielman Susato, Moorish Dance PART III: THE BAROQUE ERA 13. Claudio Monteverdi, Orpheus, selection from Act II 14. Henry Purcell, Dido and Aeneas, selections 15. Mbuti Pygmies, "Marriage Celebration Song" 16. Barbara Strozzi, "Revenge" 17. Antonio Vivaldi, The Four Seasons, "Winter, " first movement 18. Johann Sebastian Bach, Fugue in G Minor, BWV 578 ("Little" Fugue) 19. Johann Sebastian Bach, Brandenburg Concerto no. 2 in F Major, BWV 1047, finale 20. Johann Sebastian Bach, Cantata 140: Awake, a Voice Calls to Us, selections 21. George Frideric Handel, Messiah, selections PART IV: THE CLASSICAL ERA 22. Joseph Haydn, String Quartet in C Major, op. 76, no. 3, second movement 23. Master Musicians of the Ikuta-ryu, Cherry Blossom 24. Joseph Haydn, Symphony no. 102 in B-flat Major, third and fourth movements 25. Wolfgang Amadeus Mozart, Symphony no. 40 in G Minor, K. 550, first movement 26. Wolfgang Amadeus Mozart, Piano Concerto in A Major, K. 488, first movement 27. Wolfgang Amadeus Mozart, The Marriage of Figaro, Act I, "Cosa sento" 28. Jingju, "The Reunion" 29. William Billings, "Chester" PART V: THE NINETEENTH CENTURY 30. Ludwig van Beethoven, Symphony no. 5 in C Minor, op. 67 31. Franz Schubert, "Erlkonig, " D. 328 32. Felix Mendelssohn, Overture to A Midsummer Night's Dream 33. Hector Berlioz, Symphonie fantastique, fourth movement ("March to the Scaffold") 34. Fanny Mendelssohn Hensel, Piano Trio in D Minor, op. 11, third movement ("Song") 35. Robert Schumann, "Dedication" 36. Clara Wieck Schumann, "Forward!" 37. Frederic Chopin, Mazurka in B-flat Major, op. 7, no. 1 38. Louis Moreau Gottschalk, Union: Concert Paraphrase on National Airs 39. Ravi Shankar, Raga Sindhi-Bhairavi 40. Giuseppe Verdi, La Traviata, Act I, selection ("Follie!") 41. Richard Wagner, The Valkyrie, Act III, selection ("Wotan's Farewell") 42. Peter Ilyich Tchaikovsky, Swan Lake, Act IV, finale 43. Johannes Brahms, Symphony no. 4 in E Minor, op. 98, finale 44. Antonin DvoYak, String Quartet in F Major, op. 96 ("American"), third movement PART VI: SINCE 1900 45. Claude Debussy, Voiles 46. Charles Ives, The Unanswered Question 47. Arnold Schoenberg, "Columbine" from Pierrot lunaire 48. Igor Stravinsky, The Rite of Spring, Part One 49. Scott Joplin, Maple Leaf Rag 50. Robert Johnson, "Terraplane Blues" 51. Duke Ellington, "Cotton Tail" 52. Charlie Parker, "Ornithology" 53. Ruth Crawford, Piano Study in Mixed Accents 54. Germaine Tailleferre, Concertino for Harp and Orchestra, finale 55. William Grant Still, "A Black Pierrot" from Songs of Separation 56. Aaron Copland, "Hoe-Down" from Rodeo 57. Bela Bartok, Concerto for Orchestra, second movement ("Game of Pairs") 58. Leonard Bernstein, "Tonight" from West Side Story 59. John Cage, Sonata II from Sonatas and Interludes 60. Gamelan Gong Kebyar of Belaluan, Bali, Kebyar Ding III, "Oncang-oncangan" 61. Philip Glass, "Knee Play 1" from Einstein on the Beach 62. Mahalia Jackson, "It Don't Cost Very Much" 63. Tania Leon, A la Par, second movement ("Guaguanco") 64. Corey Dargel, "On This Date Every Year" 65. Austin Wintory, "Nascence, " from Journey Revel Bonus Chapters 66. Chuck Berry, "School Day" 67. The Sex Pistols, "God Save the Queen" 68. Public Enemy, "Fight the Power" 69. John Williams, "The Walls Converge, " from Star Wars.
  • (source: Nielsen Book Data)9780134419510 20170327
For courses in Music Appreciation Listen to the music. Hear the elements. Connect your playlist. Listen to This is designed to connect students' interest in the music on their own playlists with great music from throughout history and all over the world. It is based on the idea that all music is built on a combination of a few basic elements - melody, dynamics, rhythm, harmony, texture, timbre, form, and word-music relationships - and if students listen for those elements they can better understand how a piece of music works, no matter how unfamiliar it may seem at first. This elements-centered approach provides a strong foundation for learning about, and enjoying, many new musical styles. The Fourth Edition includes expanded coverage of timbre as well as new chapters on additional musical works. Listen to This, Fourth Edition is also available via Revel(TM), an interactive digital learning environment that replaces the print textbook, enabling students to read, practice, and study in one continuous experience. Revel is ideal for courses where student engagement and mobile access are important. Available to package with Listen to This, Fourth Edition, MyLab(TM) Music for the Music Appreciation course is an online homework, tutorial, and assessment program designed to work with this text to engage students and improve results. MyLab Music also gives students access to the music and listening guides that accompany the text. Please note: this version of MyLab Music does not include an eText. Note: You are purchasing a standalone product; MyLab does not come packaged with this content. Students, if interested in purchasing this title with MyLab, ask your instructor for the correct package ISBN and Course ID. Instructors, contact your Pearson representative for more information. 0134492099 / 9780134492094 Listen to This plus MyLab Music for Music Appreciation - Access Card Package, 4/e Package consists of: *0134419510 / 9780134419510 Listen to This, 4/e*0134489500 / 9780134489506 MyLab Music for Music Appreciation.
(source: Nielsen Book Data)9780134419510 20170327
Music Library
Book
xxxiii, 600 pages : color illustrations, music ; 29 cm
  • PrefacePart I Elements1. Sound: Pitch, Dynamics, and Tone Color2. Performing Media: Voices and Instruments3. Rhythm4. Music Notation5. Melody6. Harmony7. Key8. Musical Texture9. Musical Form10. Performance 11. Musical StylePart II The Middle Ages1. Music In The Middle Ages (450-1450)2. Gregorian Chant3. Secular Music in the Midde Ages4. The Development of Polyphony: Organum5. Fourteenth -Century Music: The "New Art" in Italy and FrancePart III The Renaissance 1. Music in the Renaissance (1450 - 1600) 2. Sacred Music in the Renaissance 3. Secular Music in the Renaissance 4. The Venetian School: From Renaissance to BaroquePart IV The Baroque Period1. Baroque Music (1600-1750)2. Music In Baroque Society3. The Concerto Grosso And Ritornello Form4. The Fugue5. The Elements Of Opera6. Opera In The Baroque Era7. Claudio Monteverdi8. Henry Purcell9. The Baroque Sonata10. Arcangelo Corelli11. Antonio Vivaldi12. Johann Sebastian Bach13. The Baroque Suite14. The Chorale And Church Cantata15. The Oratorio16. George Frideric HandelPart V The Classical Period1. The Classical Style (1750-1820)2. Composer, Patron, And Public In The Classical Period3. Sonata Form4. Theme And Variations5. Minuet And Trio6. Rondo7. The Classical Symphony8. The Classical Concerto9. Classical Chamber Music10. Joseph Hadyn11. Wolfgang Amadeus Mozart12. Ludwig Van BeethovenPart VI The Romantic Period1. Romanticism In Music (1820-1900)2. Romantic Composers And Their Public3. The Art Song4. Franz Schubert5. Robert Schumann 6. Clara Wieck Schumann7. Frederic Chopin8. Franz Liszt9. Felix Mendelssohn10. Program Music11. Hector Berlioz12. Nationalism In Nineteenth-Century Music13. Peter Ilyich Tchaikovsky14. Bed rich Smetana15. Antonin Dvorak16. Johannes Brahms 17. Georges Bizet18. Giuseppe Verdi19. Giacomo Puccini20. Richard Wagner 21. Gustav MahlerPart VII The Twentieth Century1. Musical Styles: 1900-19452. Music and Musicians in Society since 19003. Impressionism and Symbolism4. Claude Debussy5. Maurice Ravel6. Neoclassicism7. Igor Stravinsky8. Expressionism9. Arnold Schoenberg10. Alban Berg11. Anton Webern12. Bela Bartok13. Dmitri Shostakovich14. Music in America15. Charles Ives16. George Gershwin17. William Grant Still18. Aaron Copland19. Albert Ginestera20. Musical Styles Since 194521. Music Since 1945: Five Representative PiecesPart VIII Jazz1. Jazz Styles 2. Ragtime 3. Blue 4. New Orleans Style 5. Swing 6. Bebop 7. Jazz Styles since 1950Part IX Music for Stage and Screen1. Musical Theater 2. Leonard Bernstein 3. Music in Film Part X Rock1. Rock Styles 2. Rock in American Society 3. The BeatlesPart XI Nonwestern Music1. Music in Nonwestern Cultures2. Music In Sub-Saharan Africa3. Classical Music Of India 4. Koto Music of Japan AppendixesGlossaryAcknowledgmentsPhoto CreditsIndex.
  • (source: Nielsen Book Data)9781259892707 20170410
McGraw-Hill is revolutionizing the Music Appreciation course by introducing its first personalized digital learning experience with Roger Kamien's Music: An Appreciation. Using this market-leading instrument that brings great music to the course in more ways than ever before, students are now transformed into active participants in the Music Appreciation space. The result is active listening, active reading, and active learning. Connect is the only integrated learning system that empowers students by continuously adapting to deliver precisely what they need, when they need it, so that your class time is more engaging and effective. It provides tools that make assessment easier, learning more engaging, and studying more efficient.
(source: Nielsen Book Data)9781259892707 20170410
Music Library
Book
193 pages : 8 illustrations.
Music Library
Book
272 pages : illustrations ; 30 cm
Music Library
Book
viii, 316 pages : illustrations (some color) ; 24 x 28 cm
  • Introduction
  • Presenting the Thad Jones/Mel Lewis Orchestra
  • Mel Lewis and the Jazz Orchestra
  • The Vanguard Jazz Orchestra: sixteen as one
  • Thad
  • Mel
  • The music of Bob Brookmeyer
  • The music of Jim McNeely
  • Riding the bus: life on the road
  • Solo space: the small group within a big band
  • A legacy of composition
  • The 50th anniversary collection
  • The Village Vanguard
  • Just like on the records: the official discography
  • And the band
  • By the numbers.
Music Library
Book
xvii, 380 pages : illustrations, music ; 25 cm
  • Table of Contents Foreword Chapter 1 - Basic Concepts for the MIDI Composer, Arranger and Orchestrator Chapter 2 - Writing and Sequencing for Rhythm Section Chapter 3 - Writing and Sequencing for the String Orchestra Chapter 4 - Writing and Sequencing for the Woodwind Section Chapter 5 - Writing and sequencing for the Brass Section Chapter 6 - Writing and sequencing for Vocal Ensembles Chapter 7 - Writing and sequencing for Vocal Ensembles and Other Final Considerations Appendix A - Music Scores and examples.
  • (source: Nielsen Book Data)9781138692756 20170227
Acoustic and MIDI Orchestration for the Contemporary Composer, Second Edition provides effective explanations and illustrations to teach you how to integrate traditional approaches to orchestration with the use of the modern sequencing techniques and tools available to today's composer. By covering both approaches, Pejrolo and DeRosa offer a comprehensive and multifaceted learning experience that will develop your orchestration and sequencing skills and enhance your final productions. A leading manual on its subject, the second edition allows experienced composers and producers to be exposed to sequencing techniques applied to traditional writing and arranging styles. The book continues to provide a comprehensive and solid learning experience and has been fully revised to include the latest tools and techniques. The new edition has been updated to include: * A new chapter on cover writing and sequencing for vocal ensembles * Coverage of writing for different ensemble sizes * A new final chapter on writing and production techniques for mixed contemporary ensembles. * All new techniques, tools, and sound libraries available to today's composer. A companion website (www.routledge.com/cw/pejrolo) includes a wide selection of audio examples, templates, sounds, and videos showcasing operational processes, allows you the opportunity to listen to the techniques discussed within the book.
(source: Nielsen Book Data)9781138692756 20170227
Music Library
Book
viii, 286 pages, 16 unnumbered pages of plates : illustrations (some color) ; 24 cm
Advancements in technology, such as tablets and smartphones, have changed the way people work. As a result, the chasm in areas such as information access, opinions, and even ethics has widened between people who are keeping up with the continuing changes and those who have been left behind. In An Age Without Samples, Ikutaro Kakehashi argues that what we need to do now is resurrect the venture spirit we saw from the late 60s through the 80s. With the explosive change brought about by IT, social networking, and other developments, there is a very rare opportunity today for venture businesses. Based on a solid footing in his area of specialty as a pioneer in music and technology, Kakehashi uses the digital age as the backdrop of the times we live in. In this book, he offers tips on how one might navigate this age without samples, drawing from his own personal experience, successes, and most important, ground breaking product development.
(source: Nielsen Book Data)9781495069277 20170321
Music Library
Book
xxix, 133 pages ; 24 cm.
  • Chapter 1: Essentials of the American Songbook Chapter 2: Authors of the American Songbook Chapter 3: The American Songbook on Stage Chapter 4: The American Songbook on Screen Chapter 5: Jazz and the American Songbook Chapter 6: Interpreters of the American Songbook Chapter 7: The American Songbook in the 1950s and 1960s Chapter 8: The American Songbook Today Epilogue: Amateurs and the American Songbook Further Listening Further Reading.
  • (source: Nielsen Book Data)9781442242449 20170206
With their unforgettable melodies, timeless messages, and stylistic indebtedness to both jazz and Broadway, American popular standards have proven to be among the most widely performed and enjoyed songs of the past century. Shaped in many ways by the technological and cultural developments of the early twentieth century, they have also managed to transcend these origins and become an enduring part of the American musical landscape. Ann van der Merwe explores how and why American songbook standards developed in the early twentieth century and how these standards have shaped American-and even global-musical culture ever since. The American Songbook explores key aspects of individual songs, including the musical and lyrical reasons for their broad appeal and applicability over the years. The American songbook continues to permeate the fabric of our daily lives. It is a repertoire that spans generations, from Fred Astaire to Tony Bennett and Lady Gaga. As a result, music lovers both young and old will enjoy discovering how these beloved songs emerged and why they remain relevant a century later.
(source: Nielsen Book Data)9781442242449 20170206
Music Library
Book
pages cm
Music Library
Book
x, 192 pages : illustrations ; 24 cm
  • Contents Introduction 'Merrie England', Cultural Memory and the Writing of English Musical History Chapter 1 'The greatest musical curiosity extant': 'Sumer is icumen in' and the Canon of English music Chapter 2 Anglicus angelicus: Was English Music Political? Chapter 3 Authorship, Musicianship and Value in Medieval English History Chapter 4 Who was John Dunstaple? Chapter 5 Negotiating Identity in Medieval English Music: Anxiety and Ethnicity Chapter 6 Contenance angloise: A Reappraisal Epilogue.
  • (source: Nielsen Book Data)9781472425683 20170220
Although medieval English music has been relatively neglected in comparison with repertoire from France and Italy, there are few classical musicians today who have not listened to the thirteenth-century song 'Sumer is icumen in', or read of the achievements and fame of fifteenth-century composer John Dunstaple. Similarly, the identification of a distinctively English musical style (sometimes understood as the contenance angloise) has been made on numerous occasions by writers exploring the extent to which English ideas influenced polyphonic composition abroad. Angel song: Medieval English music in history examines the ways in which the standard narratives of English musical history have been crafted, from the Middle Ages to the present. Colton challenges the way in which the concept of a canon of English music has been built around a handful of pieces, composers and practices, each of which offers opportunities for a reappraisal of English musical and devotional cultures between 1250 and 1460.
(source: Nielsen Book Data)9781472425683 20170220
Music Library

12. Arvo Pärt [2017]

Book
250 pages ; 20 cm.
""J'étais arrivé à Tallinn par la mer Baltique, alors que je venais de passer quelques jours à Helsinki, dans l'ancienne baie du quartier de Kluuvi, rêvant déjà le bleu de l'Estonie, soufflant sur les quelques images qui me restaient de la Finlande comme pour les éloigner et ainsi déployer mon corps sans mémoire dans un nouveau lieu, qui m'apparaîtrait au bout d'une traversée de deux heures en ferry, dans l'outremer pâle, comme une projection, animée par le soleil naissant, d'autres grains de poussière, du pollen jaune. Le bleu de Tallinn est devenu inséparable de la musique d'Arvo Pârt, ses voix a cappella que j'ai eu du mal au début à aimer mais dont je m'aperçois, finalement, qu'elles m'avaient été révélées dès la première écoute avant de s'avancer vers moi dans l'ombre, comme pour mieux me surprendre, se glisser en moi alors que je me croyais détaché d'elles." Le temps d'un été à Tallinn, Julien Teyssandier nous ouvre en grand le coeur de la mémoire estonienne habitée par l'exil, le silence et la musique d'Arvo Pârt. Un texte inspiré à prendre comme un long vol de reconnaissance au-dessus des terr, incognitoe de la Création."--Page 4 of cover.
Music Library
Book
xxi, 729 pages : illustrations ; 24 cm
Designed for music technology students, enthusiasts, and professionals, Audio Processes: Musical Analysis, Modification, Synthesis, and Control describes the practical design of audio processes, with a step-by-step approach from basic concepts all the way to sophisticated effects and synthesizers. The themes of analysis, modification, synthesis, and control are covered in an accessible manner and without requiring extensive mathematical skills. The order of material aids the progressive accumulation of understanding, but topics are sufficiently contained that those with prior experience can read individual chapters directly. Extensively supported with block diagrams, algorithms, and audio plots, the ideas and designs are applicable to a wide variety of contexts. The presentation style enables readers to create their own implementations, whatever their preferred programming language or environment. The designs described are practical and extensible, providing a platform for the creation of professional quality results for many different audio applications. There is an accompanying website (www.routledge.com/cw/creasey), which provides further material and examples, to support the book and aid in process development. This book includes: * A comprehensive range of audio processes, both popular and less well known, extensively supported with block diagrams and other easily understood visual forms. * Detailed descriptions suitable for readers who are new to the subject, and ideas to inspire those with more experience. * Designs for a wide range of audio contexts that are easily implemented in visual dataflow environments, as well as conventional programming languages.
(source: Nielsen Book Data)9781138100138 20170206
Music Library
Book
viii, 291 pages ; 24 cm.
  • Danksagung
  • Einleitung
  • Filmmusik und Zuschauergefühl
  • Filmmusik : Wahrnehmung und Zeitlichkeit
  • Mood-Technik
  • Leitmotiv
  • Musikalische Idiome und Konventionen
  • Physiologie der Wahrnehmung von Filmmusik
  • Bild-Ton-Verhältnis
  • Musikalische Gestaltungsprinzipien, Affekt und Gefühl
  • Ausdrucksbewegung, Filmmusik und Zuschauergefühl
  • Filmische Dynamik : Ausdrucksbewegung, Affekt und Gefühl
  • Emotionsmodelle der kognitionstheoretischen Medienwissenschaft
  • Mood Cues
  • Ausdrucksbewegung, Embodiment und Zuschauergefühl
  • Affekt? Emotion? Gefühl? Versuch einer begrifflichen Klärung
  • Fallstudie musikalische Verläufe und Ausdrucksbewegung : Analyse einer Szene aus The Royal Tenenbaums
  • eMAEX : ein dreistufiges Analysemodell
  • Szenische Komposition und musikalische Verlaufsmuster : Szenenanalyse zu The Royal Tenenbaums, Szene "Prolog"
  • Audiovisuelle Dynamik : Musikalische Verläufe und Bewegtbild
  • Audiovisuelle Affekte : Filmmusik, Rhythmuswahrnehmung und Kinetik
  • Audiovisueller Rhythmus? Filmmusik und visuelle Rhythmen
  • Fallstudie audiovisueller Rhythmus und Affektdynamik : Analyse einer Szene aus Scott Pilgrim vs. The World
  • Audiovisuelle Bewegung? Filmbild und musikalische Bewegung
  • Fallstudie audiovisuelle Bewegung : Analyse einer Szene aus Sucker Punch
  • Audiovisuelle Rhythmisierung : Bewegungsrhythmus, Kinetik und Affekt
  • Audiovisuelle Rhythmisierung, Raumzeit und dynamische Äffizierung
  • Zeit, Raum und Filmmusik
  • Filmmusik und Zeiterfahrung
  • Filmmusik und Raumerfahrung
  • Fallstudie audiovisueller Rhythmus und Raumzeit : Analyse einer Szene aus Drive
  • Audiovisuelle Rhythmisierung und Bildraum : Raumzeit-Rhythmen
  • Schlussbetrachtungen
  • Rhythmus, Bewegung, Tonalität : Eckpunkte eines theoretischen Modells audiovisueller Rhythmisierung
  • Film, Musik und dynamische Wahrnehmung
  • Audiovisuelle Rhythmen
  • Audiovisuelle Bewegungen
  • Rhythmus, Bewegung, Bewegungsrhythmus : audiovisuelle Rhythmisierung
  • Raumzeit-Rhythmen
  • Audiovisuelle Raumzeit und tonale Gestalten
  • Ausblick : Forschungsperspektiven audiovisueller Rhythmisierung
  • Literaturverzeichnis
  • Internetquellenverzeichnis
  • Abbildungsverzeichnis
  • Filmverzeichnis
  • Anhang
  • Einstellungs-Protokoll, Royal Tenenbaums, Prolog
  • Einstellungs-Protokoll, Scott Pilgrim Vs. The World, Chaos Theatre II
  • Einstellungs-Protokoll, Sucker Punch, Army of Me
  • Einstellungs-Protokoll, Drive, The Elevator
  • Index
  • Farbabbildungen.
"The book explores the relationship of movement and music in film to study the aesthetic principles of audience affect. It begins by a reconstructive analysis and theoretical reflection on the rhythmicity of films - and goes on to show the extent to which the rhythmic dimension of audiovisual images offers access to intersubjective strategies to induce affect in the movie theater."-- Provided by publisher.
Music Library
Book
220 pages : illustrations, music ; 22 cm.
  • Baldassare Galuppi, personaggio di chiave ed aspetti poco studiati -- Les manuscrits opératiques de Baldassare Galuppi dans les bibliothèques belges et une étude de cas, l'opéra londonien Enrico -- "Les extravagances que l'on appelle des règles dans le drame musical". Gustavo I, re di Svezia ou le début de la collaboration entre Galuppi et Goldoni -- Le rappresentazioni delle opere bulle di Galuppi a Vienna -- La lingua dei libretti d'opera nell'età di Galuppi -- Galuppi, Bertati e L'inimico delle donne -- Rousseau e Galuppi. L'aria Voi che languite (Venezia, 1743) e la Lettre sur la musique française (Parigi, 1753) -- Le cantate di Galuppi per la famiglia Pisani. Musica, poesia, letteratura e politica -- Nello specchio della China. Bertati, Goldoni, Gozzi -- Baldassare Galuppi, i Concerti a Quattro.
"Compositeur d'un grand nombre d'opere serie, d'oratorios et d'oeuvres de musique sacrée, Balsassare Galuppi est peu à peu tombé dans l'oubli. Si son nom est néanmoins connu aujourd'hui encore, c'est principalement grâce à son oeuvre pour clavier. La réédition récente de la partition d'un opera buffa L'Inimico delle donne ainsi que la première mondiale de cette production par l'Opéra royal de Wallonie, ont suscité l'organisation d'un colloque international dont cet ouvrage est le fruit. Il s'articule autour de trois thèmes principaux : Galuppi le "Buranello" (du nom de son île natale, Burano, au nord de la lagune de Venise), Galuppi et l'opéra, et Galuppi et la musique instrumentale et religieuse."--Page 4 of cover.
Music Library
Book
xiv, 177 pages ; 29 cm.
  • Preface Citation Guide List of Abbreviations Composition Catalog Appendix A: Works Listed by Title Appendix B: Works Listed by Duration Appendix C: Composer Index Appendix D: Composers Listed by Nationality Appendix E: Works That Include Chorus, Solo Voice, Solo Instrument, and Obscure Instruments Appendix F: Transcriptions and Arrangements Appendix G: Orchestra l Transcriptions of Mark Hindsley Appendix H: Marches of James Henry Filmore Appendix I: Marches of Karl King Appendix J: Marches of John Phillip Sousa Appendix K: Publisher and Source Information Bibliography.
  • (source: Nielsen Book Data)9781442268630 20170403
The Band Music Handbook: A Comprehensive Catalog of Band Repertoire presents professional, college, community, and school band directors with an essential tool for discovering and selecting appropriate repertoire. Christopher M. Cicconi presents a wide-ranging catalog of band music composed in the past twenty-five years. From the work of John Adams to Ellen Taaffe Zwilich, the music cataloged includes works appropriate for all ages and skill levels. Each work listed includes date of origin, duration, exact instrumentation, and publisher. A number of appendixes further classify the repertoire by composer, title, and duration and offer a detailed list of publishers, a bibliography for further reading, and a comprehensive march list. Following the model of the best-selling Daniels' Orchestral Music, The Band Music Handbook puts the information that band conductors, directors, and musicians need right at their fingertips. It is also an essential tool for future music educators and instrumental music education students seeking assistance in repertoire selection.
(source: Nielsen Book Data)9781442268630 20170403
Music Library
Book
155 pages : illustrations ; 21 cm
Music Library
Book
volumes ; 28 cm
  • Volume 1. Popular music
  • Volume 2. World music
  • Volume 3. Classical music.
Prepared by the Music Library Association, with thousands of records selected by experts in dozens of specialised and popular areas of music, "A Basic Music Library" constitutes the most authoritative music collection resource available. Completely revised and reorganised, this essential reference is divided into three sections: classical music (organised by genre, composer, and title); popular music (organised by genre and artist); and, world music (organised by geographic area, genre, and artist). The expanded coverage not only includes new music published since the last edition, but also CDs, DVDs, and songbooks combined with printed music. Printed scores cover performance of all music genres by all instruments, voices, and ensembles and include anthologies, study scores, performing renditions, vocal scores, and instrumental methods of studies.
(source: Nielsen Book Data)9780838910399 20170424
Intended to offer suggestions for anyone, regardless of musical training or experience, who is seeking to develop music collections in libraries of all kinds, this essential reference work remains a benchmark of its kind. Prepared by the Music Library Association, Volume 2 concentrates on:* Folk and Traditional Music of North America* Traditional and Popular Music of the Americas and the Caribbean* Music of Asia and Oceania* Music of Northern Africa, the Middle East, and Central Asia* Music of Sub-Saharan Africa* Music of Europe* International Anthologies.
(source: Nielsen Book Data)9780838915301 20170424
The new fourth edition of A Basic Music Library, relying on the expertise of the Music Library Association, is unmatched in scope and authority. Covering classical music, Volume 3 is organized into these categories:* Orchestral Music* Film Music* Band Music* Woodwinds* Brass* Strings* Percussion* Keyboard* Opera* Musical Theater* Solo Voice* Choral Music* Classical Music Anthologies.
(source: Nielsen Book Data)9780838915318 20170424
Music Library

19. The Beatles [2017]

Book
pages cm.
Music Library
Book
xxii, 232 pages : illustrations ; 23 cm
Simon Callow plunges headlong into Wagner's world to discover what it was like to be Wagner, and to be around one of music's most influential figures. The perfect introduction to the Master. A hundred and thirty-five years after his death, Richard Wagner's music dramas stand at the centre of the culture of classical music. They have never been more popular, nor so violently controversial and divisive. His music is still banned in Israel - the only classical composer whose music is banned in the western world. His ten great mature masterpieces constitute an unmatched body of work, created against a backdrop of poverty, revolution, violent controversy, critical contempt and hysterical hero-worship. As a man, he was a walking contradiction, aggressive, flirtatious, disciplined, capricious, heroic, visionary and poisonously anti-Semitic. At one point, he had four lengthy operas written with no hope of being performed when, as if in a fairy-tale, he was rescued by a beautiful young king with limitless wealth which he bestowed on the composer. When one of those works, Tristan and Isolde, was at last performed, it revolutionised classical music at a stroke. Finally he fulfilled his lifelong dream of creating a vast epic to rival the work of the great Greek playwrights, a music drama in four massive segments, ushering gods and dwarves, heroes and thugs, dragons and rainbows onto the stage, the apotheosis of German art as he saw it, so extreme in its demands that he had to train a generation of singers and players to perform it, and erect a custom-built theatre to house it. Wagner died, exhausted, after creating one final piece - Parsifal - that seems to point to an even more radical new future for music. Simon Callow recalls the intellectual and artistic climate in which Wagner worked, recording the almost superhuman effort required to create his work, and evoking the extraordinary effect he had on people - this composer like no other who ever lived, extreme in everything, creator of the most sublime and most troubling body of work ever known.
(source: Nielsen Book Data)9780008105693 20170321
Music Library