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Book
xxviii, 584 pages : illustrations (some color) ; 26 cm
  • Part 1: Setting the Stage Chapter 1: Overture Music and Society: We've Got Music in Us Art Versus Commerce: Music Changes Everything Historical Development Chapter 2: The Digital Millennium The Double-Edged Sword Internet Synergy Labels Sow Seeds of Self-Destruction Smaller, Cheaper, Faster, Better (?) The Economics of Digital Distribution: Change and Evolution The New Economic Order The Digital Future Chapter 3: The Music Business System Help Wanted! Getting Through the Maze Show Me the Money Tools of the Trade: Everybody's Gotta Learn Sometime Part 2: Copyright, Songwriting, Publishing, and Licensing Chapter 4: Music Copyright Background Essential Provisions Key Terms Coverage Exclusive Rights Fair Use of Copyrighted Material Copyright Ownership Transfer or Assignment Work Made for Hire Musical Arrangements Sound Recordings Compulsory Mechanical License Royalty Payments (Section 115[c]) Duration of Copyright Formalities Infringement, Remedy Record Counterfeiting, Penalties Changing Laws Rights in Names and Trademarks A Final Note on Law Chapter 5: Professional Songwriting The Market Predictors of Success The Craft The Business of Writing Income Sources Publishing Options Evaluating Publishers The Songwriters Guild of America Contract Reassignment or Default Breaking In Chapter 6: Music Publishing Types of Publishers Subpublishing Administration Contracts With Writers Split Publishing, Copublishing Copyright Protection: Sampling Promotion, Advertising Income Sources Trade Associations and Rights Administration Chapter 7: Music Licensing Music Rights: An Overview Performing Rights Organizations Keeping Track of the Music Membership Options Mechanical Licenses Synchronization Licenses Cable Television Licenses Video Licenses Transcription Licenses Special Use Permits Jukebox Licenses Dramatic Music Rights Creative Commons Part 3: Managing Artist Relationships Chapter 8: Agents, Managers, and Attorneys Agents Managers Attorneys Chapter 9: Artist Management Discovering Each Other The Financial Relationship Manager's Commission The Manager's Role Advancing the Career Personal Management Agreement Chapter 10: Unions and Guilds American Federation of Musicians SAG-AFTRA American Guild of Musical Artists American Guild of Variety Artists Actors' Equity Association International Alliance of Theatrical Stage Employees Other Unions and Guilds Part 4: The Recorded Music Industry Chapter 11: Record Labels Perspective Major Labels Independent Labels Specialty Labels Record Company Structure Trade Associations Chapter 12: Artists' Recording Contracts AFTRA Agreements AFM Agreements Royalty Artist Contracts Chapter 13: Record Production Record Producers Matching Producer to Artist Production Deals The Recording Studio: Operation and Selection The Five Stages of Record Production Getting Started in the Business Professional Associations Chapter 14: Record Label Marketing and Distribution The Marketing Plan The Elements of a Marketing Plan Record Distribution Chapter 15: Marketplace Research Understanding the Consumer Research Topics Data Sources Part 5: Live Performance Chapter 16: Concert Production Concert Promotion Getting Started Booking the Artist Making an Offer The Art of the Deal Contracts Marketing Publicity and Public Relations Sponsorships The Future of Live Chapter 17: Concert Venues Venue Contracts Ticketing Licensed Merchandise Venue Trade Association Chapter 18: Arts Administration Perspective Representative Organizations Symphonic Music Funding the Arts Classical Artist Management Administration Part 6: Music in the Marketplace Chapter 19: Music in Radio Types of Broadcast Radio Stations Audience Identification and Market Research Spectrum of Formats How Commercial Radio Stations Work Chapter 20: Music in Television and Video Variety and Talk Shows Music Specials/Events/Awards Shows Theme Songs Background Music and Foreground Spotlights The Evolving TV Picture MTV and the Rise of the Music Video Music Video Economics and Distribution Chapter 21: Dramatic Scoring for Movies, TV, and Games Background The Craft Music Scoring for TV Music Scoring for Video Games Production Music Libraries Hiring Practices Chapter 22: Music in Advertising Influences on Style Jobs Music Uses Budgets Station Branding Logos The Agency Role Spot Production Chapter 23: Music and Theater Types of Musical Theater Theater Associations Production Components Chapter 24: Music Products Music Retailers Sales Leaders Promotion of Musical Products A Changing Industry Trade Associations Opportunities for Employment Chapter 25: Business Music and Production Libraries Foreground and Background Music Business Music Production Music Libraries Part 7: The Entrepreneurial Musician Chapter 26: The DIY Toolkit The Economics of Indie The Direct-to-Fan Era Doing the Math Making Money With "Free" Tools of the Trade Online Platforms: Now You See It, Now You Don't Conclusion Chapter 27: Starting Your Own Business Getting the Process Started Choosing a Name Forms of Ownership Permits and Legal Issues Raising Funds Marketing Accounting and Finance Keeping Track of the Money Operations Management Management Where To From Here? Part 8: Career Planning and Development Chapter 28: Career Options Creative Careers Directing/Producing Careers Performing Careers Teaching Careers Broadcasting/Film/Video Game Careers Music-Related Careers Entrepreneurs/Starting Your Own Business Chapter 29: Career Development Defining Goals Climbing the Ladder Finding Work Part 9: The Global View Chapter 30: The World Outside the United States Chapter 31: International Copyright Copyright Conventions Multilateral Agreements Bilateral Treaties Intergovernmental Bodies and International Industry Organizations.
  • (source: Nielsen Book Data)9781506309538 20160619
This powerhouse best-selling text maintains is the most comprehensive, up-to-date guide to the music industry. Music business newcomers and professionals alike will find Baskerville's handbook an indispensable resource, whatever their specialty is within the field music. Key Features: * Expanded and enhanced coverage of state-of-the-art technology and its implications for the music industry, including digital downloads, changing production technologies, marketing via social networking, and new distribution channels including video games * Discusses new and emerging business models and their implications including the topics of Internet outlets, the independent musician, the evolving role of producers, and satellite and Internet radio * Information on careers, especially in the context of a changing business environment * Discussion of the concert business, once a minor source of revenue but now as robust as the revenue stream of recorded music * Coverage of alternatives to radio airplay and to incentivising teens to visit local record stores, in light of the weakened format of radio and the disappearance of neighborhood music shops * Examination of sophisticated marketing research tools for the industry, due to consumer clicks that illuminate customer buying behavior and changes in tastes and desires * Reflection on the global shift of the music business world as it becomes less centered on American companies and culture. It is ideal as the core textbook in courses such as Introduction to the Music Business, Music and Media, Music Business Foundations, and survey courses. This book can also be used for more specialized courses on the record industry, music merchandising, music careers, artist management, music and the law, arts administration, and music in popular culture.
(source: Nielsen Book Data)9781506309538 20160619
Music Library
Book
2 volumes : illustrations ; 29 cm
  • volume 1. A-J
  • volume 2. K-Z.
This one-of-a-kind reference investigates the music and the musicians that set the popular trends of the last half century in America. * Contains an alphabetical collection of entries that each profile a major group and band from the past 60 years * Provides a selected discography and bibliography for further listening and reading for each entry * Covers a wide variety of styles from classic rock to surf rock to hip hop * Features sidebar entries which tie together larger popular music concepts such as the rise and influence of MTV and the phenomenon of girl bands.
(source: Nielsen Book Data)9781440803390 20160619
Music Library
Book
229 pages : illustrations (partly color), music ; 24 cm.
Music Library
Book
336 pages : illustrations
Music Library
Book
375 pages, 16 unnumbered pages of plates : illustrations (some colour) ; 24 cm
The Sixties ended a year late - on New Year's Eve 1970, when Paul McCartney initiated proceedings to wind up The Beatles. Music would never be the same again. The next day would see the dawning of a new era. 1971 saw the release of more monumental albums than any year before or since and the establishment of a pantheon of stars to dominate the next forty years - Led Zeppelin, David Bowie, the Rolling Stones, Pink Floyd, Marvin Gaye, Carole King, Joni Mitchell, Rod Stewart, the solo Beatles and more. January that year fired the gun on an unrepeatable surge of creativity, technological innovation, blissful ignorance, naked ambition and outrageous good fortune. By December rock had exploded into the mainstream. How did it happen? This book tells you how. It's the story of 1971, rock's golden year.
(source: Nielsen Book Data)9780593074879 20160725
Music Library
Book
xi, 204 pages : illustrations ; 23 cm.
  • Introduction: Listening in on the 21st Century-- Richard Randall and Richard Purcell 1. The Scream and Other Tales: Narrating Detroit Radio History with the Vertical File-- Carleton Gholz 2. On Tape: Cassette Culture in Edinburgh and Glasgow Now-- Kieran Curran 3. Radio in Transit: Satellite Technology, Cars, and the Evolution of Musical Genre-- Jeffrey Roessner 4. The Internet and the Death of Jazz: Race, Improvisation, and the Crisis of Community-- Margret Grebowicz 5. A Brief Consideration of the Hip-Hop Biopic-- Richard Purcell 6. Love Streams-- Damon Krukowski 7. A Case for Musical Privacy-- Richard Randall 8. Digital Music and Public Goods-- Graham Hubbs 9. The Preservation Paradox-- Jonathan Sterne 10. Headphones are the New Walls: Music in the Workplace in the Digital Age-- Kathy Newman 11. Researching the Mobile Phone Ringtone: Towards and Beyond The Ringtone Dialectic-- Sumanth Gopinath.
  • (source: Nielsen Book Data)9781137497598 20160619
This collection examines the multiple ways people listen to, consume, and produce music and sound in an increasingly digital world. Technologies such as social networks, recommendation algorithms, virtual cloud storage, and portable listening devices increasingly mediate both personal and communal experiences with music. While such technologies may be convenient, their unexamined use raises ethical, socio-political, and philosophical questions. This volume brings together multiple contributions which engage with these questions and others posed by emergent musical and social technologies. Drawing upon a range of different areas of inquiry, it provides a varied critical approach to the question of how people interact with music in the modern era and debates the universal themes of modern music consumption.
(source: Nielsen Book Data)9781137497598 20160619
Music Library
Book
xiv, 189 pages : illustrations (some color), maps ; 23 cm
  • It takes a married man to sing a worried song
  • Hard travelin'
  • Columbia waters
  • Ramblin' blues (New York town)
  • Pastures of plenty
  • Ramblin' blues (Portland town)
  • Roll on Columbia
  • Oregon trail.
In 1941, Woody Guthrie wrote 26 songs in 30 days--including classics like Roll On Columbia and Pastures of Plenty --when he was hired by the Bonneville Power Administration to promote the benefits of cheap hydroelectric power, irrigation, and the Grand Coulee Dam. Timed to celebrate the 75th anniversary of this project, KEXP DJ Greg Vandy" "takes readers inside the unusual partnership between one of America s great folk artists and the federal government, and shows how the American folk revival was a response to hard times. "26 Songs In 30 Days "plunges deeply into the historical context of the time and the progressive politics that embraced Social Democracy during an era in which the United States had been severely suffering from The Great Depression. And though this is a musical history of a vibrant American musical icon and a specific part of the country, it couldn t be a better reminder of how timeless and expansive such topics are in today s political discourse.".
(source: Nielsen Book Data)9781570619700 20160704
Music Library
Book
220 pages : illustrations ; 24 cm.
  • Décor incomplet d'une ville de province au XIXe siècle -- Des années quarante-cinq aux années soixante-cinq : fin d'une époque -- Maîtres et professeurs à Nice -- A Monaco -- Qu'écoutait-on en 1945 9 -- Les orchestres et les chefs -- La radio : les orchestres de province -- L'enregistrement -- Engagement personnel -- Question de style -- Des années soixante-cinq aux années quatre-vingt -- La Cité internationale universitaire de Paris -- L'Orchestre de chambre de la Fondation de Monaco -- Le Lycée la Fontaine -- Eugène Bigot (1886-1965) -- Émotion (et musique) -- Henri Dutilleux (1916-2013) -- Concerts à Paris -- Stages et concours -- Service militaire -- Igor Markevitch -- Les Solistes de Paris et les autres -- Retour aux années soixante -- Musique baroque et musique contemporaine : acte I -- Autour. -- Des femmes compositrices et au pupitre de chef(fe) -- Se faire un répertoire -- Mai 68 -- Les festivals -- Jazz -- Jazz Hot -- La chanson -- Le disque -- Note pour les connectés d'aujourd'hui -- L'opéra : le règne du metteur en scène -- Syndicats -- 1965-2000. Création d'une école de musique et tout ce qui s'ensuivit -- De la FNUCMU à l'EMU, le conservatoire et l'Afriqüe -- La restructuration de l'enseignement musical spécialisé -- L'EMU -- Cap à l'Est et derrière le Rideau -- 1975-20... La Jeune Philharmonie de Seine-Saint-Denis : histoire d'une aventure -- Découverte de la Finlande -- 1980-2000 : de la "musique ancienne" à la "musique baroque" et les années tic, toc et choc (mais sans maillotins) -- Les trois époques du "renouveau" baroque -- L'Institut Finlandais à Paris -- 2000-2015 Prélude au XXI' siècle, la fin des utopies : individualisme et années bling-bling -- L'interprétation fantasmée -- Un monde éclaté -- Dématérialisation, virtualisation, culture pour tous -- Encore quelques réflexions sans importance -- Concours, stages, master-classes -- Et avec quel argent vivait-on 9 -- OEuvres, solistes, orchestres, public et compositeurs -- Miscellanées personnelles et jazzistiques -- Panthéon du coeur -- Ego sum qui sum & tutti quanti -- En guise d'épilogue personnel -- En guise d'épilogue personnel (bis) -- Deux articles de jazz (parus dans Jazz-Hot) -- Les maudits -- Le conformisme dans le jazz -- Les Maudits -- Un âge nouveau pour le jazz -- Mingus ? Oh yeah e -- L'anarchie organisée -- Un bassiste stupéfiant -- Puissance et magnétisme -- L'ombre du Duke.
"Les années 1945-2015, une traversée musicale de la deuxième partie du XXe siècle, vue par un musicien qui pratiqua plus ou moins toutes les formes d'expression musicale. Henri-Claude Fantapié, chef d'orchestre, compositeur, directeur de conservatoire, musicologue, fit aussi, selon les époques, des incursions dans les mondes du jazz, de la chanson, de la musique de rue, de la critique. Il participa à des colloques universitaires et à des commissions officielles en France et en Europe. Il rencontra et joua avec quelques-uns des plus grands solistes comme avec de jeunes musiciens frais émoulus de conservatoires. Un pied dans le monde des professionnels les plus exposés, l'autre dans son département de la Seine-Saint-Denis, il a laissé une partie de son coeur en Finlande (dont il est chevalier de l'ordre du Lion). Ce livre n'est pas une autobiographie mais le procès-verbal partiel et partial d'une vie dans un monde en constante mutation, qui va de l'immédiat après-guerre jusqu'aux premières années du xxIe siècle, en passant par Mai 68."--Page 4 of cover.
Music Library
Book
xx, 378 pages : illustrations (black and white, and color) ; 26 cm
  • BUILDING BLOCKS Making the Case for a Multi-Use Hall Introduction Short History The Need for Multi-Use Halls Shortfalls Success Stories The Building Block of Reverberation Introduction Defining the Programming Requirements for Excellent Acoustics Introduction Reverberation Time Reflections Clarity or C Spaciousness Envelopment Bass Ratio Diffusion Loudness (G) Stage Sound Noise and Vibration Creating the Acoustic Program Introduction Programming Phase Advocate for Musicians Programming the Stage Orchestra Pit Balconies HVAC and Sound Isolation Site Noise and Vibration Establishing Noise Isolation Criteria Programming Background Noise Levels Preparing the Guide CREATING THE BUILDING Translating Program into Bricks and Mortar Introduction Acoustic Design in Preschematic Phase Myths and New Halls: Schematic Design through Construction Documents Introduction Acoustic Design Myths Myths and Renovations: Transforming Existing Buildings into Multi-Use Halls Introduction Transportation Noise and Vibration on Site Predesign Project Site Inspection Renovation Do's and Don'ts Myths and Misconceptions Running the Acoustic Model Introduction Volume Criteria RT Calculations Myths and Misconceptions ARCHITECTURAL DETAILS Orchestra Pit Introduction Early Pits Modern Pits Pit Dimensions Acoustic Treatments Pit Rail Pit Floor Pit Ventilation The Metropolitan Opera House at Lincoln Center for the Performing Arts as Benchmark Myths and Misconceptions Acoustic Design of the Stage Introduction The Importance of Stage Acoustics Myths and Misconceptions Orchestra Seating, Balconies, Boxes, and Parterres Introduction Volume Proportions and Dimensions Hall Configuration Myths and Misconceptions Wall Shaping Introduction How Wide Should Halls Be? Throat Walls Side Walls Rear Wall Wood Walls Drywall Walls Masonry Walls Concrete Walls Myths and Misconceptions Ceiling Designs Introduction Acoustic Strategy Ceiling Approaches Myths and Misconceptions Seats and Finishes Introduction Seating Floor Materials Sound-Transparent Materials Myths and Misconceptions MEASURING RESULTS Making It Multi-Use Introduction Manipulating Volume Manipulating Absorption Location Absorption Systems Banner Fabric Motors and Control Systems Myths and Misconceptions Electronic Architecture Systems Introduction Technologically Sound Early Use EA System Components Using EA Systems Today Myths and Misconceptions Tuning the Hall Introduction Collaborative Process Preparing for the Tuning What to Do Rehearsal Mode versus Performance Mode Introducing Musicians Tuning with a Piano Mark Holden Journal Entry-November 9, 2011 CASE STUDIES Glossary Appendices.
  • (source: Nielsen Book Data)9780415517195 20160619
Explores the Science and Practice Of Acoustics for Arts Centers Employing the experiences of a world-renowned acoustician celebrated for the successful design of multi-use performing arts centers, Acoustics of Multi-Use Performing Arts Centers examines the complexities of this venue and discusses the challenges and solutions that arise in the concept, design, construction and commissioning phases. This book addresses the various programming needs of a multi-use performing arts center (needs that can range from symphony, opera and ballet to highly-amplified concerts and Broadway productions) and provides instruction from the planning of the initial concept to the final tuning stages. While assuming a basic understanding of the principals of sound, construction and performance, the author includes architectural drawings drawn to scale and presents case studies with in-depth discussion of undocumented halls. He also provides a full chapter on tuning multi-use halls and offers an inside look at design options for adjustable acoustics that include stage, pit and hall design. In addition, the book: * Covers the fundamentals of acoustics as it relates to initial stages of multi-use hall design * Explores the concepts of acoustics in terms of new and renovated spaces * Defines the basic components of the building structure * Examines floors, walls, ceilings, shells, and finishes and how they can be designed to achieve acoustic excellence * Discusses how to use and tune adjustable acoustic systems in a multi-use hall in order to achieve acoustic excellence Designed as a step-by-step guide to achieving outstanding acoustics in multi-use performance spaces, Acoustics of Multi-Use Performing Arts Centers serves students, architects, engineers, designers and acousticians.
(source: Nielsen Book Data)9780415517195 20160619
Music Library

10. Actor-musicianship [2016]

Book
xii, 220 pages ; 20 cminp
  • Chapter 1: From The Bubble to Broadway Chapter 2: Jack and Master Chapter 3: Training the actor-musician: an introduction Chapter 4: Directing actor-musicianship Chapter 5: Choreographing actor-musicianship Chapter 6: Musically Directing actor musicianship Chapter 7: A Young Theatre.
  • (source: Nielsen Book Data)9781472509635 20160619
Actor-musicianship is a permanent feature of the musical theatre landscape. Actor-musician shows can be seen from Bradford to Broadway, from village halls to international arena tours. However, with the exception of a couple of academic papers, there has been nothing written about this fascinating area of theatre practice. Jeremy Harrison's book addresses this deficit, operating as both a record of the development of the actor-musician movement and as a practical guide for students, educators, performers and practitioners. It explores the history of actor-musicianship, examining its origins, as well as investigating - and offering guidance on - how this specialist form of music theatre is created. It, in turn, acts as a means of defining an art form that has to date been left to lurk in the shadows of musical theatre; a subset with its own distinctive culture of performer, maker and audience, but as yet no formal recognition as a specialism in its own right. The actor-musician show is multifarious and as such this book targets those interested in mainstream commercial work, as well as alternative and avant-garde theatre practice. The book draws together expertise from a range of disciplines with contributions from many of the leading figures in this field, including performers, directors, teachers, MDs, producers and writers. It also features a foreword by theatre director John Doyle.
(source: Nielsen Book Data)9781472509635 20160619
Music Library
Book
xv, 149 pages : illustrations ; 24 cm
Across the US, school budgets are tightening and music programs, often the first asked to compromise in the name of a balanced budget, face a seemingly grim future. Monetary restrictions combined with an increasing focus on test scores have led to heavy cuts in school music programs. In many cases, communities and teachers untrained in advocacy are helpless in the face of the school board, with no one willing and comfortable to speak up on their behalf. In Advocate for Music!: A Guide to User-Friendly Strategies, Lynn M. Brinckmeyer, respected educator and past president for the National Association for Music Education, provides a manual for music teachers motivated to advocate but lacking the experience, resources, or time to acquire the skills to do so effectively. It will serve as a toolkit for advocating, and also for sharing resources, strategies and ideas useful for educating everyone - from community members to political representatives - about the immediate and long-term benefits of music education. In Advocate for Music!, Brinckmeyer draws on a lifetime of arts advocacy to provide answers to the questions so many teachers have but are afraid - or simply too busy - to ask. A simple, hands-on guidebook for becoming an effective advocate for the arts, Advocate for Music! is structured around six key questions: what is advocacy? Why focus on it? Who should do it? How does one do it? Where should we advocate? And when should we advocate? Readers will have access to step-by-step guidelines and strategies on how to engage others, and themselves, in a variety of levels of advocacy activities. In addition to granting access to compelling research projects, the book will provide models of letters, webinars, research findings, printed documents, websites and contact information useful for communicating with local, state and national decision makers. Working in an informal, hands-on manner, Brinckmeyer lays out advice on who to work with and what to do: providing concrete examples of advocacy tactics from ideas on how to cooperate with the gym teacher to a sample speech for the holiday concert. As she walks the reader through the a myriad of real-life examples and practical answers to her central questions, Brinckmeyer shows that every educator, parent, family member, and administrator can and should be engaged in advocating to maintain, and support, the right for today's children and adolescents to have access to high quality music education. Advocate for Music! is an important book not only for all pre-service and inservice music teachers, but aso for state MEA leaders and staff, administrators, parents, community members, and all those involved with arts or education associations.
(source: Nielsen Book Data)9780190219154 20160725
Music Library
Book
132 pages : music ; 24 cm + 1 CD (sound ; 4 3/4 in.)
  • Zur Einführung
  • Am Anfang war der Dreiklang : oder doch nicht?
  • Renaissance bis Hochbarock
  • "Verzage nicht ..." : Elementare Begriffe der Akkordlehre
  • Ein Blick auf den harmonischen "Materialvorrat" : Welche Dreiklänge verwendet der Komponist?
  • Perspektivenwechsel : Wie agieren die horizontalen Linien des Satzes miteinander?
  • Neue Dimensionen tun sich auf : Weiterentwicklung der Harmonik im Barock
  • "Ziehe mich dir nach" : Harmonische Stringenz am Beispiel des Quintfalls
  • Spätbarock
  • Die Spannung steigt, die Spannung fällt : von der Kadenz als Mittel zur Schlussbildung
  • Ein differenzierterer Blick auf das harmonische Material : die Haupt- und Nebendreiklänge
  • Harmonik und Melodik in Wechselwirkung : die Durchgänge
  • Eine maßgebliche Erweiterung der Dreiklangsharmonik : die Septimakkorde
  • Die Akkorde als Bestandteile eines Bezugssystems : die funktionale Betrachtung der Harmonik
  • "Schaut hin, dort liegt im finstern Stall ..." : Harmonik als Ausdrucksmittel
  • Das Ritornell durchwandert die Stufen : Harmonik gliedert den barocken Concerto-Satz
  • Klassik
  • Einmal zum Doppelstrich und zurück : ein musikalischer Scherz beleuchtet das Phänomen der musikalischen Wegstrecke
  • Das geheime Innenleben des klassischen Satzes : Harmonik als Grundparameter musikalischer Formbildung
  • Romantik
  • Sie liebt mich, sie liebt mich nicht : Romantische Harmonik als Ausdrucksmittel für Uneindeutigkeit
  • Ein Ausweg findet sich erst am Schluss : der Tristan-Akkord als Sinnbild für spätromantische Verstrickungen
  • Impressionismus
  • Segeln mit Debussy : Frischer Wind lüftet Wagners Harmonien-Dickicht
  • Mit den Dreiklängen am Ende : oder doch nicht?
  • Verzeichnisse
  • Sachregister
  • Personenregister.
Music Library
Book
xix, 290 pages, 10 unnumbered pages of plates : illustrations ; 24 cm
  • Naturalist
  • Teacher
  • Violist
  • Luthier
  • Scientist
  • Apprentice
  • Musicmonger
  • Inventor
  • Author
  • Catalyst
  • Editor
  • Lecturer
  • Fiddles and guitars : sympathetic strings
  • Fiddles in the conservatory : England, Wales, Scotland
  • Fiddles in the bakery : Sweden
  • Fiddles in the limelight : virtuosos on the vertical
  • Fiddles on exhibit : the Metropolitan Museum of Art
  • Fiddles in the palace : Russia
  • Fiddling with time : cabin fever
  • Fiddles live in concert : the Hutchins Consort
  • Fiddles on the marquee : returning to Ithaca.
From the time of Stradivari, the mysterious craft of violinmaking has been a closely guarded, lucrative, and entirely masculine preserve. In the 1950s Carleen Maley Hutchins was a grade school science teacher, amateur trumpet player, and New Jersey housewife. When musical friends asked her to trade a trumpet for a $75 viola, she decided to try making one, thus setting in motion a surprising career. A self-taught genius who went head to head with a closed and ancient guild, Hutchins carved nearly 500 stringed instruments over the course of half a century and collaborated on more than 100 experiments in violin acoustics. In answer to a challenge from a composer, she built the first violin octet-a family of eight violins ranging in size from an eleven-inch treble to a seven-foot contrabass, and in register across the gamut of the piano keyboard. She wrote more than 100 technical papers-including two benchmark Scientific American cover articles-founded an international society devoted to violin acoustics, and became the only American and the only woman to be honored in Cremona, Italy, the birthplace of Stradivari. Hutchins died in 2009 at the age of ninety-eight. The most innovative violinmaker of the modern age, she set out to explore two worlds she knew virtually nothing about-violins and acoustical physics. American Luthier chronicles the life of this unsung woman who altered everything in a world that had changed little in three centuries.
(source: Nielsen Book Data)9781611685923 20160619
Music Library
Book
vi, 296 pages : illustrations, music ; 24 cm
  • IntroductionBruce JohnsonCultural Contexts1. Demons of Discord Down Under: "Jump Jim Crow" and "Australia's First Jazz Band"John Whiteoak, Monash University2. Early Jazz in Australia as Oriental ExoticaAline Scott-Maxwell, Monash University3. Got a Little Rhythm: The Australian Influence on Swing in New Zealand during the 1930s and 1940sAleisha Ward, jazz writer4. Jazz in Adelaide and Melbourne in the Angry Penguins DecadeBruce Clunies-Ross, University of Copenhagen5. Cuba Street Parade: Identity, Authenticity and Self-expression in Contemporary Australasian Jazz ScenesNick Tipping, musicianInfrastructures6. How Jazz was Taken Out of the History of Australian Music TelevisionLiz Giuffre, University of Technology, Sydney7. Shotgun Weddings and Bohemian Dreams: Jazz, Family Values and Storytelling in Australian FilmChristopher Coady, Sydney Conservatorium of Music, University of Sydney8. Perspectives on the Melbourne International Women's Jazz FestivalMarjorie Louise Denson, Queensland Conservatorium, Brisbane 9. A Tale of Five Festivals: A Study of Five Australian Jazz Festivals from 2004 to 2014Brent Keogh, Macquarie University and University of Technology, SydneyMusicians10. 'I Wouldn't Change Skins with Anybody': Dulcie Pitt/Georgia Lee, a Pioneering Indigenous Australian Jazz, Blues and Community SingerKarl Neuenfeldt, musician11. Lydia in Oz: The Reception of George Russell in 1960s AustraliaPierre-Emmanuel Seguin, musician12. Examining the Legend and Music of Australian Saxophonist, Frank SmithRalph Whiteoak, doctoral student13. Expressive Ientity in the Voices of Three Australian Saxophonists: McGann, Sanders and Gorman Sandy Evans, Sydney Conservatorium of Music, University of Sydney14. Sex and the Sonic Smorgasbord - The NecksJane Galbraith, jazz musician.
  • (source: Nielsen Book Data)9781781792810 20160619
Antipodean Riffs is a collection of essays on Australian jazz and jazz in Australia. Chronologically they range from what could be called the 'prehistory' of the music - the tradition of US-sourced African-American music that predated the arrival of music billed as 'jazz' - to the present. Thematically they include studies of framing infrastructural mechanisms including the media. The volume also incorporates case studies of particular musicians or groups that reflect distinctive aspects of the Australian jazz tradition.
(source: Nielsen Book Data)9781781792810 20160619
Music Library
Book
200 pages : music ; 20 cm
  • Le violon de brindilles -- Dieux et maîtres -- 1968 -- Sur les chemins d'Amérique -- Le vase brisé -- La cadence de Kreisler -- Une écriture contemporaine -- Avant le couvre-feu -- Le violon étranger -- Reprise.
""Il y eut à Metz un concert avec, en soliste invité, Isaac Stem. J'étais fou de joie, j'éprouvais une admiration sans bornes pour lui. A la fin du concert, alors que des dizaines de gens venaient le féliciter, je le tirai littéralement par la queue-de-pie, il ne prêta pas beaucoup attention à moi. "Que veux-tu, garçon ?" dit-il quand même dans son sublime français teinté de russe, d'anglais et de yiddish, le chef local lui fit savoir : "Oui, il est jeune, mais il joue déjà bien du violon, vous savez." "Maître, pourrais-je un jour vous jouer quelque chose ? Je voudrais tant vous jouer quelque chose." Après une hésitation : "Donne-moi ton numéro de téléphone on verra." Je pensais que c'était fini, et qu'il n'avait aucune intention de m'appeler. Quelques jours plus tard, nous étions à table à Metz pour le déjeuner familial. Le téléphone sonne. "Allô, c'est Isaac Stern." Si on m'avait dit que Dieu venait de téléphoner, je n'aurais pas trouvé cela plus incroyable.""--Page 4 of cover.
Music Library
Book
113 pages
Music Library
Book
296 pages : illustrations, music ; 21 cm
  • Vorwort
  • Biografische Skizze
  • Ehrungen und Auszeichnungen
  • Werke, chronologisch
  • Einleitung : Aribert Reimanns musikalische Sprache
  • Prolog : ein Totentanz für Bariton und Kammerorchester (Reimann)
  • 1960-1969 : Fünf Gedichte von Paul Celan für Bariton und Klavier
  • Impression IV für Sopran und Klavier (Cummings)
  • Epitaph für Tenor und sieben Instrumente (Shelley)
  • Verrà̀ la morte für drei Solisten, zwei Chöre und Orchester (Pavese)
  • Engßhrung für Tenor und Klavier (Celan)
  • 1970-1979 : Zyklus für Bariton und Orchester (Celan)
  • Wolkenloses Christfest, Requiem für Bariton, Violoncello und Orchester (Büthe)
  • Six poems by Sylvia Plath für Sopran und Klavier
  • Lear, Oper (nach Shakespeare)
  • Unrevealed für Bariton und Streichquartett (Byron)
  • 1980-1989 : Drei Lieder nach Gedichten von Edgar Allan Poe für Sopran und Orchester
  • Die Gespenstersonate, Oper (nach Strindberg)
  • Tre Poemi di Michelangelo für Bariton und Klavier
  • Neun Sonette der Loui'ze Labe für Mezzosopran und Klavier
  • Nacht-Räume für Klavier vierhändig und Sopran (Rilke)
  • 1990-1999 : Drei solistische Gesangsszenen
  • Entsorgt für Bariton solo (Born)
  • Eingedunkelt für Alt solo (Celan)
  • Lady Lazarus für Sopran solo (Plath)
  • Nightpiece für Sopran und Klavier (Joyce)
  • Finite Infinity für Sopran und Orchester (Dickinson)
  • Kumiori für Bariton und Orchester (Celan)
  • Bernarda Albas Haus, Oper (nach Lorca)
  • Seit 2000 : Drei Gedichte der Sappho für Sopran und neun Instrumente
  • Fünf Lieder nach Gedichten von Paul Celan für Countertenor
  • Oder Mezzosopran und Klavier ... ni una sombra für Sopran, Klarinette und Klavier
  • (Rückert, Porchia) : Medea, Oper (nach Grillparzer)
  • Rilke-Fragmente für Sopran und Klavier
  • Epilog : Cinq fragments frangais für Sopran und Klavier (Rilke)
  • Verzeichnis der Musikbeispiele
  • Verzeichnis der Gedichte
  • Bibliografie
  • Index
  • Über die Autorin.
Music Library
Book
1 volume
Music Library
Book
vii, 181 pages ; 23 cm
To be a great singer, talent and technique are obviously important, as are having excellent songs and being able to move an audience. But there's more to it than that, including two critical skills that are rarely, if ever, addressed in vocal training: managing the technology on stage and in the studio, and interacting with the people who run it. No matter how fantastic your voice is or how much money is behind you, if you don't know how to work with performing and recording technology, you're in for a tough ride. Countless phenomenal singers stagnate professionally and even leave the business because they can't figure out how to deliver when using studio headphones and stage monitors, or how to communicate their needs to producers and engineers. And many less-capable singers get ahead because they can. The Art of Singing on Stage and in the Studio is the only book that comprehensively addresses these critical issues in an easy-to-read, accessible style. Starting with a discussion of the evolution of technology and the voice in our culture, it also explores the root causes of anxiety-related performance issues and, more importantly, how to overcome them. Singers, performers, producers, and engineers will all come away from this book more knowledgeable about the origins of their fields, empowered in the tools of their trade, and clearer on how to best communicate with one another.
(source: Nielsen Book Data)9781495050268 20160711
Music Library
Book
319 pages ; 24 cm.
Music Library