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Book
xiv, 703 pages : music ; 27 cm
  • Part I: THE PRIMARY MATERIALS AND PROCEDURES. 1. Key, Scales, and Modes. 2. Intervals. 3. Rhythm and Meter. 4. Triads and Seventh Chords. 5. Introduction to Counterpoint. 6. Procedures of Four-Part Writing. Part II: I-V-I AND ITS ELABORATIONS. 7. I, V, and V7. 8. I6, V6, vii6. 9. Inversions of V7. 10. Leading to V: IV, ii, and ii6. 11. The Cadential 6/4. 12. vi and IV6. 13. Supertonic and Subdominant Seventh Chords. 14. Other Uses of IV, IV6, and vi. 15. V as a Key Area. 16. III and VII. Part III: 5/3, 6/3, AND 6/4 TECHNIQUES. 17. 5/3-Chord Techniques. 18. Diatonic Sequences. 19. 6/3-Chord Techniques. 20. 6/4-Chord Techniques. Part IV: ELEMENTS OF FIGURATION. 21. Melodic Figuration. 22. Rhythmic Figuration. Part V: DISSONANCE AND CHROMATICISM I. 23. Leading-Tone Seventh Chords. 24. Mixture. 25. Remaining Uses of Seventh Chords. 26. Applied V and VII. 27. Diatonic Modulation. Part VI: DISSONANCE AND CHROMATICISM II. 28. Seventh Chords with Added Dissonance. 29. The Phrygian II (Neapolitan). 30. Augmented Sixth Chords. 31. Other Chromatic Chords. 32. Chromatic Voice-Leading Techniques. 33. Chromaticism in Larger Contexts. Appendix I: Keyboard Progressions. Appendix II: Score Reduction. Appendix III: Roman Numerals and Registers-- Explanatory Tables and Charts. Index of Musical Examples. Subject Index.
  • (source: Nielsen Book Data)9781337560573 20180226
A clear and accessible volume spanning the entire theory course sequence, HARMONY AND VOICE LEADING, covers all basic concepts, including species counterpoint. Available with MindTap Music, which includes the ebook with audio examples, Guided Listening Exercises for many units--showing a step-by-step resolution of a unit exercise--and PDFs of the workbook exercises.
(source: Nielsen Book Data)9781337560573 20180226
Music Library
Book
xiv, 529 pages : illustrations, music ; 26 cm
  • Preface A Note for Instructors A Student's Introduction Acknowledgments Preludes - Rudiments Prelude 1 - Notation of Sound Prelude 2 - Meter Prelude 3 - Scales and Key Signatures Prelude 4 - Intervals Prelude 5 - Triads Prelude 6 - Seventh Chords Part I - Melody Chapter 1 - Melodic Construction Chapter 2 - Major Key Functionality Chapter 3 - Minor Key Functionality Chapter 4 - Chromaticism in Melodies Part II - Species Counterpoint to Chorale Style Chapter 5 - Background for Species Chapter 6 - First Species in Two Voices Chapter 7 - Second and Third Species in Two Voices Chapter 8 - Fourth Species in Two Voices Chapter 9 - Fifth Species (Florid Counterpoint) in Two Voices Chapter 10 - Two-Voice Counterpoint Chapter 11 - Three Voices and Chords Chapter 12 - First Species in Three Voices Chapter 13 - Second and Third Species in Three Voices Chapter 14 - Fourth Species in Three Voices Chapter 15 - Fifth Species (Florid Counterpoint) in Three Voices Chapter 12-15 Redux Chapter 16 - Four Voice Counterpoint and Chorale Style Chapter 17 - Figured Bass Chapter 18 - Other Dissonances Chapter 19 - The Purpose of Chorale Style Part III - Diatonic Harmony to Form Chapter 20 - Roman Numerals and Harmonic Progressions Chapter 21 - Tonic and Dominant: The Fundamental Relationship Chapter 22 - Predominants: The Basic Progression Chapter 23 - Intensifying the Motion: Adding Dissonance 1.Sevenths 2.Cadential 6/4 Chapter 24 - Submediant Chapter 25 - Mediant Chapter 26 - Harmonic Rhythm Chapter 27 - Harmonizations Chapter 28 - Linear Chords Chapter 29 - Sequences Chapter 30 - Tonicization Chapter 31 - Modulation Chapter 32 - Phrase-level Analysis Chapter 33 - Small Forms Part IV - Color Chords and Bold Chromaticism Chapter 34 - Modal Mixture Chapter 35 - Neapolitan Chapter 36 - Augmented Sixth Chords Chapter 37 - Altered Dominants Chapter 38 - Enharmonic Reinterpretation Chapter 39 - Third Relations Part V - Popular Music Chapter 40 - Introduction to Popular Music Chapter 41 - General Stylistic Elements Chapter 42 - Sonorities from Jazz: Stable Sevenths, Extended Tertian Chords, and Added Note Harmonies Chapter 43 - Lead Sheet Notation Chapter 44 - Pop Progressions Following Classical Diatonic Functions Chapter 45 - Blues and the Retrogression Chapter 46 - Mediant and Ascending Thirds Chapter 47 - Supertonic, Linear Harmonic Motion, and Diatonic Summary Chapter 48 - Chromaticism from Classical Music Chapter 49 - Chromaticism from Jazz - Tritone Substitution Chapter 50 - Pop Chromaticism 1: L and â ­VII Chapter 51 - Pop Chromaticism 2: Quality Change Chapter 52 - Three Analyses Appendices Appendix A - Melodies for Study Appendix B - Cantus Firmi and Figured Basses for Exercises Appendix C - Church Modes Appendix D - Extended Tertian Harmony Glossary About the Author.
  • (source: Nielsen Book Data)9781538101230 20180403
Music Theory and Composition: A Practical Approach presents a pragmatic, accessible approach to music theory through an emphasis on melody and counterpoint. This focus explains the "why" of musical construction more clearly than the traditional approach of beginning with chords. By starting with a single melodic line and gradually adding voices in counterpoint, the book drills part-writing while simultaneously explaining functionality, first with scale degrees and then with harmony. The text has students learn musical techniques and progressively build on their functions and importance to create their own compositions. With short, digestible chapters, Music Theory and Composition clearly presents otherwise complicated ideas not as strict rules, but as artistic ideals, encouraging the interactive creation of new compositions as a tool for learning. The textbook is versatile and easily customizable, suiting -Different skill levels with species counterpoint providing a framework for the beginner while providing an interesting challenge for more experienced students -Different curricular schedules with complete exercises in two, three, and four voices, allowing for an optional skip from two voices to four -Different pedagogical approaches with species exercises encouraging students to consider harmonic choices and figured bass ensuring functional progressions Specific features of this text include: -complete curriculum for first-year theory courses -over 500 musical examples drawn from Common Practice Era compositions as well as more contemporary and popular pieces -workbook sections printed at the end of each chapter and available for download on companion website -focus on active composition throughout the text and workbook sections -conversational tone to encourage student engagement Designed for first-year college music theory courses, but accessible enough for the interested lay reader or high school student, the text offers a true balance of counterpoint and harmony.â .
(source: Nielsen Book Data)9781538101230 20180403
Music Library
Book
xxxiv, 523 pages : illustrations, music ; 28 cm
  • 1. General Considerations and Prerequisites. 2. Basic Percussion Technique Through the Study of the Snare Drum. 3. Multiple Percussion. 4. Keyboard Percussion. 5. Timpani. 6. Bass Drum, Cymbals, and Accessories. 7. Percussion Instruments of the World. 8. Drum Set. 9. Marching Percussion. 10. Musical Interpretation of Percussion Parts. 11. Supplemental Playing Exercises. Appendix A--Orchestral Excerpts for Percussion and Discography of Percussion Music. Appendix B -Select Percussion Solo and Ensemble Music.
  • (source: Nielsen Book Data)9781337560719 20180226
Gain the knowledge and skills needed to learn--and teach--percussion with TEACHING PERCUSSION, Enhanced 3rd Edition! Providing a comprehensive introduction to every aspect of percussion education, technique and performance, this text and its accompanying videos guide you toward a greater musical awareness and improved technique. Illustrations, examples and exercises acquaint you with the special needs of all percussion instruments. And modern techniques and numerous exercises give you greater insight into music learning and performance. Available with MindTap Music, the digital study tool that empowers you to learn when, where and how you want--even on your mobile.
(source: Nielsen Book Data)9781337560719 20180226
Music Library
Book
xii, 307 pages, 8 unnumbered pages of plates : color illustrations ; 25 cm
  • The originators
  • Writing on the wall
  • Bad boys
  • Studio gangsters
  • Aftermath
  • Fashion fortunes
  • A fourth King?
  • The beats generation
  • Grape expectations
  • Sound investments
  • Ice in the winter
  • State of the art
  • Kings, queens, presidents, and precedents.
"Tracing the careers of hip-hop's three most dynamic stars, this deeply reported history brilliantly examines the entrepreneurial genius of the first musician tycoons: Diddy, Dr. Dre, and Jay-Z"--Amazon.com.
Business Library
Book
lxxxi, 119 pages ; 24 cm.
Music Library
Book
viii, 241 pages ; 22 cm.
  • Chapter 1 Introduction: Afrofuturism and Black Sound Studies.- Chapter 2. Blackness, Technology, and the Changing Same.- Chapter 3. Space and Time.- Chapter 4. Vibrations, Rhythm and Cosmology.- Chapter 5. Interstellar Space, Outer Space, and Inner Space.- Chapter 6. The Sounds of the Future.- Conclusion.
  • (source: Nielsen Book Data)9783319660400 20180115
This book interrogates the meeting point between Afrofuturism and Black Sound Studies. Whereas Afrofuturism is often understood primarily in relation to science fiction and speculative fiction, it can also be examined from a sonic perspective. The sounds of Afrofuturism are deeply embedded in the speculative - demonstrated in mythmaking - in frameworks for songs and compositions, in the personas of the artists, and in how the sounds are produced. In highlighting the place of music within the lived experiences of African Americans, the author analyses how the perspectives of Black Sound Studies complement and overlap with the discussion of sonic Afrofuturism. Focusing upon blackness, technology, and sound, this unique text offers key insights in how music partakes in imagining and constructing the future. This innovative volume will appeal to students and scholars of sound studies, musicology and African American studies.
(source: Nielsen Book Data)9783319660400 20180115
Music Library
Book
197 pages ; 25 cm.
  • Acknowledgments [-]Introduction [-]1. Alan Lomax's Deep Rivers of Digitality [-]2. Pete Seeger's Time-Biased Tactics [-]3. Bob Dylan's Noisy Faces [-]4. A Folk Approach to Imaginary Media [-]5. Another Authentic Folk Is Possible [-]6. American Folk Music as Strategic Media [-]Epilogue [-]References [-]Index[-].
  • (source: Nielsen Book Data)9789462984943 20180226
Media archeology; American folk music; digital culture; tactical media; authenticity.
(source: Nielsen Book Data)9789462984943 20180226
Music Library
Book
xxi, 641 pages : illustrations (some color) ; 24 cm
Music Library
Book
352 pages : illustrations (some color), map ; 24 cm
  • Creando y compartiendo "música latina" en Estados Unidos, años 1940-1950 = Creating and sharing "Latin music" in the United States, 1940s-1950s
  • Innovación y cruce de fronteras, años 1950-1960 = Innovation and boundary crossing, 1950s-1960s
  • Conectando con las Américas, años 1970-1990 = Connecting with the Americas, 1970s-1990s
  • Hazlo tú mismo ("Do-it-yourself", o DIY), años 1980-2000 = Doing it yourself (DIY), 1980s-2000s
  • Estrellas comerciales y artivistas comunitarios = Commercial stars and community artivistas.
Evoking the pleasures of music as well as food, the word sabor signifies a rich essence that makes our mouths water or makes our bodies want to move. American Sabor traces the substantial musical contributions of Latinas and Latinos in American popular music between World War II and the present in five vibrant centers of Latin@ musical production: New York, Los Angeles, San Antonio, San Francisco, and Miami. From Tito Puente's mambo dance rhythms to the Spanglish rap of Mellow Man Ace, American Sabor focuses on musical styles that have developed largely in the United States-including jazz, rhythm and blues, rock, punk, hip hop, country, Tejano, and salsa-but also shows the many ways in which Latin@ musicians and styles connect US culture to the culture of the broader Americas. With side-by-side Spanish and English text, authors Marisol Berrios-Miranda, Shannon Dudley, and Michelle Habell-Pallan challenge the white and black racial framework that structures most narratives of popular music in the United States. They present the regional histories of Latin@ communities-including Chicanos, Tejanos, and Puerto Ricans-in distinctive detail, and highlight the shared experiences of immigration/migration, racial boundary crossing, contesting gender roles, youth innovation, and articulating an American experience through music. In celebrating the musical contributions of Latinos and Latinas, American Sabor illuminates a cultural legacy that enriches us all.
Green Library
Music score
1 score (6 leaves, unbound) ; 28 x 43 cm
This challenging work calls for vibraphone, glockenspiel, and various unpitched instruments.
Music Library
Book
xv, 157 pages : illustrations, music ; 24 cm.
  • Table of Contents Series Editor's Foreword Preface Part I Introduction to the Musicalische Paradoxal-Discourse Werckmeister Biography Werckmeister Treatises Contents and Sources of the Musicalische Paradoxal-Discourse Part II Translation of the Musicalische Paradoxal-Discourse Title page and dedicatory comments Preface Index and contents of the chapters Chapter 1 An introduction to this work: the division of the musical proportions Chapter 2 A testimonial through mathematics and Holy Scriptures themselves, that the course of the heavens are harmonic Chapter 3 How the mortal body and soul are harmonically created, and furthermore, on the influence of the stars Chapter 4 Why humans find such pleasure in music, and whence composers and musicians arise Chapter 5 As the image of God, humans are to praise the Creator with music. Buildings and eras in scripture are also harmonic wonders of spiritual music. Chapter 6 On the abuse of music, which the authorities could abolish Chapter 7 How the inclination of a people determines its attitude towards music, and how the heathens were so scattered in their views on music Chapter 8 On the music of the early Christians, and the subsequent changes Chapter 9 The great difficulties arising out of solmization and the linear staff-system Chapter 10 Proof that the linear staff system is accompanied by great difficulties Chapter 11 Proof of how everything can be played or sung through the twelve note-names Chapter 12 Further proof, that the linear staff system has many more variants than the twelve note-names Chapter 13 How the temperaments can be examined, and on German tablature Chapter 14 How the chromatic system is to be applied to the tempered keyboard Chapter 15 On the disorder of hymn singing Chapter 16 On the simplicity of old organs Chapter 17 How the musical modes can be differentiated Chapter 18 On the nature and property of the harmonic numerals Chapter 19 On the hidden meaning of the numerals Chapter 20 On the properties of the harmonic numerals, when they themselves are subdivided Chapter 21 On the subdivision of the harmonic numerals Chapter 22 On the properties of the dissonant musical numerals Chapter 23 How the harmonic radical numerals are transformed into a tempered tuning, and of their hidden meaning Chapter 24 A comparison of incorrect tempered tuning with false Christianity Chapter 25 How the temperament can be perfect or imperfect, and how the same can be compared with Christianity Chapter 26 The Lord's Prayer in the musical proportional numerals Bibliography About the author.
  • (source: Nielsen Book Data)9781498566346 20180129
Andreas Werckmeister (1645 - 1706), a late seventeenth-century German Lutheran organist, composer, and music theorist, is the last great advocate and defender of the Great Tradition in music, with its assumptions that music is a divine gift to humanity, spiritually charged yet rationally accessible, the key being a complex of mathematical proportions which govern and are at the root of the entire universe and all which that embraces. Thus understood, music is the audible manifestation of the order of the universe, allowing glimpses, sound-bites of the very Creator of a well-tempered universe, and of our relationship to each other, our environment, and the divine powers which placed us here. This is the subject matter of the conversation which Werckmeister wishes to have with us, his readers, particularly in his last treatise, the Musicalische Paradoxal-Discourse. But he does not make it easy for today's readers. He assumes certain proficiencies from his readers, including detailed biblical knowledge, a fluency in Latin, and a familiarity with treatises and publications concerning music, theology, and a number of related disciplines. He writes in a rather archaic German, riddled with obscure references which require a thorough explanation. With its extensive commentary and translation of the treatise, this book seeks to bridge Werckmeister's world with that of the twenty-first century. Werckmeister wrote for novice and professional musicians alike, an author who wanted to consider with his readers the basic and existential questions and issues regarding the wondrous art of music, questions as relevant then as they are now.
(source: Nielsen Book Data)9781498566346 20180129
Music Library
Book
xiv, 674 pages : illustrations ; 22 cm
Every musical form has had an impact on the linguistic practices of our society. French song is a vector of cultural, social, and stylistic values. Throughout the world, songs in the French language are used in the teaching of French: professors incorporate songs into the curriculum in order to illustrate differences of register and linguistic variation, as well as to raise lexical or grammatical questions. As a form of popular expression, song is a genre that has, in recent years, become the focus of serious academic scholarship and criticism. However, few linguists have paid attention to French song and its linguistic uses. This richly illustrated mini-dictionary about French singers fills this gap by offering a collection of portraits of the greatest singers of the French language and how they have constructed the musical landscape in both France and the larger francophone community and the world as a whole. Through (re)discovering these classic and contemporary artists who contribute to the creation of the sonorous universe of the 20th and 21st centuries, the volume determines how these musical genres influence the French language and nourish our collective imagination. By plunging into francophone song, one can achieve a better understanding of the culture and the language of its speakers.
(source: Nielsen Book Data)9781527503540 20180312
Music Library
Book
xiv, 226 pages, 16 unnumbered pages of plates : illustrations ; 21 cm
  • Preface Acknowledgements PART I: THE WAR YEARS 1 September 1939 - Nazis invade Poland Beginnings of the Nightmare In the ghetto and escape Continuous hiding Warsaw A brief haven of peace Trembacka Street, Warsaw Warsaw Uprising Proszkow - semi-freedom The last winter of the war End of Nazi Occupation Beginning of new life PART II: JOURNEYS THROUGH LIFE 13. Fulfilment through Learning 14. New influences - literature 15. Jasia, Poldi, Julian 16. To the promised land - Israel 17. Henrietta Michaelson and the Jerusalem Music Academy 18. The Mozart competition and public concerts 19. Marriage to Gabi Ben-Or 20. Death of Henrietta PART III: ENGLAND FROM 1960 21. London - the Alexander Technique 22. Shadows from the Past - inner illness 23. Married to Roger Clynes 24. Various journeys 25. Reflections Appendices.
  • (source: Nielsen Book Data)9781788313094 20180423
Born into a Jewish family in Lvov, Poland in the early-1930s, Nelly Ben-Or was to experience, at a very young age, the trauma of the Holocaust. This narrative of her life's journey describes the survival of Nelly, her mother and her older sister. With help from family and friends, Nelly and her mother were smuggled out of the Ghetto in Lvov and escaped to Warsaw with false identity papers where they were under constant threat of discovery. Miraculously, they survived being taken on a train to Auschwitz, deported not, in fact, because they were Jews, but as citizens of Warsaw following the Warsaw Uprising against the Nazis. After the end of the war, Nelly's musical talent was free to flourish, at first in Poland and then in the recently-created State of Israel, where Nelly completed her musical studies as a scholarship student at the Music Academy in Jerusalem. Following her move to England she carried out a full concert career and also discovered the Alexander Technique for piano playing, which had a profound influence on her. Today Nelly Ben-Or is internationally regarded as the leading exponent of the application of principles of the Alexander Technique - she teaches in the keyboard department of London's Guildhall School of Music and Drama, runs Alexander Technique masterclasses and regularly gives talks about her Holocaust experience. This unique memoir is testimony to an extraordinary life and illustrates the strength of the human condition when faced with adversity.
(source: Nielsen Book Data)9781788313094 20180423
Green Library
Book
1 online resource.
EBSCOhost Access limited to 1 user
Book
183 pages : illustrations ; 22 cm
  • Olivier Messiaen (1908-1992) -- Elliott Carter (1908-2012) -- Gian Carlo Menotti (1911-2007) -- John Cage (1912-1992) -- Witold Lutoslawski (1913-1994) -- Henri Dutilleux (1916-2013 -- György Ligeti (1923-2006) -- Luigi Nono (1924-1990) -- Klaus Huber (1924-2017) -- Luciano Berio (1925-2003) -- Pierre Boulez (1925-2016) -- Hans Werner Henze (1926-2012) -- Karlheinz Stockhausen (1928-2007) -- Edison Denisov (1929-1996) -- Cristôbal Halffter (1930) -- Tôru Takemitsu (1930-1996) -- Sofia Gubaidulina (1931) -- Krzysztof Penderecki (1933) -- Alfred Schnittke (1934-1998) -- Arvo Pärt (1935) -- Toshio Hosokawa (1955).
"Ce livre propose une rencontre avec vingt-et-un des plus grands compositeurs de la seconde moitié du 20e siècle. Il s'agit d'entretiens que l'auteur a conduits tout au long de sa carrière de journaliste. Elle nous restitue ici ces moments privilégiés, Ce furent parfois de brèves réflexions saisies à l'occasion d'une création, d'un festival ou d'une tournée d'orchestre. Les rencontres eurent lieu dans une loge d'artiste, un café, ou une salle de répétition d'autres fois, ce furent de longues conversations qui se déroulèrent chez les compositeurs eux-mêmes, chaque fois, des moments uniques. Ce sont vingt-et-un instantanés, toujours passionnants par la spontanéité, l'honnêteté et la lucidité des propos; des instantanés, parce qu'ils rapportent les paroles d'un moment, d'une étape dans la carrière de ces compositeurs qui ont fait la musique du 20e siècle et ou vert les portes de celle du 21e siècle. Pris sur le vif, ces compositeurs l'ont aussi été par la caméra de l'auteur qui a pu, à l'exception de deux d'entre eux, les photographier tous lors des interviews. Cela confère à ce livre un caractère d'intimité complice."--Page 4 of cover.
Music Library
Book
vi, 290 pages : illustrations, music ; 29 cm
  • PART ONE Conducting Technique Chapter 1 THE BATON, PREPARATION, DOWNBEAT, AND RELEASE Chapter 2 BEAT PATTERNS AND PREPARATIONS IN TEMPO, DYNAMIC, AND BASIC STYLE Chapter 3 PREPARATIONS AND RELEASES FOR ALL COUNTS Chapter 4 FRACTIONAL BEAT PREPARATIONS Chapter 5 DIVIDED METERS Chapter 6 ASYMMETRICAL AND CHANGING METERS Chapter 7 THE FERMATA Chapter 8 THE CUE Chapter 9 CONDUCTING MUSICAL STYLES Chapter 10 EXPRESSIVE CONDUCTING AND THE LEFT HAND Chapter 11 TEMPO CHANGES AND ACCOMPANYING PART TWO Score Preparation and Rehearsal Technique Chapter 12 ANALYSIS AND SCORE PREPARATION Chapter 13 THE INSTRUMENTAL REHEARSAL Chapter 14 THE CHORAL REHEARSAL PART THREE Musical Excerpts Chapter 15 THE BATON, PREPARATION, DOWNBEAT, AND RELEASE Chapter 16 BEAT PATTERNS AND PREPARATIONS IN TEMPO, DYNAMIC, AND BASIC STYLE Chapter 17 PREPARATIONS AND RELEASES FOR ALL COUNTS Chapter 18 FRACTIONAL BEAT PREPARATIONS Chapter 19 DIVIDED METERS Chapter 20 ASYMMETRICAL AND CHANGING METERS Chapter 21 THE FERMATA Chapter 22 THE CUE Chapter 23 CONDUCTING MUSICAL STYLES Chapter 24 EXPRESSIVE CONDUCTING AND THE LEFT HAND Chapter 25 TEMPO CHANGES AND ACCOMPANYING TECHNICAL MASTERY APPENDICES Appendix A COMPETENCIES FOR THE BEGINNING CONDUCTING CLASS Appendix B STUDENT EVALUATION Appendix C CHART OF TRANSPOSITIONS AND CLEFS Appendix D FULL SCORE INSTRUMENTATION AND FOREIGN EQUIVALENTS Appendix E COUNTING DRILLS FOR UNEVEN METERS Appendix F MUSICAL STYLE CHART Appendix G GLOSSARY Appendix H MODEL VIDEO EXCERPT CHART.
  • (source: Nielsen Book Data)9781138656994 20171201
Basic Conducting Techniques, Seventh Edition provides a clear and intelligible introduction to the art of conducting an ensemble. Over twenty chapters lay out the elements of conducting, followed by an extensive selection of musical examples from the classical repertoire. This seventh edition has been updated to include the full scores of key excerpts. A companion website now accompanies the book, providing additional resources including transposed scores, recordings of the excerpts, and video demonstrations of techniques. The new edition will feature: * Chapters rewritten and redesigned to better highlight important information and show connections between different sections. * Material on expressive conducting has been updated and expanded to a new full chapter. * Select full scores added in the Musical Excerpts section. * Excerpts with transpositions added to the text of each chapter, allowing easy access for class performance. * A new companion website, which will include the scores and transpositions for all the musical excerpts, audio files of excerpts, and new demonstration videos modelling specific techniques for each chapter. * Updated photographs.
(source: Nielsen Book Data)9781138656994 20171201
Music Library
Book
100 pages : illustrations (chiefly color) ; 33 cm
Music Library
Book
xi, 179 pages : illustrations, map ; 24 cm.
  • 1. Introducing ... The Beatles in Japan 2. The Road to the Budokan: Setting the Stage 3. The Beatles at the Budokan: The Storm Hits 4. Interlude: Manila and Memphis 5. John and Yoko: `All we had done as two people was become close' 6. Japan Revisited: Touring with Paul and George 7. Conclusion.
  • (source: Nielsen Book Data)9781138692107 20180226
Following their first tour to Japan in 1966, the Beatles would become an important part of Japan's postwar cultural development and its deepening relationship with the West. By the 1960s Japan's dramatic rise in prosperity and the self-confidence of the country's `economic miracle' period were yet to come; it was not, at this stage, considered a fully-fledged partner of the West. All these potential developments were consolidating around the time of the 1966 tour. The Beatles' concerts in Tokyo contributed to the construction of a new Japanese national identity and introduced Japan as a new potential market to UK and US music producers, broadening the country's transnational cultural links. This book explores the Beatles' engagement with Japan within the larger context of the country's increased global connection and large-scale economic, social and cultural change. It describes the great impact of the Beatles' contentious 1966 tour, which took place amid public displays of both euphoric `Beatlemania' and angry protests, and discusses the lasting impression of this tour on Japanese culture and identity to the present day. The Beatles' relationship with Japan did not end after their departure; this book also examines the Beatles' subsequent contacts with Japan, including John Lennon's marriage and artistic partnership with Yoko Ono, and Paul McCartney's later Japanese tours and the warm reception the ex Beatles and their musical legacy have received over the years.
(source: Nielsen Book Data)9781138692107 20180226
Green Library
Book
1 online resource.
  • Young Richard
  • Out in the world
  • Doldrums
  • Triumph
  • The world in flames
  • Pause for thought
  • It begins
  • Suspension
  • Limbo
  • Enter a swan
  • Towards the green hill
  • The long day's task is done.
EBSCOhost Access limited to 1 user
Book
86 pages : illustrations ; 18 cm.
  • 1. Grimes on the Beach 2. Opera as Theatre: Why Peter Grimes is a Play 3. The Suffolk Renaissance: Why Peter Grimes is a Great Play.
  • (source: Nielsen Book Data)9781138678668 20180319
ã `Who can turn skies back and begin again?' -Peter ã This book contends that Peter Grimes, widely regarded as one of the greatest and most influential operas of the 20th century, is also one of the British theatre's finest `lost' plays. Seeking to liberate Britten and Slater's work from the blinkered traditions of theatre and opera criticism, Sam Kinchin-Smith poses two questions: If an opera was created like a play, and can be staged as a play, is it a play? If a portion of its success and influence is the product of this newly identified theatrical engine, is it then a great play? The answers involve Wagner and W.G. Sebald, George Crabbe and Complicite, Akenfield and Twin Peaks. Challenging long-established narratives of post-war theatre history, this book makes a compelling case for why practitioners and scholars of performance ought to pay more attention to Britten and Slater's achievement - a milestone of unconventional English modernism - and perhaps to other operatic masterpieces too.
(source: Nielsen Book Data)9781138678668 20180319
Music Library