Book Description
The Musician's Guide to Theory and Analysis teaches the skills of complete musicianship, integrating theory and analysis in one comprehensive pedagogical program.
The Musician's Guide Series features:
- The newest developments in tonal and contemporary theory and analysis
- A familiar core repertoire, revisited throughout the theory text in different contexts, that exposes students to a wide range of musical genres—choral and instrumental, solo and ensemble—from Western classical to pop and jazz
- An anthology of complete musical works complemented by professional performances on a three-CD set
- An extensive collection of written, aural, and keyboard exercises to reinforce key concepts
Customer Reviews:
A Five Star Winner for Self-Study.......2007-03-18
I bought this book after thoroughly researching music theory book possibilities here. I have been studying music theory in a class with the Benward book, but I did not do well as I wanted on a placement test for university transfer, and I do not easily understand Benward. When this book arrived, it did not take me long to know this is just what I am looking for to review music theory on my own. I opened to figured bass and there were easy to understand verbal and musical explanations right there that took a year for me to understand in theory class. Wish I had this book last year, I would have understood the key concepts in a day. I like also that there are many exercises I can do to test my knowledge, and answers are in the back. Verbal explanations are clear, in a friendly, conversational style, there are many musical examples, key concepts are clearly indicated in blue, and each chapter has an outline right at the beginning indicating what is to be covered. This book is very well organized, there's an appendix of key definitions in the back, and it is easy to locate topics by accessing the index and the table of contents. Nothing dry about this book. The authors make reference to examples in the accompanying anthology and CD set. I do not have this, as I have access to many of these examples at another site, but I might also buy this for convenience. I also bought the workbook, but, with the opportunity to do assignments and have answers in the back of the book, I don't think I really needed the workbook. The layout is very pleasing, popular as well as classical music is referenced for examples, although this is more about classical musical theory, and the authors have done an exemplary job.
Good beginning theory book.......2005-12-18
I'm a college music student, and we're using this book in my first year theory classes. It is pretty in-depth and explains the material well. It has key points summaries throughout the chapter, which shortens the time one needs to take notes =P
A+ seller.......2005-10-24
Product arrived in great time and in great condition. Definitely an A+ seller!
Amazon.com
Anyone compiling a guide to the symphony faces two problems: impartiality versus personal enthusiasm and detailed musical analysis versus help for the newcomer. Michael Steinberg succeeds brilliantly at the task, as he has with his guide to the concerto. He has pared this vast repertory down to 118 entries (Franck and Bizet being the surprising omissions), thus keeping room for music by Schmidt, Hartmann, Harbison, Piston, and Tippett. Many of the chapters have helpful general introductions; the brief one on Mendelssohn and the longer one on Schubert are ideal. The Mahler chapter is superb, with consideration of the original version of the First Symphony and the unfinished Tenth Symphony framing a chronological discussion of the works. Steinberg includes all texts and translations of vocal movements and places even isolated works (such as Górecki's wholly atypical Third Symphony) in context. Absent is the clubby tone that infects classical music programming on public radio, and readers will not need to follow scores to understand Steinberg's points. There are some great but peripheral tidbits in the footnotes, as well as frequently trenchant quotations from various composers' letters. Best of all, Steinberg has clear concerns and enthusiasms: orchestral seating plans for the violins and the reasons that repeats in first movements are so often disregarded become refrains. The descriptions of William Schuman's Sixth Symphony and Bohuslav Martinu's Fantaisies Symphoniques may send readers rushing to listen, and the overly familiar Beethoven Eroica and Schubert "Unfinished" are once again fantastical, odd, and fresh in these pages. In Mendelssohn's Italian Symphony, we read, "the oboe is the sweetest and most seductive of tour guides." Steinberg might well have been describing himself. --William R. Braun
Book Description
Enriched by biographical detail, historical background, musical examples, and many finely nuanced observations, this volume is a treasury of insight and information. Readers will find illuminating discussion of the complete symphonies of Beethoven, Schumann, Brahms, Sibelius, and Mahler, as well as of the most loved symphonic works of Schubert, Bruckner, Dvorak, Tchaikovsky, Prokofiev, and others. We learn how to listen more sharply for Haydn's humor, to Mozart's singular combination of pathos with grace, and to the evolution of Beethoven's musical ideas in his nine symphonies. This remarkable range and variety of composers are illuminated by Steinberg's deft, inviting, and intensely personal essays, which give such a vivid portrait of each composer's personality that the reader gets an immediate sense of how the work is a direct expression of the person from whose soul and brain it has sprung. Tracing the ways in which composers have dealt with the musical challenges that have engaged them throughout the centuries, Steinberg takes us through the revolutions of expression, sound, and form that have shaped the symphony's remarkable history. Whether beginners or veterans, music lovers will listen to the symphony with enlivened interest and deeper understanding with Steinberg's masterful guide in hand.
Customer Reviews:
Near perfect........2007-03-02
Since the glories of this book have already been trumpeted enough, I'll just suggest some great works that I think merit inclusion when Mr.Steinberg gets around to revising.
As has been pointed out: Copland's Third, Saint-Saens' Third, Franck D minor...
but also Chausson's B minor, and even D'Indy's "French Mountain Air" symphony.
Symphonies by Bax, Arnold, Rubbra, Simpson, and Bliss.
Not to mention Liszt's "Faust Symphony"!
And for a good read-about at the very least: Havergal Brian's "Gothic", which is a great work.
Subjective - conservative playlist - good for what it does cover - a tough review - started falling like a rock.......2006-01-22
I got this book nearly a decade ago, and valued it a lot at the time. I hadn't seriously used it in quite some time, then, while reviewing some books I had just read, decided to post one about it.
When I got online, I first noticed the comments in the line of "It's too bad that 'Composer X' gets omitted."
But, this is a book about music, I was thinking, and "de gustibus non disputandum" will always be the rule in the arts.
Then, I started looking through my current collection of nearly 500 classical CDs and said, "Whooah, there."
First, Steinberg appears to operate with a narrow definition of what is a symphony, perhaps. Why else is Rachmaninov's "Symphonic Dances" omitted, for example? Or Hindemith's "Four Temperaments" or "Symphonic Variations"?
On symphonies themselves, where is Stravinsky's "Symphony of Psalms"? Or anything by Schnittke, the best symphonist of the last third of the 20th century? Or Malcolm Arnold? Or Nicolai Myaskovsky, a great contemporary of Prokofiev? Or Ernst Krenek? Or Szymanowski? Or Hovhaness, as "pop" as he may be to some?
And why so much Haydn?
In other words -- and this is why Steinberg's book started falling like a rock for me -- his "playlist" is quite conservative. I don't think either Boston or San Francisco (he served as orchestra program annotator in both places) are that conservative musically, so why is he?
I mean, someone could do a separate volume just out of all the 20th century composers he omitted.
As my title notes, this is an in-depth book for what it covers, but it fails in what could have been a great didactive exercise. I moved my classical music boundaries beyond 1900 through dint of my own open-mindedness, but sure would have loved the help of a book like Steinberg's that analyzed more 20th century symphonic works.
If your "playlist" is stuck where many heartland American classical listeners' may be, then this book could be just for you. But, if you want to learn a lot about modern symphonies, skip it.
Indispensable.......2001-09-17
A wonderful book. Michael Steinberg is probably the premier writer of program notes for symphony orchestra concerts in the English-speaking world, and his two books, The Symphony: A Listener's Guide (Oxford University Press, 1995, 678 pages), and its companion volume The Concerto: A Listener's Guide (Oxford UP, 1998, 506 pages), are probably the two best collections of program notes on the symphony and the concerto that have ever been published in English. Steinberg formerly wrote the program notes for the Boston Symphony Orchestra and currently writes them for the New York Philharmonic and the San Francisco Symphony Orchestra. He was music critic of the Boston Globe for twelve years. These two books come with glowing recommendations from such distinguished musical figures as Seiji Ozawa, Michael Tilson Thomas, Andre Previn, Herbert Blomstedt, Roger Norrington, and John Adams. Speaking as one who has attended countless symphony orchestra concerts on the East Coast, West Coast, and in Dallas for more than forty years, and has always read the program notes, I can say that I've never read any as good as these. They are readable, learned, witty, accessible, and delightful, full of important biographical and historical information, and of course musical description, evaluation, and analysis that is genuinely illuminating and enlightening, without being so technical you need to be a musicologist or seated at a piano to understand it. (Inevitably, there are some musical examples, but these are relatively few, usually fairly simple, and you don't have to understand them to grasp the meaning of the text.) I would recommend these two books strongly to any lover of classical music, anyone who attends symphony orchestra concerts.
Having said this, I can't help noting a few unfortunate omissions. The Symphony is a thick book and perhaps one is ungenerous to cavil at such a generous and generally inclusive and comprehensive volume. All the Beethoven symphonies are included, of course, as are all the symphonies of Brahms and Schumann, and all the major symphonies of Haydn (only two symphonies before No. 86), Mozart (no Mozart symphonies earlier than No. 35, "Haffner"), Tchaikovsky (three symphonies), Dvorak (four symphonies), and Bruckner (six symphonies). The two greatest twentieth-century symphonists, Mahler and Sibelius, are covered in full, including all of their published symphonies and the unfinished Mahler Tenth (but not the early Sibelius "Kullervo" symphony). The third great twentieth-century symphonist, Shostakovich, is represented by seven of his fifteen symphonies. Both Elgar symphonies are included. The most striking lapses are in the French repertoire: the Franck D minor symphony and the Saint-Saens Third ("Organ") are unaccountably omitted, and these are serious omissions. The Schubert Fifth is omitted. Copland is represented by his Second ("Short Symphony"), not his much better known and more frequently performed Third. The same can be said of Hanson, who is represented by his Fourth ("Requiem"), not his Second ("Romantic"). Among the moderns, there are some strangely arbitrary (and, one suspects, personal) choices and omissions: for example, Roy Harris' Third is omitted, although symphonies by Harbison and Hartmann are included; the Harris is surely better established in the standard repertoire than either of these composers. For Vaughan Williams, two of his most popular and accessible symphonies, the First ("Sea") and Second ("London"), are omitted in favor three later symphonies (only 4, 5, and 6 are covered).
Despite these omissions, I recommend this book and its companion volume warmly and wouldn't be without them. Now I wish Mr. Steinberg and Oxford University Press would give us a third volume, covering the large body of orchestral music that is neither symphony nor concerto (such as tone poems and symphonic suites and dances, ballets and ballet suites, incidental music to plays and pageants, major overtures and preludes, et al.).
Beginner's perspective.......2001-07-26
The other reviewers here have given you the perspective of die-hard classical music fans. I am not really expert enough to comment on ommisions and such. But I would like to present another possible reason to purchase this book. Classical music can seem kind of inscrutable to the outsider, but this book sort of walks the reader (and listener) through each piece. I've used it to pick what piece to track down next. This book will enrich the listening experience and the listening skills of the musically minded amateur i think. It did for me.
great, but with 20 pages more it would have been perfect.......1999-09-20
I greatly enjoyed this book: Steinberg's style is lively and full of wit, but authoritative nonetheless, which is rare. As a reference book, this is an invaluable "tool" for the music lover and the scholar alike. As a fan of British and American music I found the Elgar, Vaughan Williams and Schuman chapters really praiseworthy. So, why not 5 stars? I think that, if you write such a kind of book (a "guide"), you should try to find a balance between the objective and the subjective, Steinberg tends decidedly to the subjective, which is good when he gives us so many insights about composers or conductors he met, much less so when this affects the selection criteria. For example, talking about American music, he spends pages talking about the Steinberg-dedicated Harbison Second (I bought the CD after I read the book and I found it very empty and rambling) and just a few (denigratory) lines about the Copland Third, which is a a classic , like it or not. And what about the almost total omission of the French symphonies? You won't find Franck and Bizet, as Amazon points, but also Saint-Saens is missing , and I don't think a book about symphonies can be without his Third. All in all, an indispensable issue, but with some flaws.
Book Description
Composer and author Daniel Felsenfeld takes the reader on a tour of some of the "Little Russian's" most beloved works, including The Nutcracker, Swan Lake, 1812 Overture, Romeo and Juliet, Symphonies Nos. 4 and 6, the Serenade for Strings, and his Violin Concerto. The book is a series of blow-by-blow listening sections matched to the music on two accompanying CDs, guiding the reader through these magical compositions, illuminating their edges and fine points.
Customer Reviews:
Perfect for high school-level music libraries or any general lending collection handling cds and text alike........2007-04-07
Tchaikovsky was a composer of lovely melodies rooted in his personal angst: TCHAIKOVSKY: A LISTENER'S GUIDE blends prose to music by offering two accompanying cds from classical music cd publisher Naxos to accompany author Daniel Felsenfeld's exploration of his most notable works. The pairing of text from a music writer and composer with the master pieces of an artist makes for a particularly involving production perfect for newcomers to Tchaikovsky's works. Perfect for high school-level music libraries or any general lending collection handling cds and text alike.
What an Expert Sees/Hears.......2007-03-28
To listen to great music and to enjoy it is one thing. Yet the professional student of classical music sees/hears/understands so much more than the rest of us.
In this book Daniel Felsenfeld, a prolific composer and music writer has written what he sais agimes to give 'the interested but potentially uninitiated listener' the tools he or she needs to lsiten to Tchaikovsky's music and to become more comfortable with classical music overall. This provides an insite that most of us, particularily those of us living in remote areas, can never see.
I never imagined that you could see so much in this music.
The book comes with two full length CDs.
Average customer rating:
|
A Singer's Guide to the Songs of Joaqu'n Rodrigo
Suzanne Rhodes Draayer , and
Joaquin Rodrigo
Manufacturer: Scarecrow Pr
ProductGroup: Book
Binding: Hardcover
 Sheet Music & Scores
| Formats
| Books
| Composers
| Forms & Genres
| Historical Period
| Instrumentation
Voice
| Instruments & Performers
| Music
| Entertainment
| Subjects
| Books
Songbooks
| Music
| Entertainment
| Subjects
| Books
General
| Music
| Entertainment
| Subjects
| Books
Country & Folk
| Composers & Musicians
| Arts & Literature
| Biographies & Memoirs
| Subjects
| Books
Look Inside Entertainment Books
| Trip
| Specialty Stores
| Books
ASIN: 0810836769 |
Book Description
An authoritative and indispensable guide to Joaqu'n Rodrigo's vast catalog of vocal works, "A Singer's Guide" provides word-for-word translations, idiomatic translations, and IPA transcriptions of Rodrigo's entire body of work, which encompasses eighty-seven songs. Other details given are background information, range, length and other relevant facts. Biographies of Rodrigo and his wife, Victoria Kamhi, are also included, as well as information gleaned from in-depth interviews and correspondence with Cecilia Rodrigo, the only child of Victoria and Joaqu'n Rodrigo. Much of this information has never before been available to the public. Rodrigo set Castilian, Catalan, German, French, Latino, and Galician poetry dating from the Middle Ages to the twentieth century to exquisite melodies and accompaniments. This book will allow for greater accessibility to Rodrigo's beautiful songs and literature. "A Singer's Guide to the Songs of Joaqu'n Rodrigo" will acquaint you with some of the world's most beautiful vocal literature. Rodrigo is a masterful melodist, creating exquisite themes that enhance the poem and suit the singer's voice. His songs meld the old with the new--supreme lyricism, harmonic as well as nonharmonic dissonance, and a fine sense of poetic line. Treat yourself, your students, and your audiences to the profound beauty of Rodrigo's songs!
Average customer rating:
- Best (affordable) book on the symphony
|
A Guide to the Symphony
Manufacturer: Oxford University Press, USA
ProductGroup: Book
Binding: Paperback
Reference
| Subjects
| Books
| Almanacs & Yearbooks
| Atlases & Maps
| Books on CD
| Books on Cassette
| Business Skills
| Careers
| Catalogs & Directories
| Consumer Guides
| Dictionaries & Thesauruses
| Education
| Encyclopedias
| Etiquette
| Foreign Languages
| Fun Facts
| Genealogy
| General
| Job Hunting
| Large Print
| Law
| Publishing & Books
| Quotations
| Spanish-Language Reference
| Study Guides
| Test Prep Central
| Words & Language
| Writing
General
| Classical
| Musical Genres
| Music
| Entertainment
| Subjects
| Books
General
| Instruments & Performers
| Music
| Entertainment
| Subjects
| Books
General
| Reference
| Music
| Entertainment
| Subjects
| Books
General
| Music
| Entertainment
| Subjects
| Books
General
| Arts & Photography
| Subjects
| Books
General
| Performing Arts
| Arts & Photography
| Subjects
| Books
Look Inside Entertainment Books
| Trip
| Specialty Stores
| Books
Similar Items:
-
The Symphony: A Listener's Guide
ASIN: 0192880055 |
Book Description
The evolution of the symphony is one of the greatest achievements of the Western musical mind. Its 250-year history--how it began to challenge the traditional superiority of vocal music to eventually become regarded as one of the most fulfilling genres in music--is rich and fascinating. From
the early symphonies of seventeenth century through the greatest symphonist of all, Beethoven, to the present day, A Guide to the Symphony is a comprehensive and readable guide for anyone who listens to classical music at concerts, on disc, or on the radio.
Here, Robert Layton and an international team of scholars present a detailed guide to the history of symphony following its growth and development up to the age of Beethoven, and charting its divergent course in the nineteenth and twentieth centuries throughout the world. Among the distinguished
contributors, each a specialist in his own field, are H.C. Robbins Landon, well known for his regular television appearances throughout Britain and his many books on Mozart and Haydn; David Brown, the world's leading authority on Tchaikovsky and nineteenth-century Russian music; Richard Osborne,
presenter of the BBC's Saturday Review, biographer of Gioachino Rossini and acclaimed Beethoven expert; and Robert Layton himself, Britain's leading authority on Scandinavian music. Every major symphonist is covered, including such greats as Joseph Haydn, Wolfgang Amadeus Mozart, Ludwig van
Beethoven, Franz Schubert, Anton Bruckner, Gustav Mahler Jean Sibelius, and Carl Nielsen.
With nearly 120 musical examples, and a list of over 500 recommended recordings, A Guide to the Symphony is must reading for any serious music lover. Whether you want a fresh view of Beethoven's Ninth Symphony or Schubert's Unfinished Symphony, an assessment of Schumann's contributions to the
symphony, or an introduction to more forbidding composers like Henze and Tippett, this informative and accessible work will guide, illuminate, and stimulate.
Customer Reviews:
Best (affordable) book on the symphony.......2003-08-21
This, with his 'Guide to the Concerto', gives us a well written introduction to the orchestral genre. I would say that, outside of the hugh and expensive: Symphonic Repertoire, this is the best book on the symphony available. Layton's book is very readable and extremely useful; it puts the works in historical, political, geographic and ,of course, musical perspective, it also has excellent coverge of 20th Century works, as well as all the standard stuff. It's is very well structured and I have 'discovered' many new symphonists to listen to, which aren't covered in more popularist books on this subject.
Average customer rating:
- Bach for bozos
- Not great, not good, but informative
- Trainspotters guide to Bach
- Good resource to better aprreciate Bach
|
Bachanalia: The Essential Listener's Guide to Bach's Well-Tempered Clavier
Eric Lewin Altschuler
Manufacturer: Little Brown & Co (T)
ProductGroup: Book
Binding: Hardcover
Bach, Johann Sebastian
| Composers
| Classical
| Musical Genres
| Music
| Entertainment
| Subjects
| Books
General
| Instruments & Performers
| Music
| Entertainment
| Subjects
| Books
General
| Music
| Entertainment
| Subjects
| Books
Instruction & Study
| Theory, Composition & Performance
| Music
| Entertainment
| Subjects
| Books
Theory
| Theory, Composition & Performance
| Music
| Entertainment
| Subjects
| Books
General
| Classical
| Composers & Musicians
| Arts & Literature
| Biographies & Memoirs
| Subjects
| Books
ASIN: 0316035297 |
Customer Reviews:
Bach for bozos.......2004-12-04
I picked up this book with some excitement. Bach's 48 has been for me, as for many others, a great scource of spiritual nourishment. I had hoped for a book that would be enlightening and penetrating. Anything that grandly describes itself as a listener's guide, really should be able to get into the guts of the music. Alas no!
I find it hard to understand why this book was ever written let alone published. It is really quite feeble. Virtually nothing is said about the preludes, except that the author gives us a league table of his favourites, as he does the fugues. The fugues themselves are described in dreary terms of entries of subjects. Rarely is the emotional content mentioned.
The writer describes the charming c minor fugue from book one as the greatest of them all and dismisses the glorious b minor fugue as 'not one of his favourites'. He seems to have derived this opinion from statistical analysis. I doubt if many share his view.
The book is deeply schizophrenic. On one hand it wishes to appear learned and uses terms like stretti and inversion, and on the other, it wants to use expressions derived from baseball and popular culture. The two parts do not gel. The populist parts seem lightweight and the erudition heavy handed.
Ultimately, Bach's achievement in these pieces is greater than merely counting the number of entries of a subject or when it is being inverted, It is music with a heart and soul.
My advise is avoid, and spend your money buying the music itself.
Not great, not good, but informative.......2004-02-01
There's a good chance that those who find D. Hofstadter entertaining will like this book: it's very much in the same vein as his works. Those who can't stand Hofstadter, or actually know something about music, will probably hate it. Altschuler just has this grating tone; it's as if he wants you to believe everything he's saying is worth its weight in gold; perhaps it's because he went to an ivy school. Poor boy.
I read some insightful words about Hofstadter's GEB lately, and they apply here as well: "mathematicians find the mathematics almost dangerously oversimplified, but the stuff about music interesting; musicians find the talk about music banal, but the stuff about math interesting." In other words, when you mix two or more branches of knowledge with the intent of coming to some sort of synthetic point of view, you should probably know what you are talking about!
Trainspotters guide to Bach.......2000-08-07
Eric Lewin Altschuler loves lists. At the back of this book, and referred to throughout the text, are lists of his top ten preludes and fugues, and even his top ten subjects and episodes. This self-confessed "disk jockey for Bach" can't help trivializing the music with his tone of forced jocularity and "delightfully irreverent" analogies to such subjects as football games, sex and horror movies. It's not all bad, however. The essays could provide an entry point for those nervous of getting to know this wonderful music alone. The basic analysis is good, and the summaries of form are an easy way of following what's going on in the fugues. Grown up alternatives? Donald Tovey's short analysis pieces are still the best. Cecil Gray's book on the 48, although grumpy and quirky like the author, is interesting. Both are hard to get hold of, though. Altschuler's book can be found in second hand stores - just look out for the gaudy cover.
Good resource to better aprreciate Bach.......1999-05-23
The Well Tempered Clavier is a refreshing book which enlightened me to many details of Bach's compositons. Helpful observations on Bach's fugues made reading the Well Tempered Clavier as enjoyable as having a great conversation with a passionate music lover. Alstschuler had a lot of interesting details on compositon and music history. As a songwriter myself, the insights into many of the techniques Bach employed to keep the listener enthralled were especially valuable. It seemed every page was filled with at least one extremely interesting observation. This very good book was a very pleasant reading experience.
Customer Reviews:
A useful guide to musical analysis........2006-09-17
In this book, Nicholas Cook explains different techniques of musical analysis in a fairly straight-forward style that is not difficult to understand. You do however need to have a solid background on music theory to understand what he is talking about, as this is not a book for beginners in music theory and music analysis. For those of you who do know a bit about music theory, you'll find some original techniques, some of which are a little outdated. Nevertheless it is a very good complementary read.
For example, he describes one technique whereby you study a piece of music literally for as long as the composer would have taken to write it, to really get into the depth of the piece. Of course, he also says that this technique is the most practical one and he then develops that point further, however there clearly is a feeling in this book whereby you get a lot of tools of analysing music effectively. His techniques go into a lot of detail, which often very technical, but which nevertheless give the reader a complete set of tools to musical analysis.
Four points are awarded to this book, as it very good, however it does not provide an easy read for non experts in the fields of musical analysis. It is more of an excellent complementary read for students, teachers and music historians.
Average customer rating:
|
Bach's Solo Violin Works: A Performer's Guide
Jaap Schroder
Manufacturer: Yale University Press
ProductGroup: Book
Binding: Hardcover
General
| Classical
| Musical Genres
| Music
| Entertainment
| Subjects
| Books
Strings
| Instruments & Performers
| Music
| Entertainment
| Subjects
| Books
General
| Reference
| Music
| Entertainment
| Subjects
| Books
General
| Music
| Entertainment
| Subjects
| Books
Techniques
| Theory, Composition & Performance
| Music
| Entertainment
| Subjects
| Books
General
| Composers & Musicians
| Arts & Literature
| Biographies & Memoirs
| Subjects
| Books
ASIN: 030012466X |
Book Description
Long admired for his interpretation of Bach's six Sonatas and Partitas for unaccompanied violin, Jaap Schröder, a leading international soloist, here provides a detailed but informal guide to their performance. Bach’s sublime solo violin works have long been central to the baroque music repertoire. No serious violinist can avoid studying them, and few concert artists can resist the temptation of performing them.
This is a book for advanced students and performers. Using it is an experience akin to a master class conducted by a uniquely accomplished practitioner. The text is devoted almost entirely to practical matters—bowing, phrasing, ornamentation, tempi, and so on. Schröder strongly recommends the use of a baroque violin and, especially, baroque bow, but his interpretive insights and suggestions are equally applicable to modern violinists.
Average customer rating:
|
Music Criticism: An Annotated Guide to the Literature
Harold J. Diamond
Manufacturer: Scarecrow Pr
ProductGroup: Book
Binding: Hardcover
General
| Music
| Entertainment
| Subjects
| Books
General
| Bibliographies & Indexes
| Publishing & Books
| Reference
| Subjects
| Books
Music
| Bibliographies & Indexes
| Publishing & Books
| Reference
| Subjects
| Books
History
| Bibliographies & Indexes
| Publishing & Books
| Reference
| Subjects
| Books
ASIN: 0810812681 |
Average customer rating:
|
Music Analyses: An Annotated Guide to the Literature
Harold J. Diamond
Manufacturer: Schirmer Books
ProductGroup: Book
Binding: Hardcover
General
| Music
| Entertainment
| Subjects
| Books
Theory
| Theory, Composition & Performance
| Music
| Entertainment
| Subjects
| Books
General
| Bibliographies & Indexes
| Publishing & Books
| Reference
| Subjects
| Books
Music
| Bibliographies & Indexes
| Publishing & Books
| Reference
| Subjects
| Books
ASIN: 0028701100 |
Books:
- The New Grove Dictionary of Music and Musicians (20 Volume Set
- The New Grove Dictionary of Music and Musicians (20 Volume Set
- The NPR Curious Listener's Guide to Classical Music (NPR Curious Listener's Guide To...)
- The Pema Chodron Collection: Pure Meditation:Good Medicine:From Fear to Fearlessness
- The Rolling Stone Illustrated History of Rock and Roll: The Definitive History of the Most Important Artists and Their Music
- The Sandman Vol. 1: Preludes and Nocturnes
- The Secret Garden (HarperClassics)
- The Ultimate Gift (The Ultimate Series #1)
- The Violin Maker: Finding a Centuries-Old Tradition in a Brooklyn Workshop
- The Wild Wood
Books Index
Books Home
Recommended Books
- Business, Government and Society: A Managerial Perspective
- The Tipping Point: How Little Things Can Make a Big Difference
- Resource-Based and Evolutionary Theories of the Firm: Towards a Synthesis
- Rhino Road: The Black and White Rhinos of Africa
- The End of Victory Culture: Cold War America and the Disillusioning of a Generation
- The Wonderful Wizard of Oz
- The Sugar Solution: Weight Gain
- 101 Secrets A Good Dad Knows
- Profit Is Not a Four-Letter Word: The Real Truth About What It Is, Where It Comes From, How It Impro
- Business Studies Basic Facts
The Musician's Guide to Theory and Analysis: Workbook
The Musician's Guide to Theory and Analysis: Anthology
The Musician's Guide to Theory and Analysis: Recordings (3 CD set)
The Musician's Guide to Aural Skills
Music for Sightsinging (6th Edition)
