Music Research Guide

Guide to the Euphonium Repertoire is the most definitive publication on the status of the euphonium in the history of this often misunderstood and frequently under-appreciated instrument. This volume documents the rich history, the wealth of repertoire, and the incredible discography of the euphonium. Music educators, composers/arrangers, instrument historians, performers on other instruments, and students of the euphonium (baritone horn, tenor tuba, etc.) will find the exhaustive research evident in this volume's pages to be compelling and comprehensive. Contributors are Lloyd Bone, Brian L. Bowman, Neal Corwell, Adam Frey, Marc Dickman, Bryce Edwards, Seth D. Fletcher, Carroll Gotcher, Atticus Hensley, Lisa M. Hocking, Sharon Huff, Kenneth R. Kroesche, R. Winston Morris, John Mueller, Michael B. O'Connor, Eric Paull, Joseph Skillen, Kelly Thomas, Demondrae Thurman, Matthew J. Tropman, and Mark J. Walker.

This book serves the need for an authoritative guide to the euphonium and tuba for students, teachers, and professional performers. The content and presentation as applied to the wind instruments are clearly stated. Detailed discussion by Phillips and Winkle includes many considerations for all levels of performance. The appendix includes study materials recommended for beginning, intermediate and advanced levels. This book also presents a pictorial history of the evolution and development of the tuba/euphonium family with a selected list of outstanding artists who make up its heritage.

AmadeusThis immensely practical handbook is the work of a musician, composer, and teacher at the Eastman School of Music. The first book to cover the topic, it presents a broad introduction to horn study, practice, and performance.

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

This new edition of the definitive work on the history of the baroque trumpet in the 17th and early 18th centuries includes the latest material in the field plus hitherto unpublished sources of trumpet iconography. Smithers surveys the related types of trumpets used from the period of Monteverdi through the era of Bach and Handel. He examines the repertory of trumpet music available before the appearance of Bach s Second Brandenburg Concerto in F Major and provides a detailed analysis of the working conditions of trumpet players in various European countries during this period. The choice of 1721 in this first study of the music, history, and manufacture of the trumpet as it existed before the Industrial Revolution was neither accidental nor arbitrary. The earliest and only dated source of J. S. Bach s singular Second Brandenburg Concerto in F Major is both a musical and a chronological boundary between two quite different periods in the trumpet s long history. Richly annotated, this work features supplementary appendixes describing surviving sources of music composed originally for the nonmechanical baroque trumpet as well as current scholarship of note. This edition has twice as many photographs as the original printing, many reproduced for the first time."

The 2nd edition of the standard work on the tubas & their predecessors. 100 illustrations, 100 music examples, 8 appendices, 23-pp. bibliography, 33 pp. index. 640 pp. published 2000.

This book serves the need for an authoritative guide to the euphonium and tuba for students, teachers, and professional performers. The content and presentation as applied to the wind instruments are clearly stated. Detailed discussion by Phillips and Winkle includes many considerations for all levels of performance. The appendix includes study materials recommended for beginning, intermediate and advanced levels. This book also presents a pictorial history of the evolution and development of the tuba/euphonium family with a selected list of outstanding artists who make up its heritage.

This Companion is an essential guide to all aspects of the organ and its music. It examines in turn the instrument, the player and the repertoire. The early chapters tell of the instrument's history and construction, identify the scientific basis of its sounds and the development of its pitch and tuning, examine the history of the organ case, and consider the current trends and conflicts within the world of organ building. Central chapters investigate the practical art of learning and playing the organ, introduce the complex area of performance practice, and outline the relationship between organ playing and the liturgy of the church. The final section explores the vast repertoire of organ music, focusing on a selection of the most important traditions.

The purpose of The Organists' Manual is to provide, within a single volume, technical studies, diverse compositions, and technical information for beginning organists.

This collection of specially commissioned essays offers an accessible introduction to the history of the piano, performance styles, and its vast repertoire. Part 1 reviews the evolution of the piano, from its earliest forms up to the most recent developments, including the acoustics of the instrument. Part 2 explores the varied repertory in its social and stylistic contexts, including contemporary music, with a final chapter on jazz, blues and ragtime. The Companion also contains a glossary of important terms and will be a valuable source for the piano performer, student and enthusiast.

A beautifully illustrated, totally engrossing celebration of the piano, and the composers and performers who have made it their own.   With honed sensitivity and unquestioned expertise, Stuart Isacoff--pianist, critic, teacher, and author of Temperament: How Music Became a Battleground for the Great Minds of Western Civilization--unfolds the ongoing history and evolution of the piano and all its myriad wonders: how its very sound provides the basis for emotional expression and individual style, and why it has so powerfully entertained generation upon generation of listeners. He illuminates the groundbreaking music of Mozart, Beethoven, Liszt, Schumann, and Debussy. He analyzes the breathtaking techniques of Glenn Gould, Oscar Peterson, Vladimir Ashkenazy, Arthur Rubinstein, and Van Cliburn, and he gives musicians including Alfred Brendel, Murray Perahia, Menahem Pressler, and Vladimir Horowitz the opportunity to discuss their approaches. Isacoff delineates how classical music and jazz influenced each other as the uniquely American art form progressed from ragtime, novelty, stride, boogie, bebop, and beyond, through Scott Joplin, Fats Waller, Duke Ellington, Bill Evans, Thelonious Monk, Chick Corea, Herbie Hancock, Cecil Taylor, and Bill Charlap.   A Natural History of the Piano distills a lifetime of research and passion into one brilliant narrative. We witness Mozart unveiling his monumental concertos in Vienna's coffeehouses, using a special piano with one keyboard for the hands and another for the feet; European virtuoso Henri Herz entertaining rowdy miners during the California gold rush; Beethoven at his piano, conjuring healing angels to console a grieving mother who had lost her child; Liszt fainting in the arms of a page turner to spark an entire hall into hysterics. Here is the instrument in all its complexity and beauty. We learn of the incredible craftsmanship of a modern Steinway, the peculiarity of specialty pianos built for the Victorian household, the continuing innovation in keyboards including electronic ones. And most of all, we hear the music of the masters, from centuries ago and in our own age, brilliantly evoked and as marvelous as its most recent performance.   With this wide-ranging volume, Isacoff gives us a must-have for music lovers, pianists, and the armchair musician.

ON PIANO PLAYING begins with a revealing introduction to the fundamental relationships among motions and emotions, the keyboard itself and the human performing mechanism - the physical equipment that is used to make music. Here Sandor explains the role each plays in performance, pointing out typical mistakes and misconceptions that get in the way of virtually every pianist. He then discusses the basic technical patterns: free fall, scales and arpeggios, rotation, staccato, and thrust. Aided by carefully designed exercises, he shows how to execute physical movements to build muscle tone, sharpen coordination, and increase strength and flexibility. The exercises are based on common-sense principles of anatomy and physiology. Sandor next applies these patterns to the classic repertoire, showing how to play the exposition of Beethoven's WALDSTEIN sonata, for example. The emphasis in this section is on simplicity of motion and movement, and on ways to integrate motions to optimal effect - how to identify the technical patterns of a score and put them in the service of musical interpretation. No pianist, Sandor demonstrates, need suffer fatigue or exhaustion from playing a difficult piece. He shows that strength alone is not enough; the ability to use different muscles of the upper arm - is essential if practice is to be something more than a mechanical warming-up exercise. Special attention is given to problems of interpretation and performance as well: pedalling, variants, the development of precise musical diction and a singing piano tone, and much more. And he explores the common psychological challenges of public performance as well. Complete with line drawings, photographs, and many musical examples, ON PIANO PLAYING provides the means for mastering the complexities and intricacies of good musicianship. It offers an accessible, intriguing, and effective program for developing the fundamental skills that are the building blocks of good music-making.

This revision continues to set the standard in percussion instrument methods texts. Providing a comprehensive introduction to every aspect of percussion education, technique, and performance, this text helps students develop musical understanding and performance skills. The text's consistent and detailed philosophy introduces students to a refined teaching methodology, as well as a greater understanding of the learning process, by integrating contemporary concepts about experiential awareness learning.

From the first mention in courtly poetry of the thirteenth century to enormous global popularity in the twentieth, the guitar and its development comprises multiple histories, each characterised by distinct styles, playing techniques, repertories and socio-cultural roles. These histories simultaneously span popular and classical styles, contemporary and historical practices, written and unwritten traditions and western and non-western cultures. This is the first book to encompass the breadth and depth of guitar performance, featuring thirteen essays covering different traditions, styles, and instruments, written by some of the most influential players, teachers, and guitar historians in the world. The coverage of the book allows the player to understand both the analogies and differences between guitar traditions, and all styles, from baroque, classical, country, blues, and rock to flamenco, African, Celtic, and instrument making will share the same platform. As musical training is increasingly broadened this comprehensive book will become an indispensable resource.

'Books on the history of the guitar are not in short supply but this one is one of the very best... Tyler's contribution is excellent... The Guitar and Its Music will open the eyes of those who think that the instrument is fit only for rock stars, born-again evangelists - and the occasional Prime Minister.' -Anthony Pryer, Times Literary SupplementFollowing James Tyler's earlier introduction to the history, repertory, and playing techniques of the four- and five-course guitar (The Early Guitar, OUP 1980), which performers and scholars of Renaissance and Baroque guitar and lute music and classical guitarists found valuable and enlightening, this new book, written in collaboration with Paul Sparks and incorporating the latest ideas and research, is an authoritative guide to the history and repertory of the guitar from the Renaissance to the dawn of the Classical era.

This edition of the standard text aims to establish a solid foundation of basic classical guitar technique. It provides a course of instruction in all aspects of guitar performance - from basic elements to complete interpretation. Instruction is included on basic strumming patterns, chords, scales, and ensemble playing. Additionally, there are new exercises, practice studies, and self-tests, as well as a survey of the guitar repertoire and numerous solo and ensemble compositions. The book is illustrated with 15 photos, 15 diagrams and nearly 300 musical examples.

A 16-ounce package of polished wood, strings, and air, the violin is perhaps the most affordable, portable, and adaptable instrument ever created. As congenial to reels, ragas, Delta blues, and indie rock as it is to solo Bach and late Beethoven, it has been played standing or sitting, alone or in groups, in bars, churches, concert halls, lumber camps, even concentration camps, by pros and amateurs, adults and children, men and women, at virtually any latitude on any continent. Despite dogged attempts by musicologists worldwide to find its source, the violin's origins remain maddeningly elusive. The instrument surfaced from nowhere in particular, in a world that Columbus had only recently left behind and Shakespeare had yet to put on paper. By the end of the violin's first century, people were just discovering its possibilities. But it was already the instrument of choice for some of the greatest music ever composed by the end of its second.?By the dawn of its fifth, it was established on five continents as an icon of globalization, modernization, and social mobility, an A-list trophy, and a potential capital gain. In The Violin, David Schoenbaum has combined the stories of its makers, dealers, and players into a global history of the past five centuries. From the earliest days, when violin makers acquired their craft from box makers, to Stradivari and the Golden Age of Cremona; Vuillaume and the Hills, who turned it into a global collectible; and incomparable performers from Paganini and Joachim to Heifetz and Oistrakh, Schoenbaum lays out the business, politics, and art of the world's most versatile instrument.

This book gives detailed and authoritative guidance on the mastery of this rewarding instrument. It is a practical manual offering beginner and expert alike a thorough and systematic treatment of every aspect of performance. There are many parts of the body employed in playing the bassoon - abdomen, mouth, tongue, fingers, and not least brain - and are described in turn and their proper use discussed both from a theoretical and practical perspective. Each section is followed by highly original practice routines. There is also advice on maintenance, how to practise, how to teach, and how to cope with the challenges of audition and competition. There are hints given on the performance of concertos by Mozart and Weber, a list of recommended solo repertoire and an extensive bibliography.

Yehudi Menuhin music guides (er)

Teachers and flutists at all levels will welcome the return of Nancy Toff's unique one-stop guide to the flute and its music. Organized into four main parts--The Instrument, Performance, The Music, and Repertoire Catalog--the book begins with a description of the instrument and its making, offers information on choosing and caring for a flute, sketches a history of the flute, and discusses differences between members of the flute family. In the Performance section, readers learn about breathing, tone, vibrato, articulation, technique, style, performing, and recording. In the extensiveanalysis of flute literature that follows, Toff places individual pieces in historical context. The book ends with a comprehensive catalog of solo and chamber repertoire, and includes appendices with fingering charts as well as lists of current flute manufacturers, repair shops, sources for flutemusic and books, and flute clubs and related organizations worldwide.

This is an English translation of Tutor for Playing the Flute (1791) by Johann George Tromlitz. The most explicit of the eighteenth-century tutors for flute-playing, it now serves as a record of instrumental practice as well as a useful guide to the performance of German classical music. The Tutor covers all aspects of flute playing, including intonation, articulation, flute maintenance, posture and breathing, dynamics, ornaments, musical style, cadenzas, and the construction of the flute. This edition will be an indispensable manual for players of baroque and modern flutes, and the information it contains will be invaluable for all musicians, students, and specialists interested in the historically informed performance of German classical music. The text is annotated with critical notes and all of the original music examples are newly printed in modern notation. The volume also contains a fingering chart and a historical introduction.

The oboe, including its earlier forms the shawm and the hautboy, is an instrument with a long and rich history. In this book two distinguished oboist-musicologists trace that history from its beginnings to the present time, discussing how and why the oboe evolved, what music was written for it, and which players were prominent. Geoffrey Burgess and Bruce Haynes begin by describing the oboe’s prehistory and subsequent development out of the shawm in the mid-seventeenth century. They then examine later stages of the instrument, from the classical hautboy to the transition to a keyed oboe and eventually the Conservatoire-system oboe. The authors consider the instrument’s place in Romantic and Modernist music and analyze traditional and avant-garde developments after World War II. Noting the oboe’s appearance in paintings and other iconography, as well as in distinctive musical contexts, they examine what this reveals about the instrument’s social function in different eras. Throughout the book they discuss the great performers, from the pioneers of the seventeenth century to the traveling virtuosi of the eighteenth, the masters of the romantic period and the legends of the twentieth century such as Gillet, Goossens, Tabuteau, and Holliger. With its extensive illustrations, useful technical appendices, and discography, this is a comprehensive and authoritative volume that will be the essential companion for every woodwind student and performer.

The only comprehensive bibliographical index of music for saxophone. More than 18,000 works for saxophone from 1844-2003, the entire lifespan of the saxophone, are cross-indexed by composer and instrumentation. Each entry includes title, duration, year of composition, publisher, arranger, dedicatee, movement titles, and composer information.

The Cambridge Companion to the Saxophone, first published in 1999, tells the story of the saxophone, its history and technical development from Adolphe Sax (who invented it c. 1840) to the end of the twentieth century. It includes extensive accounts of the instrument's history in jazz, rock and classical music as well as providing practical performance guides. Discussion of the repertoire and soloists from 1850 to the present day includes accessible descriptions of contemporary techniques and trends, and moves into the electronic age with midi wind instruments. There is a discussion of the function of the saxophone in the orchestra, in 'light music' and in rock and pop studios, as well as of the saxophone quartet as an important chamber music medium. The contributors to this volume are some of the finest performers and experts on the saxophone.