Originally published in 1948, this orchestration manual is one of the cornerstone texts on the topic, but has never before been published in English. Profusely illustrated with musical examples, this manual gives technical and subjective advice about writing for each of the instruments of the orchestra. Paperback, 278 pages.
(Misc). Originally published in 1948, this orchestration manual is one of the cornerstone texts on the topic, but has never before been published in English. Profusely illustrated with musical examples, this manual gives technical and subjective advice about writing for each of the instruments of the orchestra. Paperback, 278 pages.
With writings by Berlioz, Wagner, Gounod, Mahler, Schoenberg, Reich, and others, this collection of writings traces the history of orchestration and its development, as well as presents a wide variety of theories that have been embraced by the leading practitioners in the field.
Harps and harp music have enjoyed a renaissance over the past century and today can be heard in a broad array of musical contexts. Guide to the Contemporary Harp is a comprehensive resource that examines the vibrant present-day landscape of the harp. The authors explore the instrument from all angles, beginning with organology; moving through composition, notation, and playing techniques; and concluding with the contemporary repertoire for the harp. The rapid diversification in these areas of harp performance is the result of both technological innovations in harp making, which have produced the electric harp and MIDI harp, and innovative composers and players. These new instruments and techniques have broadened the concept of what is possible and what constitutes harp music for today. Guide to the Contemporary Harp is an essential guide for any harpist looking to push the instrument and its music to new heights.
The emphasis is on the practical fundamentals of orchestration. The Sixth Edition has been expanded and revised to reflect new developments in instruments and orchestral practice, and a new listening compact disc has been added that contains selected examples of orchestration. A listening compact disc features selected samples intended for use in conjunction with the book. New musical examples and listings, and an updated bibliography which includes many recent publications. A short chapter on scoring for high school orchestras, and information on nonorchestral instrumental groups, including the band and the wind ensemble.
Presenting detailed bibliographic information on all aspects of orchestration, instrumentation, and musical arranging with the broadest possible historical and stylistic palette, this work includes over 1,200 citations. The sources range from treatises, dissertations, and textbooks to journal articles and are cross-referenced and indexed. This is the only comprehensive bibliographic reference guide of its kind on the subject of orchestration. It will be of value to the music theory teacher, undergraduate and graduate students of orchestration, and the researcher. The book contains chapters devoted to book-length treatises; a general bibliography of journal articles and books partially related to orchestration; a chronological list of orchestration treatises; a list of jazz-arranging treatises; a list of band-related treatises; a list of treatises dealing with specific instruments or instrumental families; and an index. This is the first in a series of music theory reference books the author is developing.
György Ligeti is a composer whose stance always extended into a multidimensional field. The old and the new in music, or, more generally, artistic and scientific thinking as a whole, were his closest and most inspiring companions and everything new had to be further developed. Yet for him, nothing could be really new without a deep relationship with the old. And the power of the old had to be woven into every new idea. This necessity to subsume what came before into all things new was also his "torture rack". His students in Hamburg experienced this great seeker, this indeed desperate seeker in a most intense way. And he imbued upon us the extreme necessity of taking the next steps, and challenged us to participate and challenged us as, in a great game, to join in the search. A great many of György Ligeti's students collaborated on this book. The result is a colorful bouquet of articles, some of which provide astonishing insights into the person, the teacher, the composer György Ligeti, and all in all include many aspects that would scarcely be accessible to a musicologist coming from outside this inner circle.
