The Communication of Musical Feeling and Its Implications for Preparing Future Conductors
Author: Frederick Edward Harris
Publisher:
Published: 1999
Total Pages: 772
ISBN-13:
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Author: Frederick Edward Harris
Publisher:
Published: 1999
Total Pages: 772
ISBN-13:
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Publisher: Hal Leonard Corporation
Published: 2001
Total Pages: 112
ISBN-13: 9780634030291
DOWNLOAD EBOOK(Meredith Music Resource). A thought provoking collection of ideas by today's leading conductors on how a conductor develops feelings for a piece of music and communicates those feelings to an ensemble.
Author: Lewes Thomas Peddell
Publisher:
Published: 2004
Total Pages: 422
ISBN-13:
DOWNLOAD EBOOKThe purposes of this study were: (a) investigate how subjects' expressiveness ratings were influenced various modes of conductor behavior; (b) evaluate and identify factors that influenced subjects' ratings, and; (c) assess the effectiveness of a Personal Digital Assistant with Continual Responses Digital Interface software (i.e., PDA-CRDI) to measure subjects' expressiveness ratings. Subjects (N = 116) were undergraduate nonmusic majors (n = 50), undergraduate music majors, (n = 42) and graduate music majors (n = 24), enrolled in a large Midwest state university.
Author:
Publisher:
Published: 2000
Total Pages: 680
ISBN-13:
DOWNLOAD EBOOKAuthor: Denise Elizabeth Grant
Publisher:
Published: 2000
Total Pages: 322
ISBN-13:
DOWNLOAD EBOOKAuthor: Barry Green
Publisher: Doubleday
Published: 1986-02-21
Total Pages: 236
ISBN-13: 0385231261
DOWNLOAD EBOOKSuggests techniques for overcoming self-consciousness and improving musical performances, shares a variety of exercises, and includes advice on improving one's listening skills.
Author: Christopher Seaman
Publisher: University Rochester Press
Published: 2013
Total Pages: 286
ISBN-13: 1580464114
DOWNLOAD EBOOKExactly what does a conductor do in front of an orchestra? Internationally renowned conductor Christopher Seaman offers lively and informative answers in this wise yet humorous book. What does a conductor actually do? How much effect does he or she have? Can the orchestra manage without one? Why don't the players look at the conductor more? Is it necessary for the conductor to play every instrument? What about interpretation? What happens at rehearsals? Why do some conductors "thrash around" more than others? Who's the boss in a concerto: the soloist or the conductor? These are some of the questions that receive lively andinformative answers in this book by renowned conductor Christopher Seaman. Composed of short articles on individual topics, it is accessible and easy to consult. Each article begins with an anecdote or saying and ends with quotations from musicians, often expressing opposing views. There are many books on the art of conducting, but none like this. Music lovers wondering what the figure on the podium actually does, and aspiring conductors eager to learn more about the art and craft of leading an orchestra, will all treasure this wise yet humorous book. Christopher Seaman has been successful at both ends of the baton. After four years as principal timpanist of the London Philharmonic Orchestra, he was appointed principal conductor of the BBC Scottish Symphony Orchestra and has enjoyed a busy international conducting career for over forty years. He is now Conductor Laureate for Life of the Rochester Philharmonic Orchestra, New York, and he continues to bring great music and wise words to audiences, students, and readers around the world.
Author: Michael Haas
Publisher: Yale University Press
Published: 2013-04-15
Total Pages: 505
ISBN-13: 0300154313
DOWNLOAD EBOOKDIV With National Socialism's arrival in Germany in 1933, Jews dominated music more than virtually any other sector, making it the most important cultural front in the Nazi fight for German identity. This groundbreaking book looks at the Jewish composers and musicians banned by the Third Reich and the consequences for music throughout the rest of the twentieth century. Because Jewish musicians and composers were, by 1933, the principal conveyors of Germany’s historic traditions and the ideals of German culture, the isolation, exile and persecution of Jewish musicians by the Nazis became an act of musical self-mutilation. Michael Haas looks at the actual contribution of Jewish composers in Germany and Austria before 1933, at their increasingly precarious position in Nazi Europe, their forced emigration before and during the war, their ambivalent relationships with their countries of refuge, such as Britain and the United States and their contributions within the radically changed post-war music environment. /div