First published in 1946, Really the Blues was a rousing wake-up call to alienated young whites to explore the world of jazz, the first music America could call its own. Told in the jive lingo of the underground's inner circle, this classic is an unforgettable chronicle of street life, smoky clubs, and roadhouse dances.

    Originally published in the 1940s, Paul Hindemith's remakable textbooks are still the outstanding works of their kind. In contrast to many musical textbooks written by academic musicians, these were produced by a man who could play every instrument of the orchestra, could compose a satisfying piece for almost every kind of ensemble, and who was one of the most stimulating teachers of his day. It is therefore not surprising that nearly forty years later these books should remain essential reading for the student and the professional musician.

    Edited by Simeon Bellison. For clarinet. This edition: Complete Edition. Instructional. Instructional book. Introductory text and instructional text. 294 pages. Published by Carl Fischer

    Introducing the Positions, a series widely used in classroom and private studio, represents a critical "next step" for string students. Position playing allows players to extend range beyond the basics and move into the ranks of intermediate and advanced ensemble groups. The most important positions vary for each instrument, and Whistler wisely introduces the most-used positions first in Volume 1, followed by the next most important in Volume 2. An irreplaceable component for every string student's training!

    Barret, the Complete Oboe Method, long a standard text for oboists, will assure ease of play for advancing oboists.

    A unique combination of popular and elite influences, the music of this island nation has fascinated since the golden age of the son -- that New World aural collision of Africa and Europe that made Cuban music the rage in Paris, New York, and Mexico beginning in the 1920s.Originally published in 1946 and never before available in an English translation, Music in Cuba is not only the best and most extensive study of Cuban musical history, it is a work of literature in its own right. Drawing on such primary documents as obscure church circulars, dog-eared musical scores pulled from attics, and the records of the Spanish colonial authorities, Music in Cuba sweeps panoramically from the sixteenth into the twentieth century. Carpentier covers European-style elite Cuban music as well as the popular rural Spanish folk and urban Afro-Cuban music.In a substantial introduction based on extensive original research, Timothy Brennan explores Carpentier's career prior to the writing of his novels. Looking especially at Carpentier's work as a music reviewer, radio producer, and musical theorist, Brennan suggests new ways of thinking about the role of Latin American artists in Europe between the wars and about the central place of radio and music-club cultures in the European avant-gardes.