And I make my analogy through the slave citizen's music—through the music that is most closely associated with him: blues and a later, but parallel development, jazz... [If] the Negro represents, or is symbolic of, something in and about the nature of American culture, this certainly should be revealed by his characteristic music."So says Amiri Baraka in the Introduction to Blues People, his classic work on the place of jazz and blues in American social, musical, economic, and cultural history. From the music of African slaves in the United States through the music scene of the 1960's, Baraka traces the influence of what he calls "negro music" on white America—not only in the context of music and pop culture but also in terms of the values and perspectives passed on through the music. In tracing the music, he brilliantly illuminates the influence of African Americans on American culture and history.

    Teal's studies were mostly of instruments other than the saxophone, but as a student at a Chautauqua summer session, he came under the influence of Georges Barrère, the eminent French flutist. He played bass clarinet with the Detroit Symphony, but he continued to be absorbed by the saxoph one. As a result of his acquired expertise and growing reputation, he was appointed to a full-time faculty position as a saxophone teacher by the University of Michigan -- the first ever to receive such an appointment from a major university. During his 21-year

    Schonberg presents vivid accounts of the artists’ performances, styles, and even their personal lives and quirky characteristics— such as Mozart’s intense competition with Clementi, Lizst’s magnetic effect on women (when he played, ladies flung their jewels on stage), and Gottschalk’s persistent nailbiting, which left the keys covered with blood. Including profiles of Horowitz and Van Cliburn, among others, and chapters detailing the playing and careers of such modern pianists as de Larrocha, Ashkenazy, Gilels, Gould, Brendel, Bolet, Gutierrez, and Watts, The Great Pianists is a comprehensive and fascinating look at legendary performers past and present.

    This book teaches beginners how to tune a play the dulcimer, and features illustrations, drawings, and recollections of the dulcimer's local history. It also includes music and lyrics for 16 songs from The Ritchie Family of Kentucky. Contents: Bachelor's Hall * Barb'ry Ellen * Dear Companion * Go Tell Aunt Rhodie * Goin' to Boston * Ground Hog * O Johnny's on the Water * Old Betty Larkin * Old Joe Clark * Over the River, Charlie * Pretty Betty Martin * Pretty Polly * Pretty Saro * Shady Grove * What'll Do with the Baby-o.

    The etudes, lessons and commentaries within the over 200 pages of this impressive tome teach the trombone student intonation, agility, and musicianship. No music library for the aspiring trombonist is complete without this edition of one of the most popular method books for trombone ever written.

    

    After two years he was accepted by the Chicago Symphony Orchestra, where he remained for his entire career until he retired in 1985. He has played under every Chicago Symphony Orchestra conductor, covering from Frederick Stock to Sir Georg Solti. In 1986 he received the Distinguished Service Award from the International Trombone Association. While Kleinhammer states that his book is written for the student who has no teacher available or for the teacher seeking more fundamental knowledge of the field of trombone playing, he emphasizes that it is also for the trombonist (in any stage of proficiency) who is always a student.

    

    The incomparable visual beauty of his instruments and the infinite variety and magnificence of tone of which they are capable have by this time passed into the realm of legend. Collectors have paid many thousands of dollars for one of Stradivari's violins. It is strange, but true, that only one book really delves into the life and art of this famous Italian craftsman. That is the book published in 1902 by the three Hill brothers of the London violin-making firm. Expert violin-makers and critics of superior violin craftsmanship, these men had unique opportunities to examine and compare almost all of the great examples of Italian violin-making.The larger divisions of the book concern the ancestry of Stradivari; his violins, viols, and violoncellos; his aims in relation to tone; his materials; his varnish; his construction; his labels; the number of instruments he made; the growth of their reputation. Some of the topics discussed under these main headings are: Stradivari's apprenticeship to Amati; comparison of his work with that of Amati; the tone of the pre-1684 Stradivari violin; changes between 1684 and 1690; distinguishing characteristics of many existing violins, violas, and cellos, their specific location, etc.; erroneous views concerning Stradivari's material; his preference for the wood of certain trees in given years; the mystery of the ingredients of Stradivari's varnish; the effect of varnish on tone; the measurements of Stradivari's instruments; the time spent by Stradivari in making a violin; the years of greatest production; the largest number dating from one year; estimate of the total number made; an estimate of the actual sum he charged for an instrument; the introduction of Stradivari instruments into France and England; the first revelation of their supreme merit; and many other interesting topics.Musicologists, violinists, makers of instruments, historians of culture, and those who count themselves simply as music lovers will find this to be an extremely interesting and informative account.

    

    This book is about the poetical and musical symbols in Wagner's ring; and what Wagner brought, with all the suggestive artistry at his disposal, into symbolical and artistic consciousness, I as critic am trying to bring some small stage further on towards intellectual and analytical consciousness.

    Although Tomatis initially applied his theories to vocal performance, it soon became clear that the principles he uncovered could also have a profoundly beneficial influence on actors, painters, writers, and those suffering from physical and psychological disabilities. This translation makes Tomatis's discoveries accessible for a broad audience, and is divided into three parts that can be read separately or together. Part I introduces Tomatis's general concepts as they apply to the art of singing. Part II is a basic introduction to the anatomy of the ear and how its functions relate to the brain and the rest of the body. It also provides the reader with a metaphor-free vocabulary for discussing anatomy with doctors and other concerned professionals. Part III gives practical advice on singing, posture, and matters pertaining primarily to musicians. A list of the latest English-language books on the subject has been appended. The Ear and the Voice is for everyone who wants to understand and experience the benefits of conscious listening. Please visit the author's companion websites: www.vocalimages.com and www.voxmentor.com

    What few people have known, however, is that the Negro spirituals and songs of the antebellum South were more than simple musical expression. They were, in Dr. Fisher's words, the "oral historical documents" of a people. As decoded by Dr. Fisher, the spirituals reveal data respecting their authors, their dates, their places of origin, their plans to escape, and their protest against slavery. **Lightning Print On Demand Title

    Life-long music teachers Charles S. Peters and Paul Yoder offer a logical, effective way to teach the essential elements of music to any student.It's for everyone, and it truly works! General music students, voice students, instrumental students, piano students ... any young musician can build theory skills in this six-level course.Master Theory is so versatile, it doesn't even require a keyboard! The interactive workbook format makes it ideal for general music classes, performing group rehearsals, or independent study.There's no comparison. Beginning with staff lines and progressing through rhythms, key signatures, scales, and harmony to elementary counterpoint, it's a comprehensive, no-nonsense approach to theory ... with no distractions! Your students deserve to learn theory in the quickest, most efficient way possible.

    Whose fault is it that the artist counts for so little in the public mind? Has it always been thus? Is there something wrong, perhaps, with the nature of the art work being created in America? Is our system of education lacking in its attitude toward the art product? Should our state and federal governments take a more positive stand toward the cultural development of their citizens?These are some of the provocative questions which Aaron Copland raises and answers in Copland on Music.