Includes lectures, essays, diaries and other writings, including "How to Improve the World (You Will Only Make Matters Worse)" and "Juilliard Lecture."

    For his classes he developed a manner of presentation in which 'every technical matter is discussed in a very fundamental way, so that at the same time it is both simple and thorough'.This book can be used for analysis as well as for composition. On the one hand, it has the practical objective of introducing students to the process of composing in a systematic way, from the smallest to the largest forms; on the other hand, the author analyses in thorough detail and with numerous illustrations those particular sections in the works of the masters which relate to the compositional problem under discussion.

    Record producer John Culshaw's account of the first recording of Wagner's Der Ring des Nibelungen in Vienna, 1958-65, as conducted by Georg Solti for Decca -- the first commercially produced stereo set of the massive four-opera cycle; considered a milestone in recorded music history.

    Music by Donald Swann. Poetry by J. R. R. Tolkein. Complete with easy-to-play chords for guitar and piano!

    PVG Personality45 of the Beatles biggest hits from 1967-1970, including: All You Need Is Love * Come Together * Hey Jude * Let It Be * The Long and Winding Road * Penny Lane * Revolution * many more

    For Voice. This edition: Revised (4th) Edition, Greatly Enlarged. Text. Standard notation. 275 pages. Published by Carl Fischer (CF.O4685).Contents1. Acoustics 2. Breathing 3. Attack 4. Registration 5. Resonance 6. Vowels 7. Articulation 8. Coordination Bibliography Thesaurus Index

    Schonberg, the New York Times music critic of many years, writes here one from his series of books on music history.

    This brilliant survey, by one of America's leading musical scholars, has already achieved classic status.

    Traits and characteristics of the great composer are described by his contemporaries, including musical giants Rossini, Weber, and Liszt, and poets Goethe and Grillparzer, as well as other acquaintances. 16 portraits of Beethoven are included.

    Bilingual (English/German) transcription of conversations between American composers John Cage and Morton Feldman, originally broadcast on radio station WBAI in New York City, July 1966 - January 1967.

    In this photographic tour of Dylan’s breakthrough years, 1964 to 1965, Daniel Kramer shows the human side of this legendary figure — playing chess, making coffee, and in one whimsical moment, sitting in a tree — and also in the studio and onstage. An essay by the photographer sheds further light on the man and his music.

    George Kochevitsky in The Art of Piano Playing supplies some important sources of information previously unavailable in this country. Russian sources alone occupy four columns of his bibliography on 'History and Theory of Pianism.' Additionally there are six columns of German sources and seven columns of sources in English. From these sources, tempered by this own thinking, Kochevitsky has formulated a scientific approach that can solve most problems of piano playing and teaching. George Kochevitsky graduated in 1930 from Leningrad Conservatory and did post-graduate work at Moscow Conservatory. Coming to the U.S., he has taught privately in New York City, given a number of lectures, and written for various music periodicals.

    Schweitzer's J. S. Bach is one of the great full-length studies of the composer, his life, and his work. Its influence on the subsequent performance of Bach's music was enormous, and there is scarcely a later work on Bach which does not acknowledge a deep debt to Schweitzer's. Grove's Dictionary says of the book, "Schweitzer has probably been more quoted than any authority since Spitta."The first volume contains a virtual history of Protestant church music, examining the role of music in the early Protestant services of many European countries. Frequent allusions to the parallel development of art and poetry, to the leading philosophic and religious concepts of the time, and to events of contemporary history supplement and enrich the text. Narrowing the study to Germany, Schweitzer traces to their roots the forms used by Bach (with particular emphasis on the German chorale and the forms built around it), and assess the contributions of Schütz, Sheidt, Buxtehude, Pachelbel, and others of Bach's predecessors. The volume includes a full account of Bach's life, and discusses his works for organ, clavier, strings, and orchestra. Suggestions for performance include sections on bowing, on playing chords and double stops, and on the practice of ornamentation in Bach's time.Volume Two is concerned with Bach's choral music — the chorales, cantatas, the Magnificat, the St. Matthew and St. John Passions, the motets, songs, oratorios, and masses. The illuminating analysis of these works, illustrated by hundreds of musical examples, is dominated by Schweitzer's highly original theories regarding Bach's pictorial representation of the text in the music, and the expressive motives Schweitzer has found and identified throughout Bach's compositions. A long concluding chapter makes recommendations for performance on tempo, phrasing, accentuation, dynamics, and on the size and arrangement of the orchestra and choir.Schweitzer's J. S. Bach is among the definitive reference works on Bach and is high on the list of required reading for music students. Yet it is not a difficult or formidable work. It offers a stimulating, well-written narrative, with much in it to interest the music lover as well as the scholar.

    Aesthetics, which were of prime importance in thinking about music in the nineteenth century, are today sometimes suspected of being idle speculation. Yet judgments about music and every sort of musical activity are based on aesthetic presuppositions. Carl Dahlhaus gives an account of developments in the aesthetics of music from the mid-eighteenth century onwards. He combines a historical and systematic approach. Central themes in music are grouped together to illustrate both the historical course of events and a systematic unity of the essential elements in the aesthetics of music. For this edition, the late Carl Dahlhaus provided an annotated bibliography. William Austin has added books for the English-speaking reader, and has also supplied notes to the text to help the student.

    When they discover the organ has been damaged by mice, a priest presents a Christmas poem to the organist who puts it to a simple melody. The boys' choir replaces the bellows of the organ, and moves the hearts of many in the small Austrian church. The hymn travels through Austria by many hands, anonymous, until rediscovered by the organist's son.