SKU: DZ.DZ-3857
ISBN 9782897957742.
SKU: FZ.8945
ISBN 9790230689458. 24.00 x 33.00 cm inches.
These early music methods are in facsimile in four books. Volume 1 (ref. 5931): Anonymes (1-2) - Guillaume GUERSON - Nicolas WOLLICK. Volume 2 (ref. 5932): Loys BOURGEOIS - Symphorien CHAMPIER - Maximilian GUILLIAUD - Jerome HESDIN - Jacques LEFEVRE D'ETAPLES - Claude MARTIN - Guillaume TELIN. Volume 3 (ref. 5933): Anonyme (3 : Calvin ?) - EUCLIDE - Claude MARTIN - Michel de MENEHOU - Philibert JAMBE DE FER - PONTUS DE TYARD - Pierre VALLETTE. Volume 4 (ref. 5934): Anonyme (4-5-6) - Anthoine de BERTRAND (1-2-3) - Corneille BLOCKLAND de MONTFORT - Fabrice Marin CAIETAIN - Guillaume COSTELEY - Pierre GREGOIRE - Cecile LE JEUNE - Claude LE JEUNE- Benedic MACE et Laurens DANDIN - PLUTARQUE - Pierre de RONSARD - Jean YSSANDON. Table of contents: Volume 1: Guerson Guillaume: Utillissime musicales regule - c. 1500. Anonyme: L'art de la science et praticque de plaine musique - c. 1505-1512. Wollick Nicolas: Enchiridion musices - 1509. Anonyme: Utilissimum gregoriane psalmodie enchiridion - c. 1530. Volume 2: Hesdin Jerome: Regles communes de plain chant - c. 1530. Telin Guillaume: La louenge de Musique - 1533. Champier Symphorien: De musica - 1537. Bourgeois Loys: Le droict chemin de musique - 1550. Martin Claude: Elementorum musices practicae pars prior - 1550. Lefevre d'Etaples Jacques: Musica libris quatuor demonstrata - 1551. Guilliaud Maximilian: Rudiments de musique practique - 1554. Volume 3: Tyard Pontus de: Solitaire second, ou prose de la musique - 1555. Vallette Pierre: A tous fideles, desirans chanter - 1556. Jambe de Fer Philibert: Epitome musical - 1556. Martin Claude: Institution musicale - 1556. Menehou Michel de: Nouvelle instruction familiere - 1558. Anonyme (attribue a J. Calvin): Epistre a tous les chrestiens - c. 1563. Euclide: Le livre de la musique - 1566. Volume 4: Costeley Guillaume: Musique (pieces liminaires) - 1570. Anonyme: De horis canonicis et De musica (concile de Besancon) - 1571. Plutarque: De la musique (traduit par J. Amyot) - 1572. Ronsard Pierre de: Preface au Roy Charles IX - 1572. Gregoire Pierre: De musica - 1576. Bertrand Anthoine de: Au lecteur debonaire (preface au premier livre des amours) - 1578. Bertrand Anthoine de: Advertissement au Lecteur (second livre des amours) - 1578. Bertrand Anthoine de: Advertissement au Lecteur (troisiesme livre de chansons) - 1578. Cai etain Fabrice Marin: Second livre d'airs (dedicace) - 1578. Mace Benedic et Dandin Laurens: Instruction pour apprendre a chanter - 1582. Yssandon Jean: Traite de la musique pratique - 1582. Anonyme: Traicte de musique - 1583. Blockland de Montfort Corneille: Instruction methodique - 1587. Le Jeune Claude: Dodecacorde contenant douze pseaumes (dedicaces) - 1598. Le Jeune Cecile et anonymes: Preface sur la musique mesuree et pieces liminaires du Printemps de Claude Le Jeune - 1603. Anonyme (ms. ): Regle Generalle, Et fort familiere - Reigle des Douzes Modes - c. 1598. Collection supervised by the musicologist Jean Saint-Arroman, professor at the Conservatoire National Superieur de Musique et de Danse of Paris and at the CEFEDEM Ile de France (Training Centre for Music Teachers). He is the author of the majority of our prefaces and has also been involved in library searches. Facsimiles of copies from: - Municipal Library of Bourg en Bresse (France). - Municipal Library of Grenoble (France). - Municipal Library of Lyon (France). - National Library of Paris (France). - Albert 1er Royal Library of Brussels (Belgium). - Sainte-Genevieve Library of Paris (France). - Koninklijke Library of The Hague (Netherlands). - University Library of Uppsala (Sueden). Anne Fuzeau Classique propose the complete theoretic documentation, methods, classical music scores on the French Renaissance.
SKU: BT.DHP-1185956-404
ISBN 9789043164917. French.
Pour tous ceux qui recherchent un nouvel outil pédagogique pour apprendre jouer dâ??un instrument vent, les Ã?ditions De Haske proposent la méthode Ã?couter, lire and jouer. Elle se compose dâ??une méthode richement illustréeen trois volumes avec fichiers audio en ligne et dâ??ouvrages éducatifs et ludiques fondés sur les principes actuels de la théorie musicale. Tout en se conformant aux exigences de lâ??apprentissage classique, cette collection utiliseune approche résolument ouverte, motivante et moderne de lâ??enseignement musical permettant aux élèves de découvrir la pratique instrumentale avec plaisir. De nombreux jeux, exercices dâ??écoute, morceaux et compositions originalespermettent dâ??acquérir un savoir-faire tout en sâ??amusant.
Lâ??Ã?dition complète rassemble les trois volumes de la méthode Ã?couter, lire and jouer. la fin de chaque bloc de vingt leçons, lâ??élève trouvera de nombreusessuggestions de matériel supplémentaire ainsi que des plages bonus. Ces morceaux de styles variés (rock, swing, pop, etc.) suivent la progression de la méthode et correspondent précisément aux connaissances acquises au fil desleçons. Lâ??accompagnement pour chacune de ces pièces est disponible en ligne comme fichier MP3.
SKU: BT.DHP-1185957-404
ISBN 9789043168489. French.
SKU: BT.DHP-1063927-404
ISBN 9789043161855. French.
SKU: BT.PWM5363020
The Third Symphony occupies an special place in the evolutionary process of Szymanowskis style. The Symphony The Song of the Night, Op. 27, is a setting of the poem of the same title, from the second divan of Mawlana Jalal-ad-din Rumi, for tenor solo, mixed choir and orchestra. It was completed in the summer 1916. Szymanowskis interest in oriental music at this period is not so much , as far as the Third Symphony is concerned, an attempt at some formal stylisation of eastern music, but rather an indication of his search for some mode of expression which would best reflect the conflicts of his aesthetic and artistic ideas. It was the direct contact made with the art of the Grecian and Arabic worlds during his travel to Sicily and North Africa in 1911 and 1914 that provided the external stimulus for this interest. The Third Symphony can be classed with those symphonies for chorus and solo voices so often favoured by the neo-romantic and expressionist composers. It is written in a free ternary form, the thematic material being the basic unifying structural element, which imparts a conciseness to the form, and retaining the function despite the significant changes that occur in the melodic character of the music. The texture is polymelodic, and a score reveals a masterly interweaving of the multiplicity of parts, melodic lines and patterns of sound. This symphony is consummation of all Szymanowskis mastery in instrumentation and colour, and a superb study of orchestral polyphony. Here, Szymanowski liberates himself from the rigid relations of the functional harmonic system. In the place of tonal progressions, he shifts chromatically from one sound lane to another, of which the smallest units are chords made up of tritones and seconds, using only a free intervallic structure, far more remote in Szymanowski from the dominant centralistic harmony then Debussy. In style, the Third Symphony belongs to the neo-romantic period, if this can be broadly defined as including modernistic and expressionistic trends, and to musical impressionism. (based on the Preface to the ''Works'' by Teresa Chyli ska, PWM 1985).
SKU: BA.BVK09502
ISBN 9783761895023. 18.8 x 14 cm inches. Text Language: German, English. Preface: Christoph Wolff.
The CD-ROM of RISM series A/I: Individual Prints before 1800 makes available the world's largest source collection of printed musical works for the first time in electronic form. The CD-ROM offers scholars, musicians, librarians and music antiquarians - in short, all people and institutions that work with musicalsources - significant assistance for researching historical musical prints.For the CD-ROM, the contents of the nine main volumes have been converted into a database and expanded with new entries from the supplementary volumes. Composer names, library sigla and catalogues of works have been matched with the standard versions used in series A/II: Music Manuscripts after 1600, brought up-to-date and linked with the corresponding authority files. The contents of these authority files, with many cross-references, precise citations and library adresses, often with a link to their website, are now available to users. In addition, keywords relating to genre and, where possible, instrumentation, have been included. In total, the database contains over 100,000 entries.The advantage of the CD-ROM lies in its ability to search all titles using terms in a full text search and separate indices. The search functions are far superior to what is traditionally available in a book index. Answers can be found to questions such asWhich operas were published in London between 1711-1759?andWhich single prints by Joseph Haydn were published by Artaria?- All entries are displayed in full text and are oriented in structure to thetitles in the printed volumes.- Transferring text to a separate document is possible.- Display on a standard browserSystem requirements: Intel Pentium 4 2 GHz or AMD Athlon XP 1800+processor or faster; 512 MB-1 GB RAM (depending on the operating system); CD-ROM or DVD-ROM drive; Windows 2000 with Service Pack 4, Windows XP with Service Pack 1 or later, Windows Vista or Windows 7 operating system; Firefox 3.0 or Internet Explorer 6.0 or higherInstallatio n:Installation will begin automatically or can be activated by clicking on the file SETUP.EXE on the CD/DVD-ROM drive.
SKU: GI.G-10369
ISBN 9781622775392.
With an Annotated Bibliography of Works by Underrepresented Composers  Contributors: Jodie Blackshaw, Erik Kar Jun Leung, Alex Shapiro, Courtney Snyder, Robert Taylor, Alfred L. Watkins At a time when the calls for diversity, equity, and inclusion are stronger and more important than ever, The Horizon Leans Forward . . . amplifies the talent and voices of the many underrepresented communities in the wind band field. Compiled by Erik Kar Jun Leung, and with contributions from a diverse team of distinguished wind band professionals, this book shares the profound insights and firsthand experiences of people of color, women, and LGBTQIA2S+ individuals working in the wind band field. Central to this text is the annotated bibliography showcasing more than 200 gifted composers from underrepresented communities along with more than 400 of their best works for wind band, Grades I–VI. Each entry offers a brief biography of the composer as well as pertinent publication information and descriptions of each work. Chapters address such topics as: Racism and the Black experience in America and band music The intersection of Asian culture and a career in music The experiences and insights of esteemed female band directors Queer identity and visibility in the wind band Encouragement, wisdom, and advice for empowering women in music Unique approaches to programming diverse works by diverse composers This significant volume takes an honest look at the past and present state of the wind band profession and lays out a bold and promising vision for the future, one in which there is an equitable and universal representation of all people in all areas of the field. A native of Calgary, Alberta, Canada, Erik Kar Jun Leung is Director of Bands at Oregon State University (OSU), where he guides all aspects of the band program, conducts the OSU Wind Ensemble, and teaches instrumental conducting. Leung holds a Doctor of Musical Arts in wind conducting from Northwestern University in Evanston, Illinois.
SKU: GI.G-CD-766
It is no coincidence that many favorite hymns and songs were written for Communion. For centuries, composers and authors have adorned the communion rite with some of the finest musical works ever created. Selections from this spectacular recording span the centuries. Works by masters like Bach, Duguet, Fauré, and Guilmant are interspersed with more recent titles composed or arranged by Proulx, Friedell, Toolan, Westendorf, and Kreutz. Time-honored Gregorian chant completes the musical spectrum. This recording is a must-have for every sacred library of recorded works and makes a wonderful gift for the people in your faith life. You will enjoy the liner notes that accompany this CD. Masterfully written by Frank Villella, these concise little histories make for some very informative and interesting reading. Many of these titles are currently in print, and selected titles will be published in the future. Many of these beloved treasures appear in numerous hymnals.
SKU: BA.BVK01601
ISBN 9783761816011. 48.8 x 32 cm inches. Text Language: English, German, French.
The two string quartets by Camille Saint-Saens appear here in one volume for the first time. The String Quartet No. 1 in E Minor op. 112 (1899) numbers among the composer's most successful pieces and is emblematic of the genre in the French repertoire. Here Saint-Saens displays his fully developed mastery and presents the wealth of his inspiration and musical prowess. Only three years before his death, he surprisingly composed the String Quartet No. 2 in G major op. 153 (1918) which, with its classicistic stance, represents a homage to the masters of the late eighteenth century Viennese School.In addition to the first critical edition of the two string quartets, this second volume of theOeuvres instrumentales completesde Camille Saint-Saens includes the first version of the final movementInterlude et Finalfrom the second string quartet, the fragmentary beginning of an early work for string quartet as well as the previously unknown and unpublished Adagio from Symphony No. 2 in A Minor op. 55 for string quintet. An extensive Introduction (Fr/Eng/Ger) illuminates the genesis, historical performance and reception histories of all these pieces; the Critical Report (Fr) provides information about all the sources and their variants.
SKU: BT.DHP-1185955-404
ISBN 9789043169301. French.
Pour tous ceux qui recherchent un nouvel outil pedagogique pour apprendre a jouer d'un instrument a vent, les Editions De Haske proposent la methode Ecouter, lire and jouer. Elle se compose d'une methode richement illustreeen trois volumes avec fichiers audio en ligne et d'ouvrages educatifs et ludiques fondes sur les principes actuels de la theorie musicale. Tout en se conformant aux exigences de l'apprentissage classique, cette collection utiliseune approche resolument ouverte, motivante et moderne de l'enseignement musical permettant aux eleves de decouvrir la pratique instrumentale avec plaisir. De nombreux jeux, exercices d'ecoute, morceaux et compositions originalespermettent d'acquerir un savoir-faire tout en s'amusant.
L'Edition complete rassemble les trois volumes de la methode Ecouter, lire and jouer. A la fin de chaque bloc de vingt lecons, l'eleve trouvera de nombreusessuggestions de materiel supplementaire ainsi que des plages bonus. Ces morceaux de styles varies (rock, swing, pop, etc.) suivent la progression de la methode et correspondent precisement aux connaissances acquises au fil deslecons. L'accompagnement pour chacune de ces pieces est disponible en ligne comme fichier MP3.
SKU: BT.DHP-1033439-010
The convent of St. Florian was the place of work of the Austrian composer Anton Bruckner. It was in the rural setting of this convent with its marvelloaus church that Bruckner composed many of his great symphonies. St. Florian Choral is Thomas Doss’ modest tribute to this great master whose music has left its permanent mark on the composer’s musical life. Der Besuch einer weltberühmten Blumenschau inspirierte den Komponisten Henk Hogestein zu diesem brillanten Marsch. Die riesige Vielfalt an exotischen und einheimischen Blumen spiegelt sich in ebenso abwechslungsreichen Themen wider, die mal melancholisch in Moll, dann lebhaft und schließlich heiter diesen Marsch zu einem ganz besonderen Erlebnis werden lassen. Le compositeur néerlandais Henk Hogestein s’est inspiré d’une fl nerie travers un salon d’art floral pour composer cette marche élégante. Le premier thème, écrit dans une tonalité mineure, reflète la fois le mysticisme et la sensualité des senteurs et le mystère de la profondeur des couleurs des fleurs orientales. L’art floral décoratif est mis en relief dans le second thème, plus vif de caractère. Le trio, léger et pétillant, dépeint l’élégance des fleurs indigènes et des plantes exotiques.Florian a évolue dans la diversité des parfums et des couleurs des espèces florales. Le style est méditérranéen, exotique, alpin. Le trio, léger et pétillant, dépeint l’élégance de l’art floral.
SKU: UT.LB-7
ISBN 9788881094561. 6.5 x 9.5 inches.
Proiezione in origine dei valori e dei miti di una tragica militanza ideologica, la nozione di Umanesimo civile – l’idea di una epocale convergenza tra la mutazione culturale promossa dagli umanisti e i valori sociali e politici espressi dalle repubbliche cittadine del primo Rinascimento – si carica volentieri di una responsabilità di paradigma metastorico che la critica ha persuasivamente contestato. D’altra parte la nozione non sembra sostenere nemmeno la più ristretta accezione di un’esperienza culturale unitaria, di «una maniera propria dell’Umanesimo fiorentino, diversa da quella degli altri gruppi umanistici», troppo profonde risultando le differenze, su aspetti ideologici fondamentali, tra i letterati fiorentini così evocati. Tuttavia il concetto di Umanesimo civile rimane storiograficamente rilevante, confermando l’insistenza di Hans Baron sulla peculiarità dell’esperienza fiorentina, se si limita a riassumere la convergenza tra la rivoluzione culturale e l’elaborazione politica di una specifica vicenda cittadina, protagonista il ceto che in risposta alla rivolta dei Ciompi diede vita alla repubblica oligarchica, a sua volta infine esautorato dall’egemonia medicea. Un primo risultato di questa constatazione è una più incisiva inclusione del movimento artistico nella dimensione dell’Umanesimo civile, non in un ruolo collaterale e subalterno rispetto ai letterati, ma in quello di protagonista, di inoltrato avamposto di una nuova forma mentis, di una aurorale nuova coscienza filosofica e scientifica: un risultato che mette in discussione anche tradizionali convinzioni sulla radicale inettitudine dell’Umanesimo alla scienza. Secondo, cospicuo esito di una più puntuale definizione sociologica, la nozione proposta da Baron e dalla sua scuola non esaurisce con la caduta della repubblica oligarchica la sua pertinenza alle convinzioni e ai comportamenti del patriziato, il quale in effetti continuò largamente e a lungo a coltivare l’immagine di sé creata dall’Umanesimo civile, sebbene ormai non come orgogliosa affermazione del proprio potere, ma come difesa della propria identità sociale e di residue prerogative politiche. In realtà, assai più che non risulti ad una omogeneizzante «storiografia della decadenza», un inconciliabile conflitto di culture percorre il Rinascimento fiorentino in tutta la sua durata, investendo gli orientamenti filosofici, le concezioni artistiche e letterarie, intrecciandosi con le convulsioni politiche della città e con la tragedia della restaurazione confessionale. È appunto in tale intreccio che si possono cogliere, sino a fine Cinquecento, le ultime risonanze dell’Umanesimo civile.È sembrato importante richiamare l’attenzione da questo punto di vista su personaggi, circostanze ed episodi storiograficamente noti per altri versi: sul magistero intellettuale di Piero Vettori, nella politica culturale del principato mediceo rimasto un corpo estraneo, una testimonianza di valori della tradizione fiorentina mortificati dall’assolutismo e dall’omologazione confessionale; su un aristotelismo umanistico e laico chiamato a fronteggiare il neoplatonismo di regime e a fecondare in termini ideologicamente non neutrali i dibattiti sulla Poetica e sulla teoria musicale; sull’Accademia degli Alterati, luogo di culto di memorie repubblicane e, in qualche momento, sospettabile punto di incontro del dissenso politico. È sembrato infine che la nozione di Umanesimo civile potesse plausibilmente e fecondamente raccordare l’invenzione del melodramma – L’Euridice di Peri, Rinuccini e Corsi per le nozze di Enrico IV e Maria de’ Medici – alle tradizioni culturali, agli interessi sociali, ai sentimenti e progetti politici coltivati dai suoi promotori, Florentini cives non rassegnati alla subalternità e all’alluvione antiumanistica.
