SKU: HP.1755
UPC: 763628117559.
As the title indicates, there are 13 new hymn texts based on Psalms, 12 as hymns and 24 as new spiritual songs. All are set to tunes ancient and modern, and all have been written since the publication of A Year of Grace (1990) and To Sing God's Praise (1992).
SKU: HL.49032750
ISBN 9783795787196. 6.0x8.25x0.36 inches. German.
Paul Nitsche's 'Pflege der Kinder- und Jugendstimme', published in two volumes in 1952/1954, has been known to directors of children's choirs and teachers of singing for a long time. Now this standard work is available as a revised new edition in a new design and layout, consisting of the chapters 'Theoretischer Teil' [Theoretical Part] and 'Stimmbildungen am Lied' [Voice Training in Song]. While the first part deals with topics such as 'autonomy of the child's voice', 'breaking of the voice', 'breathing', 'sound generation', 'resonant chambers' and 'hummer', the second part contains a lot of exercises for the practical work with children from primary school age to the breaking of the voice. 'Exercises in song', 'Song vocalises' and 'Syllables for practising in shouting, singing and playing' are just a few examples from the varied material provided for voice training.It is the author's aim to exploit the possibilities of the voice in song without the song becoming a stereotyped and mechanically repeated voice training exercise. What is essential is that the subject matter is 'wrapped up' in the singing or playing activities in such a way that the children do not lose their joy and pleasure in singing.
SKU: HL.49003452
ISBN 9790001033947. UPC: 073999352757. 9.0x12.0x0.16 inches. German - English - French.
3d to 6th positions without thumb positions. Moderately difficult.
SKU: BT.BOE8008
ISBN 9783954562794. German.
Dieser Spielband aus der Serie Start Up Piano mit 20 Pop-Hits, die jeder gerne spielen möchte, richtet sich an Klavieranfänger/innen im 1. und 2. Unterrichtsjahr, ebenso an Autodidakten/innen. Akkorde wurden hier strikt gemieden, schwer zu spielende Rhythmen vereinfacht, aber dennoch dem Original nachempfunden. Die Spielstücke stehen in einfachen Tonarten bis zu einem Vorzeichen. Alles ist pädagogisch aufbereitet und mit Tempoangaben, Fingersätzen, Dynamik, Akkordsymbolen sowie dem Text versehen. Start Up Piano ist ein einfaches, unkompliziertes Spielvergnügen für Unterricht und Freizeit. Der ideale Begleiter mit einem breitgefächerten Repertoire für die Anfangszeit am Klavier.
SKU: GI.G-10368
ISBN 9781622776276.
This is a fascinating and important book for everybody even remotely interested in the history of American bands. Bryan Proksch has done some painstakingly thorough research in putting together an amazing assemblage of documents… This is a must-have book! —Jon Ceander Mitchell   The Wind Music Research Quarterly: Mitteilungsblatt der IGEB   (March 2022), 14–15 For the scholar, each entry presents an opportunity for expansion. For the teacher, this work provides source readings for courses on wind band history or for complementing Strunk or Weiss-Taruskin in university music history courses. That said, these documents stand as an enriching and entertaining read in their own right for anyone interested in the subject. —Michael O’Connor   Historic Brass Today 1/2 (Spring 2022), 32 The Golden Age of American Bands is ideally suited for courses on the history and literature of bands in America. Indeed, this volume could suffice as a textbook for adventuresome teachers in that it touches on the major musicians, instruments, ensembles, and functions expected of such a course. . . . Both private and classroom band instructors will find compelling glimpses into the history of their craft. [It is] bursting with opportunities to inspire curiosity in their students while effectively supporting their own curricular goals. —Benjamin D. Lawson and James A. Davis   The Journal of Music History Pedagogy Proksch’s new collection of documents is a most welcome step in the direction of getting [the story of bands] under control. The juxtaposition of documents from so many levels and types of ensembles proves to have a cumulative effect: one begins to see the subtle and long-lasting connections among them despite the big differences. It is easy to envision it as a supplemental text in a course on band history and literature, but the book is also just an absorbing read. There is much to learn here, and much to enjoy. —Ken Kreitner   Notes 79/2 (December 2022): 217-218 This is the story of the American wind band, told chronologically by those who experienced it in real time from 1835 to 1935. How did bands become bands? How did they rise in popularity? Which figures had insights and specific impacts on the development of the genre? Through source documents and articles, Bryan Proksch takes us on an extraordinary journey from the time of the first brass bands in the 1830s, through the Civil War and the golden ages of Gilmore and Sousa, to the cusp of the wind ensemble just before World War II. Hear from a young Frederick Fennell about his efforts to create the first band at Eastman. Read the outline of Allessandro Liberati’s unpublished trumpet method book. Eavesdrop on Karl L. King as he muses on the fate of bands after the death of Sousa. See Patrick Conway’s first undergraduate music education curriculum. Gawk as trombonist Fredrick Neil Innes embarrasses “world’s greatest cornetist†Jules Levy at Coney Island. Explore as Alan Dodworth revolutionizes bands. Retreat with a military band in the middle of a Civil War battle. Find out what it felt like to sit in a Sousa Band rehearsal. Ask Herbert L. Clarke why he thinks you should be playing a cornet instead of a trumpet. Find out how P. S. Gilmore managed to pull off the biggest concert events in American history. The book includes numerous rare and unknown illustrations to show you the places where band history happened. The documents include rare periodical excerpts, handwritten letters, and other writings taken from archives throughout the United States. These first-person accounts are certain to further refine and deepen our understanding and appreciation of American band history on a grand scale. Contents: Beginnings (1835–1859) The Civil War (1860–1865) The Jubilees (1866–1879) The Gilded Age (1880–1896) The Band Age (1897–1914) World War I (1915–1919) Transition and Decline (1920–1935)  Click here to download a FREE addenda. Bryan Proksch is a distinguished faculty lecturer and associate professor of music history and literature at Lamar University in Beaumont, Texas. This is his third book. His A Sousa Reader: Essays, Interviews, and Clippings (GIA Publications, 2016) explores the documents relating to the life and career of John Philip Sousa.
SKU: UT.APS-10
ISBN 9788881095056. 6.5 x 9.5 inches.
Essays by Marie-Helene Benoit-Otis, Jean-Christophe Branger, Michel Duchesneau, Stephan Etcharry, Sarah Gutsche-Miller, Jacinthe Harbec, Karen Henson, Mara Lacche, Ralph P. Locke, Anne Monjaret, Michela Niccolai, Luca Levi SalaThe crisis of dramaturgical systems in the age of European modernism, between the end of the nineteenth century and the First World War, provoked the creation of a range of original artistic solutions until the 1930s which broke apart traditional musical genres. The quest for new forms of expression thus becomes a defining feature in modernist art. Composers, riding the wave of momentum built first in literature and the fine arts, blurred the boundaries between high and low styles, and it is in this co-existence, inherent to the new forms, that musical production found new life. Theatre studies have pinpointed this desire for artistic experimentation with Paris at its centre, the city of light, that cultural meeting ground and formidable catalyst of artistic trends. The visual spectacle produced during the forty years (approximately 1890-1930) covered in this volume has therefore been analysed in a number of different ways, deriving from the vast panorama of cultural history, interrogating theatrical materials not only from the standpoint of the <>, but also by investigating the links between high and low, mediatised culture. Musicological research applied to high art genres (song, opera, all genres of instrumental music) does not yet seem to have taken these hybrid spectacles which modify forms and genres in search of new musical and dramatic solutions into consideration, except in a few rare cases. On the other hand, new impetus has been given by a renewed interest in popular chanson and ballet. In this current volume, we have chosen to interrogate the spectacular element, that is to say the performance, as 'a text', equal in status to the music and the literary text. Therefore, the different subject areas proposed in the following chapters reveal a lesser importance of the subject material set to music by composers but a greater willingness, at the centre of this aesthetic renewal, to try out new musical forms or to adapt traditional structures to new dramatic ends.
