Format : Part
SKU: UT.XXS-116
ISBN 9790215324831. 9 x 12 inches.
SKU: UT.LB-4
ISBN 9788881094479. 6.5 x 9.5 inches.
â??During my career spanning half a century, like all my fellow harpists I constantly had to grapple with the commonly held view that the harp has neither music nor history of its own.Fortunately, over the years I have been able to give the lie to this myth and have tried to bring to light some of the vast repertoire, both early and modern, expressly composed for this instrument which has been treated somewhat as an outsider in the musical world.The research work for my books on Italian and Swiss harp music was plain sailing because source materials were specific titles and title pages. Were I to write books on French, German, Austrian, British, Bohemian, Spanish, Portuguese or Scandinavian harp music, the work involved would be equally smooth and straightforward.However, where Dutch music is concerned, the approach is rather different, because here it is the painters, treatise-writers and historians who provide the evidence and guidance necessary to discover the musical customs and traditions where the harp played a significant part.Performers looking for pieces of music may use this book as follows: chapter II deals with treatises, chapter III with paintings, chapter IV with history and research accounts. Chapters V and VI are concerned with confusions in terminology. Chapter VII describes recent developments and chapters VIII and IX cover composers and pieces of music. Libraries and publishers are listed with their addresses in chapters X and XI, and finally chapter XII consists of the index based on the various groups of performers.In this last chapter harpists will find the composers most suited to their programme, and can then turn to chapters VIII and IX for details. The actual pieces can be obtained by consulting chapters X and XI. I wish you every success in your search, in your rehearsals and in your concerts !In order to define what is Dutch or non-Dutch in early music, I have followed the current approach, i.e. all art and history prior to the separation of the â??Seven ProvinÂces in the 16th century is the common heritage of the Low Countries, whereas everything pertaining to those courageous lands from then onwards is specifically Dutch..
SKU: UT.OAN-4
ISBN 9790215323490. 9 x 12 inches.
The Codex J.II.9 is a volume of 159 large-framed folios of richly decorated parchment. It is composed of 302 pieces, polyphonic for the most part, belonging to very different types in both the sacred and secular fields. The present volume offers diplomatic transcriptions of the first 30 virelais and rondeaus of the last booklet of J.II.9. Although the exact date of the compilation of the pieces in this codex is not known, we do know that it was probably part of the dowry provided by Anne de Lusignan for her marriage to Louis de Savoie in 1434. Cyprus was then under french domination and the style of the songs that we find here often evoke the style of the Burgundian songs of the first third of the 15th century.This manuscript has the particularity of having no attributions or concordances: all the pieces are unicae and anonymous. The musical styles of the songs are varied, alternating pieces of simple construction in the manner of the 3 part Burgundian song of the first third of the 15th century, with examples of the most refined and elaborate types that can exist.
SKU: UT.QC-5
ISBN 9788881095223. 6.5 x 9.5 inches.
Essays by Louise Benrard de Raymond, Muriel Boulan, Thomas Christensen, Etienne Jardin, Ellen Lockhart, Fabio Morabito, William O'Hara, Alban Ramaut, Annette Richards, Michael B. WardThe nineteenth-century composer has a persistent image problem: inspired, unworldly, male, writing works of genius for posterity. If it has been the project of musicologists for the last 30 years to erode this checklist, he lingers still like a bad smell. This book uses Antoine Reicha (1770-1836) as a case study through which to develop alternative approaches to the nineteenth-century composer. That Reicha was a composition teacher and prolific writer of instruction manuals, for example, provides an opportunity (and new types of sources) to focus on composers' attempts at becoming composers. How can we catch them 'in the making', exploring not a body of works and achievements, but the priorities and anxieties of these individuals (the knowledge they followed or created) in crafting their artistic identities for the public? What modes of music historiography and analysis might help explore Reicha's and his contemporaries' music beyond mapping it within local or national traditions and their transfer? Can a networked model of music-history writing - we might call it 'a history of music with no protagonist' - assist musicologists in working on non-canonical composers without retrospectively making monuments out of them? These and other questions frame this volume, in order not only to reassess Reicha, but also our disciplinary toolkit: to ask how/why/to what end we tell stories about composers in musicology more generally.
SKU: UT.APS-7
ISBN 9788881094912. 6.5 x 9.5 inches.
Saggi di Mathias Auclair, Jean-Christophe Branger, Simone Ciolfi, Matthew Franke, Vincent Giroud, Stephanie Klauk, Hugh Macdonald, Jürgen Maehder, Claire Paolacci, Jann Pasler, Marco Pollaci, Alban Ramaut, Manuela Rita, Tommaso Sabbatini, Sabine Teulon LardicThe Mediterranean world represented an inspiring cultural and social environment Jules Massenet. It provided him, in his operas and instrumental music, with characters and scenes that enabled him to interpret the spiritual and psychological tensions of the late Romantic period. For Massenet the Mediterranean world had broad boundaries in both time and place; it included Roman history, the antique Orient, and also the South of Spain, Italy and France, with their magical, sometimes sinful, nuances. Consequently, Massenet’s engagement with Mediterranean culture is dual-faceted, encompassing antique Roman and Oriental societies, with their mysterious, sensual suggestions useful for passionate opera plots, and contemporary Mediterranean societies, suitable for a more picturesque approach.This book reflects these two tendencies. The essays analyse the basic duality, but also introduce an additional viewpoint: the reception of Massenet’s music in his contemporary Mediterranean world. The analytical approaches represent an enquiry into the reception of Mediterranean compositional theory in Massenet’s training.The figure of Massenet and his music has been neglected by scholarship over the last two decades. This book aims to fill this gap with a subject not tied exclusively to music but encompassing the impact of a specific cultural dimension on the composer and his music. This dimension is broad in time and place, but no less specific for this breadth. This novel approach is one we have tried to maintain throughout the contributions. Although the enquiry is never-ending, the contributors hope that their combined effort as embodied in this book might provide a basis for further research.
SKU: HL.14047933
8.0x12.0x0.177 inches.
The Study Score for Simon Holt 's Morpheus Wakes , a concerto for Flute or Alto Flute and Orchestra. Commissioned by BBC Radio 3, this work was first performed at the BBC Proms on 27th July 2014 at the Royal Albert Hall in London. A full performance lasts around 15 minutes. Morpheus Wakes is a Flute concerto in two movements. In the first, the soloist plays the Alto Flute, before switching to Flute for the second.
SKU: UT.DM-59
ISBN 9790215319400. 9 x 12 inches.
In vacanza con Dulcita e Pepito: due piccole e fantasiose raccolte particolarmente utili alla personalizzazione del percorso di studio di ogni giovane allievo.Ideali per consolidare quanto già appreso, prima di accedere ai volumi di livello superiore, o per recuperare una relazione gioiosa con la musica nei momenti di possibile calo di motivazione nello studio.Due volumetti da condire con buonumore e usare liberamente in vacanza o durante l’anno scolastico, con giochi passatempo, musiche da suonare, disegni e fumetti da colorare, curiosità dal mondo e storie da leggere insieme a Dulcita e Pepito, il gatto Michopallo e l’ape Maravilla. Perché il gioco insegna, perché imparare è bello e perché giocare è una cosa seria. Anzi, serissima. Per insegnanti e allievi. Sito Web: www.ciaochitarra.it
SKU: UT.ODH-3A
ISBN 9790215302068. 8.26 x 11.69 inches.
SKU: UT.DM-1
ISBN 9790215300767. 9 x 12 inches.
Valzer; O Tannebaum (Canzone natalizia - Germania); Schlaf Kindchen, also wohl (Ninna nanna - Germania); Scaramella (Italia); Ah, vous dirai-je maman (Francia); Die Nachtigall (Germania); Su, al combattimento (Galles); Au clair de la lune (Ninna nanna - Francia); Love will find a way (Inghilterra); Melodia francese; We shall overcome (USA); Melodia svedese; The first Nowell (Carola natalizia - Inghilterra); The Marsh of Rhuddlan (Galles)All the music presented in this booklet are arrangements of pre-existing melodies and were conceived to respond to the real need to provide students with simple or very simple teaching material, but at the same time of pleasant listening. For this reason these pieces can and must be treated elastically, adding or subtracting - as needed - parts, voices and instruments. The upper voice is always meant for a German recorder (with facilitated fingering); for this reason, the F sharp in this voice are not frequent throughout the collection. Considering the limitate extension of the parts, it is always possible to carry the pieces one tone higher or lower, according to personal didactic needs. Chords can be played by the teacher, or by capable students, on a keyboard or guitar.
SKU: UT.REM-4
ISBN 9788881092154. 6.5 x 9.5 inches.
Questo libro intende narrare una vicenda: quella delle relazioni tra pittura e musica - e tra queste e le messe in scena drammatiche - nella rappresentazione dell'incarnazione di Cristo, dalle prime immagini altomedievali fino ai repertori delle zampogne dei nostri giorni e alla drammatizzazione domestica del presepe nei riti della novena di Natale. Intende mostrare come pittura, musica, dramma, sviluppando ciascuno per proprio conto il tema della Nativita, si siano reciprocamente influenzati per raccontare delle relazioni tra umano e divino, angeli e pastori, organi e zampogne. Intende mostrare infine come la rappresentazione pittorica, musicale, drammatica del Natale abbia agito sulla realta cui si ispirava, determinando modificazioni di rilievo nelle tradizioni pastorali prese a modello. Non intende questo libro, e non potrebbe intendere, fornire un catalogo completo delle rappresentazioni drammatiche, figurative, musicali del Natale; vuole piuttosto suggerire un approccio ermeneutico che permetta di interpretare le molte fonti teatrali, figurative, musicali che in esso non sono descritte ne menzionate.L'Italia, che e l'area interessata da questa indagine, non e tutta trattata con uniforme dettaglio: sia perche la storia delle rappresentazioni natalizie non interessa tutta la penisola con uguale intensita, sia perche le ricerche sul Natale (condotte direttamente da me o da altri studiosi) non hanno conosciuto la medesima profondita su tutto il territorio. Ricerche estese e capillari su tutto il territorio italiano, e la descrizione di tutti i documenti collazionati non avrebbero peraltro, credo, mutato in modo sostanziale la prospettiva di questo lavoro, e lo avrebbero appesantito enormemente. Alcune zone sono state indagate piu dettagliatamente di altre, e non a caso; l'Umbria e la Toscana, nel Trecento e nel Quattrocento, hanno conosciuto una presenza francescana piu fitta che altri luoghi, e la committenza da parte degli ordini francescani ha avuto in quel periodo un ruolo determinante nella diffusione dei temi natalizi. Dall'Italia centrale, la vicenda delle rappresentazioni natalizie, ancora sotto l'impulso francescano, si irradia, nel Cinquecento e nel Seicento, in innumerevoli <> artistiche, verso le campagne, i piccoli centri, le citta dell'Italia settentrionale e meridionale. In Puglia fiorisce una tradizione plastica, che segnala e in parte determina la fortuna del presepe a tutto tondo nell'Italia meridionale.
SKU: UT.DM-54
ISBN 9790215319417. 9 x 12 inches.
SKU: UT.TS-1
ISBN 9788881095285. 4.13 x 7.08 inches.
«Perché l’inclusione abbia un senso e un valore, ha bisogno dell’esclusione di quanto ne vìoli il senso e il valore».Il concetto di inclusione, necessario ma anche illusorio, è tra i più dispotici del nostro tempo: ideologicamente abusato nei discorsi della politica, nei programmi della didattica scolastica, negli incontri istituzionali e internazionali. Ma in queste dense e calibrate pagine l’autore ci ricorda quant’è necessario il concetto opposto e complementare di esclusione, per riconoscerne le vitali applicazioni in ogni ambito dell’umano agire.
SKU: UT.SET-6A
ISBN 9790215302143. 9 x 12 inches.