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"Your guide to the orchestra through sounds and stories." front cover.
Listening to instruments -- "The joy of precision" : mechanical instruments and the aesthetics of automation -- "The alchemy of tone" : Jörg Mager and electric music -- "Sonic handwriting" : media instruments and musical inscription -- "A new, perfect musical instrument" : the trautonium and electric music in the 1930s -- The expanding instrumentarium
Written by a distinguished musicologist, this comprehensive history of musical instruments traces their evolution from prehistoric times in a fusion of music, anthropology, and fine arts. Includes 24 plates and 167 illustrations.
At the turn of the twentieth century, the United States extended its empire into the Philippines while subjugating Black Americans in the Jim Crow South. And yet, one of the most popular musical acts was a band of “little brown men,” Filipino musicians led by an African American conductor playing European and American music. The Philippine Constabulary Band and Lt. Walter H. Loving entertained thousands in concert halls and world’s fairs, held a place of honor in William Howard Taft’s presidential parade, and garnered praise by bandmaster John Philip Sousa—all the while facing beliefs and policies that Filipinos and African Americans were “uncivilized.” Author Mary Talusan draws on hundreds of newspaper accounts and exclusive interviews with band members and their descendants to compose the story from the band’s own voices. She sounds out the meanings of Americans’ responses to the band and identifies a desire to mitigate racial and cultural anxieties during an era of overseas expansion and increasing immigration of nonwhites, and the growing “threat” of ragtime with its roots in Black culture. The spectacle of the band, its performance and promotion, emphasized a racial stereotype of Filipinos as “natural musicians” and the beneficiaries of benevolent assimilation and colonial tutelage. Unable to fit Loving’s leadership of the band into this narrative, newspapers dodged and erased his identity as a Black American officer. The untold story of the Philippine Constabulary Band offers a unique opportunity to examine the limits and porousness of America’s racial ideologies, exploring musical pleasure at the intersection of Euro-American cultural hegemony, racialization, and US colonization of the Philippines.
Om blæseinstrumenter.
Evolution of trumpets, trombones, bugles, cornets, French horns, tubas, and other brass wind instruments. Indispensable resource for any brass player or music historian. Over 140 illustrations and 48 music examples.
For everyone who's read the Bible and wondered what David's harp, or Nebuchadnezzar's sackbut and cornett really were, Jeremy Montagu, retired curator of Oxford's Bate Collection of Historical Instruments, has composed an astoundingly thorough investigation and explanation of the musical instruments that pepper the pages of Western Civilization's most holy book. This is a detailed study of all the musical instruments mentioned in the Bible, using the resources of linguistics, organology, and ethnomusicology to identify and describe them. Every reference to an instrument is noted and all the misconceptions of translation are corrected. The Bible, as we know it in English, is a translation, and the history of biblical translations into Aramaic, Greek, Latin and other languages is one of guesswork. The substitution of the musical instruments from the translator's era for those of the original author is as common as it is overlooked. Jubal did not have an organ, nor David a harp. This book uses all the resources available to establish what each instrument really was, what it looked like, and how it was played and is arranged in the same order as the King James Bible, with explanation where this differs from other versions in English. As well as a full bibliography, there are three indexes. The first is of Biblical Citations so that readers may check every mention in the Bible from its chapter and verse. The second is a quadrilingual parallel citation in Hebrew, Greek, Latin, and English, so that each reference can be crosschecked. The third is a general index. The four biblical languages, Hebrew, Aramaic, Greek, and Latin, are used to the full, and the original texts are cited frequently. There are 18 illustrations, some of which are archeological remains, some ethnographic parallels, and one is of the sole biblical instrument still in regular use: the ram's horn which brought down the walls of Jericho. Musical Instruments of the Bible is perfect for university theology and comparative religion depa
An interactive way to discover the different sounds of five musical intruments!
Written for adults, this hands-on guide demonstrates how to make easy musical instruments with children. Detailed instructions are included for making more than 60 unique instruments that are suitable for children as young as five years. Serving as a resource in the classroom or home, this manual is extensively illustrated with drawings and photographs along with an audio sample of the instruments in lively solo and ensemble pieces.
xxii + 286 pp.Includes a Foreword by Ross Kirk