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The publication of the first available English translation of composer and microtonal theorist Ivan Wyschnegradsky's Manual of Quarter-Tone Harmony. This seminal work, originally published in 1932, posits the composer's methodology and usage of quarter tones as a harmonic language.Produced with the permission of Association Wyschnegradsky (Paris, France) and Wyschnegradsky's heir Dmitri Vysneyev, this new edition is edited and with a foreword by Noah Kaplan and translated into English by Rosalie Kaplan.
Aperture Exposed provides a comprehensive yet easy-to-read guide for taking advantage of the new power and abilities provided by Aperture. The book takes an unfamiliar interface and feature set and makes it logical and intuitive so that Aperture quickly feels like an old friend. Aperture Exposed is visual and easy to understand yet comprehensive; readers will immediately see that it was written by photographers for photographers, without all the entry-level clutter found in most books that try to please everyone. Itâ??s completely organized to follow a professional workflow. Ellen Anon is an Apple Certified Trainer in Aperture and a renowned photo workshop instructor; she teaches thousands of photographers every year how to shoot, organize, and edit their images in person and through her writing. Photographer Josh Anon applies his experience in Mac OS X photo software engineering to reveal Aperture's secrets, from time-saving tips to advanced workflow customization advice. Aperture Exposed is the best coverage available of what working pros need to know, including the 1.0.1 and 1.1 updates. And now, Ellen and Josh have made available a report on "What's New in Aperture 1.5", a companion to the book for users of the latest version; download the free booklet from www.sunbearphoto.com. With a foreword by master photographer Charles Glatzer, Aperture Exposed is the photographer's authority on Apple's workflow solution.
With the growing interest in hand horn (natural horn) and jazz horn, Extended Techniques for the Horn by Douglas Hill is an important text in horn repertory. Virtually all the sound possibilities of the horn are included in this one book, with clearly and concisely organized descriptions, notation and comments to both performers and composers of horn music.
Contains nearly 1000 pages of precise and accessible information on all musical subjects.
"Tuning is the secret lens through which the history of music falls into focus," says Kyle Gann. Yet in Western circles, no other musical issue is so ignored, so taken for granted, so shoved into the corners of musical discourse. A classroom essential and an invaluable reference, The Arithmetic of Listening offers beginners the grounding in music theory necessary to find their own way into microtonality and the places it may take them. Moving from ancient Greece to the present, Kyle Gann delves into the infinite tunings available to any musician who feels straitjacketed by obedience to standardized Western European tuning. He introduces the concept of the harmonic series and demonstrates its relationship to equal-tempered and well-tempered tuning. He also explores recent experimental tuning models that exploit smaller intervals between pitches to create new sounds and harmonies. Systematic and accessible, The Arithmetic of Listening provides a much-needed primer for the wide range of tuning systems that have informed Western music. Audio examples demonstrating the musical ideas in The Arithmetic of Listening can be found at: https://www.kylegann.com/Arithmetic.html
In the 1920s, the Mexican composer Julián Carrillo (1875-1965) developed a microtonal system called El Sonido 13 (The 13th Sound). Although his pioneering role as one of the first proponents of microtonality within the Western art music tradition elevated Carrillo to iconic status among European avant-garde circles in the 1960s and 1970s, his music and legacy have remained largely overlooked by music scholars, critics, and performers. Confronting this paucity of scholarship on Carrillo and his music, Alejandro L. Madrid goes above and beyond "filling in" the historical record. Combining archival and ethnographic research with musical analysis and cultural theory, Madrid argues that Carrillo and Sonido 13 are best understood as a cultural complex: a network of moments, spaces, and articulations in which Carrillo and his music continuously re-acquire significance and meaning. Thus, Madrid explores Carrillo's music and ideas not only in relation to the historical moments of their inception, but also in relation to the various cultural projects that kept them alive and re-signified them through the beginning of the twenty-first century. Eschewing traditionally linear historical frameworks, In Search of Julián Carrillo and Sonido 13 employs an innovative transhistorical narrative in which past, present, and future are explored dialogically in order to understand the politics of performance and self-representation behind Carrillo and Sonido 13. In Search of Julián Carrillo and Sonido 13 transforms the traditional genre of the composer study, treating it not as a celebration of "masters" and "masterworks," but as a pointed postcolonial intervention that offers invaluable insight into the politics of cultural exchange, experimentalism, marginality, and cultural capital in twentieth century Mexico.
This collection of essays stems from the conference 'Internationalism and the Arts: Anglo-European Cultural Exchange at the Fin de Siècle' held at Magdalene College, Cambridge, in July 2006. The growth of internationalism in Europe at the fin de siècle encouraged confidence in the possibility of peace. A wartorn century later, it is easy to forget such optimism. Flanked by the Franco-Prussian war and the First World War, the late nineteenth and early twentieth centuries were marked by rising militarism. Themes of national consolidation and aggression have become key to any analysis of the period. Yet despite the drive towards political and cultural isolation, transnational networks gathered increasing support. This book examines the role played by artists, writers, musicians and intellectuals in promoting internationalism. It explores the range of individuals, media and movements involved, from cosmopolitan characters such as Walter Sickert and Henri La Fontaine, through internationalist art societies, to periodicals, performance, and the mobility of the Arts and Crafts Movement. The discussion takes in the geographical breadth of Europe, incorporating Belgium, Bohemia, Britain, France, Germany, Hungary, Italy, Norway, Poland, Russia and Slovakia. Drawing on the work of scholars from across Europe and America, the collection makes a statement about the complexity of European identities at the fin de siècle, as well as about the possibilities for interdisciplinary research in our own era.