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(Meredith Music Resource). This outstanding "one-of-a-kind" text was designed to assist the conductor in achieving a personal interpretation of music.
This text contains practical instruction in choral and instrumental conducting for both beginning and intermediate students, along with a large selection of scores for classroom practice.
With a lifetime of experience, profound knowledge and understanding, and heartwarming appreciation, an internationally celebrated conductor and teacher answers the questions: Why should I listen to classical music? How can I get the most from the listening experience? A protégé of Leonard Bernstein--his colleague for eighteen years--and an eminent conductor who has toured and recorded all over the world, John Mauceri helps us to reap the joys and pleasures classical music has to offer. Briefly, we learn the way a musical tradition born in ancient Greece, embraced by the Roman Empire, and subsequently nurtured by influences from across the globe, gave shape to the classical music that came to be embraced by cultures from Japan to Bolivia. Then Mauceri examines the music itself, helping us understand what it is we hear when we listen to classical music: how, by a kind of sonic metaphor, it expresses the deepest recesses of human feeling and emotion; how each piece bears the traces of its history; how the concert experience--a unique one each and every time--allows us to discover music anew. Unpretentious, graceful, instructive, this is a book for the aficionado, the novice, and anyone looking to have the love of music fired within them.
Conducting Technique has been accepted as a standard text for both choral and orchestral conducting courses taught at universities, colleges, and conservatories throughout the English-speaking world. For this revised edition the author has made a number of corrections and additions, includinga new preface.
A world-renowned conductor and composer who has lead most of the major orchestras in North America and Europe, a talented musician who has played under the batons of such luminaries as Toscanini and Walter, and an esteemed arranger, scholar, author, and educator, Gunther Schuller is without doubt a major figure in the music world. Now, in The Compleat Conductor, Schuller has penned a highly provocative critique of modern conducting, one that is certain to stir controversy. Indeed, in these pages he castigates many of this century's most venerated conductors for using the podium to indulge their own interpretive idiosyncrasies rather than devote themselves to reproducing the composer's stated and often painstakingly detailed intentions. Contrary to the average concert-goer's notion (all too often shared by the musicians as well) that conducting is an easily learned skill, Schuller argues here that conducting is "the most demanding, musically all embracing, and complex" task in the field of music performance. Conducting demands profound musical sense, agonizing hours of study, and unbending integrity. Most important, a conductor's overriding concern must be to present a composer's work faithfully and accurately, scrupulously following the score including especially dynamics and tempo markings with utmost respect and care. Alas, Schuller finds, rare is the conductor who faithfully adheres to a composer's wishes. To document this, Schuller painstakingly compares hundreds of performances and recordings with the original scores of eight major compositions: Beethoven's fifth and seventh symphonies, Schumann's second (last movement only), Brahms's first and fourth, Tchaikovsky's sixth, Strauss's "Till Eulenspiegel" and Ravel's "Daphnis et Chloe, Second Suite." Illustrating his points with numerous musical examples, Schuller reveals exactly where conductors have done well and where they have mangled the composer's work. As he does so, he also illuminates the interpretive styles of many of our most celebrated conductors, offering pithy observations that range from blistering criticism of Leonard Bernstein ("one of the world's most histrionic and exhibitionist conductors") to effusive praise of Carlos Kleiber (who "is so unique, so remarkable, so outstanding that one can only describe him as a phenomenon"). Along the way, he debunks many of the music world's most enduring myths (such as the notion that most of Beethoven's metronome markings were "wrong" or "unplayable," or that Schumann was a poor orchestrator) and takes on the "cultish clan" of period instrument performers, observing that many of their claims are "totally spurious and chimeric." In his epilogue, Schuller sets forth clear guidelines for conductors that he believes will help steer them away from self indulgence towards the correct realization of great art. Courageous, eloquent, and brilliantly insightful, The Compleat Conductor throws down the gauntlet to conductors worldwide. It is a controversial book that the music world will be debating for many years to come.
Rooted in the experience of a professional choral conductor, this book provides a guide to practical issues facing conductors of choral ensembles at all levels, from youth choruses to university ensembles, church and community choirs, and professional vocal groups. Paired with the discussion of practical challenges is a discussion of over fifty key works from the choral literature, with performance suggestions to aid the choral conductor in directing each piece. Dealing with often-overlooked yet vital considerations such as how to work with composers, recording, concert halls, and choral tours, A Practical Guide to Choral Conducting offers a valuable resource for both emerging choral conductors and students of choral conducting at the undergraduate and graduate levels.
The conductor—tuxedoed, imposingly poised above an orchestra, baton waving dramatically—is a familiar figure even for those who never set foot in an orchestral hall. As a veritable icon for classical music, the conductor has also been subjected to some ungenerous caricatures, presented variously as unhinged gesticulator, indulged megalomaniac, or even outright impostor. Consider, for example: Bugs Bunny as Leopold Stokowski, dramatically smashing his baton and then breaking into erratic poses with a forbidding intensity in his eyes, or Mickey Mouse in Fantasia, unwittingly conjuring dangerous magic with carefree gestures he doesn’t understand. As these clichés betray, there is an aura of mystery around what a conductor actually does, often coupled with disbelief that he or she really makes a difference to the performance we hear. The Silent Musician deepens our understanding of what conductors do and why they matter. Neither an instruction manual for conductors, nor a history of conducting, the book instead explores the role of the conductor in noiselessly shaping the music that we hear. Writing in a clever, insightful, and often evocative style, world-renowned conductor Mark Wigglesworth deftly explores the philosophical underpinnings of conducting—from the conductor’s relationship with musicians and the music, to the public and personal responsibilities conductors face—and examines the subtler components of their silent art, which include precision, charisma, diplomacy, and passion. Ultimately, Wigglesworth shows how conductors—by simultaneously keeping time and allowing time to expand—manage to shape ensemble music into an immersive, transformative experience, without ever making a sound.
Prominent symphony conductor Maurice Peress describes his career conducting the premiers of such works as Leonard Bernstein's 'Mass' and Duke Ellington's 'Queenie Pie'. He traces the great impact of African American music on American music, beginning with the work of Antonin Dvořák.
Titles in Dictionaries for the Modern Musician: A Scarecrow Press Music Series offer both the novice and the advanced artist key information designed to convey the field of study and performance for a major instrument or instrument class, as well as the workings of musicians in areas from conducting to composing. Unlike other encyclopedic works, contributions to this series focus primarily on the knowledge required by the contemporary musical student or performer. Each dictionary covers topics from instrument parts to playing technique, major works to key figures. A must-have for any musician’s personal library! Filling a vital need in the rapidly changing and complex field of conducting, A Dictionary for the Modern Conductor is a concise one-volume reference tool that brings together for the first time information covering a broad array of topics essential for today’s conductor to know. Author and conductor Emily Freeman Brown offers easy-to-read definitions of key musical terms, translated foreign terms, examples of usage from orchestral music and practical vocabulary in multiple languages. A Dictionary for the Modern Conductor includes biographies of major conductors and other individual important to the world of modern conducting, emphasizing throughout their contributions to the progress of the conducting professional; critical information on major orchestras, significant ensembles, key institutions and organizations, with a focus on the ways in which they preserve and advance today’s musical life; and practical entries covering baton and rehearsal techniques, bowing terms, information about instruments, voice types and much more. In a series of appendixes, A Dictionary for the Modern Conductor also covers such topics as orchestral works that changed the art and practice of conducting, a short historiography of conducting, a comprehensive bibliography, a look at conducting recitative, and a list of pitches, interval names, rhythmic terms, orchestral and percussion instrument names, and finally translations of all of these categories of information into French, German, Italian, and Spanish. A Dictionary for the Modern Conductor will appeal to aspiring conductors and seasoned professionals. It is an invaluable resource.