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From its origins in the culture of late medieval Europe to enormous global popularity in the twentieth, the guitar and its development comprise multiple histories, each characterized by distinct styles, playing techniques, repertories, and socio-cultural roles. These histories simultaneously span popular and classical styles, contemporary and historical practices, written and unwritten traditions, and Western and non-Western cultures. This is the first book to encompass the breadth and depth of guitar performance, featuring twelve essays covering different traditions, styles, and instruments, written by some of the most influential players, teachers, and guitar historians in the world. The coverage of the book allows the player to understand both the analogies and the differences between guitar traditions; all styles--from baroque, classical, country, blues, and rock to flamenco, African, and Celtic--will share the same platform, along with instrument making. As musical training is increasingly broadened this comprehensive book will become an indispensable resource.
Harmony and voice leading is a textbook in two volumes dealing with tonal organization in the music of the eighteenth and nineteenth centuries.
Music teacher Julie Johnson presents a series of lessons that follow the requirements of the College Board Advanced Placement Music Theory Exam. Included are clear explanations of theory elements, applications of concepts to musical excerpts, ear training and sight singing with each lesson, and drills, analysis and multiple choice questions.
This concise handbook offers comprehensive coverage of main topics in music theory. Instructors can elaborate on the material as appropriate to their course, while students can learn and review technical information without having to digest lengthy analyses and explanations. Unbiased and flexible, this book can be used as a primary or reference text. Topics include species and tonal counterpoint, instrumental ranges and transpositions, and a glossary of forms. Each major section ends with suggestions for analysis and further reading.
The twelfth-century French poet Chrétien de Troyes is a major figure in European literature. His courtly romances fathered the Arthurian tradition and influenced countless other poets in England as well as on the continent. Yet because of the difficulty of capturing his swift-moving style in translation, English-speaking audiences are largely unfamiliar with the pleasures of reading his poems. Now, for the first time, an experienced translator of medieval verse who is himself a poet provides a translation of Chrétien’s major poem, Yvain, in verse that fully and satisfyingly captures the movement, the sense, and the spirit of the Old French original. Yvain is a courtly romance with a moral tenor; it is ironic and sometimes bawdy; the poetry is crisp and vivid. In addition, the psychological and the socio-historical perceptions of the poem are of profound literary and historical importance, for it evokes the emotions and the values of a flourishing, vibrant medieval past.
In this new text, designed to follow SCALES, INTERVALS, KEYS, TRIADS, RHYTHMS, AND METER by the same authors, the procedures of programmed instruction are utilized to promote the student's mastery of part-writing fundamentals and understanding of the basic concepts of harmonic progression.
This book offers a comprehensive look at musical representations of native America from the pre colonial past through the American West and up to the present. The discussion covers a wide range of topics, from the ballets of Lully in the court of Louis XIV to popular ballads of the nineteenth century; from eighteenth-century British-American theater to the musical theater of Irving Berlin; from chamber music by Dvoˆrák to film music for Apaches in Hollywood Westerns. Michael Pisani demonstrates how European colonists and their descendants were fascinated by the idea of race and ethnicity in music, and he examines how music contributed to the complex process of cultural mediation. Pisani reveals how certain themes and metaphors changed over the centuries and shows how much of this “Indian music,” which was and continues to be largely imagined, alternately idealized and vilified the peoples of native America.