Louis Armstrong, Duke Ellington, Billie Holiday, Ella Fitzgerald, Count Basie, Lester Young, Charlie Parker, Norman Granz, Oscar Peterson, Ray Charles, Don Ellis, and Miles Davis-these are the dozen jazz figures whom Leonard Feather chose to describe the development of jazz. This is the first Feather book to examine in-depth the innovative figures who have led the way throughout the music's history. As composer, producer, and for almost half-a-century one of its leading critics, Feather has a unique perspective of these jazz immortals. He has worked with and known all of them. "These are portraits of human beings first, analyses of musicians or musical history only peripherally if at all," says Feather in his new foreword. A warm, affectionate, and perceptive inside account of twelve originals, the book is packed with wonderful stories. As Feather says: "Most of all I am grateful for the inspiration and friendship of the artists themselves. Armstrong and Ellington were directly responsible, through their records, for drawing me to jazz. After their magic had worked on me, the others, one by one, sustained and refreshed and invigorated my interest in, an involvement with, this liveliest of twentieth-century arts."

extremely rare,very good condition

Raphael Bronstein is among the most legendary violin instructors in recent memory. Arguably one of the strongest influences on our current generation of violin teachers and players, he counted among his students such luminaries as Elmar Oliveira, Martha Strongin Katz, Lya Stern, Jay Zhong, and his own daughter, Ariana Bronne. Though he taught over 1000 students in the course of his career, The Science of Violin Playing is his only publication. A treasure for serious students of the violin, this book contains page after page of instructive and inspiring wisdom. Best read slowly and carefully, Bronstein teaches violin playing as both an art and science, turning his exacting eye and ear to every aspect of the instrument. Lessons include: The principles and importance of visual intonation Left hand technique and practice habits The psychology of violin playing Right arm technique including santille, spiccato, martele, ricochet, and more Interpretation of pieces for performance Technical analyses of complete violin concerti, including works by Mozart, Mendelssohn, and Tchaikowsky For dedicated and ambitious violinists, this is a book to be studied, read, and re-read. Filled with a career's worth of advice and wisdom, The Science of Violin Playing is a remarkable book for all aspiring performers and teachers.

Now in its fourth installment, with a fifth in preparation, John Zorn's acclaimed Arcana series provides insight into the work and methodologies of some of the most creative musical minds of our time. Rather than an attempt to distill or define a musician's work, Arcana IV illuminates directly via personal vision and experience, through the undiluted words and thoughts of the practitioners themselves, elucidating through manifestos, scores, interviews, notes and critical papers, composer/performers address composing, improvising, teaching, living, touring and thinking in and through music. Essential for composers, musicians, students and fans alike, this challenging and original series has now become the major source on new music theory and practice in the twenty-first century. Among Arcana IV 's contributors are the late Derek Bailey, Nels Cline, Chris Cutler, Paul Dresher, Kenneth Gaburo, Shelley Hirsch, Wayne Horvitz, Vijay Iyer, Gordon Mumma, Matana Roberts, Katherine Supové and Carolyn Yarnell.

These transciptions are a loosely chronological collection of recordings of artists from the Delta to Chicago. The songs include tunes that were the blues 'hits' in their days - such as Robert Johnson's "Traveling Riverside Blues" - and well-known classics - like "Baby What You Want Me to Do, " by Jimmy Reed. In addition, there are undiscovered (but no less brilliant) rarities like "South Carolina Rag, " by Willie Walker, and Lonnie Johnson's "Away Down in the Alley Blues." Together, the songs offer a sampling of blues history. Some of the techniques covered in this collection including playing in five tunings and nine keys, bottleneck playing, syncopated picking styles, and a wide range of harmonic and melodic ideas.

Lyrical text explores how Blues have been part of everyday life throughout history, from its origins in the sounds of the earth, through slaves' voices singing of freedom, to today's greatest performers--and listeners.

Russell Sherman has been hailed as "that rarest of performers--a thinking man's virtuoso" (Chicago Tribune), and Piano Pieces is his scintillating excursion into the world of piano and its multiple spheres of affect and influence. From pithy reflections on tone, technique, and the thorny matter of thumbs to ruminations on how such a machine could be the voice and repository of priceless human messages both lyrical and complex, Piano Pieces examines the current status of music, piano-playing, and pedagogy through the noisy filter of contemporary culture.

These interviews with Henry Rollins conducted by RE/Search (and Search & Destroy) founder V. Vale focus on Henry's travels -- often to countries considered dangerous and off-limits. There are references to Punk Rock history, the Occupy movement, and numerous personal adventures and experiences over the past 30-plus years of combing the planet giving musical and Spoken Word performances, and generally being as creative and humorous as possible no matter what the situation may be . Whatever Henry wants to do, he does it while giving his full attention, like a kind of Zen master. RE/Search tries to reveal the full scope of his creativity, achievements and darkly sardonic perceptiveness and contempt for cliche. This book is full of both humor and inspiration.

This book undoes 50 years of mythmaking about Stravinsky's life in music. During his spectacular career, Igor Stravinsky underplayed his Russian past in favor of a European cosmopolitanism. Richard Taruskin has refused to take the composer at his word. In this long-awaited study, he defines Stravinsky's relationship to the musical and artistic traditions of his native land and gives us a dramatically new picture of one of the major figures in the history of music. Taruskin draws directly on newly accessible archives and on a wealth of Russian documents. In Volume One, he sets the historical scene: the St. Petersburg musical press, the arts journals, and the writings of anthropologists, folklorists, philosophers, and poets. Volume Two addresses the masterpieces of Stravinsky's early maturityÑ Petrushka, The Rite of Spring, and Les Noces . Taruskin investigates the composer's collaborations with Diaghilev to illuminate the relationship between folklore and modernity. He elucidates the Silver Age ideal of "neonationalism"Ñthe professional appropriation of motifs and style characteristics from folk artÑand how Stravinsky realized this ideal in his music. Taruskin demonstrates how Stravinsky achieved his modernist technique by combining what was most characteristically Russian in his musical training with stylistic elements abstracted from Russian folklore. The stylistic synthesis thus achieved formed Stravinsky as a composer for life, whatever the aesthetic allegiances he later professed. Written with Taruskin's characteristic mixture of in-depth research and stylistic verve, this book will be mandatory reading for all those seriously interested in the life and work of Stravinsky.

"This collection essays explore issues of historicity, spirituality, standardization and other topics central to the study of Protestant, Catholic and Jewish sacred music from 1801 to 1918. This volume captures the breadth of scholarship available in the field, as well as serving as a useful introduction for those readers just beginning their study of sacred music"--Provided by publisher.

Here for the first time is a stirring collection of 110 rare songs from the Holocaust in sixteen languages with singable English translations, songs of resistance, despair, rage, hope, and even humor, written in the face of utter evil. The very existence of these songs raises haunting questions. Who composed them? Who sang them? Who listened? The lyrics, along with extensive historical notes and insightful survivor testimony in this groundbreaking volume, provide moving answers. Musicologist Jerry Silverman has compiled an expansive collection of Holocaustera songs-in Yiddish, German, Hebrew, Spanish, French, Dutch, Italian, Ladino, Serbo-Croatian, Greek, Norwegian, Czech, Polish, Russian, Hungarian, and Englishwhich he situates within a vivid historical framework. This volume comprises then work of concentration camp prisoners and inhabitants of the ghettos of Eastern Europe as well as subversive European cabaret music, anti-Fascist anthems inspired by the Spanish Civil War, Red Army songs, and songs of Resistance fighters. Silverman conducted exhaustive research that included interviews with survivors and visits to international archives. In some cases, where the original music has been lost, he has set the words to music usingmtraditional melodies or his original compositions. Included are songs of prewar Germany, of ghettos and camps during the height of the murderous "Final Solution;' and of postwar reflection by such balladeers as Pete Seeger, Janis Ian, Si Kahn, and Tom Paxton.

Drawing on a mass of unpublished writings and archival sources from prerevolutionary Russian conservatories, this book offers an insightful account of the Jewish search for a modern identity in Russia through music, rather than politics or religion.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

The Western musical tradition has produced not only music, but also countless writings about music that remain in continuous?and enormously influential?dialogue with their subject. With sweeping scope and philosophical depth, A Language of Its Own traces the past millennium of this ongoing exchange. Ruth Katz argues that the indispensible relationship between intellectual production and musical creation gave rise to the Western conception of music. This evolving and sometimes conflicted process, in turn, shaped the art form itself. As ideas entered music from the contexts in which it existed, its internal language developed in tandem with shifts in intellectual and social history. Katz explores how this infrastructure allowed music to explain itself from within, creating a self-referential and rational foundation that has begun to erode in recent years.

The Music of Man is about those who create, those who perform and those who listen.

The oboist looks back at her twenty-five year career, offering a glimpse into the world of classical music and providing details of substance abuse and the practice of trading sexual favors for jobs.