Dvorak's final Slovanské rapsodie was composed from around September 20 to December 3 of 1878 and was not completed by the premiere of its two companions at the November 17 Prague concert where Dvorak introduced himself as both a composer and a conductor. It was instead first performed in Berlin on September 24, 1879 conducted by William Taubert. Like its counterparts, traditional forms and programmatic associations are avoided and the music is meant to be enjoyed on its own terms. This new study score is a digitally enhanced reissue of the full ...

The Scherzo capriccioso was composed in the same period (1883-84) as the Symphony No.7, Op.70 and the Piano Trio in F minor, Op.65 , in which Dvorak delved into dramatic and darker colors than those which characterize other works. The present work followed on the heels of the piano trio, completed between April 4 and May 2 of 1883. The premiere took place in Prague's National Theatre on May 16 with the NTO under the direction of Adolf Cech. Publication followed the next year with a Berlin competitor of Dvorak's main publisher Simrock, Bote und Bock. ...

Bartok originally set this series of folk tunes for piano in 1915. Two years later, he scored them for small orchestra. This is a newly engraved and corrected edition by Richard W. Sargeant Jr. of this deservedly popular orchestral showpiece, available for the first time at a reasonable price for musicians, students and fans of Bartok's highly individual style in an easy-to-read large score. Matching parts also available from Serenissima Music.

In this book, Author Michelle Phillipov Combines original analyses of death metal with accessible overviews of popular music studies as a field. By doing so, Phillipov demonstrates how the premium placed on political engagement in popular music studies serves to circumscribe our understanding of the complexity and specificity of death metal.

Le travail de réflexion de cette thèse de doctorat de l'Université Paris 8, s'est déroulé de manière parallèle à l'écriture d'une grande partie des œuvres qui composent le cycle Urbana. L'analyse détaillée de procédés de composition et de thèmes tangentiels à la création des œuvres comme, par exemple, l'écriture et la notation de la musique électroacoustique ou l'approfondissement de la synthèse par modèles ...

This is a facsimile of volume 1 of the first edition in 1773. ISBN 978-1-84955-065-9. . Volume 2 is available as a matching pair, 978-1-84955-067-3. . Both volumes have also been reprinted as one book which makes it slightly cheaper, 978-1-904331-58-2. .

Originally published in 1919, this guide is addressed - '.not to students and connoisseurs, but to plain simple people who like music but are a little bewildered by its complexity and by the pace at which it passes across their attention. He opens the door of the Masters' workshop and shows, not the secret of their mastery, for none can show that, but the way in which they used their tools and dealt with their materials. And any reader who follows him carefully, and makes use of his illustrations, will confess at the end of the volume that he has gained something ...

Sight-reading is a skill which offers a student access to all music literature; a skill through which he can acquaint himself with any composition, unaided by a teacher. Nor can the ability to sight-read be lost. Once musical notation has become a living picture for the student, it will remain so, and he will at any time afterward be able to perform any music whether he practices regularly or not. Sight-reading does not conflict with repertoire study. On the contrary, a good sight-reader has no trouble in perfecting a piece, and is all the more stimulated ...

This book discusses the political content of music over the past 200 years, from the classical to the hip-hop genres and everything in between. Beginning with Beethoven, Courtney Brown describes how Beethoven's music has been used to support a wide variety of political views across the entire ideological spectrum, both during Beethoven's life and long after. Then a provocative comparison of Bob Marley's music and Richard Wagner's "Ring" operas identifies striking similarities between the political ideas of these two composers relating to the idea of revolution. ...