[PDF] The History Of Violin Playing From Its Origins To 1761 And Its Relationship To The Violin And Music eBook

Author : Patricia Strange
Publisher : Scarecrow Press
Page : 353 pages
File Size : 21,25 MB
Release : 2003-01-21
Category : Music
ISBN : 1461664101

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Written by a composer and a musician, The Contemporary Violin offers a unique menu of avant-garde musical possibilities that both performers and composers will enjoy exploring. Allen and Patricia Strange's comprehensive study critically examines extended performance techniques found in the violin literature of the latter half of the twentieth century. Drawing from both published and private manuscripts, the authors present extended performance options for the acoustic, modified, electric, and MIDI violin, with signal processing and computer-related techniques, and include more than 400 notated examples. The authors begin with bowing techniques and proceed systematically through other aspects of string playing, including MIDI technologies. Their correspondence and research with many performers and composers, the book's extensive score and text bibliography, and the discography of more than 130 recordings make The Contemporary Violin a valuable contemporary music reference and guide. An additional benefit is its listing of Internet resources that will keep the reader up to date with recent developments in contemporary performance and composition. First published by UC Press, 2001.

Author : Jennifer Nevile
Publisher : Indiana University Press
Page : 392 pages
File Size : 49,62 MB
Release : 2008
Category : History
ISBN : 0253351537

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An engaging overview of dance from the Medieval era through the Baroque

Author : Benjamin Jeffery Shute
Publisher : Wipf and Stock Publishers
Page : 296 pages
File Size : 15,12 MB
Release : 2016-06-16
Category : Religion
ISBN : 1498239420

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One of the jewels in the crown of Johann Sebastian Bach's sacred music is its use of astonishingly subtle and complex allegorical and representational devices. But when similar devices appear in the context of one of Bach's untexted, secular, instrumental collections such as the Six Solos (sonatas and partitas) for violin, the question arises whether he might be intending to embed discernible theological significances there as well, thus infusing the secular with the sacred. Such designs would be reasonably plausible within Bach's musical, cultural, and religious context. Shute carefully investigates the extent to which musical features of the Six Solos that seem to invite theological parallels might indeed have been intended to do so. Although the precise extent of Bach's intentions cannot be ascertained with certainty, the degree of correlation among strong potential signifiers would seem to suggest that they, and many other features of the Six Solos, are best explained as the product of extensive theological-allegorical designs on Bach's part, like those evident in his texted vocal music.