Bøger af Craig Dabelstein

With the exception of the new form, Opera, the previous two centuries of musicology have tended to present the Baroque Period, 1600-1750, as a period of functional, even mechanical, music. The contemporary discussion in this volume will help the reader understand that nothing could be further from the truth. The great interest of most musicians living in the Baroque Period was the role of emotion in music both in composition and in performance. The role of all idioms of performance, including especially improvisation, were directly associated with the goal of increased communication of emotion. We believe these pages will suggest to the reader that no player of the Baroque Period ever just played what he saw on paper, and we don't believe anyone should do so today.

With the exception of the new form, Opera, the previous two centuries of musicology have tended to present the Baroque Period, 1600-1750, as a period of functional, even mechanical, music. The contemporary discussion in this volume will help the reader understand that nothing could be further from the truth. The great interest of most musicians living in the Baroque Period was the role of emotion in music both in composition and in performance. The role of all idioms of performance, including especially improvisation, were directly associated with the goal of increased communication of emotion. We believe these pages will suggest to the reader that no player of the Baroque Period ever just played what he saw on paper, and we don't believe anyone should do so today.

With the exception of the new form, Opera, the previous two centuries of musicology have tended to present the Baroque Period, 1600-1750, as a period of functional, even mechanical, music. The contemporary discussion in this volume will help the reader understand that nothing could be further from the truth. The great interest of most musicians living in the Baroque Period was the role of emotion in music both in composition and in performance. The role of all idioms of performance, including especially improvisation, were directly associated with the goal of increased communication of emotion. We believe these pages will suggest to the reader that no player of the Baroque Period ever just played what he saw on paper, and we don't believe anyone should do so today.

For the first time, Dr. David Whitwell presents a thorough study of the performance of music in society together with the philosophical views on art versus entertainment, the role of performance in education and character formation and how earlier philosophers viewed the interplay among Reason, Emotions, experience and the senses. Very few music history texts make it clear that the central obsession of Baroque composers and philosophers was the full restoration of the emotions to music. This volume presents these studies in Italy, led by the famous Camerata, Spain and Germany. From Germany we are particularly fortunate to have extensive documentation of this new view of music by important composers and philosophers, including major figures such as Leibniz and Spinoza. This quest to explain music through the communication of emotions even led Johannes Kepler to apply these ideas in the last major argument in support of the 'Music of the Spheres'.

This volume contains the fascinating views of some of the most well-known and influential men of the Renaissance. Here we find interesting information not mentioned in traditional texts. For example we find that Leonardo da Vinci, who is never described as a musician in his biographies, was the best known music performer to those friends who knew him personally.Taken together, this volume is a testimonial to one of history's most important developments. After centuries when the Church assumed the role of speaking for mankind, it was the first characteristic of the Renaissance that the focus began to turn to man himself.

This volume consists of essays which present the reader with Renaissance views on their philosophy of music. The contemporary opinions here cover the general new view of man himself in the 14th century, a variety of views on the new values of the Renaissance and valuable first-hand commentary on performance practice.Taken together, here Renaissance musicians provide the reader with a broad background which will help enable the musician to make informed judgments in planning his performance of Renaissance music.

For the first time, Dr. David Whitwell presents a thorough study of the performance of music in society together with the philosophical views on art versus entertainment, the role of performance in education and character formation and how earlier philosophers viewed the interplay among Reason, Emotions, experience and the senses. The present volume gives the reader a comprehensive view of the aesthetics of music in sixteenth-century Italy, France and Spain. Included here are some of the greatest writers and artists of the High Renaissance, including Castiglione, Cardano, Michelangelo and Montaigne. Since the sixteenth century represents the final chapter in the long Church philosophy of Scholasticism in music, the reader will find particular interest in separate chapters on the Theory of Music versus the Practice of Music in Italy.

This volume contains first-hand and eye-witness descriptions of the actual performance of music in ancient and medieval societies.Documented here are not only concerts of art music in real concert halls, but a wide spectrum of functional music for the theater, banquets, weddings, funerals and the military.

Ethics, from the original Greek word, "ethos," had to do with the character of a man. The first part of this book presents the arguments of the ancient philosophers who believed that Music education had the primary responsibility in developing character in children. The second part of this book considers "ethics" in the modern sense, in particular the question of the ethical responsibility of the artist toward the public.

This volume presents the early views of philosophers and musicians having to do with the general background of what is known as Performance Practice. Performance Practice refers to the knowledge needed by musicians in bringing to life, in the form of present tense performance, older compositions, in view of the fact that we have a very incomplete system for the notation of music.But there are other problems besides our inadequate notational system. These include broad issues of society, the nature of the musical instruments themselves, acoustics, how the listener's brain "hears" music and performance traditions of earlier centuries.Modern musicians usually mean by "performance practice" the knowledge of small detail, such as trills, turns and improvisation. It is the hope of the present author that this volume will supply some of the background needed to help understand the solution of the smaller details.

For the first time, Dr. David Whitwell presents a thorough study of the performance of music in society together with the philosophical views on art versus entertainment, the role of performance in education and character formation and how earlier philosophers viewed the interplay among Reason, Emotions, experience and the senses. The present volume gives the reader a comprehensive view of the aesthetics of music in sixteenth-century Germany, England and the Low Countries. Included here are the first significant contemporary German performance descriptions by Michael Praetorius, Cochlaeus, Ornithoparchus, Listenius, Glarean and Coclico. And of course the reader will find the aftermath of Martin Luther, particularly through the accounts of Erasmus. With regard to England, one finds here extensive accounts of the first great period of English music, including descriptions from poets, fiction and of course the Elizabethan Theater which is known for its attempt to accurately reflect sixteenth-century life. With regard to the future, perhaps there was no greater harbinger than the historic shift through which music was no longer a pursuit of the noble but became the function of servants.

The first part of this volume presents first-hand accounts of individual ancient musicians, singers, instrumentalists, conductors, both men and women.The second part presents much background information on those wandering musicians of the late Middle Ages who formed a single musical language in Europe, the Jongleurs, Minstrels, Troubadours, Minnesingers and Goliards.The musicians described in this volume are forgotten by history, but they created and passed on our musical culture.

This book follows the fascinating attempt of man to explain the nature of Music, that powerful and mysterious art from which cannot be seen. From original accounts from the earliest period of writing when Music was associated with the gods to the early Christian Church, which tried to explain that Music is the part of mathematics you can hear, the speculation continued. Eventually man began to realize that he is more than Reason, that he has a experiential side as well and this led to writing of understanding vs feeling, the bicameral mind finally explained by modern clinical brain research. Music is finally understood as a special language of feeling.

This volume contains a fascinating collection of observations by ancient writers as they were attempting to understand Music in its relationship with the world around them. The book begins with a discussion of Pythagoras (570-495 BC) who perceived a kinship between Music and astronomy, mathematics and physical therapy. One also reads from remote times the question of whether musicians are born or made, whether music is genetic and if geography influences musical perspective.

Name Index, Volumes 1-12 is the thirteenth and final volume in Dr. David Whitwell's ground breaking History and Literature of the Wind Band and Wind Ensemble series. This volume includes nearly eight thousand entries - musicians, composers, publishers, historians, royalty, philosophers - a virtual encyclopedia of people who have played a part, big or small, in the creation and growth of the wind band and wind ensemble. From the earliest philosophers of ancient Greece to composers from the twentieth century, this index to the History and Literature of the Wind Band and Wind Ensemble series completes one of the most amazing works of music research. Whitwell's meticulous scholarship reveals the continuous history of the wind ensemble, from its earliest roots to the nineteenth century - an unbroken tradition of wind music that music scholars have never been fully able to appreciate until now.

A Second Supplementary Catalog of Early Wind Band and Wind Ensemble Repertoire is the twelfth volume in Dr. David Whitwell's ground breaking thirteen-volume History and Literature of the Wind Band and Wind Ensemble series. The repertoire found in this supplementary volume is the result of visits to specific European collections recommended by other musicians. These include a deserted palace in Hungary, a large Hautboisten collection in Sweden and a visit in Paris with the widow of Charles Koechlin. Also included in this volume are lists of original wind repertoire from the early twentieth century which, because it was created outside the world of educational publications, may not have come to the attention of most conductors. Whitwell's meticulous scholarship reveals the continuous history of the wind ensemble, from its earliest roots to the nineteenth century - an unbroken tradition of wind music that music scholars have never been fully able to appreciate until now.

This volume is a compilation of original philosophic views on the relationship of music and religion as early history progressed towards more modern times, beginning with the strong association of music with religion. The early Christian Church rejected most of these early views but found it difficult to fashion a new dogma which accounted for the powers of music. By the later Middle Ages public demand and the rediscovery of the books of the ancient philosophers caused the Church to reform its views. The public wisdom and the true nature of music found a perfect marriage in the writings of Luther and in the rapid expansion of performance in the following years of the Baroque Period.

David Whitwell is one of the most influential college band directors of the twentieth century and the author of more than forty books on music, conducting, education, history and aesthetics. In this new collection of essays, "Essays on Performance Practice," he provides information on many of the topics missing from modern music education. Band conductors will find illuminating chapters on topics such as aesthetics, seating plans, time and placement, movement, and Classical Period performance idioms. This book also includes fifteen essays on Making Band Masterpieces Musical which address performance practice issues in the most popular wind band works such as the Holst Suites and the Milhaud Suite Française.

David Whitwell is one of the most influential college band directors of the twentieth century and the author of more than forty books on music, education, history and aesthetics. In this new collection of essays, Essays on the Modern Wind Band, he provides a broad perspective of the American Wind Band from his lifetime of experience as performer, teacher, conductor and musiclogist. Through a series of enlightening and thought-provoking essays, David Whitwell provides his unique opinion on such topics as wind band history, repertoire, ethics, and education, as well as behind-the-scenes stories of band organizations, composers, conductors and competitions. The book concludes with an intimate portrait of his long-time friend, Frederick Fennell.

For the first time, Dr. David Whitwell presents a thor-ough study of the per-for-mance of music in soci-ety together with the philo-soph-i-cal views on art ver-sus enter-tain-ment, the role of per-for-mance in edu-ca-tion and char-ac-ter for-ma-tion and how ear-lier philoso-phers viewed the inter-play among Rea-son, Emo-tions, expe-ri-ence and the senses. The present vol-ume stud-ies these ques-tions and more dur-ing the first two cen-turies of the Renais-sance. While the Church con-tin-ued to spon-sor impor-tant music, the spot-light had clearly turned to the grow-ing cul-ti-va-tion of the arts in the indi-vid-ual courts and the pub-lic at large, as is doc-u-mented by a num-ber of great writ-ers, among them Petrarch, Boc-cac-cio and Chaucer. It should be no sur-prise that some friends of Leonardo da Vinci con-sid-ered him the great-est musi-cian known to them, a fact almost entirely for-got-ten today. This wide inter-est in the per-for-mance of music caused the music the-o-rists to begin to aban-don the old Church dogma about music being a branch of math-e-mat-ics and to recon-sider music as an expres-sion of man.

Nineteenth-Century Wind Band and Wind Ensemble Repertoire is the ninth volume in Dr. David Whitwell's ground breaking thirteen-volume History and Literature of the Wind Band and Wind Ensemble series. During the first decades of the nineteenth century one finds continued composition of music for Harmoniemusik. After the end of the Napoleonic Wars there was a new birth of civic bands in Europe and this resulted in numerous original compositions for large concert band. For society at large, however, the nineteenth century was one of enormous interest in all things military, which resulted in a great deal of marches and dance music. One very important exception is a large body of slow, expressive and beautiful original music composed for the church, music which was performed during the church service, including communion, as part of an annual recognition of the military by the clergy. Whitwell's meticulous scholarship reveals the continuous history of the wind ensemble, from its earliest roots to the nineteenth century - an unbroken tradition of wind music that music scholars have never been fully able to appreciate until now.

The Longy Club was a large chamber wind ensemble made up entirely of members of the Boston Symphony and founded by the principal oboist, Georges Longy. Longy and several of the other players had been students of the musicians of the famous Société de Musique de Chambre pour Instruments à Vent in Paris which had commissioned the well-known Petite Symphonie by Gounod. Repertoire lists--This book includes a complete repertoire list of both the Longy Club and the Société de Musique de Chambre pour Instruments à Vent. The numerous reviews of several Boston newspapers provide a fascinating view of musical taste in Boston during the first years of the 20th century.

A Catalog of Multi-Part Repertoire for Wind Instruments or for Undesignated Instrumentation before 1600 is the sixth volume in Dr. David Whitwell's ground breaking thirteen-volume History and Literature of the Wind Band and Wind Ensemble series. This volume is a companion to the first two volumes in the series, The Wind Band and Wind Ensemble before 1500 and The Renaissance Wind Band and Wind Ensemble. Whitwell's meticulous scholarship reveals the continuous history of the wind ensemble, from its earliest roots to the nineteenth century - an unbroken tradition of wind music that music scholars have never been fully able to appreciate until now. Court, Civic and Church records document the fact that before 1550 the employed instrumentalists were wind players. In the surprisingly large repertoire, in particular the so-called 'textless' manuscripts represented by this volume, one can hear the wind ensemble in the earliest period when players began to play from the written page. One finds here already a high level of musicality.

This book by Dr. David Whitwell is destined to be regarded as one of the most important works on the subject. It emphasizes the philosophic and aesthetic concepts of conducting and will cause ensemble directors to re-examine their ideas about the way they look at music making.

In the ancient civilizations music education was based on principles which seemed to them obvious and natural, that there was something universal about how people heard and understood music and that music seemed to have a role in the development of character. Beginning with the Christian Era music education was forced to move from the experiential to the rational and it has never recovered its natural state. In this book the reader will find an argument for restoring music education to a natural relationship between music and man. In the process this book will provide the reader with a new perspective for judging the activity-driven nature of modern music education.

This book traces the history of music education from the ancient civilizations of Egypt, Greece and Rome to the modern era. The reader will see the most natural concepts of the ancient music education as it then passes through the Dark Ages when the Church made music a branch of mathematics and then through the Renaissance when formal music education meant only theoretical teaching. The search for how music communicates emotion during the Baroque Period began the path back toward teaching music rather than teaching about music.

The Nineteenth-Century Wind Band and Wind Ensemble is the fifth volume in Dr. David Whitwell's ground breaking thirteen-volume History and Literature of the Wind Band and Wind Ensemble series. Whitwell's meticulous scholarship reveals the continuous history of the wind ensemble, from its earliest roots to the nineteenth century - an unbroken tradition of wind music that music scholars have never been fully able to appreciate until now. This volume describes the cultural environment of Europe after the Napoleonic Wars, a century when the military is associated with the highest society. Consequently military bands reached a great climax and by the 1860s were performing serious music before larger audiences than at any time in the history of bands. On the other hand, the financial strain on the aristocratic courts to finance the Napoleonic Wars led to the dissolution of the long tradition of their Hautboisten and Harmoniemusik small bands. In the period of peace after the wars, however, new civic societies came into being which sponsored chamber music for wind ensembles. Much of the repertoire which was created for these societies, from the Reicha Quintets to the Gounod Petite Symphonie, are in the repertoire to the present day.

The colorful and sometimes startling style expressed in the music of Berlioz is also found in his prose. The man wrote hundreds of newspaper articles and many more private letters which have yet to be made available to English readers. This book mines those resources to introduce the views of Berlioz on wind players and their instruments, his lost band works and his extensive accounts of the wide public success of his great wind masterpiece, his Symphony for Band. Included here as well are his fascinating discussions of conducting, composition, music education, national styles of music and his famous subjective descriptions of the various wind instruments. It is difficult to think of a more comprehensive view than his of musical life during the first half of the nineteenth century.

Whether used for personal reference or as a text for a class in the history of the wind band this book is the most comprehensive single-volume history of the wind band ever written. This volume draws on the author's multi-volume History and Literature of the Wind Band and follows the development of the wind band through the civic, court, church and military performances of the Ancient World through the nineteenth century.

The Wind Band and Wind Ensem-ble of the Classical Period is the fourth vol-ume in Dr. David Whitwell's ground break-ing thir-teen vol-ume His-tory and Lit-er-a-ture of the Wind Band and Wind Ensem-ble series. Whitwell's metic-u-lous schol-ar-ship reveals the con-tin-u-ous his-tory of the wind ensem-ble, from its ear-li-est roots to the twentieth cen-tury - an unbro-ken tra-di-tion of wind music that music schol-ars have never been fully able to appre-ci-ate until now. This vol-ume includes the story of the transformation of the twelve-member Hautboisten bands into the remarkable Harmoniemusik repertoire of the Classical Period. This is the climax of the history of the small band with the greatest composers, including Mozart, Haydn, Beethoven and Schubert, composing for an ensemble associated with the highest society. At the same time occurs the beginning of the preference for the modern large ensemble, created for an integral role in the political celebrations of the historic French Revolution.