Helm e eugene (36 Ergebnisse)
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Sprache: Deutsch
Verlag: Stuttgart ; Weimar : Metzler (The New Grove - Die großen Komponisten), 1993
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Zustand: Gut. Formateinband: Paperback / kartoniert 475 S.; 21 cm 1. Aufl.; Rücken gering lesefaltig; sonst in gutem Zustand. Sprache: Deutsch Gewicht in Gramm: 650 [Stichwörter: Johann Sebastian Bach und seine Vorfahren und Söhne, Biographie, Familienbiographie].
Early Music. Vol. XVII, No. 1. February 1989 / Johann Sebastian Bach's Orchestra: Some Unanswered Questions (pp. 3-15) Hans-Joachim Schulze The Dresden Hofkapelle during the Lifetime of Johann Sebastian Bach (pp. 17-30) Ortrun Landmann The Editorial Transmission of C.P.E. Bach's Music (pp. 32-41) E. Eugene Helm A Chaconne by Georg Böhm: A Note on German Composers and French Styles (pp. 43-54) Peter Williams Türk, Touch and Slurring: Finding a Rationale (pp. 55-59) Daniel M. Raessler Early Fingering: Some Editing Problems and Some New Readings for J.S. Bach and John Bull (pp. 60-69) Mark Lindley The Rules for 'Through Bass' and for Tuning Attributed to Handel (pp. 70-74+77) Jane Troy Johnson
Nicholas Kenyon (Editor) / Johann Sebastian Bach's Orchestra: Some Unanswered Questions (pp. 3-15) Hans-Joachim Schulze The Dresden Hofkapelle during the Lifetime of Johann Sebastian Bach (pp. 17-30) Ortrun Landmann The Editorial Transmission of C.P.E. Bach's Music (pp. 32-41) E. Eugene Helm A Chaconne by Georg Böhm: A Note on German Composers and French Styles (pp. 43-54) Peter Williams Türk, Touch and Slurring: Finding a Rationale (pp. 55-59) Daniel M. Raessler Early Fingering: Some Editing Problems and Some New Readings for J.S. Bach and John Bull (pp. 60-69) Mark Lindley The Rules for 'Through Bass' and for Tuning Attributed to Handel (pp. 70-74+77) Jane Troy Johnson
Verlag: Oxford University Press, 1989
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Soft cover. Zustand: Very Good. 144 pages. Illustrated. Johann Sebastian Bach's Orchestra: Some Unanswered Questions (pp. 3-15) Hans-Joachim Schulze The Dresden Hofkapelle during the Lifetime of Johann Sebastian Bach (pp. 17-30) Ortrun Landmann The Editorial Transmission of C.P.E. Bach's Music (pp. 32-41) E. Eugene Helm A Chacon…ne by Georg Böhm: A Note on German Composers and French Styles (pp. 43-54) Peter Williams Türk, Touch and Slurring: Finding a Rationale (pp. 55-59) Daniel M. Raessler Early Fingering: Some Editing Problems and Some New Readings for J.S. Bach and John Bull (pp. 60-69) Mark Lindley The Rules for 'Through Bass' and for Tuning Attributed to Handel (pp. 70-74+77) Jane Troy Johnson.
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Paperback. Zustand: New. Where did the major scale come from? Why does most traditional non-Western music not share Western principles of harmony? What does the inner structure of a canon have to do with religious belief? Why, in historical terms, is J.S. Bach's music regarded as a perfect combination of melody and harmony? Why…do clocks in church towers strike dominant-tonic-dominant-tonic? What do cathedrals have to do with monochords? How can the harmonic series be demonstrated with a rope tied to a doorknob, and how can it be heard by standing next to an electric fan? Why are the free ocean waves in Debussy's La Mer, the turbulent river waves in Smetana's Moldau, and the fountain ripples in Ravel's Jeux d'Eau pushed at times into four-bar phrases? Why is the metric system inherently unsuitable for organizing music and poetry? In what way does Plato's Timaeus resemble the prelude to Wagner's Das Rheingold? Just how does Beethoven's work perfectly illustrate fully functional tonality, and why were long-range works based on this type of tonality impossible before the introduction of equal temperament? In this new century, what promising materials are available to composers in the wake of harmonic experimentation and, some would argue, exhaustion?The answers to these seemingly complicated questions are not the sole province of music professors or orchestra conductors. In fact, as E. Eugene Helm demonstrates in Melody, Harmony, Tonality: An Introduction, they can just as easily be explained to amateurs, and their answers are important if we are to understand how Western music works. The full range of Western music is explored through 21 concise chapters on such topics as melody, harmony, counterpoint, texture, melody types, improvisation, music notation, free imitation, canon and fugue, vibration and its relation to harmony, tonality, and the place of music in architecture and astronomy. Intended for amateurs and professionals, concert-goers and conductors, Helm offers in down-to-earth language an explanation of the foundations of our Western music heritage, deepening our understanding and the listening experience of it for all.Melody, Harmony Tonality: An Introduction is the paperback edition of Melody, Harmony,Tonality: A Book for Connoisseurs and Amateurs.
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Die Bach-Familie. Aus dem Englischen von Christoph Wolff und Bettina Obrecht.
Wolff, Christoph, Walter Emery, E. Eugene Helm, Ernest Warburton und Ellwood S. Derr:
Verlag: Stuttgart und Weimar J B Metzler (), 1993
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* Mit zahlreichen Abbildungen und Notenbeispielen. 475 Seiten. 21 x 13 cm. Illustrierte Original-Broschur. (The New Grove - Die großen Komponisten). *** Mit vollständigen Werkverzeichnissen und ausführlicher Bibliographie der Vorfahren und Söhne des Thomaskantors. - Ordentliches Exemplar.
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Verlag: Rowman & Littlefield Publishers, Incorporated, 2012
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Zustand: New. pp. 210.
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Paperback. Zustand: New. Where did the major scale come from? Why does most traditional non-Western music not share Western principles of harmony? What does the inner structure of a canon have to do with religious belief? Why, in historical terms, is J.S. Bach's music regarded as a perfect combination of melody and harmony? Why…do clocks in church towers strike dominant-tonic-dominant-tonic? What do cathedrals have to do with monochords? How can the harmonic series be demonstrated with a rope tied to a doorknob, and how can it be heard by standing next to an electric fan? Why are the free ocean waves in Debussy's La Mer, the turbulent river waves in Smetana's Moldau, and the fountain ripples in Ravel's Jeux d'Eau pushed at times into four-bar phrases? Why is the metric system inherently unsuitable for organizing music and poetry? In what way does Plato's Timaeus resemble the prelude to Wagner's Das Rheingold? Just how does Beethoven's work perfectly illustrate fully functional tonality, and why were long-range works based on this type of tonality impossible before the introduction of equal temperament? In this new century, what promising materials are available to composers in the wake of harmonic experimentation and, some would argue, exhaustion?The answers to these seemingly complicated questions are not the sole province of music professors or orchestra conductors. In fact, as E. Eugene Helm demonstrates in Melody, Harmony, Tonality: An Introduction, they can just as easily be explained to amateurs, and their answers are important if we are to understand how Western music works. The full range of Western music is explored through 21 concise chapters on such topics as melody, harmony, counterpoint, texture, melody types, improvisation, music notation, free imitation, canon and fugue, vibration and its relation to harmony, tonality, and the place of music in architecture and astronomy. Intended for amateurs and professionals, concert-goers and conductors, Helm offers in down-to-earth language an explanation of the foundations of our Western music heritage, deepening our understanding and the listening experience of it for all.Melody, Harmony Tonality: An Introduction is the paperback edition of Melody, Harmony,Tonality: A Book for Connoisseurs and Amateurs.
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Softcover. Zustand: Sehr gut. 123 Im Zentrum des Bandes steht Johann Sebastian Bach. Darüber hinaus dokumentiert er auch das Leben und die Musik der Vorfahren und Söhne des Thomaskantors. Er enthält vollständige Werkverzeichnisse sowie eine ausführliche Bibliographie. Zustand: Einband mit geringfügigen Gebrauchsspuren, insgesamt… SEHR GUTER Zustand! HC1-046-8/8-00523000 Sprache: Deutsch Gewicht in Gramm: 595.
Verlag: New Haven, London: Yale University Press ohne Erscheinungsjahr (Copyright, 1989
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271 Seiten, Fadenheftung, Format 22 x 28,5 cm, Original-Leinenband. * Erstausgabe. Zweispaltiger Druck. Sprache ist englisch, alle Titel natürlich in Deutsch. Erhaltung: Keine Mängel. Keine Flecken, keine Eintragungen, insgesamt ein sehr gutes und frisches Exemplar. Sprache: Englisch.
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Paperback. Zustand: new. Paperback. Where did the major scale come from? Why does most traditional non-Western music not share Western principles of harmony? What does the inner structure of a canon have to do with religious belief? Why, in historical terms, is J.S. Bachs music regarded as a perfect combination of melody and har…mony? Why do clocks in church towers strike dominant-tonic-dominant-tonic? What do cathedrals have to do with monochords? How can the harmonic series be demonstrated with a rope tied to a doorknob, and how can it be heard by standing next to an electric fan? Why are the free ocean waves in Debussys La Mer, the turbulent river waves in Smetanas Moldau, and the fountain ripples in Ravels Jeux dEau pushed at times into four-bar phrases? Why is the metric system inherently unsuitable for organizing music and poetry? In what way does Platos Timaeus resemble the prelude to Wagners Das Rheingold? Just how does Beethovens work perfectly illustrate fully functional tonality, and why were long-range works based on this type of tonality impossible before the introduction of equal temperament? In this new century, what promising materials are available to composers in the wake of harmonic experimentation and, some would argue, exhaustion?The answers to these seemingly complicated questions are not the sole province of music professors or orchestra conductors. In fact, as E. Eugene Helm demonstrates in Melody, Harmony, Tonality: An Introduction, they can just as easily be explained to amateurs, and their answers are important if we are to understand how Western music works. The full range of Western music is explored through 21 concise chapters on such topics as melody, harmony, counterpoint, texture, melody types, improvisation, music notation, free imitation, canon and fugue, vibration and its relation to harmony, tonality, and the place of music in architecture and astronomy. Intended for amateurs and professionals, concert-goers and conductors, Helm offers in down-to-earth language an explanation of the foundations of our Western music heritage, deepening our understanding and the listening experience of it for all.Melody, Harmony Tonality: An Introduction is the paperback edition of Melody, Harmony,Tonality: A Book for Connoisseurs and Amateurs. The full range of Western music is explored through 21 concise chapters on such topics as melody, harmony, counterpoint, texture, melody types, improvisation, music notation, free imitation, canon and fugue, vibration and its relation to harmony, tonality, and the place of mus. This item is printed on demand. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.
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Paperback. Zustand: new. Paperback. Where did the major scale come from? Why does most traditional non-Western music not share Western principles of harmony? What does the inner structure of a canon have to do with religious belief? Why, in historical terms, is J.S. Bachs music regarded as a perfect combination of melody and har…mony? Why do clocks in church towers strike dominant-tonic-dominant-tonic? What do cathedrals have to do with monochords? How can the harmonic series be demonstrated with a rope tied to a doorknob, and how can it be heard by standing next to an electric fan? Why are the free ocean waves in Debussys La Mer, the turbulent river waves in Smetanas Moldau, and the fountain ripples in Ravels Jeux dEau pushed at times into four-bar phrases? Why is the metric system inherently unsuitable for organizing music and poetry? In what way does Platos Timaeus resemble the prelude to Wagners Das Rheingold? Just how does Beethovens work perfectly illustrate fully functional tonality, and why were long-range works based on this type of tonality impossible before the introduction of equal temperament? In this new century, what promising materials are available to composers in the wake of harmonic experimentation and, some would argue, exhaustion?The answers to these seemingly complicated questions are not the sole province of music professors or orchestra conductors. In fact, as E. Eugene Helm demonstrates in Melody, Harmony, Tonality: An Introduction, they can just as easily be explained to amateurs, and their answers are important if we are to understand how Western music works. The full range of Western music is explored through 21 concise chapters on such topics as melody, harmony, counterpoint, texture, melody types, improvisation, music notation, free imitation, canon and fugue, vibration and its relation to harmony, tonality, and the place of music in architecture and astronomy. Intended for amateurs and professionals, concert-goers and conductors, Helm offers in down-to-earth language an explanation of the foundations of our Western music heritage, deepening our understanding and the listening experience of it for all.Melody, Harmony Tonality: An Introduction is the paperback edition of Melody, Harmony,Tonality: A Book for Connoisseurs and Amateurs. The full range of Western music is explored through 21 concise chapters on such topics as melody, harmony, counterpoint, texture, melody types, improvisation, music notation, free imitation, canon and fugue, vibration and its relation to harmony, tonality, and the place of mus. This item is printed on demand. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.
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Kartoniert / Broschiert. Zustand: New. Dieser Artikel ist ein Print on Demand Artikel und wird nach Ihrer Bestellung fuer Sie gedruckt. Über den AutorE. Eugene Helm is professor emeritus in the school of music, University of Maryland, College Park. He is founder of its ethnomusicology program and co-founder and coordinating…editor of The Carl Philipp Emanuel Bach Ed.
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