Second Edition - Here are 31 compositions by Anthony Holborne from late 16th Century England transcribed for the baritone ukulele, Renaissance guitar, low G ukelele, and many other four-course instruments. Of course, they may all be played on the guitar.

This alphabetical reference covers the entire spectrum of the recording of sound, from Edison's experimental cylinders to contemporary high technology. The major focus is on the recorded sound industry in the US, with additional material on Canada, Europe, Australia, and New Zealand. The coverage is particularly strong on the earliest periods of recorded sound history--1877-1948, the 78 rpm era and 1949-1982, the LP era. In addition to performers and their work, entries also cover important commercial organizations, individuals who made significant technical contributions, societies and associations, sound archives and libraries, magazines, catalogs, award winners, technical topics, special and foreign terms, copyright laws, and other areas of interest. Annotation copyright by Book News, Inc., Portland, OR

From silent cinema pianist born in the Australian Bush to celebrity virtuoso entertaining Royalty in Mayfair--an extraordinarily magical and inspirational musical odyssey. The concert pianist Edward Cahill (1885-1975) rose to prominence from humble beginnings in the inauspicious setting of 19th-century rural Queensland. At a time when Australian concert artists were virtually unknown in Europe, he dazzled the salons of royalty, aristocratic patronage and privilege in London, Paris and the French Riviera during the glittering decades of the 1920s and 1930s ... 'With what vigour, what virtuosity and poetry this master plays the piano!' --Chronique musicale, Montreux, 5 May 1939

(Jazz Transcriptions). Nearly 50 of Julian "Cannonball" Adderley's recorded solos transcribed exactly for E-flat instruments, including: Blue Funk * Cannonball * Easy to Love (You'd Be So Easy to Love) * Fiddler on the Roof * I Remember You * Love for Sale * Milestones * Oleo * On Green Dolphin Street * People Will Say We're in Love * So What * Somethin' Else * Stardust * Straight No Chaser * Things Are Getting Better * What Is This Thing Called Love? * Who Cares? (So Long As You Care for Me) * You Got It * and many more.

Perotin (Latin Perotinus) was a most gifted composer of the Notre Dame school, which, during the late twelfth and early thirteenth centuries, was the first school to produce polyphony of international acclaim. Four of the works included in this collection are organa. A Perotin organum consists of a liturgical chant melody and text, which forms the tenor or cantus firmus. Its rhythm is altered. In approximately the same vocal range, the composer added one, two or three other voices, the duplum, triplum and quadruplum, all of them in one of the six rhythmic patterns known as modi. Seven of the works included in this collection are motets. These originated throug the tradition of troping, which consisted of the addition of a text to a melismatic piece of music. In motets, it was the duplum of an organum or clausula which was troped. When this happend the duplum was called motetus, and this name was adapted for the entire composition.

The fascinating story of a hugely popular instrument, detailing its rich and varied history from the Middle Ages to the present The recorder is perhaps best known today for its educational role. Although it is frequently regarded as a stepping-stone on the path toward higher musical pursuits, this role is just one recent facet of the recorder’s fascinating history—which spans professional and amateur music-making since the Middle Ages. In this new addition to the Yale Musical Instrument Series, David Lasocki and Robert Ehrlich trace the evolution of the recorder. Emerging from a variety of flutes played by fourteenth-century soldiers, shepherds, and watchmen, the recorder swiftly became an artistic instrument for courtly and city minstrels. Featured in music by the greatest Baroque composers, including Bach and Handel, in the twentieth century it played a vital role in the Early Music Revival and achieved international popularity and notoriety in mass education. Overall, Lasocki and Ehrlich make a case for the recorder being surprisingly present, and significant, throughout Western music history.

Machaut's Messe de Notre Dame stands as an enduring monument of medieval musical art. As such it is one of the most widely studied and performed works of music written before 1600. The Mass itself, however, is surrounded by uncertainty; its date of composition is unknown, its purpose is unclear, and its construction yields much ambiguity. Daniel Leech-Wilkinson has now prepared a much-needed modern performing edition of this work, published by OUP's music department. This companion volume defines his editorial methods in the context of the minefield of controversies surrounding the principles of editing music of this period, and indeed of the many different interpretations of the compositional structure and function of the music. Relating the Mass to other works of the period, he provides the student and performer with an invaluable guide to its intricacies, while his approach will be welcomed by scholars as both controversial and stimulating.