A comprehensive guide to the techniques of orchestral playing and the development of non-professional orchestras, Orchestral Performance covers all areas of orchestral music-making - instrumental technique and combination, ensemble, layout, repertoire and presentation. Christopher Adey - renowned specialist in the training of student orchestras - explores the responsibilities of both players and conductor, exposing many of the inadvertent results of interpretation with regard to sound and projection, and broadening the musical communication to which the less experienced orchestra can aspire. Written in a lively and authoritative style, this unique book is essential reading for performing musicians of all standards, instrumental teachers and aspiring conductors, and all who have any dealings with the performance of youth or student orchestras throughout the world, as well as anyone interested in what orchestral performance entails. 'A labour of love and wisdom.' Times Educational Supplement 'A treasure house of facts, advice, and hints. I could not put it down ... clearly written from the heart and from an obvious enthusiasm for the non-professional orchestra and orchestral musician.' Classical Music 'This is a thoroughly readable book, full of illustrations and containing the thoughts of someone with a wealth of experience.' Music Teacher

"The book contains thorough analyses of 100 of the most significant works for strings and full orchestra, Grades 1-6. Researched and compiled by scholarly musicians and teachers around the country, the book gives important information on each musical selection, including composer and composition information, historical background, technical requirements, stylistic considerations, musical elements, suggestions for additional listening, and a guide to selected references"--Publisher's website

(Meredith Music Resource). The most comprehensive yet practical intonation book ever written. Includes tuning guides and intonation charts for all instruments.

Although the bibliography of literature about personalities in the conducting world is extensive, a comprehensive, scholarly study of the history of conducting has been sorely lacking. Georg Schünemann's respected study, published in 1913, was brief and restricted to the procedures of time-beating. No work has attempted to examine the role of the orchestral conductor and to document the evolution of his art from historical, technical, and aesthetic perspectives. Dr. Elliott W. Galkin, musicologist, conductor, and critic-twice winner of the Deems Taylor award for distinguished writing about music-has produced such a work in A History of Orchestral Conducting. The central historical section of the book, which examines chronologically the theories and functions of time-beating and interpretative concepts of performance, is preceded by discussions of rhythm, development of the orchestral medium, and the evolving characteristics of orchestration. Conductors of unusual pivotal influence are examined in depth, as is the increasingly complex psychology of the podium. Critical writings since the time of Monteverdi and the birth of the orchestra are surveyed and compared. Analyses of conducting as an art and craft by musicians from Berlioz to Bernstein and commentators from Mattheson, Bernard Shaw, and Thomas Mann to Jacques Barzun, are described and discussed. A fascinating collection of engravings, wood cuts, photographs and caricatures contributes to the richness of this work.

Promote a better understanding of how bowing technique (function) merges with musical interpretation (style) to produce optimum results. This text addresses the elements of sound production, bowing technique, terminology, and musical interpretation---all with integrated teaching suggestions. The correlated workbook contains exercises, etudes, and excerpts for applied study. Appropriate for school ensembles thru college method classes.

Performance practice is the study of how music was performed over the centuries, both by its originators (the composers and performers who introduced the works) and, later, by revivalists. This first of its kind Dictionary offers entries on composers, musiciansperformers, technical terms, performance centers, musical instruments, and genres, all aimed at elucidating issues in performance practice. This A-Z guide will help students, scholars, and listeners understand how musical works were originally performed and subsequently changed over the centuries. Compiled by a leading scholar in the field, this work will serve as both a point-of-entry for beginners as well as a roadmap for advanced scholarship in the field.