Music - Resources by Instrument

Wind Chamber Music: Winds With Piano And Woodwind Quintets is an invaluable reference work for music teachers, professional and amateur musicians, and music students. It will help them create programs by specific ethnic groups, identify the mainstream repertoire, find works appropriate for students, or search for a fun filler piece for a pops concert. This guide lists works in print for woodwind quintet and piano with two to five wind instruments-- flute, oboe, clarinet, bassoon, or horn. The book is divided into five sections: two winds with piano; three winds with piano; four winds with piano; five winds with piano; and wind quintet. Each entry provides composer birth and death dates, composition date, publisher, nationality, recording availability, instrumentation, length, and general description of the compositional style.

Wind Chamber Music, Volume 2, lists works currently available in print for wind chamber ensembles of two to sixteen winds (flute, oboe, clarinet, bassoon, French horn). Written by one of the foremost authorities on woodwind chamber music, this comprehensive, annotated guide lists more than 2,500 chamber pieces. Information is provided about each composition including composer name, nationality, birth and death dates; title, arranger, composition or copyright date, publisher, instrumentation, length, difficulty level; and general information about the composition or the composer. Written by one of the foremost authorities on woodwind chamber music, every library and wind ensemble should have a copy of this comprehensive guide. Whether researching a program of music from a specific ethnic group, identifying the mainstream repertoire, searching for works appropriate for students or just looking for a fun-filled piece for a pops concert, this book will prove invaluable to music teachers, professional and amateur musicians and music students.

The Eastman Wind Ensemble has enjoyed an international reputation for leadership in repertoire development and performance practices during its 40-plus year existence. Founded in 1952 by Frederick Fennell at the Eastman School of Music at the University of Rochester, the Ensemble has been a major professional recording entity and has provided leadership in areas of research and communication in the development of the contemporary wind band.

The late 17th century through to the end of the 18th century saw rapid progress in the development of woodwind instruments and the composition of a vast body of music for those instruments. During this period a large amount of music for domestic consumption was written for a growing amateur market, a market which has regrown in the latter part of the 20th century. The last 30 years has also seen the standard of performance by professionals on these instruments rise enormously. This book provides a guide to the history of the four main woodwind instruments of the Baroque, the flute, oboe, recorder and bassoon, and this is complemented by a repertoire list for each instrument. It also guides those interested towards a basic technique for playing these instruments - a certain level of musical literacy is assumed - and it can be used by students, professionals and amateurs. Advice is also given on buying a suitable reproduction instrument from a market where now virtually any Baroque instrument can be obtained as a faithful copy. This is the first book of its kind and has its origins in the wind tutors of the 18th century.

This is the first comprehensive overview of instrumental chamber music from the16th century to the present. There are comparisons of different genres, composers, and periods.Situations for chamber music at different moments in history are brought into a continuum, and all aspects of chamber music are placed into perspective. A History of the Idea of Chamber Music is chronologically organized at the most general level. Beyond that, national schools figure prominently, as well as genres and personalities. Throughout this book the composition of chamber music, the performance of chamber music, and the social, economic, political, and aesthetic conditions for chamber music have been considered per se and as they interact.