Libros de Instrumentos, página 10 de 37

Siendo director de la sección de música antigua de la Institución Fernando el Católico, de la Diputación de Zaragoza, don Pedro Calahorra Martínez, le invité a participar en el II Curso de Canto Coral en Aragon, celebrado en Borja, a lo que gustosamente acepto con sumo agrado, y desarrollo ante un numeroso grupo de alumnos, exponiendo sus ricos conocimientos sobre diversos aspectos mu...

This 1921 classic guide to the "Monarch of all Instruments" supplies various names of each stop in different languages, traces their origins, and describes their construction, tonal characteristics, and value in artistic combination and registration. A "must-have" for the organist''s library. Introduction by Rollin Smith. Includes 5 plates of illustrations.

Ricardo IznaolaA concise booklet which presents a complete practicing methodology for guitarists. Topics discussed include the concepts of inner and outer poise, issues affecting practice, visualizat

Aranburu Urtasun, Mikel El txistulari vasco es heredero del juglar de flauta y tambor que animó con largueza el medioevo europeo y llegó, exhausto, a la Edad Moderna. Los restos de aquella eficiente y minima orquesta cristalizaron en las distintas tradiciones culturales con su propia historia, morfologia y denominacion. En Euskal Herria, el txistu aseguro su estabilidad por la institucion de la danza de autoridades, la temprana municipalizacion del tamborilero como soporte y control de las diversiones y de otros servicios publicos, y una acreditada habilidad de sus interpretes para conjugar tradicion y modernidad. A fines del siglo XVIII oportunas modificaciones tecnicas y una nueva orientacion musical, atribuibles al pensamiento ilustrado, situaron al txistu en las puertas de su actual naturaleza artistica y acomodo social. Un siglo despues, la moda urbana renuncio al txistu y tamboril como instrumento para el baile y lo ubico en el limbo cordial del folclore; de aqui fue redimido por el nacionalismo como simbolo de la identidad vasca. La ultima centuria ha devuelto al txistu su esencia musical para afrontar el nuevo milenio. Este libro es una sumaria exposicion de la vida del txistu y el tamboril con oportunas referencias, ineludibles, a otros miembros de la familia. Sus interpretes, que se cuentan por millares, han sido juglares independientes, tamborileros municipales, marginados chunchuneros, maestros de danza y musicos profesionales. Todos han compartido un mismo aliento y complacencia y, durante siglos, han forjado un representativo universo de acusada influencia social y simbolica merecedor de nuestro interes.

"Music, be it Beethoven, Bartok or the Beatles," writes Yehudi Menuhin, "brings us together in a sharing of sound and feeling" which transcends boundaries. Thus, through the stories, poems and accounts in this anthology, we may join African slaves in 19th-century New Orleans as they create their spontaneous, vital, rhythmic music; and may walk with the exiled Bartok as he remembers the joyful honesty, and the vigorous tenderness, of the songs of Hungary. Exemplified in these stories is the deep attachment of composer and musicians to the land of their roots - "the lands that gave them their ears, their voices, the particular musical language they use." Here are stories illustrating the music of men and women living 'in tune' with the earth: Aborigine and Inuit, Bushman and American Indian; a woman singing to the Hebridean seals, whose voices answer hers; a Celtic prince entranced by 'the music of the world'. Here are composers and conductors, makers and lovers of music from other times and other countries, other cultures and other landscapes. The lilt of Gypsy music and the haunting chants of the Balkans; girls dancing in Rhodes, and children dancing in a Japanese grove; the songs of a Somerset soldier and of the peasants in Russia; the discipline and complex beauty of Indian music and the deep sense of melody in Hasidic tales: all these illuminate the infinite range of music, within which we may, each retaining perfect individuality, share a universe "in which music and life are one and the same thing".

The decision to publish the transcription of The World of the Flamenco Guitar and its Forms is the decision to disseminate a major work . Now, all those who wish to learn about and explore this gem of Spanish music that has laid unnoticed for too long are able to do so. Manolo Sanlcar''s album trilogy is not only apt for flamenco or Spanish musicians but for guitarists worldwide since it constitutes the greatest of the many master classes this maestro has given in his long career. The original, authentic and unmistakably flamenco music in this work has stood the test of time, transcending fashion and trends. Immersing oneself in this magical document is to cross the erstwhile unreachable threshold of one of the most dazzling chapters in the history of the flamenco guitar.