- Tapa blanda: 432 páginas
- Editor: Yale Musical Instrument Series (27 de enero de 2004)
- Colección: Yale Musical Instrument Series
- Idioma: Inglés
- ISBN-10: 0300100531
- ISBN-13: 978-0300100532
- Valoración media de los clientes: Sé el primero en opinar sobre este producto
- Clasificación en los más vendidos de Amazon: nº868 en Libros en idiomas extranjeros (Ver el Top 100 en Libros en idiomas extranjeros)
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The Oboe (Yale Musical Instrument Series) (Inglés) Tapa blanda – 27 ene 2004
Descripción del producto
"A welcome addition to the oboe literature... Burgess and Haynes draw on their vast experience, knowledge and enthusiasm for the oboe to produce a book that will be invaluable to all players and enjoyable for the general reader."-Rachel Pankhurst, Muso -- Rachel Pankhurst Muso "The Oboe is notable for its scholarly integrity and breadth... The book is a highly welcome addition to the publications on this topic currently available. It contains a huge amount of information, presented in a clear, lively, and interesting way."-Samantha Owens, Journal of the American Musical Instrument Society -- Samantha Owens Journal of the American Musical Instrument Society "[This book] is very enjoyable to read and packed with information."-Gail Hennessy, Early Music Today -- Gail Hennessy Early Music Today
Reseña del editor
The oboe, including its earlier forms the shawm and the hautboy, is an instrument with a long and rich history. In this book two distinguished oboist-musicologists trace that history from its beginnings to the present time, discussing how and why the oboe evolved, what music was written for it, and which players were prominent. Geoffrey Burgess and Bruce Haynes begin by describing the oboe's prehistory and subsequent development out of the shawm in the mid-seventeenth century. They then examine later stages of the instrument, from the classical hautboy to the transition to a keyed oboe and eventually the Conservatoire-system oboe. The authors consider the instrument's place in Romantic and Modernist music and analyze traditional and avant-garde developments after World War II. Noting the oboe's appearance in paintings and other iconography, as well as in distinctive musical contexts, they examine what this reveals about the instrument's social function in different eras. Throughout the book they discuss the great performers, from the pioneers of the seventeenth century to the traveling virtuosi of the eighteenth, the masters of the romantic period and the legends of the twentieth century such as Gillet, Goossens, Tabuteau, and Holliger. With its extensive illustrations, useful technical appendices, and discography, this is a comprehensive and authoritative volume that will be the essential companion for every woodwind student and performer.Ver Descripción del producto
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The book is divided into almost two sections. The first 124 pages deal with the pre-history of the instrument's roots up until the modern era beginning in 1828. After a fascinating discussion of just where the oboe started, the authors surmise that since many wind instruments all claim the aulos and tibia are archetypes, thus doubtful that this was truly ancestor. However, in the Arabic cultures the early shawnlike "zurna" are definitely related, then giving way to the popular hautboys, which gave way to their widespread use in baroque music.
This especially takes off in the era of the seventeenth century with various types and names and styles, regionally located according to materials and composers and performers and craftsmen and trade of ideas/commerce. Then in 1680 outbreaks the French hautboy, which begins to dominate and leads in turn to the now standardized Conservatooire oboe during the Industrial Age.
There is much to be gained from this history tracing, including the match between hautboy maker/composer/musician. Standing out especially and his ties to the modern oboe is Treibert and his Systeme 6 which then was disseminated throughout the world by Gillet's students, especially here in North America. When former Treibert foreman Francois Loree started his own oboe shop enhanced by Gillet's endorsement, this standardized oboe started to dominate, evolving to the now commonplace material of grenadilla.
Along the way the compositions and musicians are featured. Then beginning in chapter 8 which for me is the highlight of the book, the technical capabilities are stretched since WWII. Here is highlighted the giants of the oboe compositions and their performers. Also so poignant is their technical discussion of embouchure, air stream problems, reeds, and "vibrato or not."
The last chapter closes with the two topic discussion of avant-garde techniques and compositions highlighting such as multiphonics, microtonoality, pitch slides, etc., and secondly, return to period instruments of the baroque era especially.
Included are fine detailed notes, a significant bibliography, a compiled discography which is meant to be only representative of the book's discussion, and an adequate index.
This is a fine scholarly work which will certainly disappoint if any reader seeks a beginning intro to the instrument, i.e. should I play oboe, how to start, etc. This is more academic as to the instrument's history, current status, etc. All oboe enthusiasts will continually turn to this fine, thorough and well researched and written resource.
The illusttration are beautiful and clear.
For all oboists very interest in History of own instrumet, is a good recommendation.
I'm a begginer in oboe, but I very interest in History. The Oboe by Burgess&Haynes will be the good companion.
Great fan of Oboe & Bassoon Music and History
Santa Catarina - Brasil