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Le present ouvrage vise à initier les jeunes musiciens aux principaux elements constitutifs de la musique classique, populaire et du jazz. On y traite des aspects melodiques, rythmiques, harmoniques et formels qui sont à la base des oeuvres musicales. Cette quatrieme edition a ete corrigee et augmentee. D'abord, pour plus de clarte et pour encourager le lecteur dans son apprentissage, plusieurs tableaux et exercices pratiques ont ete ajoutes. Enfin, on a accorde plus de place à la musique populaire et au jazz dans une nouvelle section qui aborde les principaux modes servant à l'improvisation, les notes guides et les lignes de walking bass utilisees sur des progressions harmoniques couramment employees dans ces styles musicaux. Dans ce texte, les elements theoriques sont accompagnes d'exemples musicaux et habituellement suivis de "marches à suivre" qui servent d'initiation aux methodes d'analyse et d'ecriture. Enfin, les exercices permettent au lecteur de mettre en pratique les notions abordees.
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A virtuoso violinist, conductor, composer, and a professor of mathematics and botany, Francesco Galeazzi (1758- 1819) firmly believed that musical education should be clear, demonstrable, and practical. In 1791 and 1796, he published the two volumes of his Elementi teorico-practici di musica, a treatise that demonstrated both his thorough grounding in the work of earlier theorists and his own approach to musical study. The first volume gave precise instructions on the violin and how to play it; the second demonstrated his command of other instruments and genres and provided comprehensive intro
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Harmony. --- Harmonie. --- Music theory
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Music theory --- Music
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Harmony --- Music theory
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This book offers a series of essays that show the integrated role that musical structure (including harmony, melody, rhythm, meter, form, and musical association) plays in making sense of what transpires onstage in musicals. Written by a group of music analysts who care deeply about musical theater, this collection provides new understanding of how musicals are put together, how composers and lyricists structure words and music to complement one another, and how music helps us understand the human relationships and historical and social contexts. Using a wide range of musical examples, representing the history of musical theater from the 1920s to the present day, the book explores how music interacts with dramatic elements within individual shows and other pieces within and outside of the genre. These essays invite readers to consider issues that are fundamental both to our understanding of musical theater and to the multiple ways we engage with music.
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