A Catalog of Wind Repertoire Before the Twentieth Century for One to Five Players is the eleventh volume in Dr. David Whitwell's ground breaking thirteen-volume History and Literature of the Wind Band and Wind Ensemble series. The History and Literature of the Wind Band and Wind Ensemble has had its focus on the repertoire for ensembles of six or more players. But there is much more to the story of the early professional wind player. His performance of solo repertoire and his participation in smaller wind ensembles reflect the use of such music in smaller palace rooms and in more intimate church performances in particular. It was to offer some documentation for these other categories of wind repertoire that Dr. Whitwell has included this volume. Whitwell's meticulous scholarship reveals the continuous history of the wind ensemble, from its earliest roots to the nineteenth century - an unbroken tradition of wind music that music scholars have never been fully able to appreciate until now.
This volume contains a fascinating collection of observations by ancient writers as they were attempting to understand Music in its relationship with the world around them. The book begins with a discussion of Pythagoras (570-495 BC) who perceived a kinship between Music and astronomy, mathematics and physical therapy. One also reads from remote times the question of whether musicians are born or made, whether music is genetic and if geography influences musical perspective.
David Whitwell has drawn together a valuable collection of Liszt’s own intimate revelations on his personality, his character and his health. Here as well the reader will find Liszt’s personal insights on his own musical studies, his creative process and on some of his compositions. Liszt has also left fascinating first-hand observations on other pianists, composers and personalities whom he knew.
David Whitwell is one of the most influential college band directors of the twentieth century and the author of more than forty books on music, education, history and aesthetics. In this new collection of essays, Essays on the Modern Wind Band, he provides a broad perspective of the American Wind Band from his lifetime of experience as performer, teacher, conductor and musiclogist. Through a series of enlightening and thought-provoking essays, David Whitwell provides his unique opinion on such topics as wind band history, repertoire, ethics, and education, as well as behind-the-scenes stories of band organizations, composers, conductors and competitions. The book concludes with an intimate portrait of his long-time friend, Frederick Fennell.
David Whitwell is one of the most influential college band directors of the twentieth century and the author of more than forty books on music, conducting, education, history and aesthetics. In this new collection of essays, "Essays on Performance Practice," he provides information on many of the topics missing from modern music education. Band conductors will find illuminating chapters on topics such as aesthetics, seating plans, time and placement, movement, and Classical Period performance idioms. This book also includes fifteen essays on Making Band Masterpieces Musical which address performance practice issues in the most popular wind band works such as the Holst Suites and the Milhaud Suite Francaise.
For the first time, Dr. David Whitwell presents a thorough study of the performance of music in society together with the philosophical views on art versus entertainment, the role of performance in education and character formation, and how earlier philosophers viewed the interplay among Reason, emotions, experience and the senses. The present volume studies these questions and more from the beginning of the Christian Era through the Dark Ages to the dramatic twelfth and thirteenth centuries when the Crusades, Troubadours, Minnesingers, Minstrels and poets all point to a new era, the Renaissance.
This book by Dr. David Whitwell is destined to be regarded as one of the most important works on the subject. It emphasizes the philosophic and aesthetic concepts of conducting and will cause ensemble directors to re-examine their ideas about the way they look at music making.
The Renaissance Wind Band and Wind Ensemble is the second volume in Dr. David Whitwell's ground breaking thirteen volume History and Literature of the Wind Band and Wind Ensemble series. Whitwell's meticulous scholarship reveals the continuous history of the wind ensemble, from its earliest roots to the nineteenth century - an unbroken tradition of wind music that music scholars have never been fully able to appreciate until now. This volume includes: - court wind music that left important bodies of literature, especially in France and England - larger civic wind bands, with extant literature, representing a climax in the devlopment of early civic wind bands - evidence of wind bands participating in the Catholic Mass and the Protestant Service - the music of Gabrieli and his contemporaries, a body of music important for its impact on the development of the Baroque wind band.
This volume includes: the change of instrumentation from Renaissance to the new modern instruments; the Hautboisten band and its function as a bridge between the repertoire of Renaissance consorts and the repertoire of Harmoniemusik bands; the transition of the concerto da camera of the Hautboisten repertoire to the Classic period symphony and partita and the Hautboisten ouverture to the Classic period divertimento; the first modern appearance of military bands."--Page 4 of cover.
For the first time, Dr. David Whitwell presents a thorough study of the performance of music in society together with the philosophical views on art versus entertainment, the role of performance in education and character formation and how earlier philosophers viewed the interplay among Reason, Emotions, experience and the senses. The present volume reveals a performance practice by the leading French composers which extends far beyond what appears on the page, in particular their joining their European colleagues in the emphasis on expressing emotions in music. This period included an extraordinary burst of philosophical thought on the nature of music and the ways in which French music contrasted with the Italian practice. All of these leading philosophers are treated extensively in this volume. Among these philosophers was Marin Mersenne (1588-1648), a very influential man of his time whose great encyclopedia on music, the Harmonie universelle (1636) has never been published in a complete English edition. The English reader will find here the most complete material from this great work to be found today. Finally, this period of French history includes two very influential thinkers, Descartes and Voltaire, whose thoughts on muisc are given extensive representation in this volume.
This volume is a compilation of original philosophic views on the relationship of music and religion as early history progressed towards more modern times, beginning with the strong association of music with religion. The early Christian Church rejected most of these early views but found it difficult to fashion a new dogma which accounted for the powers of music. By the later Middle Ages public demand and the rediscovery of the books of the ancient philosophers caused the Church to reform its views. The public wisdom and the true nature of music found a perfect marriage in the writings of Luther and in the rapid expansion of performance in the following years of the Baroque Period.
For the first time, Dr. David Whitwell presents a thorough study of the performance of music in society together with the philosophical views on art versus entertainment, the role of performance in education and character formation and how earlier philosophers viewed the interplay among Reason, Emotions, experience and the senses. The present volume gives the reader a comprehensive view of the aesthetics of music in sixteenth-century Germany, England and the Low Countries. Included here are the first significant contemporary German performance descriptions by Michael Praetorius, Cochlaeus, Ornithoparchus, Listenius, Glarean and Coclico. And of course the reader will find the aftermath of Martin Luther, particularly through the accounts of Erasmus. With regard to England, one finds here extensive accounts of the first great period of English music, including descriptions from poets, fiction and of course the Elizabethan Theater which is known for its attempt to accurately reflect sixteenth-century life. With regard to the future, perhaps there was no greater harbinger than the historic shift through which music was no longer a pursuit of the noble but became the function of servants.
For the first time, Dr. David Whitwell presents a thorough study of the performance of music in society together with the philosophical views on art versus entertainment, the role of performance in education and character formation and how earlier philosophers viewed the interplay among Reason, Emotions, experience and the senses. The present volume studies these questions and more during the first two centuries of the Renaissance. While the Church continued to sponsor important music, the spotlight had clearly turned to the growing cultivation of the arts in the individual courts and the public at large, as is documented by a number of great writers, among them Petrarch, Boccaccio and Chaucer. It should be no surprise that some friends of Leonardo da Vinci considered him the greatest musician known to them, a fact almost entirely forgotten today. This wide interest in the performance of music caused the music theorists to begin to abandon the old Church dogma about music being a branch of mathematics and to reconsider music as an expression of man.
For the first time, Dr. David Whitwell presents a thorough study of the performance of music in society together with the philosophical views on art versus entertainment, the role of performance in education and character formation and how earlier philosophers viewed the interplay among Reason, Emotions, experience and the senses. Very few music history texts make it clear that the central obsession of Baroque composers and philosophers was the full restoration of the emotions to music. This volume presents these studies in Italy, led by the famous Camerata, Spain and Germany. From Germany we are particularly fortunate to have extensive documentation of this new view of music by important composers and philosophers, including major figures such as Leibniz and Spinoza. This quest to explain music through the communication of emotions even led Johannes Kepler to apply these ideas in the last major argument in support of the 'Music of the Spheres'.
Whether used for personal reference or as a text for a class in the history of the wind band this book is the most comprehensive single-volume history of the wind band ever written. This volume draws on the author's multi-volume History and Literature of the Wind Band and follows the development of the wind band through the civic, court, church and military performances of the Ancient World through the nineteenth century.
The literature on the early twentieth-century composer and band leader, John Philip Sousa, has focused on the man himself, his wealth and role as a popular figure in society, the almost universal appeal of his marches, and the popularity of his band concerts.But what did the members of the band themselves think of this experience and what did other distinguished conductors think of the concerts they heard? This book, the result of an oral history, attempts to help illuminate these questions.
This volume includes the story of the transformation of the twelve-member Hautboisten bands into the remarkable Harmoniemusik repertoire of the Classical period. This is the climax of the history of the small band with the greatest composers, including Mozart, Haydn, Beethoven and Schubert, composing for an ensemble associated with the highest society. At the same time occurs the beginning of the preference for the modern large ensemble, created for an integral role in the political celebrations of the historic French Revolution."--Page 4 of cover.
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