The Early Nineteenth Century; Chapter 1 On the Symphony, Carl Czerny; Chapter 2 Instruments Added to the Scores of Old Masters, Hector Berlioz; Chapter 3 On the Rendering of Beethoven’s Ninth Symphony, Richard Wagner; Chapter 4 Instruments Added by Modern Composers, Charles Gounod; Chapter 5 Pamphlet on Mahler’s Edition of Beethoven’s Ninth Symphony, Gustav Mahler, Siegfried Lipiner; Chapter 6 Beethoven’s Instrumentation, Igor Stravinsky; The Late Nineteenth Century; Chapter 7 Statements on Orchestration, Gustav Mahler; Chapter 8 First Lesson: Preliminary Instruction, F.-A. Gevaert; Chapter 9 Foreword to Berlioz’ Treatise on Instrumentation, Richard Strauss; Interlude; Chapter 10 The Orchestra, Hector Berlioz, Richard Strauss; Chapter 11 Orchestra Tutti, Salomon Jadassohn; Chapter 12 The General Divisions and Classification of the Principal Instruments of the Orchestra, Delius, Papus; Chapter 13 Composition of the Orchestra, Nikolay Rimsky-Korsakov; The Turn of the Twentieth Century; Chapter 14 An Inadequate Means for Musical Expression, Ferruccio Busoni; Chapter 15 The Orchestra: Diatonic and Atonal Music, Josef Matthias Hauer; Chapter 16 Possibilities of the Concert Wind Band from the Standpoint of a Modern Composer, Percy Grainger; Chapter 17 Instrumentation, Arnold Schoenberg; Chapter 18 The Balance of Sonorities: Volume and Intensity, Charles Koechlin; Chapter 19 Instrumentation, Igor Stravinsky, Robert Craf; The Early Twentieth Century; Chapter 20 Klangfarbenmelodie, Arnold Schoenberg; Chapter 21 Letter to Heinrich Jalowetz Regarding the Symphony, Op.21, Anton Webern; Chapter 22 Letter to Hermann Scherchen Regarding the Transcription of J.S. Bach’s Ricercata, Anton Webern; Chapter 23 Anton Webern:, Arnold Schoenberg; Chapter 24 Regarding Klangfarbenmelodie, Igor Stravinsky, Robert Craft; Chapter 25 Timbral Relationships and Their Functional Use, Alfred Schnittke; Later Twentieth-Century Innovations; Chapter 26 Program Note for the Fourth Symphony, Charles Ives; Chapter 27 Instrumental Character and the Problem of the Tutti, Elliott Carter, Allen Edwards; Chapter 28 On the Size and Seating of an Orchestra, Steve Reich; Chapter 29 Spatial Music and Orchestration, Henry Brant, Frank J. Oteri; Chapter 30 Remarks on Ochestration, Morton Feldman; Chapter 31 Timbre and Composition — Timbre and Language, Pierre Boulez;
Paul Mathews teaches at the Peabody Institute of the Johns Hopkins University where he has previously been chair of Music Theory and currently directs the music classes on the main Hopkins campus. His recent scholarship concerns the dialectic of French and German orchestration in the late nineteenth century. Mathews is also an active composer.
"this anthology reflects much thought and effort in bringing
together pertinent texts from multiple sources, and it should prove
very useful for students and teachers of orchestration." --NOTES,
Quarterly Journal of the Music Library Association
"Orchestration: An Anthology of Writings is a refreshing joy to
read as it's filled with many treats working professionals will
appreciate..." --Film Music
 |
Ask a Question About this Product More... |
|
