Forsyth cecil (392 résultats)

Etat : Very Good. For its time the most comprehensive treatment of the subject. -- New Grove Dictionary of Music and MusiciansBefore the 17th century, composers seldom indicated in their music whether the composition was to be performed by a particular combination of voices or instruments. Then in 1607 Monteverdi made a well-known suggestion for the orchestration of his opera Orfeo. And as the Baroque era unfolded, the concept of orchestrations began to evolve, achieving a notable clarity and the acceptance of a keyboard instrument as an integral part of the ensemble.Toward the middle of the 18th century, stylistic changes in instrumental music, e.g. styles that emphasized a single melodic line, directly affected methods of orchestration; while in the 19th century, orchestrations became an ever more vital factor in the composer's technique, a stylistic determinant that places a wealth of possibilities at his disposal. Finally, in the early 18th century, increasing awareness of the importance of internal balance, certain ideals of blended sound, and firmly established instrumental characteristics enabled orchestration to take its place as an academic discipline beside harmony and counterpoint.In this classic manual, a noted English composer describes 57 orchestral instruments (ca. 1914) tracing their origins, development, and status at the beginning of World War I. Not only are the history and evolution of each instrument fully discussed, the author also explores the techniques of each instrument, as well as players' impressions about what they must play. The result is an unparalleled insight into the inner working of an orchestra -- a vivid impression of what it is like to be a violinist, clarinetist, trombonist, or other orchestral player.While there have been numerous developments in instrumental technique on an individual basis since the book's first publication, most of what Forsyth says is still valid. Writing with wit, grace, and good sense, Forsyth created a formidably thorough, comprehensive, and informative text that has instructed and influenced generations of composers, conductors, musicians, and musicologists.…

Etat : acceptable. This copy has clearly been enjoyedâ"expect noticeable shelf wear and some minor creases to the cover. Binding is strong, and all pages are legible. May contain previous library markings or stamps.

Etat : Fair. For its time the most comprehensive treatment of the subject. -- New Grove Dictionary of Music and MusiciansBefore the 17th century, composers seldom indicated in their music whether the composition was to be performed by a particular combination of voices or instruments. Then in 1607 Monteverdi made a well-known suggestion for the orchestration of his opera Orfeo. And as the Baroque era unfolded, the concept of orchestrations began to evolve, achieving a notable clarity and the acceptance of a keyboard instrument as an integral part of the ensemble.Toward the middle of the 18th century, stylistic changes in instrumental music, e.g. styles that emphasized a single melodic line, directly affected methods of orchestration; while in the 19th century, orchestrations became an ever more vital factor in the composer's technique, a stylistic determinant that places a wealth of possibilities at his disposal. Finally, in the early 18th century, increasing awareness of the importance of internal balance, certain ideals of blended sound, and firmly established instrumental characteristics enabled orchestration to take its place as an academic discipline beside harmony and counterpoint.In this classic manual, a noted English composer describes 57 orchestral instruments (ca. 1914) tracing their origins, development, and status at the beginning of World War I. Not only are the history and evolution of each instrument fully discussed, the author also explores the techniques of each instrument, as well as players' impressions about what they must play. The result is an unparalleled insight into the inner working of an orchestra -- a vivid impression of what it is like to be a violinist, clarinetist, trombonist, or other orchestral player.While there have been numerous developments in instrumental technique on an individual basis since the book's first publication, most of what Forsyth says is still valid. Writing with wit, grace, and good sense, Forsyth created a formidably thorough, comprehensive, and informative text that has instructed and influenced generations of composers, conductors, musicians, and musicologists.…

Etat : Good. For its time the most comprehensive treatment of the subject. -- New Grove Dictionary of Music and MusiciansBefore the 17th century, composers seldom indicated in their music whether the composition was to be performed by a particular combination of voices or instruments. Then in 1607 Monteverdi made a well-known suggestion for the orchestration of his opera Orfeo. And as the Baroque era unfolded, the concept of orchestrations began to evolve, achieving a notable clarity and the acceptance of a keyboard instrument as an integral part of the ensemble.Toward the middle of the 18th century, stylistic changes in instrumental music, e.g. styles that emphasized a single melodic line, directly affected methods of orchestration; while in the 19th century, orchestrations became an ever more vital factor in the composer's technique, a stylistic determinant that places a wealth of possibilities at his disposal. Finally, in the early 18th century, increasing awareness of the importance of internal balance, certain ideals of blended sound, and firmly established instrumental characteristics enabled orchestration to take its place as an academic discipline beside harmony and counterpoint.In this classic manual, a noted English composer describes 57 orchestral instruments (ca. 1914) tracing their origins, development, and status at the beginning of World War I. Not only are the history and evolution of each instrument fully discussed, the author also explores the techniques of each instrument, as well as players' impressions about what they must play. The result is an unparalleled insight into the inner working of an orchestra -- a vivid impression of what it is like to be a violinist, clarinetist, trombonist, or other orchestral player.While there have been numerous developments in instrumental technique on an individual basis since the book's first publication, most of what Forsyth says is still valid. Writing with wit, grace, and good sense, Forsyth created a formidably thorough, comprehensive, and informative text that has instructed and influenced generations of composers, conductors, musicians, and musicologists.…

Etat : very_good. Fast Free Shipping â" Very Good condition book with a firm cover and clean pages. Shows normal use and some light wear or limited notes markings. A solid, nice copy to enjoy.

Etat : very_good. Fast Free Shipping â" Very Good condition book with a firm cover and clean pages. Shows normal use and some light wear or limited notes markings. A solid, nice copy to enjoy.

Etat : Very Good. For its time the most comprehensive treatment of the subject. -- New Grove Dictionary of Music and MusiciansBefore the 17th century, composers seldom indicated in their music whether the composition was to be performed by a particular combination of voices or instruments. Then in 1607 Monteverdi made a well-known suggestion for the orchestration of his opera Orfeo. And as the Baroque era unfolded, the concept of orchestrations began to evolve, achieving a notable clarity and the acceptance of a keyboard instrument as an integral part of the ensemble.Toward the middle of the 18th century, stylistic changes in instrumental music, e.g. styles that emphasized a single melodic line, directly affected methods of orchestration; while in the 19th century, orchestrations became an ever more vital factor in the composer's technique, a stylistic determinant that places a wealth of possibilities at his disposal. Finally, in the early 18th century, increasing awareness of the importance of internal balance, certain ideals of blended sound, and firmly established instrumental characteristics enabled orchestration to take its place as an academic discipline beside harmony and counterpoint.In this classic manual, a noted English composer describes 57 orchestral instruments (ca. 1914) tracing their origins, development, and status at the beginning of World War I. Not only are the history and evolution of each instrument fully discussed, the author also explores the techniques of each instrument, as well as players' impressions about what they must play. The result is an unparalleled insight into the inner working of an orchestra -- a vivid impression of what it is like to be a violinist, clarinetist, trombonist, or other orchestral player.While there have been numerous developments in instrumental technique on an individual basis since the book's first publication, most of what Forsyth says is still valid. Writing with wit, grace, and good sense, Forsyth created a formidably thorough, comprehensive, and informative text that has instructed and influenced generations of composers, conductors, musicians, and musicologists.…

Etat : Fair. For its time the most comprehensive treatment of the subject. -- New Grove Dictionary of Music and MusiciansBefore the 17th century, composers seldom indicated in their music whether the composition was to be performed by a particular combination of voices or instruments. Then in 1607 Monteverdi made a well-known suggestion for the orchestration of his opera Orfeo. And as the Baroque era unfolded, the concept of orchestrations began to evolve, achieving a notable clarity and the acceptance of a keyboard instrument as an integral part of the ensemble.Toward the middle of the 18th century, stylistic changes in instrumental music, e.g. styles that emphasized a single melodic line, directly affected methods of orchestration; while in the 19th century, orchestrations became an ever more vital factor in the composer's technique, a stylistic determinant that places a wealth of possibilities at his disposal. Finally, in the early 18th century, increasing awareness of the importance of internal balance, certain ideals of blended sound, and firmly established instrumental characteristics enabled orchestration to take its place as an academic discipline beside harmony and counterpoint.In this classic manual, a noted English composer describes 57 orchestral instruments (ca. 1914) tracing their origins, development, and status at the beginning of World War I. Not only are the history and evolution of each instrument fully discussed, the author also explores the techniques of each instrument, as well as players' impressions about what they must play. The result is an unparalleled insight into the inner working of an orchestra -- a vivid impression of what it is like to be a violinist, clarinetist, trombonist, or other orchestral player.While there have been numerous developments in instrumental technique on an individual basis since the book's first publication, most of what Forsyth says is still valid. Writing with wit, grace, and good sense, Forsyth created a formidably thorough, comprehensive, and informative text that has instructed and influenced generations of composers, conductors, musicians, and musicologists.…

Etat : Good. For its time the most comprehensive treatment of the subject. -- New Grove Dictionary of Music and MusiciansBefore the 17th century, composers seldom indicated in their music whether the composition was to be performed by a particular combination of voices or instruments. Then in 1607 Monteverdi made a well-known suggestion for the orchestration of his opera Orfeo. And as the Baroque era unfolded, the concept of orchestrations began to evolve, achieving a notable clarity and the acceptance of a keyboard instrument as an integral part of the ensemble.Toward the middle of the 18th century, stylistic changes in instrumental music, e.g. styles that emphasized a single melodic line, directly affected methods of orchestration; while in the 19th century, orchestrations became an ever more vital factor in the composer's technique, a stylistic determinant that places a wealth of possibilities at his disposal. Finally, in the early 18th century, increasing awareness of the importance of internal balance, certain ideals of blended sound, and firmly established instrumental characteristics enabled orchestration to take its place as an academic discipline beside harmony and counterpoint.In this classic manual, a noted English composer describes 57 orchestral instruments (ca. 1914) tracing their origins, development, and status at the beginning of World War I. Not only are the history and evolution of each instrument fully discussed, the author also explores the techniques of each instrument, as well as players' impressions about what they must play. The result is an unparalleled insight into the inner working of an orchestra -- a vivid impression of what it is like to be a violinist, clarinetist, trombonist, or other orchestral player.While there have been numerous developments in instrumental technique on an individual basis since the book's first publication, most of what Forsyth says is still valid. Writing with wit, grace, and good sense, Forsyth created a formidably thorough, comprehensive, and informative text that has instructed and influenced generations of composers, conductors, musicians, and musicologists.…

Etat : Very Good. Very Good condition. A copy that may have a few cosmetic defects. May also contain light spine creasing or a few markings such as an owner's name, short gifter's inscription or light stamp.

Etat : Good. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Etat : Good. Former library copy. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Paperback. Etat : Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority.

Paperback. Etat : Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority.

Paperback. Etat : Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

Paperback. Etat : Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

Etat : good. The item shows wear from consistent use, but it remains in good condition and works perfectly. All pages and cover are intact including the dust cover, if applicable . Spine may show signs of wear. Pages may include limited notes and highlighting. May NOT include discs, access code or other supplemental materials.…

paperback. Etat : Good. Connecting readers with great books since 1972! Used textbooks may not include companion materials such as access codes, etc. May have some wear or writing/highlighting. We ship orders daily and Customer Service is our top priority.

Paperback. Etat : Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

Hardcover. Etat : Very Good. 1st Edition. About very good due to some musical information writtne in old pencil on the blank en dpapers and a name neatly cut out at top of free end paper.

Trade Paperback. Etat : Used - Good.

paperback. Etat : Good. Dover Publications October 1982 8vo. 530 pages. creasing and rubbing to wraps.

Paperback. Etat : Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority.

paperback. Etat : Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority.

Wraps. Etat : Good. xi, 530 pp., [12] pp. of plates; illustrations, musical examples. Wear to corners, bow to front wrap. Pages clean and white. Reprint of the 2nd edition, London, Macmillan, 1935. With a new foreword by William Bolcom. Forsyth (1870-1914) was a composer and musicologist and a student of Charles Villiers Stanford and Hubert Parry.…

Hardcover. Etat : Acceptable. Second Edition. The book is in good condition, with a sturdy hardcover binding. The spine shows some wear, particularly at the edges, but the text block is intact and clean. There is no dust jacket, and the cover has minor scuffing. The pages are free from inscriptions or library markings.…

Etat : good. Befriedigend/Good: Durchschnittlich erhaltenes Buch bzw. Schutzumschlag mit Gebrauchsspuren, aber vollständigen Seiten. / Describes the average WORN book or dust jacket that has all the pages present.

Etat : very good. Gut/Very good: Buch bzw. Schutzumschlag mit wenigen Gebrauchsspuren an Einband, Schutzumschlag oder Seiten. / Describes a book or dust jacket that does show some signs of wear on either the binding, dust jacket or pages.

Etat : New. Brand New! Not Overstocks or Low Quality Book Club Editions! Direct From the Publisher! We're not a giant, faceless warehouse organization! We're a small town bookstore that loves books and loves it's customers! Buy from Lakeside Books.

Hardcover. Etat : Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.