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010 a| 92041967;

020 a| 9780931340611;

020 a| 0931340616 (Trade Cloth)c| USD 39.95 Retail Price (Publisher)9| Active Record;

024 1 a| 073999315530;

024 3 a| 9780931340611;

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082 00 a| 784.2/3/09;

100 1 a| Roeder, Michael T.e| Author?| UNAUTHORIZED;

245 12 a| A History of the Concertoh| [electronic resource];

260 b| Amadeus Press [Imprint]a| Milwaukee : b| Hal Leonard Corporation;

300 a| 484 p.b| illc| 10.750 x 07.630 in.;

506 a| Available only to authorized users.;

520 8 a| Annotationb| "Michael Roeder's A History of the Concerto traces the concerto from its origins in the sixteenth and seventeenth centuries to its incarnation in the present." "Basic to the concerto idea is the division of the performance group into two parts - one solo and the other orchestral - but the relationships between these two have undergone fundamental changes over the centuries. In many of the more familiar works from the nineteenth century, the composer frequently juxtaposes a dazzling soloist against a more conservative orchestral voice, but this has not always been the case. The developing concerto form, while always maintaining the dramatic opposition of solo and orchestral forces, evolved many rich variations specific to time, place, and composer. Whether in Vivaldi's The Four Seasons, Beethoven's "Emperor," or Calandrelli's Concerto for Jazz Clarinet, the dual elements of cooperation and contention come into play. The changing role of the soloist; the development of instruments; the evolution of music's function in society; the influence of local, regional, and international culture; and the composer's individual story are all part of Roeder's documentation of concerto history." "The book is divided into four sections corresponding to the major historical-stylistic periods of Western music and of concerto development - Baroque, Classical, Romantic, and Twentieth Century. Within these sections, attention is given to geographical regions where strikingly different approaches to concerto style are found. Roeder explores major works as well as the pieces of lesser-known composers whose contributions were important to the changing character of the concerto." "A History of the Concerto may be read from cover to cover, but readers may also use the extensive index to focus on specific concertos and their composers. Numerous musical examples illuminate critical points. While some readers may want to study the more detailed analyses with scores in hand, this is not essential for an understanding of the text." "Michael Roeder's lucid and detailed historical study of the concerto will inform and delight those interested in understanding this popular and dynamic musical form."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved;

538 a| Mode of access: World Wide Web;

650 4 a| Concertos;

655 0 a| Electronic books.=| ^A491897;

949 a| CLICK ON WEB ADDRESSw| ASISh| JMUSIC60;

856 40 z| Full text available from eBooks on EBSCOhostu| https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=45790&scope=site&custid=s5822723&authtype=ip,shib;

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A History of the Concerto

Author/creator	Roeder, Michael T. Author
Format	Electronic
Publication Info	Amadeus Press [Imprint] Milwaukee : Hal Leonard Corporation
Description	484 p. ill 10.750 x 07.630 in.
Supplemental Content	Full text available from eBooks on EBSCOhost
Subjects	Concertos

Summary	Annotation "Michael Roeder's A History of the Concerto traces the concerto from its origins in the sixteenth and seventeenth centuries to its incarnation in the present." "Basic to the concerto idea is the division of the performance group into two parts - one solo and the other orchestral - but the relationships between these two have undergone fundamental changes over the centuries. In many of the more familiar works from the nineteenth century, the composer frequently juxtaposes a dazzling soloist against a more conservative orchestral voice, but this has not always been the case. The developing concerto form, while always maintaining the dramatic opposition of solo and orchestral forces, evolved many rich variations specific to time, place, and composer. Whether in Vivaldi's The Four Seasons, Beethoven's "Emperor," or Calandrelli's Concerto for Jazz Clarinet, the dual elements of cooperation and contention come into play. The changing role of the soloist; the development of instruments; the evolution of music's function in society; the influence of local, regional, and international culture; and the composer's individual story are all part of Roeder's documentation of concerto history." "The book is divided into four sections corresponding to the major historical-stylistic periods of Western music and of concerto development - Baroque, Classical, Romantic, and Twentieth Century. Within these sections, attention is given to geographical regions where strikingly different approaches to concerto style are found. Roeder explores major works as well as the pieces of lesser-known composers whose contributions were important to the changing character of the concerto." "A History of the Concerto may be read from cover to cover, but readers may also use the extensive index to focus on specific concertos and their composers. Numerous musical examples illuminate critical points. While some readers may want to study the more detailed analyses with scores in hand, this is not essential for an understanding of the text." "Michael Roeder's lucid and detailed historical study of the concerto will inform and delight those interested in understanding this popular and dynamic musical form."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
Access restriction	Available only to authorized users.
Technical details	Mode of access: World Wide Web
Genre/form	Electronic books.
LCCN	92041967
ISBN	9780931340611
ISBN	0931340616 (Trade Cloth) Active Record
UPC	073999315530
Standard identifier#	9780931340611
Stock number	0931340616 00015294

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A History of the Concerto

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