The Concerto

Twelve-tone and serial music were dominant forms of composition following World War II and remained so at least through the mid-1970s. In 1961, Ann Phillips Basart published the pioneering bibliographic work in the field.

Zusatztext "This work is by far the most complete listing of concerto resources to date! and is relatively easy to use... The Concerto will be very valuable for larger public and academic libraries with specialized music collections! and for all music scholars interested in the concerto form... Highly recommended." -- R.L. Wick! Choice Informationen zum Autor Brad Eden, Stephan D. Lindeman Klappentext Twelve-tone and serial music were dominant forms of composition following World War II and remained so at least through the mid-1970s. In 1961, Ann Phillips Basart published the pioneering bibliographic work in the field. Zusammenfassung Twelve-tone and serial music were dominant forms of composition following World War II and remained so at least through the mid-1970s. In 1961, Ann Phillips Basart published the pioneering bibliographic work in the field. Inhaltsverzeichnis Chapter 1 General Studies of the Concerto Genre; Chapter 2 More Specialized Studies; Chapter 3 Program Notes; Chapter 4 Performance Issues; Chapter 5 Concerto Form as Discussed by Contemporary Theorists and Critics; Chapter 6 Contemporaneous Critics, Historians, and Writers; Chapter 7 Contemporaneous Theorists; Chapter 8 Composers and Their Concertos;

"This work is by far the most complete listing of concerto resources to date, and is relatively easy to use... The Concerto will be very valuable for larger public and academic libraries with specialized music collections, and for all music scholars interested in the concerto form... Highly recommended." -- R.L. Wick, Choice

Autorentext

Brad Eden, Stephan D. Lindeman

Inhalt
Chapter 1 General Studies of the Concerto Genre; Chapter 2 More Specialized Studies; Chapter 3 Program Notes; Chapter 4 Performance Issues; Chapter 5 Concerto Form as Discussed by Contemporary Theorists and Critics; Chapter 6 Contemporaneous Critics, Historians, and Writers; Chapter 7 Contemporaneous Theorists; Chapter 8 Composers and Their Concertos;