How to Write for Percussion A COMPREHENSIVE GUIDE TO PERCUSSION COMPOSITION
While composers and percussionists are working more closely than ever with one another, there are few resources that address this collaborative relationship in depth. However, Samuel Z. Solomon, himself a percussionist and teacher, offers a comprehensive examination of the issues that percussionists...
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Format: | Unknown |
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New York
Oxford University Press
2016
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Edition: | second edition |
Subjects: | |
Online Access: | Click Here to View Status and Holdings. |
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001 | wils-949817 | ||
005 | 2019810132254 | ||
020 | # | # | |a 9780199920341 |q hardback |
040 | # | # | |a OUN |b eng |c OUN |d UiTM |e rda |
090 | 0 | 0 | |a MT40 |b .S65 2016 |
100 | 0 | # | |a Solomon, Samuel Z. |e author |
245 | 0 | 0 | |a How to Write for Percussion |b A COMPREHENSIVE GUIDE TO PERCUSSION COMPOSITION |c SAMUEL Z. SOLOMON |
250 | # | # | |a second edition |
264 | # | 1 | |a New York |b Oxford University Press |c 2016 |
264 | # | 4 | |c ©2016 |
300 | # | # | |a xvii, 288 pages |b illustrtaions |c 25 cm |
336 | # | # | |a text |2 rdacontent |
337 | # | # | |a unmediated |2 rdamedia |
338 | # | # | |a volume |2 rdacarrier |
504 | # | # | |a Includes bibliographical references and index |
505 | 0 | # | |a General framework. A dysfunctional family. Comparison of family relationships -- The problem of pitch. The pitches of percussion ; The validations and limitations of novelty ; Three methods for indeterminately pitch instruments -- The written/improv divide. Expanding the color palette (to shrink the setup) ; The value of improvised and non- notated music -- Social composition. Write for people, not sounds ; Write what is wanted, not what to do ; Working with percussionists |
520 | # | # | |a While composers and percussionists are working more closely than ever with one another, there are few resources that address this collaborative relationship in depth. However, Samuel Z. Solomon, himself a percussionist and teacher, offers a comprehensive examination of the issues that percussionists and composers encounter in How to Write for Percussion. The first edition, self-published in 2004, provided musicians and music programs the world over with practical and indispensible information about issues of notation, concert production, and much more. This new edition goes even further as Solomon offers more insights derived from his personal experience as a percussionist and teacher and from his collaborations with other musicians. The second edition of How to Write for Percussion expands the survey of behind-the-scenes processes-from instrument choice and notation to logistics, execution, and concert production-to uncover all the tools a composer needs to comfortably create innovative and skilled percussion composition. Solomon also includes more excerpts and performances as well as interviews with famous percussionists and composers that capture the intricacies of percussion composition. Moreover, the second edition features an expanded text with more instruments and more analysis, plus an extensive Online Video Companion containing over nine hours of videos with demonstrations, performances, interviews, and analysis to flesh out and clarify the material in the book. This updated edition of How to Write for Percussion will appeal to a wide swath of musicians including composers, arrangers, and percussionists. |
526 | 0 | # | |a MUP513 INTERPRETATION I |b MU222 Bachelor Of Music Performance (Hons) |5 MU Faculty Of Music |
650 | # | 0 | |a Percussion instruments |x Instruction and study |
856 | 4 | 0 | |z Click Here to View Status and Holdings. |u https://opac.uitm.edu.my/opac/detailsPage/detailsHome.jsp?tid=949817 |
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