Helm E Eugene (35 results)

Hardcover. Condition: Very Good. Inscribed by author to previous owner. Red hardcover shows only light cover wear. Text is unmarked and binding tight. Ships FAST!

Condition: Fine. Cloth.; 8vo.

Cloth. Condition: Good. No Jacket. Ex public library in original binding. Usual library faults, else slight wear. Text VG.

Condition: Gut. Formateinband: Paperback / kartoniert 475 S.; 21 cm 1. Aufl.; Rücken gering lesefaltig; sonst in gutem Zustand. Sprache: Deutsch Gewicht in Gramm: 650 [Stichwörter: Johann Sebastian Bach und seine Vorfahren und Söhne, Biographie, Familienbiographie].

Soft cover. Condition: Very Good. 144 pages. Illustrated. Johann Sebastian Bach's Orchestra: Some Unanswered Questions (pp. 3-15) Hans-Joachim Schulze The Dresden Hofkapelle during the Lifetime of Johann Sebastian Bach (pp. 17-30) Ortrun Landmann The Editorial Transmission of C.P.E. Bach's Music (pp. 32-41) E. Eugene Helm A Chaconne by Georg Böhm: A Note on German Composers and French Styles (pp. 43-54) Peter Williams Türk, Touch and Slurring: Finding a Rationale (pp. 55-59) Daniel M. Raessler Early Fingering: Some Editing Problems and Some New Readings for J.S. Bach and John Bull (pp. 60-69) Mark Lindley The Rules for 'Through Bass' and for Tuning Attributed to Handel (pp. 70-74+77) Jane Troy Johnson.

Condition: As New. Unread book in perfect condition.

Condition: New.

Paperback. Condition: New. Where did the major scale come from? Why does most traditional non-Western music not share Western principles of harmony? What does the inner structure of a canon have to do with religious belief? Why, in historical terms, is J.S. Bach's music regarded as a perfect combination of melody and harmony? Why do clocks in church towers strike dominant-tonic-dominant-tonic? What do cathedrals have to do with monochords? How can the harmonic series be demonstrated with a rope tied to a doorknob, and how can it be heard by standing next to an electric fan? Why are the free ocean waves in Debussy's La Mer, the turbulent river waves in Smetana's Moldau, and the fountain ripples in Ravel's Jeux d'Eau pushed at times into four-bar phrases? Why is the metric system inherently unsuitable for organizing music and poetry? In what way does Plato's Timaeus resemble the prelude to Wagner's Das Rheingold? Just how does Beethoven's work perfectly illustrate fully functional tonality, and why were long-range works based on this type of tonality impossible before the introduction of equal temperament? In this new century, what promising materials are available to composers in the wake of harmonic experimentation and, some would argue, exhaustion?The answers to these seemingly complicated questions are not the sole province of music professors or orchestra conductors. In fact, as E. Eugene Helm demonstrates in Melody, Harmony, Tonality: An Introduction, they can just as easily be explained to amateurs, and their answers are important if we are to understand how Western music works. The full range of Western music is explored through 21 concise chapters on such topics as melody, harmony, counterpoint, texture, melody types, improvisation, music notation, free imitation, canon and fugue, vibration and its relation to harmony, tonality, and the place of music in architecture and astronomy. Intended for amateurs and professionals, concert-goers and conductors, Helm offers in down-to-earth language an explanation of the foundations of our Western music heritage, deepening our understanding and the listening experience of it for all.Melody, Harmony Tonality: An Introduction is the paperback edition of Melody, Harmony,Tonality: A Book for Connoisseurs and Amateurs.

hardcover. Condition: Good. Our good condition books are generally good for reading but not for gifting or collecting. They could have imperfections such as creasing, fanning, inscriptions, margin notes, yellowing, staining on edge or cover or pages, bumps, scuffs, etc etc (sometimes multiple of these). It's a wide category that encompasses anything that isn't almost-new down to anything that is slightly better than poor. We would NOT recommend gifting Good books - these should be considered reading copies. Our books are dispatched from a Yorkshire former cotton mill. We list via barcode/ISBN so please note that the images are stock images and may not be the exact copy you receive, furthermore the details about edition and year might not be accurate as many publishers reuse the same ISBN for multiple editions and as we simply scan a barcode or enter an ISBN we do not check the validity of the edition data when listing. If you're looking for an exact edition please don't order (at least not without checking with us first, although we don't always have time to check). We aim to dispatch prompty, the service used will depend on order value and book size. We can ship to most countries, see our shipping policies. Payment is via Abe only.

Condition: New. In.

Condition: New.

* Mit zahlreichen Abbildungen und Notenbeispielen. 475 Seiten. 21 x 13 cm. Illustrierte Original-Broschur. (The New Grove - Die großen Komponisten). *** Mit vollständigen Werkverzeichnissen und ausführlicher Bibliographie der Vorfahren und Söhne des Thomaskantors. - Ordentliches Exemplar.

Condition: As New. Unread book in perfect condition.

Paperback. Condition: Brand New. reprint edition. 198 pages. 9.00x6.00x0.75 inches. In Stock.

Condition: New. pp. 210.

Condition: New. Num Pages: 210 pages, 1 black & white halftones. BIC Classification: AVC; AVS. Category: (P) Professional & Vocational. Dimension: 227 x 156 x 15. Weight in Grams: 312. . 2014. Reprint. Paperback. . . . . Books ship from the US and Ireland.

Condition: New. In English.

Paperback. Condition: New. Where did the major scale come from? Why does most traditional non-Western music not share Western principles of harmony? What does the inner structure of a canon have to do with religious belief? Why, in historical terms, is J.S. Bach's music regarded as a perfect combination of melody and harmony? Why do clocks in church towers strike dominant-tonic-dominant-tonic? What do cathedrals have to do with monochords? How can the harmonic series be demonstrated with a rope tied to a doorknob, and how can it be heard by standing next to an electric fan? Why are the free ocean waves in Debussy's La Mer, the turbulent river waves in Smetana's Moldau, and the fountain ripples in Ravel's Jeux d'Eau pushed at times into four-bar phrases? Why is the metric system inherently unsuitable for organizing music and poetry? In what way does Plato's Timaeus resemble the prelude to Wagner's Das Rheingold? Just how does Beethoven's work perfectly illustrate fully functional tonality, and why were long-range works based on this type of tonality impossible before the introduction of equal temperament? In this new century, what promising materials are available to composers in the wake of harmonic experimentation and, some would argue, exhaustion?The answers to these seemingly complicated questions are not the sole province of music professors or orchestra conductors. In fact, as E. Eugene Helm demonstrates in Melody, Harmony, Tonality: An Introduction, they can just as easily be explained to amateurs, and their answers are important if we are to understand how Western music works. The full range of Western music is explored through 21 concise chapters on such topics as melody, harmony, counterpoint, texture, melody types, improvisation, music notation, free imitation, canon and fugue, vibration and its relation to harmony, tonality, and the place of music in architecture and astronomy. Intended for amateurs and professionals, concert-goers and conductors, Helm offers in down-to-earth language an explanation of the foundations of our Western music heritage, deepening our understanding and the listening experience of it for all.Melody, Harmony Tonality: An Introduction is the paperback edition of Melody, Harmony,Tonality: A Book for Connoisseurs and Amateurs.

Condition: New. Num Pages: 210 pages, 1 black & white halftones. BIC Classification: AVC; AVS. Category: (P) Professional & Vocational. Dimension: 227 x 156 x 15. Weight in Grams: 312. . 2014. Reprint. Paperback. . . . .

Hardcover. Condition: Brand New. 1st edition. 198 pages. 9.50x6.00x1.00 inches. In Stock.

Softcover. Condition: Sehr gut. 123 Im Zentrum des Bandes steht Johann Sebastian Bach. Darüber hinaus dokumentiert er auch das Leben und die Musik der Vorfahren und Söhne des Thomaskantors. Er enthält vollständige Werkverzeichnisse sowie eine ausführliche Bibliographie. Zustand: Einband mit geringfügigen Gebrauchsspuren, insgesamt SEHR GUTER Zustand! HC1-046-8/8-00523000 Sprache: Deutsch Gewicht in Gramm: 595.

271 Seiten, Fadenheftung, Format 22 x 28,5 cm, Original-Leinenband. * Erstausgabe. Zweispaltiger Druck. Sprache ist englisch, alle Titel natürlich in Deutsch. Erhaltung: Keine Mängel. Keine Flecken, keine Eintragungen, insgesamt ein sehr gutes und frisches Exemplar. Sprache: Englisch.

Paperback. Condition: new. Paperback. Where did the major scale come from? Why does most traditional non-Western music not share Western principles of harmony? What does the inner structure of a canon have to do with religious belief? Why, in historical terms, is J.S. Bachs music regarded as a perfect combination of melody and harmony? Why do clocks in church towers strike dominant-tonic-dominant-tonic? What do cathedrals have to do with monochords? How can the harmonic series be demonstrated with a rope tied to a doorknob, and how can it be heard by standing next to an electric fan? Why are the free ocean waves in Debussys La Mer, the turbulent river waves in Smetanas Moldau, and the fountain ripples in Ravels Jeux dEau pushed at times into four-bar phrases? Why is the metric system inherently unsuitable for organizing music and poetry? In what way does Platos Timaeus resemble the prelude to Wagners Das Rheingold? Just how does Beethovens work perfectly illustrate fully functional tonality, and why were long-range works based on this type of tonality impossible before the introduction of equal temperament? In this new century, what promising materials are available to composers in the wake of harmonic experimentation and, some would argue, exhaustion?The answers to these seemingly complicated questions are not the sole province of music professors or orchestra conductors. In fact, as E. Eugene Helm demonstrates in Melody, Harmony, Tonality: An Introduction, they can just as easily be explained to amateurs, and their answers are important if we are to understand how Western music works. The full range of Western music is explored through 21 concise chapters on such topics as melody, harmony, counterpoint, texture, melody types, improvisation, music notation, free imitation, canon and fugue, vibration and its relation to harmony, tonality, and the place of music in architecture and astronomy. Intended for amateurs and professionals, concert-goers and conductors, Helm offers in down-to-earth language an explanation of the foundations of our Western music heritage, deepening our understanding and the listening experience of it for all.Melody, Harmony Tonality: An Introduction is the paperback edition of Melody, Harmony,Tonality: A Book for Connoisseurs and Amateurs. The full range of Western music is explored through 21 concise chapters on such topics as melody, harmony, counterpoint, texture, melody types, improvisation, music notation, free imitation, canon and fugue, vibration and its relation to harmony, tonality, and the place of mus. This item is printed on demand. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

PAP. Condition: New. New Book. Shipped from UK. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

PAP. Condition: New. New Book. Delivered from our UK warehouse in 4 to 14 business days. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

Paperback / softback. Condition: New. This item is printed on demand. New copy - Usually dispatched within 5-9 working days.

Paperback. Condition: new. Paperback. Where did the major scale come from? Why does most traditional non-Western music not share Western principles of harmony? What does the inner structure of a canon have to do with religious belief? Why, in historical terms, is J.S. Bachs music regarded as a perfect combination of melody and harmony? Why do clocks in church towers strike dominant-tonic-dominant-tonic? What do cathedrals have to do with monochords? How can the harmonic series be demonstrated with a rope tied to a doorknob, and how can it be heard by standing next to an electric fan? Why are the free ocean waves in Debussys La Mer, the turbulent river waves in Smetanas Moldau, and the fountain ripples in Ravels Jeux dEau pushed at times into four-bar phrases? Why is the metric system inherently unsuitable for organizing music and poetry? In what way does Platos Timaeus resemble the prelude to Wagners Das Rheingold? Just how does Beethovens work perfectly illustrate fully functional tonality, and why were long-range works based on this type of tonality impossible before the introduction of equal temperament? In this new century, what promising materials are available to composers in the wake of harmonic experimentation and, some would argue, exhaustion?The answers to these seemingly complicated questions are not the sole province of music professors or orchestra conductors. In fact, as E. Eugene Helm demonstrates in Melody, Harmony, Tonality: An Introduction, they can just as easily be explained to amateurs, and their answers are important if we are to understand how Western music works. The full range of Western music is explored through 21 concise chapters on such topics as melody, harmony, counterpoint, texture, melody types, improvisation, music notation, free imitation, canon and fugue, vibration and its relation to harmony, tonality, and the place of music in architecture and astronomy. Intended for amateurs and professionals, concert-goers and conductors, Helm offers in down-to-earth language an explanation of the foundations of our Western music heritage, deepening our understanding and the listening experience of it for all.Melody, Harmony Tonality: An Introduction is the paperback edition of Melody, Harmony,Tonality: A Book for Connoisseurs and Amateurs. The full range of Western music is explored through 21 concise chapters on such topics as melody, harmony, counterpoint, texture, melody types, improvisation, music notation, free imitation, canon and fugue, vibration and its relation to harmony, tonality, and the place of mus. This item is printed on demand. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.

Kartoniert / Broschiert. Condition: New. Dieser Artikel ist ein Print on Demand Artikel und wird nach Ihrer Bestellung fuer Sie gedruckt. &Uumlber den AutorE. Eugene Helm is professor emeritus in the school of music, University of Maryland, College Park. He is founder of its ethnomusicology program and co-founder and coordinating editor of The Carl Philipp Emanuel Bach Ed.

HRD. Condition: New. New Book. Delivered from our UK warehouse in 4 to 14 business days. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

HRD. Condition: New. New Book. Shipped from UK. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.