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LEADER 04992cam 2200385 a 4500

001 ocm12943551;

005 20141212042742.0;

008 851101s1988 nyuag b 001 0 eng ;

010 a| 85028433;

020 a| 0918728444 :c| $48.00;

020 a| 0918728479 (jacket);

035 a| (Sirsi) o12943551;

035 a| (OCoLC)12943551;

040 a| DLCc| DLCd| EREd| UtOrBLW;

049 a| EREM;

050 00 a| ML457b| .G3 1988;

082 0 a| 781.6/352| 19;

100 1 a| Galkin, Elliott W.=| ^A228773;

245 12 a| A history of orchestral conducting :b| in theory and practice /c| Elliott W. Galkin.;

300 a| xlii, 893 pages :b| illustrations, music ;c| 26 cm;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

500 a| Cover title: The history of orchestral conducting : theory and practice.;

500 a| Includes index.;

504 a| Bibliography: pages 847-868.;

520 a| Although the bibliography of literature about personalities in the conducting world is extensive, a comprehensive, scholarly study of the history of conducting has been sorely lacking. Georg Schünemann's respected study, published in 1913, was brief and restricted to the procedures of time-beating. No work has attempted to examine the role of the orchestral conductor and to document the evolution of his art from historical, technical, and aesthetic perspectives. Dr. Elliott W. Galkin, musicologist, conductor, and critic-twice winner of the Deems Taylor award for distinguished writing about music-has produced such a work in A History of Orchestral Conducting. The central historical section of the book, which examines chronologically the theories and functions of time-beating and interpretative concepts of performance, is preceded by discussions of rhythm, development of the orchestral medium, and the evolving characteristics of orchestration. Conductors of unusual pivotal influence are examined in depth, as is the increasingly complex psychology of the podium. Critical writings since the time of Monteverdi and the birth of the orchestra are surveyed and compared. Analyses of conducting as an art and craft by musicians from Berlioz to Bernstein and commentators from Mattheson, Bernard Shaw, and Thomas Mann to Jacques Barzun, are described and discussed. A fascinating collection of engravings, wood cuts, photographs and caricatures contributes to the richness of this work.;

650 0 a| Conducting.=| ^A15192;

650 0 a| Conductors (Music).=| ^A15191;

919 a| BOOK;

596 a| 3;

998 a| 320743;

999 a| ML457 .G3 1988w| LCc| 1i| 30372004901655d| 6/27/2016e| 12/1/2013f| 6/27/2016g| 3l| MSTm| JMUSICn| 11r| Ys| Yt| MGESBKu| 7/5/1989x| BOOKz| MCIRCo| .STAFF. enhanced, moved from closed to main stacks 10/23/24 -jjab;

A history of orchestral conducting : in theory and practice / Elliott W. Galkin.

Author/creator	Galkin, Elliott W.
Format	Book
Publication Info	New York, NY : Pendragon Press, ©1988.
Description	xlii, 893 pages : illustrations, music ; 26 cm
Subjects	Conducting. Conductors (Music).

Contents	The temporal and textural background: Perspectives of time and texture. Rhythm, the heartbeat of conducting ; Instruments, the soul of the orchestra -- Orchestration: expressive and structural colorism. Orchestration before Beethoven ; From Beethoven to Berlioz ; From Wagner to Mahler ; Schoenberg, Debussy, and after -- Instrumental distributions and orchestral dispositions. Instrumentation of selected orchestral works since 1764 ; Instrumental dispositions in selected orchestras since 1768 -- Theory of an emerging art: Time-beating: general descriptions and definitions. Rousseau to Castil-Blaze ; Koch and Dommer ; Grassineau, Busby and Moore -- From time-beating to conducting: procedures described in specialized sources from earliest times to Berlioz. Cheironomy and Tactus ; Metrical time-beating from Pia to Marpurg ; L'art du chef d'orchestra -- After Berlioz: nineteenth-century sources, general and specialized. Stainer and Barrett to Riemann ; Wagner ; Blitz ; Schröder ; Weingartner -- Technical treatises in the twentieth century. Scherchen ; Rudolf ; Grosbayne ; Prausnitz -- The art of conducting in practice: Transitional practices before baton direction. Audible time-beating ; Divided leadership ; Unified direction: (in Germany and France) -- The rising eminence of the baton conductor. The baton ; "Triumph" of the baton ; Weber ; Mendelssohn ; Additional considerations on the baton and its use ; Conducting from memory ; The editing of scores -- Beethoven, Berlioz and Wagner as conductors. Beethoven ; Berlioz ; Wagner -- After Wagner: Bülow, Richter, and Mahler, Nikisch, Toscanini, and Furtwängler -- Stokowski and Koussevitzky, Karajan and Bernstein -- Conclusion -- Appendices: First page of Messiaen's Les offrandes oubliées, with time-beating diagrams ; Notes on Stockhausen's Zeitmasse, by Robert Craft ; Rudolf, performance markings for the first violin part of Mozart's Symphony no. 35 in D major, K. 385 ; Prausnitz, instructions for conducting L'après-midi d'un faune ; Philharmonic Society of London, 1832 season ; ICSOM conductor evaluation form.
Abstract	Although the bibliography of literature about personalities in the conducting world is extensive, a comprehensive, scholarly study of the history of conducting has been sorely lacking. Georg Schünemann's respected study, published in 1913, was brief and restricted to the procedures of time-beating. No work has attempted to examine the role of the orchestral conductor and to document the evolution of his art from historical, technical, and aesthetic perspectives. Dr. Elliott W. Galkin, musicologist, conductor, and critic-twice winner of the Deems Taylor award for distinguished writing about music-has produced such a work in A History of Orchestral Conducting. The central historical section of the book, which examines chronologically the theories and functions of time-beating and interpretative concepts of performance, is preceded by discussions of rhythm, development of the orchestral medium, and the evolving characteristics of orchestration. Conductors of unusual pivotal influence are examined in depth, as is the increasingly complex psychology of the podium. Critical writings since the time of Monteverdi and the birth of the orchestra are surveyed and compared. Analyses of conducting as an art and craft by musicians from Berlioz to Bernstein and commentators from Mattheson, Bernard Shaw, and Thomas Mann to Jacques Barzun, are described and discussed. A fascinating collection of engravings, wood cuts, photographs and caricatures contributes to the richness of this work.
General note	Cover title: The history of orchestral conducting : theory and practice.
General note	Includes index.
Bibliography note	Bibliography: pages 847-868.
LCCN	85028433
ISBN	0918728444 :
ISBN	0918728479 (jacket)

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Library	Location	Call Number	Status	Item Actions
Music	Music Stacks	ML457 .G3 1988	✔ Available	Place Hold

A history of orchestral conducting : in theory and practice / Elliott W. Galkin.

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