In Timpani Tone and the Interpretation of Baroque and Classical Music, Steven L. Schweizer draws on 31 years of musical experience to explore the components of timpani tone and methods for producing it. Schweizer takes the reader on an odyssey through the interpretation of Bach, Handel, Haydn, and Mozart's symphonic and choral music.
In Timpani Tone and the Interpretation of Baroque and Classical Music, Steven L. Schweizer draws on 31 years of musical experience to explore the components of timpani tone and methods for producing it. Schweizer takes the reader on an odyssey through the interpretation of Bach, Handel, Haydn, and Mozart's symphonic and choral music.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Steven L. Schweizer has served as timpanist with the Topeka Symphony and Florence [SC] Symphony Orchestras. He is Associate Professor and Program Coordinator of the Political Science Department at Newberry College.
Inhaltsangabe
Symbols and markings About the Companion Website 1.: Theory and Practice of Timpani Tone Production The Timpani Acoustics of the Timpani Timpani Mallets Playing Style Timpani Heads Playing the Head Playing the Head: Techniques Changing Tone by Changing the Grip Stick Selection and Tone Production Using Physical Gestures to Color Tone Choice of Drums Playing In and Around the Playing Spot Tone Producing Strokes The Grip Psychological Openness to Music The Theory of Contrast Conclusion 2.: Musical Interpretation and the Timpanist The Composer's Style, Psychology, and Intentions Phrasing and Articulation Creating Emotion Aids in Interpreting Music 3.: Interpretation of Baroque Music Timpani, Mallets and Tone in the Baroque and Classsical Eras Technical Considerations in Interpreting Baroque Music (1650-1750) Henry Purcell and Johann Sebastian Bach George Frideric Handel
Symbols and markings About the Companion Website 1.: Theory and Practice of Timpani Tone Production The Timpani Acoustics of the Timpani Timpani Mallets Playing Style Timpani Heads Playing the Head Playing the Head: Techniques Changing Tone by Changing the Grip Stick Selection and Tone Production Using Physical Gestures to Color Tone Choice of Drums Playing In and Around the Playing Spot Tone Producing Strokes The Grip Psychological Openness to Music The Theory of Contrast Conclusion 2.: Musical Interpretation and the Timpanist The Composer's Style, Psychology, and Intentions Phrasing and Articulation Creating Emotion Aids in Interpreting Music 3.: Interpretation of Baroque Music Timpani, Mallets and Tone in the Baroque and Classsical Eras Technical Considerations in Interpreting Baroque Music (1650-1750) Henry Purcell and Johann Sebastian Bach George Frideric Handel
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