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The Wind Band and Wind Ensem-ble of the Classical Period is the fourth vol-ume in Dr. David Whitwell's ground break-ing thir-teen vol-ume His-tory and Lit-er-a-ture of the Wind Band and Wind Ensem-ble series. Whitwell's metic-u-lous schol-ar-ship reveals the con-tin-u-ous his-tory of the wind ensem-ble, from its ear-li-est roots to the twentieth cen-tury - an unbro-ken tra-di-tion of wind music that music schol-ars have never been fully able to appre-ci-ate until now. This vol-ume includes the story of the transformation of the twelve-member Hautboisten bands into the remarkable Harmoniemusik repertoire of the Classical Period. This is the climax of the history of the small band with the greatest composers, including Mozart, Haydn, Beethoven and Schubert, composing for an ensemble associated with the highest society. At the same time occurs the beginning of the preference for the modern large ensemble, created for an integral role in the political celebrations of the historic French Revolution.

For the first time, Dr. David Whitwell presents a thorough study of the performance of music in society together with the philosophical views on art versus entertainment, the role of performance in education and character formation, and how earlier philosophers viewed the interplay among Reason, emotions, experience and the senses. The present volume studies these questions and more from the beginning of the Christian Era through the Dark Ages to the dramatic twelfth and thirteenth centuries when the Crusades, Troubadours, Minnesingers, Minstrels and poets all point to a new era, the Renaissance.

The Baroque Wind Band and Wind Ensemble is the third volume in Dr. David Whitwell's ground breaking thirteen volume History and Literature of the Wind Band and Wind Ensemble series. Whitwell's meticulous scholarship reveals the continuous history of the wind ensemble, from its earliest roots to the nineteenth century - an unbroken tradition of wind music that music scholars have never been fully able to appreciate until now. This volume includes: [1] the change of instrumentation from Renaissance consorts to the new modern instruments; [2] the Hautboisten band and its function as a bridge between the repertoire of Renaissance consorts and the repertoire of Harmoniemusik bands; [3] the transition of the concerto da camera of the Hautboisten repertoire to the Classic Period symphony and partita and the Hautboisten Ouverture to the Classic Period Divertimento; [4] the first modern appearance of military bands.

Wagner was present for the birth of the modern conductor, living and working during the period when the idea of a conductor evolved from a man sitting at the first violin desk setting tempi to the present role of one who personifies the composer's ideas. Because Wagner was also working as a conductor during these transformational years, his letters and the newspaper articles he wrote are filled with a wide perspective of the world of the conductor. In this book we have pulled together his views on The Conductor as a Man, The Education of the Conductor, The Ethics of Conducting and The Art of Conducting. In addition the book contains much information about his own experiences with bands and the complete background of his compositions for band. Here the reader will find the full story of the Trauermusik, including the speech Wagner gave at the first performance, and the details of the performance of the Huldigungsmarsch at the ground-breaking ceremonies of the opera house at Bayreuth and the speech Wagner gave on that occasion.

The Aesthetics of Music is a specialized field of Philosophy which studies fundamental questions. Regarding the mind, what is the role of the senses? What is the role of experience? What are the influences of pleasure and pain? Following the pioneer work of Aristotle, the most fundamental definition lies in the distinction between art music and entertainment music. But what is the role of the public? Everyone knows that the purpose of music is to communicate emotions. But does this purpose refer to the emotions of the composer, the performer or the listener? These are important questions relative to music and society. Virtually all early philosophers found the value of music education to lie in character development. What did they mean? This volume, the first of eight, reviews philosophical thought on the Aesthetics of Music from before Socrates through the Roman Empire.

For the first time, Dr. David Whitwell presents a thorough study of the performance of music in society together with the philosophical views on art versus entertainment, the role of performance in education and character formation and how earlier philosophers viewed the interplay among Reason, Emotions, experience and the senses. The present volume presents for the first time a comprehensive view of the aesthetic principles of English culture during the Baroque. Following the usual division into Jacobean and Restoration Periods, the reader will find here a detailed study of Music as reflected in court and civic performances, but also as reflected in poetry, theater and the Church. This period of English letters also enjoyed its greatest period in philosophy and this volume examines in detail the aesthetic views of Bacon, Milton, Hobbes, Locke, Newton, Penn, Hume, Berkeley, Temple, Rymer, Wotton, Shaftesbury, Hutcheson and Harris. Finally, today's active musician in the English-speaking world will discover here the intellectual path by which Music traveled from being a core study of the highest level of society to the present day, where we find that the highest level of society knows almost nothing about Music and Music is provided them by members of the lower classes.

The Renaissance Wind Band and Wind Ensemble is the second volume in Dr. David Whitwell's ground breaking thirteen volume History and Literature of the Wind Band and Wind Ensemble series. Whitwell's meticulous scholarship reveals the continuous history of the wind ensemble, from its earliest roots to the nineteenth century - an unbroken tradition of wind music that music scholars have never been fully able to appreciate until now. This volume includes: - court wind music that left important bodies of literature, especially in France and England - larger civic wind bands, with extant literature, representing a climax in the devlopment of early civic wind bands - evidence of wind bands participating in the Catholic Mass and the Protestant Service - the music of Gabrieli and his contemporaries, a body of music important for its impact on the development of the Baroque wind band.

For a period which ended 2,500 bc ours was a matriarchal world. History does not tell us how well the women did because history [his-story] was written by later men. The men took over about 2,500 bc and how well they have done in organizing and running society is at best debatable. During the 4,500 years of patriarchal rule the women nevertheless continued to make exceptional contributions to society and in this volume the reader will find a generous sampling of extraordinary women. And they are not just writers and women of the stage but also the rulers of nations, generals leading troops and even a female pirate!

François Sudre was a nineteenth-century musician who invented something long dreamed of by philosophers: a language based on music. For several decades he successfully demonstrated his new musical language throughout Europe to astonished audiences. No one ever reported a case where this system failed to communicate a desired text, regardless of the original language. On the other hand, no one else could duplicate his accomplishment and so the new musical language failed to take root. There was one remarkable result, however, for Sudre's system was clearly the seed which, in Wagner, blossomed into his leit-motiv idea associated with his four operas of The Ring.

David Whitwell has drawn together a valuable collection of Chopin's own intimate revelations on his personality, his character and his health. Here too the reader will find Chopin's personal insights on his own musical studies, his creative process and his resulting compositions. Chopin has also left fascinating first-hand observations on other pianists, composers and personalities whom he knew. Added to this are the fascinating personal descriptions of Chopin by Franz Liszt and George Sand.

For the first time, Dr. David Whitwell presents a thorough study of the performance of music in society together with the philosophical views on art versus entertainment, the role of performance in education and character formation and how earlier philosophers viewed the interplay among Reason, Emotions, experience and the senses. The present volume reveals a performance practice by the leading French composers which extends far beyond what appears on the page, in particular their joining their European colleagues in the emphasis on expressing emotions in music. This period included an extraordinary burst of philosophical thought on the nature of music and the ways in which French music contrasted with the Italian practice. All of these leading philosophers are treated extensively in this volume. Among these philosophers was Marin Mersenne (1588-1648), a very influential man of his time whose great encyclopedia on music, the Harmonie universelle (1636) has never been published in a complete English edition. The English reader will find here the most complete material from this great work to be found today. Finally, this period of French history includes two very influential thinkers, Descartes and Voltaire, whose thoughts on muisc are given extensive representation in this volume.

'Baroque Wind Band and Wind Ensemble Repertoire' is the seventh volume in Dr. David Whitwell's ground breaking thirteen-volume 'History and Literature of the Wind Band and Wind Ensemble' series. This volume is a companion to the third volume in this series, 'The Baroque Wind Band and Wind Ensemble'. Of great significance is the continuation of the church wind ensemble forms of the sixteenth century and the extraordinary multi-movement concert Hautboisten repertoire of the Baroque. The Hautboisten repertoire was a development of the earlier music of the Les Grands Hautbois and directly developed into the Harmoniemusik of the Classical Period. Whitwell's meticulous scholarship reveals the continuous history of the wind ensemble, from its earliest roots to the nineteenth century - an unbroken tradition of wind music that music scholars have never been fully able to appreciate until now.