The fascinating story of a hugely popular instrument, detailing its rich and varied history from the Middle Ages to the present\nThe recorder is perhaps best known today for its educational role. Although it is frequently regarded as a stepping-stone on the path toward higher musical pursuits, this role is just one recent facet of the recorder’s fascinating history—which spans professional and amateur music-making since the Middle Ages.\nIn this new addition to the Yale Musical Instrument Series, David Lasocki and Robert Ehrlich trace the evolution of the recorder. Emerging from a variety of flutes played by fourteenth-century soldiers, shepherds, and watchmen, the recorder swiftly became an artistic instrument for courtly and city minstrels. Featured in music by the greatest Baroque composers, including Bach and Handel, in the twentieth century it played a vital role in the Early Music Revival and achieved international popularity and notoriety in mass education. Overall, Lasocki and Ehrlich make a case for the recorder being surprisingly present, and significant, throughout Western music history.

The Recorder (Yale Musical Instrument Series)

Arts & Photography

Ehrlich, Robert

Lasocki, David

Tarasov, Nikolaj

Petri, Michala

Music

Yale University Press

A Choice "Best Academic" book in its first edition, The Recorder remains an essential resource for anyone who wants to know about this instrument. This new edition is thoroughly redone, takes account of the publishing activity of the years since its first publication, and still follows the original organization.

The Recorder: A Research and Information Guide (Routledge Music Bibliographies)

Biographies & Memoirs

Griscom, Richard W.

Arts & Literature

Routledge

A Choice "Best Academic" book in its first edition, The Recorder remains an essential resource for anyone who wants to know about this instrument. This new edition is thoroughly redone, takes account of the publishing activity of the years since its first publication, and still follows the original organization.

An anthology with many examples from English, French, German and Italian composers to help woodwind players achieve full expression of authentic practices in the performance of Baroque music.

Free Ornamentation in Woodwind Music

Mather, Betty Bang

McGinnis & Marx Music Pub

The Classical Woodwind Cadenza: A Workbook

The Recorder (Routledge Music Bibliographies)

The drummer (and cymbalist) John Vidacovich, familiarly known as Johnny V, the winner of a lifetime achievement award from OffBeat magazine, has made an enormous impact on the music of his native New Orleans over the last fifty-plus years. Whether as a founding member of Astral Project, the leader of his own jazz or funk groups, or a sideman in numerous styles of popular music, Johnny has followed intensely in the distinguished tradition of Big Easy percussionists. And like other great performers, he has developed his own, inimitable style within the tradition. Although Johnny has been interviewed by the press for decades, nothing like a full-length study of his life and work has ever been made. The present book fills that void with biography, photographs, commentary on his recordings, improvisations on his teaching, and a visit to his poetry and comedy, not to mention a detailed discography and bibliography.

Johnny V: John Vidacovich of New Orleans on the Drums and on the Cymbals (Astral Project Series) (Volume 5)

CreateSpace Independent Publishing Platform

Marc-Antoine Charpentier (1643-1702) is now recognized as the greatest French composer of the 17th century. He wrote over 120 works, mostly vocal, in which he called for flûtes, mostly in pairs, as well as about 80 further works in which he might have intended the unmarked treble parts to be played on flûtes. But which instruments did he have in mind? Recorders (and of what sizes)? Renaissance flutes or Baroque traversos (and of what sizes)? Drawing on the latest research by Charpentier scholars, David Lasocki has surveyed the entire corpus of the composer's works written, or possibly written, for flûtes, looking at the characteristics of the parts as well as the ensembles and occasions for which the works were written-the Guise Music, the Dauphin's Music, the Jesuits, and the Sainte-Chapelle. He has therefore been able to reach more reliable, and more surprising, conclusions about the flûtes than earlier scholars. If you love Charpentier, if you play Charpentier, if you want to get to know this wonderful composer's works better, or if you are interested in the history of the recorder and flute, this book is a must-have for you. The text is accompanied by no fewer than 48 musical examples, most of them of playable length.

Marc-Antoine Charpentier and the Flûte: Recorder or Traverso?

According to myth (or received opinion), the wealth of sizes of recorder present in the Renaissance petered out in the Baroque period, until only the alto (British: treble) was left, except for a few smaller sizes in concertos and vocal music. In this book David Lasocki examines all the surviving writings between about 1600 and 1800 (treatises, tutors, inventories, advertisements, purchases and sales) as well as indications of instrumentation in the repertoire. He concludes that sizes of recorder besides the alto were far more common and far more diverse than we have imagined. Imagine!

Not Just the Alto: Sizes and Types of Recorder in the Baroque and Classical Periods

Independently published

Jean-Baptiste Lully (1632-1687) looms large in any study of woodwind repertoire in the seventeenth century. Nevertheless, his music for flûtes is still little known today, despite comprehensive studies over the last fifty years. One of the purposes of David Lasocki's book is to bring the music to wider attention, so it includes a large number of full-length musical examples. The book begins by taking a detailed look at the woodwind musicians who played Lully's music and also considers the music of his predecessors. Drawing on this evidence, the book then discusses his flûtes to determine as far as possible whether they were recorders (and of what sizes) and/or traversos. The book also ties in Lasocki's new theory about the voice flute (alto recorder in d1), the origins of which have been mysterious until now. The flûte music of Lully's student Pascal Collasse is also considered, for good measure. A must-read for all lovers of the recorder and traverso as well as anyone interested in Baroque woodwind instruments and their music.

Jean-Baptiste Lully and the Flûte: Recorder, Voice Flute, and Traverso (French Baroque Flûte Series)

See the best price to sell, buy, or rent books by Lasocki, David. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Books by Lasocki, David

See the best price to sell, buy, or rent books by Lasocki, David. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

The Recorder (Yale Musical Instrument Series)

The Recorder: A Research and Information Guide (Routledge Music Bibliographies)

The Recorder: A Research and Information Guide (Routledge Music Bibliographies)

Free Ornamentation in Woodwind Music

The Classical Woodwind Cadenza: A Workbook

The Recorder (Routledge Music Bibliographies)

Johnny V: John Vidacovich of New Orleans on the Drums and on the Cymbals (Astral Project Series) (Volume 5)

Marc-Antoine Charpentier and the Flûte: Recorder or Traverso?

Not Just the Alto: Sizes and Types of Recorder in the Baroque and Classical Periods

Jean-Baptiste Lully and the Flûte: Recorder, Voice Flute, and Traverso (French Baroque Flûte Series)