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Behind Bars: The Definitive Guide to Music Notation (Anglais) Relié – 20 janvier 2010

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If books, like hotels, had a star-rating system then this book would be off the top of the scale! Among the technical reference books it s colossus. It s a book for composers, arrangers, copyists, typesetters, and anyone who interacts in any way with music notation. If you want to know how to write it clearly and unambiguously, this book will tell you. With this book by your side any chance of inaccurate, lazy or impractical notation becomes quite impossible. But it s not only a useful book, it s also a fascinating one, and it s going to become my bedside reading for many months to come. I couldn t begin to list the areas that it covers: there are far too many of them. As a clarinettist I headed straight for the woodwind techniques section and learned lots on multiphonics, harmonics and how to note unusual modern performance practice ideas. Each area is accompanied by appropriate and generous musical examples from the widest of repertoires there are evidently over 1,500 examples. Simon Rattle, in his munificient introduction, rightly calls this a reference for musicians for decades to come. He also describes the book as part of the living texture of music itself rather than a book of dry rules. He s right. --Music Teacher Magazine, April 2011

I pray that [this book] becomes a kind of Holy Writ for notation in this coming century. Certainly nobody could have done it better, and it will be a reference for musicians for decades to come. Not my words, but those of Simon Rattle on Elaine Gould's new book, Behind Bars: The Definitive Guide to Music Notation. This "wonderful monster volume" - Rattle again - is indeed more than the sum of its parts. Gould's book is the result of decades of experience as senior new music editor at Faber Music, where she has worked closely with composers like Jonathan Harvey, Oliver Knussen, Colin Matthews, and Thomas Ades, and what she has to say in Behind Bars transcends the book's first appearance as a manual of notational best practice. Under the surface of its guide to producing the best and clearest scores - the arcana of making sure you're not asking your harpist for too many pedal changes, that you change clefs in the right place in your orchestral parts, and how best to indicate the plethora of extended instrumental techniques in so much contemporary music - this book expounds an alchemical formula for musical communication. Gould's book shows composers how to ensure that the magical transfer of musical ideas from their imaginations to their scores, from their performers to their audiences, is as seamless as possible. Behind Bars is a practical revelation of the poetics of musical communication. It's especially necessary in the early 21st century. You might think that after centuries of evermore sophisticated copying, printing, and digitising of music notation that all the problems had been solved. Not a bit of it. The rash of computer scores produced with programmes like Sibelius in the last couple of decades are a mixed blessing. Software like Sibelius allows composers to create full scores and individual parts for the musicians at the click of a button, yet it's too easy to overlook the kind of problems that Gould talks about - where a badly placed page-turn in your string parts can mean the difference between a good performance and a catastrophic one. Gould quotes Mahler's frustration with the copyist who mauled the material of his Eighth Symphony before its first performance in Munich in 1910; looking at his exemplary manuscript of the Fifth Symphony that the Morgan Library has just made available for free online, you can see that Mahler abided by Gould's principles of clarity and consistency. But I wonder what Gould would say to Beethoven, if she were faced with pages like this, from the manuscript of the Ninth Symphony, whose facsimile was recently published by Barenreiter? It's not just a contemporary phenomenon: composers have always pushed at the limits of musical and notational comprehensibility." --The Guardian (Tom Service), 12 January 2011

"Say 'musical composition' and you identify a process: but 'a musical composition' is very much a product, a commodity: and never more so than when it takes the form of materials from which performers sing or play, and academics build their theories about music history and aesthetics. Philosophers might continue to agonise about the extent to which a printed score represents the composition. Performers are much more likely to agonise about whether the materials put before them make sense and, if you ask professional musicians where they would like to see composers whose materials create tough challenges for them, 'behind bars' would be one of the politer suggestions forthcoming. Composers best able to avoid the lash of performers' hostility are those lucky enough to work with a well-established publishing operation, and that means an editor like Faber Music's Elaine Gould. --Gramophone Magazine (Arnold Whittall), February 2011

Présentation de l'éditeur

Behind Bars is the indispensable reference book for composers, arrangers, teachers and students of composition, editors, and music processors. In the most thorough and painstakingly researched book to be published since the 1980s, specialist music editor Elaine Gould provides a comprehensive grounding in notational principles. Behind Bars covers everything from basic rules, conventions and themes to complex instrumental techniques, empowering the reader to prepare music with total clarity and precision. With the advent of computer technology, it has never been more important for musicians to have ready access to principles of best practice in this dynamic field, and this book will support the endeavours of software users and devotees of hand-copying alike. The author's understanding of, and passion for, her subject has resulted in a book that is not only practical but also compellingly readable. This seminal and all-encompassing guide encourages new standards of excellence and accuracy and, at a weighty 704 pages, it is supported by 1,500 music examples of published scores from Bach to Xenakis. This is a hardback book, with dust jacket. Contents: Section I - General Conventions: Ground Rules; Chords Dotted notes Ties; Accidentals and Key Signatures; Dynamics and Articulation; Grace Notes, Arpeggiated Chords, Trills, Glissandos and Vibrato; Metre; Tuplets; Repeat Signs; Section II - Idiomatic Notation: Woodwind and Brass; Percussion; Keyboard; Harp; Classical Guitar; Strings; Vocal Music; Section III - Layout and Presentation: Preparing Materials; Score Layout; Part Preparation; Electroacoustic Music; Freedom and Choice.

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Couverture | Copyright | Table des matières | Extrait | Index | Quatrième de couverture
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Format: Relié
Cet ouvrage comble avantageusement le vide créé par l'arrêt de publication de l'ouvrage de Ted Ross "The art of music engraving & processing", qui n'est plus disponible actuellement qu'en version scannée au format pdf sur cd-rom. Le livre de Ross reste néanmoins intéressant par ses chapitres consacrés à l'historique de la notation et de la gravure. Chez Elaine Gould, l'histoire n'est que très brièvement évoquée dans la préface. Elle prend résolument le parti de consacrer exclusivement son ouvrage aux règles de bonne pratique de la gravure, telle que mise en œuvre au moyen des techniques actuelles d'édition musicale. Ce qui lui permet d'en faire une véritable somme encyclopédique de tous les aspects de la gravure moderne, cas particuliers, notations spéciales, etc. Un ouvrage de référence incontournable pour tout graveur et éditeur de musique. Un ouvrage à consulter aussi par les enseignants soucieux de mieux connaitre les règles de la notation musicale. S'il y avait un (léger) reproche, c'est celui de mettre visuellement sur le même plan les exemples de bonne pratique et ceux à éviter, un simple "not" ne permettant pas toujours de repérer au premier coup d'œil qu'on est face à un mauvais exemple.
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Commentaires client les plus utiles sur (beta) HASH(0x9f43e8dc) étoiles sur 5 23 commentaires
7 internautes sur 7 ont trouvé ce commentaire utile 
HASH(0x9f49733c) étoiles sur 5 Truly a milestone in the history of music notation 30 octobre 2011
Par PianoGuyFromSC - Publié sur
Format: Relié Achat vérifié
This huge (650-page) volume is a must addition to the library of anyone who is seriously involved in writing or editing published music. It covers virtually every conceivable notational dilemma, including writing for specific instrument groups, and the proper layout of scores. The author has decades of experience and it shows, but she is not pedantic and has a sense of humor (as the title might indicate). The book is loaded with musical examples as well as descriptive text.

If you are not a music professional, do NOT spend 100 dollars on this book. There are plenty of simple volumes that will give you the basics of notation for most purposes. But as an editor for a music publisher, I consider it well worth the money and will keep it close to my desk along with my dictionary and orchestration manuals!
9 internautes sur 10 ont trouvé ce commentaire utile 
HASH(0x9f497588) étoiles sur 5 As the subtitle says, it's the definitive guide to music notation 4 juillet 2011
Par Joseph - Publié sur
Format: Relié
Behind Bars is the Bible of music notation for fully notated music, be it band, choral, orchestral, or experimental. It doesn't address lead sheets or other pop notation, so songwriters, jazz, and popular musicians may not find it as useful, but for its target audience--composers, arrangers, orchestrators, and the like--it is an invaluable resource. Think of it as the Chicago Manual of Style for music. I cannot recommend it highly enough.
5 internautes sur 6 ont trouvé ce commentaire utile 
HASH(0x9f4977c8) étoiles sur 5 Excellent resource for classical, jazz, band, and some electronic composers 24 décembre 2011
Par Chris Sahar - Publié sur
Format: Relié
This is comprehensive and updated. Excellent as my title says for classical, jazz, band, and some electronic compositions. For music editors fantastic. I should say it is good for pop IF it is piano accompaniment with lyrics or a band with singer (not using lead sheets).

As one reviewer wrote do not spend the money if you do not write orchestral or large band music. If your medium of composition is piano, chamber works, writing lead sheets, or straightforward choral works, Sibelius notation software offers INDIRECTLY through its instruction manual good thorough basics on notation. If you want a direct manual Dover has issued a Norton Guide to notation.

But if you are a composer who write or intends to write for large forces or works with a great deal of chromaticism, meter changes, use of more complex rhythms, and some extended techniques, PLEASE get this book. A tidy, well-laid out score will significantly increase your chances performers will review your arrangements and/or compositions. I guarantee that they will play it better than if you present a carelessly prepared score.
2 internautes sur 2 ont trouvé ce commentaire utile 
HASH(0x9f497b28) étoiles sur 5 Finally! 22 janvier 2014
Par Judith Markovich - Publié sur
Format: Relié Achat vérifié
This book nearly brought me to tears, not because it was emotional but because it answered even the tiniest question I've had as I worked on my scores. I am deeply grateful for all the excellent, hard work that went into the making of this volume. it has already saved me untold hours of research.

Thank you!
2 internautes sur 2 ont trouvé ce commentaire utile 
HASH(0x9f4978dc) étoiles sur 5 Definitive?......hardly that. 30 août 2014
Par Ralph L. Bowers Jr. - Publié sur
Format: Relié Achat vérifié
Hardly definitive, but better than most.
A major update of Kurt Stone's "Music Notation in the Twentieth Century" would be preferred to Gould's overly paginated tome.
But, all in all it is useful and informative as is.
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