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| Enciclopedia Lettura
Ritmica
 Italiano
Opéra
Volonte and Co
Gary Hess ha scritto il libro definitivo sulla Lettura Ritmica. Il testo contien...(+)
Gary Hess ha scritto il libro definitivo sulla Lettura Ritmica. Il testo contiene tutte le nozioni fondamentali di teoria musicale che stanno alla base della musica moderna. I simboli musicali, i concetti di suddivisione ritmica, pulsazione, indicazi tempo e metro vengono esposti in modo a tutti comprensibile. Il metodo è basato sulle innovative tecniche di Counting, che consistono nel sistema di scansione verbale delle suddivisioni ritmiche, su cui si fonda da più di mezzo secolo la teoria modempio spazio è dedicato allo studio dei tempi tipici della musica contemporanea quali il tempo tagliato, gli ottavi swing, i sedicesimi shuffled, i tempi composti. Il libro consente, inoltre, di sviluppare la capacità di lettura delle partiture tipicha tradizione Jazz, Fusion, Blues, Big Band. L'intero metodo si presenta come un manuale operativo grazie alle tabelle dove l'utente può annotare i propri progressi. Da sottolineare, infine, che quest'opera costituisce il programma di Lettura Ritmica / Opéra Théorique/Didactique
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| Manuale Di Teoria
Musicale (CASELLI
NICOLETTA)
Opéra [Partition]
Carisch
Par CASELLI NICOLETTA. Theory / Formation musicale / Théorie / Opéra Théoriq...(+)
Par CASELLI NICOLETTA. Theory / Formation musicale / Théorie / Opéra Théorique ou Didactique
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| Metodo Completo De Solfeo
Opéra
Melos Ediciones Musicales
ESLAVA HILARION METODO COMPLETO DE SOLFEO / Opéra Théorique/Didactique
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| I Capuleti E I Montecchi
Opéra
Ricordi
EDIZIONE CRITICA A CURA DI CLAUDIO TOSCANI / Oeuvres Théâtrales/Oratorios Et B...(+)
EDIZIONE CRITICA A CURA DI CLAUDIO TOSCANI / Oeuvres Théâtrales/Oratorios Et Ballets
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| Amleto
Opéra
Ricordi
/ Oeuvres Théâtrales/Oratorios Et Ballets
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| Phaidra/Heliogabalus. In
4 Balletti E 3 Intermezzi
Opéra
Ricordi
/ Oeuvres Théâtrales/Oratorios Et Ballets
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| Io RCT 45 (RAMEAU
JEAN-PHILIPPE)
Opéra
Barenreiter
Acte de Ballet. Par RAMEAU JEAN-PHILIPPE. Rameau Io RCT 45 (Vocal Score) In Rame...(+)
Acte de Ballet. Par RAMEAU JEAN-PHILIPPE. Rameau Io RCT 45 (Vocal Score) In Rameau's operatic oeuvre, 'Io' is certainly the work shrouded in the most mystery: the acte de ballet has survived only in the form of a copy of the score and parts which was made by a collector from the generation after Rameau from the autograph that now is lost. Although the copy seems to have been used, presumably for a trial read-through, the work was apparently never regularly performed during Rameau's lifetime. And for good reason: the work breaks off abruptly at the beginning of the divertissement; neither the librettist nor a plan for a theatre location are known. Because of its incompleteness, 'Io' was long regarded as Rameau's last work, but there is much to suggest that the composition must have been written between 1740 and 1745. The introduction to this edition examines the references regarding the dating as well as various hypotheses about performance possibilities and librettists. The plot revolves around one of those typical mythological flirtations that are inevitably to be expected when Jupiter and a nymph, here Io, are involved. With the appearance of madness, La Folia, the work reaches a dramaturgical climax. However after this, the opera breaks off. In order to make the piece performable, the editors of ?Opera Omnia Rameau? propose an addition to the divertissement as well as an ending borrowed from the ballet bouffon 'Platée' in its 1745 version, which shows numerous parallels to 'Io'. Thus, these additions come as close as possible to Rameau's style of the 1740s while bringing the plot to a conclusion. - Fragmentary work completed with original music by Rameau - Based on the score of ?Opera Omnia Rameau?, Volume V/1 - Particularly suitable for academies and conservatories as few soloists are required and the few choral movements can be sung by soloists / Date parution : 2023-06-01/ Répertoire / Opéra
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| Prima La Musica E Poi Le
Parole (Salieri dans ce '
théâtre dans le
théâtre ' dans le arias
aussi parodié la musique
de Giuseppe Sarti de '
Giulio Sabino , ' il joue
avec pré- existant , le
public de première de la
musique bien connue)
Opéra
Barenreiter
Le projet ' OPERA ' - spectre de théâtre musical européen dans Einzeleditione...(+)
Le projet ' OPERA ' - spectre de théâtre musical européen dans Einzeleditionenwidmet l' édition critique des oeuvres marquantes du théâtre européen de la musique du 17e 20 Siècle.Emis un total de 21 compositions en franCais, italien , allemand, anglais , scandinaves et d'origine slave , qui genres aussi ciblés sont inclus , qui ont reCu peu d'attention dans les entreprises éditoriales précédentes et apportent chacun leurs propres problèmes éditoriaux avec elle , comme le ballet , la musique de théâtre , mélodrame ou opérette .Une nouvelle fonctionnalité est la présentation sous la forme d' éditions dits hybrides , publié par les scores welchendie dans les sources de tissu lié , et la undtextlichen musical traditionnel , les éditions des textes dramatiques et les rapports critiques sont préparés et présentés sur une plate-forme électronique ( Edirom ) .Les décisions de l'éditeur est grâce complètement transparent pour la capacité à accéder aux sources sous-jacentes de l'utilisateur . Ce particulier de ' OPERA ' poursuivi accès éditoriale ouvre de nouvelles perspectives pour la science , la scène et concert semblables.La présentation numérique des éditions OPERA utilise le Edirom logiciel , qui a été développé dans le même , basé sur le projet de la Fondation allemande pour la recherche ( DFG ) Université de Paderborn . Tous les composants de la partie électronique sont codés selon les normes modernes en XML , les portions de texte utilisant la norme de la ' Text Encoding Initiative ' ( TEI ) .Les premiers volumes de la série avec Edirom ( Digital Music Edition) :- Antonio Salieri , Giambattista Casti : ' Prima la musica e poi le parole ' (1786 ) , Ed . Thomas Betzwieser / Adrian La Salvia ( BA 8811 )- Adolphe Beno t Blaise , Marie -Justine- Beno te Favart : ' Annette et Lubin ' (1762 ) , Ed . Andreas Münzmay ( BA 8812 )- Thomas Arne , Isaac Bickerstaff , ' Love in a village ' (1762 ) , Ed . N.N. ( BA 8814 )- Ferdinando Paër , Giacomo Cinti : ' Leonora ossia L'amor conjugale ' (1804 ) , Ed . Norbert Dubowy ( BA 8813 )- Pierre de Lindpaintner , Johann Wolfgang von Goethe , Carl Seydelmann : ' Ouverture , entreacte , des choeurs et des chansons à Faust de Goethe par le cadre pittoresque de Carl Seydelmann ' (1832) , Ed . Antje Tumat ( BA 8815 )' Prima la musica e poi le parole ' ( BA 8811 ) :Le 7 Février 1786 s'inscrivait dans le cadre d'un festival , avait invité à l'empereur Joseph II dans l'Orangerie du château de Schönbrunn , un concours musical mémorable . L'Italien ' Hofoperisten ' a présenté le ' Impresario ' de Mozart , qui a été présenté par un ensemble Singspiel allemand , en face de l' opéra-bouffe ' Prima la musica e poi le de libération conditionnelle ' par Antonio Salieri . Cette satire délicieux opéra appartient au genre de la ' metamelodramma ' dans laquelle l'opéra est l'objet de l' action elle-même . Les personnes impliquées dans une production d'opéra , comme poète , compositeur et Prima Donna , se produisent même en apparence . De cette faCon , il ya une auto-réflexion humoristique de l'artiste dans les personnages de théâtre . Par Salieri dans ce ' théâtre dans le théâtre ' dans le arias aussi parodié la musique de Giuseppe Sarti de ' Giulio Sabino , ' il joue avec pré- existant , le public de première de la musique bien connue . Grâce à sa réflexion musicale sur le style musical et dramatique et la discussion de la priorité de parole ou de son, ce chef-d'oeuvre s'avère précurseur précoce de Richard Strauss ' Capriccio ' .La nouvelle édition de la partition dans le cadre de ' OPERA - spectre de théâtre musical européen dans les éditions simples ' a apporté de nombreux changements avec lui ( livret , les indications scéniques , articulation , ornements , etc.) / Opéra
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| Faust (GOUNOD CHARLES)
Opéra [Partition]
Barenreiter
Opera with a Prologue and four Acts (First version) / Opera in five Acts (Second...(+)
Opera with a Prologue and four Acts (First version) / Opera in five Acts (Second version)
Dialogue versions. Par GOUNOD CHARLES. Charles Gounod’s “Faust” secured its international recognition in the version as an entirely sung opera, which from thenceforth has largely obscured the fact that the work was originally composed with spoken dialogues. The early versions staged prior to the 1869 performance at the Paris Opéra containing substantial unknown material and with dialogues and melodramas are the subject of this new edition. (The third version “version opera” was published in a separate edition BA 8713 in 2016.)
Even as the rehearsals were taking place at the Théâtre-Lyrique in 1858, during the first series of performances at the theatre in 1859, furthermore as the 1862 revival was approaching and during the performances on the smaller stage at the Place du Châtelet, there were constant changes and revisions. It is, thus, impossible to identify manifestly definitive versions. Nevertheless, by drawing on the entire source material now at hand (including fascinating material only recently discovered) and on the whole gamut of aspects communicated by the reception, Paul Prévost systematically presents us with a score laid out in two main versions in whose chronology constancy and change become transparent. With all the musical changes having been documented, the result is a practicable score for performances which reveals a still far too unknown “Faust” – a “Faust” that is rooted in the tradition of the opéra comique.
Quite a few musical numbers are published as a score for the first time in this edition: the trio for Faust, Wagner and Siebel “À l’étude ô mon maître”, the duet of Valentin and Marguerite “Adieu, mon bon frère!”, Méphistophélès’ air “Maître Scarabée”, Siebel’s romance “Versez vos chagrins dans mon âme!”, Valentin’s air with chorus “Chaque jour, nouvelle affaire”, the chorus of witches “Un deux et trois”, and also seven melodramas whose missing or incomplete orchestration has been written for our edition. It was only recently that the long-lost second part of Faust’s original cavatina “Salut! demeure chaste et pure” was unearthed. Only in details of orchestration do other numbers differ from the well-known pieces./ Répertoire / Opéra
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| Parsifal (WAGNER RICHARD)
Opéra
Barenreiter
Facsimile of the autograph score from the National Archive of the Richard Wagner...(+)
Facsimile of the autograph score from the National Archive of the Richard Wagner Foundation Bayreuth. Par WAGNER RICHARD. Knowledge, pity, redemption: Richard Wagner took up these major themes in “Parsifal”, the music drama that he completed 13 months before his death and referred to as his “most conciliatory work”. Already celebrated for its compositional technique and mystical sonorities at the premiere, its world of ideas has stimulated new debates and interpretations over and over again to the present day.
Wagner wrote the autograph score almost entirely in violet ink, a colour he preferred to use in the final years of his life. He meticulously planned the layout of the pages and finally gave the autograph to his wife Cosima - it always remained in the family's possession as a guarded treasure.
The facsimile edition in high-quality four-colour printing reproduces the extensive score in its original size. Act and bar numbers on every page facilitate its use without diminishing the overall bibliophile appearance.
In an accompanying essay (Ger/Eng), Ulrich Konrad elucidates the special features of the work and the manuscript./ Répertoire / Opéra
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| Guillaume Tell (ROSSINI
GIOACHINO)
Opéra
Ricordi
Volume 39 - Sez. Prima - Partitura In 4 Vol.+c.c. Ed. Critica E. Bartlet (Testo ...(+)
Volume 39 - Sez. Prima - Partitura In 4 Vol.+c.c. Ed. Critica E. Bartlet (Testo Cantato In Francese). Par ROSSINI GIOACHINO. Vol.39 - Sez. Prima - Partitura In 4 Vol.+C.C. Ed. Critica E. Bartlet (Testo Cantato In Francese) / Opéra-opérette / Répertoire / Opéra
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| The Great Gatsby
(HARBISON JOHN)
Opéra
Associated Music Publishers
Opera in Two Acts Piano/Vocal Score. Par HARBISON JOHN. F. Scott Fitzgerald's cl...(+)
Opera in Two Acts Piano/Vocal Score. Par HARBISON JOHN. F. Scott Fitzgerald's classic novel The Great Gatsby was adapted into a two-act opera in 1999 featuring words and music by John Harbison. This book presents all 11 scenes from the opera in a complete piano/vocal score. F. Scott Fitzgerald's classic novel The Great Gatsby was adapted into a two-act opera in 1999 featuring words and music by John Harbison. This book presents all 11 scenes from the opera in a complete piano/vocal score. / Opéra-opérette / Répertoire / Opéra
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| Das Liebesverbot Oder Die
Novize Von Palermo Wwv 38
Opéra
Schott
The Richard Wagner Complete Edition presents the composer's entire output for th...(+)
The Richard Wagner Complete Edition presents the composer's entire output for the first time in a reliable form. The conductor Michael Balling, in the early years of the 20th century, attempted to make Wagner's work more accessible for research and performance, but the edition only reached 10 volumes - some with grave shortcomings - and was discontinued after Balling's death in 1925. A further attempt at a complete edition by Otto Strobel was abandoned at the preliminary stages.This third attempt at a complete edition will be the first scholarly, critical edition, based on an evaluation of all the accessible source materials and the latest findings of serious Wagner research. As the edition is also intended for practical performance, the musical text has been kept free of philological insertions - these are listed in the appendices of each volume in the Critical Commentary. Numerous, partly unpublished works - some relatively unknown - and variant versions are published here for the first time. The edition presents authentic texts for Wagner specialists and researchers and critically based performing materials. Contrary to widely held opinions, even the well-known works of Wagner are not necessarily available in reliable editions. The genesis, history and performances directed by Wagner himself are extensively documented so as to present as complete an image as possible of Wagner's compositional intentions. / Opéra
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| Faust
Opéra
Barenreiter
'Faust? stands for the composer Gounod himself, who was torn between the express...(+)
'Faust? stands for the composer Gounod himself, who was torn between the expression of excessive sensuality and a deep spirituality which he was searching for in his Catholic faith. As such, in this most important musical setting of Goethe's drama, the work was given a deeply personal interpretation. With a detailed Foreword (Fr/Eng/Ger) this new edition presents the genesis of the work with its various, during Gounod's lifetime, completely sung versions.The main version of our edition was performed at the Paris Opéra on 3 March 1869. However, simple cross references in the score enable a reconstruction of the earlier and later stages of this work for performance. Rounding off this publication is a critical edition of the libretto. All available sources are described and the Critical Commentary provides information about any changes made to the individual numbers.The two earlier Faust versions with spoken dialogue will be included in a separate volume within this series (in preparation, BA 8714). / Opéra
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| I Puritani - Opera Seria
In Tre Atti (BELLINI
VINCENZO)
Opéra
Ricordi
Crit. Ed. Fabrizio Della Seta. Par BELLINI VINCENZO. I PURITANI is the last work...(+)
Crit. Ed. Fabrizio Della Seta. Par BELLINI VINCENZO. I PURITANI is the last work of Vincenzo Bellini: composed in nine months, from April 1834 to January 1835 (a gestation unusually long for that time), was performed for the first time in Paris, Théâtre Italien, 24 January 1835. The new Critical Edition is based on the autograph, on the libretto of the first performance and on four manuscript copies produced in the context of the Théâtre Italien in the first months of life of the work, three of which contain autographinterventions (these sources are now kept at the Biblioteca Comunale in Palermo, at the Museo Civico Belliniano in Catania, at the Archivio Storico Ricordi in Milano and at the Staatsbibliothek zur Preussischer Kulturbesitz in Berlin). This edition presents for the first time all the music composed by Bellini, it restores the sections deleted before or after the first performance in Paris and returns the modified sections of the Naples version. It consists of three-score volumes -introduced by a detailed reconstruction of the historical context - and of a 'Apparati' volume with a description of the Sources and the Critical Commentary to the musical text. / Opéra-opérette / Répertoire / Opéra
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| Manon Lescaut (PUCCINI
GIACOMO)
Opéra
Ricordi
Crit. Ed. Roger Parker. Par PUCCINI GIACOMO. The Critical Edition of MANON LESCA...(+)
Crit. Ed. Roger Parker. Par PUCCINI GIACOMO. The Critical Edition of MANON LESCAUT is the first volume of the series THE OPERAS OF GIACOMO PUCCINI - CRITICAL EDITION - in collaboration with Archivio storico Ricordi and Fondazione Simonetta Puccini. It makes available the three main versions of the opera that have survived in various sources: an 1893 version, with the original Act I finale, the first version of Manons Act IV aria, and the uncut version of the final duet in Act IV; a 'midcareer'version imagined by Puccini in the first decade of the new century, when he sanctioned the almost complete omission of Manons Act IV aria; and finally the last version that Puccini lived to approve, with Manons aria restored, albeit with a revisedliterary text. The edition consists of two volumes of full score. The first volume is introduced by a preface to the Puccini Critical Edition and an historical introduction; the second volume ends with a detailed description of the operas many sources and alengthy critical commentary which discusses numerous problematic details in the musical text. / Opéra-opérette / Date parution : 1905-07-06/ Répertoire / Opéra
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| Samson Et Dalila
(SAINT-SAENS CAMILLE)
Opéra [Partition]
Barenreiter
Opera In Three Acts. Par SAINT-SAENS CAMILLE. Today, 'Samson et Dalila? is undou...(+)
Opera In Three Acts. Par SAINT-SAENS CAMILLE. Today, 'Samson et Dalila? is undoubtedly one of the best-known of Camille Saint-Saëns's thirteen operas, being more present in the repertoire of international stages than most other French 19th century compositions. During Saint-Saëns's lifetime, the opera was already regarded as the pinnacle of his dramatic stage works.
The fact that the work's genesis and first performances nonetheless posed substantial difficulties is shown in this edition by Andreas Jacob and Fabien Guilloux (libretto edition). A detailed recount of this complex history, based on meticulous comparisons of all libretti and other musical sources, is the great merit of this critical edition.
The edition contains the full score, edited versions of both original libretti, a historical Foreword (Fr/En/Ger), a Critical Commentary (Eng), facsimile pages of 'Livret de mise-en-scène? from the first Paris production, and a musical appendix containing the 'Air de Ballet? (which was inserted before the Bacchanale in act 3 for performances at the Paris Opéra). The underlaid text in the score is presented in two languages and contains the libretto text by Ferdinand Lemaire as well as the text of the Weimar premiere by Richard Pohl (1877), a performance that was initiated by Franz Liszt./ Répertoire / Chant et Orchestre
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| Handel Messiah Vocal
Score Complete Schirmer
Edition
Opéra [Vocal Score]
Hal Leonard
13.10 EUR - vendu par LMI-partitions
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| Orphee Et Euridice (GLUCK
CHRISTOPH WILLIBALD)
Opéra [Conducteur]
Barenreiter
Tragédie-opéra Drame héroïque en trois actes. Par GLUCK CHRISTOPH WILLIBALD....(+)
Tragédie-opéra Drame héroïque en trois actes. Par GLUCK CHRISTOPH WILLIBALD. Christoph Willibald Gluck’s most popular opera “Orphée et Euridice” was performed in 1774 in Paris to sensational success. This new adaption followed the original Viennese version with Italian text that was first performed in 1762 under the direction of the composer in the Burgtheater. For the Paris version Gluck changed the leading part Orpheus from an alto to a tenor role and composed new recitatives. Both versions of Gluck’s reform drama are based on a libretto by Ranieri de’ Calzabigi and revolutionised metastasian opera of the 18th century. Solo and choral music, instrumental music, pantomime and dance are all closely connected; the myth replaces a historical plotsurrounded by intrigue; where there would have been a da-capo aria there are now simple song forms and coloratura is largely abandoned. These meticulously revised vocal scores of both versions are also newly set. Urtext editions based on “Gluck, The Complete Works” Revised and newly set The revised editions are compatible with the old editions T48Full score (BA2282-01) and vocal score (BA2282-90) available for sale Performance material (BA2282-72) available for hire/ Répertoire / Opéra
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| Boheme (PUCCINI GIACOMO)
Opéra
Ricordi
Full Score. Par PUCCINI GIACOMO. The premiere of La Bohème took place at the Te...(+)
Full Score. Par PUCCINI GIACOMO. The premiere of La Bohème took place at the Teatro Regio in Turin on 1 February 1896. Giuseppe Giacosa and Luigi Illica based their libretto for this opera on Scènes de la vie de Bohème by Henry Murger. It took Puccini only a fewmonths to complete a score brimming with wonderful melodic invention and orchestrational genius. The music is a surprisingly supple and sensitive medium for depicting a variety of emotions that animate the young: reckless living full of stop-gapexpedients, erratic feelings and sudden explosions of noble sentiment, the driving ambitions of one’s art. Puccini’s musical imagery illuminates the different moments and moods of the story with a delicate yet intense lyrical quality; just as therapid decline and death of Mimì, subtle yet invincible, remind us of the universal reality that all things must inevitably come to an end. On the cover: “Al Quartiere Latino”, sketch by Riccardo Salvadori, as a variation on the sketch by Adolf Hohenstein for the world premiere in Turin of Bohème, 1896 © Archivio Storico Ricordi/ Répertoire / Oeuvres Théâtrales/Oratorios et Ballets
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| Pensiero Musicale V.1
(DELFRATI CARLO)
Opéra [Partition]
Curci
Par DELFRATI CARLO. Il pensiero musicale, articolato in tre volumi, sviluppa i c...(+)
Par DELFRATI CARLO. Il pensiero musicale, articolato in tre volumi, sviluppa i concetti della teoria musicale e gli elementi della notazione in modo progressivo. Ogni volume è corredato da CD audio per le attività di ascolto, ear-training, dettato musicale. IMPOSTAZIONE E METODOLOGIA: Il corso è frutto di oltre quarant'anni di studi e di insegnamento dell'autore, Carlo Delfrati, e della sua concezione fortemente innovativa della didattica musicale: la formazione teorica va di pari passo con attività pratiche, creative e analitiche. INOLTRE: L'apprendimento della lettura è graduale e progressivo, grazie ad un approccio basato sull'immediatezza percettiva di melodie e figurazioni ritmiche. Per le letture (ritmiche e melodiche) viene utilizzato il repertorio musicale di ogni periodo storico: dal Medioevo a oggi, dal tradizione popolare alla musica etnica. Un'antologia che servirà anche negli studi più avanzati./ Solfège/Formation Musicale / Opéra Théorique ou Didactique
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| Cristallo Di Rocca
(BUSSOTTI SYLVANO)
Opéra [Conducteur]
Ricordi
Balletto In Un Prologo E Una Veglia. Par BUSSOTTI SYLVANO. Balletto In Un Prolog...(+)
Balletto In Un Prologo E Una Veglia. Par BUSSOTTI SYLVANO. Balletto In Un Prologo E Una Veglia / Musique contemporaine / Date parution : 1905-06-24/ Répertoire / Opéra
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| Music to "Soliman
second, ou Les Trois
Sultanes" (GLUCK
CHRISTOPH WILLIBALD)
Opéra [Partition]
Barenreiter
Comédie (Laxenburg 1765) Gluck Complete Works IV/4. Par GLUCK CHRISTOPH WILLIBA...(+)
Comédie (Laxenburg 1765) Gluck Complete Works IV/4. Par GLUCK CHRISTOPH WILLIBALD. The critical edition presents the music to the verse comedy “Soliman second, ou Les Trois Sultanes” by Charles-Simon Favart (1710–1792), which was performed before the Viennese courtly audience in the Schlosstheater Laxenburg by the French troupe of the Burgtheater on 18 May 1765. This is the first time that Gluck’s music to the Favartian comedy has appeared in print.
A popular comedy which in particular was known for its exotic colour, “Soliman second” quickly made its mark on many European stages. Through the good offices of the court theatre director Count Durazzo, the libretto made its way to Vienna too. As “Direttore della Musica” at Vienna’s Burgtheater and an accomplished writer of French opéras-comiques, Gluck may have been commissioned to compose the vocal numbers – four solo airs and a duet – which were meant to be performed in the comedy. As far as can be established, Gluck’s involvement in incidental music is an exception in his artistic output.
In addition to the detailed introduction to the history of the work, the volume contains the Critical Report providing exhaustive information on the source material, editorial technique and performance practice. The libretto for the premiere performance and illustrative extracts from the sources are reproduced in facsimile./ Répertoire / Opéra
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| Lenguaje Musical
Elemental 3A (SIERRA F)
 Español
Opéra [Partition]
Real Musical
Par SIERRA F.. Metodología de Lenguaje Musical que abarca el Grado Elemental y ...(+)
Par SIERRA F.. Metodología de Lenguaje Musical que abarca el Grado Elemental y Grado Medio. Adaptándose a las más modernas líneas pedagógicas, estos libros persiguen introducir al alumno progresivamente en el Lenguaje Musical de una manera completamente lúdica, utio para ello los más variados recursos, como canciones que combinan palmas, movimiento, improvisación, juegos de creatividad. Todo ello añadido a una atractiva presentación que incluye numerosos dibujos, ilustraciones y páginas a todo color. Cada cursta de dos volúmenes: A y B. Metodología de acuerdo con la LOGSE. / Pédagogie / Solfège/Formation Musicale / Opéra Théorique ou Didactique
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| Lenguaje Grado Medio V.2C
(IBANEZ / CURSA)
Español
Opéra [Partition]
Real Musical
Par IBANEZ / CURSA. Cómoda y atractiva metodología de Lenguaje Musical que com...(+)
Par IBANEZ / CURSA. Cómoda y atractiva metodología de Lenguaje Musical que comprende los Grados Elemental y Medio completos. Cada uno de los seis cursos está dividido en tres partes (A - B - C) correspondientes a cada trimestre escolar. A su vez cada cuaderno se divide ques. En ellos convergen diferentes contenidos encaminados a comprender y superar un mismo aspecto musical. / Pédagogie / Solfège/Formation Musicale / Opéra Théorique ou Didactique
Délais: 2-5 jours - En Stock Fournisseur |
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| Lenguaje Musical Medio
V.2B (SIERRA F)
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Opéra [Partition]
Real Musical
Par SIERRA F.. Metodología de Lenguaje Musical que abarca el Grado Elemental y ...(+)
Par SIERRA F.. Metodología de Lenguaje Musical que abarca el Grado Elemental y Grado Medio. Adaptándose a las más modernas líneas pedagógicas, estos libros persiguen introducir al alumno progresivamente en el Lenguaje Musical de una manera completamente lúdica, utio para ello los más variados recursos, como canciones que combinan palmas, movimiento, improvisación, juegos de creatividad. Todo ello añadido a una atractiva presentación que incluye numerosos dibujos, ilustraciones y páginas a todo color. Cada cursta de dos volúmenes: A y B. Metodología de acuerdo con la LOGSE. / Pédagogie / Solfège/Formation Musicale / Opéra Théorique ou Didactique
Délais: 2-5 jours - En Stock Fournisseur |
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| Lenguaje Musical
Elemental4B (SIERRA F)
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Opéra [Partition]
Real Musical
Par SIERRA F.. Metodología de Lenguaje Musical que abarca el Grado Elemental y ...(+)
Par SIERRA F.. Metodología de Lenguaje Musical que abarca el Grado Elemental y Grado Medio. Adaptándose a las más modernas líneas pedagógicas, estos libros persiguen introducir al alumno progresivamente en el Lenguaje Musical de una manera completamente lúdica, utio para ello los más variados recursos, como canciones que combinan palmas, movimiento, improvisación, juegos de creatividad. Todo ello añadido a una atractiva presentación que incluye numerosos dibujos, ilustraciones y páginas a todo color. Cada cursta de dos volúmenes: A y B. Metodología de acuerdo con la LOGSE. / Études et exercices / Etude / Opéra Théorique ou Didactique
Délais: 2-5 jours - En Stock Fournisseur |
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| Lenguaje Grado Elemental
V.4C (IBANEZ / CURSA)
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Opéra [Partition]
Real Musical
Par IBANEZ / CURSA. Cómoda y atractiva metodología de Lenguaje Musical que com...(+)
Par IBANEZ / CURSA. Cómoda y atractiva metodología de Lenguaje Musical que comprende los Grados Elemental y Medio completos. Cada uno de los seis cursos está dividido en tres partes (A - B - C) correspondientes a cada trimestre escolar. A su vez cada cuaderno se divide ques. En ellos convergen diferentes contenidos encaminados a comprender y superar un mismo aspecto musical./ Solfège/Formation Musicale / Opéra Théorique ou Didactique
Délais: 2-5 jours - En Stock Fournisseur |
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| Lenguaje Grado Elemental
V.4B (IBANEZ / CURSA)
Español
Opéra [Partition]
Real Musical
Par IBANEZ / CURSA. Cómoda y atractiva metodología de Lenguaje Musical que com...(+)
Par IBANEZ / CURSA. Cómoda y atractiva metodología de Lenguaje Musical que comprende los Grados Elemental y Medio completos. Cada uno de los seis cursos está dividido en tres partes (A - B - C) correspondientes a cada trimestre escolar. A su vez cada cuaderno se divide ques. En ellos convergen diferentes contenidos encaminados a comprender y superar un mismo aspecto musical./ Solfège/Formation Musicale / Opéra Théorique ou Didactique
Délais: 2-5 jours - En Stock Fournisseur |
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