Loin des clichés de la world music, mais également à l'opposé d'une ' ethnomusicologie d'urgence ' agitant le spectre de la disparition des musiques ' traditionnelles ', cet ouvrage analyse les stratégies et les intentions des acteurs musicaux, au Nord comme au Sud, de s'inscrire résolument dans la modernité, leur aptitude à agir sur le monde, à aller plus avant ou, au contraire, à infléchir le processus d'homogénéisation des cultures et de leur transformation en produit de consommation,En étudiant la notion de création musicale à partir de situations observées localement, il s'agit donc de contribuer à mieux connaître ces individus singuliers qui composent de la musique, leur trajectoire, leur rôle social et leur éventuel impact politique, De la même manière, que sait-on sur les sources et les ressources de leur inspiration, sur les différentes pratiques de création, et sur le statut de ce qui est produit, de la chansonnette à la mode à une oeuvre qui dure et marque une époque ?Ce sont toutes ces questions que cet ouvrage aborde, afin de comprendre ce processus où le compositeur, le public et la musique participent ensemble d'une création musicale, Textes de Sarah Andrieu, Clara Biermann, Didier Francfort, Fabienne Samson, Emmanuelle Olivier, Esteban Buch, Catherine Servan-Schreiber, Guillaume Samson, Elina Djebbari, Marie Tholon et Juan Paulhiac,Collection Musique/Pouvoirs  / Formation Musicale

Par ANDERSON LEROY. Leroy Anderson\'s Jazz Pizzicato is a quintessential proof of his legendary status as a composer of light music. With a nostalgic nod toward the traditional American dance form known as the cakewalk, this bright and cheerful tune will have the audience whistling and tapping their toes long after the final note of your concert! This exclusive Southern band edition by Mark Rogers reintroduces Anderson\'s enchanting work to new generations of audiences. / Date parution : 2022-09-20/ Répertoire / Concert Band

Par CABANILLES JUAN BAUTISTA. Joan Cabanilles was cathedral organist in Valencia and the towering figure in Spanish organ music of the late 17th century. His brilliant and diverse musical language, rooted in the traditional sounds of Spain, has not managed to reach a large audience outside the Iberian peninsula, although he is often called 'a musician of European stature”. The aim of this three-volume Urtext edition is to grant access to his most appealing works. To this end, all available sources in the libraries of Astorga, Barcelona, San Lorenzo de el Escoreal, Felanitx/Mallorca, Jaca and Montserrat have been examined and newly evaluated. If Cabanilles's oeuvre consists primarily of tientos, organ hymns and versets, the third and final volume contains three versos, three pasacalles, two galliards, two toccatas and such special forms as Paseos de tercer tono, Diferencias de Folías and a Jácara. „This is an excellent resource for organists interested in exploring this satisfying repertoire.' (Brian E. Harlow, Journal of the Association of Anglican Musicians 1/2018)/ Répertoire / Orgue

Anton Bruckner (1824-1896). Par BRUCKNER ANTON / DOSS THOMAS (Arr.). Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn?t have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Anton Bruckner composed about 40 motets during his lifetime, the earliest a setting of Pange lingua around 1835, and the last, Vexilla regis, in 1892. Thomas Doss has compiled some of these motets in this volume for symphonic wind orchestra. These motets show many characteristics of personal expression, especially Bruckner's colourful harmony in the earlier works, which is in places aligned with Franz Schubert (changes between major and minor; and movements in thirds). Later works are characterised by many components which, in addition to the expanded stature of the movements, include above all a sense of the instrumentation as an outward phenomenon and the harmony as a compositional feature that works more internally. Some aspects of Bruckner's work are the result of his long period of study, which familiarised him not only with the tradition of his craft, but also gave him insights into the 'modernity' of his time in such composers as Wagner, Liszt and Berlioz. From this developed his personal standpoint, which always pursues the connection between the old and the new. / Date parution : 2023-08-12/ Répertoire / Concert Band/Harmonie

A Castelsardo, au nord de la Sardaigne, se perpétue une tradition musicale liée, notamment, aux rituels de la Semaine Sainte. Elle est interprétée par des chanteurs membres d'une confrérie et au statut ' professionnel '. Il s'agit d'une musique pleine de force expressive, complexe et raffinée. Parmi ses aspects les plus marquants, il y a l'apparition, au sein du quatuor vocal, d'une cinquième voix aigue virtuelle : un effet unique et étonnant. Ce livre dévoile le fonctionnement acoustique et psychoacoustique de ce phénomène tout en s'attachant à l'analyse du langage musical et de son esthétique. / Livre

Anton Bruckner (18241896). Par BRUCKNER ANTON / DOSS THOMAS (Arr.). Anton Bruckner composed about 40 motets during his lifetime, the earliest a setting of Pange lingua around 1835, and the last, Vexilla regis, in 1892. Thomas Doss has compiled some of these motets in this volume for symphonic wind orchestra. These motets show many characteristics of personal expression, especially Bruckner's colourful harmony in the earlier works, which is in places aligned with Franz Schubert (changes between major and minor; and movements in thirds). Later works are characterised by many components which, in addition to the expanded stature of the movements, include above all a sense of the instrumentation as an outward phenomenon and the harmony as a compositional feature that works more internally. Some aspects of Bruckner's work are the result of his long period of study, which familiarised him not only with the tradition of his craft, but also gave him insights into the 'modernity' of his time in such composers as Wagner, Liszt and Berlioz. From this developed his personal standpoint, which always pursues the connection between the old and the new. / Date parution : 2023-08-12/ Répertoire / Concert Band/Harmonie

C'est ... manquait encore: Un recueil de chansons pour Ukulele - comme petit et pratique que le ukulélé lui-même, pour vous suivre partout.Pour l'ukulélé a enfin un petit ami et un compagnon constant!Les Chansons de la session de HIT sont de toute faCon le compagnon idéal, parce que vous avez une connexion anneau (feuilles simples et rupture des chansons) et toutes les chansons sont aussi une fois inscrit comme texte avec les symboles d'accord et une fois comme une ligne mélodique avec paroles et symboles d'accord. C'est aussi simple que cela!Donc à partir de maintenant appartient à chaque feu de camp et à chaque plage, dans chaque forêt et dans chaque cabane, sur un camp d'été et sur ??chaque siège arrière, un ukulélé avec la session Hit correspondant. N'est-ce pas merveilleux? / Ukulélé