In 2007, the great Bach scholar Anne Leahy died at the age of 46. She was a leading light in Bach studies and lecturer at the Dublin Institute of Technology (DIT) Conservatory of Music and Drama. Posthumously edited by renowned Bach scholar Robin A. Leaver, Leahy's dissertation research forms the basis for this original study of the preludes to Bach's Leipzig chorales. Originally composed in Weimar and later revised in Leipzig, Bach's compositions have been a source of some puzzlement. As Leahy notes, "the original intentions of Bach and the possible purpose of this collection might be regarded as speculative." Working from available sources, however, she argues that through the careful examination of the links among the music, hymn texts, and theological sources some answers may be had. From Bach's personal and deep interest in Lutheran theology to his enormous musical passion, Leahy considers closely a series of critical questions: does the original manuscript for the chorales simply reflect a randomgathering of compositions or is there a common theme in setting? How critical is the order of the chorales and what is the theological significance of that order? Were the chorales a unified collection, and if so, which parts were to be included and whichnot? Indeed, were the chorales themselves part of a possibly larger corpus? As Leahy makes evident, there are no simple answers, which is why she considers critical the relationship the texts of the hymns to the chorales and to one another, outlining atheological pattern that is vital to fully grasping the guiding philosophy of these compositions. J. S. Bach's "Leipzig" Chorale Preludes: Music, Text, Theology is ideally suited for Bach scholars and those with a general interest in the intricateconnections between text and music in the composition of religious music.

This unique series features a collection of the most famous pieces from the classical guitar repertoire, and includes music scores, tablature and accompanying video. Great care has been taken to verify the fingerings of both hands in the material. Innovative tablature combines left-hand finger positions with rhythmic notation, allowing the reader to tackle very complex musical repertoire and polyphony. Therefore, this system provides an opportunity for anyone to learn pieces from these great composers, regardless of reading ability.Ferdinando Carulli was a prolific and influential composer for the classical guitar. He is not as well-known as Guiliani, Carcassi, Sor or Aguado, mainly because his most famous pieces are short studies for the guitar. However, Carulli composed over 300 pieces during his life, including duets and full-fledged compositions. Nonetheless, Carulli achieved his greatest success through his simple studies, which continue to provide beginners with an excellent approach to the classical guitar.

Chopin's twenty-four Préludes remain as mysterious today as when they were newly published. What prompted Franz Liszt and others to consider Chopin's Préludes to be compositions in their own right rather than introductions to other works? What did set Chopin's Préludes so drastically apart from their forerunners? What exactly was 'the morbid, the feverish, the repellent' that Schumann heard in Opus 28, in that 'wild motley' of 'strange sketches' and 'ruins'? Why did Liszt and another, anonymous, reviewer publicly suggest that Lamartine's poem Les Préludes served as an inspiration for Chopin's Opus 28? And, if that is indeed the case, how did the poem affect the structure and the thematic contents of Chopin's Préludes? And, lastly, is Opus 28 a random assortment of short pieces or a cohesive cycle? In this monograph, richly illustrated with musical examples, Anatole Leikin combines historical perspectives, hermeneutic and thematic analyses, and a range of practical implications for performers to explore these questions and illuminate the music of one of the best loved collections of music for the piano.

Chopin's twenty-four Préludes remain as mysterious today as when they were newly published. What prompted Franz Liszt and others to consider Chopin's Préludes to be compositions in their own right rather than introductions to other works? What did set Chopin's Préludes so drastically apart from their forerunners? What exactly was 'the morbid, the feverish, the repellent' that Schumann heard in Opus 28, in that 'wild motley' of 'strange sketches' and 'ruins'? Why did Liszt and another, anonymous, reviewer publicly suggest that Lamartine's poem Les Préludes served as an inspiration for Chopin's Opus 28? And, if that is indeed the case, how did the poem affect the structure and the thematic contents of Chopin's Préludes? And, lastly, is Opus 28 a random assortment of short pieces or a cohesive cycle? In this monograph, richly illustrated with musical examples, Anatole Leikin combines historical perspectives, hermeneutic and thematic analyses, and a range of practical implications for performers to explore these questions and illuminate the music of one of the best loved collections of music for the piano.

Undergraduate and graduate programs are topics of individual issues yearly 1946-

The Perpetual Beginner is part memoir, part musical instruction manual. Relating stories of his experiences as a young musician and music student in 1980's New York, author Dave Isaacs describes the key lessons that shaped his musical life and how they can help any aspiring musician at any age. The title refers to the average music hobbyist with more enthusiasm than skill or time to practice. Many people play for years without developing more than rudimentary abilities, and some become so frustrated by the struggle that they stagnate or quit. The stories in the book and the musical lessons they impart give these "perpetual beginners" the ideas, techniques, and encouragement that will help them begin to progress again. The title also references the Zen concept of "beginner's mind", a way of approaching any endeavor with the openness and zeal of a beginner regardless of experience. Maintaining a beginner's mindset removes many of the self-limiting beliefs and inhibitions that hold many people back, thus enabling the learning process - hence the book's subtitle, "A musician's path to lifelong learning." Author Dave Isaacs is a musician, performing songwriter, and teacher based in Nashville, where he is known as the "Guitar Guru of Music Row".