Andersen arthur olaf (52 resultados)

Paperback or Softback. Condición: New. The First Forty Lessons in Harmony. Book.

Hardcover. Condición: Fair. No Jacket. Readable copy. Pages may have considerable notes/highlighting. ~ ThriftBooks: Read More, Spend Less.

Condición: New.

Stapled wraps. Condición: Very Good. Edgewear to the covers. ; 8vo 8" - 9" tall; 32 pages.

Condición: New.

Condición: VeryGood unmarked. First Thus. With a chapter on each instrument, this book is a marvelous introduction to orchestration. Excellent clean crisp copy. 7 x 9-1/2, 249 pp, index, b/w illus. Hardcover in red cloth boards w gilt titling, no jacket.

Condición: New.

Condición: New.

Condición: New.

Hardcover. Condición: Acceptable. Estado de la sobrecubierta: no dust jacket present. This hardcover edition is in good condition, with some wear visible on the spine and corners. The cover shows minor scuffing, typical of its age. The binding remains intact, and the pages are free of inscriptions or library markings. There is no dust jacket included.…

Hardcover. Condición: Good. No Jacket. Shelf and handling wear to cover and binding, with general signs of previous use. Boards have smudges and stains from age and handling, but surprisingly limited wear to corners and spine. Binding and hinges are secure. Pages are clean and unmarked. Secure packaging for safe delivery.…

Condición: Good. NY 1929 1st Birchard. Square 8vo., 249pp., index, hardcover. Good, some pencil marks and notes in margins, hinges not cracked; just light cover wear. no DJ.

Condición: New. Kontrabass und Klavier. Klavierauszug mit Solostimme .

Condición: New.

Taschenbuch. Condición: Neu. Neuware - 'The First Forty Lessons in Harmony' by Arthur Olaf Andersen serves as a comprehensive and accessible guide to the fundamental principles of music theory and harmonic construction. Designed for students and aspiring composers, this pedagogical work provides a structured approach to understanding the building blocks of Western music. Through a series of carefully graduated lessons, Andersen introduces essential concepts such as chord structures, progressions, intervals, and the rules of part-writing.The text focuses on practical application, guiding the learner from basic triads through more complex harmonic movements. Each lesson is crafted to build upon the previous one, ensuring a solid foundation in musical grammar and syntax. Whether used in a classroom setting or for self-study, this volume remains a valuable resource for anyone seeking to master the intricacies of harmony. Andersen's clear explanations and methodical organization make the complexities of theory approachable, highlighting the logical beauty inherent in musical composition. As a significant contribution to music education, 'The First Forty Lessons in Harmony' continues to offer timeless insights into the art and science of sound.This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you may see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.…

Condición: New.

22.00x0.00x0.00 cm kart. Condición: Gut. 190 Seiten private Widmung auf dem vorderen Einband Sprache: Englisch Gewicht in Gramm: 191.

Taschenbuch. Condición: Neu. Neuware - 'Practical Orchestration' is a comprehensive guide to the art and technique of arranging music for a full symphonic orchestra. Written by Arthur Olaf Andersen, this work serves as an essential resource for students of composition and professional arrangers alike, offering a systematic approach to understanding the unique capabilities and limitations of various orchestral instruments.The book delves into the intricacies of string, woodwind, brass, and percussion sections, detailing their tonal qualities, ranges, and effective combinations. Beyond individual instrumental technique, Andersen explores the complex task of blending these diverse voices to achieve a balanced and expressive orchestral sound. With a focus on clarity and practical application, the text provides numerous examples and exercises designed to build the reader's skills in scoring for ensembles of all sizes.Valuable for its historical perspective on early 20th-century music education, 'Practical Orchestration' remains a significant reference for anyone seeking to master the fundamental principles of musical texture and color. Whether used as a classroom textbook or a self-study manual, this work offers timeless insights into the craftsmanship required to transform a simple melody into a powerful orchestral masterpiece.This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you may see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.…

Hardcover. Condición: Very Good. Solid and unmarked.

Buch. Condición: Neu. Neuware - 'The First Forty Lessons in Harmony' by Arthur Olaf Andersen serves as a comprehensive and accessible guide to the fundamental principles of music theory and harmonic construction. Designed for students and aspiring composers, this pedagogical work provides a structured approach to understanding the building blocks of Western music. Through a series of carefully graduated lessons, Andersen introduces essential concepts such as chord structures, progressions, intervals, and the rules of part-writing.The text focuses on practical application, guiding the learner from basic triads through more complex harmonic movements. Each lesson is crafted to build upon the previous one, ensuring a solid foundation in musical grammar and syntax. Whether used in a classroom setting or for self-study, this volume remains a valuable resource for anyone seeking to master the intricacies of harmony. Andersen's clear explanations and methodical organization make the complexities of theory approachable, highlighting the logical beauty inherent in musical composition. As a significant contribution to music education, 'The First Forty Lessons in Harmony' continues to offer timeless insights into the art and science of sound.This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you may see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.…

Condición: new. Expédition le jour même. Libraire depuis 23 ans. Envoi soigné avec suivi.

Buch. Condición: Neu. Neuware - 'Practical Orchestration' is a comprehensive guide to the art and technique of arranging music for a full symphonic orchestra. Written by Arthur Olaf Andersen, this work serves as an essential resource for students of composition and professional arrangers alike, offering a systematic approach to understanding the unique capabilities and limitations of various orchestral instruments.The book delves into the intricacies of string, woodwind, brass, and percussion sections, detailing their tonal qualities, ranges, and effective combinations. Beyond individual instrumental technique, Andersen explores the complex task of blending these diverse voices to achieve a balanced and expressive orchestral sound. With a focus on clarity and practical application, the text provides numerous examples and exercises designed to build the reader's skills in scoring for ensembles of all sizes.Valuable for its historical perspective on early 20th-century music education, 'Practical Orchestration' remains a significant reference for anyone seeking to master the fundamental principles of musical texture and color. Whether used as a classroom textbook or a self-study manual, this work offers timeless insights into the craftsmanship required to transform a simple melody into a powerful orchestral masterpiece.This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you may see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. …

PAP. Condición: New. New Book. Shipped from UK. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

Condición: New.

PAP. Condición: New. New Book. Delivered from our UK warehouse in 4 to 14 business days. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

PAP. Condición: New. New Book. Shipped from UK. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

PAP. Condición: New. New Book. Delivered from our UK warehouse in 4 to 14 business days. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

Condición: Very Good. 2nd Edition. vi, 110 pp. Original cloth. Gilt lettering rubbed on the word "Laurel" on front cover. Spine sunned. Very Good. Revised Edition (originally published in 1923). Both the first edition and the revised edition have 110 pp, and there isn't a preface to this revised edition, so I do not know the extent of the changes in this revised edition, if any. This is the middle of three volumes on Harmony by Arthur Olaf Andersen. SIGNED BY ARTHUR OLAF ANDERSEN TO VIOLINIST JACQUES GORDON: "To my good friend/ Jacques Gordon/ Arthur Olaf Andersen." A fine association as Andersen and Gordon were in Chicago together during the 1920s. Signed copies of Andersen's books are uncommon. Quoting Wikipedia about Arthur Olaf Andersen: "Andersen graduated from Newport High School in 1896 and went on to study in Boston with Charles Martin Loeffler, in Paris with George Guiraud and Vincent d'Indy, Hermann Durra in Berlin and Giovanni Sgambati in Rome. From 1908 he worked for the Theory Department of the American Conservatory of Music [where he and Jacques Gordon were colleagues] and from 1929 the Chicago Musical College, after which he joined the Music faculty of the University of Arizona as head of the Theory Department and dean of the College of Fine Arts. In 1934 he was awarded the honorary degree of Mus.D. by the American Conservatory of Music in Chicago [Jacques Gordon had been on the faculty of the Conservatory]." Quoting Wikipedia about Jacques Gordon: "Gordon began his violin studies at the age of five and was already performing as a musical prodigy at nine. In 1912, he graduated from the Imperial Conservatory in Odessa. He made his debut as a violinist in Berlin in 1911 and undertook a European tour in 1913. In the same year, he was awarded a gold medal by Tsar Nicholas II. After a concert tour of the USA and Canada in 191415, he studied violin with Fritz Kneisel and music theory with Percy Goetschius at the Institute of Musical Art. At the suggestion of Elizabeth Sprague Coolidge, he became a member of the Berkshire String Quartet in 1918, where he remained until 1920. In 1921, he founded the Gordon String Quartet in Chicago. That same year, he became concertmaster of the Chicago Symphony Orchestra under the direction of Frederick Stock. He also headed the violin department at the American Conservatory of Chicago [where he and Arthur Olaf Andersen were colleagues]. In 1930, Gordon moved to Falls Village and founded the Gordon Musical Association, which offered a summer school for music students, particularly chamber musicians, under the name Music Mountain. He therefore resigned his position with the Chicago Symphony Orchestra. From 1928, he was a visiting lecturer at the Julius Hartt School of Music in Hartford. In the 1930s, he was conductor of the Hartford Symphony Orchestra and a guest conductor of the New Haven Orchestra. For his contributions to chamber music, he was awarded the Elizabeth Sprague Coolidge Medal in 1938. In the academic year 194142, Gordon became a substitute teacher for Gustave Tinlot at the Eastman School of Music. In 1942, Howard Hanson appointed him head of the school's violin department. In 1947, he suffered a stroke during a concert with the Rochester Philharmonic Orchestra. In 1948, he succumbed to a second stroke, which he suffered during a private music session with Albert Spalding and Fritz Kreisler in Great Barrington.".…

Condición: Very Good. vi, 106 pp. Original cloth. Very Good. First Edition. SIGNED BY ARTHUR OLAF ANDERSEN TO VIOLINIST JACQUES GORDON: "To my good friend/ Jacques Gordon/ with most cordial/ greetings/ Arthur Olaf Andersen." A fine association as Andersen and Gordon were in Chicago together during the 1920s. Andersen had previously published "The First Forty Lessons in Harmony" and "The Second Forty Lessons in Harmony". This is his third, and final, volume on Harmony. It is less common than the first two volumes. Signed copies of Andersen's books are uncommon. Quoting Wikipedia about Arthur Olaf Andersen: "Andersen graduated from Newport High School in 1896 and went on to study in Boston with Charles Martin Loeffler, in Paris with George Guiraud and Vincent d'Indy, Hermann Durra in Berlin and Giovanni Sgambati in Rome. From 1908 he worked for the Theory Department of the American Conservatory of Music [where he and Jacques Gordon were colleagues] and from 1929 the Chicago Musical College, after which he joined the Music faculty of the University of Arizona as head of the Theory Department and dean of the College of Fine Arts. In 1934 he was awarded the honorary degree of Mus.D. by the American Conservatory of Music in Chicago [Jacques Gordon had been on the faculty of the Conservatory]." Quoting Wikipedia about Jacques Gordon: "Gordon began his violin studies at the age of five and was already performing as a musical prodigy at nine. In 1912, he graduated from the Imperial Conservatory in Odessa. He made his debut as a violinist in Berlin in 1911 and undertook a European tour in 1913. In the same year, he was awarded a gold medal by Tsar Nicholas II. After a concert tour of the USA and Canada in 1914-15, he studied violin with Fritz Kneisel and music theory with Percy Goetschius at the Institute of Musical Art. At the suggestion of Elizabeth Sprague Coolidge, he became a member of the Berkshire String Quartet in 1918, where he remained until 1920. In 1921, he founded the Gordon String Quartet in Chicago. That same year, he became concertmaster of the Chicago Symphony Orchestra under the direction of Frederick Stock. He also headed the violin department at the American Conservatory of Chicago [where he and Arthur Olaf Andersen were colleagues]. In 1930, Gordon moved to Falls Village and founded the Gordon Musical Association, which offered a summer school for music students, particularly chamber musicians, under the name Music Mountain. He therefore resigned his position with the Chicago Symphony Orchestra. From 1928, he was a visiting lecturer at the Julius Hartt School of Music in Hartford. In the 1930s, he was conductor of the Hartford Symphony Orchestra and a guest conductor of the New Haven Orchestra. For his contributions to chamber music, he was awarded the Elizabeth Sprague Coolidge Medal in 1938. In the academic year 194142, Gordon became a substitute teacher for Gustave Tinlot at the Eastman School of Music. In 1942, Howard Hanson appointed him head of the school's violin department. In 1947, he suffered a stroke during a concert with the Rochester Philharmonic Orchestra. In 1948, he succumbed to a second stroke, which he suffered during a private music session with Albert Spalding and Fritz Kreisler in Great Barrington.".…

Condición: New. Trompete und Klavier. .