Drake kenneth o (23 resultados)

hardcover. Condición: Good. Most items will be dispatched the same or the next working day. A copy that has been read but remains in clean condition. All of the pages are intact and the cover is intact and the spine may show signs of wear. The book may have minor markings which are not specifically mentioned. Ex library copy with usual stamps & stickers.…

Paperback. Condición: Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Paperback. Condición: Good. Instead of following the traditional chronological order in studying the Beethoven piano sonatas, Kenneth Drake places them in categories that reflect certain qualities of the music. Approaching the sonatas as an interpreter's search for meaning, he begins with the Classic composers' expressive treatment of the keyboard - such as touches, articulation, line, color, silence, and the pacing of musical ideas. He then analyzes individual Beethoven sonatas, exploring such qualities as motivic development, color, philosophic overtones, and technical facility. Juxtaposing sonatas of like characteristics, regardless of where they fall in Beethoven's oeuvre, Drake places the very early Op. 2 No. 2 and the monumental Op. 101 in the chapter entitled Line and Space. Under the heading Descriptive Music, he discusses Op. 81a and Op 13; under Motivic Development, Op. 2 No. 1, Op. 57, and Op. 110; and under Movement as Energized Color, Op. 53. The Quasi una Fantasia encompasses not only the Sonata Op. 27 No. 2, to which Beethoven gave that title, but also Sonatas Op. 26 and, Op. 27 No. 1. Drake pursues the emotional and interpretive implications of such elements as rhythm, dynamics, slurs, harmonic effects, and melodic development. He provides hundreds of musical examples and points out the specific measures in which Beethoven so skillfully employed these compositional devices. Kenneth Drake regards the Beethoven sonatas as products of an inner necessity that pianists share with the composer. He encourages musicians to exercise intuition and independence of thought in studying the 32 and to seek not just performance skills but logical conclusions about ideas and relationships within thescore.…

Condición: Good. Former library copy. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Condición: very_good. Book is in very good condition and may include minimal underlining highlighting. The book can also include "From the library of" labels. May not contain miscellaneous items toys, dvds, etc. . We offer 100% money back guarantee and 24 7 customer service.

Paperback. Condición: Good. Instead of following the traditional chronological order in studying the Beethoven piano sonatas, Kenneth Drake places them in categories that reflect certain qualities of the music. Approaching the sonatas as an interpreter's search for meaning, he begins with the Classic composers' expressive treatment of the keyboard - such as touches, articulation, line, color, silence, and the pacing of musical ideas. He then analyzes individual Beethoven sonatas, exploring such qualities as motivic development, color, philosophic overtones, and technical facility. Juxtaposing sonatas of like characteristics, regardless of where they fall in Beethoven's oeuvre, Drake places the very early Op. 2 No. 2 and the monumental Op. 101 in the chapter entitled Line and Space. Under the heading Descriptive Music, he discusses Op. 81a and Op 13; under Motivic Development, Op. 2 No. 1, Op. 57, and Op. 110; and under Movement as Energized Color, Op. 53. The Quasi una Fantasia encompasses not only the Sonata Op. 27 No. 2, to which Beethoven gave that title, but also Sonatas Op. 26 and, Op. 27 No. 1. Drake pursues the emotional and interpretive implications of such elements as rhythm, dynamics, slurs, harmonic effects, and melodic development. He provides hundreds of musical examples and points out the specific measures in which Beethoven so skillfully employed these compositional devices. Kenneth Drake regards the Beethoven sonatas as products of an inner necessity that pianists share with the composer. He encourages musicians to exercise intuition and independence of thought in studying the 32 and to seek not just performance skills but logical conclusions about ideas and relationships within thescore.…

Paperback. Condición: Good. Pages unmarked, gentle wear.

Stapled wraps. Condición: Very Good. Text in Japanese and English. ; 8vo ; 56 pages.

Condición: New.

Condición: very_good. This book is in Very good condition. There may be a few flaws like shelf wear and some light wear.

Paperback or Softback. Condición: New. The Beethoven Sonatas and the Creative Experience. Book.

Condición: Good. This is an ex-library book and may have the usual library/used-book markings inside.This book has hardback covers. In good all round condition. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,250grams, ISBN:0289369819.

Condición: Very Good. Sold by the UK charity Kisharon Langdon; offering opportunities and support for people within the autism and learning disability community.

Condición: New. 1994. Paperback. . . . . .

Condición: New. In English.

Condición: New. 1994. Paperback. . . . . . Books ship from the US and Ireland.

Hard Cover. Condición: Good. No Jacket. Reprint. some wear to covers and cover edges, library marks mainly endpapers, otherwise book clean and tight Size: 12mo - over 6¾" - 7¾" tall. Ex Library.

Hardcover. First Edition Thus; Second Printing. Book condition is Very Good in boards. Text is clean and unmarked. ; 9 X 6.60 X 1 inches; 336 pages.

Paperback / softback. Condición: New. New copy - Usually dispatched within 4 working days.

paperback. Condición: New. In shrink wrap. Looks like an interesting title.

Taschenbuch. Condición: Neu. Neuware - Instead of following the traditional chronological order in studying the Beethoven piano sonatas, Kenneth Drake places them in categories that reflect certain qualities of the music. Approaching the sonatas as an interpreter's search for meaning, he begins with the Classic composers' expressive treatment of the keyboard - such as touches, articulation, line, color, silence, and the pacing of musical ideas. He then analyzes individual Beethoven sonatas, exploring such qualities as motivic development, color, philosophic overtones, and technical facility. Juxtaposing sonatas of like characteristics, regardless of where they fall in Beethoven's oeuvre, Drake places the very early Op. 2 No. 2 and the monumental Op. 101 in the chapter entitled ''Line and Space.'' Under the heading ''Descriptive Music,'' he discusses Op. 81a and Op 13; under ''Motivic Development,'' Op. 2 No. 1, Op. 57, and Op. 110; and under ''Movement as Energized Color,'' Op. 53. The ''Quasi una Fantasia'' encompasses not only the Sonata Op. 27 No. 2, to which Beethoven gave that title, but also Sonatas Op. 26 and, Op. 27 No. 1. Drake pursues the emotional and interpretive implications of such elements as rhythm, dynamics, slurs, harmonic effects, and melodic development. He provides hundreds of musical examples and points out the specific measures in which Beethoven so skillfully employed these compositional devices. Kenneth Drake regards the Beethoven sonatas as products of an inner necessity that pianists share with the composer. He encourages musicians to exercise intuition and independence of thought in studying the ''32'' and to seek not just performance skills but logical conclusions about ideas and relationships within thescore.…

Condición: New. Instead of following the traditional chronological order in studying the Beethoven piano sonatas, this title places them in categories that reflect certain qualities of the music. It begins with the Classic composers expressive treatment of the keyboard - .

[2] pp.; 87.2 x 56.2 cm.; color; edition size unknown; unsigned and unnumbered; offset-printed Promotional poster for the 9th Annual New York Avant Garde Festival presented by Charlotte Moorman aboard the riverboat "Alexander Hamilton" at South Street Seaport Museum, Pier 16, New York City, October 28, 1972, "hopefully" in Poughkeepse, New York, October 29, 1972 and in Albany, New York, October 30, 1972. Artists included Shuya Abe, John Alpert, Eric Anderson, Oliver Andrews, Eleanor Antin, Ay-o, Claudio Badal, Shridhar Bapat, Fred Barzak, Gregory Battcock, Bill Birch, Frank Braynard, Dennis Brennan, Brenda Bufalino, John Cage, Domenick Capobianco, Jackie Cassen, Laura Cavestany, Joel Chadabe, Rhys Chatham, Emanuel Ghent, Dick Higgins, Ralph Hocking, Wayne Hycle, Glenda Hydler, Takahiko Iimura, Iris, Sylvia Johnson, Joe Jones, Allan Kaprow, Alison Knowles, Kenneth C. Knowlton, Shigeko Kubota, Joanne Kyger, Gilles Larrain, Standish Lawder, Francis Lee, Rick Lefrak, John Lennon, Carl Linder, Anna Lockwood, Alvin Lucier, Mary Lucier, Stanley Lunetta, Ernest Lurker, Christo, Shirley Clarke, Beverly Conrad, Tony Conrad, Philip Corner, Bob Cowan, Doug Davis, Henny DeKnegt, Storm de Hirsch, Bill Denner, Dimitri Devyatkin, Ken Dewey, Robert Diamond, Hans Joachim Dietrich, Eugene Dolgoff, Juan Downey, Franklin Drake, Jean Dupuy, Tom Drysdale, Ed Emshwiller, Jeni Engel, William Etra, Ralston Farina, Wolfgang Feelish, Peter Frank, Si Fried, John Fulop, Jeff Garrett, Davidson Gigliotti, Frank Gillette, Amy Greenfield, Donna Grob, Alex Gross, Walter Gutman, James Harithas, Harlem Drummers & Dancers Park East H.S., Gary Harris, Dermot Harvey, Ron Hays, Jackson MacLow, Marta Minujin, Max Neuhaus, Hermann Nitsch, Pauline Oliveros, Yoko Ono, Nam June Paik, Lil Picard, Otto Piene, Carolee Schneemann, Rudi Stern, Aldo Tambellini, Elsa Tambellini, Stan Van Der Beek, Jud Yalkut, Ben Vautier, Video Freex and others. Very Good. Mailed copy with mailing marks and wear, folded in sixteen for mailing. Stamps (on recto) have been postmarked and there is a return address, however no indication of to whom it was mailed. Two 7 mm pen marks on recto with a 3 mm. tear to center of one of the folds and 1 cm. of adhesive staining to poster edge. Otherwise clean and unmarked.…