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(Amadeus). Score reading provides insights into the musical structure of a work that are difficult to obtain from merely listening. Many listeners and amateurs derive great pleasure from following a performance with score in hand to help them better understand the intricacies of what they are hearing. This guide includes practice examples of increasing difficulty taken from scores of well-known works from various periods.
- Sales Rank: #916887 in eBooks
- Published on: 2003-03-01
- Released on: 2003-03-01
- Format: Kindle eBook
Review
The technical is overlaid with informative and easy-to-read history lessons on scores, orchestras, and conductors. -- Library Journal , October 15, 2000
About the Author
Michael Dickreiter Michael Dickreiter has earned a Tonmeister (sound engineer) diploma from Detmold Music Academy and a Ph.D. from Heidelberg University. He is an instructor at the School for Radio Technique in Nuremberg and the author of several books on sound recording techniques, acoustics, and musical instruments.
Excerpt. � Reprinted by permission. All rights reserved.
It would be difficult to compose polyphonic music (music having two or more parts) without writing it down in a way that shows the relation of the parts to each other. Few musicians are able to put together (com-pose) a polyphonic piece entirely in their heads, without putting the parts on paper to show how they fit together—in other words, without a score. A few famous musicians such as J. S. Bach are said to have had that ability; they are the exceptions to the rule.
Historically, even the very first attempts at writing down polyphony represent a kind of score. These documents, dating from the ninth century, are notated in such a way that simultaneous sounds are vertically aligned. Some later medieval manuscripts also have such scorelike arrangements of the voices. In some cases the interpretation is unequivocal; other documents present problems in understanding how to sing the music.
Polyphonic music became ever more widespread during the fifteenth and sixteenth centuries, in fact, the sixteenth century has been called "The Golden Age of Polyphony." Polyphony by that time had become extremely complex and was governed by strict rules of voice leading; composing such music without writing it down in score form is unthinkable. We would therefore assume that many scores would have been preserved in old libraries, but hardly any scores have come down to us. Instead, the music is saved in choir books and part books.
Most helpful customer reviews
3 of 5 people found the following review helpful.
music made simple
By Samuel Buzzelli
This is an easy read. Meant for those who would like to be able to follow a musical score and enjoy the listening experience. many musical citations throughout the text illustrate what is being explained in the text.
35 of 35 people found the following review helpful.
One-stop-shopping for orchestral information
By E. Koehler
This book belongs in the hands of every aspiring orchestral musician, conductor, and avocational music-lover. Ambitious high-school students and conservatory undergraduates will especially appreciate the clarity and concision with which Dickreiter (through Pauly's fine translation) illuminates the labyrinth of abbreviations, symbols and page layout details for deciphering orchestral scores. Best of all, the book answers most basic questions about instrumentation (including foreign terminology, clefs and transpositions), performance practice and history, without forcing the reader to hunt down the information in several other sources.
Musicians searching for practice material in reducing scores at the piano will not find it in this book, but they will find a handy reference with a sound review of orchestral history and instrumentation. Aspiring conductors will find a valuable introduction to their craft and all readers will appreciate the clarity of the text which conveys information without the baggage of elitist condescension or that chatty hand-holding which bloats many mass market "how to" or "dummies" books. Several of the score examples employ a format (found in the Norton Scores) that highlights prominent melodic lines with gray shading. This illustrates the dynamics of score reading very clearly for novices.
The chapters are as follows: 1) Introduction, 2) Types of Scores, 3) The Look of a Score, 4) Scores and Their History, 5) Reading a Score - Hearing a Score, 6) Examples for Practicing Score Reading, 7) Orchestras and Conductors, 8) Instrumentation and Score Reading: Suggestions for Further Reading.
5 of 5 people found the following review helpful.
What you would not expect is to have a large number of pages being almost illegible due to incredibly bad reproduction of the hi
By James O. Davis
This volume contains mostly excerpts of orchestral scores and not a whole lot of text, which is what one would expect. What you would not expect is to have a large number of pages being almost illegible due to incredibly bad reproduction of the highlighted portions - which most excerpts have.
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