{"product_id":"guide-to-the-contemporary-harp-hardback-9780253039378","title":"Guide to the Contemporary Harp (Hardback) 9780253039378","description":"\u003cfont face=\"Georgia\"\u003e\r\n\u003cp\u003e\u003cfont size=\"6\"\u003eGuide to the Contemporary Harp\u003c\/font\u003e\u003cbr\u003e\r\n\r\n\r\n\r\n\r\n\r\n\u003c\/p\u003e\n\u003cp\u003e\u003cfont size=\"4\"\u003eMathilde Aubat-Andrieu (Author), Laurence Bancaud (Author), Aurélie Barbé (Author), Hélène Breschand (Author)\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003e9780253039378\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003eHardback, published 11 February 2019\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003e216 pages, 321 b\u0026amp;w illus., 2 tables - 200 Printed music items - 2 Tables, black and white - 105 Illustrations, black and white\u003cbr\u003e22.9 x 15.2 x 1.5 cm, 0.467 kg\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\r\n\r\n\r\n\r\n\u003cp align=\"justify\"\u003e\u003cstrong\u003e\u003cfont size=\"3\"\u003e\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003eHarps and harp music have enjoyed a renaissance over the past century and today can be heard in a broad array of musical contexts. \u003ci\u003eGuide to the Contemporary Harp\u003c\/i\u003e is a comprehensive resource that examines the vibrant present-day landscape of the harp. The authors explore the instrument from all angles, beginning with organology; moving through composition, notation, and playing techniques; and concluding with the contemporary repertoire for the harp. The rapid diversification in these areas of harp performance is the result of both technological innovations in harp making, which have produced the electric harp and MIDI harp, and innovative composers and players. These new instruments and techniques have broadened the concept of what is possible and what constitutes harp music for today.\u003ci\u003e Guide to the Contemporary Harp \u003c\/i\u003eis an essential guide for any harpist looking to push the instrument and its music to new heights.\u003c\/p\u003e\u003c\/font\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003c\/font\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003e\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003ePreface\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eAcknowledgements\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eIntroduction\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003e \u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003e1. Organology\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eI. Historical Reminders \u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eII. The Pedal Harp\u003c\/p\u003e\n\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003cp\u003eGeneral Characteristics\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eThe Parts of the Harp\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eThe Strings\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eThe Pedals and the Modulation Mechanism\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003e\"Using the Pedals\"\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003ePedal Notation\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003ePlaying the Harp\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eIII. The Lever Harp\u003c\/p\u003e\n\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003cp\u003eGeneral Characteristics\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eThe Strings\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eLevers and the Modulation Mechanism\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003ePlaying the Lever Harp\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eIV. Electric Harps\u003c\/p\u003e\n\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003cp\u003eThe Electroacoustic Harp\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eThe Electric Harp\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eThe Electric-Acoustic Harp\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eV. Some 21st Century Creations\u003c\/p\u003e\n\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003cp\u003eThe MIDI Harp\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eThe Automatic Harp\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003e \u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003e2. Writing and Language\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eI. Notations\u003c\/p\u003e\n\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003cp\u003eMeasured Notation\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eUnmeasured Notation\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eProportional Notation\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eIntroduction of the Aleatory Element (Indeterminacy)\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eOpen Works\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eCombination of Several Notations\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eSuperposition of Different Tempi\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eWriting on Several Staves\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eWriting with Another System than the Five-Line Stave\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eGraphic Scores\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eII. Dramatized Writings\u003c\/p\u003e\n\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003cp\u003eMicro-Choreography, Theatrical Gestures\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eDramaturgic Use of the Voice\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eUse of the Sung Voice, with No Theatrical Indication\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eUse of the Spoken and\/or the Sung Voice with No Text\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eIII. Mixed Forms of Music\u003c\/p\u003e\n\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003cp\u003eSome Works for Harp and Extensions\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003e \u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003e3. Playing Techniques\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eI. Timbre\u003c\/p\u003e\n\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003cp\u003e\"Près de la table\" (Near the Soundboard)\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003e\"Bas dans les cordes\" (Low in the Strings)\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003e\"Près des chevilles\" (Near the Tuning Pins)\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eHarmonic Sound\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eSound Using the Fingernail\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eKoto Sound\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003ePlucked Sound\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eVibrated Sound\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003ePortando From One Pitch to Another\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eXylo Sound\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003ePizzicato (Pizz.)\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eBartók Pizzicato\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eNormal Position\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eBisbigliando\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eTone-Color Melody (Klangfarbenmelodie)\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eII. Glissandi, Chords and Clusters\u003c\/p\u003e\n\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003cp\u003eSingle Glissando\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eFast Glissando\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eMultiple Glissando\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003ePitchless Glissandi\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eFlat, Broken, Arpeggiated\/Rolled Chords\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eCluster Glissando\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eRasgueado\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eCluster Glissando with Thunder Effect\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eCluster\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eMuffled Cluster\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eTremolo Cluster\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eAeolian Cluster\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eVarious Forms of Rubbing\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eIII. Resonances, muffles and silences\u003c\/p\u003e\n\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003cp\u003eMuffles\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eLet Vibrate\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eFermata\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eIV. Hits on the harp\u003c\/p\u003e\n\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003cp\u003eDifferent Types of Hits\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eWhich Part of the Harp to Hit?\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eComposers Who Have Elaborated a Detailed Notation for Hits\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eV. Wire strings\u003c\/p\u003e\n\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003cp\u003eWhistling Sound (with the Palm of the Hand)\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eWired Sound (Grabbing a Wire String with the fingers)\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eScrape with a Nail or a Plectrum\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eBuzz\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eThunder Effect\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eSustained Thunder Effect\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eVI. Pedals and Levers\u003c\/p\u003e\n\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003cp\u003ePedal Glissando\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003ePedal Trill\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eRhythmic Effect with Pedals\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003ePedal Movement Ad Libitum with Sound Effect\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003ePedal Buzz\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eResonant Pedal Sound\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eLevers\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eThunder Effect\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eVII. Using Objects\u003c\/p\u003e\n\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003cp\u003eMetal Rod\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eStick\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eUse of Percussion Instruments by the Harpist\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eBow\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eElectronic Bow\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003ePlectrum\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eOther Objects\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003ePrepared Harp\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eInserting Materials Between the Strings (Foam, Paper, Cardboard, Textile, Rubber, Elastic Band, etc.)\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eVIII. Scordatura\u003c\/p\u003e\n\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003cp\u003ePedal Harp\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eLever Harp\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eTwo Harps\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eConclusion\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eSignificant Landmarks\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eList of Notations\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eBibliography\u003c\/p\u003e\n\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003cp\u003eThe History of Music in the 20th and 21st Centuries\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eContemporary Notation\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eMusical Instruments, The Orchestra\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eThe Harp\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eInternet Sites\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eRepertoire of Works for Harp\u003c\/p\u003e\n\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003cp\u003eSolo Harp\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eHarp and Extensions\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eLever Harp\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eLever Harp and Extensions\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eDuets and Harp Ensembles\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eConcertos\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eDuets\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eTrios\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eQuartets and More\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eEnsembles and Extensions\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eIndex of Composers Quoted\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eIndex of Playing Techniques\u003c\/p\u003e\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\r\n\r\n\r\n","brand":"Indiana University Press","offers":[{"title":"Brand New","offer_id":52525226950936,"sku":"9780253039378","price":47.25,"currency_code":"GBP","in_stock":true}],"url":"https:\/\/freshlyprintedbooks.co.uk\/products\/guide-to-the-contemporary-harp-hardback-9780253039378","provider":"Freshly Printed Books","version":"1.0","type":"link"}