Download A Natural History of the Piano: The Instrument, the Music, by Stuart Isacoff PDF

By Stuart Isacoff

A desirable social gathering of the piano, together with stories of its masters from Mozart and Beethoven to Oscar Peterson and Jerry Lee Lewis, advised with the services of composer and writer of Temperament, Stuart Isacoff.
This heritage takes us again to the piano's humble genesis as an easy keyboard, and exhibits how every body from Ferdinando de’ Medici to Herbie Hancock affected its evolution of sound and impact in well known song. offering the device that has been on the middle of musical improvement over the centuries in all its good looks and complexity, this explores the piano’s functions and the diversity of emotional expression it conveys in several artists’ palms. A typical heritage of the Piano is fast moving and interesting, with attractive illustrations and images, a must-read for track enthusiasts and pianists of each level. 

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Extra resources for A Natural History of the Piano: The Instrument, the Music, the Musicians--from Mozart to Modern Jazz and Everything in Between

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The idea of Hopelandic as xenoglossia—more as exoticism than as foreign language—is embedded in its presentation. And yet, with such consistent phonology and rules of phonotacticity, the conception of Hopelandic as a foreign tongue is quite believable, perhaps even more so than Kobaïan, whose myriad expressions disallow any such analysis. The sense of otherness evoked by Hopelandic is inextricably tied to the atmosphere created by Sigur Rós’s 51 S I G U R R Ó S’ S   music. Even when compared to other Icelandic or post-rock bands, Sigur Rós’s music is immediately identifiable.

34 Tzara’s chants nègres often combined pseudoAfrican sounds with German “translations,” as in his “Gesang beim Bauen” (Building Song): a ee ea ee ea ee ee, ea ee, eaee, a ee ea ee ee, ea ee, ea, ee ee, ea ee ee, Stangen des Hofes wir bauen für den Häuptling wir bauen für den Häuptling35 Those with the desire to evoke the otherness of an outside culture, whether real, fictionalized, or a mixture of the two, often turn to nonsensical utterings. This is nonsense as exoticism, or nonsense as other, part of a strategy called xenoglossia (“strange” or “foreign” language).

However, unlike so many other examples, Hopelandic seems to actively evade categorization through a series of contradictions that make such classification impossible. Hopelandic operates much like a language in that it has a consistent phonology, with certain rules as to which 49 S I G U R R Ó S’ S   consonant/vowel combinations are permitted. While the very small inventory of phonemes used on the album would lead inevitably to repetition of certain syllable combinations, particular combinations are given special prominence.

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