The Artistry of Fundamentals for Band.

Van Nuys, Alfred Publishing Co. 1991, cm.23x30,5, pp.23, brossura cop.fig. Coll.66 Festive Famous Chorales for Band,5281. A diverse and timeless collection of 66 famous chorales arranged for concert band by Frank Erickson. The chorales are all arranged in four parts (SATB) and, in addition to full band, are playable by a wide variety of smaller groups, from quartet on up. Besides being an excellent warm-up tool, 66 Festive and Famous Chorales for Band provides a perfect opportunity to work on musicianship, phrasing, balance and intonation.

Van Nuys, Alfred Publishing Co. 1993, cm.23x30,5, pp.24, brossura cop.fig. Coll.11160. A unique collection of technical studies and correlated music which provide an assortment of scale, rhythm, technical and articulation exercises and immediately applies them to 12 full band compositions and arrangements. Each unit focuses on a different major or minor key. The left-hand page of each unit contains an assortment of technical challenges which are instantly applied and reinforced in the full-band arrangement on the unit's right-hand page.

14 Full Band Compositions and Arrangements. Correlated to Book 1 of the Yamaha Band Student. Van Nuys, Alfred Publishing Co. 1994, cm.23x30,5, pp.16, brossura cop.fig.a col. Coll.Yamaha Performance Folio,11668. Composed or arranged by Frank Erickson, John Kinyon and John O'Reilly, this exciting collection includes 14 never-before-published selections correlated to specific pages in the Yamaha Band Student, Book 1. Presented in a variety of styles, these full band pieces will captivate students and audiences alike and will continue to motivate young bands year after year!

14 Full Band Compositions and Arrangements. Correlated to Book 1 of the Yamaha Band Student. Van Nuys, Alfred Publishing Co. 1994, cm.23x30,5, pp.16, brossura cop.fig.a col. Coll.Yamaha Performance Folio,11672. Composed or arranged by Frank Erickson, John Kinyon and John O'Reilly, this exciting collection includes 14 never-before-published selections correlated to specific pages in the Yamaha Band Student, Book 1. Presented in a variety of styles, these full band pieces will captivate students and audiences alike and will continue to motivate young bands year after year!

Torino, CSUT - Il Segnalibro 1996, cm.17x24, pp.XII,390, brossura, cop.fig.

Bassani, prostant Venetiis, apud Remondini 1785, cm.10x18, pp.(4),391,(1), una xilografia allegorica all'antiporta, legatura muta in cartone dello stampatore. Serie di ordinati appunti coevi ai piatti, ai risguardi e all'ultima pag.bianca; lacuna di 4 cm. piede del dorso.

Traduz.di Minna Mohwinckel Calini. Prefaz.di Manfred Sacks. Didascalie di Norbert Fishcer. Milano, Edicart 1990, cm.12x17,5, pp.145 centinaia di figg.a col. brossura cop.fig.a col. Coll.Il Mondo del Bibliofilo,15.

London, Macdonald 1970, cm.14x22, pp.XIV,146, legatura editoriale cartonata. The famous sit-in at the Hornsey College of Art in May 1968 was merely the most dramatic expression of a deep-rooted crisis in art education - and in art itself. While the essential ingredients of good art - sensitivity, vitality, integrity and a readiness to communicate - remain the same, these qualities are almost entirely lacking; instead, today's pseudo-art suggests futility, a narcissistic looking inward, a chilling and impersonal coldness. The gap between artist and public widens every year; the critic does little to bridge this gap. Art has become a clever commercial speculation, part of a fantasy world conjured up primarily by the news media. An incessant, nervous demand for novel and 'exciting' work and for young talent to invest in has turned the artist into a consumer product.If art is in a sorry state, so is art education. Each year, hundreds of fine-art students are sacrificed to the myth of Art with a capital their sense of purpose distorted, their talents tragically unexplored, their hopes cruelly dashed. They may seem coolly professional, confident, up-to-date; but this is merely because they are encouraged to restrict themselves to one or two currently fashionable idioms - which, of course, must never be too hard to imitate. Left largely to their own devices, art students study the latest trends as reported in the glossy magazines, and hopefully turn out their mimicries. Unique in being trained for a largely non-existent profession - how many artists live by their art alone? - they mostly drift, disenchanted, into teaching, where they transmit their own fine-art bias and so help to perpetuate the fine-art fantasy.Such, in outline, is the case which Sjoerd Hannema puts forward. He has developed and substantiated his arguments with great cogency, and a spirited refusal to bow down before fashionable gods. With an impressive historical grasp he traces the present malaise back to its roots in the Renaissance.Includes black & white illustrations.