The Transposed Musician

The Transposed Musician is a practical guide to teaching these universal skills within the context of a traditional music lesson. The results not only empower students to better confront the challenges of the twenty-first century, they significantly improve musicianship--a double benefit. -- back

Baroque oboists Bruce Haynes and Geoffrey Burgess established reputations as authorities on the history of their instrument with their co-authored book The Oboe, voted an outstanding achievement by the American Music Instrument Society. Haynes' writings, notably The End of Early Music, are known for pioneering new approaches in historical performance practice and inspiring healthy debate among scholars and performers of early music. Burgess, an instructor at the Eastman School of Music, recently published Well-Tempered Woodwinds: Friedrich von Huene and the Making of Early Music in a New World, which combines the biography of a leading manufacturer of historic instruments with a history of the emerging early music scene in America. Bruce Haynes passed away in May, 2011.

Transposition. What is it? How do you do it? Why and when does a musician need it? How do you get started learning it? In Noyes Notes...on Transposition, trumpeter, music educator, and technical writer Randal C. Noyes uses simple, concise language to answer the most frequently asked questions about transposition. Noyes Notes...on Transposition dispels the mystery, confusion, and anxiety that wind musicians often feel when they need to play an arrangement in a different key or read from another instrument's music. Noyes Notes...on Transposition includes 21 Quick Reference charts to help you transpose effectively and quickly when time is critical. If you don't transpose, Noyes Notes...on Transposition will show you how. If you can transpose, this book will deepen your knowledge of the process. Noyes Notes...on Transposition will teach you how to transpose any part for any instrument in any key.

A brief stay in France was, for many Chinese workers and Chinese Communist Party leaders, a vital stepping stone for their careers during the cultural and political push to modernize China after World War I. For the Chinese students who went abroad specifically to study Western art and literature, these trips meant something else entirely. Set against the backdrop of interwar Paris, Paris and the Art of Transposition uncovers previously marginalized archives to reveal the artistic strategies employed by Chinese artists and writers in the early twentieth-century transnational imaginary and to explain why Paris played such a central role in the global reception of modern Chinese literature and art. While previous studies of Chinese modernism have focused on how Western modernist aesthetics were adapted or translated to the Chinese context, Angie Chau does the opposite by turning to Paris in the Chinese imaginary and discussing the literary and visual artwork of five artists who moved between France and China: the painter Chang Yu, the poet Li Jinfa, the art critic Fu Lei, the painter Pan Yuliang, and the writer Xu Xu. Chau draws the idea of transposition from music theory where it refers to shifting music from one key or clef to another, or to adapting a song originally composed for one instrument to be played by another. Transposing transposition to the study of art and literature, Chau uses the term to describe a fluid and strategic art practice that depends on the tension between foreign and familiar, new and old, celebrating both novelty and recognition—a process that occurs when a text gets placed into a fresh context.