Modern times for brass: experimentelle Spieltechniken auf Blechblasinstrumenten : experimental playing techniques for brass instruments
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| Weitere Verfasser: | , |
| Format: | Buch |
| Sprache: | German English |
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Wiesbaden
Breitkopf & Härtel
[2019]
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| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | 154 Seiten Notenbeispiele 30 cm 1 CD (12 cm) |
| ISBN: | 9783765104459 |
Internformat
MARC
| LEADER | 00000nam a2200000 c 4500 | ||
|---|---|---|---|
| 001 | BV046142409 | ||
| 003 | DE-604 | ||
| 005 | 20201218 | ||
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| 008 | 190905s2019 gl|| |||| 00||| ger d | ||
| 020 | |a 9783765104459 |9 978-3-7651-0445-9 | ||
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| 100 | 1 | |a Burba, Malte |d 1957- |0 (DE-588)120330865 |4 cmp |4 aut | |
| 245 | 1 | 0 | |a Modern times for brass |b experimentelle Spieltechniken auf Blechblasinstrumenten : experimental playing techniques for brass instruments |c Malte Burba, Paul Hübner ; mit einem Geleitwort von Adriana Hölszky ; englische Übersetzung: Daniel Costello |
| 264 | 1 | |a Wiesbaden |b Breitkopf & Härtel |c [2019] | |
| 264 | 4 | |c © 2019 | |
| 300 | |a 154 Seiten |b Notenbeispiele |c 30 cm |e 1 CD (12 cm) | ||
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| 700 | 1 | |a Hübner, Paul |d 1985- |0 (DE-588)1042669295 |4 cmp |4 aut | |
| 700 | 1 | |a Hölszky, Adriana |d 1953- |0 (DE-588)119321173 |4 aui | |
| 700 | 1 | |a Costello, Daniel |0 (DE-588)119673707X |4 trl | |
| 856 | 4 | 2 | |m Digitalisierung BSB München - ADAM Catalogue Enrichment |q application/pdf |u http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=031522629&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |3 Inhaltsverzeichnis |
| 940 | 1 | |q BSB_NED_20191126 | |
| 999 | |a oai:aleph.bib-bvb.de:BVB01-031522629 | ||
| 942 | 1 | 1 | |c 780.77 |e 22/bsb |
Datensatz im Suchindex
| _version_ | 1804180475694022656 |
|---|---|
| adam_text | 6 Inhalt Geleitwort...................................................................................................................................................... 5 1 Prinzipielle und strukturelle Überlegungen...................................................................................... 12 2 Physikalische und physiologischeGrundlagen................................................................................. 2.1 Natürliche Mikrotonalität........................................................................................................... 2.2 Exkurs I - Zirkularatmung........................................................................................................... 14 16 17 3 Konventionelle Klangerzeugung......................................................................................................... 3.1 Erweiterung des Tonumfangs ..................................................................................................... 3.1.1 Tonraumerweitemng in dieHöhe ............................................................................. 3.1.1.1 Flageolett ................................................................................................................... 3.1.2 Tonraumerweiterung in dieTiefe............................................................................... 3.1.3 Tonraumerweiterung in dieBreite ............................................................................. 3.1.3.1 Reine Stimmung......................................................................................................... 3.1.3.2
Viertel-und Achteltöne ............................................................................................ 3.1.3.3 Drittel-und Sechsteltöne.......................................................................................... 3.1.3.4 Mikrotöne auf anderen Blechblasinstrumenten....................................................... 3.1.3.5 Instrumentenbauliche Lösungen .............................................................................. 3.1.3.6 Notation..................................................................................................................... 3.2 Triller und Tremolo...................................................................................................................... 3.3 Shake............................................................................................................................................ 3.4 Klangfarben triller - enharmonische Wechsel ............................................................................ 3.4.1 Notation..................................................................................................................... 3.5 Glissando...................................................................................................................................... 3.5.1 Zugglissando............................................................................................................... 3.5.2 Glissando durch Treiben .......................................................................................... 3.5.3 Glissando mit
Halbventil.......................................................................................... 3.5.4 Glissandi auf anderen Instrumenten.......................................................................... 3.5.5 Naturtonglissando ..................................................................................................... 3.6 Erweiterung der Artikulationsmöglichkeiten.............................................................................. 3.6.1 Artikulation mit [p] .................................................................................................. 3.6.2 Flatterzunge ............................................................................................................... 3.6.3 Doodle-Zunge ........................................................................................................... 3.6.4 Artikulationsveränderungen...................................................................................... 3.7 Vibrato.......................................................................................................................................... 3.7.1 Handvibrato............................................................................................................... 3.7.2 Ventilvibrato ............................................................................................................. 3.7.3 Zungenvibrato ........................................................................................................... 3.7.4 Wechsel der
Formanten............................................................................................ 19 19 20 22 23 26 26 28 33 33 34 35 36 39 40 42 43 43 45 45 45 46 46 47 47 49 49 50 51 52 52 53 4 Alternative Klangerzeugung................................................................................................................. 4.1 Einsatz unterschiedlicher Mundstücke ....................................................................................... 4.1.1 Rohrblattmundstücke................................................................................................. 4.1.2 Doppelrohrblattmundstücke .................................................................................... 4.1.3 Metallzungen (z. B. Spielzeugpfeifen) ...................................................................... 4.1.4 Mirliton ..................................................................................................................... 4.1.5 Schneidenton............................................................................................................. 4.1.6 Sonstige Mundstücke................................................................................................ 4.1.7 Notation..................................................................................................................... 4.1.8 Auswirkung physikalischer Klangveränderung auf Klangerzeugung mit anderen Mundstücken........................................................................................ 55 55 55 56 57 57 57 57 58 58
7 Contents 5 Foreword 1 Basic principles and structural considerations 2 Basic physical and physiological principles .. 2.1 2.2 Natural microtonality ............................ Excursion I - Circular breathing.............. 3 Conventional tone production.................................................................................................... 3.1 19 Range extension........................................................................................................................... 3.1.1 High range extension................................................................................................ 3.1.1.1 Flageolet..................................................................................................................... 3.1.2 Low range extension.................................................................................................. 3.1.3 Microtonal range extension ..................................................................................... 3.1.3.1 Just intonation.......................................................................................................... 3.1.3.2 Quarter-tones and eighth-tones ................................................................................ 3.1.3.3 Third-tones and sixth-tones ..................................................................................... 3.1.3.4 Microtonality on other brassinstruments ................................................................. 3.1.3.5 Instrument construction
solutions............................................................................. 3.1.3.6 Notation..................................................................................................................... Trills and tremolos....................................................................................................................... Shake........................................................................................................................................... Timbral trills ֊ enharmonic changes.......................................................................................... 3.4.1 Notation..................................................................................................................... Glissando..................................................................................................................................... 3.5.1 Slide glissando ........................................................................................................... 3.5.2 Glissando using pitch bending.................................................................................. 3.5.3 Glissando with half-valves ........................................................................................ 3.5.4 Glissandos on other instruments .............................................................................. 3.5.5 Natural overtone glissando........................................................................................ Extended articulation techniques
.............................................................................................. 3.6.1 Articulation with [p] ................................................................................................. 3.6.2 Flutter tonguing......................................................................................................... 3.6.3 Doodle tongue........................................................................................................... 3.6.4 Changing the articulation.......................................................................................... Vibrato......................................................................................................................................... 3.7.1 Hand vibrato ............................................................................................................. 3.7.2 Valve vibrato ............................................................................................................. 3.7.3 Tongue vibrato.......................................................................................................... 3.7.4 Change in the formants............................................................................................ 19 20 22 23 26 26 28 33 33 34 35 36 39 40 42 43 43 45 45 45 46 46 47 47 49 49 50 51 52 52 53 4 Alternative sound production...................................................................................................... 55 3.2 3.3 3.4 3.5 3.6 3.7 4.1 Using different
mouthpieces...................................................................................................... 4.1.1 Reed mouthpieces .................................................................................................... 4.1.2 Double reed mouthpieces ........................................................................................ 4.1.3 Metal tongues (for example, toy whistles) ................................................................ 4.1.4 Kazoo......................................................................................................................... 4.1.5 Whistle tones............................................................................................................ 4.1.6 Other mouthpieces.................................................................................................... 4.1.7 Notation..................................................................................................................... 4.1.8 Effects of physical sound alteration on sound production with other mouthpieces 55 55 56 57 57 57 57 58 58
Inhalt 8 4.2 4.3 4.4 Das Blechblasinstrument alsStreichinstrument............................................................................... Das Blechblasinstrument alsSchlaginstrument............................................................................... Aerodynamische Klangerzeugung................................................................................................... 4.4.1 Notation........................................................................................................................... 4.4.2 Färbung des Luftgeräuschs............................................................................................. 4.4.3 Slap/Tongue Ram............................................................................................................ 4.4.4 Notation........................................................................................................................... 4.4.5 Sonderformen aerodynamischer Artikulation ............................................................ 4.4.5.1 Kussgeräusch .................................................................................................................. 4.4.5.2 Zungenschnalzer - Zungenklick................................................................................... 4.4.5.3 Ghost Notes.................................................................................................................... 4.4.5.4 Zungen-Pizzicato ........................................................................................................... 4.4.5.5 Ghost Notes ֊ Flageolett
.............................................................................................. Auswirkung physikalischer Klangveränderung................................................................................ Wangentremolo................................................................................................................................. Stimme allein..................................................................................................................................... 58 59 61 63 64 66 67 68 69 69 70 71 71 72 72 72 5 Verfremdung während der Klangerzeugung ........................................................................................ 5.1 Singen und Spielen ........................................................................................................................... 5.1.1 Notation........................................................................................................................... 5.1.2 Singen und Spielen im Einklang .................................................................................. 5.1.3 Schwebung....................................................................................................................... 5.1.4 Akkorde ........................................................................................................................... 5.1.5 Polyphonie...................................................................................................................... 5.1.6 Singen und Spielen bei einatmendem Spiel und bei Zirkularatmung........................ 5.2
Mehrklänge........................................................................................................................................ 5.2.1 Doppelfrequenzen/Untertöne...................................................................................... 5.2.2 Komplexe Mehrklänge - Spaltklänge (Split Tones) ................................................... 5.3 Spielen beim Einatmen.................................................................................................................... 5.4 Einfluss von Speichel......................................................................................................................... 5.5 Veränderung des Ansatzes................................................................................................................ 5.5.1 Veränderung der Lippenöfihung .................................................................................. 5.5.2 Veränderung des Lippenkontaktes................................................................................ 5.5.3 Veränderung der Position des Instruments................................................................... 5.6 Spielen aus der Mundhöhle.............................................................................................................. 5.7 Halbventil.......................................................................................................................................... 75 75 77 79 80 80 82 83 84 85 86 90 92 93 93 94 95 96 97 6 Verfremdung nach der
Klangerzeugung................................................................................................. 6.1 Dämpfer ............................................................................................................................................ 6.1.1 Geschlossene Dämpfer................................................................................................... 6.1.1.1 Straight Mute................................................................................................................. 6.1.1.2 Cup Mute....................................................................................................................... 6.1.1.3 Pixi Straight/Short Straight........................................................................................... 6.1.1.4 Practice Mute................................................................................................................. 6.1.1.5 Velvet/Bucket Mute...................................................................................................... 6.1.1.6 Mirliton-Dämpfer.......................................................................................................... 6.1.2 Offene Dämpfer............................................................................................................. 6.1.2.1 Harmon Mute - Wah-Wah Mute .............................................................................. 6.1.2.2 Mel-o-Wah..................................................................................................................... 6.1.2.3 Solotone/Cleartone
...................................................................................................... 6.1.2.4 Plunger........................................................................................................................... 6.1.2.5 Stopfdämpfer................................................................................................................. 6.1.2.6 CD/Zymbel/Papier........................................................................................................ 6.1.2.7 Hand ............................................................................................................................. 6.1.2.8 Hut................................................................................................................................. 100 100 100 100 101 101 101 102 102 102 102 105 106 106 107 107 108 108 4.5 4.6 4.7
9 Contents 4.2 4.3 4.4 Brass instruments as bowed instruments....................................................................................... Brass instruments as percussioninstruments.................................................................................. Aerodynamic sound production.................................................................................................... 4.4.1 Notation......................................................................................................................... 4.4.2 Colouration of air noise................................................................................................ 4.4.3 Slap/tongue ram............................................................................................................ 4.4.4 Notation......................................................................................................................... 4.4.5 Special forms of aerodynamic articulation.................................................................. 4.4.5.1 Kiss noise....................................................................................................................... 4.4.5.2 Tongue click.................................................................................................................. 4.4.5.3 Ghost notes .................................................................................................................. 4.4.5.4 Tongue pizzicato .......................................................................................................... 4.4.5.5 Ghost
notes - flageolet.................................................................................................. Effects of physical sound alteration................................................................................................ Cheek tremolo.................................................................................................................................. Using the voice alone ..................................................................................................................... 58 59 61 63 64 66 67 68 69 69 70 71 71 72 72 72 5 Colouration during sound production.................................................................................................. 5.1 Singing and playing.......................................................................................................................... 5.1.1 Notation.......................................................................................................................... 5.1.2 Singing and playing in unison ...................................................................................... 5.1.3 Beating............................................................................................................................ 5.1.4 Chords............................................................................................................................ 5.1.5 Polyphony ...................................................................................................................... 5.1.6 Singing and playing while inhaling and during circular
breathing............................ 5.2 Multiphonics..................................................................................................................................... 5.2.1 Double frequencies/subharmonics................................................................................ 5.2.2 Complex multiphonics - split tones ........................................................................... 5.3 Playing while inhaling...................................................................................................................... 5.4 The influence of saliva...................................................................................................................... 5.5 Embouchure changes........................................................................................................................ 5.5.1 Changes in lip opening ................................................................................................. 5.5.2 Changing the contact with the lips................................................................................ 5.5.3 Changing the position of the instrument..................................................................... 5.6 Playing from the oral cavity............................................................................................................. 5.7 Half-valve ......................................................................................................................................... 75 75 77 79 80 80 82 83 84 85 86 90 92 93 93 94 95 96 97 6 Sound modulation after the
soundproduction .................................................................................... 6.1 Mutes.................................................................................................................................................. 6.1.1 Closed mutes................................................................................................................. 6.1.1.1 Straight mute ................................................................................................................. 6.1.1.2 Cup mute ..................................................................................................................... 6.1.1.3 Pixie straight/short straight............................................................................................ 6.1.1.4 Practice mute ................................................................................................................. 6.1.1.5 Velvet/bucket mute ...................................................................................................... 6.1.1.6 Kazoo mute ................................................................................................................... 6.1.2 Open mutes................................................................................................................... 6.1.2.1 Harmon mute ֊ wah-wah mute ................................................................................... 6.1.2.2 Mel-o-wah ..................................................................................................................... 6.1.2.3
Solotone/cleartone......................................................................................................... 6.1.2.4 Plunger............................................................................................................................ 6.1.2.5 Stopping mute ............................................................................................................... 6.1.2.6 CD/cymbal/paper.......................................................................................................... 6.1.2.7 Hand .............................................................................................................................. 6.1.2.8 Hat.................................................................................................................................. 100 100 100 100 101 101 101 102 102 Ю2 102 105 106 106 107 107 108 Ю8 4.5 4.6 4.7
10 Inhalt 6.2 6.3 Sonstige Präparationen .................................................................................................................... Dämpfer für andere Instrumente..................................................................................................... 6.3.1 Piccolo-Trompete........................................................................................................... 6.3.2 Flügelhorn ...................................................................................................................... 6.3.3 Posaune .......................................................................................................................... 6.3.4 Horn................................................................................................................................ 6.3.5 Euphonium, Tuba etc...................................................................................................... Instrumentale Dekonstruktion......................................................................................................... 6.4.1 Öffnen der Wasserklappe.............................................................................................. 6.4.2 Entfernen der Ventilzüge.............................................................................................. 6.4.3 Entfernen des Schallbechers.......................................................................................... 6.4.4 Entfernen eines Ventils ................................................................................................ 6.4.5
Spiel auf dem Mundstück.............................................................................................. 6.4.6 Spielen ohne Mundstück.............................................................................................. 6.4.7 Veränderung des Lippenkontakts ֊ Lippensummen allein......................................... 6.4.8 Sonderformen der Dekonstruktion ............................................................................. Elektronische Modulation................................................................................................................ 109 110 110 111 111 111 111 112 112 112 116 116 117 118 118 119 119 7 Zusätzliche Aktivitäten.............................................................................................................................. 7.1 Bewegung ......................................................................................................................................... 7.2 Spiel im Ensemble............................................................................................................................ 7.2.1 Intonation ...................................................................................................................... 7.2.2 Instrumentale Kopplungen............................................................................................ 7.3 Spiel auf mehreren Instrumenten ................................................................................................... 7.4 Exkurs II - Notation
........................................................................................................................ 121 121 122 122 124 126 127 8 Instrumentenbauliche Erweiterungen..................................................................................................... 8.1 Zusätzliche Ventile .......................................................................................................................... 8.2 Bewegliche Züge .............................................................................................................................. 8.3 Zusätzliche Schallbecher.................................................................................................................. 8.4 Nebeninstrumente............................................................................................................................ 8.4.1 Piccolotrompete............................................................................................................. 8.4.1.1 Pedalregister..................................................................................................................... 8.4.1.2 Aerodynamische Klangerzeugung ................................................................................ 8.4.2 Flügelhorn ...................................................................................................................... 8.4.3 Kornett............................................................................................................................ 8.4.4 Barocktrompete
............................................................................................................. 8.4.5 Mappentrompete........................................................................................................... 8.4.6 Ophikleide...................................................................................................................... 8.4.7 Zink................................................................................................................................. 8.4.8 Wagnertuba .................................................................................................................... 8.4.9 Alphorn .......................................................................................................................... 8.4.10 Didgeridoo...................................................................................................................... 8.4.11 Schläuche........................................................................................................................ 130 130 130 131 133 133 135 135 136 137 137 138 139 139 140 140 141 142 9 Kombinationen und Ausblick.................................................................................................................. 143 6.4 6.5 Verzeichnis der Notenbeispiele...................................................................................................................... 147 Allgemeine Notenbeispiele und Notentabellen ...................................................................................... 147 Beispiele der Werke für
Blasinstrumente ................................................................................................ 148 Trackliste ............................................................................................................................................................ 150 Credits 152
11 Contents 6.2 6.3 Other preparations ......................................................................................................................... Mutes on other instruments ........................................................................................................... 6.3.1 Piccolo trumpet ............................................................................................................. 6.3.2 Flugelhom ..................................................................................................................... 6.3.3 Trombone ..................................................................................................................... 6.3.4 Horn................................................................................................................................ 6.3.5 Euphonium, tuba, etc..................................................................................................... Instrument deconstruction ............................................................................................................. 6.4.1 Opening the water key.................................................................................................. 6.4.2 Removing valve slides .................................................................................................. 6.4.3 Removing the bell ......................................................................................................... 6.4.4 Removing a
valve........................................................................................................... 6.4.5 Playing on the mouthpiece............................................................................................ 6.4.6 Playing without the mouthpiece................................................................................... 6.4.7 Changing the contact of the lips ֊ buzzing alone ..................................................... 6.4.8 Special forms of deconstruction.................................................................................... Electronic modulation...................................................................................................................... Ю9 HO HO HI Ш Ill Ш 112 112 112 116 116 117 118 118 119 119 7 Additional activities ................................................................................................................................... 7.1 Movement......................................................................................................................................... 7.2 Playing in ensemble.......................................................................................................................... 7.2.1 Intonation ...................................................................................................................... 7.2.2 Linking instruments....................................................................................................... 7.3 Playing on several
instruments......................................................................................................... 7.4 Excursion II - Notation.................................................................................................................... 121 121 122 122 124 126 127 8 Changes in instrument construction ..................................................................................................... 8.1 Additional valves............................................................................................................................... 8.2 Moveable slides................................................................................................................................. 8.3 Additional bells................................................................................................................................. 8.4 Additional instruments .................................................................................................................... 8.4.1 Piccolo trumpet ............................................................................................................. 8.4.1.1 Pedal range..................................................................................................................... 8.4.1.2 Aerodynamic sound production ................................................................................. 8.4.2 Flugelhom ...................................................................................................................... 8.4.3 Cornet
............................................................................................................................ 8.4.4 Baroque trumpet ........................................................................................................... 8.4.5 Keyed trumpet................................................................................................................ 8.4.6 Ophicleide...................................................................................................................... 8.4.7 Cornetto.......................................................................................................................... 8.4.8 Wagner tuba................................................................................................................... 8.4.9 Alphorn .......................................................................................................................... 8.4.10 Didgeridoo...................................................................................................................... 8.4.11 Hoses .............................................................................................................................. 130 130 130 131 133 133 135 135 136 137 137 138 139 139 140 140 141 142 9 Combinations and outlook...................................................................................................................... 143 6.4 6.5 Index of music examples ................................................................................................................................ 147 General
music examples and music lists.................................................................................................. 147 Examples of the works for brass instruments .......................................................................................... 148 Track list.............................................................................................................................................................. 150 Credits 152
|
| any_adam_object | 1 |
| author | Burba, Malte 1957- Burba, Malte 1957- Hübner, Paul 1985- Hübner, Paul 1985- |
| author2 | Hölszky, Adriana 1953- Costello, Daniel |
| author2_role | aui trl |
| author2_variant | a h ah d c dc |
| author_GND | (DE-588)120330865 (DE-588)1042669295 (DE-588)119321173 (DE-588)119673707X |
| author_facet | Burba, Malte 1957- Burba, Malte 1957- Hübner, Paul 1985- Hübner, Paul 1985- Hölszky, Adriana 1953- Costello, Daniel |
| author_role | cmp aut cmp aut |
| author_sort | Burba, Malte 1957- |
| author_variant | m b mb m b mb p h ph p h ph |
| building | Verbundindex |
| bvnumber | BV046142409 |
| ctrlnum | (OCoLC)1121481026 (DE-599)OBVAC15164820 |
| format | Book |
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| genre | (DE-588)4123623-3 Lehrbuch gnd-content (DE-588)4522869-3 CD gnd-carrier |
| genre_facet | Lehrbuch CD |
| id | DE-604.BV046142409 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T08:36:21Z |
| institution | BVB |
| isbn | 9783765104459 |
| language | German English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-031522629 |
| oclc_num | 1121481026 |
| open_access_boolean | |
| owner | DE-M29 DE-12 DE-1259 |
| owner_facet | DE-M29 DE-12 DE-1259 |
| physical | 154 Seiten Notenbeispiele 30 cm 1 CD (12 cm) |
| psigel | BSB_NED_20191126 |
| publishDate | 2019 |
| publishDateSearch | 2019 |
| publishDateSort | 2019 |
| publisher | Breitkopf & Härtel |
| record_format | marc |
| spelling | Burba, Malte 1957- (DE-588)120330865 cmp aut Modern times for brass experimentelle Spieltechniken auf Blechblasinstrumenten : experimental playing techniques for brass instruments Malte Burba, Paul Hübner ; mit einem Geleitwort von Adriana Hölszky ; englische Übersetzung: Daniel Costello Wiesbaden Breitkopf & Härtel [2019] © 2019 154 Seiten Notenbeispiele 30 cm 1 CD (12 cm) txt rdacontent n rdamedia nc rdacarrier Neue Musik (DE-588)4428235-7 gnd rswk-swf Blechblasinstrumentenspiel (DE-588)4677301-0 gnd rswk-swf Blechblasinstrument (DE-588)4135632-9 gnd rswk-swf Instrumentaltechnik (DE-588)4210400-2 gnd rswk-swf (DE-588)4123623-3 Lehrbuch gnd-content (DE-588)4522869-3 CD gnd-carrier Neue Musik (DE-588)4428235-7 s Blechblasinstrument (DE-588)4135632-9 s Instrumentaltechnik (DE-588)4210400-2 s DE-604 Blechblasinstrumentenspiel (DE-588)4677301-0 s b DE-604 Hübner, Paul 1985- (DE-588)1042669295 cmp aut Hölszky, Adriana 1953- (DE-588)119321173 aui Costello, Daniel (DE-588)119673707X trl Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=031522629&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Burba, Malte 1957- Burba, Malte 1957- Hübner, Paul 1985- Hübner, Paul 1985- Modern times for brass experimentelle Spieltechniken auf Blechblasinstrumenten : experimental playing techniques for brass instruments Neue Musik (DE-588)4428235-7 gnd Blechblasinstrumentenspiel (DE-588)4677301-0 gnd Blechblasinstrument (DE-588)4135632-9 gnd Instrumentaltechnik (DE-588)4210400-2 gnd |
| subject_GND | (DE-588)4428235-7 (DE-588)4677301-0 (DE-588)4135632-9 (DE-588)4210400-2 (DE-588)4123623-3 (DE-588)4522869-3 |
| title | Modern times for brass experimentelle Spieltechniken auf Blechblasinstrumenten : experimental playing techniques for brass instruments |
| title_auth | Modern times for brass experimentelle Spieltechniken auf Blechblasinstrumenten : experimental playing techniques for brass instruments |
| title_exact_search | Modern times for brass experimentelle Spieltechniken auf Blechblasinstrumenten : experimental playing techniques for brass instruments |
| title_full | Modern times for brass experimentelle Spieltechniken auf Blechblasinstrumenten : experimental playing techniques for brass instruments Malte Burba, Paul Hübner ; mit einem Geleitwort von Adriana Hölszky ; englische Übersetzung: Daniel Costello |
| title_fullStr | Modern times for brass experimentelle Spieltechniken auf Blechblasinstrumenten : experimental playing techniques for brass instruments Malte Burba, Paul Hübner ; mit einem Geleitwort von Adriana Hölszky ; englische Übersetzung: Daniel Costello |
| title_full_unstemmed | Modern times for brass experimentelle Spieltechniken auf Blechblasinstrumenten : experimental playing techniques for brass instruments Malte Burba, Paul Hübner ; mit einem Geleitwort von Adriana Hölszky ; englische Übersetzung: Daniel Costello |
| title_short | Modern times for brass |
| title_sort | modern times for brass experimentelle spieltechniken auf blechblasinstrumenten experimental playing techniques for brass instruments |
| title_sub | experimentelle Spieltechniken auf Blechblasinstrumenten : experimental playing techniques for brass instruments |
| topic | Neue Musik (DE-588)4428235-7 gnd Blechblasinstrumentenspiel (DE-588)4677301-0 gnd Blechblasinstrument (DE-588)4135632-9 gnd Instrumentaltechnik (DE-588)4210400-2 gnd |
| topic_facet | Neue Musik Blechblasinstrumentenspiel Blechblasinstrument Instrumentaltechnik Lehrbuch CD |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=031522629&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
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