Blowing music

blowing music in the broader sense covers all music kinds and/or. Style directions, with which predominantly wind instruments are exclusively or used. Thus also Alta belongs musica and to hunting horn ensemble, horn quartet or Blechbläserquintett, the classical Bläserquintett, the harmony music, the Janitscharenmusik, fanfare courses to the blowing music, Brass volume, Italian Banda, the Evangelist trombone choir, band as well as blowing orchestra (Suppan 1994).

Strictly speaking today blowing music is referred also only to that music, which is played by blowing orchestras, whereby here the differences both in occupation and in the playedLiterature are very large. Also the names for the blowing orchestras are very various. Thus one speaks oneself in the German-speaking countries often of blowing chapels, in Switzerland also of harmony orchestras, a term about also in France (Orchestre d'Harmonie) or into thatFinds to the Netherlands (Harmonieorkest). In the English-language area the orchestras call themselves among other things ensemble, Concert volume or Military volume wind.

In the last years numerous orchestras call themselves also “Symphoni blowing orchestras”, “wind Symphonie”, “Symphonic wind (s) (Orchestra)” or “wind Project”.It acts often around military or professional orchestras in addition, of engaged laymen carried Stadtmusiken or selection orchestras, which dedicates themselves to original compositions or qualified working on of classical works or popular music. A characteristic of the “Symphoni blowing orchestras” lies in the fact that all voices of the pieces played in each case alsoMusicians are fully occupied (which at bands often not the case is).

Table of contents

there are 8,2

Fremdsprachige Monographien 9 Armenia

(Russia), since humans on wind instruments play.So the origin of the blowing music can be shifted on the Swabian Alb: Before approximately 36,000 years stone time people on a flute from a Singschwanknochen probably made music in the environment of the Geissenklösterle in Blaubeuren. The flute, which was found there, is considered as the oldest music instrument of Europe.

Horns by nature peoples with religious rites and the trombones of Jericho or the fanfares of the Roman time were used by cattle, shells and other simple wind instruments to witness by the “blowing music nature” in the antiquity.

Forerunner of the blowing music, like it itself in 19. Century developed, is Bläserensemble like the Harmoniemusikenoutgoing 18. Century as well as the Janitscharenmusik, which developed first in the military music after the Turk wars particularly in Austria and South Germany, afterwards in addition, within the civilian range.

The today's occupation of the blowing orchestras develops starting from beginning 19. Century inThrusts, which were caused among other things several events, which affected themselves regionally differently strongly and thus also to different developments led.

1. First konzertanten blowing orchestras developed in the French revolution and were characterized by chorische occupation of the wood and Blechbläserregister as well as a Perkussionsgruppe. AsThey had free air music the task, the large revolution celebrations to support later the “peace celebrations” after the victories Napoleons with music. Numerous blowing orchestras of Southern Germany lead back their origin to this time, in that them used by their monarchs, who were Vasallen Napoleon, for Huldigungsfeiernare.

In this time also marches of well-known composers developed such as Beethovens military march of 1816. Later among other things Antonin Rejcha wrote its “music to celebrate the memory of large men and large occurences” (around 1830) or Hector Berlioz the “Grand Symphonie funèbre et triomphale” (OI. 15; 1840) for the occupation of the French revolution orchestra.

Strassenbläser around 1876

2. With the development of the valves for sheet metal wind instruments (Riedl in Vienna 1832 and Périnet in Paris 1839) adequate chromatic instruments were to the Blechbläsern at the disposal. Thus also registers that could Trumpets and horn instruments to be chorisch occupied and the instruments for the melody guidance be used. In addition the invention of the valves led to the fact that these not only built into the up to then common nature trumpets and - horns, but that completely new instruments were developed. Examples for this are the Saxhörner, the Adolphe Sax in Paris developed. Also in Prussia and Austria on suggestion of Militärkapellmeistern new valve wind instruments - forerunners of tenor horn and Bariton as well as the tuba - were developed.

3. By industrialization and economic upswing in the first half 19. Century were for exampleCities in the situation to create Stadtmusiken. On the British islands there was Industrielle, who itself work chapels, which added forerunners of the Brass volume.

4. The development of the civilian blowing music was determined completely substantially by the Militärmusiken, which advanced on the one hand the optimization of the instrumentsand then also the occupation of the orchestras with this “tried out”. Besides both on the continent and engaged on the British islands zumeiste “retired” military musicians as conductors, who wrote usually also the appropriate literature.

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spreading

the blowing music developed in the German-speaking countries forwardseverything in South Germany, Switzerland, Austria and South Tyrol. They are there particularly organized as associations, can be carried as Stadtmusiken however also of municipalities. Although the blowing music in these areas hatt still a spreading emphasis, there was blowing orchestra already early alsoNorth and West Germany (z. B. Mine chapels).

In Protestant municipalities there are partial trombone choirs in place of the music associations or also beside these.

See also: Blowing music today

today blowing orchestras are

represented sounding

Austria [work on] in actually each larger municipality or city and carry substantially to the culturalLife. Usually as association organized, in particular the youth work is very seriously taken. Either the instrument valley training with teachers from own rows is accomplished or however in co-operation with regional schools of music. Pretty often this training at an instrument serves as jump board for the further musical occupation way.Beyond that so-called selection orchestras make possible (e.g. Circle or national blowing orchestra) the refinement of the instrument valley play. These selection orchestras, which represent the Federal Republic of Germany quite often also abroad on cultural level, form from musicians and musicians of different music associations of a region, those over a certain measure of technical skillin the instrument valley play order.

In regular intervals by the individual Lands of the Federal Republic valuation plays are aligned, to which each blowing orchestra can announce itself and measure with others. It applies to speak a piece of obligation as well as or two compositions of free choice. In order to become fair the Leisungsstand of the individual orchestras, becomethis divided into different stages, which reflect themselves also in the literature. In Germany this organization looks as follows:

Lower level - central stage - upper stage - maximum stage - master stage (this however very rarely)

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occupations

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equipment of the blowing orchestra (harmony occupation)

“Harmony occupation “means actually only that the orchestra is occupied with wood and Blechbläser. Already Mozart set its own works also “on harmony “. The original harmony music was occupied usually only with oboes, clarinets, bassoon and retort bassoon as well as horns.

Those todayusual standard occupation in the Benelux states and Germany as well as with modifications in Austria is down explained. Depending upon piece this can vary further instruments however in the number of voices (from time to time required voices are set in parentheses), depending upon composition to become required.

That thoseOccupation is not rigid, but changes themselves with the time more or less strongly, is clarified by some examples.

  • Into the center 20. Century did not belong the saxophone to the standard occupation of the blowing orchestras.
  • The tenor saxophones are doubly occupied mostly only with such works, thosestylistic toward dance music or jazz go. Internationally gradually quartet occupation succeeds alto, alto, tenor, Bariton in this register.
  • The tenor horn is only instrumented in the last decades in many pieces with a voice (those is occupied several times unisono) howthe tenor horn as instrument is replaced gradually from the Euphonium. Also saxophones take over often their melody.
  • Before thirty years the still usual round built old horns into it, which were used particularly as Begleitinstrumente, are today (not to the disadvantage of the blowing music!) nearly disappeared.
  • On the other handtoday practically in all blowing orchestras Waldhörner are used, which were hardly common before 30 years here. In marches they replace the consulting of the old horns. Beyond that they received in the instrumenting however one to more and more outstanding meaning at expense of the tenor horns.

Besides givesit regionally and/or. national more or less large differences in occupation.

Besides in individual compositions instruments are demanded, which do not correspond to the standard occupation of the Symphoni blowing orchestra. Examples for this are:

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composerfor blowing music

in a separate list composers are summarized, who created works for blowing music.

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literature

the literature, i.e. the note material, for blowing orchestras can be divided into different categories:

Here

it concerns original compositions works, those particularly for the ochestra blowing orchestrawere composed.

Transkriptionen

under Transkriptionen understands working on about works for other instrument act ions, which were worked on for blowing orchestras. Often play ways, straight if it working on sinfonischer works concerns, simplified. (if e.g. a Violin voice is taken over by clarinets). Also kinds of clay/tone are changed if necessary, there Bb-Tonartenfor blowing orchestras) arrangements are

more compatible

usually than composition (Medley, Potpouri) of well-known melodies (often also film music or classical works) form for arrangements a substantial component of the today's Blasmusikrepertoirs.

Popular compositions

popular are called original blowing music compositions of the people music. In addition, pieces of smaller ensembles (Egerländer, Oberkrainer, etc.) becomefor blowing orchestras works on.


Occupation and the performance level (Stufeneinteilung) are considered likewise. Straight in the range lower level and central stage the music pieces with optional voices are very often supplied, so that they are playable with smallest occupation already. Starting from upper stage however, particularly with sinfonischer blowing music, become also“Exoten” like bass clarinet or bassoon, in addition, retort bass clarinet/bassoon or bass saxophone, to a substantial component of the composed total sound. For child and youth orchestras, with whom occupation is often incomplete, it gíbt likewise good literature. Here pieces of four to eight stimmig and are set for rhythm voice. With this so-calledParts can be played each individual voice by each instrument of suitable being correct situation. So each young musician can play a part, which corresponds to its performance level.

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reference books and overall displays

  • cutter, Willy (Hrsg.): Manual of the blowing music. Extended revised version. Bulkhead, Mainz and others 19862, ISBN 3-7957-2814-2
  • WolfgangSuppan (Hrsg.):Blowing music research since 1966. A bibliography. Cutter, Tutzing 2003, ISBN 3-7952-1138-7
  • Wolfgang Suppan (Hrsg.): Encyclopedia of the blowing music nature (starting from 3. Edition as the new encyclopedia of the blowing music nature). Schulz, Freiburg in mash gau
  • Christoph Hellmut Mahling, Kristina Pfarr, Karl Böhmer (Hrsg.): To the harmony music and their history. Mansion Musica, Mainz 1999, ISBN 3-9802-6655-9
  • Gottfried Veit: The blowing music - study of the historical development of the blown music federation south animal oiler bands,Bozen. 1972. 97 S.
  • Friedrich forest man: Blowing and march music in the Federal Republic of Germany on records/CDs 1946 to 2002. 8. Edition. Forest man, Niederstetten 2004, ISBN 3-932040-87-2 (clay/tone carrier listing)
  • Doss, Thomas: Instrumentation for sinfonisches blowing orchestra. Rundel publishing house 2005, ISBN 3-9808991-0-1
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Monographien

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Monographien in German language

  • Ruhr, Peter: The blowing musician. Studies for history and today's structure of the blowing music in the area southof Baden. University publishing house, Freiburg in mash gau the 1982, ISBN 3-8107-2167-0
  • Suppan, Wolfgang (1983): Blowing music in bathing. History and presence of a steeped in tradition blowing music landscape. 704 S. Schulz publishing house Freiburg. ISBN 3-923058-02-0
  • Tobischek, harsh ore (1977): The bass drum - their play and structural development of the modern times. ISBN of 3-7952-0204-3
  • Toeche intermediaries, Joachim (1971): Army marches, 1. Part - a historical gossip between Regimentsmusiken and Trompeterkorps approximately around the German march music. Briefly Vowinckel publishing house Neckargemünd.
  • Toeche intermediary, Joachim(1977):Army marches, 2. Part - the army march collection. The regiments with indication of their presentation and parade marches. Composer encyclopedia. 2. Aufl. Briefly Vowinckel publishing house Neckargemünd.
  • Toeche intermediary, Joachim (1975): Army marches, 3. Part - the history of our march music. Briefly Vowinckel publishing house Neckargemünd.
  • Old person castle, Johann Ernst (1972): Attempt of oneGuidance for the heroisch musical trompeter and Paukerkunst - facsimile of the expenditure of 1795. 1. Aufl. VEB German publishing house for music, Leipzig
  • Zurmühle, Otto (1950): The blowing music conductor - a manual for the practical and theoretical training of the blowing music conductor. 3. supplemented Aufl. Publishing house Emil rest Adliswil/Switzerland.
  • Swiss federal music federation (1987):125 years Swiss federal music federation - our blowing music in history and present 1862 to 1987. Swiss federal music federation, Domat/Ems (Switzerland)
  • German, walter: The large Niederösterreichi blowing music book - with honour board of the Niederösterreichi blowing bands Brandstätter, Vienna. 1982. 431 S. ISBN 3-5447-001-0
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Fremdsprachige Monographien

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Armenia (Russia)

  • Chatschaturjan, Aram: Sobranie socinenij - v dvadcati cetyrech tomach. T. 23, Proizvedenija dija duchovogo orkestra. Muzyka, Moskva. 1985. 293 S.
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Japan

  • Isao Matsushita, Hsu Tsang Houel, Jose Maceda: Asian Composers into the 20th CenturyJapan Federation OF Composers Inc. /Asian Composers League. 2000.
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the Netherlands

  • Becx, Caspar and Paques, Loek (1989): Componisten EN hun Blaasmuziek. SAMO Nederland, Utrecht/the Netherlands. ISBN 90-70628-16-3
  • Goossens, Leon and Roxburgh, Edwin: Hobo (oboe). Macdonald at Jane's, London 1977 (Netherlands: A.J.G. Strengholt's Boeken,Naarden 1980, ISBN 90-6010-504-4)
  • van Yperen, Rocus: De Nederlandse Militaire Muziek. Van Dishoeck, Van Holkema & Warendorf N.V. Bussum Nederland. 1966.
  • van de Weyer, H.J.M., Creusen, A.J.: Wereld Muziek Concours - Kerkrade Nederland 4. July - 27. July 1981. Stichting Wereld Muziek ConcoursKerkrade, Kerkrade/the Netherlands.
  • van de Weyer, H.J.M., Creusen. A.J.: 10e Wereld Muziek Concours - Kerkrade Nederland 5. July - 28. July 1985. Stichting Wereld Muziek Concours Kerkrade, Kerkrade/the Netherlands
  • Creusen, A., Ogrinc, M., Reumkens, H., Sprokel, F.: 11e Wereld Muziek Concours - Kerkrade Nederland30. June - 23. July 1989. Stichting Wereld Muziek Concours Kerkrade, Kerkrade/the Netherlands.
  • Creusen. A., Reumkens, H.: 12e Wereld Muziek Concours - Kerkrade Nederland 1. July - 25. July 1993. Stichting 'Wereld Muziek Concours Kerkrade, Kerkrade/the Netherlands.
  • Creusen. A., Reumkens, H.: 15e WereldMuziek Concours - Kerkrade Nederland 7. July - 31. July 2005. Stichting Wereld Muziek Concours Kerkrade, Kerkrade/the Netherlands.
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Sweden

  • Jacobson, stairs and Peterson, Hanns Gunnar: Swedish Composers OF the 20th Century. Third edition. The Society OF Swedish Composers and Swedish musicInformation center, Stockholm 1993.ISBN 91-85470-94-5
  • Rudén, January Olof: Swedish music for wind ensemble and wind volume Swedish music information center, Stockholm 1996.
  • Rudén, January Olof: Swedish music for Reeds Swedish music information center, Stockholm 1996.
  • Rudén, January Olof: Swedish music for Brass Swedish musicInformation center, Stockholm 1996.
  • Andersson one, Greger: Och i park konserterar - ett bidrag till frågan COM blåsmusikens nationalkaraktär Svenskhet i/Holger Larsen musiken, talk. Stockholm: Musikvetenskapliga inst. Stockholm univ. 1993. ISBN 91-972063-0-X
  • Olander, Sven: Blåsandet i Göteborg - och fierstädes of O'Gram, Göteborg. 1991.108 S.
  • Janson, Leif A.: The wind volume into the History OF Swedish music. Swedish music information center, Stockholm. 1991. ISBN 91-85470-74-0
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Spain

  • Bernado Adam Ferrero: Bandas de música EN read el mundo. Sol editorial, Madrid. 1986.
  • Amando Blanquer Ponsoda: Análisis de la Forma musical. Piles Editorial de Musica S.A., Valencia. 160 p.
  • Amando Blanquer Ponsoda: Técnica del Contrapunto. Material musical S.A., Madrid.
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United States of America

  • Hansen, smelling pool of broadcasting corporations K.: The American wind volume: A Cultural History. Chicago, Illinois:GIA Publications, 2005. 503 p.ISBN of 1-57999-467-9
  • children, Keith: Best music for Chorus and of wind. Brooklyn: New York. Manhattan Beach music, 2005. ISBN 0-931329-12-4
  • Camphouse, Marks: Composers on composing for volume. 2 volumes. Chicago. Illinois; GIA Publications, Inc. 2002 and 2004; ISBN 1-57999-195-5 and ISBN 1-57999-385-0
  • Battisti, franc L.: Wind OF CHANGE - The evolution OF the Contemporary American wind volume/ensemble and its Conductor Meredith music Publications. 2002 ISBN 0-634-045229-X
  • Battisti, franc L.: The Twentieth Century American wind volume/ensemble: History, development and Literature. Meredith music Pubns; 1stOD., September. 1995. 174 p.ISBN 1-57463-002-4
  • Dvorak, Thomas and Grechesky, Robert: Best music for High School volume R. & G. Ciepluch. Brooklyn, NY: Manhattan Beach. 1986.
  • Goldman, smelling pool of broadcasting corporations Franko: The wind volume - its Literature and Technique. Greenwood press, west haven, Conn. 1974.Facsimile from the 1st edition (Allyn and Bacon) 1961. 286 p.ISBN 0-8371-7200-4
  • Grainger, Percy Aldridge: Irish Tune from County Derry. Schirmer Books. 12 p. ISBN 0-79355-211-7
  • Garofalo, Robert and Battisti, Frank L.: Lead and Inspire: A Guide ton of Expressive Conducting Silver jumpMD: Whirlwind music Publications. 2005. 172 p.
  • Garofalo, Robert J.: Improving Intonation in volume and Orchestra Perfomance 1st edition. Meredith music Publications, Ft. Lauderdale, Florida. 1996. 87 p. ISBN 1-57463-014-8
  • Garofalo, Robert and Battisti, Frank L.: Guide ton of Score Study for the wind volume ConductorMeredith music Publications. 1990.
  • Garrido, Glenn Rafael: Conducting, teaching, and interpreting three selected contemporary wind bound works by Latin American composers (Venezuela, Argentina, Colombia, Gonzalo Castellanos Yumar, Vicente Moncho, blow Emilio Atehortua). University OF Florida. 2000. 286 pages
  • Salzman, Timothy: A Composer's Insight: Thoughts, analysisand Commentary on Contemporary Masterpieces for wind volume. 2 volumes. ISBN 0-634-05827-4 and ISBN 1-57463-034-2
  • Simmons, walter: Voices into the Wilderness: Six American Neo romance Composers Scarecrow press. 2004; 432 p. ISBN 0-8108-4884-8
  • Smith, Norman and Stoutamire, Albert: Music Notes bound - Composer information andProgram Notes for more over 600 volume Favorites. Revised edition 1979. Kjos west/Neil A. Kjos, Jr., Publisher, 4382 Jutland drive, San Diego, California 92117 United of State of OF America. ISBN of 0-8497-5401-1
  • Wagner, Alan D.: A bio Bibliography OF Composer Warren Benson. The Edwin Mellen press, Lewiston,NY, THE USA. 2005. 415 p.ISBN 0-7734-6241
  • Whitwell, David: History and Literature OF the wind volume and wind ensemble: The wind volume and wind ensemble before 1500. Volume 1. Wind: Northridge, APPROX. 1982.
  • Whitwell, David: History and Literature OF the wind volume and windEnsemble: The Renaissance wind volume and wind ensemble. Volume 2. Wind: Northridge, APPROX. 1982.
  • Whitwell, David: History and Literature OF the wind volume and wind ensemble: The Baroque wind volume and wind ensemble. Volume 3. Wind: Northridge, APPROX. 1982.
  • Whitwell, David: History and LiteratureOF the wind volume and wind ensemble: The Classic wind volume and wind ensemble. Volume 4. Wind: Northridge, APPROX. 1983.
  • Whitwell, David: History and Literature OF the wind volume and wind ensemble: The 19th Century wind volume and wind ensemble. Volume 5. Wind: Northridge, APPROX.1983.
  • Whitwell, David: History and Literature OF the wind volume and wind ensemble: A Catalog OF multi-part instrument valley music for wind of instrument or for Undesignated instrumentation before 1600. Volume 6. Wind: Northridge, APPROX. 1983. 132 p.
  • Whitwell, David: History and Literature OF the windAnd wind ensemble bound: A Catalog OF Baroque multi-part instrument valley music for wind of instrument or for Undesignated instrumentation. Volume 7. Wind: Northridge, APPROX. 1983.
  • Whitwell, David: History and Literature OF the wind volume and wind ensemble: Wind volume and wind ensemble Literature OF theClassic Period. Volume 8. David Whitwell. Wind: Northridge, APPROX. 1983. 396 p.
  • Whitwell, David: History and Literature OF the wind volume and wind ensemble: Wind volume and wind ensemble Literature OF the 19th Century. Volume 9. David Whitwell. Wind: Northridge, APPROX. 1984. 582p.
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publication rows

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“Alta Musica”

publication row of the international society for the study and promotion of the blowing music (IGEB). Given change by Wolfgang Suppan and Eugen Brixel. All volumes are published in the publishing house Hans cutter, Tutzing.

  • Volume 1 - 1976 - report on thosefirst international trade conference for the study and promotion of the blowing music Graz 1974. Hrsg. v. Wolfgang Suppan, ISBN 3-7952-0172-1
  • volume 2 - Emil RAM ice: The Austrian military music - from their beginnings to the year 1918. 2. Aufl., ISBN 3-7952-0174-8
  • volume 3 - 1978 - HelmutMoog:Wind instruments with handicapped ones. ISBN 3-7952-0254-X
  • volume 4 - 1979 - report on the second international trade conference for the study of the blowing music Uster/Switzerland 1977. Hrsg. v. Wolfang Suppan. ISBN 3-7952-0277-9
  • volume 5 - 1979 - David Whitwell: Music OF bound the French revolution. ISBN 3-7952-0276-0
  • volume 6 - 1982 - Armin Suppan: Repertory of the marches for blowing orchestras - part of 1. ISBN 3-7952-0333-3
  • volume 7 - 1984 - report on the fourth international trade conference for the study of the blowing music Uster/Switzerland 1981. Hrsg. v. Eugen Brixel. ISBN 3-7952-0435-6
  • volumeblow-rang out to 8 - 1985 - and wind instruments in the work smelling pool of broadcasting corporations of Wagners - congress report Segga/Austria 1983. Hrsg. v. Wolfgang Suppan. ISBN 3-7952-0445-3
  • volume 9 - 1985 - Johann Joseph Fux and the baroque Bläsertradition - congress report Graz/Austria 1985. Hrsg. v. Bernhard Habla. ISBN 3-7952-0494-1
  • Volume 10 - 1987 - Wolfgang Suppan:Compose for amateurs - Ernest Majo and the development of the blowing orchestra composition. ISBN 3-7952-0528-X
  • volume 11 - 1990 - John C. Mitchell: From Kneller resound ton to Hammersmith: The volume Works OF Gustav gets. ISBN 3-7952-0620-0
  • volume 12- 1990 - Bernhard Habla:Occupation and instrumentation of the blowing orchestra since the invention of the valves for sheet metal wind instruments up to the Second World War in Austria and Germany. ISBN 3-7952-0643-X
  • volume 13 - 1990 - Armin Suppan: Repertory of the marches for blowing orchestras - part of 2. ISBN 3-7952-0658-8
  • volume of 14 - 1992 - congress reports upper contactor/castle country 1988 - rave-laugh/South Tyrol 1990. Hrsg. v. Bernhard Habla. ISBN 3-7952-0698-7
  • volume 15 - 1993 - Heinrich Zwittkovits: The care of the civilian blowing music in the castle country - in the mirror of the general historical development (with special consideration thatIntermediate wartime). ISBN 3-7952-0739-8
  • volume 16 - 1994 - congress report Feldkirch/Vorarlberg 1992. Hrsg. v. Wolfgang Suppan. ISBN 3-7952-0793-2
  • volume 17 - 1995 - Joseph Manfredo: Influences on the development OF the instrumentation OF the American Collegiate wind volume and Attempts for Standardization OF the instrumentationfrom 1905 - 1941. ISBN 3-7952-0833-5
  • volume 18 - 1996 - congress report Abony/Hungary 1994. Hrsg. v. Wolfgang Suppan. ISBN 3-7952-0847-5
  • volume 19 - 1997 - Josef Pöschl: Hunt music - continuity and development of European history. ISBN 3-7952-0910-2
  • volume 20 - 1998- Congress report Mainz 1996. Hrsg. v. Eugen Brixel. ISBN 3-7952-0942-0
  • volume 21 - 1998 - Adolf Marold: Play in small group of Bläserkammermusik with special consideration of musical-educational and sociological aspects. ISBN 3-7952-0981-1
  • volume 22 - 2000 - congress report Banská Bystica/Slowakei 1998. Hrsg.v. Armin Suppan.ISBN 3-7952-1031-3
  • volume 23 - 2002 - smelling pool of broadcasting corporations Scott Cohen: The musical Society Community of volume OF Valencia, Spain - A global Study OF Their administration, instrumentation, repertoire and Perfomance Activities. ISBN 3-7952-1084-4
  • volume of 24 - 2003 - congress reports bath Waltersdorf/Steiermark 2000- Lana/South Tyrol 2002. Hrsg. v. Bernhard Habla. ISBN 3-7952-1127-1
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magazines

  • Clarino
  • WASBE new type character
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Web on the left of

 

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