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[null,"1.","Record Nr.",null,"UNINA9910459693803321"]
[null,null,"Autore",null,"Schuller Gunther"]
[null,null,"Titolo",null,"The compleat conductor [[electronic resource] /] / Gunther Schuller"]
[null,null,"Pubbl/distr/stampa",null,"New York ; ; Oxford, : Oxford University Press, 1998"]
[null,null,"ISBN",null,"1-283-09809-1"]
[{"$nulls":4},"9786613098092"]
[{"$nulls":4},"0-19-977483-8"]
[null,null,"Descrizione fisica",null,"1 online resource (584 p.)"]
[null,null,"Disciplina",null,"781.45"]
[null,null,"Soggetti",null,"Conducting"]
[{"$nulls":4},"Orchestral music - Interpretation (Phrasing, dynamics, etc.)"]
[{"$nulls":4},"Electronic books."]
[null,null,"Lingua di pubblicazione",null,"Inglese"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,null,"Note generali","Description based upon print version of record."]
[null,null,null,"Nota di bibliografia","Discography: p. 549-561."]
[{"$nulls":4},"Includes bibliographical references and index."]
[null,null,"Nota di contenuto",null,"Cover; Contents; Preface; PART I; A Philosophy of Conducting; PART II; A History of Conducting; PART III; Beethoven: Fifth Symphony; Beethoven: Seventh Symphony; Brahms: First Symphony; Brahms: Fourth Symphony; Strauss: Till Eulenspiegel; Ravel: Daphnis et Chloé Second Suite; Schumann: Second Symphony; Tchaikovsky: Sixth Symphony; Postscript; Afterword; Discography; Index; A; B; C; D; E; F; G; H; I; J; K; L; M; N; O; P; Q; R; S; T; V; W; Y; Z"]
[null,null,null,"Sommario/riassunto","A world-renowned conductor and composer who has lead most of the major orchestras in North America and Europe, a talented musician who has played under the batons of such luminaries as Toscanini and Walter, and an esteemed arranger, scholar, author, and educator, Gunther Schuller is without doubt a major figure in the music world. Now, in The Compleat Conductor, Schuller has penned a highly provocative critique of modern conducting, one that is certain to stir controversy. Indeed, in these pages he castigates many of this century's most venerated conductors for using the podium to indulge thei"]