Ruth Gipps was one of the most fascinating women in the music world in England during the 20th century. She was a true pioneer as a composer and performer -- she founded and conducted the Portia Wind Ensemble, a chamber music group comprised entirely of women that provided an important outlet for composers throughout the past fifty years. Seascape is a lovely work for ten players (with Winther's optional double bass addition) that must become part of every wind conductor's repertoire! For Double Woodwind Quintet with Optional String Bass.

Ruth Gipps was one of the most fascinating women in the music world in England during the 20th century. She was a true pioneer as a composer and performer -- she founded and conducted the Portia Wind Ensemble, a chamber music group comprised entirely of women that provided an important outlet for composers throughout the past fifty years. Seascape is a lovely work for ten players (with Winther's optional double bass addition) that must become part of every wind conductor's repertoire! For Double Woodwind Quintet with Optional String Bass.

Ruth Gipps was one of the most fascinating women in the music world in England during the 20th century. She was a true pioneer as a composer and performer -- she founded and conducted the Portia Wind Ensemble, a chamber music group comprised entirely of women that provided an important outlet for composers throughout the past fifty years. Seascape is a lovely work for ten players (with Winther's optional double bass addition) that must become part of every wind conductor's repertoire! For Double Woodwind Quintet with Optional String Bass.

Ruth Gipps was one of the most fascinating women in the music world in England during the 20th century. She was a true pioneer as a composer and performer -- she founded and conducted the Portia Wind Ensemble, a chamber music group comprised entirely of women that provided an important outlet for composers throughout the past fifty years. Seascape is a lovely work for ten players (with Winther's optional double bass addition) that must become part of every wind conductor's repertoire! For Double Woodwind Quintet with Optional String Bass.

Wind chamber music has become an important part of the contemporary wind band program during the past half century, and now a most complete reference text has been written to provide any and all necessary information concerning repertoire. Winther lists over 500 works by instrumentation and provides guidance on timings, difficulty level, publisher sources, available recordings and his own insight into rehearsing and programming each individual work. This book will soon be required reading for every wind conductor and performer!

For the flutist wishing to perform music composed by women, this annotated catalog will come as a most welcome addition to the numerous flute bibliographies now available. Boenke has spent four years gleaning all possible sources to come up with several hundred listings of composers from three centuries and 40 different countries. When the information is available, she lists publisher and the OCLC system record number after the routinely listed title and instrumentation. In addition to the alphabetical listing are indexes for instrumentation, title, publisher, and composer. A short list of sources is heavy on LC and NUC catalogs as well as the several standard sources on women in music. This volume could serve as an example for instrument-specific music bibliographies. For flutists it is priceless. Choice This book, an alphabetical listing of flute music by women composers, provides ready access to flute music that is published or available in manuscript form. Unlike any previous handbook of the flute repertoire, it is devoted entirely to the works of women, the vast majority of whom are not mentioned in the standard catalogs of flute literature. A carefully compiled study, the volume examines the quantity, variety, and scope of women's work in this genre and includes composers from more than forty countries, spanning three centuries. It contains works for solo flute, duets, flute and piano, concertos, woodwind quintets, other chamber ensembles, or any work that employs soloistic use of the flute. It also provides biographical information on the composers, publishers, availability of works, and annotations on the works themselves. All compositions are indexed by title and by instrumentation, and publishers and contemporary composers are listed with current addresses, to facilitate the ordering of music. The first published volume of its kind, this unusual work will draw attention to valuable and unknown repertoire in this genre and provide the opportunity for women's works to be heard more often. It will be useful in all university music libraries and conservatories, and it will be a valuable resource for professional flutists, teachers of flute, and researcher in women's studies.

The book provides a historical survey of the wind band’s music and denotes how historical and cultural developments have influenced it over the course of time. Although the modern wind band developed first in the 19th century, it has its roots in the wind music of ancient times, and music survives that has been composed since the Middle Ages. Therefore, this book covers the music from that time to the present, including the dance music of the Renaissance, the Harmoniemusik of the Classical Period, and the nationalistic music of the Romantic Period, as well as the major wind band repertoire developed after 1900.