Rowman & Littlefield Publishers
Trim: 6⅜ x 9¼
978-0-8108-8659-9 • Hardback • July 2014 • $114.00 • (£88.00)
978-1-5381-1458-2 • Paperback • March 2018 • $59.00 • (£45.00)
978-0-8108-8660-5 • eBook • July 2014 • $53.00 • (£41.00)
Matthew Naughtin studied violin performance, theory and composition at Northwestern University and was awarded a Bachelor’s Degree in Music Performance in 1970. He has been the Music Librarian of the San Francisco Ballet Orchestra since 1997 and has also served as Music Librarian of the San Francisco Conservatory of Music, the Colorado Music Festival and the Omaha Symphony. He is also a composer whose original compositions and arrangements for orchestra and chamber ensembles have gained wide recognition.
Part I: How Ballet Works
Chapter 1: The World of Ballet: Choreographers, Ballet Masters, Dancers
Chapter 2: Ballet Structure and Terminology
Chapter 3: The Ballet Company
Chapter 4: The Pianist
Chapter 5: The Conductor
Chapter 6: The Composer
Chapter 7: The Music Librarian
Chapter 8: Music Preparation, Adapting Classic Ballets
Chapter 9: Creating New Ballets
Chapter 10: Licensing, Contracts, Legal Issues
Part II: Repertoire and Reference
Chapter 11: Ballet Repertoire
Chapter 12: Ballet Reference Resources
Appendix 1: Instrumental Abbreviations
Appendix 2: Request for Grand Rights License
Appendix 3: Grand Rights License
Appendix 4: Music Commissioning Agreement
Appendix 5: Joint Music Commissioning Agreement
Appendix 6: Master Use License
Appendix 7: Television and Internet Promotion Master Use License Agreement
About the Author
This wonderful resource looks at the world of ballet from the musicians' viewpoint. Naughtin brings readers inside his daily activities as music librarian for the San Francisco Ballet Orchestra. Part 1, 'How Ballet Works,' begins with an articulate, concise history of the development of ballet and then explains the perplexing differences in the terminology that musicians and dancers often use to communicate. Not uncommonly, the music librarian serves as interpreter between the artistic director and the orchestra conductor. The book includes chapters on the roles and duties of other musicians involved in productions, including the rehearsal pianist. Most valuable to many ballet producers may be the very informative chapter on procuring music, 'Licensing, Contracts, and Legal Issues.' Part 2 consists of an extensive list of ballet repertoires and helpful reference resources, including an index. . . .This book is a valuable resource for anyone in the ballet business, especially musicians. Summing Up: Highly recommended. Professionals/practitioners and general readers.
— Choice Reviews
A one-of-a-kind compilation of the organization, choreography, and scoring of professional dance, Naughtin’s work supplies the school, college, professional, and public library with an insightful survey. A summary of technical terminology explains both the source of integral terms and their application to movement. Samples of notation exemplify the difficulty of coding steps to fit a musical composition. . . . Naughtin concludes with expert reference sources, appendixes on licensing, and indexing. This will be a valuable addition to the arts shelf.
— American Reference Books Annual
This compilation of standard ballets, music used, orchestral resources, available orchestrations and different editions represents a detailed insider knowledge that is invaluable and fascinating to anyone in the business. While parts of this may pique the general interest of ballet audiences they are signs of an authoritative book.
— Dancing Times
This comprehensive listing of ballet repertoire – well over 100 ballets – occupies over half of the book, but although it is probably the main reason that orchestral librarians will want it on their shelves, it is by no means the book’s sole value. . . . The book is to be commended, but perhaps the best commendation is one from personal experience. Before reviewing this book, our conservatoire library had already purchased a copy for our collection, and one of my colleagues thought to borrow it for their own private perusal. It was not to be: a student found it in the catalogue and immediately demanded its return so that they could use it in connection with their own studies! I can envisage the publication being of use to conductors, accompanists and ballet producers – we train all of these – and can commend it to ballet companies, orchestral librarians and conservatoires alike.
— Reference Reviews