Discovering Music Theory is a suite of workbooks and corresponding answer books that offers all-round preparation for the updated ABRSM Music Theory exams from 2020, including the new online papers. This full-colour workbook will equip students of all ages with the skills, knowledge and understanding required for the ABRSM Grade 4 Music Theory exam. Written to make theory engaging and relevant to developing musicians of all ages, it offers: - straightforward explanations of all new concepts - progressive exercises to build skills and understanding, step by step - challenge questions to extend learning and develop music-writing skills - helpful tips for how to approach specific exercises - ideas for linking theory to music listening, performing and instrumental/singing lessons - clear signposting and progress reviews throughout - a sample practice exam paper showing you what to expect in the new style of exams from 2020 As well as fully supporting the ABRSM theory syllabus, Discovering Music Theory provides an excellent resource for anyone wishing to develop their music literacy skills, including GCSE and A-Level candidates, and adult learners.

Bob Dylan's ways with words are a wonder, matched as they are with his music and verified by those voices of his. In response to the whole range of Dylan early and late (his songs of social conscience, of earthly love, of divine love, and of contemplation), this critical appreciation listens to Dylan's attentive genius, alive in the very words and their rewards.

"Fools they made a mock of sin." Dylan's is an art in which sins are laid bare (and resisted), virtues are valued (and manifested), and the graces brought home. The seven deadly sins, the four cardinal virtues (harder to remember?), and the three heavenly graces: these make up everybody's world -- but Dylan's in particular. Or rather, his worlds, since human dealings of every kind are his for the artistic seizing. Pride is anatomized in "Like a Rolling Stone," Envy in "Positively 4th Street," Anger in "Only a Pawn in Their Game" ... But, hearteningly, Justice reclaims "Hattie Carroll," Fortitude "Blowin' in the Wind," Faith "Precious Angel," Hope "Forever Young," and Charity "Watered-Down Love."

In The "New Yorker, Alex Ross wrote that "Ricks's writing on Dylan is the best there is. Unlike most rock critics -- 'forty-year-olds talking to ten-year-olds, ' Dylan has called them -- he writes for adults." In the "Times (London), Bryan Appleyard maintained that "Ricks, one of the most distinguished literary critics of our time, is almost the only writer to have applied serious literary intelligence to Dylan ..."

Dylan's countless listeners (and even the artist himself, who knows?) may agree with W.H. Auden that Ricks "is exactly the kind of critic every poet dreams of finding."

Music Downtown Eastside draws on two decades of research in one of North America's poorest urban areas to illustrate how human rights can be promoted through music. Harrison's examination of how gentrification, grant funding, and community organizations affect the success or failure of human rights-focused musical initiatives offers insights into the complex relationship between culture, poverty, and human rights that have global implications and applicability. The book takes the reader into popular music jams and music therapy sessions offered to the poor in churches, community centers and health organizations. Harrison analyzes the capabilities music-making develops, and musical moments where human rights are respected, promoted, threatened, or violated. The book offers insights on the relationship between music and poverty, a social deprivation that diminishes capabilities and rights. It contributes to the human rights literature by examining critically how human rights can be strengthened in cultural practices and policy.

General music is informed by a variety of teaching approaches and methods. These pedagogical frameworks guide teachers in planning and implementing instruction. Established approaches to teaching general music must be understood, critically examined, and possibly re-imagined for their potential in school and community music education programs. Teaching General Music brings together the top scholars and practitioners in general music education to create a panoramic view of general music pedagogy and to provide critical lenses through which to view these frameworks. The collection includes an examination of the most prevalent approaches to teaching general music, including Dalcroze, Informal Learning, Interdisciplinary, Kodaly, Music Learning Theory, Orff Schulwerk, Social Constructivism, and World Music Pedagogy. In addition, it provides critical analyses of general music and teaching systems, in light of the ways children around the world experience music in their lives. Rather than promoting or advocating for any single approach to teaching music, this book presents the various approaches in conversation with one another. Highlighting the perceived and documented benefits, limits, challenges, and potentials of each, Teaching General Music offers myriad lenses through which to re-read, re-think, and re-practice these approaches.

This is the updated and substantially expanded second edition of Christopher Ballantine's classic Marabi Nights, which offers a fascinating view of the triumphs and tragedies of South Africa's marabi-jazz tradition. Based on conversations with legendary figures in the world of music - as well as a perceptive reading of music, the socio-political history, and social meanings - this book is one of sensitive and impassioned curatorship. New chapters extend the book's in-depth account of the birth and development of South African urban-black popular music. They include a powerful story about gender relations and music in the context of forced migrant labor in the 1950s, a critical study of the legendary Manhattan Brothers that uniquely positions their music and words in relation to the apartheid system, and an account of the musical, political, and commercial strategies of the local record industry. A new afterword looks critically at the place of jazz and popular music in South Africa since the end of apartheid, and argues for the continued relevance of the robust, questioning spirit of the marabi tradition. The book includes an illustrative CD of historic sound recordings that the author has unearthed and saved from oblivion.

The Look of Jazz "David's photographs perfectly illustrate the passion, creativity and commitment of these musicians, and distil the atmosphere of live jazz in dazzling detail." Helen Mayhew, Jazz Broadcaster The Look of Jazz is a collection of 90 photographs of musicians taken by photographer and musician David Harvey. The book includes exclusive interviews with 24 of the featured musicians in which they talk about their own stories, inspirations and views on jazz. The portraits include a cross section of musicians, several of whom are variously club owners, educators, journalists and contribute in different ways to the continuing development of the jazz scene. Among the American and European artists featured are Jerry Bergonzi, Kirk Lightsey, Don Weller, Emilia Martensson, Gareth Lockrane, Julian Siegel, Tristan Mailliot and Nikki Iles alongside other leading figures on the jazz scene. "I have also included some less well-known but amazing players in recognition of their contribution to the jazz tradition," says David. The Look of Jazz includes portraits from two exhibitions of David Harvey's work, In the Moment and One More Time... Journalist, broadcaster and musician Jay Rayner called the first of these "a very lovely exhibition of terrific photographs of jazz musicians."