Nearly 50 of the most popular folk songs of our time, including: Blowin' in the Wind * The House of the Rising Sun * I Ain't Marching Anymore * If I Had a Hammer (The Hammer Song) * Jamaica Farewell * Kum Ba Yah * Man of Constant Sorrow * Puff the Magic Dragon * Scarborough Fair/Canticle * Sunshine on My Shoulders * This Land Is Your Land * Time in a Bottle * The Times They Are A-Changin' * Turn! Turn! Turn! (To Everything There Is a Season) * The Unicorn * Where Have All the Flowers Gone? * and more.

This convenient publication in Schirmer's Library of Musical Classics collects Mozart's most often-played violin concertos in one affordable volume.

(Piano/Vocal/Guitar Artist Songbook). Over 50 songs from Joel's first 5 albums now revised to include all the songs from Cold Spring Harbor. Songs include: The Entertainer * Honesty * Just The Way You Are * Movin' Out (Anthony's Song) * Say Goodbye To Hollywood * The Stranger * Vienna * and more.

Fresh perspectives on teaching and evaluating music performance in higher education are offered in this book. One-to-one pedagogy and Western art music, once default positions of instrumental teaching, are giving way to a range of approaches that seek to engage with the challenges of the music industry and higher education sector funding models of the twenty-first century. Many of these approaches - formal, informal, semi-autonomous, notated, using improvisation or aleatory principles, incorporating new technology - are discussed here. Chapters also consider the evolution of the student, play as a medium for learning, reflective essay writing, multimodal performance, interactivity and assessment criteria. The contributors to this edited volume are lecturer-practitioners - choristers, instrumentalists, producers and technologists who ground their research in real-life situations. The perspectives extend to the challenges of professional development programs and in several chapters incorporate the experiences of students. Grounded in the latest music education research, the book surveys a contemporary landscape where all types of musical expression are valued; not just those of the conservatory model of decades past. This volume will provide ideas and spark debate for anyone teaching and evaluating music performance in higher education.

Following the earlier volumes in the Studies in Musical Genesis and Structure series, Mahler's Fourth Symphony is a study of origins of one of Mahler's most popular and accessible works. James Zychowicz examines how the composition evolved from the earliest ideas to the finished score, and in doing so sheds new light on Mahler's working process.

(Yorktown). This is the definitive work on consummate piano teaching. Edited by world-renowned piano pedagogue Denes Agay, this comprehensive volume covers a wide range of musical styles and concepts, coaching processes, and teaching materials. As well as exploring every possible technical aspect of teaching piano, the book contains a great deal of commonsense advice on communicating with pupils, encouraging good behavior, and establishing a genuinely creative teacher/pupil relationship. Twelve distinguished contributing authors cover topics that include instilling performance and keyboard skills; teaching both young children and adult beginners; designing teaching programs for handicapped students; giving group piano classes; organizing and presenting recitals; and more.

In the 1930s swing music was everywhere-on radio, recordings, and in the great ballrooms, hotels, theatres, and clubs. Perhaps at no other time were drummers more central to the sound and spirit of jazz. Benny Goodman showcased Gene Krupa. Jimmy Dorsey featured Ray McKinley. Artie Shaw helped make Buddy Rich a star while Count Basie riffed with the innovative Jo Jones. Drummers were at the core of this music; as Jo Jones said, "The drummer is the key-the heartbeat of jazz." An oral history told by the drummers, other musicians, and industry figures, Drummin' Men is also Burt Korall's memoir of more than fifty years in jazz. Personal and moving, the book is a celebration of the music of the time and the men who made it. Meet Chick Webb, small, fragile-looking, a hunchback from childhood, whose explosive drumming style thrilled and amazed; Gene Krupa, the great showman and pacemaker; Ray McKinley, whose rhythmic charm, light touch, and musical approach provided a great example for countless others, and the many more that populate this story. Based on interviews with a collection of the most important jazzmen, Drummin' Men offers an inside view of the swing years that cannot be found anywhere else.

An engaging window into a century of musical life, as seen in the history of the Pro Arte String Quartet, first organized in 1912 and still performing today. First organized in Brussels in 1912 by precocious young Belgian musicians, the Pro Arte String Quartet has survived two world wars and is still performing more than a century later -- a durability unique in the annals of such ensembles. Its membership has included such extraordinary musicians as founding first violinist Alphonse Onnou and his successor, Rudolf Kolisch. The Pro Arte was the first string quartet to be affiliated with an American university,a significant and much-imitated status, and the group continues to function in residence at the University of Wisconsin. This book traces the Pro Arte Quartet's history from its beginnings to the present, highlighted byportraits of the diverse, fascinating, and colorful personalities, musicians and others, who have been a part of that history. The phases of its repertoires are analyzed, and the legacy of its recordings, many of pioneering significance, is reviewed. As a whole, the volume offers a panoramic window into a century of musical life. John W. Barker is Emeritus Professor of History at the University of Wisconsin-Madison. He is the author of Wagner and Venice (2008) and Wagner and Venice Fictionalized: Variations on a Theme (2012), both available from the University of Rochester Press.

If you're about to be stranded on a desert island and you can only take your guitar and one songbook with you, make sure it's The Guitar Tab White Pages! This incredible second edition contains 150 note-for-note transcriptions straight from the original recordings - over 1,000 pages of guitar tab! The primo songlist covers some of the best guitar songs ever from all styles of music. Songs include: All Day and All of the Night * American Woman * Change the World * Cliffs of Dover * Couldn't Stand the Weather * Dani California * Don't Fear the Reaper * Dust in the Wind * Free Ride * Gloria * Heartache Tonight * Hey Joe * Layla * Longer * Moonlight in Vermont * Mr. Jones * Name * Owner of a Lonely Heart * Papa's Got a Brand New Bag * Piece of My Heart * Rhiannon * Satin Doll * Sir Duke * The Space Between * Sunday Bloody Sunday * Sweet Child O' Mine * Time for Me to Fly * What I Like About You * You Give Love a Bad Name * You Were Meant for Me * and more! The table of contents lists songs both alphabetically by title and by artist. The largest collection ever of authentic guitar transcriptions!

Chelsea Morning * Both Sides Now * Big Yellow Taxi * Woodstock * Free Man in Paris * Raised on Robbery * Chinese Cafe and more. Thirty-one songs in all.

'This is a remarkable and important book: impeccably scholarly yet very readable, brimming with ideas and thoroughly engaging. It will be much enjoyed by musicians with any interest in the early violin or in English music of the 16th and 17th centuries.' Paul Doe in Early Music

Music in Ancient Greece and Rome provides a comprehensive introduction to the history of music from Homeric times to the Roman emperor Hadrian, presented in a concise and user-friendly way. Chapters include:
* contexts in which music played a role
* a detailed discussion of instruments
* an analysis of scales, intervals and tuning
* the principal types of rhythm used
* and an exploration of Greek theories of harmony and acoustics.
Music in Ancient Greece and Rome also contains numerous musical examples, with illustrations of ancient instruments and the methods of playing them.

In this book, the contributors reconsider the fundamentals of Music as a university discipline by engaging with the questions: What should university study of music consist of? Are there any aspects, repertoires, pieces, composers and musicians that we want all students to know about? Are there any skills that we expect them to be able to master? How can we guarantee the relevance, rigour and cohesiveness of our curriculum? What is specific to higher education in music and what does it mean now and for the future? The book addresses many of the challenges students and teachers face in current higher education; indeed, the majority of today's music students undoubtedly encounter a greater diversity of musical traditions and critical approaches to their study as well as a wider set of skills than their forebears. Welcome as these developments may be, they pose some risks too: more material cannot be added to the curriculum without either sacrificing depth for breadth or making much of it optional. The former provides students with a superficial and deceptive familiarity with a wide range of subject matter, but without the analytical skills and intellectual discipline required to truly master any of it. The latter easily results in a fragmentation of knowledge and skills, without a realistic opportunity for students to draw meaningful connections and arrive at a synthesis. The authors, Music academics from the University of Glasgow, provide case studies from their own extensive experience, which are complemented by an Afterword from Nicholas Cook, 1684 Professor of Music at the University of Cambridge. Together, they examine what students can and should learn about and from music and what skills and knowledge music graduates could or should possess in order to operate successfully in professional and public life. Coupled with these considerations are reflections on music's social function and universities' role in public life, concluding with the conviction that a university education in music is more than a personal investment in one's future; it contributes to the public good.

Practicing Music by Design: Historic Virtuosi on Peak Performance explores pedagogical practices for achieving expert skill in performance. It is an account of the relationship between historic practices and modern research, examining the defining characteristics and applications of eight common components of practice from the perspectives of performing artists, master teachers, and scientists. The author presents research past and present designed to help musicians understand the abstract principles behind the concepts. After studying Practicing Music by Design, students and performers will be able to identify areas in their practice that prevent them from developing. The tenets articulated here are universal, not instrument-specific, borne of modern research and the methods of legendary virtuosi and teachers. Those figures discussed include: Luminaries Franz Liszt and Frederic Chopin Renowned performers Anton Rubinstein, Mark Hambourg, Ignace Paderewski, and Sergei Rachmaninoff Extraordinary teachers Theodor Leschetizky, Rafael Joseffy, Leopold Auer, Carl Flesch, and Ivan Galamian Lesser-known musicians who wrote perceptively on the subject, such as violinists Frank Thistleton, Rowsby Woof, Achille Rivarde, and Sydney Robjohns Practicing Music by Design forges old with new connections between research and practice, outlining the practice practices of some of the most virtuosic concert performers in history while ultimately addressing the question: How does all this work to make for better musicians and artists?

The garamut is a log idiophone that is found in many of the coastal and island areas of Papua New Guinea. The instrument's primary use is as a speech surrogate and in some regions the garamut is also used in large ensembles to play complex music for dancing. In Baluan Island, within the Manus Province, this style of garamut playing is comparatively highly developed. This book follows the author's processes and methods in learning to play the music of the garamut, to the level at which he became accepted as a garamut player by the people of Baluan. Lewis argues that analysis is essential in learning to play the rapid tempi and complex rhythms of Baluan garamut music, in a cultural context where there is no formal teaching process for the music. The transcription and analysis of the Baluan garamut repertoire is the centrepiece of this study, reflecting the cognitive structures of the learning process, and revealing the inner workings of the music's complexity as well as a striking beauty of form and structure. The book concludes with reflections on the process of a 'cultural outsider' becoming a garamut player in Baluan and on the role of musical analysis in that process, on the ethnomusicologist's role in transmission of the music, and on the nature of continuity and change in a musical society such as Baluan.

World Music Pedagogy, Volume IV: Instrumental Music Education provides the perspectives and resources to help music educators craft world-inclusive instrumental music programs in their teaching practices. Given that school instrumental music programs-concert bands, symphony orchestras, and related ensembles-have borne musical traditions that broadly reflect Western art music and military bands, instructors are often educated within the European conservatory framework. Yet a culturally diverse and inclusive music pedagogy can enrich, expand, and transform these instrumental music programs to great effect. Drawing from years of experience as practicing music educators and band and orchestra leaders, the authors present a vision characterized by both real-world applicability and a great depth of perspective. Lesson plans, rehearsal strategies, and vignettes from practicing teachers constitute valuable resources. With carefully tuned ears to intellectual currents throughout the broader music education community, World Music Pedagogy, Volume IV provides readers with practical approaches and strategies for creating world-inclusive instrumental music programs.

World Music Pedagogy, Volume IV: Instrumental Music Education provides the perspectives and resources to help music educators craft world-inclusive instrumental music programs in their teaching practices. Given that school instrumental music programs-concert bands, symphony orchestras, and related ensembles-have borne musical traditions that broadly reflect Western art music and military bands, instructors are often educated within the European conservatory framework. Yet a culturally diverse and inclusive music pedagogy can enrich, expand, and transform these instrumental music programs to great effect. Drawing from years of experience as practicing music educators and band and orchestra leaders, the authors present a vision characterized by both real-world applicability and a great depth of perspective. Lesson plans, rehearsal strategies, and vignettes from practicing teachers constitute valuable resources. With carefully tuned ears to intellectual currents throughout the broader music education community, World Music Pedagogy, Volume IV provides readers with practical approaches and strategies for creating world-inclusive instrumental music programs.

Rooted in the experience of a professional choral conductor, this book provides a guide to practical issues facing conductors of choral ensembles at all levels, from youth choruses to university ensembles, church and community choirs, and professional vocal groups. Paired with the discussion of practical challenges is a discussion of over fifty key works from the choral literature, with performance suggestions to aid the choral conductor in directing each piece. Dealing with often-overlooked yet vital considerations such as how to work with composers, recording, concert halls, and choral tours, A Practical Guide to Choral Conducting offers a valuable resource for both emerging choral conductors and students of choral conducting at the undergraduate and graduate levels.

Gear Acquisition Syndrome, also known as GAS, is commonly understood as the musicians unrelenting urge to buy and own instruments and equipment as an anticipated catalyst of creative energy and bringer of happiness. For many musicians, it involves the unavoidable compulsion to spend money one does not have on gear perhaps not even needed. The urge is directed by the belief that acquiring another instrument will make one a better player. This book pioneers research into the complex phenomenon named GAS from a variety of disciplines, including popular music studies and music technology, cultural and leisure studies, consumption research, sociology, psychology and psychiatry. The newly created theoretical framework and empirical studies of online communities and offline music stores allow the study to consider musical, social and personal motives, which influence the way musicians think about and deal with equipment. As is shown, GAS encompasses a variety of practices and psychological processes. In an often life-long endeavour, upgrading the rig is accompanied by musical learning processes in popular music.

In this book, the contributors reconsider the fundamentals of Music as a university discipline by engaging with the questions: What should university study of music consist of? Are there any aspects, repertoires, pieces, composers and musicians that we want all students to know about? Are there any skills that we expect them to be able to master? How can we guarantee the relevance, rigour and cohesiveness of our curriculum? What is specific to higher education in music and what does it mean now and for the future? The book addresses many of the challenges students and teachers face in current higher education; indeed, the majority of today's music students undoubtedly encounter a greater diversity of musical traditions and critical approaches to their study as well as a wider set of skills than their forebears. Welcome as these developments may be, they pose some risks too: more material cannot be added to the curriculum without either sacrificing depth for breadth or making much of it optional. The former provides students with a superficial and deceptive familiarity with a wide range of subject matter, but without the analytical skills and intellectual discipline required to truly master any of it. The latter easily results in a fragmentation of knowledge and skills, without a realistic opportunity for students to draw meaningful connections and arrive at a synthesis. The authors, Music academics from the University of Glasgow, provide case studies from their own extensive experience, which are complemented by an Afterword from Nicholas Cook, 1684 Professor of Music at the University of Cambridge. Together, they examine what students can and should learn about and from music and what skills and knowledge music graduates could or should possess in order to operate successfully in professional and public life. Coupled with these considerations are reflections on music's social function and universities' role in public life, concluding with the co

In the age of digital music it seems striking that so many of us still want to produce music concretely with our bodies, through the movement of our limbs, lungs and fingers, in contact with those materials and objects which are capable of producing sounds. The huge sales figures of musical instruments in the global market, and the amount of time and effort people of all ages invest in mastering the tools of music, make it clear that playing musical instruments is an important phenomenon in human life. By combining the findings made in music psychology and performative ethnomusicology, Marko Aho shows how playing a musical instrument, and the pleasure musicians get from it, emerges from an intimate dialogue between the personally felt body and the sounding instrument. An introduction to the general aspects of the tactile resources of musical instruments, musical style and the musician is followed by an analysis of the learning process of the regional kantele style of the Perho river valley in Finnish Central Ostrobothnia.

Few bodies of Western music are as widely respected, studied, and emulated as the fugues of Johann Sebastian Bach. Despite the esteem which Bach's contributions brought to the genre, however, the origin and early history of the fugue remain poorly understood. Theories of Fugue from the Age of Josquin to the Age of Bach addresses both the history and methodology of the pre-Bach fugue (from roughly 1500 to 1700), and, of greatest significance to the literature, it seeks to present a way out of the methodological dilemma of uncertainty which has plagued previous scholarly attempts by considering what musicians of the time had to say about the fugue: what it was, what it was not, how important it was, and where and how a composer should (or shouldn't) use it. Paul Mark Walker is director of the Early Music Ensemble at the University of Virginia and an expert on the history of the fugue.

Collaborative Insights provides new perspectives informed by interdisciplinary thinking on musical care throughout the life course. In this book, volume editors Katie Rose M. Sanfilippo and Neta Spiro define musical care as the role that music - music listening as well as music-making - plays in supporting any aspect of people's developmental or health needs, for example physical and mental health, cognitive and behavioural development, and interpersonal relationships. Musical care is relevant to several types of music, approach, and setting, and through the introduction of that new term musical care, the authors prioritise the element of care that is shared among these otherwise diverse contexts and musical activities, celebrating the nuanced interweaving of theory and practice. The multifaceted nature of musical care requires reconciling perspectives and expertise from different fields and disciplines. This book shows interdisciplinary collaboration in action by bringing together music practitioners and researchers to write each chapter collaboratively to discuss musical care from an interdisciplinary perspective and offer directions for future work. The life course structure, from infancy to end of life, highlights the connections and themes present in approach, context, and practices throughout our lives. Thus, the book represents both the start of a conversation and a call to action, inspiring new collaborations that provide new insights to musical care in its many facets.