Contents are: Berceuse, Wiegenlied or Lullaby, Op. 98, No. 2 (F. Schubert) * Tonalization: The Moon over the Ruined Castle (R. Taki) * Gavotte (J.B. Lully) * Minuet from Sei Quintetti for Archi No. 11, Op. 11, No. 5 in E Major (L. Boccherini) * Tonalization: The Moon over the Ruined Castle (R. Taki) * Scherzo (C. Webster) * Minuet in G, Wo0 10, No. 7 for Piano (L. van Beethoven) * Gavotte in C Minor, Gavotte en Rondeau from Suite in G Minor for Klavier, BWV 822 (J.S. Bach) * Minuet No. 3, BWV Anh. II 114/Anh. III 183/Anh. II, 115 (J.S. Bach) * Humoresque, Op. 101, No. 7 for Piano (A. DvorAk) * La Cinquantaine (Gabriel-Marie) * Allegro Moderato from Sonata I in G, BWV 1027 for Viola da Gamba (J.S. Bach).

(Includes free life-time access to on-line quizzes, exercises and audio examples)

Have you ever wondered how the musical scale came about? Or why certain pitches sound better together than others? "Music Theory," by award-winning composer, Jonathan Peters, is a comprehensive course in the study of music. Much more than just memorization of musical terms and definitions...this course explains the "why."

WHAT ARE THE REQUIREMENTS FOR THIS COURSE?

A computer with internet connection, screen, and speakers.

No previous musical knowledge is needed.

WHO SHOULD TAKE THIS COURSE?

Any person wanting to learn about music.

Beginners to advanced music students.

Providing essential tools to transform college piano students into professional piano teachers, Courtney Crappell's Teaching Piano Pedagogy helps teachers develop pedagogy course curricula, design and facilitate practicum-teaching experiences, and guide research projects in piano pedagogy. The book grounds the reader in the history of the domain, investigates course materials, and explores unique methods to introduce students to course concepts and help them put those concepts into practice. To facilitate easy integration into the curriculum, Crappell provides example classroom exercises and assignments throughout the text, which are designed to help students understand and practice the related topics and skills. Teaching Piano Pedagogy is not simply a book about teaching piano-it is a book about how piano students learn to teach.

The singer-songwriter, someone who writes and performs their own music, is an ever-present and increasingly complex figure in popular music worlds. The Singer-Songwriter Handbook provides a useful resource for student songwriters, active musicians, fans and scholars alike. This handbook is divided into four main sections: Songwriting (acoustic and digital), Performance, Music Industry and Case Studies. Section I focuses on the 'how to' elements of popular song composition, embracing a range of perspectives and methods, in addition to chapters on the teaching of songwriting to students. Section II deals with the nature of performance: stagecraft, open mic nights, and a number of case studies that engage with performing in a range of contexts. Section III is devoted to aspects of the music industry and the business of music including sales, contract negotiations, copyright, social media and marketing. Section IV provides specific examples of singer-songwriter personae and global open mic scenes. The Singer-Songwriter Handbook is a much-needed single resource for budding singer-songwriters as well as songwriting pedagogues.

(Willis). The Modern Course series provides a clear and complete foundation in the study of the piano that enables the student to think and feel musically. It may be preceded by the Teaching Little Fingers to Play series.

Die Religion wurde von der kritischen Aufklärung als ein gesellschaftlicher Schonraum angesehen, ein Ort des Rückzugs von den gesellschaftlichen Konflikten, in dem mit der Suggestion allgemeiner Harmonie von ihrer Austragung und ihrer Reflexion abgelenkt wurde. Die Religionswissenschaft hat gezeigt, daß Religionen mehr sind. Sie sind selber aus gesellschaftlichen Konflikten entstanden. In ihnen sind Lösungen historischer Konflikte festgeschrieben worden. Weil diese Formulierungen zur Deutung der Realität im ganzen verallgemeinert wurden, waren sie als Konfliktlösung nicht mehr zu erkennen. Aber die Möglichkeit, sie als solche wiederzuerkennen, konnte niemals ganz aus den Religionen vertrieben werden. Sie zeigte sich nicht zuletzt an den Unstimmigkeiten und Rissen in ihrer Theorie. Diese wurden in der Umbruchsituation des 18. Jahrhunderts als Argumente gegen die Religion - und für die Säkularisierung gebraucht. Damit zerbrach die Einheit der religiösen Theorie. Ein neuer Blick auf ihre historischen Ursprünge wurde möglich, ebenso wie, damit verbunden, ein Blick auf jene Motive im säkularen Bewußtsein, die selbst aus der religiösen Überlieferung stammten. Besonders die prophetischen Motive sind während des 18. und 19. Jahrhunderts aus dem institutionellen Zusammenhang in Kultur und Politik ausgewandert. Aber auch die Erbschaft der archaischen Mutterkulte wurde im romantischen 19. Jahrhundert wieder erkennbar. Die in diesem Band gesammelten Vorträge und Aufsätze bemühen sich um den Nachweis, daß auch die gegenwärtigen gesellschaftlichen Spannungen, Enttäuschungen und Hoffnungen ohne Rückgriff auf das kritische, aber auch das Wunsch-Potential in den religiösen Überlieferungen nicht hinreichend zu verstehen sind.

Drummers from beginners to pros will relish this comprehensive guide to the tools of the trade! The Drum Handbook gives you the in-depth knowledge you need to choose the whole range of gear, including drums, cymbals, hardware, heads and sticks - new, used and vintage. Includes info on setting up, tuning and maintenance, plus tips from top pros on gear, recording, playing live and surviving on the road. Fully illustrated and authoritatively written, this book includes a website directory and an exhaustive glossary of technical terms.

In this previously unpublished essay Schenker, one of the most influential music theorists of the twentieth century, turned his attention to the performer's role, arguing that the cult of the virtuoso has led to an overemphasis on technical display and discussing specific ways in which performers can better serve the composer's ideas.