Listen and celebrate introduces a selection of 15 pieces from a range of time periods, countries and styles, celebrating the people who wrote the music and offering an immersive experience through active listening and composing activities. As well as supporting National Curriculum objectives for Key Stages 1 and 2, this book will help bring breadth and depth to children's musical experience and understanding, offering a glimpse of the huge variety of music in the world and featuring composers from a range of backgrounds and experiences. Features: * Background information to provide context and inspire * Active listening activities for Key Stages 1 and 2 * Composing activities for Key Stages 1 and 2 * Beautifully illustrated whiteboard displays Please note audio is NOT supplied as part of this resource, but guidance is given on how to find recordings online.

Kids love music. They're natural singers and dancers, and they improvise every time they play. They were born for jazz! And Welcome to Jazz was made for them. A follow-up to Welcome to the Symphony - with over 70,000 copies in print - Welcome to Jazz is also written by music educator Carolyn Sloan, and uses Symphony's ingenious, interactive picture-book-and-sound-chip format. Structured around the iconic song "When the Saints Go Marching In," Welcome to Jazz narrates the story of jazz and discusses what the audience is hearing as the band begins to play. Best of all, the sound chips actually demonstrate what's happening - what vocal scatting sounds like, how to pick out a swing beat, and the tones of different instruments, from the trumpet to the clarinet. And in the end, kids can sing along with the band in a traditional call-and-response verse.

The Teaching of Instrumental Music, Fifth Edition introduces music education majors to basic instrumental pedagogy for the instruments and ensembles commonly found in the elementary and secondary curricula. It focuses on the core competencies required for teacher certification in instrumental music, with the pervasive philosophy to assist teachers as they develop an instrumental music program based on understanding and respecting all types of music. Parts I and II focus on essential issues for a successful instrumental program, presenting first the history and foundations, followed by effective strategies in administrative tasks and classroom teaching. Parts III, IV, and V are devoted to the skills and techniques of woodwind, brass and percussion, and string instruments. In all, The Teaching of Instrumental Music is the complete reference for the beginning instrumental teacher, commonly retained in a student's professional library for its unique and comprehensive coverage. NEW TO THIS EDITION: Revision and updating of curriculum developments, such as coordinating State Department of Education student learning objectives with the recent Every Student Succeeds Act (ESSA) New discussion of the NAfME National Standards as they relate to the teaching of instrumental music Revamping of rehearsing instrumental ensembles chapters, including new or expanded sections on programming, choosing quality music, and applying successful rehearsal techniques Updates on references, plus new discussion questions, and websites and internet links A chapter devoted to classroom guitar Updates on the use of technology for teaching and learning music More on healthy performance practice, marching band, and jazz band Online materials located in the eResources section on the Routledge website.

Experiencing Music Composition in Grades 3-5 is a practical guide to new, innovative, and natural composition techniques for young composers. Music Educators Michele Kaschub and Janice Smith bring a wealth of experience to bear a unique and thoughtfully curated series of materials that help teachers connect music education to young composers' everyday emotions and activities . Divided into four sections, Kaschub and Smith's book illustrates a creative roadmap for instilling a sense of creative independence in students ages 8-11. The first section introduces readers to three distinct compositional ideals that are as educationally significant as the music they help create: feelingful intention, musical expressivity, and artistic craftsmanship. These capacities help springboard children's work from sounds and brief musical gestures to thoughtfully created, expressive musical pieces. Section 2 includes fun and imaginative lessons that are accompanied by Sketchpages-graphic worksheets that support deep consideration of a project's purpose during the compositional process. Lessons also include invaluable suggestions for productive sharing in a variety of formats. Section 3 offers guidance and strategies for sharing work, providing feedback, and encouraging future growth in a manner that fosters a positive learning experience and acknowledges each composer's musical autonomy. Section 4 contains additional teacher guides focused on creating original music in different genres. These guides outline multiple approaches to corresponding lessons and jumpstart activity while serving as developmental models. Experiencing Music Composition: Grades 3-5 offers new ways to promote not only creative intuition in children but also independent thought, preparing students for a fulfilling relationship with music.

This much-loved collection is full of action songs, calming songs for bedtime and happy songs to dance to - perfect for the classroom, choirs and for singing at home or in the car with mummy, daddy, grandma or grandad. In the magical world of Apusskidu, children learn about animals and birds, counting, colours, transport, history and tales from around the world, as well as experiencing the pure enjoyment of these wonderful songs that have been loved for generations. All songs are provided as both a performance track (with singing) and a backing track (instrumental). Also available as an audiobook and as a sheet music songbook with easy accompaniments for piano or keyboard, guitar chords and full lyrics, plus simple play-along ideas for percussion, recorders or other instruments. Includes: If you're happy (and you know it) I'd like to teach the world to sing I whistle a happy tune Yellow submarine Sing a rainbow The super-supper march My ship sailed from China Daisy Bell The bonny blue-eyed sailor Old woman, old woman Li'l Liza Jane Clementine There's a hole in my bucket There was an old witch Ten in a bed Lily the pink Bananas in pyjamas The great meat pie Michael Finnigin The train is a-coming Wheels keep turning Morningtown ride She'll be coming round the mountain The Wombling song Shoot! Shoot! Shoot! Battle song of the Zartians The wind blow east One potato, two potato The guard song When Father papered the parlour The clown Song of the Delhi Tongawallah Rabbit ain't got The animals went in two by two Going to the zoo The hippopotamus song Tiger, Tiger, orange and black Where, oh where has my little dog gone? Daddy wouldn't buy me a bow-wow Five little frogs Frog went a-courtin' Down in Demerara The bear went over the mountain Ferdinando, the donkey The kangaroo song Katie's garden Apusski dusky The elephant Gobbolino, the witch's cat A windmill in old Amsterdam Maggon, the bad-tempered dragon Risha, rasha, rusha

Level one readers---those who still may need some help---will learn the words to all the verses of He s Got the Whole World in His Hands in this creatively illustrated book. A simple song sheet, included with this reader, allows parents and teachers to play the melody while children read/sing along. What a perfect way for children to learn all the verses of this much-loved song. He s Got the Whole World in His Hands is part of the I Can Read /Song Series."

Redefining Music Studies in an Age of Change: Creativity, Diversity, Integration takes prevailing discourse about change in music studies to new vistas, as higher education institutions are at a critical moment of determining just what professional musicians and teachers need to survive and thrive in public life. The authors examine how music studies might be redefined through the lenses of creativity, diversity, and integration. which are the three pillars of the recent report of The College Music Society taskforce calling for reform. Focus is on new conceptions for existent areas-such as studio lessons and ensembles, academic history and theory, theory and culture courses, and music education coursework-but also on an exploration of music and human learning, and an understanding of how organizational change happens. Examination of progressive programs will celebrate strides in the direction of the task force vision, as well as extend a critical eye distinguishing between premature proclamations of "mission accomplished" and genuine transformation. The overarching theme is that a foundational, systemic overhaul has the capacity to entirely revitalize the European classical tradition. Practical steps applicable to wide-ranging institutions are considered-from small liberal arts colleges, to conservatory programs, large research universities, and regional state universities.

Follow Ella's rise to become a queen of jazz, renowned for her remarkable scat improvisations, but also for her very personal interpretations of the Broadway classics and her live performances with Duke Ellington and Louis Armstrong, among others. Each spread recounts a different stage of her life, and key moments are captured by evocative photos from the time and by Remi Courgeon's beautiful illustrations. The narrative of the book is recorded on the accompanying CD, as well as 13 of the singer's most emblematic recordings.

Redefining Music Studies in an Age of Change: Creativity, Diversity, Integration takes prevailing discourse about change in music studies to new vistas, as higher education institutions are at a critical moment of determining just what professional musicians and teachers need to survive and thrive in public life. The authors examine how music studies might be redefined through the lenses of creativity, diversity, and integration. which are the three pillars of the recent report of The College Music Society taskforce calling for reform. Focus is on new conceptions for existent areas-such as studio lessons and ensembles, academic history and theory, theory and culture courses, and music education coursework-but also on an exploration of music and human learning, and an understanding of how organizational change happens. Examination of progressive programs will celebrate strides in the direction of the task force vision, as well as extend a critical eye distinguishing between premature proclamations of "mission accomplished" and genuine transformation. The overarching theme is that a foundational, systemic overhaul has the capacity to entirely revitalize the European classical tradition. Practical steps applicable to wide-ranging institutions are considered-from small liberal arts colleges, to conservatory programs, large research universities, and regional state universities.

The popular beginner instruction books for kids with fun exercises, theory and easy songs to play. An exciting new collection of pieces by Heather Hammond and Karen Marshall, arranged and written specially for the twenty-first century child. Following and supplementing the tried and tested progression of Get Set! Piano Tutor Book 1, it includes favourites like: * Alice the camel * Little bird * Hot cross buns * We wish you a Merry Christmas There are also lots of engaging new pieces from jigs to jazz, featuring wriggly caterpillars, scary pirates and other imaginative characters. Many of the pieces have straightforward teacher duet parts to encourage ensemble playing from the start. The book is attractively laid out and fully illustrated, with quizzes and crosswords to reinforce learning.

Across the US, school budgets are tightening and music programs, often the first asked to compromise in the name of a balanced budget, face a seemingly grim future. Monetary restrictions combined with an increasing focus on test scores have led to heavy cuts in school music programs. In many cases, communities and teachers untrained in advocacy are helpless in the face of the school board, with no one willing and comfortable to speak up on their behalf. In Advocate for Music!: A Guide to User-Friendly Strategies, Lynn M. Brinckmeyer, respected educator and past president for the National Association for Music Education, provides a manual for music teachers motivated to advocate but lacking the experience, resources, or time to acquire the skills to do so effectively. It will serve as a toolkit for advocating, and also for sharing resources, strategies and ideas useful for educating everyone - from community members to political representatives - about the immediate and long-term benefits of music education. In Advocate for Music!, Brinckmeyer draws on a lifetime of arts advocacy to provide answers to the questions so many teachers have but are afraid - or simply too busy - to ask. A simple, hands-on guidebook for becoming an effective advocate for the arts, Advocate for Music! is structured around six key questions: what is advocacy? Why focus on it? Who should do it? How does one do it? Where should we advocate? And when should we advocate? Readers will have access to step-by-step guidelines and strategies on how to engage others, and themselves, in a variety of levels of advocacy activities. In addition to granting access to compelling research projects, the book will provide models of letters, webinars, research findings, printed documents, websites and contact information useful for communicating with local, state and national decision makers. Working in an informal, hands-on manner, Brinckmeyer lays out advice on who to work with and what to do: providing concrete examples of advocacy tactics from ideas on how to cooperate with the gym teacher to a sample speech for the holiday concert. As she walks the reader through the a myriad of real-life examples and practical answers to her central questions, Brinckmeyer shows that every educator, parent, family member, and administrator can and should be engaged in advocating to maintain, and support, the right for today's children and adolescents to have access to high quality music education. Advocate for Music! is an important book not only for all pre-service and inservice music teachers, but aso for state MEA leaders and staff, administrators, parents, community members, and all those involved with arts or education associations.

This book offers compelling new perspectives on the revolutionary potential of improvisation pedagogy. Bringing together contributions from leading musicians, scholars, and teachers from around the world, the volume articulates how improvisation can breathe new life into old curricula; how it can help teachers and students to communicate more effectively; how it can break down damaging ideological boundaries between classrooms and communities; and how it can help students become more thoughtful, engaged, and activist global citizens. In the last two decades, a growing number of music educators, music education researchers, musicologists, cultural theorists, creative practitioners, and ethnomusicologists have suggested that a greater emphasis on improvisation in music performance, history, and theory classes offers enormous potential for pedagogical enrichment. This book will help educators realize that potential by exploring improvisation along a variety of trajectories. Essays offer readers both theoretical explorations of improvisation and music education from a wide array of vantage points, and practical explanations of how the theory can be implemented in real situations in communities and classrooms. It will therefore be of interest to teachers and students in numerous modes of pedagogy and fields of study, as well as students and faculty in the academic fields of music education, jazz studies, ethnomusicology, musicology, cultural studies, and popular culture studies.

The Musical Experience proposes a new concept - musical experience - as the most effective framework for navigating the shifting terrain of educational policy as it is applied to music education. Other books that deal with music education reform often concentrate on non-musical topics at the expense of music listening, performance, and composition, or concentrate on only one of these at the expense of the others. This book, however, works with musical experience as a comprehensive framework for all aspects of music education. The editors and their contributors define musical experience as being characterized by the depth of affective and emotional responses that music engenders, and illustrate that its breadth is embodied in the infinite variety of meanings - both personal and communal - that music evokes. The essays map out the primary forms of musical engagement (performing, listening, improvising, composing, etc.) as activities which play a key role in classroom teaching. The chapters also address the cultural dimensions of musical experience, which call for consideration of time, place, beliefs, and values placed upon musical activities, works, and genres. The book discusses how music teachers can most effectively rely on means of musical communication to lead students toward the development and refinement of musical skills, understandings, and expression in educational settings. As a whole, the book expands upon the dimensions of musical experience and provides, from the forefront of the field, an integrated yet panoramic view of the educational processes involved in music teaching and learning.

The Crisis of Classical Music in America by Robert Freeman focuses on solutions for the oversupply of classically trained musicians in America, problem that grows ever more chronic as opportunities for classical musicians to gain full-time professional employment diminishes year upon year. An acute observer of the professional music scene, Freeman argues that music schools that train our future instrumentalists, composers, conductors, and singers need to equip their students with the communications and analytical skills they need to succeed in the rapidly changing music scene. This book maps a broad range of reforms required in the field of advanced music education and the organizations responsible for that education. Featuring a foreword by Leonard Slatkin, music director of the Detroit Symphony Orchestra, The Crisis of Classical Music in America speaks to parents, prospective and current music students, music teachers and professors, department deans, university presidents and provosts, and even foundations and public organizations that fund such music programs. This book reaches out to all of these stakeholders and argues for meaningful change though wide-spread collaboration.

Suitable for absolute beginners, this book contains colour illustrations. It is useful for very young children and it aims to encourage security at every step.