Facing the Music investigates the practices and ideas that have grown from some five decades of cultural diversity in music education, developments in ethnomusicology, and the rise of 'world music'. Speaking from rich, hands-on experience of more than thirty years at various levels of music education (music in schools, community organizations and professional training courses), Huib Schippers makes a powerful case for the crucial role of learning music in shaping rich and diverse musical environments for the 21st century, both in practical terms and at a conceptual level: "what we hear is the product of what we believe about music."
Advocating a contemporary, positive and realistic approach to cultural diversity in music education and transmission, Schippers advocates taking into account and celebrating the natural dynamics of music. He argues that "most music travels remarkably well," and regards every musical act as an expression of the 'here and now', as do many of the musicians and scholars he quotes. In this way, he challenges stifling directives to recreate 'authentic contexts', which in fact constantly change (and have always changed) in the cultures of origin as well. This liberates music educators to seek with integrity appropriate ways of presenting music at all levels of education: in schools, community settings, and professional training.
In seven succinct chapters that each approach the issues from a different angle, Schippers gradually unfolds the complexities of learning and teaching music 'out of context' in an accessible manner, and presents a coherent model to approach these, as well as lucid suggestions for translating the resulting ideas in practice. While mapping the various factors that determine all acts of music transmission, he also comes to surprising insights into the nature and preconceptions underlying much formal music education settings across the world, including those focusing on western classical music.
Facing the Music provides a rich resource for reflection and practice for all those involved in teaching and learning music, from policy maker to classroom teacher.

Games, Ideas and Activities for Primary Music is a handy tool for Primary Music teachers; it is packed full of simple activities for your classroom and is organised by skill - singing, rhythm, playing, listening. Activities can be easily adapted to suit different classes or topics and help you to feel more confident teaching Music. Prior musical knowledge is not necessary to use these activities, and a glossary of music terminology is included. Cross-curricular links inspire creativity across the primary curriculum and brighten up your classroom!

A graded, lesson-by-lesson learning method for the younger student, using easy arrangements of over 20 favorite childrens' songs. Extends the range of notes to cover nine notes with the right hand using the white keys only. Beautifully illustrated throughout with full color.

For the past couple of decades these songs have been passed around and savoured by those who delight in the pleasures of improbable stories and witty verse. Several have been recorded by Jimmy Crowley, Rosie Stewart and others, and some of them have become modern 'folk songs', having entered the living tradition and being transmitted from singer to singer. For the first time the general public can enjoy what has up to now been a treat available only to the few - the comic songs of Con O Drisceoil. Here you will find many intriguing tales: the birthday cake with extraordinary properties; the cockroach who debates nice points of philosophy with his victim; the awful fate of the man who rattled his spoons once too often, and many more. The author's capacity for creating bizarre situations is matched by his ability to capture them, as he himself remarks, "in flawless rhyme" and "in a metre without blemishes" A genuinely funny and captivating collection, both as sing-along folk songs or as stand-alone stories and comic verse.

Covers the life and works of classical music composer, Peter Schickele, who is probably best known for his humorous alter ego, P.D.Q. Bach. Schickele has walked the line between a professional composer and musical satirist for over 35 years, and his compositions have reached into virtually every genre of music from jazz to rock to folk to movie music and to classical. The major influences in his career include his love of the theater, Spike Jones, and a philosophy that no genre of music is inherently inferior. Schickele was consulted during the compilation of this volume, therefore, much of the date and premier information comes from his own resources. This volume contains a brief biography of Peter Schickele and a detailed list of his Works and Performances, a discography, a bibliography, an alphabetical index, a chronology, and a name index. Scholars who study humor in music and 21st century American composers will now have a comprehensive sourcebook on Peter Schickele and his works.

Bebop music is more than a jazz movement that seemed to have burst suddenly upon the jazz scene-it is an outgrowth of the sociocultural environment dating from the 1920s through the 1940s. In this consideration of the period and its music, noted jazz scholar Eddie S. Meadows traces the cultural and ideological context that produced Bebop and advocates that Cool Jazz was a reaction to Bebop, a natural outgrowth of its predecessor. Unlike most jazz research on the subject, ^IBebop to Cool^R features insider perspectives on both the social context of the music and the music itself, as a means of capturing the musical aesthetics and the cultural spirit of the time. The volume includes the perspectives of Marcus Garvey, W. E. B. DuBois, and other leaders of the Harlem Renaissance; also discussed here for the first time is the role that Islam played in the music's development. Finally, in identifying and discussing the work of such significant musicians as Miles Davis, Dizzy Gillespie, Thelonious Monk, Charlie Parker, and Stan Getz, Meadows demonstrates their unique musical identities within the respective genres that compose the revolutionary Bebop and Cool Jazz movements.

Increasingly, guitar study is offered alongside band, orchestra, and chorus in school music programs. This development has drawn a new population of students into those programs but has left music educators scrambling to developing meaningful, sequential courses of study that both meet the needs of these new students and align with state, county, and national curricula. Few available guitar methods are designed with the classroom in mind, and fewer still take a holistic approach to teaching and learning the instrument. In short, teachers are left to navigate a vast array of method books that cover a variety of styles and approaches, often without the confidence and experience necessary to know 'what to teach when.' The Guitar Workbook: A Fresh Approach to Exploration and Mastery addresses the needs of these educators. Throughout the book's 20 lessons, students are encouraged to explore the ways various guitar styles and notation systems differ, as well as the ways they support and complement each other. Lessons cover myriad topics including pick-style playing, basic open position chords, finger-style technique, and power chords. Suggested 'Mastery Activities' at the end of each lesson support higher-order thinking, contextualize the skills and concepts studied, and provide a jumping off point for further exploration. Additionally, suggestions for further study point teachers and students to resources for extra practice.

Discover the sorcery of The Magic Flute in this musical retelling of the opera - push the button on each beautiful scene to hear the vivid sound of an orchestra playing, and singers singing, from Mozart's score. This classic opera, reworked for the benefit of younger readers, tells a tale of a prince, a princess and a magic flute, which begins in a mountain ridge between two magical lands. Prince Tamino enters, chased by a dragon, but three brave mountain rangers gallop past on horseback to rescue him. His cowardly friend Papageno comes out from his hiding place and they revive the prince. The rangers ask for one favour in return. Their boss, the Queen of the Night, asks Prince Tamino to rescue her daughter, Princess Pamina, from the evil Sun King. She gives Tamino a magic flute and Papageno some magic bells to help them. The story follows Prince Tamino as he breaks into the Sun King's palace, charms the court with his magic flute, and gets caught by the guards. Will the prince escape with the princess? As you and your little one journey through the magical scenes, you will press the buttons to hear 10 excerpts from the opera's music. Readers should press firmly on the pages to activate the sounds, encouraging interactive learning and introducing children to this beautiful piece of music. At the back of the book, find a short biography of the composer, Mozart, with details about his composition of The Magic Flute. Next to this, you can replay the musical excerpts and, for each of them, read a discussion of the instruments, rhythms and musical techniques that make them so powerful. A glossary defines musical terms. The Story Orchestra series brings classical music to life for children through gorgeously illustrated retellings of classic ballet, opera and program music stories paired with 10-second sound clips of orchestras playing from their musical scores. With The Story Orchestra keyboard sound books, children can play the famous melodies themselves with the sound of a real grand piano. Also available from the series: I Can Play (vol 1), Carnival of the Animals, Swan Lake, The Sleeping Beauty, The Nutcracker and Four Seasons in One Day. Manufacturer's note: please pull the white tab out of the back of the book before use. Sound buttons require a firm push in exact location to work, which may be hard for young children. All sound clips are 10 seconds long. The perfect primer to introduce children to classical music.

The Children's Music Studio is the first book that provides music teachers, parents and early childhood educators a wealth of materials and a clear roadmap for applying Reggio Emilia principles and practices to preschool and early childhood music education. Drawing on Professor Hanna's extensive experience researching and teaching in Reggio- inspired music classrooms, this pioneering book provides a comprehensive and in-depth manual for designing music ateliers-hands-on studios that capture the imagination and creativity of children. Informed by the cutting edge research on music learning, this practical guide includes detailed studio plans, examples of Reggio-inspired music studio explorations and documentation of children's work in music studios. In this book you will: - Learn why the Reggio approach is considered one of the best educational approaches in the world. - Discover how children can naturally learn music through the studio approach, drawing on the poetic languages and the power of collaborative environments. - See detailed examples and documentation of project-based studio learning. - Understand how music learning increases overall artistic and academic literacy across the curriculum. - Learn how to develop customized projects for your classroom that will teach children to think and communicate fluently through music and sound. Early childhood and elementary music teachers will find this book especially useful as it provides innovative ideas for Reggio-inspired music teaching and learning techniques that can be integrated into the existing curriculum. Music teachers will learn how to balance multiple roles of researcher, professional artist and co-learner for delivering high quality musical experiences using the Reggio-inspired studio approach. Detailed examples and templates show how teachers can design music studios, along with clear instructions for observing and documenting children's musical learning. The Children's Music Studio also provides a unique theoretical framework for using music in the studio based on music materials, musical modalities and processes, which align with the Common Core Arts Standards.

Florence loved her mother's piano playing and wanted to be just like her. When she was just four years old she played her first piano concert and as she grew up she studied and wrote music hoping one day to hear her own music performed by an orchestra. This is the story of a brilliant musician who prevailed against race and gender prejudices to become the first Black woman to be recognised as a symphonic composer and be performed by a major American orchestra in 1933.

Seminal lectures on music education since the 1990s. There is no question that music education is in crisis today. The place of music in the national curriculum is controversial; there have been cuts in the provision of individual lessons; and there have been severe reductions in government funding, with more planned. This book, containing the first five Bernarr Rainbow Lectures, makes an important and timely contribution to the debate on music education. Baroness Warnock brings the perspective of a distinguished philosopher to bear on issues about the nature of music and its study; Lord Moser urges us to maintain and expand what has been achieved since World War II; the late Professor John Paynter, responsible for the 1960s surge in creative approaches to music teaching, presents his case in two contributions; John Stephens discusses structures for music teaching and then, in a second contribution, brings everything up to date; and Professor Gavin Henderson traces his own colourful career and supports music for all ages. Also included is the 2005 Royal Philharmonic Society by the Master of the Queen's Music, Sir Peter Maxwell Davies; an assessment from Bernarr Rainbow himself, written late in his life; an indictment from Wilfrid Mellers; and two reviews of Bernarr Rainbow on Music: Memoirs and Selected Writings, showing the continuing importance of his work fifteen years after his death. This book is part of the series Classic Texts in Music Education, edited by Professor Peter Dickinson, and supported by the Bernarr Rainbow Trust. Peter Dickinson is a British composer, writer and pianist and authorand editor of books on Lennox Berkeley, Copland, Cage, Barber and Berners.

The fourth title in the bestselling series from the brilliantly talented Liz Pichon. Seeing Delia without her sunglasses on is a BIG shock, but that's nothing compared with the surprise Dad has in store for me with his new found fitness regime. He says he's going to compete at my Sport's Day. Shame! Meanwhile Derek, Norman and I keep practicing in DOGZOMBIES so we're really ready for the school Talent Show. ABOUT THE SERIES: Written in diary form Full of Tom's doodles and pictures & his amazing sense of humour The Brilliant World of Tom Gates, was the winner of the Roald Dahl Funny Prize! Perfect gifts for boys & girls who love to laugh themselves silly The first series of The Brilliant World of Tom Gates won the Scottish BAFTA for Entertainment! Love Tom Gates? Don't miss Liz Pichon's spectacular Shoe Wars, a laugh-out-loud, gadget-packed adventure!

This volume focuses specifically on narrative inquiry as a means to interrogate research questions in music education, offering music education researchers indispensible information on the use of qualitative research methods, particularly narrative, as appropriate and acceptable means of conducting and reporting research.

This anthology of narrative research work in the fields of music and education builds on and supports the work presented in the editors' first volume in "Narrative Inquiry in Music Education: Troubling Certainty" (Barrett & Stauffer, 2009, Springer). The first volume provides a context for undertaking narrative inquiry in music education, as well as exemplars of narrative inquiry in music education and commentary from key international voices in the fields of narrative inquiry and music education respectively.

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This book creates a platform for music educators to share their experience and expertise in creative music teaching and learning with the international community. It presents research studies and practices that are original and representative of music education in the Japanese, Asian and international communities. It also collects substantial literature on music education research in Japan and other Asian societies, enabling English-speaking readers to access excellent research and practical experiences in non-English societies.

The Second Edition of Teaching Music to Students with Special Needs offers updated accounts of music educators' experiences, featured as vignettes throughout the book. An accompanying Practical Resource includes lesson plans, worksheets, and games for classroom use. As a practical guide and reference manual, Teaching Music to Students with Special Needs, Second Edition addresses special needs in the broadest possible sense to equip teachers with proven, research-based curricular strategies that are grounded in both best practice and current special education law. Chapters address the full range of topics and issues music educators face, including parental involvement, student anxiety, field trips and performances, and assessment strategies. The book concludes with an updated list of resources, building upon the First Edition's recommendations.

Develop creativity in students and reinforce learning in a variety of subjects through the joy of music. This resource combines 50 simple songs with related learning activities and reading suggestions. Each song has chord symbols for guitar and autoharp, with music for piano accompaniment on a separate page. Activities that support learning about self-esteem, home and family, and multicultural issues are accompanied by reproducible music sheets that can be used in the classroom or taken home by students. As song lyrics are written or learned, they encourage self-expression through the arts and promote vocabulary development and comprehension. Most of all, they encourage the joy of singing. Whether you have a limited musical background or are experienced in music, this resource has many classroom applications. Grades PreK-2.