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.

- All research within Brazilian schools or one-on-one instruction - Focuses specifically on the creative process gained from the interactive process and activities between teachers and students - Ten contributed essays, with Introduction and Afterword.

SPANISH EDITION. This is one of the most popular hymnals, used by million of believers because it contains traditional hymns as well as praise and worship songs.

The Appalachian dulcimer is one of America's major contributions to world music and folk art. Homemade and handmade, played by people with no formal knowledge of music, this beautiful instrument entered the post-World-War-II Folk Revival with virtually no written record. Appalachian Dulcimer Traditions tells the fascinating story of the effort to recover the instrument's lost history through fieldwork in the Southern mountains, finding of old instruments, and listening to the tales of old folks. After reviewing the instrument's distinctive musical features, Ralph Lee Smith presents the dulcimer's story chronologically, tracing its roots in a Renaissance German instrument, the scheitholt; describing the early history of the scheitholt and the dulcimer in America; and outlining the development of distinctive dulcimer styles in Virginia, West Virginia, North Carolina, and Kentucky. The story continues into the 20th Century, through the final group of tradition-based Appalachian makers whose work flowed into the national scene of the Folk Revival. This fully revised edition provides expanded information about the history of the scheitholt and the dulcimer before the Civil War and discusses traditions and types that are still being discovered and documented. Smith also adds his personal adventures in searching for the dulcimer's history. A new final chapter describes types and styles that do not fit conveniently into the mainstream development of the instrument. The book concludes with several appendixes, including measurements of representative dulcimers and listings of dulcimer recordings in the Archive of Folk Culture of the Library of Congress.

The little books with the BIG songs! Complete lyrics & chords to over 130 folk favorites in a portable, easy-to-carry format.

Many books have been written about how to build cigar box guitars and other unique hand-made instruments… but few have touched on why. This book presents the authentic stories of American DIY music with step-by-step projects, photo studies of antique instruments, interviews with music legends and historical accounts. Shane Speal, the “King of the Cigar Box Guitar,” brings the making of music and musical instruments back to its roots. From a simple two-string tin can guitar to an electrified washtub bass, Shane shows how anyone can build amazing musical instruments from found items. Sidebars present the fascinating backstory of the music, capturing struggle, poverty and the blues within the artistic side of cigar box guitar building. Featuring an introduction from the New Orleans Museum of Jazz, this DIY musical instrument book is as inspirational to read in the living room as it is in the workshop.

This ultimate guide to all the gear used by the Beatles details exactly which guitars drums amplifiers and keyboards the Fab Four embraced throughout their brief but revolutionary career from their earliest days as the Quarry Men to the dissolution of the Beatles in 1970. It provides fascinatingly fresh insights into Beatle history exploding myths and uncovering dozens of new stories along the way. John Paul George and Ringo's moves from cheap early instruments to the pick of 1960s technology are carefully and entertainingly documented in an easy-to-read narrative fully illustrated with many previously unseen photographs a cache of rare memorabilia and a unique collection of specially photographed instruments used by the Beatles.THAs we continue to find new ways to explore their sound from vivid remasters of their original recordings to cutting-edge video games the Beatles remain at the forefront of popular music. This landmark book is perfect for the fan absorbed by music rather than hairstyles for the tribute-band member with an eye for detail and for any reader with an abiding interest in the 1960s. With a foreword by acclaimed Beatle author Mark Lewisohn EBeatles GearE tells it like it was.

"Grateful Dead Gear" is the very first in-depth examination of every aspect of the Dead's technical side, including their recording methods. From the "acid tests" of the mid-'60s to the famous "wall of sound" in the '70s and up to their exceptional later touring systems, the Grateful Dead were always on the cutting edge of technological innovation and experimentation. This exhaustive study includes clear and concise explanations of the band's equipment technology, instrument design, and studio recording techniques, plus a history of the group. It's the fascinating story of how a colorful cast of tech geniuses and visionaries merged art, technology, and commerce into one of the most successful touring businesses in music history.

An important characteristic of contemporary art music has been the use of conventional instruments in unconventional ways, achieving effects undreamed of or thought impossible in the early twentieth century. This compendium codifies these techniques, explains their production and effects, cites representative scores, and provides numerous example from an international selection of composers. Part One considers techniques and procedures that apply to all instruments; Part Two takes up idiomatic techniques with specific instruments in all orchestral categories. This monumental survey is essential for any music library or serious musician.

An important characteristic of contemporary art music has been the use of conventional instruments in unconventional ways, achieving effects undreamed of or thought impossible in the early twentieth century. Yet many of these techniques remain poorly understood with respect to both the physical procedures involved and the results in sound output. This compendium codifies these techniques, explains their production in terms of idiomatic peculiarity and limitations, and cites representative scores in which the new devices form an integral part of the composer's sonoric concepts. Citations and numerous printed examples are taken from an international selection of works by the most advanced and significant composers. Part One considers techniques and procedures that, with only slight modification, apply to all instruments: extended ranges, muting, glissandi, harmonics, percussive effects, microtones, amplification, and extramusical devices. Part Two is devoted to idiomatic techniques with specific instruments in the categories of woodwinds and brasses, percussion, harp and other plucked instruments, keyboard instruments, and strings. While demonstrating recent and radical innovations, references are made to historical beginnings of such devices in our classical music heritage.

An earlier version of this volume, Contemporary Instrumental Techniques (1976), was widely acclaimed by musicians and educators, recognized as a significant achievement in cataloging and organization and as an invaluable reference tool. Now extensively expanded, with additional techniques, new and revised explanations, and hundreds of recent citations and examples, this monumental survey is essential for any music library or serious musician. An indispensable guide for composers and orchestrators, it will also be valuable as a sourcebook for performers and teachers and as a textbook for courses in composition.

In The Musical Instrument Desk Reference, Michael Pagliaro, musical instrument authority extraordinaire, provides the one-stop shop for those in need of a quick, visually-rich reference guide to band and orchestral instruments. Descriptions and illustrations of everything from the physics of sound to detailed discussions of each orchestra and band instrument make this work the ideal desktop reference tool for the working musician. Through its Quick Start and In Depth features, readers can quickly decide how deeply they want to delve into the instrument at hand. Following a contemporary format designed to facilitate what any musician or music instructor needs to know, The Musical Instrument Desk Reference eliminates the need to leaf through multiple method books or trawl through websites to find information. The Musical Instrument Desk Reference includes general information on fingering, the anatomy of musical instruments, sound production, amplification, and control, as well as the science of sound. Readers will find individual chapters on woodwinds, brass instruments, non-fretted string instruments, and percussion instruments. In each category, Pagliaro delves deeper, describing for woodwinds such things as tuning, key systems, fingerings, sound production, tone holes, assembly, materials, embouchures, and reed use; for brass instruments such matters as valve systems, fingering patterns, French horn types, mouthpiece selection, and intonation; for non-fretted string instruments such issues as tuning and fingering, playing position, bowing technique, instrument parts, and materials; and for percussion instruments such elements as instrument types and their classifications, tuning procedures, and accessories. The Musical Instrument Desk Reference is the perfect guide for anyone interested in or responsible for working with varieties of instruments and their players. Teachers, students, teachers in training, music instructors, instrument technicians, and musicians can quickly locate any specific detail related to any band or orchestral instrument.

The history of Gdansk carillons begins in 1561. It was that year that fourteen automatic bells were installed in the Main Town Hall. Later, a "striking mechanism" appeared in St Catherine's Church. This magnificent instrument, consisting of thirty-five bells, has been in use since 1738. The third carillon was built in 1939 in the youth hostel at Biskupia Gorka. The play of Gdansk carillons was interrupted by the Second World War. The book discusses the history and music of Gdansk carillons. It contains valuable information on bells, carillon mechanisms, bell founders, carillonists, and bell setters, inviting the reader to study the Protestant repertoire, the unique notation of preserved manuscripts, and the remarkable soundscape of Gdansk, which for centuries has been marked by the sound of carillons.

This book, the first English-language translation of Acoustique des instruments de musique, Second Edition, presents the necessary foundations for understanding the complex physical phenomena involved in musical instruments. What is the function of the labium in a flute? Which features of an instrument allow us to make a clear audible distinction between a clarinet and a trumpet? With the help of numerous examples, these questions are addressed in detail. The authors focus in particular on the significant results obtained in the field during the last fifteen years. Their goal is to show that elementary physical models can be used with benefit for various applications in sound synthesis, instrument making, and sound recording. The book is primarily addressed to graduate students and researchers; however it could also be of interest for engineers, musicians, craftsmen, and music lovers who wish to learn about the basics of musical acoustics.

Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

Sound Tracks tells the history of our relationship with music in 60 detective stories, each focusing on the discovery of a musical instrument in archaeological digs around the world. Taking us from the present day back to the dawn of time, long-lost music is here reconstructed as we enter the worlds of its makers. We feel a child's delight at playing with a water-filled pot that chirps like a bird in Peru in 700 AD; we appreciate the challenge of a soldier sending signals by trumpet along Hadrian's Wall; we hear the chiming of 64 bells buried in a tomb in 5th century China. Graeme Lawson leads us on a grand tour of the world's greatest musical discoveries, revealing that music is part of our DNA - not just in its role as pastime, entertainment or religious expression but also in how we commemorate our pasts and communicate with each other. It shapes all our lives and identities. Filling past silences with a treasure hoard of forgotten sounds and voices, Sound Tracks is an enthralling, astonishing alternative history of humanity.

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.

ÊRolling Stones GearÊ is the first book to historically document all of the Rolling Stones' musical equipment. It's also the story of the Rolling Stones but with a new twist: their history as told through the instruments they used. This book covers not only the group's personal background but also every tour and studio session from their inception in 1962 to date with detailed documentation illustrating what instruments and equipment were used during these periods. Every song recorded by the band including demos and out-takes are also documented with input from within the Stones' ranks as well as from people who were involved with the band. This lavishly illustrated book contains hundreds of photographs and rare images many of which have never been published including the Rolling Stones' actual guitars and equipment which were specially photographed for this book and are seen here for the first time. Whether you are a musician a Stones fan or just the casual reader you will learn many new facts about the band from their monumental fifty-year existence.Þ±Win the brands of the Rolling Stones!± Check out this fabulous Guitar Player Magazine contest!

Following the earlier volumes in the Studies in Musical Genesis and Structure series, Mahler's Fourth Symphony is a study of the origins of the work as well as a thorough examination of Mahler's compositional process. The source of the Fourth Symphony was the song Das himmlische Leben, which Mahler completed in 1892 and later wished to include in a large-scale work. Originally part of a collection of settings from Des Knaben Wunderhorn, the song became, for a time, part of the Third Symphony (1896). Eventually Mahler made Das himmlische Leben the source and goal of the Fourth Symphony, which he completed in 1901. In this book, James Zychowicz explores how Mahler's compositional process for the Fourth, from the early movement plans to preliminary sketches, short score, draft score, and fair copy. At each stage of the process, Mahler added details, decided on textures, and explored tonalities until he arrived at the finished score. This is the first comprehensive study of Mahler's compositional method, concerning a pivotal work in his oeuvre. The Fourth Symphony looks back toward the earlier Wunderhorn period and simultaneously forward to the less programmatic style of his middle symphonies.

The roots of Bluegrass music developed for hundreds of years with dulcimers, fiddles, banjos, jew harps, and mouth bows from the Appalachian mountain region of America. Here is the illustrated story of each instrument and their use in the isolated hills to create a truly American style of music .

This book explores the fundamentals of popular music performance for students in contemporary music institutions. Drawing on the insights of performance practice research, it discusses the unwritten rules of performances in popular music, what it takes to create a memorable performance, and live popular music as a creative industry. The authors offer a practical overview of topics ranging from rehearsals to stagecraft, and what to do when things go wrong. Chapters on promotion, recordings, and the music industry place performance in the context of building a career. Performing Popular Music introduces aspiring musicians to the elements of crafting compelling performances and succeeding in the world of today's popular music.

52 CCM faves in a value-priced songbook: All to You * Be Near * Breathe * Come On Back to Me * Deeper * Faithful to Me * I Wanna Sing * King * Maker of All Things * Oceans from the Rain * Pray * Song of Love * These Hands * This Is Your Life * Wisdom * 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.