This Element investigates the balance and interaction of imagination (visions) and technique (decisions) in the composition of music and includes current scientific research on dreams, the hypnagogic state, emotions, and feelings. It also includes thoughts of composers past and present, and examines how works start from visions in a range of music, comparing musical ideas and techniques to models in other creative disciplines. The Element elucidates aspects of musical discourse by imagining how Haydn, Mozart, and other composers would order falafel for takeout. This unorthodox approach emphasizes parallels between music and theater that are central to this Element.

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.

A practical but scholarly guide to Japanese instruments by one of the country's leading composers. The unique sounds of the biwa, shamisen, and other traditional instruments from Japan are heard more and more often in works for the concert hall and opera house. Composing for Japanese Instruments is a practical orchestration and instrumentation manual with contextual and relevant historical information for composers who wish to learn how to compose for traditional Japanese instruments. Widely regarded as the authoritative text on the subject in Japan and China, it contains hundreds of musical examples, diagrams, photographs, and fingering charts. Many of the musical examples can be heard on a companion website. The book also contains valuable appendices, one of works author Minoru Miki composed using Japanese traditional instruments, and one of works by other composers -- including Toru Takemitsu and Henry Cowell -- using these instruments. Minoru Miki was a composer of international renown, recognized in Japan as a pioneer in writing for Japanese traditional instruments. Marty Regan is associate professor of music at Texas A&M University. Philip Flavin is associate professor at the Osaka University of Economicsand Law and adjunct senior research associate of Monash University in Melbourne, Australia.

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.

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.

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.

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?

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.

"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.

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.

Series II reprinted from authoritative Russian editions contains Sonatas Op. 27, Op. 30; Op. 38, No. 1; Op. 39, No. 4; Op. 39, No. 5; Op. 53, No. 1; Op. 53, No. 2; Op. 56; plus Op. 38, Nos. 6 & 8.

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!

'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

Hundreds of photographs and drawings illustrate how player mechanisms work and how to repair, restore, and maintain them. For beginners and experienced technicians alike.

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.

Now available again in paperback, this completely revised and expanded version of Lucie Manén's The Art of Singing: A Manual of Bel Canto (Faber Music Ltd, 1974; 2nd edition 1981) is illuminated throughout by the author's practical and musical insights, and illustrated with exercises from original Bel Canto manuals.

Lucie Manén presents the findings of her extensive investigation into the original Italian art of Bel Canto singing. After summarizing the history of Bel Canto and some mistaken teaching methods, she describes in detail her own research into the physiological aspects of Bel Canto - from posture and breathing to details of messa di voce and coloratura.

The Triumph of Vulgarity in a thinker's guide to rock 'n' roll. Rock music mirrors the tradition of nineteenth-century Romaniticsm, Robert Patison says. Whitman's "barbaric yawp" can still be heard in the punk rock of the Ramones, and the spirit that inspired Poe's Eureka lives on in the lyrics of Talking Heads. Rock is vulgar, Pattison notes, and vulgarity is something that high culture has long despised but rarely bothered to define. This book is the first effort since John Ruskin and Aldous Huxley to describe in depth what vulgarity is, and how, with the help of ideas inherent in Romaniticism, it has slipped the constraints imposed on it by refined culture and established its own loud arts.
The book disassembles the various myths of rock: its roots in black and folk music; the primacy it accords to feeling and self; the sexual omnipotence of rock stars; the satanic predilictions of rock fans; and rock's high-voltage image of the modern Prometheus wielding an electric guitar. Pattison treats these myths as vulgar counterparts of their originals in refined Romantic art and offers a description and justification of rock's central place in the social and aesthetic structure of modern culture. At a time when rock lyrics have provoked parental outrage and senatorial hearings, The Triumph of Vulgarity is required reading for anyone interested in where rock comes from and how it works.

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.

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.

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.