DJs have gone from being underpaid live jukeboxes to becoming premier entertainers, producers, businessmen, and musicians capable of commanding admiration from thousands and earning serious money. Bill Brewster and Frank Broughton's Last Night a DJ Saved My Life was the definitive history of the DJ. Now they gather their mastery of the artistic and technical aspects of being a DJ into a clear, accessible, and entertaining guide. How to DJ is the perfect guide -- from the most basic keys to establishing a music collection and a distinctive sound, to elementary record-spinning, to the complex skills of scratching, hot-mixing, and beat-juggling, as well as the inimitable art of creating an evening of sound that is perfectly timed, balanced, and unforgettable. Diagrams throughout illustrate phrases, beat timing, and song structure with no reliance on music theory, and resource lists recommend everything from which songs are best (and most fun) to learn with, to good sources for building a library of disks, CDs, and MP3s. For those who want to turn pro, the authors give sage advice on the vagaries of the club and music business. Short quotes, anecdotes, and photos of famous DJs such as Grandmaster Flash and Derrick Carter are featured.

Imogen Holst, 1907-84, was a much-loved source of inspiration for countless musicians and students who encountered her over the years of her involvement with the Dartington Summer School of Music and the Aldeburgh Festival. This book conveys her infectious enthusiasm and insight as a choral conductor. Here she sets out, clearly and concisely, a wealth of practical information on the physical business of conducting which will be of particular value to the amateur conductor. She deals with the forming and training of a choir, the presentation and rehearsal of the music, and how to approach public performances and competitions. Her final chapter gives advice on the rehearsal of specific choruses by Purcell, Handel, and Britten. Originally published in 1973, this edition has been corrected and updated by Lowinger Maddison, Archivist for the Holst Foundation.

A Concise History of the Classic Guitar by Graham Wade, one of the foremost international writers on the guitar, explores the history of the instrument from the 16th century to the present day. This compact assessment of five centuries of fretted instruments cover the vihuela in Spain, the history of four-course and five-course guitars, the evolution of tablature, and developments in the six-string guitar in the 19th century. The work also charts the contribution of leading composers, performers and luthiers of the 20th century, and evaluates the influence of Segovia, Llobet, Pujol, Presti, Bream, Williams, etc., among the world's famous guitarists. This book, intended for the general public and guitar students of all ages, is the first interpretative history of the classic guitar to be published in the 21st century, and will be eagerly welcomed by all lovers of the instrument.

Eleven titles from this delightful movie include: Toot Sweets * Chitty Chitty Bang Bang * Lovely, Lonely Man * The Roses of Success * You Two * Truly Scrumptious * Doll on a Music Box * Me Ol' Bam-Boo.

A step-by-step method for playing harmonica solos. The format is simple and visually attractive. Through graded lessons, the student is taught how to find and play the individual notes on the diatonic harmonica, as well as learning to read simple musical notation. Includes a diatonic note chart. The songs include chords for accompaniment.

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.

Few bodies of Western music are as widely respected, studied, and emulated as the fugues of Johann Sebastian Bach. Despite the esteem which Bach's contributions brought to the genre, however, the origin and early history of the fugue remain poorly understood. Theories of Fugue from the Age of Josquin to the Age of Bach addresses both the history and methodology of the pre-Bach fugue (from roughly 1500 to 1700), and, of greatest significance to the literature, it seeks to present a way out of the methodological dilemma of uncertainty which has plagued previous scholarly attempts by considering what musicians of the time had to say about the fugue: what it was, what it was not, how important it was, and where and how a composer should (or shouldn't) use it. Paul Mark Walker is director of the Early Music Ensemble at the University of Virginia and an expert on the history of the fugue.

George Lawrence Stone's Stick Control is the bible of drumming. In 1993, Modern Drummer magazine named the book one of the top 25 books of all-time. In the words of the author, it is the ideal book for improving: control, speed, flexibility, touch, rhythm, lightness, delicacy, power, endurance, preciseness of execution and muscular coordination, with extra attention given to the development of the weak hand. This indispensable book for drummers of all types includes hundreds of basic to advanced-level rhythms, moving through categories of single-beat combinations, triplets, short roll combinations, flam beats, flam triplets and dotted notes, and short roll progressions.

Following Roy Newsome's highly acclaimed study Brass Roots: One Hundred Years of Brass Bands and their Music, this book takes up the story of bands and their development from the 1930s to the start of the new millennium. Brass band contests continued to play a significant role in the twentieth century, and this new book contains a detailed consideration of both local and regional contests and larger-scale national events such as the British Open and the National Brass Band Championships. As in previous times, the repertoire of bands has been greatly influenced by these contests. Newsome explores competition works, but also the development of an increasing number of concerto-style works intended for concert performance. One of the keys to the continuing popularity and success of the banding movement has been the creation of school and youth brass bands. Sections of the book devoted to younger generations of band players examine the changes that have taken place in such bands. There is also an investigation of the impact of radio, television and commercial recording on the brass band industry. The book also contains a wealth of information about leading bands and band personalities, and concludes with an overview of the spread of interest in British-style banding overseas.

Duke Ellington (1899-1974) is widely considered the jazz tradition's most celebrated composer. This engaging yet scholarly volume explores his long career and his rich cultural legacy from a broad range of in-depth perspectives, from the musical and historical to the political and international. World-renowned scholars and musicians examine Ellington's influence on jazz music, its criticism, and its historiography. The chronological structure of the volume allows a clear understanding of the development of key themes, with chapters surveying his work and his reception in America and abroad. By both expanding and reconsidering the contexts in which Ellington, his orchestra, and his music are discussed, Duke Ellington Studies reflects a wealth of new directions that have emerged in jazz studies, including focuses on music in media, class hierarchy discourse, globalization, cross-cultural reception, and the role of marketing, as well as manuscript score studies and performance studies.

Are you a music teacher searching for sanity in the midst of all your chaotic responsibilities? Music teachers have to do so much more than teach music. They have to be master musicians, educators, and conductors, all while balancing other professional disciplines like arranging, composing, trip planning, financing, and more. The parts of the job that take our sights off of great teaching must be managed so that we can focus on what counts: the music. If you are feeling overwhelmed by the logistics of your job, you are in luck- there is an app for that! Actually, a lot of apps. And Digital Organization Tips for Music Teachers is here to tell you all about them. Every teacher has something to gain from this book. Whether you can barely turn your computer on or if you are just looking for tips on how to make your work more efficient, there is something in store for you. The technologies in this book are presented in bite sized descriptions of desktop and mobile apps, followed by applications of how they can solve specific problems that music teachers experience every day. Each chapter covers a different type of data that music teachers have to organize, ranging from notes, to tasks, to scores and audio recordings. Music teachers have it too hard to ignore modern technology but too little time to invest in software that requires a degree to understand. The technology in this book is so simple to grasp the basics of, you will be able to jump right in and start putting these tips into practice at every page turn.

Vocal, Instrumental, and Ensemble Learning and Teaching is one of five paperback books derived from the foundational two-volume Oxford Handbook of Music Education. Designed for music teachers, students, and scholars of music education, as well as educational administrators and policy makers, this third volume in the set emphasizes the types of active musical attributes that are acquired when learning an instrument or to sing, together with how these skills can be used when engaging musically with others. These chapters shed light on how the field of voice instruction has changed dramatically in recent decades and how physiological, acoustical, biomechanical, neuromuscular, and psychological evidence is helping musicians and educators question traditional practices. The authors discuss research on instrumental learning, demonstrating that there is no 'ideal' way to learn, but rather that a chosen learning approach must be appropriate for the context and desired aims. This volume rounds out with a focus on a wide range of perspectives dealing with group performance of instrumental music, an area that is organized and taught in many varied ways internationally. Contributors Alfredo Bautista, Robert Burke, James L. Byo, Jean Callaghan, Don D. Coffman, Andrea Creech, Jane W. Davidson, Steven M. Demorest, Robert A. Duke, Robert Edwin, Shirlee Emmons, Sam Evans, Helena Gaunt, Susan Hallam, Lee Higgins, Jere T. Humphreys, Harald Jers, Harald Jorgensen, Margaret Kartomi, Reinhard Kopiez , William R. Lee, Andreas C. Lehmann, Gary E. McPherson, Steven J. Morrison, John Nix, Ioulia Papageorgi, Kenneth H. Phillips, Lisa Popeil, John W. Richmond, Carlos Xavier Rodriguez, Nelson Roy, Robert T. Sataloff, Frederick A. Seddon, Sten Ternstrom, Michael Webb, Graham F. Welch, Jenevora Williams, Michael D. Worthy

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.

Advancements in technology, such as tablets and smartphones, have changed the way people work. As a result, the chasm in areas such as information access, opinions, and even ethics has widened between people who are keeping up with the continuing changes and those who have been left behind. In An Age Without Samples, Ikutaro Kakehashi argues that what we need to do now is resurrect the venture spirit we saw from the late 60s through the 80s. With the explosive change brought about by IT, social networking, and other developments, there is a very rare opportunity today for venture businesses. Based on a solid footing in his area of specialty as a pioneer in music and technology, Kakehashi uses the digital age as the backdrop of the times we live in. In this book, he offers tips on how one might navigate this age without samples, drawing from his own personal experience, successes, and most important, ground breaking product development.

Kartomi first moves through a culture-specific inspection of several societies in Europe, Asia, and Africa, and then, synthesizing current ethnomusicological trends, proceeds to make a large-scale comparative study of classification schemes and the concepts which govern them.

This new edition of The Oxford Companion to Music is a comprehensive and authoritative reference work, which, like its famous predecessors, will be invaluable to both professional and amateur musicians, and general music lovers. A distinguished and international team of contributors covers a broad sweep of musical subjects, ranging from composers and performers to instruments and genres.