This book provides both preservice and seasoned music educators with a unique and powerful way of teaching. The premise of the book is to offer a pedagogical approach that emphasizes focus on conceptual learning that is sensory oriented. From the musical concepts we teach_melody, harmony, rhythm, and form_the teacher targets one concept per lesson (e.g., melody), and provides learning experiences in singing, listening, performing, moving, reading/writing, and improvising/composing that are all focused on only that concept. Essentially, the learners are bombarded visually, aurally, and kinesthetically, gaining a firm grasp of the concept because they have heard, sung, moved, performed, written, and created in that class, all in small time segments. The teacher has a greater ability to reach all students' learning needs and engage them in active learning in each class. The book not only offers background information about the learning process, but also specific lesson templates that serve as conceptual models for music classes.

Engaging Musical Practices: A Sourcebook for Instrumental Music is a long awaited compilation of best practices for instrumental music education. This unique book contains practical and pedagogically oriented chapters written by leaders in the field of instrumental music education. Designed for instrumental music teachers or for use in instrumental methods courses, the book covers a wide range of topics, such as: *student readiness for instrumental music *beginning an instrumental music program *teaching instrumental music at the intermediate and advanced levels *working with strings and orchestras *motivating students *incorporating improvisation into the curriculum *selecting repertoire based on curricular goals *engaging students in assessment *marching band pedagogy and techniques *integrating technology *considering "traditional" instrumental music practice *becoming an instrumental music teacher *communicating effectively with stakeholders Contributions by James Ancona and Heidi Sarver, Kimberly Ackney and Colleen Conway, Christopher Azzara, William Bauer and Rick Dammers, Brian Bersh, Suzanne Burton & Rick Townsend, Patricia Campbell and Lee Higgins, Robert Gardner, Richard Grunow, Mike Hewitt and Bret Smith, Dan Isbell, Nate Kruse, Chad Nicholson, Alden Snell, and David Stringham.

(Faber Piano Adventures ). The 2nd Edition Theory Book provides instruction, reinforcement, and creative applications of basic theory concepts. Students will enjoy note-naming with StoryRhymes, explore improvisation, and engage with eye-training and ear-training activities all within a fun-filled context tied thematically to the Level 1 Lesson Book pieces.

Expanding the Space for Improvisation Pedagogy in Music is a critical, research-based anthology exploring improvisation in music pedagogy. The book broadens the understanding of the potentials and possibilities for improvisation in a variety of music education contexts and stimulates the development of knowledge and reflection on improvisation. The book critically examines the challenges, cultural values, aims and methods involved in improvisation pedagogy. Written by international contributors representing a variety of musical genres and research methodologies, it takes a transdisciplinary approach and outlines a way ahead for improvisation pedagogy and research, by providing a space for the exchange of knowledge and critique. This book will be of great interest to scholars, researchers, and postgraduate students in the fields of arts education, music education, improvisation, music psychology, musicology, ethnomusicology, artistic research and community music. It will also appeal to music educators on all levels in the field of music education and music psychology.

Since the emergence of rock'n'roll in the early 1950s, there have been a number of live musical performances that were not only memorable in themselves, but became hugely influential in the way they shaped the subsequent trajectory and development of popular music. Each, in its own way, introduced new styles, confronted existing practices, shifted accepted definitions, and provided templates for others to follow. Performance and Popular Music explores these processes by focusing on some of the specific occasions when such transformations occurred. An international array of scholars reveal that it is through the (often disruptive) dynamics of performance - and the interaction between performer and audience - that patterns of musical change and innovation can best be recognised. Through multi-disciplinary analyses which consider the history, place and time of each event, the performances are located within their social and professional contexts, and their immediate and long-term musical consequences considered. From the Beatles and Bob Dylan to Michael Jackson and Madonna, from Woodstock and Monterey to Altamont and Live Aid, this book provides an indispensable assessment of the importance of live performance in the practice of popular music, and an essential guide to some of the key moments in its history.

Since the emergence of rock'n'roll in the early 1950s, there have been a number of live musical performances that were not only memorable in themselves, but became hugely influential in the way they shaped the subsequent trajectory and development of popular music. Each, in its own way, introduced new styles, confronted existing practices, shifted accepted definitions, and provided templates for others to follow. Performance and Popular Music explores these processes by focusing on some of the specific occasions when such transformations occurred. An international array of scholars reveal that it is through the (often disruptive) dynamics of performance - and the interaction between performer and audience - that patterns of musical change and innovation can best be recognised. Through multi-disciplinary analyses which consider the history, place and time of each event, the performances are located within their social and professional contexts, and their immediate and long-term musical consequences considered. From the Beatles and Bob Dylan to Michael Jackson and Madonna, from Woodstock and Monterey to Altamont and Live Aid, this book provides an indispensable assessment of the importance of live performance in the practice of popular music, and an essential guide to some of the key moments in its history.

This new edition contains all the scales and arpeggios required for ABRSM's Grade 4 Violin exam. Includes all Grade 4 scales and arpeggios for the revised syllabus from 2012, with bowing patterns and suggested fingering, along with a helpful introduction including advice on preparing for the exam.

This volume looks at the symbiotic relationship between the philosophical inquiry into the presuppositions of musical interpretation and the interpretation of particular musical works by musicians. Characteristically, interpreters of music entertain philosophical views about musical interpretation. For example, an interpreter's decision whether to play one or another version of a piece, whether to use one instrument or another, whether to emphasize certain elements, depends in part upon certain convictions of a philosophical nature. An interpreter's resolution of such questions will involve views about what a musical work is--for example, whether it is fully embodied in a score, how strictly all markings should be respected, what pertinence historical research has for interpretations, and how decisive the known or reconstructed intentions of a composer may be. These nineteen previously unpublished essays address a cluster of interrelated questions about the definition, grounds, and nature of musical interpretation. The contributors investigate the aesthetic, cultural, and historical aspects of interpretation as well as fundamental distinctions such as those between a work and its interpretation, musical and non-musical phenomena, and musical meaning and linguistic meaning.

From the very first lessons in Book 1, students are making music as they explore the piano keyboard through fun improvisation pieces called My Own Song. The beginning of the book introduces finger numbers, the black-key and white-key groups, and basic rhythm patterns. Directional reading is taught first by finger number, then by note name, and then by interval (stop, skip, and repeat). Once the students are introduced to the staff, they learn reading guides Bass F and Treble G and read by interval in several different hand positions.

Aural Training in Practice offers valuable support to teachers preparing students for ABRSM exams. It is available in three volumes covering Grades 1-3, Grades 4 & 5 and Grades 6-8. Each volume includes teaching hints and strategies, many practice exercises for ABRSM exams including answers where appropriate, and CD recordings of all exercises.

Who would have thought the electric bass guitar with its frets removed would transcend the rhythm section to become one of the most instantly recognizable sounds in all of music? From the jazz genius of Jaco Pastorius and the funk/punk abandon of Les Claypool, to the landmark rock of Jack Bruce and Sting, the instrument has a lyrical legacy all its own. This book collects the very best interviews, lessons, and gear and maintenance guides into one smooth-reading compilation. With insight from over 25 masters, including Tony Levin, Marcus Miller, Gary Willis, Jimmy Haslip, and Percy Jones, The Fretless Bass will give you a keen appreciation for the important innovators, as well as plenty of tools to find your own voice on the instrument.

Building Strong Music Programs uniquely focuses on music programs in the public school community, providing strategies and tools for developing a vibrant music program and building community support. Covering relationships with colleagues, parents, staff, administrators, and the community at large, Charlene Ryan also provides tactics for developing courses, performances, and publicity to enhance your program. Build a repertoire of tried-and-true strategies covering curriculum, classroom management, special needs, concerts, assessment, budget, and more that are based on years of teaching at all levels. While program building is an essential, time-consuming part of every music teacher's job, students are rarely prepared for it. The questions for discussion and student assignments make this an excellent choice for preservice teacher training courses. Ryan covers issues important to student teachers, new teachers, teachers changing schools, and teachers looking to rejuvenate their existing programs. From student trips to music software to district ensembles to advocacy to entry-level instrumental courses, Ryan covers it all in this comprehensive handbook.

Stringtastic Book 1: Viola teaches through playing in an engaging exploration of musical styles. Part of the fully integrated Stringtastic series in which violin, viola, cello and double bass can all learn and play together in any combination. Learn as you play through the world of Stringtastic, with 57 imaginative pieces that have been specifically designed to establish a secure playing technique and build confidence one step at a time. Following on from Stringtastic Beginners, this book takes the student from playing the notes of the D major scale to Grade 1 (Early Elementary). Featuring equal-level duets for all instruments, the pieces are ideal for individual and group tuition as well as flexible ensemble and classroom settings. Every piece is supported by an exciting backing track plus a piano-only track for practice, all available to download. The Stringtastic Book 1: Teacher's Accompaniment book provides the complete piano score which works with any combination of the instrumental parts.

Specimen Aural Tests provide teachers and students with many practice examples of the tests to use as part of a music lesson or when preparing for an exam. This volume covers Grade 6 and includes all new practice examples for each test in a range of musical styles including answers where appropriate, and the examiner rubrics (the exact words that will be used by the examiner to deliver the tests), so that candidates can be fully prepared for what will happen on the day. The Specimen Aural Tests volumes are each available in versions with or without practice CDs.

Both a defence of research aiming to recover how music sounded in the past and an argument for the application of such historical research to performance. The legitimacy of applying historical research to musical performance has been much argued about in recent years. Those advocating historical authenticity have been attacked on philosophical, aesthetic, and even practical grounds.This book both defends the practical value of trying to determine how music sounded in the past and develops an intellectual and musical justification for relating historical research to performance. From the outset Peter Walls stresses the need for research driven by curiosity rather than by the desire to justify a particular approach. Arguing that a performance determined entirely by historical rules is an impossibility, he asserts that the imaginationis inevitably involved. His book envisages a relationship between historical knowledge and imagination that is dynamic and stimulating. Case studies range from printing formats and performance in seventeenth-century violin music,to tracking composer intention through the rehearsal and production phases of nineteenth and twentieth century operas. PETER WALLS is professor of music at Victoria University of Wellington, and chief executive of the New Zealand Symphony Orchestra.

Analysing over 100 recordings from 1945-1975, this book examines twentieth-century baroque performance practice as evinced in all the commercially available recordings of J.S. Bach's Passions, Brandenburg Concertos and Goldberg Variations. Dorottya Fabian presents a qualitative, style-orientated history of the early music movement in its formative years through a comparison of the performance style heard in these recordings with the scholarly literature on Bach performance practice. Issues explored in the book include the availability of resources, balance, tempo, dynamics, ornamentation, rhythm and articulation. During the decades following the Second World War, the early music movement was more concerned with the revival of repertoire than with the revival of performance style which meant that its characteristics and achievements differed essentially from those of the later 1970s and 1980s. Period practice techniques were not practised even by ensembles using eighteenth-century instruments. Yet, as this survey reveals, several recordings of the period provide unexpectedly stylish interpretations using metre and pulse to punctuate the music. Such metric performance and appropriate articulation helped to clarify structure and texture and assisted in the creation of a musical discourse - the pre-eminent goal of baroque compositions.