With nearly 400 scores to his credit, Ennio Morricone is one of the most prolific and influential film composers working today. He has collaborated with many significant directors, and his scores for such films as The Good, the Bad, and the Ugly; Once Upon a Time in America; Days of Heaven; The Mission; The Untouchables; Malena; and Cinema Paradiso leave moviegoers with the conviction that something special was achieved-a conviction shared by composers, scholars, and fans alike. In Composing for the Cinema: The Theory and Praxis of Music in Film, Morricone and musicologist Sergio Miceli present a series of lectures on the composition and analysis of film music. Adapted from several lectures and seminars, these lessons show how sound design can be analyzed and offer a variety of musical solutions to many different kinds of film. Though aimed at composers, Morricone's expositions are easy to understand and fascinating even to those without any musical training. Drawing upon scores by himself and others, the composer also provides insight into his relationships with many of the directors with whom he has collaborated, including Sergio Leone, Giuseppe Tornatore, Franco Zeffirelli, Warren Beatty, Ridley Scott, Roland Joffe, the Taviani Brothers, and others. Translated and edited by Gillian B. Anderson, an orchestral conductor and musicologist, these lessons reveal Morricone's passion about musical expression. Delivered in a conversational mode that is both comprehensible and interesting, this groundbreaking work intertwines analysis with practical details of film music composition. Aimed at a wide audience of composers, musicians, film historians, and fans, Composing for the Cinema contains a treasure trove of practical information and observations from a distinguished musicologist and one of the most accomplished composers on the international film scene.

Voice research has revealed much about the singing voice, but science without practical application may fall short of fine singing. In The Essentials of Beautiful Singing: A Three Step Kinesthetic Approach, performer and scholar Karen Tillotson Bauer bridges the gap between science and singing. It reframes the complexities of voice science with a cultivated simplicity of style and terminology that speaks directly to the singer's experience of singing, a kinesthetic one. Although well grounded in science, Bauer's book does not linger in scientific terminology, but rather focuses on an action-based pedagogical approach that speaks to the kinesthetic nature of singing. The skillful use of the body as a musical instrument is the source of fine singing and only through heightened kinesthetic awareness can vocal skills be achieved and refined. Fact-based explanations of kinesthetic singing processes are remarkably clear and replace vague notions about good breath management, rich resonance, and clear enunciation. Guided exercises inform both the body and the mind as a kinesthetic unit. The Essentials of Beautiful Singing has received praise in the Journal of Singing, Choice Reviews for Academic Music Libraries, and the International Choral Bulletin, among others. Its practical perspective reflects the efforts and goals of singer, voice teacher, and choral director. Paired with a science focused text in a voice pedagogy class, it provides a needed balance between science and singing.

Voice research has revealed much about the singing voice, but science without practical application may fall short of fine singing. In The Essentials of Beautiful Singing: A Three Step Kinesthetic Approach, performer and scholar Karen Tillotson Bauer bridges the gap between science and singing. It reframes the complexities of voice science with a cultivated simplicity of style and terminology that speaks directly to the singer's experience of singing, a kinesthetic one. Although well grounded in science, Bauer's book does not linger in scientific terminology, but rather focuses on an action-based pedagogical approach that speaks to the kinesthetic nature of singing. The skillful use of the body as a musical instrument is the source of fine singing and only through heightened kinesthetic awareness can vocal skills be achieved and refined. Fact-based explanations of kinesthetic singing processes are remarkably clear and replace vague notions about good breath management, rich resonance, and clear enunciation. Guided exercises inform both the body and the mind as a kinesthetic unit. The Essentials of Beautiful Singing has received praise in the Journal of Singing, Choice Reviews for Academic Music Libraries, and the International Choral Bulletin, among others. Its practical perspective reflects the efforts and goals of singer, voice teacher, and choral director. Paired with a science focused text in a voice pedagogy class, it provides a needed balance between science and singing.

Developed by the superstar pianist Lang Lang and channelling his passion for piano and music education, The Lang Lang Piano Method reflects the way he would like kids today to learn piano. This is a fun, modern and easy piano method ideal for complete beginners from age 5 upwards. The five progressive books in the series provide a unique and imaginative way for kids to learn the piano with a cartoon superhero Lang Lang. The Lang Lang Piano Method Level 1 introduces complete beginners to different five-finger positions, note reading and moving around the keyboard. Fun, imaginative pieces develop the left and right hands equally right from the start, and supporting audio features exclusive performances by Lang Lang of the concert pieces. Musicianship is developed through theory pages and listening to exclusive performances by Lang Lang of piano classics for children. "I've written The Lang Lang Piano Method to inspire today's kids with my passion for the piano." Lang Lang

The translation of the third volume of Syntagma musicum, a multi-volume work by German composer and theorist Michael Praetorius (1571-1621). Volume III deals with terminolgy and performance practice, and offers us the most detailed commentary available from the 17th century about the performance of particular pieces of music. Praetorius is the most often quoted and excerpted writer on performance practice. In his translation, Kite=Powell has worked with a notoriously difficult syntax to produce a definitive English edition of this important work.

The Schaum Note Speller has the unqualified testimonial of thousands of teachers who pronounce it 'The Best.' Musical facts, beginning with line and space numbers are taught. Students learn by doing, since this book is in workbook form. This saves valuable lesson time, and immediately shows any mistakes in the beginner's thinking.

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 Grades 1-3 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.

Alfred's Basic Prep Course, Levels A through F, was written to answer a demand for a course of piano study designed specifically for students who are five years old and up. This course offers a careful introduction of fundamentals, music that fits comfortably under the young student's normal hand span, plus constant reinforcement, all leading to results beyond those generated by other piano methods. After Lesson Book B, the student may progress to Prep Course, Lesson Book C or choose to go directly into the faster paced Level 1B of Alfred's Basic Piano Library. The complete Prep Course consists of six books (Levels A through F).

The beginning bass singer, with his range and tessitura at the bottom end of the scale of voices, has unique difficulties finding suitable vocal music, which is often very frustrating for him and his teacher. As the young or beginning bass works and waits patiently for his voice to develop, appropriate vocal literature needs to be found which is within his present range and tessitura. To address this problem, this new book lists selected songs carefully chosen from the repertoire, with annotations. Some songs, given as an illustration or example of what is appropriate, are presented in their entirety. Each of these has its own background material complete with interesting biographical information and tips on interpretation. If the song is originally in a foreign language a suitable English version is given as well. In addition, the selected entries provide full access to suitable material; annotations include composer, title, range, tessitura, tempo, meter, difficulty, source, publisher, and pertinent comments. Also includes indexes by composer, title, and publisher.

Crowd Control 2nd edition is a nuts-and-bolts manual for teachers of middle and high school performance-based classes such as band, orchestra, and chorus. This practical 'how-to' guide shows teachers, pre-service or experienced, efficient ways to manage large performance-based classrooms. With wit and sage tried-and-true advice, Haugland provides a complete behavior plan as well as concrete ideas for addressing the National Standards, Common Core, assessment, advocacy, and ensemble team building, along with ways to form a professional network. Accessible and indispensable, Crowd Control will become a vital resource in every music teacher's library.

Modeled on the brilliant approach first formulated by distinguished professor music and master clarinetist Michele Gingras in her Clarinet Secrets and More Clarinet Secrets (both available from Scarecrow Press), Tracy Heavner's Saxophone Secrets provides advanced saxophonists with 60 performance secrets that will assist in their musical development. This work is the result of 30 years of personal teaching and performance experience. Heavner offers both intermediate players and advanced professionals a wide variety of techniques, which will greatly improve any saxophonist's performance ability. Designed to be the go-to hands-on guide for practitioners, Heavner's strategies consider a vast array of issues for the saxophonist who needs to take that next big step up. Beginning chapters consider various brands of saxophones, mouthpieces, ligatures, reeds, and maintenance techniques that reflect the standard practices and expectations of the advanced performer. The secrets that follow develop and improve embouchure, tone, articulation, and finger technique, allowing saxophonists to analyze their own playing and adjust accordingly. Heavner pulls back the curtain further to introduce those secrets for developing the altissimo register and extended saxophone techniques, from circular breathing and multiphonics to slap and flutter tonguing-all absolute necessities for saxophonists seeking to play contemporary classical, jazz, or commercial music. Finally, Heavner concludes by letting musicians in on those little-revealed secrets for taking their saxophones on the road. Saxophone Secrets is the ideal work for saxophonists, saxophone instructors, band teachers, and anyone looking to improve their saxophone performance skills or those of their students.

The Modern Course series provides a clear and complete foundation in the study of the piano that enables the student to think and feel musically. It may be preceded by the Teaching Little Fingers to Play series. Follows uninterruptedly and in progressive sequence the musical foundation developed in Book 1.

For musicians to attain the level of peak performance that they know is within their reach, they need to do more than spend time in the practice room. The most accomplished and healthiest musicians lead a balanced and satisfying life in which they place equal emphasis on three areas of musicianship: physical technique (body); analysis and knowledge (mind); and musicianship and creativity (soul). By integrating all of the parts of this triangle, you can learn to communicate creatively and with seeming effortlessness during performance. Organized into four main parts, this book first explores the mind-body connection and then separately discusses the mind, body, and soul of musicians, scholars, performers, and teachers of all voices and instruments. By delving into research literature in both sport psychology and music, you will learn to use mental rehearsal and imagery away from your instrument and deliberate practice at your instrument. You will also learn such relaxation techniques as meditation, centering, stretching, and deep breathing. Drawing on findings from scientific studies, particularly in the area of sports medicine, McAllister offers practical tools for your practice, performances, and daily routine. By learning these techniques, you will also find enhanced confidence, concentration, endurance, and control over your own music-making. With terms, questions for reflection, and assignments at the end of each chapter, this book may be used as a textbook for a course or as a supplement to music lessons. Both novice and experienced performers alike will learn ways to meet career demands and reach their full potential. Appendixes at the end of the book contain worksheets, scripts, questionnaires, self-evaluation forms, and journal entries that help you to individualize your work. Every musician who spends countless hours practicing deserves to learn these techniques, which will forever change the way you approach both practice and performance.

The fusion of text with music is one of the most powerful methods by which a composer can express emotion to an audience, yet, all too often, the diction of choral groups is lacking to such a degree as to make the text unintelligible. So argues Duane R. Karna, who in The Use of the International Phonetic Alphabet in the Choral Rehearsal brings together 30 essays by experts from around the world to describe how the character symbols of the International Phonetic Alphabet (IPA) can be used by singers in the choral rehearsal. In an effort to conquer one of the greatest challenges facing choral directors and their choirs, contributors explore the use of the IPA system in a vast range of languages. Readers will find essays devoted to the use of IPA on matters of lyric diction for the following tongues: Baltic Languages, Basque, Brazilian Portuguese, Chinese, Dutch, Ecclesiastical Latin, English, Finnish, French, Georgian, German, Germanic Latin, Greek, Hawaiian, Hebrew, Hungarian, Italian, Japanese, Korean, Norwegian, Polish, Romanian, Russian, Spanish, Swahili, and Swedish. Holding firmly to the belief that basic instruction in IPA character is part of a choir's training, Karna and his contributors see enormous potential for choirs to expand considerably their foreign-language repertoire and save considerable rehearsal time. The Use of the International Phonetic Alphabet in the Choral Rehearsal is the ideal primer for choral directors and choirmasters as well as choir members.

The British composer, conductor, and pianist Thomas Ades has achieved a level of recognition and celebrity within the world of classical music today that is almost unmatched. Once seen as the heir to Benjamin Britten, both in his importance to British music and his reputation as the enfant terrible of the concert world, Ades is a fascinating figure of contemporary composition. Reaching for the music behind the celebrity, author Drew Massey deftly tackles the challenges of writing about a living figure with such far-reaching impact by focusing on representative moments in his compositional career and critical reception. In this series of five interlocking essays, Massey provides an illuminating look at the formal characteristics of Ades's music, considers his work from the perspective of a contemporary listener, and places it within the larger context of developments in twentieth-century British music. He not only traces the diverse historical forms and traditions that Ades taps into but also reflects on where he is steering the future of composition and performance. An analysis of the key transitions in the artist's critical reception completes this book as the most comprehensive study of this pivotal figure of contemporary classical music in the English language to this day.

Conducting and Rehearsing the Instrumental Music Ensemble is the most comprehensive guide on the rehearsal process for conducting instrumental music ensembles. Ideal for the advanced instrumental music conductor seeking to look beyond basic conducting technique, this work breaks the multidimensional activity of working with an ensemble, orchestra, or band into its constituent components. Advanced students of conducting will find within the full range of conducting activities: * Chapters on the infrastructure of the rehearsal, the rehearsal environment, 10 rehearsal essentials, score study, music imagery, inner singing, and rehearsal procedures (with an emphasis on an integrated approach to rehearsing) * The technical priorities of intonation and tuning, rhythm patterns, ensemble sonority (tone, balance, blend, color and texture), and articulation * The musical priorities of tempo and ensemble precision, phrasing and the musical line, style and interpretation, dynamics and musical expression * Emphasizing the expectations of 21st-century conductors, the challenges of conducting and rehearsing contemporary music, preparing conductor profiles and self-evaluations, and moving from the rehearsal process to concert performance Conducting and Rehearsing the Instrumental Music Ensemble is a great resource for teachers and students of conducting, as well as current conductors wishing to further hone their skills.

Musicians are continually 'in the making', tapping into their own creative resources while deriving inspiration from teachers, friends, family members and listeners. Amateur and professional performers alike tend not to follow fixed routes in developing a creative voice: instead, their artistic journeys are personal, often without foreseeable goals. The imperative to assess and reassess one's musical knowledge, understanding and aspirations is nevertheless a central feature of life as a performer. Musicians in the Making explores the creative development of musicians in both formal and informal learning contexts. It promotes a novel view of creativity, emphasizing its location within creative processes rather than understanding it as an innate quality. It argues that such processes may be learned and refined, and furthermore that collaboration and interaction within group contexts carry significant potential to inform and catalyze creative experiences and outcomes. The book also traces and models the ways in which creative processes evolve over time. Performers, music teachers and researchers will find the rich body of material assembled here engaging and enlightening. The book's three parts focus in turn on 'Creative learning in context', 'Creative processes' and 'Creative dialogue and reflection'. In addition to sixteen extended chapters written by leading experts in the field, the volume includes ten 'Insights' by internationally prominent performers, performance teachers and others. Practical aids include abstracts and lists of keywords at the start of each chapter, which provide useful overviews and guidance on content. Topics addressed by individual authors include intrapersonal and interpersonal dynamics, performance experience, practice and rehearsal, 'self-regulated performing', improvisation, self-reflection, expression, interactions between performers and audiences, assessment, and the role of academic study in performers' development.

(Guitar Method). The Hal Leonard Guitar Method is designed for anyone just learning to play acoustic or electric guitar. It is based on years of teaching guitar students of all ages, and it also reflects some of the best guitar teaching ideas from around the world. Book 1 includes tuning; playing position; musical symbols; notes in first position; C, G, G7, D, D7, A7, and Em chords; rhythms through eighth notes; strumming and picking; over 80 great songs, riffs, and examples.

Student learning in school music ensembles is often focused on technical skill development. Give your students broader experience involving multiple music learnings, technical proficiency, cognition, and personal meaning. The Comprehensive Musicianship through Performance (CMP) model will help you plan instruction for school ensembles that promotes a holistic form of music learning and will allow you to use your creativity, passion, and vision. With model teaching plans and questions for discussion, this book can give you richer, more meaningful challenges and help you provide your students with deeper musical experiences. Sindberg combines the theoretical foundations of CMP with practical applications in a book that's useful for practicing teacher-conductors, scholars, and teacher educators alike.

Student learning in school music ensembles is often focused on technical skill development. Give your students broader experience involving multiple music learnings, technical proficiency, cognition, and personal meaning. The Comprehensive Musicianship through Performance (CMP) model will help you plan instruction for school ensembles that promotes a holistic form of music learning and will allow you to use your creativity, passion, and vision. With model teaching plans and questions for discussion, this book can give you richer, more meaningful challenges and help you provide your students with deeper musical experiences. Sindberg combines the theoretical foundations of CMP with practical applications in a book that's useful for practicing teacher-conductors, scholars, and teacher educators alike.

Upon his arrival in Hollywood, Alfred Hitchcock began work on his first American film, an adaptation of Daphne du Maurier's best-selling novel. Produced by David O. Selznick and featuring compelling performances by Laurence Olivier, Joan Fontaine, and Judith Anderson, Rebecca became one of Hitchcock's most successful films. It was nominated for eleven Academy Awards and received the Oscar for Best Picture, the only Hitchcock work to be so honored. Without question, one of the reasons for the film's success is its ninety minutes of dramatic musical underscoring by Franz Waxman. In Franz Waxman's Rebecca: A Film Score Guide, David Neumeyer and Nathan Platte situate the score for this classic work within the context of the composer's life and career. Beginning with Waxman's early training and professional experience as a jazz musician and film-music arranger-orchestrator in Berlin, the authors also recount the composer's work in the music department at MGM between 1936 and 1942. During this period, Waxman was loaned out to Selznick International Pictures and wrote the music for Rebecca. Through manuscript and archival research, Neumeyer and Platte untangle the threads of the film's complicated music production process, which was strongly influenced by Selznick's habit of micromanaging music choices and placement. This volume concludes with a thematic analysis and reading of the score that incorporates commentary on scenes and cues. The first book devoted to the music of a single film by this great composer from Hollywood's golden age, Franz Waxman's Rebecca: A Film Score Guide will be of interest to musicologists and film scholars, as well as fans of Alfred Hitchcock and Franz Waxman.