In our era of financial uncertainty and disruptive technological change, the music industry is in crisis. One career path that holds great promise, however, is independent music teaching. For a host of reasons, demand exists in every corner, providing one of the most stable, promising career options available to musicians regardless of instrument, genre, or background - at least, in the hands of a savvy music teacher. In this book, author David Cutler offers hands-on advice for creating a music career that is meaningful, artistically fulfilling, and financially self-supporting. The book's overriding goal is to ensure a steady income for its reader and to give the reader tools to use that income to provide financial independence. Cutler walks the reader through the process of setting up a profitable and sustainable career plan, and then through the practical aspects of getting out of debt, spending responsibly, investing, and saving for retirement. Cutler also sheds light on the logistics of running a teaching studio, providing helpful documentation and tips for everything from bookkeeping to time management. Lastly and most importantly, Cutler explores situations for increasing a teacher's impact. Rather than simply creating wealthy teachers, the overriding goal of their book is to cultivate leaders who add significant value to society through their teaching. A must-read for private music teachers of all levels, both beginning and those with established studios, as well as the music performance graduates who so often become private studio teachers, The Savvy Music Teacher provides practical advice in down-to-earth language that includes real-life experiences from successful teacher-entrepreneurs, a focus on large-scale income streams not usually covered in books for studio teachers, and sample documents (including contracts and marketing materials) on the book's comprehensive companion website.

Sound coming from outside the field of vision, from somewhere beyond, holds a privileged place in the Western imagination. When separated from their source, sounds seem to manifest transcendent realms, divine powers, or supernatural forces. According to legend, the philosopher Pythagoras lectured to his disciples from behind a veil, and two thousand years later, in the age of absolute music, listeners were similarly fascinated with disembodied sounds, employing various techniques to isolate sounds from their sources. With recording and radio came spatial and temporal separation of sounds from sources, and new ways of composing music.
Sound Unseen: Acousmatic Sound in Theory and Practice explores the phenomenon of acousmatic sound. An unusual and neglected word, "acousmatic" was first introduced into modern parlance in the mid-1960s by avant garde composer of musique concrete Pierre Schaeffer to describe the experience of hearing a sound without seeing its cause. Working through, and often against, Schaeffer's ideas, Brian Kane presents a powerful argument for the central yet overlooked role of acousmatic sound in music aesthetics, sound studies, literature, philosophy and the history of the senses. Kane investigates acousmatic sound from a number of methodological perspectives -- historical, cultural, philosophical and musical -- and provides a framework that makes sense of the many surprising and paradoxical ways that unseen sound has been understood. Finely detailed and thoroughly researched, Sound Unseenpursues unseen sounds through a stunning array of cases -- from Bayreuth to Kafka's "Burrow," Apollinaire to %Zi%zek, music and metaphysics to architecture and automata, and from Pythagoras to the present-to offer the definitive account of acousmatic sound in theory and practice.
The first major study in English of Pierre Schaeffer's theory of "acousmatics," Sound Unseen is an essential text for scholars of philosophy of music, electronic music, sound studies, and the history of the senses."

The Belwin String Builder is a string class method in which the violin, viola, cello, and bass play together throughout. Each book, however, is a complete unit and may be used separately for class or individual instruction. The material in this book is realistically graded so that only a minimum of explanatory material is required. Each melody is interesting and will provide the basis for a fine left hand technic and bow arm. Available in three levels for violin, viola, cello, bass, piano accompaniment, and teacher's manual.

No pianist can experience the full flowering of her art without eventually grappling with those great musical minds who composed specifically for piano. In The Pianist's Craft, Richard Anderson collects from his fellow pianist-scholars 19 articles on the teaching, preparation, and performance of works by the greatest composers in the standard piano repertoire. This collection ranges in subject matter from Inge Rosar's meditation on playing Bach on the modern keyboard to Gary Amato's assessment of Haydn's sonatas, from Christie Skousen's review of tone production in Chopin to GwenolynMok's foray into recreating Ravel's works on an Erard piano, the same used by Ravel himself. Readers will find essays as well on Mozart's piano compositions, Beethoven's sonatas, the influence of Schubert's lieder on his piano works, and works by Schumann, Liszt, Brahms, Debussy, Rachmaninoff, Scriabin, Prokofiev, Shostakovich, Bartok, Gershwin, and Crumb. The contributors all recognized nationally and internationally for their contributions as performing artists, teachers, recording artists, and clinicians write thoughtfully about the composers whose work they have studied and played for years. Each author addresses issues unique to the individual composer they have chosen to explore, examining questions of phrasing, tempo, articulation, dynamics, rhythm, color, gesture, lyricism, instrumentation, and genre. Valuable insight is provided into teaching, performing, and preparing these great works. In The Pianist's Craft these great artists and teachers answer questions for readers that are otherwise only addressed in conferences, master classes, and private lessons. In this collection of essays, key points of information and instruction are offered with over 200 musical examples included as illustration. The Pianist's Craft is intended for teachers and students of the intermediate and advanced levels of piano, instructors and performers at the university level, and those who love piano and piano music generally.

The Band Teacher's Percussion Guide: Insights into Playing and Teaching Percussion is an essential practical resource for instrumental music teachers and band directors. Author Stewart Hoffman, a Juilliard-trained percussionist, performer, private instructor, and former classroom teacher, offers comprehensive yet accessible and clearly written handbook to help set teachers and students alike firmly on the road to classroom success. In this book, he offers a thorough foundation in snare drum, timpani, keyboard percussion, drum set, and auxiliary and Latin percussion techniques. More than this, he provides practical advice on curriculum and methodology, packing page after page with teaching tips developed through the decades of experience. For educators and band directors who want to learn more about percussion instruments and playing techniques, refine their percussion-teaching skills, or set the classroom stage for a more effective and rewarding teaching experience, The Band Teacher's Percussion Guide: Insights into Playing and Teaching Percussion will be a valued resource for discovering: -keys to effective and relevant evaluation -how to plan a percussion program, organize a band room and select percussionists -lists of recommended instruments and mallets, and guidelines for instrument maintenance and repair -"lifts and levels", a system that leads students to greater control and a more relaxed snare drum technique dozens of practical exercises for the development of techniques on all the main and accessory percussion instruments -easily referenced lists summarizing important points to focus on when practicing -guidelines for teaching jazz, Latin and rock drumset -numerous suggestions and tips to help teachers bring out the best in their students' playing

The "All-in-One Course for Children" takes all of the pages from "Alfred's Basic Piano Library," Lesson Books 1A and 1B, plus selected pages from Theory, Recital and Fun Solo Books and combines them into part of a sequential five-book series. At the completion of Book 5, the student will be ready to continue into Level 3 of "Alfred's Basic Piano Library" or "Alfred's Premier Piano Course." This course is most effective when used under the direction of a piano teacher or experienced musician.

A graded, lesson-by-lesson learning method for the younger student, using easy arrangements of over 20 favorite childrens' songs. Extends the range of notes to cover nine notes with the right hand using the white keys only. Beautifully illustrated throughout with full color.

Many practical books for music educators who work with special needs students focus on students' disabilities, rather than on the inclusive classroom more generally. In Including Everyone: Creating Music Classrooms Where All Children Learn, veteran teacher and pedagogue Judith Jellison offers a new approach that identifies broader principles of inclusive music instruction writ large. As she demonstrates in this aptly-titled book, the perceived impediments to successfully including the wide diversity of children in schools in meaningful music instruction often stem not from insurmountable obstacles but from a lack of imagination. How do teachers and parents create diverse musical communities in which all children develop skills, deepen understanding, and cultivate independence in a culture of accomplishment and joy? Including Everyone equips music teachers with five principles of effective instruction for mixed special needs / traditional settings that are applicable in both classroom and rehearsal rooms alike. These five guidelines lay out Jellison's argument for a new way to teach music that shifts attention away from thinking of children in terms of symptoms. The effective teacher, argues Jellison, will strive to offer a curriculum that will not only allow the child with a disability to be more successful, but will also apply to and improve instruction for typically developing students. In this compelling new book, Judith Jellison illustrates what it takes to imagine, create, and realize possibilities for all children in ways that inspire parents, teachers, and the children themselves to take part in collaborative music making. Her book helps readers recognize how this most central component of human culture is one that allows everyone to participate, learn, and grow. Jellison is a leader in her field, and the wealth of knowledge she makes available in this book is extensive and valuable. It should aid her peers and inspire a new generation of student teachers.