Providing essential tools to transform college piano students into professional piano teachers, Courtney Crappell's Teaching Piano Pedagogy helps teachers develop pedagogy course curricula, design and facilitate practicum-teaching experiences, and guide research projects in piano pedagogy. The book grounds the reader in the history of the domain, investigates course materials, and explores unique methods to introduce students to course concepts and help them put those concepts into practice. To facilitate easy integration into the curriculum, Crappell provides example classroom exercises and assignments throughout the text, which are designed to help students understand and practice the related topics and skills. Teaching Piano Pedagogy is not simply a book about teaching piano-it is a book about how piano students learn to teach.

By exploring the many different types and forms of contemporary musical instruments, this book contributes to a better understanding of the conditions of instrumentality in the 21st century. Providing insights from science, humanities and the arts, authors from a wide range of disciplines discuss the following questions: * What are the conditions under which an object is recognized as a musical instrument? * What are the actions and procedures typically associated with musical instruments? * What kind of (mental and physical) knowledge do we access in order to recognize or use something as a musical instrument? * How is this knowledge being shaped by cultural conventions and temporal conditions? * How do algorithmic processes 'change the game' of musical performance, and as a result, how do they affect notions of instrumentality? * How do we address the question of instrumental identity within an instrument's design process? * What properties can be used to differentiate successful and unsuccessful instruments? Do these properties also contribute to the instrumentality of an object in general? What does success mean within an artistic, commercial, technological, or scientific context?

The singer-songwriter, someone who writes and performs their own music, is an ever-present and increasingly complex figure in popular music worlds. The Singer-Songwriter Handbook provides a useful resource for student songwriters, active musicians, fans and scholars alike. This handbook is divided into four main sections: Songwriting (acoustic and digital), Performance, Music Industry and Case Studies. Section I focuses on the 'how to' elements of popular song composition, embracing a range of perspectives and methods, in addition to chapters on the teaching of songwriting to students. Section II deals with the nature of performance: stagecraft, open mic nights, and a number of case studies that engage with performing in a range of contexts. Section III is devoted to aspects of the music industry and the business of music including sales, contract negotiations, copyright, social media and marketing. Section IV provides specific examples of singer-songwriter personae and global open mic scenes. The Singer-Songwriter Handbook is a much-needed single resource for budding singer-songwriters as well as songwriting pedagogues.

Die Religion wurde von der kritischen Aufklärung als ein gesellschaftlicher Schonraum angesehen, ein Ort des Rückzugs von den gesellschaftlichen Konflikten, in dem mit der Suggestion allgemeiner Harmonie von ihrer Austragung und ihrer Reflexion abgelenkt wurde. Die Religionswissenschaft hat gezeigt, daß Religionen mehr sind. Sie sind selber aus gesellschaftlichen Konflikten entstanden. In ihnen sind Lösungen historischer Konflikte festgeschrieben worden. Weil diese Formulierungen zur Deutung der Realität im ganzen verallgemeinert wurden, waren sie als Konfliktlösung nicht mehr zu erkennen. Aber die Möglichkeit, sie als solche wiederzuerkennen, konnte niemals ganz aus den Religionen vertrieben werden. Sie zeigte sich nicht zuletzt an den Unstimmigkeiten und Rissen in ihrer Theorie. Diese wurden in der Umbruchsituation des 18. Jahrhunderts als Argumente gegen die Religion - und für die Säkularisierung gebraucht. Damit zerbrach die Einheit der religiösen Theorie. Ein neuer Blick auf ihre historischen Ursprünge wurde möglich, ebenso wie, damit verbunden, ein Blick auf jene Motive im säkularen Bewußtsein, die selbst aus der religiösen Überlieferung stammten. Besonders die prophetischen Motive sind während des 18. und 19. Jahrhunderts aus dem institutionellen Zusammenhang in Kultur und Politik ausgewandert. Aber auch die Erbschaft der archaischen Mutterkulte wurde im romantischen 19. Jahrhundert wieder erkennbar. Die in diesem Band gesammelten Vorträge und Aufsätze bemühen sich um den Nachweis, daß auch die gegenwärtigen gesellschaftlichen Spannungen, Enttäuschungen und Hoffnungen ohne Rückgriff auf das kritische, aber auch das Wunsch-Potential in den religiösen Überlieferungen nicht hinreichend zu verstehen sind.

In this previously unpublished essay Schenker, one of the most influential music theorists of the twentieth century, turned his attention to the performer's role, arguing that the cult of the virtuoso has led to an overemphasis on technical display and discussing specific ways in which performers can better serve the composer's ideas.

Guitar Basics is a landmark method for young guitarists. It starts at absolute beginner level and progresses to Initial/Preparatory Grade. The method is set out in sixteen stages and contains original pieces and traditional tunes in an array of styles including classical, folk and world music as well as well-known favourite film and TV themes such as James Bond, Batman and The Flintstones. There is a thorough introduction to standard notation, with sections on chords and TAB, whilst ensemble pieces are ideal for group teaching, including 'Wider Opportunities'. Accompaniment parts and teachers' notes are available in Guitar Basics Teacher's Book, and the fun backing tracks are available to download online. The companion book, Guitar Basics Repertoire, provides over 40 fun solos and ensemble pieces for both individual and group learning. It is designed to consolidate material learnt in the Guitar Basics Tutor and present new topics, including accidentals, moving up the neck, two-part music, arpeggios and plucked chords.