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Books > Music > Techniques of music > General
Students are drawn to mobile technologies such as iPads and
smartphones because of the sheer endless possibilities of the
digital worlds they hold. But how can their potential for
stimulating the imagination be effectively used in the music
classroom to support students' development of musical thinking?
Countering voices that see digital technologies as a threat to
traditional forms of music making and music education, this
collection explores the many ways in which hand-held devices can be
used to promote student learning and provides teachers with
guidance on making them a vital presence in their own classrooms.
Creative Music Making at Your Fingertips features 11 chapters by
music education scholars and practitioners that provide
tried-and-true strategies for using mobile devices in a variety of
contexts, from general music education to ensembles and from K-12
to college classrooms. Drawing on their own experiences with
bringing mobile devices and different music apps into the
classroom, contributors show how these technologies can be turned
into tools for teaching performance, improvisation, and
composition. Their practical advice on how pedagogy and mobile
technologies can be aligned to increase students' creative
engagement with music and help them realize their musical potential
makes this book an invaluable resource for music educators who want
to be at the forefront of pedagogical transformations made possible
by 21st-century technologies.
The Recital Books congratulate students for a job well done by
providing correlated repertoire to their Lesson Books that are
based on concepts they've already learned. As a result, the pieces
are quickly mastered. Included are such familiar favorites as
"Clementine" and "Arkansas Traveler," and originals with a
classical feel like "Divertimento in D" and "Rondo."
Beautifully presented and intelligently paced, the Lesson Books
combine unusually attractive music and lyrics. The books feature
note reading, rhythm reading, sight-reading and technical workouts.
Each piece on the CD was recorded at a performance tempo and a
slower practice tempo.
Shimmering in maximal minimalism, joyful bleakness, and bodiless
intimacy, Laurie Anderson's Big Science diagnosed crises of
meaning, scale, and identity in 1982. Decades later, the strange
questions it poses loom even larger: How do we remain human when
our identities are digitally distributed? Does technology bring us
closer together or further apart? Can we experience the stillness
of "now" when time is always moving? How does our experience become
memory? Laurie Anderson pioneered new techniques and aesthetics in
performance art, becoming its first and most enduring superstar. In
this book, author S. Alexander Reed dives into the wonderfully
strange making and meanings of this singular album and of its
creator's long artistic career. Packed with scrupulous new
research, reception history, careful description, and dizzying
creativity, this book is an interdisciplinary love letter to a
record whose sounds, politics, and expressions of gendered identity
grow more relevant each day.
This book explores historical and philosophical connections between
music, leisure, and education. Specifically, it considers how music
learning, teaching, and participation can be reconceptualized in
terms of leisure. Taking as its starting point "the art of living"
and the ethical question of how one should live, the book engages a
wide range of scholarship to problematize the place of
non-professional music-making in historical and contemporary
(Western) conceptions of the good life and the common good. Part I
provides a general background on music education, school music, the
work ethic, leisure studies, recreation, play, and conduct. Part II
focuses on two significant currents of thought and activity during
the Progressive Era in the United States, the settlement movement
and the recreation movement. The examination demonstrates how
societal concerns over conduct (the "threat of leisure") and
differing views on the purpose of music learning and teaching led
to a fracturing between those espousing generalist and specialist
positions. The four chapters of Part III take readers through
considerations of happiness (eudaimonia) and the good life, issues
of work-life balance and the play spirit, leisure satisfaction in
relation to consumerism, individualism, and the common good, and
finally, parenting logics in relation to extracurriculars, music
learning, and serious leisure.
Originally published in 1867, this book is a collection of songs of
African-American slaves. A few of the songs were written after the
emancipation, but all were inspired by slavery. The wild, sad
strains tell, as the sufferers themselves could, of crushed hopes,
keen sorrow, and a dull, daily misery, which covered them as
hopelessly as the fog from the rice swamps. On the other hand, the
words breathe a trusting faith in the life after, to which their
eyes seem constantly turned.
Music education has historically had a tense relationship with
social justice. One the one hand, educators concerned with music
practices have long preoccupied themselves with ideas of open
participation and the potentially transformative capacity that
musical interaction fosters. On the other hand, they have often
done so while promoting and privileging a particular set of musical
practices, traditions, and forms of musical knowledge, which has in
turn alienated and even excluded many children from music education
opportunities. Teaching multicultural practices, for example, has
historically provided potentially useful pathways for music
practices that are widely thought to be socially just. However,
curricula often map alien musical values onto other musics and in
so doing negate the social value of these practices, grounding them
in a politics of difference wherein "recognition of our difference"
limits the push that might take students from tolerance to respect
and to renewed understanding and interaction. The Oxford Handbook
of Social Justice in Music Education provides a comprehensive
overview and scholarly analyses of the major themes and issues
relating to social justice in musical and educational practice and
scholastic inquiry worldwide. The first section of the handbook
conceptualizes social justice while framing its pursuit within
broader social, historical, cultural, and political contexts and
concerns. Authors in the succeeding sections of the handbook fill
out what social justice entails for music teaching and learning in
the home, school, university, and wider community as they grapple
with issues of inclusivity and diversity, alienation, intolerance,
racism, ableism, and elitism, or relating to urban and incarcerated
youth, immigrant and refugee children, and, more generally, cycles
of injustice that might be perpetuated by music pedagogy. The
concluding section of the handbook offers specific and
groundbreaking practical examples of social justice in action
through a variety of educational and social projects and
pedagogical practices that might inspire and guide those wishing to
confront and attempt to ameliorate musical or other inequity and
injustice. Consisting of 42 chapters by authors from Australia,
Brazil, Canada, China, England, Finland, Greece, The Netherlands,
Norway, Scotland, Spain, South Africa, Sweden, and the United
States, the handbook will be of interest to a wide audience,
ranging from undergraduate and graduate music education majors and
faculty in music and other disciplines and fields to parents and
other interested members of the public wishing to better understand
what is social justice and why and how its pursuit in and through
music education matters.
Curriculum decisions are the foundation of education. They
determine the knowledge, understandings, skills, attitudes, and
values deemed necessary for today's students. Beyond musical
competencies, a curriculum is, therefore, the most important
responsibility facing music educators-one that goes well beyond the
skills of simply delivering an individual lesson and accounts for
beneficial outcomes for individual students, graduates, and
ultimately the world of musicing. Oddly, however, curriculum theory
and design for music education have been left to the sidelines in
undergraduate music education. And it is usually no more on the
radar of in-service teachers, despite the fact that the U.S.
politics governing school curriculum are constantly in public view
(e.g., U.S. "No child left behind," "Common Core"). Curriculum
Philosophy and Theory for Music Education Praxis remedies this with
a practical overview of curriculum basics and their implications
for music education. Mindful of traditional philosophical roots of
curriculum-foundations that still impact contemporary strategy,
author Thomas A. Regelski offers a model curriculum based on recent
praxis theory in which musical and educational benefits are evident
to students, administrators, and taxpayers who ultimately fund
music programs.
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.
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