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.

This book from Rick Mooney features easy classical music as well as folk songs, fiddle tunes and Mooney originals composed to address specific technical points. A second cello part throughout promotes a student's ability to hear and play accurately.

A time-honored tradition just got better! The John W. Schaum Piano Course has been newly revised with 100 percent new engravings and typesetting, color highlighting for concept emphasis, updated song titles and lyrics, and full-color illustrations. This is the Primer level.

A three-volume series that includes the scales, chords and modes necessary to play bebop music. A great introduction to a style that is most influential in today's music. The first volume includes scales, chords and modes most commonly used in bebop and other musical styles. The second volume covers the bebop language, patterns, formulas and other linking exercises necessary to play bebop music. A great introduction to a style that is most influential in today's music.

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.

Contents are: Berceuse, Wiegenlied or Lullaby, Op. 98, No. 2 (F. Schubert) * Tonalization: The Moon over the Ruined Castle (R. Taki) * Gavotte (J.B. Lully) * Minuet from Sei Quintetti for Archi No. 11, Op. 11, No. 5 in E Major (L. Boccherini) * Tonalization: The Moon over the Ruined Castle (R. Taki) * Scherzo (C. Webster) * Minuet in G, Wo0 10, No. 7 for Piano (L. van Beethoven) * Gavotte in C Minor, Gavotte en Rondeau from Suite in G Minor for Klavier, BWV 822 (J.S. Bach) * Minuet No. 3, BWV Anh. II 114/Anh. III 183/Anh. II, 115 (J.S. Bach) * Humoresque, Op. 101, No. 7 for Piano (A. DvorAk) * La Cinquantaine (Gabriel-Marie) * Allegro Moderato from Sonata I in G, BWV 1027 for Viola da Gamba (J.S. Bach).

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.