(Music Sales America). Easy duets for descant recorders, ranging from Brahms to the blues, to encourage the learning of new notes and rhythms. Suitable for two players or class ensembles, with piano accompaniments in the teachers' books. Ideal for use alongside the Recorder from the Beginning instructional series. Contents: Ade, Zur Guten Nacht * Arima Samba * Berceuse * Carman's Whistle * Churchill's March * Cielito Lindo * Cossack Dance * Cradle Song * Crombie's Boogie * Czech Polka * Drink to Me Only * Gay Gordons * Little Mazurka * March (Scipio) * O Waly, Waly * Plaisir d'Amour * Polka for Paula * Pretty Pena * Portugese Dance * Ragtime * Santa Lucia * Spring * Star of County Down * The Saints * Waltz.

Dawn ot the DAW tells the story of how the dividing line between the traditional roles of musicians and recording studio personnel (producers, recording engineers, mixing engineers, technicians, etc.) has eroded throughout the latter half of the twentieth century to the present. Whereas those equally adept in music and technology such as Raymond Scott and Les Paul were exceptions to their eras, the millennial music maker is ensconced in a world in which the symbiosis of music and technology is commonplace. As audio production skills such as recording, editing, and mixing are increasingly co-opted by musicians teaching themselves in their do-it-yourself (DIY) recording studios, conventions of how music production is taught and practiced are remixed to reflect this reality. Dawn ot the DAW first examines DIY recording practices within the context of recording history from the late nineteenth century to the present. Second, Dawn ot the DAW discusses the concept of "the studio as musical instrument" and the role of the producer, detailing how these constructs have evolved throughout the history of recorded music in tandem. Third, Dawn ot the DAW details current practices of DIY recording-how recording technologies are incorporated into music making, and how they are learned by DIY studio users in the musically-chic borough of Brooklyn. Finally, Dawn ot the DAW examines the broader trends heard throughout, summarizing the different models of learning and approaches to music making. Dawn ot the DAW concludes by discussing the ramifications of these new directions for the field of music education.

Vocal, Instrumental, and Ensemble Learning and Teaching is one of five paperback books derived from the foundational two-volume Oxford Handbook of Music Education. Designed for music teachers, students, and scholars of music education, as well as educational administrators and policy makers, this third volume in the set emphasizes the types of active musical attributes that are acquired when learning an instrument or to sing, together with how these skills can be used when engaging musically with others. These chapters shed light on how the field of voice instruction has changed dramatically in recent decades and how physiological, acoustical, biomechanical, neuromuscular, and psychological evidence is helping musicians and educators question traditional practices. The authors discuss research on instrumental learning, demonstrating that there is no 'ideal' way to learn, but rather that a chosen learning approach must be appropriate for the context and desired aims. This volume rounds out with a focus on a wide range of perspectives dealing with group performance of instrumental music, an area that is organized and taught in many varied ways internationally. Contributors Alfredo Bautista, Robert Burke, James L. Byo, Jean Callaghan, Don D. Coffman, Andrea Creech, Jane W. Davidson, Steven M. Demorest, Robert A. Duke, Robert Edwin, Shirlee Emmons, Sam Evans, Helena Gaunt, Susan Hallam, Lee Higgins, Jere T. Humphreys, Harald Jers, Harald Jorgensen, Margaret Kartomi, Reinhard Kopiez , William R. Lee, Andreas C. Lehmann, Gary E. McPherson, Steven J. Morrison, John Nix, Ioulia Papageorgi, Kenneth H. Phillips, Lisa Popeil, John W. Richmond, Carlos Xavier Rodriguez, Nelson Roy, Robert T. Sataloff, Frederick A. Seddon, Sten Ternstrom, Michael Webb, Graham F. Welch, Jenevora Williams, Michael D. Worthy

Increasingly, guitar study is offered alongside band, orchestra, and chorus in school music programs. This development has drawn a new population of students into those programs but has left music educators scrambling to developing meaningful, sequential courses of study that both meet the needs of these new students and align with state, county, and national curricula. Few available guitar methods are designed with the classroom in mind, and fewer still take a holistic approach to teaching and learning the instrument. In short, teachers are left to navigate a vast array of method books that cover a variety of styles and approaches, often without the confidence and experience necessary to know 'what to teach when.' The Guitar Workbook: A Fresh Approach to Exploration and Mastery addresses the needs of these educators. Throughout the book's 20 lessons, students are encouraged to explore the ways various guitar styles and notation systems differ, as well as the ways they support and complement each other. Lessons cover myriad topics including pick-style playing, basic open position chords, finger-style technique, and power chords. Suggested 'Mastery Activities' at the end of each lesson support higher-order thinking, contextualize the skills and concepts studied, and provide a jumping off point for further exploration. Additionally, suggestions for further study point teachers and students to resources for extra practice.

How can piano teachers successfully foster student participation and growth from the outset? How can teachers prepare and sustain their influential work with beginner student musicians? This book presents answers to these questions by making important connections with current music education research, masters of the performance world, music philosophers, and the author's 30-year career as a piano pedagogy instructor in Canada, the USA, Australia, New Zealand, and Japan. It investigates the multilayered role piano teachers play right from the very beginning - the formative first four to five years during which teachers empower students to explore and expand their own emerging musical foundations. This book offers a humane, emancipatory, and generous approach to teaching by grappling with some of the most fundamental issues behind and consequences of studio music teaching. More experiential than abstract and cerebral, it demonstrates how teaching beginner piano students involves an attentiveness to musical concerns like our connection to music, learning to play by ear and by reading, caring for music, the importance of tone and technique, and helping students develop fluency through their accumulated repertoire. Teaching beginner students also draws on personal aspects like independence and authenticity, the moral and ethical dignity associated with democratic relationships, and meaningful conversations with parents. Further, another layer of teaching beginners acknowledges both sides of the coin in terms of growth and rest, teaching what is and what might be, as well as supporting and challenging student development. In this view, how teachers fuel authentic student musicians from the beginning is intimately connected to the knowledge, beliefs, and values that permeate their thoughts and actions in everyday life. Fundamentals of Piano Pedagogy stands out as a much-needed instructional resource with immense personal, practical, social, philosophical, educational, and cultural relevance for today's studio music teachers. Its humanistic and holistic approach invites teachers to consider not only who they are and what music means to them, but also what they have yet to imagine about themselves, about music, their students, and life.

Young Voiceworks is a great collection of songs and vocal activities to help young singers (KS1/age 5-7) and their leaders develop healthy voices for a lifetime of singing. Accessible and fun, the songs explore basic musical concepts and make up a 'working repertoire' that can be revisited throughout the Primary years. With practical teaching and rehearsal notes and an accompanying CD, Young Voiceworks is an essential resource for all those working with young children.

Hailing from the Treme neighborhood in New Orleans, Troy "Trombone Shorty" Andrews got his nickname by wielding a trombone twice as long as he was high. A prodigy, he was leading his own band by age six and today this Grammy-nominated artist headlines the legendary New Orleans Jazz Fest. Along with esteemed illustrator Bryan Collier, Andrews has created a lively picture book autobiography about how he followed his dream of becoming a musician, despite the odds, until he reached international stardom. Trombone Shorty is a celebration of the rich cultural history of New Orleans and the power of music.

"This book about friendship and faith absolutely sings." -- Buzzfeed Perfect for fans of The First Rule of Punk or Save Me a Seat, this is a sweet, powerful, and joyous novel about a girl who finds her voice on her own terms. Twelve-year-old Nimra Sharif has spent her whole life in Islamic school, but now it's time to go to "real school." Nimra's nervous, but as long as she has Jenna, her best friend who already goes to the public school, she figures she can take on just about anything. Unfortunately, middle school is hard. The teachers are mean, the schedule is confusing, and Jenna starts giving hijab-wearing Nimra the cold shoulder around the other kids. Desperate to fit in and get back in Jenna's good graces, Nimra accepts an unlikely invitation to join the school's popular 8th grade boy band, Barakah Beats. The only problem is, Nimra was taught that music isn't allowed in Islam, and she knows her parents would be disappointed if they found out. So she devises a simple plan: join the band, win Jenna back, then quietly drop out before her parents find out. But dropping out of the band proves harder than expected. Not only is her plan to get Jenna back working, but Nimra really likes hanging out with the band--they value her contributions and respect how important her faith is to her. Then Barakah Beats signs up for a talent show to benefit refugees, and Nimra's lies start to unravel. With the show only a few weeks away and Jenna's friendship hanging in the balance, Nimra has to decide whether to betray her bandmates--or herself.

All people respond to music through listening. Since this music behavior is such a universal part of life, and the skills fostered through critical listening to music can transfer to many other areas, emphasizing listening in a given music curriculum is logical. Children learn actively through direct experience with given concepts. Because of this, it makes sense to approach listening instruction actively by using other music behaviors (singing, moving, chanting, creating) and aural, visual, and kinesthetic learning modes as a way to develop a deeper connection with musical material while fostering music skills and introducing or reinforcing music concepts. Listen Up! includes sample experiences that provide an opportunity for children to listen to musical selections while also fostering music skills and reinforcing given music concepts (rhythm, melody, form) that are prominent in those selections. In addition to providing an overview of the planning process for developing these types of lessons, and including sample experiences for 23 specific pieces, the collection also contains PowerPoint presentations to accompany each experience that provide material students can view and respond to as they listen.

Written by veteran music educator Peter J. Perry, Technology Tips for Ensemble Teachers presents a collection of practical tips to help today's school music ensemble director incorporate and implement technology in all aspects of large ensemble instruction. This go-to guide offers specific methods for the use of technology in ensemble instruction, identifies applicable technologies, and details proven ways to successfully use those technologies in instruction. Tips throughout the book vary in type and complexity, allowing directors of all technical abilities to use the book effectively to meet the unique needs of their ensembles and students. They also offer content-specific examples for technologies in band, orchestra, jazz ensemble, and chorus instruction, as well as emerging ensemble settings such as percussion ensembles, guitar ensembles, rock bands, a capella groups, and iPad ensembles. With a special focus on current technologies including mobile devices, Technology Tips for Ensemble Teachers is a timely and useful resource for directors as students and classrooms become ever more technology-oriented.

Growing Musicians: Teaching Music in Middle School and Beyond focuses on teaching adolescents within the context of a music classroom, regardless of content area (orchestra, band, choir, or general music). It provides a look at the importance of music courses in the lives of adolescents as they navigate the path between being a child and an adult. As every music student is completely unique, there is no one-size-fits-all prescriptive way of working with this age group. Rather, music educators must approach adolescents with high musical standards and aspirations to learn and achieve within music; a willingness to honor the individuality of each adolescent musician; a sense of structure, but an ability to be flexible; a desire to foster and promote a safe classroom environment where students feel empowered to be themselves and speak openly about what they think and believe; an understanding that music classes are not only safe places where students learn how to become better musicians but also better people through musical experiences focused on humanity and empathy; and a dose of humor, or at least the ability to acknowledge that adolescents are extremely funny whether or not they realize it. In addition, this book encourages pre-service and practicing music educators to mindfully examine and better understand their own teaching practices.

Grammy-award-winning rap artist Kendrick Lamar uses his lyrics to speak on social issues. Learn more about how he uses his musical talents to spread awareness.

Penguin Readers is an ELT graded reader series for learners of English as a foreign language. With carefully adapted text, new illustrations and language learning exercises, the print edition also includes instructions to access supporting material online. Titles include popular classics, exciting contemporary fiction, and thought-provoking non-fiction, introducing language learners to bestselling authors and compelling content. The eight levels of Penguin Readers follow the Common European Framework of Reference for language learning (CEFR). Exercises at the back of each Reader help language learners to practise grammar, vocabulary, and key exam skills. Before, during and after-reading questions test readers' story comprehension and develop vocabulary. Visit the Penguin Readers website Exclusively with the print edition, readers can unlock online resources including a digital book, audio edition, lesson plans and answer keys. This book tells the story of Freddie Mercury, one of the greatest rock stars of all time. Learn about his early years as a shy young boy from Zanzibar. Discover how he became the lead singer of one of the most famous rock bands in history, Queen.

Emmanuel Kelly was born and abandoned into war-torn Iraq. He was raised at an orphanage before being adopted and brought to Australia for life-changing surgery. Emmanuel's sheer passion for singing, for life, and for 'dreaming big' in the face of huge obstacles led him to achieve his dream of becoming a singer. This is his inspiring story: Watch the book trailer:

The third and final adventure in Benjamin Read and Laura Trinder's magical Midnight Hour series! 'A fantastic magical adventure featuring a cast of Ghibli-esque characters, a feisty heroine and a hedgehog. I loved it.' M.G. LEONARD, author of BEETLE BOY on book 1 'Fans of Nevermoor will love this' THE BOOKSELLER on book 1 'I haven't enjoyed this kind of caper so much since Harry Potter' NEW STATESMAN on book 1 'Pure delight' THE GUARDIAN ON BOOK 1 Emily is locked out of the Midnight Hour, and things have grown dangerously dark in Victorian London. Her friends and family are on the run from the terrifying Midnight Hunt, while the foul Make Britain Dark Again party schemes to break the spell that keeps both worlds safe. It's going to take more than just Emily's big mouth to fix this one. But how's a girl meant to save the day (and night) when she's all out of snacks and her possibly-magic pocket hedgehog is hibernating? The ingeniously-plotted finale to the much-loved Midnight Hour trilogy, which began with The Midnight Hour and The Midnight Howl A hilarious, spooky adventure full of genuine scares and belly laughs! Coraline meets A Wrinkle in Time: all the makings of a modern classic

This is a delightfully colourful introduction to classical music, aimed to fire the imagination of young children aged 5-7 years. Readers are asked to think about the different places in which we might hear music, whether it is in a concert hall, or just on television. They are then introduced to a selection of famous composers including Mozart and Beethoven, and learn about each of the musical instrument families, from woodwind to percussion. Throughout the book children are referred to the accompanying CD so that they can hear examples as they read. Music on the CD includes Mozart's "Magic Flute", Williams' "Harry Potter and the Philosopher's Stone", Saint-Saens' "Carnival of the Animals", Holst's "Planets", Stravinsky's "Petrushka" and Prokofiev's "Peter and the Wolf".

Winner of the Pura Belpre Illustrator Award A Kirkus Reviews Best Picture Book In soaring words and stunning illustrations, Margarita Engle and Rafael Lopez tell the story of Teresa Carreno, a child prodigy who played piano for Abraham Lincoln. As a little girl, Teresa Carreno loved to let her hands dance across the beautiful keys of the piano. If she felt sad, music cheered her up, and when she was happy, the piano helped her share that joy. Soon she was writing her own songs and performing in grand cathedrals. Then a revolution in Venezuela forced her family to flee to the United States. Teresa felt lonely in this unfamiliar place, where few of the people she met spoke Spanish. Worst of all, there was fighting in her new home, too--the Civil War. Still, Teresa kept playing, and soon she grew famous as the talented Piano Girl who could play anything from a folk song to a sonata. So famous, in fact, that President Abraham Lincoln wanted her to play at the White House! Yet with the country torn apart by war, could Teresa's music bring comfort to those who needed it most?

In the Limelight is the official Why Don't We autobiography, full of never-before-seen photos and behind-the-scenes info about one of today's hottest bands. When five guys decided to form a band, they never imagined that they would go from playing music online to playing tours across the world so quickly. Why Don't We has been together for less than two years, and they've already headlined sold out shows, played at Madison Square Garden, and amassed millions of fans. And this is all just the beginning. This is the official Why Don't We story, full of never-before-seen photos and everything you need to know about Corbyn, Daniel, Zach, Jonah, and Jack. Find out the secrets they've never shared with fans before, their embarrassing childhood stories, what they look for in a girlfriend, and how it felt to have their lives completely changed by this incredible journey.

In Statistics in Music Education Research, author Joshua Russell offers a new course book that explains the process of using a range of statistical analyses from inception to research design to data entry to final analysis using understandable descriptions and examples from extant music education research. This book, the first on the topic for graduate students in music education courses, explores four main aspects of music education research: understanding logical concepts of statistical procedures and their outcomes; critiquing the use of different procedures in extant and developing research; applying the correct statistical model for not only any given dataset, but also the correct logic determining which model to employ; reporting the results of a given statistical procedure clearly and in a way that provides adequate information for the reader to determine if the data analysis is accurate and interpretable. Written in a manner that neither intimidates nor condescends music educators in graduate school, Statistics in Music Education Research gives readers a functioning understanding of the statistical procedure discussed in the chapter as well as the tools needed to identify the correctness of use and the ability to apply the statistical procedure in their own research. While it is written predominately for graduate students in music education courses, Statistics in Music Education Research will also help music education researchers and teachers of music educators gain a better understanding of how parametric statistics are employed and interpreted in the social science field of music education.

This treasure trove of an anthology is full to the brim with songs and seasonal verses that will delight children and encourage them to sing and play. Illustrated throughout with colour images, the Winter Songbook features four thematic sections: `Christmas', `Winter Indoors', `Wintry Weather' and `Winter Outdoors'. Providing ample material for teachers and parents, the book also includes selections of rhyming words, commentary on the significance of repetition, rhythm and beat, suggestions for seasonal stories, and practical teaching and parenting tips. For years, teachers, parents and students have requested that Sally Schweizer publish her collections of songs and verses - so here they are, presented in four wonderful anthologies to inspire the imagination and to celebrate the seasonal cycle!

This Too is Music guides and motivates teachers to foster playful and motivating classroom conditions that enable elementary students to thrive as musicians in every way-as singers, improvisers, critical listeners, storytellers, dancers, performers, and composers. Told through anecdotes and illustrated with musical examples, the book explores how all of these aspects of music making are intertwined, quelling any doubts teachers may have regarding their abilities to create an environment where children can improvise, dance, compose, and notate their musical offerings. While the book acknowledges the importance of traditional approaches to teaching notation and performance, the emphasis is on the student's point of view, illustrating how young musicians can learn when their musical ideas are honored and celebrated. Various teaching ideas are presented-some exploratory in nature, others involving direct instruction. Regardless of their nature, all of the activities arise from research on children's musical development in general and their development of notational systems in particular. The ideas and activities have been tested in multiple elementary-classroom environments and pre-service settings. The activities center on music through movement, song, various types of performances, improvisation, and composition and notational development. These activities, which encompass both small-scale classroom lessons and large-scale productions, engage children across subjects, including language, drama, and mathematics. Activities encompass both small-scale classroom lessons and large-scale productions. The book underscores the timeless quality of this pedagogy; even in our digital age, this musical environment appeals to children. The work invites readers to adapt the ideas to their own teaching settings, showing both pre-service and established teachers that they can teach music creatively to build community and to inspire all who enter there.