Digital technology is transforming the musical score as a broad array of innovative score systems have become available to musicians. From attempts to mimic the print score, to animated and graphical scores, to artificial intelligence-based options, digital scoring affects the musical process by opening up new possibilities for dynamic interaction between the performer and the music, changing how we understand the boundaries between composition, score, improvisation and performance. The Digital Score: Musicianship, Creativity and Innovation offers a guide into this new landscape, reflecting on what these changes mean for music-making from both theoretical and applied perspectives. Drawing on findings from over a decade's worth of practice-based experimentation in the field, author Craig Vear builds a framework for understanding how digital scores create meaning. He considers the interactions between affect, embodiment and digital scores, offering the first comprehensive and critical consideration of an exciting field with no agreed-upon borders. Featuring insights from interviews with over fifty musicians and composers from across four continents, this book is a valuable resource for music researchers and practitioners alike.

Visual Perception of Music Notation: On-Line and Off Line Recognition addresses the computer recognition of music notation, its interpretation and use within various application contexts. It includes research in the field of image processing and pen-based computing, representation languages and web-based applications. This book consolidates the successes, challenges and questions raised by the computer perception of this music notation language.

Original and brilliant study...Anyone interested in keyboard instruments of any kind will find in it a great fund of information and insight into matters of general musical interest, especially the performance of Bach's music. EARLY MUSIC TODAY Friederich Griepenkerl, in his 1844 introduction to Volume 1 of the first complete edition of J. S. Bach's organ works, wrote: "Actually the six Sonatas and the Passacaglia were written for a clavichord with two manuals and pedal, an instrument that, in those days, every beginning organist possessed, which they used beforehand, to practice playing with hands and feet in order to make effective use of them at the organ. It would be a good thing to let such instruments be made again, because actually no one who wants to study to be an organist can really do without one." What was the role of the pedal clavichord in music history? Was it a cheap practice instrument for organists or was Griepenkerl right? Was it a teaching tool that helped contribute to the quality of organ playing in its golden age? Most twentieth-century commentary on the pedal clavichord as an historical phenomenon was written in a kind of vacuum, since there were no playable historical models with which to experiment and from which to make an informed judgment. At the heart of Bach and the Pedal Clavichord: An Organist's Guide are some extraordinary recent experiments from the GAteborg Organ Art Center (GOArt) at GAteborg University. The Johan David Gerstenberg pedal clavichord from 1766, now in the Leipzig University museum, was documented and reconstructed; the new copy was then used for several years as a living instrument for organ students and teachers to experience. On thebasis of these experiments and experiences, the book explores, in new and artful ways, Bach's keyboard technique, a technique preserved by his first biographer, J. N. Forkel (1802), and by Forkel's own student, Griepenkerl. It also sifts and weighs the assumptions and claims made for and aga

Up-Grade! Piano Duets Grades 0-1 is a fun addition to Pam Wedgwood's popular Up-Grade! Series, which aims to help bridge the gap between grades. Packed with great duets for players of Grade 0-1 level plus teacher, parent or slightly more advanced pupil, it's guaranteed to breathe new life into your piano playing. Featuring Over The Rainbow and Close Every Door, alongside original pieces by the inimitable Pam Wedgwood, all pieces are demonstrated via the online audio.

Winner of the Nicholas Bessaraboff Prize Musical repertory of great importance and quality was performed on viols in sixteenth- and early seventeenth-century England. This is reported by Thomas Mace (1676) who says that 'Your Best Provision' for playing such music is a chest of old English viols, and he names five early English viol makers than which 'there are no Better in the World'. Enlightened scholars and performers (both professional and amateur) who aim to understand and play this music require reliable historical information and need suitable viols, but so little is known about the instruments and their makers that we cannot specify appropriate instruments with much precision. Our ignorance cannot be remedied exclusively by the scrutiny or use of surviving antique viols because they are extremely rare, they are not accessible to performers and the information they embody is crucially compromised by degradation and alteration. Drawing on a wide variety of evidence including the surviving instruments, music composed for those instruments, and the documentary evidence surrounding the trade of instrument making, Fleming and Bryan draw significant conclusions about the changing nature and varieties of viol in early modern England.

Music has long been a way in which visually impaired people could gain financial independence, excel at a highly-valued skill, or simply enjoy musical participation. Existing literature on visual impairment and music includes perspectives from the social history of music, ethnomusicology, child development and areas of music psychology, music therapy, special educational needs, and music education, as well as more popular biographical texts on famous musicians. But there has been relatively little sociological research bringing together the views and experiences of visually impaired musicians themselves across the life course. Insights in Sound: Visually Impaired Musicians' Lives and Learning aims to increase knowledge and understanding both within and beyond this multifaceted group. Through an international survey combined with life-history interviews, a vivid picture is drawn of how visually impaired musicians approach and conceive their musical activities, with detailed illustrations of the particular opportunities and challenges faced by a variety of individuals. Baker and Green look beyond affiliation with particular musical styles, genres, instruments or practices. All 'levels' are included: from adult beginners to those who have returned to music-making after a gap; and from 'regular' amateur and professional musicians, to some who are extraordinarily 'elite' or 'successful'. Themes surrounding education, training, and informal learning; notation and ear playing; digital technologies; and issues around disability, identity, opportunity, marginality, discrimination, despair, fulfilment, and joy surfaced, as the authors set out to discover, analyse, and share insights into the worlds of these musicians.

Teaching Strings in Today's Classroom: A Guide for Group Instruction assists music education students, in-service teachers, and performers to realize their goals of becoming effective string educators. It introduces readers to the school orchestra environment, presents the foundational concepts needed to teach strings, and provides opportunities for the reader to apply this information. The author describes how becoming an effective string teacher requires three things of equal importance: content knowledge, performance skills, and opportunities to apply the content knowledge and performance skills in a teaching situation. In two parts, the text addresses the unique context that is teaching strings, a practice with its own objectives and related teaching strategies. Part I (Foundations of Teaching and Learning String Instruments) first presents an overview of the string teaching environment, encouraging the reader to consider how context impacts teaching, followed by practical discussions of instrument sizing and position, chapters on the development of each hand, and instruction for best practices concerning tone production, articulation, and bowing guidelines. Part II (Understanding Fingerings) provides clear guidance for understanding basic finger patterns, positions, and the creation of logical fingerings. String fingerings are abstract and thus difficult to negotiate without years of playing experience-these chapters (and their corresponding interactive online tutorials) distill the content knowledge required to understand string fingerings in a way that non-string players can understand and use. Teaching Strings in Today's Classroom contains pedagogical information, performance activities, and an online virtual teaching environment with twelve interactive tutorials, three for each of the four string instruments. ACCOMPANYING VIDEOS CAN BE ACCESSED VIA THE AUTHOR'S WEBSITE: www.teachingstrings.online

Piano Star Duets is an exciting book of 26 duets at early beginner to Grade 2 level, containing fun new compositions and arrangements in a variety of styles by leading educational composers. All pieces have been tried out - and approved! - by children. This collection will capture the imagination of young pianists everywhere as they are introduced to the joy of ensemble playing. Key features: * New compositions and arrangements from 13 leading composers * Duets in a variety of configurations - for two pupils of a similar standard, for pupil-teacher, or pupils of different standards - plus some trios * A wide range of musical styles, from traditional melodies to jazzy and pop-style pieces * Varied techniques, introduced progressively * Fun musical games and top tips for duet playing

(Reference). Centerstream presents this detailed look at the inner workings of the famous musical instrument manufacturer of Kalamazoo, Michigan before World War II. For the first time, Gibson fans can learn about the employees who built the instruments, exactly where the raw materials came from, the identity of parts vendors, and how the production was carried out. The book explains Gibson's pre-World War II factory order number and serial number systems, and corrects longstanding chronological errors. Previously unknown information about every aspect of the operation is covered in-depth. Noted historian Joe Spann gathered firsthand info from pre-war employees, and had access to major Gibson document collections around the world. Long time Gibson experts, as well as casual collectors, will find this volume an indispensable addition to their reference shelf.

Learn to play the ukulele at home or in the classroom with these popular kids instruction books specially written for beginners! Start your musical journey on the ukulele with Ukulele Magic Tutor Book 1 – the fun and approachable method that children and teachers love. Whether you’re in the classroom, at home or playing with friends, this accessible tutor offers the great tunes, clear guidance and all the resources you need to start making Ukulele Magic! 25 pieces carefully progress from playing open strings (eg Stringalong Rag) to songs with one chord (Shortnin bread, A minor miracle, F major march) to two chords (Baboushka, Tab tango, Calypso strum) and finally three chords (In South Africa, Playing the blues). Finger-picking and strumming styles are all introduced step by step in pieces which are fun and stylistic. Fully supported with audio performances and backings. The teacher's edition, BOOK+CD-ROM (ISBN 978-1-4081-5729-9), contains a whiteboard e-book with embedded audio and video tutorials for every song, making it ideal for classroom teaching.

This survey of the string quartet by ten chamber music specialists focuses on four main areas: social and musical background to the genre's development; celebrated ensembles and their significance; and string quartet playing. It reviews aspects of contemporary and historical practice, including "mixed ensembles." Informative appendixes and a full chronology of the mainstream repertory complete this compact guide.

Contains some of the most popular pieces ever written for guitar, including MalagueAa, El Testamento de Amelia, Lagrima and Recuerdos de la Alhambra. Helpful playing tips and plenty of fingerings are included, making this your ultimate source for Spanish guitar pieces. Every piece is written in standard music notation and easy-to-read tablature showing exactly where each note should be played on the guitar.

Written late in his life, J. S. Bach's The Art of Fugue has long been admired-in some quarters revered-as one of his masterworks. Its last movement, Contrapunctus 14, went unfinished, and the enigma of its incompleteness still preoccupies scholars and musical conductors alike. In 1881, Gustav Nottebohm discovered that the three subjects of the movement could be supplemented by a fourth. In 1993, Zoltan Goencz revealed that Bach had planned the passage that would join the four subjects in an entirely unique way. This section has not survived, but, as Goencz notes, it must have been ready in the earliest phase of composition since Bach had created the expositions of the first three subjects from its "disjointed" parts. Goencz then boldly took on the task of reconstructing the original "template" by putting together the once separate pieces. In Bach's Testament: On the Philosophical and Theological Background of The Art of Fugue, Goencz probes the philosophic-theological background of The Art of Fugue, revealing the special structures that supported the 1993 reconstruction. Bach's Testament investigates the reconstruction's metaphysical dimensions, focusing on the quadruple fugue. As a summary of Zoltan Goencz's extensive research over many years, which resulted in the completion of the fugue, this work explores the complex combinatorial, philosophical and theological considerations that inform its structure. Bach's Testament is ideally suited not only to Bach scholars and musicologists but also intellectual historians with particular interests in 18th-century religious and philosophical ideas.

(Faber Piano Adventures ). The 2nd Edition Primer Theory Book provides important reinforcement and creative application of basic theory concepts. Students will enjoy note-naming with StoryRhymes, exploring improvisation, and engage with eye-training and ear-training activities all within a fun-filled context tied thematically to the Primer Lesson Book pieces.

A sweeping narrative of the greatest craftsman that ever lived and what became of the insturments he made. This is the remarkable tale of Antonio Stradivari, the greatest instrument maker of all time, and what happened to the violins he created. Everyone has some idea of the legendary quality and unbelieveable price tag of a Stradivarius violin, but much of the life of this genius remains obscure; his motivations and techniques hitherto unexplored. In this, the first popular account of the Stradivari phenomena, Toby Faber explores the life and methods of this unsurpassed craftsmans. Following the life of his insturments as they pass through the hands of many of the greatest musicians that have ever lived, we learn how and why they have become objects of such veneration and desire. It is a dramatic tale of grand artistry, fantastic music, shady dealers, forgery and science.

In From Bach's Goldberg to Beethoven's Diabelli: Influence and Independence, music scholar and noted pianist Alfred Kanwischer gives readers an extended exploration in which each of Beethoven's 33 pieces that comprise the Diabelli Variations (Op. 120) is caringly examined and assessed for its ingredients, actions, personality, and influence on the whole. Counterpoint abounds, not only in the fugal variations, which are closely parsed, but throughout the Diabelli, revealing the noticeably Baroque character of the technical compositional devices Beethoven employs. Throughout his study, Kanwischer integrates comparisons with Bach's immortal Goldberg Variations. Both sets stand alone as among the greatest keyboard variations in the Western canon. During their creation, both composers were nearly the same age, at the zenith of their art, and in similarly felicitous frames of mind.Kanwischer underscores twenty essential similarities, from the use of melody and melodic outline and the comparability among variations in size, parallel design, ebullient outlook, increasing contrasts, daring virtuosic flights, Shakespearean blend of comic and tragic, and their respective cumulative rises to spiritual transcendence. From Bach's Goldberg to Beethoven's Diabelli takes readers on a journey of discovery that is lively and stimulating. It considers not only questions of influence but those of insight and understanding, offering a work useful not only as a reference but as a guide to performers, music instructors and devotees. This work also includes 70 visually annotated interpretive musical examples as aids to understanding.

Duet for 2 pianos This arrangement has been made from a Soprano recitative and Aria from the Birthday Cantata by Bach. The piece has a fresh and pastoral character and the arrangement for two pianos stays true to Bach's balance between the beautiful melody and tone-painting in the harmonies.

A new, deeply researched biography of the great French organist, who composed some of the best-loved works in the organ repertory -- and the masterful Requiem. Maurice Durufle: The Man and His Music is a new biography of the great French organist and composer (1902-86), and the most comprehensive in any language. James E. Frazier traces Durufle's musical training, his studies withTournemire and Vierne, and his career as an organist, church musician, composer, recitalist, Conservatoire professor, and orchestral musician. Frazier also examines the career and contributions of Durufle's wife, the formidable organist Marie-Madeleine Durufle-Chevalier. Durufle brought the church's unique language of plainsong into a compelling liaison with the secular harmonies of the modern French school (as typified by Debussy, Ravel, and Dukas)in works for his own instrument and in his widely loved masterpiece, the Requiem Op. 9 for soloists, chorus, organ, and orchestra. Drawing on the accounts of those who knew Durufle personally as well as on Frazier's own detailed research, Maurice Durufle offers a broad sketch of this modest and elusive man, widely recognized today for having created some of the greatest works in the organ repertory -- and the masterful Requiem. James E. Frazier holds advanced degrees in philosophy, organ, theology, and sacred music from St. Alphonsus College, Mt. St. Alphonsus Seminary, Hartt School of Music, the Yale University Divinity School, and the Yale Institute of Sacred Music. He served Episcopal churches in Hartford, Connecticut, and St. Paul, Minnesota, as organist and director of music. For ten years he was director of music for the Archdiocese of St. Paul and Minneapolis.

When aspiring violinist Jessica Chiccehitto Hindman lands a job with a professional ensemble in New York City, she imagines she has achieved her lifelong dream. But the ensemble proves to be a sham. When the group "performs", the microphones are never on. Instead, the music blares from a CD. The mastermind behind this scheme is a peculiar and mysterious figure known as The Composer, who is gaslighting his audiences with music that sounds suspiciously like the Titanic movie soundtrack. On tour with his chaotic ensemble, Hindman spirals into crises of identity and disillusionment as she "plays" for audiences genuinely moved by the performance, unable to differentiate real from fake. Sounds Like Titanic is a surreal, often hilarious coming-of-age story. Hindman writes with precise, candid prose and sharp insight into ambition and gender, especially when it comes to the difficulties young women face in a world that views them as silly, shallow and stupid. As the story swells to a crescendo, it gives voice to the anxieties and illusions of a generation of women, and reveals the failed promises of a nation that takes comfort in false realities.

A piece a week Piano Grade 4 is ideal to be used alongside the Improve your sight-reading! graded piano books to support and improve the reading skills so fundamental to successful sight-reading. These fun, short pieces are specifically written to be learnt one per week. By continually reading accessible new repertoire, the crucial processing of information and hand-eye coordination are established and improved, developing confident sight-reading. The ability to sight-read fluently is a vital skill, enabling students to learn new pieces more quickly and play with other musicians. The best-selling Improve your sight-reading! series, by renowned educationalist Paul Harris, is designed to develop sight-reading skills, especially in the context of graded exams.