We are living in an emerging technoculture. Machines and gadgets not only weave the fabric of daily life, but more importantly embody philosophical and religious values which shape the contemporary moral vision-a vision that is often at odds with Christian convictions. This book critically examines those values, and offers a framework for how Christian moral theology should be formed and lived-out within the emerging technoculture. Brent Waters argues that technology represents the principal cultural background against which contemporary Christian moral life is formed. Addressing contemporary ethical and religious issues, this book will be of particular interest to students and scholars exploring the ideas of Heidegger, Nietzsche, Grant, Arendt, and Borgmann.

(String). The Wohlfahrt Op. 45 Studies are a mainstay of violin study. Book 1 (50256580) and Book 2 (50256590) are bestsellers in the Schirmer Library. The entire set, Books 1 and 2 combined, is available in this new complete publication, value priced at only $7.95

The key to fast and fun piano proficiency! Whether you're a wannabe Mozart or are an experienced hand at tinkling the ivories, the latest edition of Piano For Dummies has what you need to take you to the next level in making beautiful music using this much-loved and versatile instrument. Working as an introductory course--or as a refresher to keep those fingers nimble--you'll find information on getting started, improving your technique and performance, and the best ways to practice until you hit finely tuned perfection. And, along the way, you'll pick up the techniques for different styles, including classical, blues, and rock. In an easy-to-follow style, the book also helps you sharpen your sight-reading. You can also tune in to audio and video online to help you improve your creativity and discipline, as well as hear and see that you're hitting the right notes. Choose the right piano Know your keys Scale up for success Care for your instrument Whatever you want from your love affair with the old "88," you'll find enough right here to keep you hammering happily--and even more proficiently--away for years to come! P.S. If you think this book seems familiar, you're probably right. The Dummies team updated the cover and design to give the book a fresh feel, but the content is the same as the previous release of Piano For Dummies (9781118900055). The book you see here shouldn't be considered a new or updated product. But if you're in the mood to learn something new, check out some of our other books. We're always writing about new topics!

The symphony retained its primacy as the most prestigious large-scale orchestral form throughout the first half of the twentieth century, particularly in Britain, Russia and the United States. Likewise, Australian composers produced a steady stream of symphonies throughout the period from Federation (1901) through to the end of the 1950s. Stylistically, these works ranged from essays in late nineteenth-century romanticism, twentieth-century nationalism, neo-classicism and near-atonality. Australian symphonies were most prolific during the 1950s, with 36 local entries in the 1951 Commonwealth Jubilee Symphony competition. This extensive repertoire was overshadowed by the emergence of a new generation of composers and critics during the 1960s who tended to regard older Australian music as old-fashioned and derivative. The Australian Symphony from Federation to 1960 is the first study of this neglected genre and has four aims: firstly, to show the development of symphonic composition in Australia from Federation to 1960; secondly, to highlight the achievement of the main composers who wrote symphonies; thirdly, to advocate the restoration and revival of this repertory; and, lastly, to take a step towards a recasting of the narrative of Australian concert music from Federation to the present. In particular, symphonies by Marshall-Hall, Hart, Bainton, Hughes, Le Gallienne and Morgan emerge as works of particular note.

Alma Moodie's letters from 1918 to 1943 span two of the most tumultuous decades of modern German history. They document the responses of an individual professional musician to the vicissitudes of her public and private life: the challenges of post-war economic and political instability in the Weimar Republic, the impact of the Great Depression, the exclusionist cultural policies of the Third Reich and the perils of war. Australian-born, Moodie gives voice to the vulnerabilities of her position, living alone and constantly on tour as an unaccompanied, female virtuoso. She describes the profound satisfactions of her career triumphs, the joys and tensions of her marriage and her deep love for her children. Weaving through the narrative is the miracle of her ability as a virtuoso violinist, an ability that commanded the admiration and respect of many of the leading cultural figures of the day. Famous conductors, prominent musicians, contemporary composers, writers and art connoisseurs all fell under the spell of her sensational playing and lively personality. Originally written in three languages, the letters are made available here for the first time in English translation. Extensive annotations place the letters in their historical context while short essays by specialists in their fields reflect on particular themes.

Research in the field of keyboard studies, especially when intimately connected with issues of performance, is often concerned with the immediate working environments and practices of musicians of the past. An important pedagogical tool, the keyboard has served as the 'workbench' of countless musicians over the centuries. In the process it has shaped the ways in which many historical musicians achieved their aspirations and went about meeting creative challenges. In recent decades interest has turned towards a contextualized understanding of creative processes in music, and keyboard studies appears well placed to contribute to the exploration of this wider concern. The nineteen essays collected here encompass the range of research in the field, bringing together contributions from performers, organologists and music historians. Questions relevant to issues of creative practice in various historical contexts, and of interpretative issues faced today, form a guiding thread. Its scope is wide-ranging, with contributions covering the mid-sixteenth to early twentieth century. It is also inclusive, encompassing the diverse range of approaches to the field of contemporary keyboard studies. Collectively the essays form a survey of the ways in which the study of keyboard performance can enrich our understanding of musical life in a given period.

This is the first full-length study of British women's instrumental chamber music in the early twentieth century. Laura Seddon argues that the Cobbett competitions, instigated by Walter Willson Cobbett in 1905, and the formation of the Society of Women Musicians in 1911 contributed to the explosion of instrumental music written by women in this period and highlighted women's place in British musical society in the years leading up to and during the First World War. Seddon investigates the relationship between Cobbett, the Society of Women Musicians and women composers themselves. The book's six case studies - of Adela Maddison (1866-1929), Ethel Smyth (1858-1944), Morfydd Owen (1891-1918), Ethel Barns (1880-1948), Alice Verne-Bredt (1868-1958) and Susan Spain-Dunk (1880-1962) - offer valuable insight into the women's musical education and compositional careers. Seddon's discussion of their chamber works for differing instrumental combinations includes an exploration of formal procedures, an issue much discussed by contemporary sources. The individual composers' reactions to the debate instigated by the Society of Women Musicians, on the future of women's music, is considered in relation to their lives, careers and the chamber music itself. As the composers in this study were not a cohesive group, creatively or ideologically, the book draws on primary sources, as well as the writings of contemporary commentators, to assess the legacy of the chamber works produced.

The revised edition for Suzuki Violin School, Volume 6 is now available. Like the other revised violin books, the music has been edited by the International Violin Committee. Titles: La Folia (A. Corelli/S. Suzuki), Sonata No. 3 in F Major, HWV 370 (G. F. Handel), Allegro (J.-H. Fiocco), Gavotte (J. Ph. Rameau), Sonata No. 4 in D Major, HWV 371 (G. F. Handel) Other features include: * New engravings in a more easily readable 9 x 12 format * New editing of pieces, including bowings and fingerings * Available together with the newly recorded CD for $19.99 * CD by William Preucil, Concertmaster of the Cleveland Orchestra * Piano accompaniments recorded by Linda Perry.

The Tennessee Tech Tuba Ensemble (TTTE) is one of the most successful performing collegiate ensembles in history, with an enviable record of 25 recording projects, seven Carnegie Hall appearances, two World's Fairs performances, numerous national and international conference engagements, and a performance history in venues like Preservation Hall in New Orleans, the Spoleto Festival in Charleston, and the Kennedy Center in Washington. The Tennessee Tech Tuba Ensemble and R. Winston Morris: A 40th Anniversary Retrospective lists all of these events and more. It tells how Morris founded an ensemble comprised only of tubas and euphoniums (the "underdogs" of the orchestra) and catapulted it to international recognition, establishing and defining the standards for tuba ensemble performance practices and creating a monumental influence on both the tuba and music education throughout the world. The book provides a biography of Morris that includes the influences that led to the development of the TTTE, and it describes the early years of the ensemble and its development as one of the most recognizable groups of its kind. Several lists of reference information specific to Morris and the group and general to tuba and euphonium music are offered. Details about concerts, performances, activities, and recordings of the ensemble are presented, as well as recordings, awards, honors, and publications by Morris. Former members of the group are listed and pictured in more than 85 photos comprising a photographic history. Winston and the TTTE are responsible for the composition and arrangement of more music for the tuba than any other single source, and a comprehensive list of those works is supplied here."

Bert Weedon's Play in a Day remains one of the world's most successful guitar methods. It is as much of a legend as the stars who have learned from it, including Eric Clapton, Mike Oldfield, Paul McCartney, George Harrison, John Lennon, Sting, Brian May, Pete Townshend, and many others!

Play in a Day is easy to use and includes plenty of tips for selecting the right guitar, the correct amplifier, how to hold your instrument, and plenty of exercises and tunes to play!

Despite the musical and social roles they play in many parts of the world, wind bands have not attracted much interest from sociologists. The Sociology of Wind Bands seeks to fill this gap in research by providing a sociological account of this musical universe as it stands now. Based on a qualitative and quantitative survey conducted in northeastern France, the authors present a vivid description of the orchestras, the backgrounds and practices of their musicians, and the repertoires they play. Their multi-level analysis, ranging from the cultural field to the wind music subfield and to everyday life relationships within bands and local communities, sheds new light on the social organisation, meanings and functions of a type of music that is all too often taken for granted. Yet they go further than merely portraying a musical genre. As wind music is routinely neglected and socially defined in terms of its poor musical quality or even bad taste, the book addresses the thorny issue of the effects of cultural hierarchy and domination. It proposes an imaginative and balanced framework which, beyond the specific case of wind music, is an innovative contribution to the sociology of lowbrow culture.

Best of Paco De Lucia contains guitar transcriptions by David Leiva, allowing guitarists of all levels to enjoy the genius of one of the world's greatest flamenco guitarist.

Despite their central role in many forms of music-making, drummers have been largely neglected in the scholarly literature on music and education. But kit drummers are increasingly difficult to ignore. While exponents of the drum kit are frequently mocked in popular culture, they are also widely acknowledged to be central to the musical success and aesthetic appeal of any musical ensemble in which they are found. Drummers are also making their presence felt in music education, with increasing opportunities to learn their craft in formal contexts. Drawing on data collected from in-depth interviews and questionnaires, Gareth Dylan Smith explores the identities, practices and learning of teenage and adult kit drummers in and around London. As a London-based drummer and teacher of drummers, Smith uses his own identity as participant-researcher to inform and interpret other drummers' accounts of their experiences. Drummers learn in multi-modal ways, usually with a keen awareness of exemplars of their art and craft. The world of kit drumming is highly masculine, which presents opportunities and challenges to drummers of both sexes. Smith proposes a new model of the 'Snowball Self', which incorporates the constructs of identity realization, learning realization, meta-identities and contextual identities. Kit drummers' identities, practices and learning are found to be intertwined, as drummers exist in a web of interdependence. Drummers drum; therefore they are, they do, and they learn - in a rich tapestry of means and contexts.

Classical melodies from piano literature, opera and orchestral literature are revisited in this unique series. The arrangements feature jazz styles including ragtime and blues. Students who are familiar with some of these gems will enjoy their new settings while those playing them for the first time will become familiar with these wonderful melodies. Titles include: Blues for Dolores * Blues March * Italian Jazz * Jazz Etude * Jazzy Lullaby, A * Jazzy German Dance * Jazzy Spanish Song * Minuet in Jazz * Ragtime Can-Can * Ragtime Prelude.

The author of Beyond the Notes demonstrates how a working musician draws energy from the events of daily life, and sometimes seeks a refuge from them in music. Out of Silence is a diary of a year in Susan Tomes's life as a performer. Taking as its inspiration Schumann's remark that 'I am affected by everything that goes on in the world, and I think it all over in my own way', it aims to show how a working musician mulls over and draws energy from the events of everyday life. We follow this internationally renowned pianist as she prepares for concerts and performs, both as a soloist and as part of a chamber ensemble; we experience the highs and lows of practising and the challenges of live performance, we see her planning masterclasses and interacting with both musicians and audiences. She casts her mind back to her childhood - practicing before school on cold Edinburgh mornings, playing 'Danny Boy' for a relative - and reflects on paintings, dance, books, sport and gardening. 'A delight and a revelation...She writes with Schubertian intimacy, modesty and grace,' said the Independent of her first book, Beyond the Notes. Here Susan Tomes strives to unlock the secrets of great music and to understand its place in the wider world. SUSAN TOMES has won a number of awards for her recordings of chamber music. For fifteen years she was the pianist of Domus, and for another fifteen she has been the pianist of the Florestan Trio, one of the world's leading piano trios. She is the author of Beyond the Notes and A Musician's Alphabet. She writes occasionally for the Guardian and on a blog on her own website, www.susantomes.com.

Richard Strauss's tone poem Also sprach Zarathustra is one of his most controversial works, but it is also one of the staples of the virtuoso orchestra. Its greatest popularity has been achieved in recent years with its association with Kubrick's film 2001--A Space Odyssey. This guide examines the intellectual background of the work and considers the ways in which it has been received by composers and writers. It also discusses the musical background of Liszt and Wagner which gave rise to the genre "tone poem," and provides an analysis of several aspects of Strauss's musical language.

Amy Beach was celebrated during her lifetime as the foremost female composer of the United States, and her writing was frequently inspired by the folk music of America and Britain. Originally for piano, her Scottish Legend evokes Scotland in its wistful melody, adorned by Scotch snaps and conveying a folk-like atmosphere, but spiced up with a few late-Romantic harmonies. Contrasts between major and minor are also used to telling effect in this gently attractive piece, sympathetically arranged for the organ by Robert Gower.

for SATB and four-piece ensemble (flute, oboe, harp, organ) Four-piece chamber ensemble accompaniment to Rutter's arrangement in B major. Pack includes full score and set of parts. Not compatible with the John Rutter Anniversary Edition D-flat major arrangement, also found in the carol collection Joy to the World, or the D major upper voices version in Carols for Choirs 4.

Originally published in 1966, this was the first book on this subject to be published for over a hundred years. It covers all facets including little-known types of Gaelic song, the bagpipes and their music, including the esoteric subject of pibroch, the Ceol Mor or 'Great Music' of the pipes. It gives a comprehensive review of the fiddle composers and their music, and of the Clarsach and its revival, with an example of all-but-extinct Scottish harp music. A chapter is devoted to the music of Orkney and Shetland and the book contains over 100 examples of music many of which were from the author's own collection and published here for the first time.

`Valentin Berlinsky (1925-2008) was a founding member of the Borodin Quartet and its cellist and mainstay for more than six decades. A proud Russian but also a man of compromise, his was a life lived for and through the Borodin Quartet. This book tells his story in his own words, lovingly compiled and edited by his grand-daughter, Maria Matalaev, from his diaries, correspondence and interviews, and his accounts of his close friendships with the likes of Shostakovich and Richter, Rostropovich and Oistrakh. Supplemented by tributes from family and friends, as well as an impressive annexure giving every performance, broadcast and recording made by the Borodin Quartet, this book constitutes one of the most revealing chronicles of Soviet and post-Soviet Russian musical life. In 2005, at the celebrations for both his 80th birthday and the 60th anniversary of the Borodin Quartet, Valentin Berlinsky sat down at a table with his students and said: `My dears, please, keep going: never leave Russia!'

for SATB and four-piece ensemble (flute, oboe, harp, piano) Four-piece chamber ensemble accompaniment to Rutter's lively arrangement of the Spanish carol. Pack includes full score and set of parts.

In the nineteenth century, use of the violone, a bass instrument with many sizes and variations, was nearly eliminated from musical repertoires, and its traditional parts were parceled out to other instruments such as the violoncello. The following phases of revival of the double-bass have been hampered by a lack of physical evidence and diligent research into the historical uses of the instrument. The Baroque Double Bass Violone is a comprehensive study that examines a cross-section of standard works to enhance contemporary violone research, and provide information for musicologists, music publishers, ensemble leaders, and revivalists, all of whom have been unable to reconstruct an essential part of Baroque music. This translation finally makes the most exhaustive study of the double bass violone accessible to English-speaking musical enthusiasts. The book includes lists of terminology, the most comprehensive bibliography to date, and 48 illustrations that make this a compendium of string bass research.

The Justinguitar Pop Songbook is the latest addition to Justin Sandercoes series of guitar songbooks, following on from his hugely successful Justinguitar Beginners Songbook and Justinguitar Beginners Guitar Course. The Justinguitar Pop Songbook is for beginner-intermediate guitar players who are looking to improve their playing and increase their pop repertoire. Songs are arranged by difficulty, with introductory notes, scales and chord shapes provided for each difficulty level. Much more than just a songbook, this book contains valuable tips and tutorials that will help you with every aspect of your playing.

In Studio-Based Instrumental Learning, Kim Burwell investigates the nature of lesson interactions in instrumental teaching and learning. Studio lesson activity is represented as a private interaction, dealing with skill acquisition and reflecting a tradition based in apprenticeship, as well as the personal attributes and intentions of participants. The varied and particular nature of such interaction does not always lend itself well to observation or - when observed - to easy interpretation. This presents particular problems for practitioners wishing to share aspects of professional knowledge, and for researchers seeking to explain the practice. Focusing on a single case study of two clarinet lessons, Burwell uses video observations and interviews to analyse collaborative lesson activity, through the 'rich transcription' of performance, verbal and nonverbal behaviours. The foregrounded lesson interactions are also contextualised by the background consideration of social, cultural and institutional frameworks. The research is aimed a helping to create a framework that can support reflection among practitioners as they continually develop their work, not only experientially - through the tradition of 'vertical transmission' from one musician to another - but collaboratively, through the 'horizontal' sharing of good practice.