Student learning in school music ensembles is often focused on technical skill development. Give your students broader experience involving multiple music learnings, technical proficiency, cognition, and personal meaning. The Comprehensive Musicianship through Performance (CMP) model will help you plan instruction for school ensembles that promotes a holistic form of music learning and will allow you to use your creativity, passion, and vision. With model teaching plans and questions for discussion, this book can give you richer, more meaningful challenges and help you provide your students with deeper musical experiences. Sindberg combines the theoretical foundations of CMP with practical applications in a book that's useful for practicing teacher-conductors, scholars, and teacher educators alike.

The ultimate go-to book for information about vintage Gretsch guitars of the 1950s, illustrated with over 120 exquisite images, this is an authoritative, extremely detailed review of both Gretsch guitar production and the individual guitar models that the company introduced during the decade. It will give the reader a comprehensive explanation of the various Gretsch serial numbering systems, an overview of classic Gretsch features from the 1950s, and complete specifications for 28 models produced within the decade. Also included are the evolution of features for each model in every model year of the 1950s, the total production estimates for most models, and the adjusted serial number to model year chronology. This highly detailed information is supported by compelling photography, and an extensive, batch-by-batch recreation of the Gretsch Brooklyn factory's lost production history. A user-friendly technical guide, this book offers a wealth of new data and is a must-have resource for vintage instrument dealers, guitar collectors, Gretsch enthusiasts, and fans of vintage guitars.

First emerging in North America and Europe in the late 1920s, contemporary percussion practices have transitioned from the fringes of contemporary music to the forefront over the past 90 years. In the 1960s contemporary percussion practices reached Australian shores and a new generation of artists added their voices to this narrative. The role of Australian activity is not yet embedded in the wider narrative of international contemporary percussion, nor is the significance of developments in contemporary percussion practices fully realised in the context of Australian music history. In this monograph, political, social and cultural influences on this art form will be examined for the first time in a historical survey of contemporary percussion music in Australia over a 50-year period, from 1960 to 2010. The rise of the percussion ensemble in the twentieth century to a standard chamber music ensemble is now recognised as one of the major advances in western art music practice internationally. A focus will be placed on ensemble activity via definitive documentation and analysis of ensembles that are amongst the most pioneering and longest established of Australian contemporary music organisations, including the Australian Percussion Ensemble, Synergy Percussion, Adelaide Percussions, Nova Ensemble, Tetrafide Percussion, Taikoz, Clocked Out and Speak Percussion amongst others. Closing with a discussion of influences and identity, this historical narrative will expand our understanding of the impact of Australian contributions to the international contemporary music scene while simultaneously examining how developments in contemporary percussion have contributed to Australia's cultural identity.

Thomas Schuttenhelm provides a detailed account of the events leading up to and throughout the compositional process associated with Michael Tippett's Fifth String Quartet and a comprehensive analysis of the entire quartet. The commentary discusses this work in the context of Tippett's creative development and places it within the historical context of the genre of the string quartet. The commentary includes interviews with the members of the Lindsay String Quartet, who premiered the work, as well as previously unpublished letters from the composer and interviews with Tippett in which he discusses the quartet in detail. Special attention is given to Tippett's preliminary attempts, which were only recently discovered (2011) and to the evidence that suggests he altered the original ending. Included are images from the composer's sketchbooks and manuscripts, as well as the original beginning and the altered ending.

Alfred's Basic Prep Course, Levels A through F, was written to answer a demand for a course of piano study designed specifically for students who are five years old and up. This course offers a careful introduction of fundamentals, music that fits comfortably under the young student's normal hand span, plus constant reinforcement, all leading to results beyond those generated by other piano methods. After Lesson Book B, the student may progress to Prep Course, Lesson Book C or choose to go directly into the faster paced Level 1B of Alfred's Basic Piano Library. The complete Prep Course consists of six books (Levels A through F).

(Percussion). This is the book on hand development and drumstick control. Master Studies focuses on these important aspects: accent studies, buzz-roll exercises, single and double-stroke patterns, control studies, flam patterns, dynamic development, endurance studies, and much more

Hot Lips Page was a seminal figure in the history of jazz trumpet. After making his name as the top trumpeter in Kansas City in the middle 1930s, he moved to New York City and performed in Harlem and on 52nd Street, headlining at the Apollo Theater and in Greenwich Village. He was a star trumpet soloist with Artie Shaw's Orchestra in 1941. He recorded with Billie Holiday and Pearl Bailey and made many early TV appearances in the 1950s. Perhaps most significantly, Page was also one of the greatest blues players of his generation. Dizzy Gillespie may have said it best, When it comes to the blues, don't mess with Lips, nobody not Louis, not Roy, not me.Despite his many successes, Page's personal life was fraught with troubles. His father died when his son was eight, and the boy was forced to leave school and go to work to help support his family. Page's second wife, Myrtle, who by all accounts was the love of his life, died suddenly in New York in 1946 at the age of twenty-eight, leaving Hot Lips as the sole parent of their young son, Oran Jr. Throughout the 1940s, he struggled to maintain his audience as the popular style of music changed from Swing to Bebop to Rhythm and Blues.He died suddenly of a heart attack in 1954, at age forty-six. Through the use of interviews, anecdotes and oral histories, author Todd Bryant Weeks has pieced together Page's personal story. He has contacted dozens of people (many in their eighties and nineties), who knew Page personally, and has spent many hours interviewing several of Page's family members, including his son, Oran Page, Jr., who is now a Municipal Judge in Jackson, Mississippi. Weeks has also been granted access to files, photographs and personal scrapbooks belonging to Page at the Institute of Jazz Studies in Newark, New Jersey. Luck's In My Corner: The Life and Music of Hot Lips Page is the definitive work on this legendary jazz figure.

(Yorktown). A progression of melodic pieces and studies teaching the basics step by step. A fresh, unhurried and sound approach to piano study. It offers a veritable treasure of delightfully melodic, inventive repertoire to illustrate and correlate technique, theory, and musicianship.

The composer and pianist Michael Finnissy (b. 1946) is an unmistakeable presence in the British and international new music scene, both for his immeasurable generosity as prolific composer for many different types of musicians, major advocate for the works of others, and performer and conductor who has also been a driving force behind ensembles; he was also President of the International Society for Contemporary Music from 1990 to 1996. His vast and enormously varied output confounds those who seek easy categorisations: once associated strongly with the 'new complexity', Finnissy is equally known as composer regularly engaged with many different folk musics, for working with amateur and community musicians, for a long-term engagement with sacred music, or as an advocate of Anglo-American 'experimental' music. Twenty years ago, a large-scale volume entitled Uncommon Ground: The Music of Michael Finnissy gave the first major overview of the output of any 'complex' composer. This new volume brings a greater plurality of perspectives and critical sensibility to bear upon an output which is almost twice as large as it was when the earlier book was published. A range of leading contributors - musicologists, composers, performers and others - each grapple with particular questions relating to Finnissy's music, often in ways which raise questions relating more widely to new music, and provide theoretical foundations for further of study both of Finnissy and other composers.

This book takes as its historical point of departure the radical appearance in 1779 of technically difficult keyboard music in a set of six sonatas (Op. 2) by Muzio Clementi. The difficult passages contained in this opus are unique amongst keyboard music published for a market that was understood at the time to consist almost entirely of female amateur keyboardists. Previously actively discouraged from practicing or improving their skills due to the restrictive ideologies in place, Clementi's music increasingly affords female pianists a new kind of musical expression. Clementi and the woman at the piano: Virtuosity and the market for music in eighteenth-century London maps the social, musical, and gendered implications of technically difficult music and helps to underline important changes in Enlightenment culture and keyboard practice. Clementi's activities initiated the now familiar and modern concepts of repetitive musical practice, the work-concept, virtuosity itself, and the division between amateur and professional. Additionally, Clementi promotes a radical new mode of expression for female pianists that is at first highly controversial but slowly gains acceptance due to a widespread promotion of his music, instruments, and methods. Clementi's career is in many respects a perfect case study for the tensions between Enlightenment thinking and new Romantic ideologies.

Isolde Ahlgrimm (1914-1995) was an important pioneer in the revival of Baroque and Classical keyboard instruments in her native city, Vienna, and later, throughout Europe and the United States. She trained as a pianist at the Musikakademie in Vienna under the instruction of Viktor Ebenstein, Emil von Sauer and Franz Schmidt. In 1934 she met the musical instrument collector, Dr Erich Fiala, whom she married in 1938. His activities opened up the world of early instruments to her. Using a 1790 fortepiano by Michael Rosenberger, Isolde Ahlgrimm began her career as a specialist on early keyboard instruments with the first in her notable series of Concerte fA1/4r Kenner und Liebhaber, given in Vienna's Palais Palffy in February 1937. Ahlgrimm's career as a harpsichordist also began in 1937, when a new instrument was commissioned from the Ammer brothers in Eisenberg, Germany. In 1943 Ahlgrimm performed her first all-harpsichord programme, which consisted of the Goldberg Variations by J.S. Bach. From 1949 to 1956, she devoted herself to performing and recording nearly all of Bach's harpsichord music for the newly-founded Dutch label, Philips, presenting her new approach to the harpsichord to a wider audience. Ahlgrimm's performances of Baroque music represented a radical departure from the distinctly twentieth-century interpretations by the much more famous Wanda Landowska and her followers. Most obviously, Ahlgrimm's harpsichord performances eliminated frequent registration changes (her instrument had hand stops rather than pedals to change registers), and largely eschewed the massive ritardandi and other anachronistic performance practices that were hallmarks of Landowska's essentially Romantic style. Ahlgrimm researched and emphasized rhetorical traditions on which the music was based. This became more pronounced throughout the course of her later performing, writing and teaching career, and it was the beginning of an approach to the performance of eighteenth-century music which was later further developed by Gustav Leonhardt, Nikolaus Harnoncourt and their students. Peter Watchorn provides an engaging study of this pioneer, and argues that Isolde Ahlgrimm's contribution to the harpsichord and fortepiano revival was pivotal, and that her use of period instruments and the inspiration she instilled in younger musicians, including Nikolaus Harnoncourt and Gustav Leonhardt, has been almost entirely overlooked by the wider musical world.

In this book, Julian Hellaby presents a detailed study of English piano playing and career management as it was in the middle years of the twentieth century. Making regular comparisons with early twenty-first-century practice, the author examines career-launching mechanisms, such as auditions and competitions, and investigates available means of career sustenance, including artist management, publicity outlets, recital and concerto work, broadcasts, recordings and media reviews. Additionally, Hellaby considers whether a mid-twentieth-century school of English piano playing may be identified and, if so, whether it has lasted into the early decades of the twenty-first century. The author concludes with an appraisal of the state of English pianism in recent years and raises questions about its future. Drawing on extensive research from a wide variety of primary and secondary sources, this book is structured around case-studies of six pianists who were commencing and then developing their careers between approximately 1935 and 1970. The professional lives and playing styles of Malcolm Binns, Peter Katin, Moura Lympany, Denis Matthews, Valerie Tryon and David Wilde are examined, and telling comparisons are made between the state of affairs then and that of more recent times. Engagingly written, the book is likely to appeal to professional and amateur pianists, piano teachers, undergraduate and postgraduate music students, academics and anyone with an interest in the history of pianists, piano performance and music performance history in general.

for SATB, clarinet, and piano Every Thing That Grows is an meaningful and uplifting setting of Shakespeare's Sonnet 15. Chilcott employs captivating vocal lines, a flowing piano part, and expressive clarinet interludes to reflect on the text's theme of mortality, with a profound closing section calling the listener to reflect upon the immortalising couplet 'And all in war with Time for love of you, As he takes from you, I engraft you new'.

Play-along with the best-known selections from the first five movies in the Harry Potter series String books include a play-along CD with a backing and performance track for each title as well as a pull-out piano part. Titles include: Hedwig's Theme * Harry's Wondrous World * Nimbus 2000 * Fawkes The Phoenix * Double Trouble * A Window to the Past * Hogwarts' March * Hogwarts' Hymn * Professor Umbridge * Fireworks (Grade 2-3) This title is available in SmartMusic.

The 60 exercises by C. L. Hanon, The Virtuoso Pianist, are a classic textbook of technical training widely used by piano students, teachers and professionals.

However, in the hundred years or so that have elapsed since these exercises first appeared, the technical demands made on students and pianists have enormously changed and developed.

Therefore, the famous two-piano team of Gold and Fizdale has attempted to bring Hanon's exercises up-to-date. It is hoped that Hanon Revisited will serve students and pianists as a preparation for the increasingly complicated technical requirements of present-day piano performance and study.

Jazz Guitar Styles is an instruction book designed for the guitarist who already knows the fundamentals but wishes to explore the "classic" style of swing-era guitar. It offers a clear, concise introduction to the basics of jazz guitar, built on the student's basic knowledge of forming chords and basic picking patterns. Jazz Guitar Styles opens this world to any guitarist who has a basic knowledge of guitar technique and willingness to learn.

Instruments of the violin family are well known to be exceptionally valuable if they are the work of an Italian master such as Stradivari or Guarneri. Unfortunately, in common with many other antique articles of value, the forger, the defrauder, and the thief operate in the world of the violin in a very conspicuous way. With varying degrees of skill labels are altered, certificates of origin are spuriously created, instruments are even made from new but disguised to look old and and reproduced the features of an old master. Buyers, dealers, and even auction houses can easily make distressing and very expensive mistakes. Many people who own instruments, or who are interested in buying them, want to know more about the dangers, the pitfalls, and the case histories of previous disasters. The law itself is widely misunderstood and its wide ambit not appreciated. Those who contravene the law risk actions for civil damages as well as criminal prosecution, primarily by the ever more vigilant Trading Standards Department of local authorities. It is the intention of this book to detect the background to this fraudulent activity and to explain how the law applies to it. Much of what is said

This is the first book to develop both the theory and the practice of synthesizing musical sounds using computers. Each chapter starts with a theoretical description of one technique or problem area and ends with a series of working examples (over 100 in all), covering a wide range of applications. A unifying approach is taken throughout; chapter two, for example, treats both sampling and wavetable synthesis as special cases of one underlying technique. Although the theory is presented quantitatively, the mathematics used goes no further than trigonometry and complex numbers. The examples and supported software -- along with a machine-readable version of the text -- are available on the web and maintained by a large online community. The Theory and Techniques of Electronic Music is valuable both as a textbook and as professional reading for electronic musicians and computer music researchers.

This directory is the most comprehensive index of music written for orchestra with chorus in print today. Offering performance information about choral works by more than 900 conductors, the more than 3,500 entries include such details as instrumentation, languages, timings, publishers, and composer information in an easy-to-follow reference style. Users can also browse categorized appendices of works, composers, and popular and original titles.

Joel Walker Sweeney was, in essence, the Elvis Presley of the 1840s. A professional banjo player, Sweeney introduced mainstream America to a music (and musical instrument) which had its roots in the transplanted black culture of the southern slave. Sweeney, an Irish-American born midway between Richmond and Lynchburg, Virginia, sampled African American music at a young age. He then added more traditional southern sounds to the music he heard, in essence creating a new musical form. The only avenue available to a professional banjo player was that of traveling minstrelsy shows and it was this route which Sweeney used to bring his music to the attention of the public. Beginning with the banjo's introduction to America and Great Britain, the book provides an overview of early banjo music. The volume then discusses the evolution of American minstrelsy (i.e., black face) and the opportunities it provided for artists such as Sweeney. Correcting previous fallacies and misconceptions (such as Sweeney's supposed development of the five-string banjo), the work discusses Sweeney's roots, his music and his contribution to the physical development of the instrument. An appendix contains a performance chronology. The work is also indexed.

Charles Ives' massive Concord Sonata, his second sonata for piano, named after the town of Concord in Massachusetts, is central to his output and clearly reflects his aesthetic perspective. Geoffrey Block's wide-ranging account of the work thus provides an ideal introduction to this fascinating composer. This handbook discusses the Sonata's reception history and its compositional genesis, as well as providing a detailed account of the work's thematic content, its use of borrowed material, and the degree to which the program is influenced by the Concord Transcendentalists.

Acoustic Blues Guitar Styles is an introduction to fingerstyle acoustic blues guitar, the style made popular by Robert Johnson, Bill Broonzy, and Mance Lipscomb. Following the success of the popular Acoustic Guitar Styles, Larry Sandberg's Acoustic Blues Guitar Styles is an instructional book geared towards the intermediate guitar player, not only to teach fingerstyle blues technique, but also to approach the music creatively and with feeling and rhythm. Part One teaches you the preliminaries, such as reading a chord chart and working out a 12-bar blues in different keys. Part Two teaches you touch, timing, and basic fingerpicking technique. Part Three teaches you how to play stylistically, with lessons on how to incorporate bends, vibrato, alternating bassnotes, and rhythmic variations into your playing. All musical exercises are presented in both standard notation and tablature, and are supported by audio tracks. Customers purchasing the eBook version of this title will be able to download the supporting audio tracks. Instructions on downloading the files can be found on the contents page.