Thinking as You Play focuses on how to teach, not what to teach. Sylvia Coats gives piano teachers tools to help students develop creativity and critical thinking, and guidelines for organizing the music taught into a comprehensive curriculum. She suggests effective strategies for questioning and listening to students to help them think independently and improve their practice and performance. She also discusses practical means to develop an awareness of learning modalities and personality types. A unique top-down approach assists with presentations of musical concepts and principles, rather than a bottom-up approach of identifying facts before the reasons are known.

Thinking as You Play is one of the few available resources for the teacher of group piano lessons. Ranging from children s small groups to larger university piano classes, Coats discusses auditioning and grouping students, strategies for maximizing student productivity, and suggestions for involving each student in the learning process."

Stride traces the stride piano style from its roots in minstrel shows and ragtime, through the contributions of itinerant entertainers, to its joyful birth in Harlem, where it became known as Harlem Piano. Stride developed over a period spanning World War I to the depression years, though younger players maintain its traditions today. It is a musical style marked by friendly rivalry and shared pleasures. Drawing on the authors' personal interviews and biographies, the book traces stride from generation to generation, from the originators Eubie Blake, Luckey Roberts, and James P. Johnson, through a succession of pianists like Willie the Lion Smith. Fell and Vinding also examine its influence on Duke Ellington, Fats Waller, Joe Sullivan, and Johnny Guarnieri, concluding with third and fourth generations that include Ralph Sutton, Dick Hyman, and Dick Wellstood. The authors describe the exceptional Donald Lambert from personal experience. Throughout, influences are traced and documented by way of CD and LP citations. Stride finishes the tune with appendixes that itemize the compositions of Luckey Roberts, Fats Waller and Willie the Lion Smith.

This research guide is an annotated bibliography of sources dealing with the string quartet. This second edition is organized as in the original publication (chapters for general references, histories, individual composers, aspects of performance, facsimiles and critical editions, and miscellaneous topics) and has been updated to cover research since publication of the first edition. Listings in the previous volume have been updated to reflect the burgeoning interest in this genre (social aspects, newly issued critical editions, doctoral dissertations). It also offers commentary on online links, databases, and references.

Drawing on five years of research and well over 100 interviews with students, colleagues, and family members of flutist Marcel Moyse, author McCutchan distills a truthful, vital portrait of this charismatic, complex, and sometimes puzzling man.

With the Harry Potter film series now complete, Alfred Music Publishing and Warner Bros. Entertainment are proud to present big note piano arrangements from the eight epic films together in one collectible volume. For the first time ever, 36 sheet music selections by John Williams, Patrick Doyle, Nicholas Hooper, and Alexandre Desplat are collected along with eight pages of color stills from The Sorcerer's Stone to The Deathly Hallows, Part 2. By popular request, "Leaving Hogwarts" from The Sorcerer's Stone appears in print in this collection for the first time. It's a perfect gift for pianists of all ages who love the music of Harry Potter. Titles: Diagon Alley * Family Portrait * Harry's Wondrous World * Hedwig's Theme * Leaving Hogwarts * Nimbus 2000 * Voldemort * The Chamber of Secrets * Fawkes the Phoenix * Buckbeak's Flight * Double Trouble * Hagrid the Professor * Harry in Winter * Hogwarts March * Potter Waltz * This Is the Night * Dumbledore's Army * Fireworks * Loved Ones and Leaving * Professor Umbridge * Dumbledore's Farewell * Harry and Hermione * In Noctem * When Ginny Kissed Harry * Farewell to Dobby * Godric's Hollow Graveyard * Harry and Ginny * Obliviate * Ron Leaves * Snape to Malfoy Manor * Courtyard Apocalypse * Harry's Sacrifice * Lily's Lullaby * Lily's Theme * Severus and Lily * Statues.

A powerful and thought provoking memoir from one of the world's most successful orchestral conductors, whose life story, talent and dedication to music is an inspiration to read. A tragic car accident when Welser-Moest was a student shaped both his career and approach to music in the most profound and unexpected way, while the book documents an insider's view of the complex relationships between an opera house, its orchestra, the conductor and singers, and the creative struggle by all these parts to achieve perfection in every performance. Welser-Moest's book was published in Austria in July 2020 and rapidly became a no 1 bestseller. It remains a bestseller in the German language today. This edition will satisfy all lovers of opera and classical music who are English language readers.

A History of the Trombone, the first title in the new series American Wind Band, is a comprehensive account of the development of the trombone from its initial form as a 14th-century Medieval trumpet to its alterations in the 15th century; from its marginalized use in a particular Renaissance ensemble to its acceptance in various kinds of artistic and popular music in the 19th and 20th centuries. David M. Guion accesses new and important primary source materials to present the full sweep of the instrument's history, placing particular emphasis on the people who played the instrument, the music they performed, and the relevant cultural contexts. After a general overview, the material is presented in two main sections: the first traces the development of the trombone itself and examines the literature written about it, and the second investigates the history of performance on the instrument—the ensembles it participated in, the occasions in which it took part, the people who played it, and the social, intellectual, political, economic, and technological forces that impinged on that history. Guion analyzes the trombone's place in countries all over the world and in many styles of music, such as art, opera, popular, and world music. An appendix of transcriptions of selected primary source documents, including translations, and a comprehensive bibliography round out this important reference. Fully illustrated with more than 80 images, A History of the Trombone appeals not just to trombonists but to students, scholars, and fans of all musical instruments.

This new edition contains all the scales and arpeggios required for ABRSM's Grade 2 Violin exam. Includes all Grade 2 scales and arpeggios for the revised syllabus from 2012, with bowing patterns, along with a helpful introduction including advice on preparing for the exam.

The Michael Aaron Piano Course Lesson books have been completely re-engraved, expanded (adding more definitions of musical terms and more musical pieces), updated (with modernized artwork), and re-edited (with less emphasis on fingerings and more on note-reading).

In The New Guitarscape, Kevin Dawe argues for a re-assessment of guitar studies in the light of more recent musical, social, cultural and technological developments that have taken place around the instrument. The author considers that a detailed study of the guitar in both contemporary and cross-cultural perspectives is now absolutely essential and that such a study must also include discussion of a wide range of theoretical issues, literature, musical cultures and technologies as they come to bear upon the instrument. Dawe presents a synthesis of previous work on the guitar, but also expands the terms by which the guitar might be studied. Moreover, in order to understand the properties and potential of the guitar as an agent of music, culture and society, the author draws from studies in science and technology, design theory, material culture, cognition, sensual culture, gender and sexuality, power and agency, ethnography (real and virtual) and globalization. Dawe presents the guitar as an instrument of scientific investigation and part of the technology of globalization, created and disseminated through corporate culture and cottage industry, held close to the body but taken away from the body in cyberspace, and involved in an enormous variety of cultural interactions and political exchanges in many different contexts around the world. In an effort to understand the significance and meaning of the guitar in the lives of those who may be seen to be closest to it, as well as providing a critically-informed discussion of various approaches to guitar performance, technologies and techniques, the book includes discussion of the work of a wide range of guitarists, including Robert Fripp, Kamala Shankar, Newton Faulkner, Lionel Loueke, Sharon Isbin, Steve Vai, Bob Brozman, Kaki King, Fred Frith, John 5, Jennifer Batten, Guthrie Govan, Dominic Frasca, I Wayan Balawan, Vicki Genfan and Hasan Cihat A-rter.

Innovations in music technology bring with them a new set of challenges for describing and understanding the electroacoustic repertoire. This edited collection presents a state-of-the-art overview of analysis methods for electroacoustic music in this rapidly developing field. The first part of the book explains the needs of differing electroacoustic genres and puts forward a template for the analysis of electroacoustic music. Part II discusses the latest ideas in the field and the challenges associated with new technologies, while Part III explores how analyses have harnessed the new forces of multimedia, and includes an introduction to new software programme EAnalysis, which was created by the editors as the result of an Arts and Humanities Research Council grant. The final part of the book demonstrates these new methods in action, with analyses of key electroacoustic works from a wide range of genres and sources.

Danny Elfman's Piano Quartet comprises thematic variations for piano and string trio cast in five movements: Ein Ding, Kinderspott, Duett fur Vier, Ruhig and Die Wolfsjungen. The idea behind the work stems from a familiar children's playground taunt which can be heard in the second movement. The work playfully cycles through a variety of moods and textures, from the agitated intensity of the first movement so reminiscent of the composer's iconic film music, through to the delicate Adagio, all culminating in Elfman's energetic and impassioned finale.

Mozart's piano sonatas are among the most familiar of his works and stand alongside those of Haydn and Beethoven as staples of the pianist's repertoire. In this study, John Irving looks at a wide selection of contextual situations for Mozart's sonatas, focusing on the variety of ways in which they assume identities and achieve meanings. In particular, the book seeks to establish the provisionality of the sonatas' notated texts, suggesting that the texts are not so much identifiers as possibilities and that their identity resides in the usage. Close attention is paid to reception matters, analytical approaches, organology, the role of autograph manuscripts, early editions and editors, and aspects of historical performance practice - all of which go beyond the texts in opening windows onto Mozart's sonatas. Treating the sonatas collectively as a repertoire, rather than as individual works, the book surveys broad thematic issues such as the role of historical writing about music in defining a generic space for Mozart's sonatas, their construction within pedagogical traditions, the significance of sound as opposed to sight in these works (and in particular their sound on fortepianos of the later eighteenth-century) , and the creative role of the performer in their representation beyond the frame of the text. Drawing together and synthesizing this wealth of material, Irving provides an invaluable reference source for those already familiar with this repertoire.

An approach based on self-learning and the recognition of rhythmic and melodic patterns.

A thorough examination of Shostakovich's string quartets is long overdue. Although they can justifiably lay claim to being the most significant and frequently performed twentieth-century oeuvre for that ensemble, there has been no systematic English-language study of the entire cycle. Judith Kuhn's book begins such a study, undertaken with the belief that, despite a growing awareness of the universality of Shostakovich's music, much remains to be learned from the historical context and an examination of the music's language. Much of the controversy about Shostakovich's music has been related to questions of meaning. The conflicting interpretations put forth by scholars during the musicological 'Shostakovich wars' have shown the impossibility of fixing a single meaning in the composer's music. Commentators have often heard the quartets as political in nature, although there have been contradictory views as to whether Shostakovich was a loyal communist or a dissident. The works are also often described as vivid narratives, perhaps a confessional autobiography or a chronicle of the composer's times. The cycle has also been heard to examine major philosophical issues posed by the composer's life and times, including war, death, love, the conflict of good and evil, the nature of subjectivity, the power of creativity and the place of the individual - and particularly the artist - in society. Soviet commentaries on the quartets typically describe the works through the lens of Socialist-Realist mythological master narratives. Recent Western commentaries see Shostakovich's quartets as expressions of broader twentieth-century subjectivity, filled with ruptures and uncertainty. What musical features enable these diverse interpretations? Kuhn examines each quartet in turn, looking first at its historical and biographical context, with special attention to the cultural questions being discussed at the time of its writing. She then surveys the work's reception history, and follows with a critical discussion of the quartet's architectural and harmonic features. Using the new tools of Sonata Theory, Kuhn provides a fresh analytical approach to Shostakovich's music, giving valuable and detailed insights into the quartets, showing how the composer's mastery of form has enabled these works to be heard as active participants in the Soviet and Western cultural discourses of their time, while remaining compelling and relevant to twenty-first-century listeners.

In this volume, twenty-three scholars pay tribute to the life and work of Joachim Braun with musicological essays covering the breadth of Professor Braun's several fields of research. Topics covered include Jewish music and music in ancient Israel/Palestine, musical cultures of the Baltic States, and the historical study of musical instruments. Its collected essays range in approach from archival to analytical and from iconographic to critical, and consider a wide range of subjects, including the music of Jewish displaced persons during and after World War II, Roman and Byzantine organology, medieval hymnody, and Soviet musical life under Stalin.

Chamber Music: A Research and Information Guide is a reference tool for anyone interested in chamber music. It is not a history or an encyclopedia but a guide to where to find answers to questions about chamber music. The third edition adds nearly 600 new entries to cover new research since publication of the previous edition in 2002. Most of the literature is books, articles in journals and magazines, dissertations and theses, and essays or chapters in Festschriften, treatises, and biographies. In addition to the core literature obscure citations are also included when they are the only studies in a particular field. In addition to being printed, this volume is also for the first time available online. The online environment allows for information to be updated as new research is introduced. This database of information is a "live" resource, fully searchable, and with active links. Users will have unlimited access, annual revisions will be made and a limited number of pages can be downloaded for printing.

Many tombs dating to the Eastern Zhou (770-221 BCE) and Han (206 BCE-220 AD) periods contain musical instruments or their visual representations in the form of wood, stone, and ceramic figures, tomb tiles, and engravings. These finds suggest that music was viewed as an important part of the afterlife. While bells have survived more frequently than wooden instruments, and therefore have received the most scholarly attention, strings, winds, and drums are the focus of discussion in this book. The book examines the use of these three instrument types in both solo and ensemble music, as well as the social, ritual, and entertainment functions of each. When combined with bells (and chime stones), strings, drums, and winds appear to have been associated with formal ritual ceremonies. However, when appearing alone or in assemblages with other wooden instruments during Zhou, they appear to be connected with warfare and entertainment. By Han times, strings, winds, and drums seem to be associated almost exclusively with entertainment, pointing to a shift in the social life of the times. Another topic explored in this book is the association of musical instruments with wealth. When combined with bells and chime stones, they are only found in the wealthiest tombs. However, when found by themselves, strings, winds, and drums appear in small to large, modest to wealthy tombs, suggesting that they were available to a broad range of peoples in early Chinese elite society. This book analyzes an often disregarded aspect of early Chinese music, the role of strings, winds, and drums. Music in Ancient China will be a valuable book for those interested in ethnomusicology and music history, Asian art history and archaeology, and Asian studies.

(Faber Piano Adventures ). This book provides a collection of exciting pieces which effectively reinforce the concepts introduced in this level. Charming lyrics and teacher duets enrich the learning experience. Contents include: Persian Market * Carnival of Venice * Allegretto * Vivace * Morning Has Broken * Hot Summer Blues * Funiculi, Funicula * Malaguena * America, the Beautiful * The Erie Canal * The Great Wall of China * The Fly's Adventure * Song of Kilimanjaro * and more.

Sonata form is fundamentally a dramatic structure that creates, manipulates, and ultimately satisfies expectation. It engages its audience by inviting prediction, association, and interpretation. That sonata form was the chief vehicle of dramatic instrumental music for nearly 200 years is due to the power, the universality, and the tonal and stylistic adaptability of its conception. This book presents nine studies whose central focus is sonata form. Their diversity attests both to the manifold analytical approaches to which the form responds, and to the vast range of musical possibility within the form's exemplars. At the same time, common compositional issues, analytical methods, and overarching perspectives on the essential nature of the form weave their way through the volume. Several of the essays approach the musical structure directly as drama, casting the work as an expression of its composer's engagement with an idea or principle that is dynamic and at times intensely difficult. Others concentrate their attention on a composer's use of "motive," which typically takes the form of a simple melodic span that shapes the musical architecture through an interdependent series of structural levels. Integrating these motivic threads within the musical fabric often warrants departures from formal norms in other areas. Analyses that seek to understand works with anomalous formal qualities-whether engendered by a motivic component or not-have a prominent place in the volume. Among these, accounts of idiosyncratic tonal discourse that threatens to undermine the unfolding of form-defining qualities or events are central.

Focusing on one of the legendary musicians in jazz, this book examines Miles Davis's often overlooked music of the mid-1960s with a close examination of the evolution of a new style: post bop. Jeremy Yudkin traces Davis's life and work during a period when the trumpeter was struggling with personal and musical challenges only to emerge once again as the artistic leader of his generation.

A major force in post-war American jazz, Miles Davis was a pioneer of cool jazz, hard bop, and modal jazz in a variety of small group formats. The formation in the mid-1960s of the Second Quintet with Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams was vital to the invention of the new post bop style. Yudkin illustrates and precisely defines this style with an analysis of the 1966 classic Miles Smiles.

English keyboard music reached an unsurpassed level of sophistication in the late sixteenth and early seventeenth centuries as organists such as William Byrd and his students took a genre associated with domestic, amateur performance and treated it as seriously as vocal music. This book draws together important research on the music, its sources and the instruments on which it was played. There are two chapters on instruments: John Koster on the use of harpsichord during the period, and Dominic Gwynn on the construction of Tudor-style organs based on the surviving evidence we have for them. This leads to a section devoted to organ performance practice in a liturgical context, in which John Harper discusses what the use of organs pitched in F may imply about their use in alternation with vocal polyphony, and Magnus Williamson explores improvisational practice in the Tudor period. The next section is on sources and repertoire, beginning with Frauke Jurgensen and Rachelle Taylor's chapter on Clarifica me Pater settings, which grows naturally out of the consideration of improvisation in the previous chapter. The next two contributions focus on two of the most important individual manuscript sources: Tihomir Popovic challenges assumptions about My Ladye Nevells Booke by reflecting on what the manuscript can tell us about aristocratic culture, and David J. Smith provides a detailed study of the famous Fitzwilliam Virginal Book. The discussion then broadens out into Pieter Dirksen's consideration of a wider selection of sources relating to John Bull, which in turn connects closely to David Leadbetter's work on Gibbons, lute sources and questions of style.