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Books > Music > Techniques of music
Achieving Musical Success in the String Classroom describes a fully
pragmatic pedagogical approach toward developing complete
musicianship in beginning through advanced level string players by
incorporating the ideas of Mimi Zweig, Paul Rolland, and Shinichi
Suzuki. Author Karel Butz's philosophical assumptions are explained
regarding the structure and purpose of string teaching contributing
to a high level of musical artistry among students. Introductory
through advanced string concepts relating to instrument set-up,
posture, left and right hand development, music theory, aural
skills, assessment procedures, imagery in playing, the development
individual practice and ensemble skills, and effective rehearsal
strategies are explained in a sequential approach that benefit the
classroom teacher and student. In addition, several score examples,
sample lesson plans, grading rubrics as well as videos of Butz
demonstrating his pedagogical ideas and techniques with musicians
are included.
In The Beat Stops Here: Lessons on and off the Podium for Today's
Conductor, master conductor Mark Gibson addresses the technique of
conducting as an extension of intimate knowledge of the score to
the hands and arms. He employs a variety of everyday activities and
motions (brushing the dog, Tinkerbelle, the "door knob") to
describe the physical aspects of the role. He advocates a
comprehensive, detailed approach to score study, addressing major
works bar-by-bar in terms of both musical analysis and conducting
method. Finally, Gibson explores the various roles a conductor
plays, as a teacher, a scholar and a member of the musical
community. His writing is highly focused, with an occasionally
tongue-in-cheek, discussing everything from motivic development in
Brahms to how to hold a knife and fork in public. In short, The
Beat Stops Here is a compendium of style and substance in the real
world of today's conductor.
Now in its fourth edition, The Art of Music Production has
established itself as the definitive guide to the art and business
of music production and a primary teaching tool for college
programs. It is the first book to comprehensively analyze and
describe the non-technical role of the music producer. Author
Richard James Burgess lays out the complex field of music
production by defining the several distinct roles that fall under
the rubric of music producer. In this completely updated and
revised fourth edition of a book already lauded as "the most
comprehensive guide to record production ever published," Burgess
has expanded and refined the types of producers, bringing them
fully up to date. The first part of the book outlines the
underlying theory of the art of music production. The second part
focuses on the practical aspects of the job including training,
getting into the business, day-to-day responsibilities, potential
earnings, managers, lawyers, and - most importantly - the musical,
financial, and interpersonal relationships producers have with
artists and their labels. The book is packed with insights from the
most successful music producers ranging from today's chart-toppers
to the beginnings of recorded sound, including mainstream and many
niche genres. The book also features many revealing anecdotes about
the business, including the stars and the challenges (from daily to
career-related) a producer faces. Burgess addresses the changes in
the nature of music production that have been brought about by
technology and, in particular, the paradigmatic millennial shift
that has occurred with digital recording and distribution.
Burgess's lifelong experience in the recording industry as a studio
musician, artist, producer, manager, and marketer combined with his
extensive academic research in the field brings a unique breadth
and depth of understanding to the topic.
Discoveries from the Fortepiano meets the demand for a manual on
authentic Classical piano performance practice that is at once
accessible to the performer and accurate to the scholarship.
Uncovering a wide range of eighteenth-century primary sources,
noted keyboard pedagogue Donna Gunn examines contemporary
philosophical beliefs and principles surrounding Classical Era
performance practices. Gunn introduces the reader to the Viennese
fortepiano and compares its sonic and technical capabilities to the
modern piano. In doing so, she demonstrates how understanding
Classical fortepiano performance aesthetics can influence
contemporary pianists, paying particular focus to technique,
dynamics, articulation, rhythm, ornamentation, and pedaling. The
book is complete with over 100 music examples that illustrate
concepts, as well as sample model lessons that demonstrate the
application of Gunn's historically informed style on the modern
piano. Each example is available on the book's companion website
and is given three recordings: the first, a modern interpretation
of the passage on a modern piano; the second, a fortepiano
interpretation; and the third, a historically informed performance
on a modern piano. With its in-depth yet succinct explanations and
examples of the Viennese five-octave fortepiano and the nuances of
Classical interpretation and ornamentation, Discoveries from the
Fortepiano is an indispensable educational aid to any pianist who
seeks an academically and artistically sound approach to the
performance of Classical works.
The Oxford Handbook of Children's Musical Cultures is a compendium
of perspectives on children and their musical engagements as
singers, dancers, players, and avid listeners. Over the course of
35 chapters, contributors from around the world provide an
interdisciplinary enquiry into the musical lives of children in a
variety of cultures, and their role as both preservers and
innovators of music. Drawing on a wide array of fields from
ethnomusicology and folklore to education and developmental
psychology, the chapters presented in this handbook provide windows
into the musical enculturation, education, and training of
children, and the ways in which they learn, express, invent, and
preserve music. Offering an understanding of the nature,
structures, and styles of music preferred and used by children from
toddlerhood through childhood and into adolescence, The Oxford
Handbook of Children's Musical Cultures is an important step
forward in the study of children and music.
Young pianists pursuing a professional career face a barrage of
questions, choices, and challenges. In this book, experienced
teacher and performer Stewart Gordon offers a new and practical way
to approach them by helping readers to plan strategically and build
a secure and successful career from the ground up. For decades,
Gordon has guided young pianists through the details of how to
prepare musically, navigate their college years, and forge a career
that will provide a livelihood. In this guide to beginning that
musical career, Gordon has assembled the wisdom of decades of
teaching: a fundamental body of information emerging pianists will
rely on as they work toward their goals. His advice, focused on
both mental and practical work, will enhance both motivation and
security. Carefully balancing aspiration with reality and
inspiration with organization, Gordon creates a blueprint for
transforming dreams into achievement, and illustrates his points
with examples drawn from the lives of famous musicians. The book
also addresses many practical matters, such as developing keyboard
technique, acquiring reading and memorizing skills, building
repertoire, and balancing the demands of being a musician with
living a full life. This volume is a valuable resource for both
young pianists and their parents.
Claudio Arrau (1903-1991) was a Chilean pianist who devoted his
life to an international performing and teaching career. As a child
prodigy, he gained national recognition from government officials
in Chile, including President Pedro Montt, who later funded Arrau's
education in Germany. He completed his studies in Berlin with
Martin Krause, a pupil of Franz Liszt, and later immigrated to New
York City, where he began his teaching career and mentored a
sizeable group of pupils. His unique and magnetic style impassioned
his pupils and motivated them to teach his principles to the next
generation of students, including author Victoria von Arx. Piano
Lessons with Claudio Arrau highlights interviews with Arrau's
surviving pupils (from his class in New York City, which he taught
from 1945 to the early 1970s) that give readers an in-depth
description of Arrau's principles of technique and performance.
Quotations and lesson transcripts make Arrau's voice - and those of
his former pupils - audible, and detailed references to over one
hundred examples from filmed recordings make his famed technique
visible. The bulk of the book features edited and
previously-unpublished transcriptions of lessons Arrau gave his
pupils, lavishly illustrated with musical examples. The author,
herself a teacher and performer, draws information from numerous
interviews with Arrau's pupils, from her experience studying with
two of them, from videos of Arrau's performances, and from the
recorded lessons. By culling these disparate sources of information
and presenting them systematically in a single book, von Arx
provides an insider's view of the art of piano playing as
exemplified by one of the great artists of the twentieth century
and offers the reader a virtual piano lesson with Claudio Arrau.
While qualitative research has become increasingly popular in music
education over the last decade, there is no source that explains
the terms, approaches and issues associated with this method. In
The Oxford Handbook of Qualitative Research in American Music
Education, editor Colleen Conway and the contributing music
educators will provide that clarification, as well as models of
qualitative studies within various music education disciplines. The
handbook outlines the history of qualitative research in music
education and explores the contemporary use of qualitative
approaches in examining issues related to music teaching and
learning. It includes 32 chapters and is divided into five parts.
Part I defines qualitative research and examines historical,
philosophical and ethical issues associated with its use in music
education. Part II discusses ways of approaching qualitative
research including: case study, ethnography, phenomenology,
narrative inquiry, practitioner inquiry, and mixed methods. Ways of
collecting and analyzing data are examined in the third part of the
text (observations, interviews, document analysis, music as data
and technology). Part IV examines various music teaching and
learning contexts that have been studied using qualitative
approaches including: early childhood, general, instrumental-band,
instrumental-string, choral, preservice and inservice teacher
education, adult and community settings, student with
exceptionalities, underserved populations, and world music. The
final section of the book tackles permission to conduct research,
teacher qualitative research, publishing qualitative research and
direction for the future. An ambitious and much-needed volume, this
handbook will stand as a key resource for drawing meaning from the
experiences of students and teachers in music classrooms and
communities.
With Computational Thinking in Sound, veteran educators Gena R.
Greher and Jesse M. Heines provide the first book ever written for
music fundamentals educators which is devoted specifically to
music, sound, and technology. The authors demonstrate how the range
of mental tools in computer science - for example, analytical
thought, system design, and problem design and solution - can be
fruitfully applied to music education, including examples of
successful student work. While technology instruction in music
education has traditionally focused on teaching how computers and
software work to produce music, Greher and Heines offer context: a
clear understanding of how music technology can be structured
around a set of learning challenges and tasks of the type common in
computer science classrooms. Using a learner-centered approach that
emphasizes project-based experiences, the book provides music
educators with multiple strategies to explore, create, and solve
problems with music and technology in equal parts. It also provides
examples of hands-on activities which encourage students, alone and
in interdisciplinary groups, to explore the basic principles that
underlie today's music technology and which expose them to current
multimedia development tools.
Across the US, school budgets are tightening and music programs,
often the first asked to compromise in the name of a balanced
budget, face a seemingly grim future. Monetary restrictions
combined with an increasing focus on test scores have led to heavy
cuts in school music programs. In many cases, communities and
teachers untrained in advocacy are helpless in the face of the
school board, with no one willing and comfortable to speak up on
their behalf. In Advocate for Music!: A Guide to User-Friendly
Strategies, Lynn M. Brinckmeyer, respected educator and past
president for the National Association for Music Education,
provides a manual for music teachers motivated to advocate but
lacking the experience, resources, or time to acquire the skills to
do so effectively. It will serve as a toolkit for advocating, and
also for sharing resources, strategies and ideas useful for
educating everyone - from community members to political
representatives - about the immediate and long-term benefits of
music education. In Advocate for Music!, Brinckmeyer draws on a
lifetime of arts advocacy to provide answers to the questions so
many teachers have but are afraid - or simply too busy - to ask. A
simple, hands-on guidebook for becoming an effective advocate for
the arts, Advocate for Music! is structured around six key
questions: what is advocacy? Why focus on it? Who should do it? How
does one do it? Where should we advocate? And when should we
advocate? Readers will have access to step-by-step guidelines and
strategies on how to engage others, and themselves, in a variety of
levels of advocacy activities. In addition to granting access to
compelling research projects, the book will provide models of
letters, webinars, research findings, printed documents, websites
and contact information useful for communicating with local, state
and national decision makers. Working in an informal, hands-on
manner, Brinckmeyer lays out advice on who to work with and what to
do: providing concrete examples of advocacy tactics from ideas on
how to cooperate with the gym teacher to a sample speech for the
holiday concert. As she walks the reader through the a myriad of
real-life examples and practical answers to her central questions,
Brinckmeyer shows that every educator, parent, family member, and
administrator can and should be engaged in advocating to maintain,
and support, the right for today's children and adolescents to have
access to high quality music education. Advocate for Music! is an
important book not only for all pre-service and inservice music
teachers, but aso for state MEA leaders and staff, administrators,
parents, community members, and all those involved with arts or
education associations.
This book of parent-to-parent advice aims to encourage, support,
and bolster the morale of one of music's most important back-up
sections: music parents. Within these pages, more than 150 veteran
music parents contribute their experiences, reflections, warnings,
and helpful suggestions for how to walk the music-parenting
tightrope: how to be supportive but not overbearing, and how to
encourage excellence without becoming bogged down in frustration.
Among those offering advice are the parents of several top
musicians, including the mother of violinist Joshua Bell, the
father of trumpeter Wynton Marsalis, the parents of cellist Alisa
Weilerstein, and those of violinist Anne Akiko Meyers. The book
also features advice from music educators and more than forty
professional musicians, including Paula Robison, Sarah Chang,
Anthony McGill, Jennifer Koh, Jonathan Biss, Toyin Spellman-Diaz,
Marin Alsop, Christian McBride, Miguel Zenon, Stephanie Blythe,
Lawrence Brownlee, and Kelli O'Hara. The topics they discuss span a
wide range of issues faced by the parents of both instrumentalists
and singers, from how to get started to encouraging effective
practice habits, to how to weather the rough spots, cope with the
cost of music training, deal with college and career concerns, and
help young musicians discover the role that music can play in their
lives. The parents who speak here reach a unanimous and
overwhelming conclusion that music parenting is well worth the
effort, and the experiences that come with it - everything from
flying to New York on the weekends to searching a flute convention
for the perfect instrument - enrich family life with a unique joy
in music.
(Essential Elements for Strings). (Essential Elements for Strings
and Essential Elements Interactive are fully compatible with
Essential Elements 2000 for Strings) Essential Elements for Strings
offers beginning students sound pedagogy and engaging music, all
carefully paced to successfully start young players on their
musical journey. EE features both familiar songs and specially
designed exercises, created and arranged for the classroom in a
unison-learning environment, as well as instrument-specific
exercises to focus each student on the unique characteristics of
their own instrument. EE provides both teachers and students with a
wealth of materials to develop total musicianship, even at the
beginning stages. Books 1 and 2 also include access to Essential
Elements Interactive (EEi), the ultimate online music education
resource - anywhere, anytime, and on any device. Go to
www.essentialelementsinteractive.com to learn more Method features:
* Enhanced Starting System * Optimum Reinforced Learning * Pacing *
Theory, History, Cross-Curriculum & Creativity * Performance
Spotlights Book also includes My EE Library * (www.myeelibrary.com)
- Instant Stream/Download/CD-ROM* * Start-up video Learn the basics
* Play-along mp3 tracks for all exercises Features a professional
orchestra * Duets and trios Print and play parts with friends *
Music listening library Hear great pieces for orchestra * Internet
access required for My EE Library (book includes instructions to
order free opt. CD-ROM)
In The Musician's Way, veteran performer and educator Gerald
Klickstein combines the latest research with his 30 years of
professional experience to provide aspiring musicians with a
roadmap to artistic excellence. Part I, Artful Practice, describes
strategies to interpret and memorize compositions, fuel motivation,
collaborate, and more. Part II, Fearless Performance, lifts the lid
on the hidden causes of nervousness and shows how musicians can
become confident performers. Part III, Lifelong Creativity, surveys
tactics to prevent music-related injuries and equips musicians to
tap their own innate creativity. Written in a conversational style,
The Musician's Way presents an inclusive system for all
instrumentalists and vocalists to advance their musical abilities
and succeed as performing artists.
Designed for use with the Guitar Cards Chord Starter Pack, this
pack of 55 cards gives you over 50 moveable chord shapes. Small
enough to fit into your back pocket or guitar case, they are an
easy way to learn new chords - suitable for beginners, songwriters
and teachers.
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).
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