This volume contains valuable practice material for candidates preparing for the ABRSM Grade 1 Piano exams. The book is written in attractive and approachable styles and representative of the technical level expected in the exam.

This book examines the conductor's methods in terms of the realization of expressive potential in a selected body of works. This examination encompasses analytical, technical, and expressive gestural aspects of the art and craft of conducting. The author also discusses the idea of meaning in music and ways, both musical and extramusical, in which meaning arises in performance. In this unique study, the author also considers how the use of physical gestures may have an impact upon the realization of expressive potential in a given work and, in particular, upon those works selected for discussion. Central to this process is the notion that there is something "behind the notes." Text-based modes of analysis do not afford access to music as it is created by the actions of performers and conductors. The author argues that this music often has strong extroversive associations. Inquiry limited to the text neither helps the interpreter to realise fully the expressive or communicative potential of that work, nor does it fully consider the impact of expressive issues on performance. Thus, the conductor acts as a mediator in this process, taking the work and all relevant information surrounding it into account as it is prepared for performance. It is within this context that the author examines John Corigliano's Overture from Gazebo Dances, Karel Husa's Introduction and Fanfare from Music for Prague 1968, Edward Gregson's Celebration, and Morning Music by Richard Rodney Bennett, with regard to their expressive potential and adopts topical analysis in a general way as a point of departure in an attempt to relate this potential to physical gestures, facial expressions, and body language in the artand craft of conducting. In addition, the author considers the applicability of the analytical tools developed in the study to the actual practice of performance with regard to the works discussed, and attempts to show the relationship between the analysis of a given work, the physical manifestation of what that analysis uncovers, and the realisation of expressive potential in performance. This book will help readers better understand the relationship between the conductor's physical gestures, body language and facial expressions, and the expressive potential of selected works for the wind orchestra. As a book that clearly reflects the author's passion, it will be a welcome addition for collections in music.

In this well-written work, the author argues that the present situation regarding the music of the classical tradition is fundamentally untenable. While change is, of course, inevitable, the author posits that teachers of the classical music tradition, nonetheless, have a moral responsibility to do as much as possible to advocate and work toward goals that will hasten and most positively influence the direction of change. The author believes that the present relationship between the music of the Western classical tradition and the culture of the present is an unhealthy one. The music of dead composers comprises the overwhelming preponderance of music heard today, especially in the larger venues such as symphony halls and opera houses. Specifically, the author argues that we must promote and provide for (at least) an equal place in our teaching, recordings, and performances for the music of composers who are living at the time we undertake these activities. He further advocates that this is not simply a matter of currency, it is a matter of cultural vibrancyeven survivaland it is an ethical and aesthetic concern toward which we must direct our most serious attention and effort. As both a singer and a teacher, the author delivers a resounding perspective in this book. He also brings the important insights of others from other fields such as literature, philosophy, and theater. The authors discussions revolve around the situation of classical music, a situation that in many ways exemplifies the gradual transformation of the rationalization of the world, into the radical commodification of the world. This outcome will be shown to be intimately linked to ethical and aesthetic issues, whichwill be developed by means of an extended consideration of the conflict between the rational and the a-rational as it plays itself out in contrasts between music, art, and literature, and science and philosophy. The book delves into the problem of teaching music, particularly the problems commonly dealt with in the teaching studio. Teachers of the Western music tradition have developed tried and true techniques for dealing with these problems as they occur in teaching, generally by helping students toward an understanding of historical, musical, technical and stylistic problems, among a host of others. These common problems of teaching are, however, symptomatic of very deep, complicated, and endemic philosophical issues that have, so far, been insufficiently discussed in a form that might be useful to teachers, performers, and lovers of the music of the Western classical music tradition. The most unique contribution of these discussions is the investigation into what is not discussed to any depth in pedagogy bookswhat lies behind or beneath these commonly experienced problems. This is a critical book for collections in music.

A biography of the conductor Mitropoulos. He was an advocate of difficult modern music and an early champion of Mahler; his performances brought the Minneapolis Symphony Orchestra into the first rank of American orchestras.

(Willis). The Modern Course series provides a clear and complete foundation in the study of the piano that enables the student to think and feel musically. It may be preceded by the Teaching Little Fingers to Play series.

(Book). This book is perfect for the aspiring rock singer that needs improvement, but cannot or will not take lessons. It is a thorough, yet easy-to-understand presentation of the basic elements of singing, including vocal production, training, breathing, posture and diet. Written in a down-to-earth style, the author addresses such relevant topics as overcoming nervousness, dealing with emotions, and the true consequences of coffee, alcohol & smoking. Includes useful illustrations and diagrams.

Ranging from Antiquity to contemporary analytic philosophy, it provides a concise but thorough analysis of the arguments developed by some of the most outstanding philosophers of all times. Besides the aesthetics of music proper, the volume touches upon metaphysics, ethics, philosophy of language, psychology, anthropology, and scientific developments that have influenced the philosophical explanations of music. Starting from the very origins of philosophy in Western thought (Pythagoras, Plato, Aristotle) the book talks about what music is according to Augustine, Descartes, Leibniz, Rousseau, Kant, Hegel, the Romantics, Schopenhauer, Nietzsche, Wittgenstein, Susanne Langer, Bloch, Adorno, and many others. Recent developments within the analytic tradition are illustrated with particular attention to the ontology of the musical artwork and to the problem of music and emotions. A fascinating idea which recurs throughout the book is that philosophers allow for a sort of a secret kinship between music and philosophy, as means to reveal complementary aspects of truth.

A one-stop resource to the essentials of owning and playing the guitar If you've just bought a guitar, or you've had one for a while, you probably know it takes some time and effort to learn how to play the popular instrument. There's so much to know about owning, maintaining, and playing a guitar. Where do you even begin? In Guitar All-in-One For Dummies, a team of expert guitarists and music teachers shows you the essentials you need to know about owning and playing a guitar. From picking your first notes to exploring music theory and composition, maintaining your gear, and diving into the specifics of genres like blues and rock, this book is a comprehensive and practical goldmine of indispensable info. Created for the budding guitarist who wants all their lessons and advice in one place, the book will show you how to: Maintain, tune, and string your guitar, as well as decipher music notation and guitar tablature Understand guitar theory, sounds and techniques to help you learn new songs and add your style to classic tunes Practice several popular genres of guitar music, including blues, rock, and classical Access accompanying online video and audio instructional resources that demonstrate the lessons you find in the book Perfect for guitar players at any skill level, Guitar All-in-One For Dummies is a must-have resource for anyone who wants to get the most out of their own guitar and make great music.

Specimen Aural Tests provide teachers and students with many practice examples of the tests to use as part of a music lesson or when preparing for an exam. This volume covers Grades 4 & 5 and includes all new practice examples for each test in a range of musical styles including answers where appropriate, and the examiner rubrics (the exact words that will be used by the examiner to deliver the tests), so that candidates can be fully prepared for what will happen on the day. The Specimen Aural Tests volumes are each available in versions with or without practice CDs.

For Guitar Players Only is one of the most unique books ever written for guitar. Legendary studio guitarist Tommy Tedesco shares his personal hints and exercises for improving picking technique and sight reading abilities, while offering countless other inside tips that will further your guitar career. The book includes actual parts that have been recorded for movies, television, albums, and commercials.

Tedesco, and the story of his legendary studio sessions, has been featured in screenings around the country in the critically acclaimed film, The Wrecking Crew. See the film, buy the book, and learn the lessons from a true legend!

This volume contains valuable practice material for candidates preparing for the ABRSM Grade 4 Piano exams. The book is written in attractive and approachable styles and representative of the technical level expected in the exam.