Finding the right rhyme can be excruciating, songwriters too often choosing ridiculous words in desperation. This is an invaluable resource for any budding songwriter or even an experienced lyricist with writer's block. Featuring tips on songwriting, the book focuses on the types of rhyme and assonance (end rhymes, last syllable rhymes, double rhymes, beginning rhymes, first syllable rhymes) for a range of popular styles. Arranged phonetically and drawn from a variety of musical 'dialects', from rock and pop to folk and hip-hop, this is the quick and simple guide you need.

In the age of digital music it seems striking that so many of us still want to produce music concretely with our bodies, through the movement of our limbs, lungs and fingers, in contact with those materials and objects which are capable of producing sounds. The huge sales figures of musical instruments in the global market, and the amount of time and effort people of all ages invest in mastering the tools of music, make it clear that playing musical instruments is an important phenomenon in human life. By combining the findings made in music psychology and performative ethnomusicology, Marko Aho shows how playing a musical instrument, and the pleasure musicians get from it, emerges from an intimate dialogue between the personally felt body and the sounding instrument. An introduction to the general aspects of the tactile resources of musical instruments, musical style and the musician is followed by an analysis of the learning process of the regional kantele style of the Perho river valley in Finnish Central Ostrobothnia.

Dynamic Group-Piano Teaching provides future teachers of group piano with an extensive framework of concepts upon which effective and dynamic teaching strategies can be explored and developed. Within fifteen chapters, it encompasses learning theory, group process, and group dynamics within the context of group-piano instruction. This book encourages teachers to transfer learning and group dynamics theory into classroom practice. As a piano pedagogy textbook, supplement for pedagogy classes, or resource for graduate teaching assistants and professional piano teachers, the book examines learning theory, student needs, assessment, and specific issues for the group-piano instructor.

One of the most widely used series of methods for individual or like-instrument class instruction. Using a very well-rounded approach including scales, arpeggios, technical studies, studies for musicianship, articulation studies, solos, duets, and studies devoted to the special needs of each instrument, this series provides a fantastic wealth of material for all student musicians.

"How to Play Guitar" contains everything the new or intermediate guitar player needs to know to really get to grips with making music on this most popular of instruments. Highly practical, it leads you from the basics of how to strum, pick and play simple chords, through the various elements of playing rhythm and melodies, to more complicated chords and tunings. It includes further techniques from slurs to harmonics, and a section on performing. The clear text is accompanied by illustrative photos and diagrams, and the guide is complemented by a useful chord finder, examples of scales and modes, a glossary and further reading.

(Essential Elements). (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 Book 2 features: * New keys and rhythms * Sequential or flexible format * Rhythm Raps, sight-reading and improvisation * Theory, history and multicultural music * Mixed meter studies * Comprehensive scale and arpeggio pages * Double stops and shifting * Performance Spotlights Book also includes My EE Library* (www.myeelibrary.com) - Instant Stream/Download/CD* ...with Play-along mp3 tracks for ALL exercises, featuring a professional orchestra * Internet access required for My EE Library (book includes instructions to order free opt. CD)

Developing Expression in Brass Performance and Teaching helps university music teachers, high school band directors, private teachers, and students develop a vibrant and flexible approach to brass teaching and performance that keeps musical expression central to the learning process. Strategies for teaching both group and applied lessons will help instructors develop more expressive use of articulation, flexibility in sound production, and how to play with better intonation. The author shares strategies from today's best brass instrument performers and teachers for developing creativity and making musical expression central to practicing and performing. These concepts presented are taken from over thirty years of experience with musicians like Wynton Marsalis, Barbara Butler, Charles Geyer, Donald Hunsberger, Leonard Candelaria, John Haynie, Bryan Goff, members of the Chicago Symphony and New York Philharmonic and from leading music schools such as the Eastman School of Music, The University of North Texas and The Florida State University. The combination of philosophy, pedagogy, and common sense methods for learning will ignite both musicians and budding musicians to inspired teaching and playing.

Developing Expression in Brass Performance and Teaching helps university music teachers, high school band directors, private teachers, and students develop a vibrant and flexible approach to brass teaching and performance that keeps musical expression central to the learning process. Strategies for teaching both group and applied lessons will help instructors develop more expressive use of articulation, flexibility in sound production, and how to play with better intonation. The author shares strategies from today's best brass instrument performers and teachers for developing creativity and making musical expression central to practicing and performing. These concepts presented are taken from over thirty years of experience with musicians like Wynton Marsalis, Barbara Butler, Charles Geyer, Donald Hunsberger, Leonard Candelaria, John Haynie, Bryan Goff, members of the Chicago Symphony and New York Philharmonic and from leading music schools such as the Eastman School of Music, The University of North Texas and The Florida State University. The combination of philosophy, pedagogy, and common sense methods for learning will ignite both musicians and budding musicians to inspired teaching and playing.

It is undeniable that technology has made a tangible impact on the nature of musical listening. The new media have changed our relationship with music in a myriad of ways, not least because the experience of listening can now be prolonged at will and repeated at any time and in any space. Moreover, among the more striking social phenomena ushered in by the technological revolution, one cannot fail to mention music's current status as a commodity and popular music's unprecedented global reach. In response to these new social and perceptual conditions, the act of listening has diversified into a wide range of patterns of behaviour which seem to resist any attempt at unification. Concentrated listening, the form of musical reception fostered by Western art music, now appears to be but one of the many ways in which audiences respond to organized sound. Cinema, for example, has developed specific ways of combining images and sounds; and, more recently, digital technology has redefined the standard forms of mass communication. Information is aestheticized, and music in turn is incorporated into pre-existing symbolic fields. This volume - the first in the series Musical Cultures of the Twentieth Century - offers a wide-ranging exploration of the relations between sound, technology and listening practices, considered from the complementary perspectives of art music and popular music, music theatre and multimedia, composition and performance, ethnographic and anthropological research.

Expanding the Space for Improvisation Pedagogy in Music is a critical, research-based anthology exploring improvisation in music pedagogy. The book broadens the understanding of the potentials and possibilities for improvisation in a variety of music education contexts and stimulates the development of knowledge and reflection on improvisation. The book critically examines the challenges, cultural values, aims and methods involved in improvisation pedagogy. Written by international contributors representing a variety of musical genres and research methodologies, it takes a transdisciplinary approach and outlines a way ahead for improvisation pedagogy and research, by providing a space for the exchange of knowledge and critique. This book will be of great interest to scholars, researchers, and postgraduate students in the fields of arts education, music education, improvisation, music psychology, musicology, ethnomusicology, artistic research and community music. It will also appeal to music educators on all levels in the field of music education and music psychology.

In the course of a decades-spanning career as a filmmaker, Terrence Malick has carved out a distinctive cinematic aesthetic. Central to this style is the use of sound. James Wierzbicki offers the first comprehensive study of Malick's soundtracks, arguing that they create a distinctive sonic style throughout his oeuvre and exploring how that style functions. Considering voice, noise, and music as elements in the soundtrack, this concise book enriches our understanding of one of our most philosophical filmmakers, and of the interplay between the sonic and visual elements in film.

A carefully graded series of exercises, solos, duets, and chord studies which are an ideal supplement to the Mel Bay Modern Guitar Method Grade 1 and to the note-reading section of Mel Bay's Guitar Class Method. Studies are included for each string, and the keys of C, A minor, G, and E minor are presented. Guitar Studies Grade 1, in addition, will be a valuable aid to any beginning guitar student and the content will augment and enhance learning regardless of the basic instructional text being used. In notation only.

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.