Electronic music evokes new sensations, feelings, and thoughts in both composers and listeners. Opening the door to an unlimited universe of sound, it engages spatialization as an integral aspect of composition and focuses on sound transformation as a core structural strategy. In this new domain, pitch occurs as a flowing and ephemeral substance that can be bent, modulated, or dissolved into noise. Similarly, time occurs not merely as a fixed duration subdivided by ratios, but as a plastic medium that can be generated, modulated, reversed, warped, scrambled, and granulated. Envelope and waveform undulations on all time scales interweave to generate form. The power of algorithmic methods amplify the capabilities of music technology. Taken together, these constitute game-changing possibilities. This convergence of technical and aesthetic trends prompts the need for a new text focused on the opportunities of a sound oriented, multiscale approach to composition of electronic music. Sound oriented means a practice that takes place in the presence of sound. Multiscale means an approach that takes into account the perceptual and physical reality of multiple, interacting time scales-each of which can be composed. After more than a century of research and development, now is an appropriate moment to step back and reevaluate all that has changed under the ground of artistic practice. Composing Electronic Music outlines a new theory of composition based on the toolkit of electronic music techniques. The theory consists of a framework of concepts and a vocabulary of terms describing musical materials, their transformation, and their organization. Central to this discourse is the notion of narrative structure in composition-how sounds are born, interact, transform, and die. It presents a guidebook: a tour of facts, history, commentary, opinions, and pointers to interesting ideas and new possibilities to consider and explore.

Novice music teachers and music education students struggle to form an identity that synthesizes 'musician' with 'music teacher,' and to separate themselves from their prior experiences to think critically about music-making and music instruction. Throughout this text, readers are encouraged to both reject and reflect upon their prior experience and are provided with new frameworks of understanding about both music-making and music instruction, as they form a new personal philosophy of musicianship and pedagogy. Ultimately, the purpose of this text is to provide foundational knowledge for subsequent learning as students become both musician and music pedagogue.

"The present aim is to enable the student to recognize and trace the mental process of the composer in executing his task; to define each factor of the structural design, and its relation to every other factor and to the whole; to determine thus the synthetic meaning of the work, and thereby to increase not only his own appreciation, interest, and enjoyment of the very real beauties of good music, but also his power to interpret, intelligently and adequately, the works that engage his attention."from the author's preface

A new compact format from best-selling music author Jake Jackson. A clear, simple, direct solution for anyone learning any instrument, particularly the guitar or keyboard, and for those needing a quick reminder. Great for beginners and intermediate players, and as a straightforward reference.

A new compact format from best-selling music author Jake Jackson. 20 scales per key, organised with notation and TAB, this is a simple, direct solution for anyone learning the guitar or needing a quick reminder. Great for beginners and intermediate players, and for those needing a straightforward reference.

For those who prefer a compact book here's a solution from the bestselling music learning author Jake Jackson. 20 chords per key, organised as a chord per page, this is a simple, direct solution for anyone learning the guitar or needing a quick reminder. Great for beginners, and for those playing with others needing a straightforward reference.

For those who prefer a compact book here's a solution from the bestselling music learning author Jake Jackson. 20 chords per key, organised as a chord per page, this is a simple, direct solution for anyone learning the guitar or needing a quick reminder. Great for beginners, and for those playing with others needing a straightforward reference.

For those who prefer a compact book here's a solution from the bestselling music learning author Jake Jackson. Left and right-hand chords, organised as a chord per spread, this is a simple, direct solution for anyone learning the piano or keyboard, or needing a quick reminder. Great for beginners, and for those playing with others needing a straightforward reference.

for cello Cello Time Joggers is a landmark book in the popular Cello Time series, which is enjoyed by students and teachers all over the world. It contains Kathy and David Blackwell's trademark attractive and engaging compositions that appeal to learners of all ages. Lively original pieces, traditional tunes, and easy duets take the learner from open strings to all fingers down in finger pattern 0-1-34. Appealing and exciting play-along tracks, with live band, are available on major streaming platforms or to download from a companion website. Stylish piano and cello accompaniments are also available in separate books.

(Faber Piano Adventures ). Developing the ear and training the eye of the young child is a key component of the Writing Book A. Tucker, the mascot dog who loves to LISTEN, is always on the scene as the young child imitates, matches, and creates rhythmic and melodic patterns. The multi-cultural friends present improvisation and simple, guided composition activities. Blinker, the owl who loves to LOOK, helps students recognize patterns of rhythms and notes, and introduces sightreading. The Writing Book offers a holistic, musical approach to theory through discovery, creativity, imagination, and fun

Between the physical world of vibration and the world of consciously heard music lies a third area, which is the province of the psychology of music. This introduction, first published in 1938, by the developer of the Seashore test of musical ability, is a thorough survey of this field. A standard text for psychologists specializing in the area, teachers, or interested musicologists.

This easy step-by-step method emphasizes correct playing habits and note reading through interval recognition. Lesson Book 4 concepts include: tarantellas; eighth note triplets; arpeggiated chords; first and second inversion triads in C; triads in all positions; major scales in parallel motion; two-part writing; seventh chords and inversions of seventh chords; E harmonic minor scale in contrary motion; primary chords in E minor; sixteenth notes; dotted eighth notes; primary chords in B-flat Major and G Minor; repeated-note warm-ups; and harmonic minor scales in parallel motion.
For reinforcement of each principle as it is introduced, supplementary material is carefully coordinated, page for page, at each level of instruction. Coordinating supplemental books for Level 4 include: Classic Themes * Duet * Ear Training * Merry Christmas * Musical Concepts * Recital * Repertoire * Sight Reading * Technic * Theory and Top Hits! Solo, Christmas and Duet books.