(String Method). For unaccompanied violin.

In Essays in Honor of Christopher Hogwood: The Maestro's Direction, Thomas Donahue has collected several essays from authors who have been motivated and inspired by the distinguished keyboard player, music editor, writer, and conductor, Christopher Hogwood, in honor of his 70th birthday in 2011. As is clearly shown in the assembled articles, Hogwood has had considerable influence in the latter half of the 20th century in advocating the historically informed performance of early music. Contributions from such scholars as Yo Tomita, Richard Troeger, Sabine K. Klaus, Bridget Cunningham, and Annette Richards pay tribute to this major musician of the 20th century, one of the strongest advocates for the performance of early music. The volume begins with a foreword by Bernard Brauchli, followed by a chronology of Hogwood's education and career, including his publications and awards. The succeeding essays cover a variety of subjects associated with Hogwood's approach to early music, including the interpretation of composers' notations, discussions of musical instrument construction and use, elucidation of performance traditions and conventions of the past, and analysis of the music itself. The essays provide insights on the music of Handel, Haydn, Mozart, Beethoven, and J.S. and C.P.E. Bach and consider various keyboard instruments such as the clavichord, square piano, spinet, and claviorgan. An afterword by Hogwood himself completes this well rounded collection.

Musical Book by Larry L. King and Peter Masterson. Music and Lyrics by Carol Hall. Characters: 13 male, 14 female, extras. Unit set This happy go lucky view of small town vice and statewide political side stepping recounts the good times and the demise of the Chicken Ranch, known since the 1850s as one of the better pleasure palaces in all of Texas. Governors, senators, mayors and even victorious college football teams frequent Miss Mona's cozy bordello until that puritan neme

While there are many similarities between solo and choral singing, they are not the same discipline, and it is important to realize the different approaches necessary for each. In The Solo Singer in the Choral Setting: A Handbook for Achieving Vocal Health, Olson presents the unique perspective of choral singing from a soloist's viewpoint, providing a clear outline of several issues facing the solo singer in the choral setting. She discusses concepts as diverse as body position in rehearsal and acoustic sound production, and she offers practical ideas for solving these challenges. Teaching examples and case studies help illustrate the problems and offer potential solutions for handling the challenges of the choral environment. After a general overview of vocal technique, the chapters address the physiological, psychological, pedagogical, acoustic, and interpretive issues facing the solo singer in the choral setting. Concepts, such as phonation; resonation and timbre; approaches to diction; voice classification; choral blend; interpreting emotion; relationships among choral conductor, singer, and teacher of singing; and the use of vibrato are examined in detail. Concluding with a conversation with two choral conductors, as well as a glossary, bibliography, and index, this volume is beneficial to singers, teachers, and conductors alike.

The Suzuki MethodA(R) of Talent Education is based on Dr. Shinichi Suzuki's view that every child is born with ability, and that man is the son of his environment. According to Dr. Suzuki, a world-renowned violinist and teacher, the greatest joy an adult can know comes from developing a child's potential so he/she can express all that is harmonious and best in human beings. Students are taught using the "mother-tongue" approach. Suzuki Cello School materials include: Cello Parts (Vol. 1-10) * Piano Accompaniments (Vol. 1-8) * Cassettes (Vol. 1-3, 7, & 8 performed by Tsuyoshi Tsutsumi, Vol. 4-6 performed by Ron Leonard) * Compact Discs (Vol. 1-3, 7, & 8 performed by Tsuyoshi Tsutsumi, Vol. 4-6 performed by Ron Leonard). Suzuki MethodA(R) Core Materials available for piano, violin, viola, cello, string bass, flute, harp, guitar, and recorder.

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.

Access audio files at: https://soundcloud.com/singing_in_brazilian_portuguese_recorded_examples_marcia_porter While popular forms of Brazilian music include bossa nova and samba, Brazil also has a rich classical music tradition dating back to the 1500s that exhibits a unique and diverse amalgamation of many styles and influences including African, Italian, French, and indigenous. Singing in Brazilian Portuguese: A Guide to Lyric Diction and Vocal Repertoire makes Brazilian modinhas and cancoes accessible to singers through an overview of the history of the language and music, brief biographies of major composers, and a sampling of selected texts transliterated into the International Phonetic Alphabet (IPA). Part I introduces the alphabet and pronunciation of sounds through IPA and is enhanced by online audio recordings of native Brazilian classical singers. Marcia D. Porter covers such topics as oral and nasal vowels, diagraphs, onset and final consonants, word stress, and syllabification. It also includes an overview of the newly implemented Acordo Ortografico. Part II provides IPA transliterations and both word-for-word and poetic translations of representative songs, including Villa-Lobos's Bachianas brasileiras, no. 5. The book also offers a brief overview of the history of Brazilian vocal music and biographical sketches of select major composers from various periods. Singing in Brazilian Portuguese is the first resource of its kind geared toward singers, voice teachers, vocal coaches, collaborative pianists, and others who are interested in exploring, teaching, and performing this beautiful and exciting repertoire.

A collection of straightforward wedding arrangements for solo viola.

In A Style and Usage Guide to Writing About Music, Thomas Donahue presents a collection of guidelines to help express through the written word the special notations, terms, and concepts found in the discipline of music. It concentrates on questions of style and format in the interest of good formal writing within the context of United-States English, so that writers may communicate their ideas clearly and effectively. While compiling the guidelines, Donahue reviewed content from many other music and general guides. He documented the most common formats in order to assist the writer in selecting an appropriate format for the given circumstance when more than one may apply. The book draws on profuse musically-oriented examples and is arranged by topics both musical and typographic, such as the proper use and spelling of composer names and musical concepts; the use of notes, pitches, and octave delineations; letters and numbers employed to describe form and harmony; when, where, and how to apply compound words and hyphenation of terms and names; and the proper citation of musical and audiovisual sources. The book concludes with a glossary of typographic terms, a bibliography, and a comprehensive index, making this a valuable resource for students, scholars, teachers, and writers.

So many who love to sing are drawn to the immediacy and essential simplicity of the music we commonly call folk. Folk music, in fact, can serve as the perfect entry point for those just starting on their singing careers because of the ways in which it sidesteps the strictures of classical forms without giving up the fundamentals of professional singing techniques. In So You Want to Sing Folk Music, singer and writer Valerie Mindel demystifies this sprawling genre, looking at a variety of mainly traditional American musical styles as well as those of the folk revival that continues in various forms to this day. The aim is to help the fledgling singer better understand the scope of folk music and find his or her voice in the genre, looking at the "how" of creating a vocal sound that reflects a folk-based style. The book looks at specific repertories and ways of approaching them in terms of both working up material and performing it. It also looks at some of the realities of folk music in the twenty-first century that affect both amateurs and professionals. Additional chapters by Scott McCoy, Wendy LeBorgne, and Matthew Edwards address universal questions of voice science and pedagogy, vocal health, and audio enhancement technology. The So You Want to Sing series is produced in partnership with the National Association of Teachers of Singing. Like all books in the series, So You Want to Sing Folk Music features online supplemental material on the NATS website. Please visit www.nats.org to access style-specific exercises, audio and video files, and additional resources.

DJ like a pro without skipping a beat The bestselling guide to spinning and scratching is back! If you've ever spent hours in your bedroom with two turntables and an earful of tracks that sound off-beat or out of key, DJing For Dummies is the go-to guide for taking your skills to the next level. Inside, John Steventon, a successful club DJ, walks you through the basics of mixing, the techniques and tricks you need to create your own DJ style and how to make DJing work for you. Covering both digital and old-school vinyl-based instruction, this guide covers all the latest DJ technology, equipment and software so you can get mixing and stay one step ahead of the crowd. Brimming with expert advice and easy-to-follow explanations, the information in DJing For Dummies gives you everything you need to build a foolproof set and play to a live crowd. * Nail down the basics and build on existing skills * Sort through the latest equipment and technology * Have a go at crossfading, beatmatching and scratching * Mix tracks seamlessly to sound like a pro If you're new to the game or looking to step up your skills and graduate to club work, DJing For Dummies has you covered.

An authoritative, easy-to-understand text covering all aspects of arranging. This beautifully bound edition contains a compact disc with examples performed by jazz greats such as George Benson, Freddie Hubbard, Hubert Laws and Don Sebesky's complete orchestra. The comb binding creates a lay-flat book that is perfect for study and performance.

The increasing interest in artistic research, especially in music, is throwing open doors to exciting ideas about how we generate new musical knowledge and understanding. This book examines the wide array of factors at play in innovative practice and how by treating it as research we can make new ideas more widely accessible. Three key ideas propel the book. First, it argues that artistic research comes from inside the practice and exists in a space that accommodates both objective and subjective observation and analyses because the researcher is the practitioner. It is a space for dialogue between apparently opposing binaries: the composer and the performer, the past and the present, the fixed and the fluid, the intellectual and the intuitive, the abstract and the embodied, the prepared and the spontaneous, the enduring and the transitory, and so on. It is not so much constructed in a logical, sequential manner in the way of the scientific method of doing research but more as a "braided" space, woven from many disparate elements. Second, the book articulates the notion that artistic research in music has its own verification procedures that need to be brought into the academy, especially in terms of the moderation of non-traditional research outputs, including the description of the criteria for allocation of research points for the purposes of data collection, as well as real world relevance and industry engagement. Third, by way of numerous examples of original and creative music making, it demonstrates in practical terms how exploration and experimentation functions as legitimate academic research. Many of the case studies deliberately cross boundaries that were previously assumed to be rigid and definite in order to blaze new musical trails, creating new collaborations and synergies.

Sacred music traditions vary profoundly from one religion to the next. Even within the Christian faith, one can hear a wide variety of music among and within different denominations. Catholics, mainline Protestants, and Evangelicals have all developed unique traditions. Many people are not exposed to multiple faith experiences in their upbringings, which can make exploring an unfamiliar sacred music style challenging. Because of this, singers and teachers regularly encounter religious singing styles to which they have not yet been exposed. In So You Want to Sing Sacred Music, multiple contributors offer a broad overview of sacred singing in the Judeo-Christian tradition. Evan Kent, Anthony Ruff, Matthew Hoch, and Sharon L. Radionoff share their expertise on topics as diverse as Jewish cantorial music, Gregorian chant, post-Vatican II Catholic music, choral traditions, and contemporary Christian music. This plethora of styles represents the most common traditions encountered by amateur and emerging professional singers when exploring sacred performance opportunities. In each chapter, contributors consider liturgical origins, musical characteristics, training requirements, repertoire, and resources for each of these traditions. The writers-all professional singers and teachers with rich experience singing these styles-also discuss vocal technique as it relates to each style. Contributors also offer professional advice for singers seeking work within each tradition's institutional settings, surveying the skills needed while offering practical advice for auditioning and performing successfully in the world of sacred music. So You Want to Sing Sacred Music is a helpful resource for any singer looking to add sacred performance to their portfolio or seeking opportunities and employment where sacred music is practiced and performed. Additional chapters by Scott McCoy, Wendy LeBorgne, and Matthew Edwards address universal questions of voice science and pedagogy, vocal health, and audio enhancement technology. The So You Want to Sing series is produced in partnership with the National Association of Teachers of Singing. Like all books in the series, So You Want to Sing Sacred Music features online supplemental material on the NATS website. Please visit www.nats.org to access style-specific exercises, audio and video files, and additional resources.

Czech composer Leos Janacek's most famous opera, Jenufa is a harrowing tale of forbidden love, abandonment, hypocrisy, desperation, and tragic infanticide. As today's second most frequently performed Czech opera (following Dvorak's Rusalka), Jenufa holds a prominent place in international opera repertoire and continues to draw the attention of new audiences. Drawing on both scholarly studies and production experience, Timothy Cheek presents an original English-language translation of the original Czech libretto. As with the first two books in the Janacek Opera Libretti series (Prihody lisky Bystrousky, The Cunning Little Vixen and Kat'a Kabanova), this volume consists of two parts. Part One gives background on the opera, a discussion about the various voice types and roles, Janacek's style and Czech performance traditions, Czech folk costumes, and a summary of Czech pronunciation and inflection. Part Two provides the original Czech libretto, word-for-word English translations, idiomatic English translations, IPA for pronunciation of the Czech, translations of the stage directions, and notes about certain words in Czech dialect. As a valuable resource not only for performers and directors, but also historians and opera lovers, this book brings new accessibility to a beloved and timeless opera.

Based on Lorraine Hansberry's A Raisin in the Sun. Musical Drama / 9m, 6f, chorus and extras / Unit set This winner of Tony and Grammy awards as Best Musical ran for three years on Broadway and enjoyed a record breaking national tour. A proud family's quest for a better life meets conflicts that span three generations and set the stage for a drama rich in emotion and laughter. Taking place on Chicago's Southside, it explodes in song, dance, drama and comedy. "Pure magic ... dazzling! Tremendous!... Warms the heart and touches the soul ... with a human dimension that takes the measurement of man!" - N.Y. Times "A tidal wave of soul!" - Ebony

There are few works in existence that teach gospel singing and even fewer that focus on what gospel soloists need to know. In So You Want to Sing Gospel, Trineice Robinson-Martin offers the first resource to help individual gospel singers at all levels make the most of their primary instrument-their voice. Robinson-Martin gathers together key information on gospel music history, vocal pedagogy, musical style and performance, and its place in music ministry. So You Want to Sing Gospel covers such vital matters as historical, cultural and spiritual perspectives on the gospel music tradition, training one's voice, understanding the dynamic of sound production, grasping gospel style, and bringing together vocal performance with ministerial imperatives. She also includes in her discussion such matters as voice type, repertoire selection, and gospel sub-genres. Additional chapters by Scott McCoy and Wendy LeBorgne, and Matthew Edwards address universal questions of voice science and pedagogy, vocal health, and audio enhancement technology. The So You Want to Sing series is produced in partnership with the National Association of Teachers of Singing. Like all books in the series, So You Want to Sing Gospel features online supplemental material on the NATS website. Please visit www.nats.org to access style-specific exercises, audio and video files, and additional resources.

Michel Gondry's directorial work buzzes with playfulness and invention: in a body of work that includes feature films such as Eternal Sunshine of the Spotless Mind and The Science of Sleep, to music videos, commercials, television episodes, and documentaries, he has experimented with blending animation and live action, complex narrative structures, and philosophical subject matter. Central to that experimentation is Gondry's use of music and sound, which this book addresses in a new detailed study. Kate McQuiston examines the hybrid nature of Gondry's work, his process of collaboration, how he uses sound and music to create a highly stylized reinforcement of often-elusive subjects such as psychology, dreams, the loss of memory, and the fraught relationship between humans and the environment. This concise volume provides new insight into Gondry's richly creative multimedia productions, and their distinctive use of the soundtrack.

The Brass Instrument Owner's Handbook is the second in a series of musical instrument owner's handbooks. Following the structure of The String Instrument Owner's Handbook (2015), this book provides professionals, musicians, teachers, students, and individuals interested in brass instruments with an abundance of knowledge. A touchstone work for both uninitiated and advanced players, The Brass Instrument Owner's Handbook provides a roadmap for every step of the owning process from selecting and buying (or renting) to maintaining, repairing, modifying, upgrading, and even re-selling your instrument. Chapters answer such questions as: Where did these instruments come from? What are the different kinds of historical and contemporary brass instruments? How do these instruments work? Who makes them and how? How do I choose and buy a brass instrument? How do I rent one? How do I take care of my brass instrument? And so much more. The book also provides readers with an instrument diary and in-depth glossary of terms. This work is an invaluable addition to the libraries of not only every professional brass player, but also of students, teachers, technicians, and parents.

Country music, an original American artform, has been around since before the recording industry began and long before a singer even had the opportunity to sing into a microphone. From the early beginnings in the hills of Appalachia, to the rise of Hank Williams, Patsy Cline, and the more recent megastars, including Garth Brooks and Carrie Underwood, country music has proven to have staying power. It is one of the most popular styles of music in the world today, garnering more sales and downloads currently than any other genre. Many talented individuals are aspiring to sing country music and are determined to turn it into a successful career. Because of this growing popularity, there is a need to educate interested singers with information and methods that will give them the best possible chance at either having a career as a artist, working in the industry as a background vocalist or session singer, or simply realizing their potential in country music. Kelly K. Garner's So You Want To Sing Country is a book devoted to briefly reviewing the rich heritage of country singing and thoroughly examining the techniques and methods of singing in a country style. Additional topics of discussion will include country song types and structure, instrumentation, performing on stage and in the studio, and career options in country music. Additional chapters by Scott McCoy and Wendy LeBorgne, and Matthew Edwards address universal questions of voice science and pedagogy, vocal health, and audio enhancement technology. The So You Want to Sing series is produced in partnership with the National Association of Teachers of Singing. Like all books in the series, So You Want to Sing Country features online supplemental material on the NATS website. Please visit www.nats.org to access style-specific exercises, audio and video files, and additional resources.

The Brass Instrument Owner's Handbook is the second in a series of musical instrument owner's handbooks. Following the structure of The String Instrument Owner's Handbook (2015), this book provides professionals, musicians, teachers, students, and individuals interested in brass instruments with an abundance of knowledge. A touchstone work for both uninitiated and advanced players, The Brass Instrument Owner's Handbook provides a roadmap for every step of the owning process from selecting and buying (or renting) to maintaining, repairing, modifying, upgrading, and even re-selling your instrument. Chapters answer such questions as: Where did these instruments come from? What are the different kinds of historical and contemporary brass instruments? How do these instruments work? Who makes them and how? How do I choose and buy a brass instrument? How do I rent one? How do I take care of my brass instrument? And so much more. The book also provides readers with an instrument diary and in-depth glossary of terms. This work is an invaluable addition to the libraries of not only every professional brass player, but also of students, teachers, technicians, and parents.

Despite its importance as a central feature of musical sounds, timbre has rarely stood in the limelight. First defined in the eighteenth century, denigrated during the nineteenth, the concept of timbre came into its own during the twentieth century and its fascination with synthesizers and electronic music-or so the story goes. But in fact, timbre cuts across all the boundaries that make up musical thought-combining scientific and artistic approaches to music, material and philosophical aspects, and historical and theoretical perspectives. Timbre challenges us to fundamentally reorganize the way we think about music. The twenty-five essays that make up this collection offer a variety of engagements with music from the perspective of timbre. The boundaries are set as broad as possible: from ancient Homeric sounds to contemporary sound installations, from birdsong to cochlear implants, from Tuvan overtone singing to the tv show The Voice, from violin mutes to Moog synthesizers. What unifies the essays across this vast diversity is the material starting point of the sounding object. This focus on the listening experience is radical departure from the musical work that has traditionally dominated musical discourse since its academic inception in late-nineteenth-century Europe. Timbre remains a slippery concept that has continuously demanded more, be it more precise vocabulary, a more systematic theory, or more rigorous analysis. Rooted in the psychology of listening, timbre consistently resists pinning complete down. This collection of essays provides an invitation for further engagement with the range of fascinating questions that timbre opens up.