This book from Rick Mooney features easy classical music as well as folk songs, fiddle tunes and Mooney originals composed to address specific technical points. A second cello part throughout promotes a student's ability to hear and play accurately.

Music education thrives on philosophical inquiry, the systematic and critical examination of beliefs and assumptions. Yet philosophy, often considered abstract and irrelevant, is often absent from the daily life of music instructors. In The Oxford Handbook of Philosophy in Music Education, editors Wayne D. Bowman and Ana Lucia Frega have drawn together a variety of philosophical perspectives from the profession's most exciting scholars. Rather than relegating philosophical inquiry to moot questions and abstract situations, the contributors to this volume address everyday concerns faced by music educators everywhere, demonstrating that philosophy offers a way of navigating the daily professional life of music education and proving that critical inquiry improves, enriches, and transforms instructional practice for the better. Questioning every musical practice, instructional aim, assumption, and conviction in music education, The Oxford Handbook of Philosophy in Music Education presents new and provocative approaches to the practice of teaching music.
Bowman and Frega go deeper than mere advocacy or a single point of view, but rather conceive of philosophy as a dynamic process of debate and reflection that must constantly evolve to meet the shifting landscapes of music education. In place of the definitive answers often associated with philosophical work, Bowman and Frega offer a fascinating cross-section of often-contradictory approaches and viewpoints. By bringing together essays by both established and up-and-coming scholars from six continents, Bowman and Frega go beyond the Western monopoly of philosophical practice and acknowledge the diversity of cultures, instructors, and students who take part in music education. This range of perspectives invites broader participation in music instruction, and presents alternative answers to many of the fields most pressing questions and issues. By acknowledging the inherent plurality of music educational practices, the Handbook opens up the field in new and important ways. Emphasizing clarify, fairness, rigor, and utility above all, The Oxford Handbook of Philosophy in Music Education challenges music educators around the world to make their own decisions and ultimately contribute to the conversation themselves."

The most pedagogically sophisticated text on the market, The Musician's Guide is the most complete resource for the theory curriculum that anyone can use. Successful online Know It? Show It! pedagogy and a comprehensive workbook help students develop theory skills inside the classroom and out. With a wider, more inclusive, repertoire than ever, the text explores music that will be relevant to every musician with clear, accessible prose.

Music and arts education have a long-standing orientation of seeking a practice where everyone interacts and communicates in, and through artistic activities. However, an overspecialized and professionalized stance in arts education diminishes the spirit of playing music together, and leaves little room for creativity during teaching and learning activities. In order to gain a richer and deeper knowledge of music and the arts, interaction and the meaning of creative and humanely kyosei interactions between and among individuals, groups, and institutions must be emphasized. Cases on Kyosei Practice in Music Education is an essential reference source that discusses the meaning and significance of music making as a human and social practice, as well as reflecting creative inquiry into practical aspects of music and arts teaching. Featuring research on topics such as multicultural music, community music, and sociological perspectives, this book is ideally designed for P-12 educators, pre-service and in-service teachers, administrators, principles, music instructors, administrators, caregivers, and researchers.

Originally published in 1924, this book is the result of many years' quiet thought and observation in connection with the authors own teaching. It focuses mainly on the essential skills of violin playing, rather than on the peculiarities that all players adopt to suit their own requirements. The book contains broad common-sense views, preferring not to concentrate on any particular "school" or "method." It is also written with some humour and in a very colloquial style. Complete with detailed diagrams and photographic plates. Contents Include: Part 1 - Explanation - Argument - Tone - Advice to Beginners - The Left Side of the Body - The Right Side of the Body, (The Bow Arm) - Left Hand Technique - Finger Action - The Third Position - The Second Position - Higher Positions - Sliding - Fingering - Bowing - Sautille - Ricochet or Elastic Staccato - How to Practise Double Stopping - Extensions - Right Hand Pizzicato - Left hand Pizzicato - Harmonics - The Shake - Tremolo or Vibrato - Sight Reading and Memorising - Controlled Movement and Concentration - How to Become a Musician - Musical Development - Conclusion, "Dont's"

En este libro se encuentra una serie de indicios para poder aprender a utilizar el acorde n, Sabiendo que la m sica no sola mente se trabaja por nota, el Prof. Jos Alfredo lvarez, ha realizado este libro para todo aquel que no conoce la lectura de las notas, as mismo dentro del libro encontraras, el aprendizaje de los acordes; Mayores, Menores, S ptimos, etc....., al igual viene una explicaci n de c mo poder realizar las escalas tanto mayores como menores, realizadas en base a unas formulas que el mismo Prof., te explica. As mismo viene una serie de siluetas de lo que es el teclado del acorde n, para poder conocer un poco m?'s f cil y ubicar todos y cada uno de los pasos que est n incluidos dentro de este libro, cada paso que se va realizando de este, y avanzar, notaras que, casi al final del libro se encuentran algunas de las t cnicas que se utilizaran en el acorde n, por otra parte, en cada una de las partes de donde se encuentran los acordes, podr?'s encontrar ejercicios de digitaci n para poder aflojar los dedos haciendo de esto algo m?'s interesante porque no solo tendr?'s que aprenderte los acordes sino que tambi n tendr?'s como tarea que cada uno de los ejercicios, ser n ejecutados, cada vez que se de ensayo. Las escalas est n realizadas en formula, al igual que, en siluetas para su mayor entendimiento, eso te ayudara a poder entender cada paso que el profesor te explica dentro de este libro, que a comparaci n de otros libros, est hecho emp ricamente especial mente para ti, esperando poder cubrir tus expectativas y que en realidad te sirva. Salud ndote y d ndote un caluroso abrazo, atte. Prof. Jos Alfredo lvarez.

Originally published in London 1923. Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. Home Farm Books are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork. A detailed work on the art of singing. Anyone possessing a voice and the inclination to sing, either for pleasure or profit, will benefit enormously from putting these suggestions into practice. Contents Include: Don't Wait to be Found. Your Aim. Why Singers are Scarce. Period of Training. Qualities Needed. General Culture. Study an Instrument. Voice. Good and Bad "Maestri" Compass and Quality. Age to Start Training. Anatomy and Physiology. Breathing. Vocal Cords. Placing the Voice. Registers. Faults. Coloratura Singing. Enunciation. Language. Style and Interpretation. Singing an Aria. Practising. The Artist and the Gramophone. Studying a Role. Choice of Debut Work. Rehearsals. Contracts. Concert Work. Health, Diet, etc.Keywords: Anatomy And Physiology Style And Interpretation Vocal Cords Farm Books Culture Study Language Style Coloratura Enunciation Gramophone 1900s Practising Inclination Faults Registers Compass Singers Artwork Aria Aim

Originally published in 1920, this neat little book is the result of the authors desire to tabulate in a concise form, his own ideas on violin playing, with regard to both the technical and the interpretive aspects of the subject. The authors views are placed before the reader in as clear a manner as possible. This little work should prove valuable to a wide circle of violinists - both amateur and professional. Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. Hesperides Press are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork. Contents Include: Chamber Music, Choice and Care of Violin Strings and Other Accessories - The Lesson - The Left Hand, Intonation - The Left Hand, Position of the Wrist, Fingers, Thumb, Palm - The Left Hand, Scales, Various Methods of Fingering, Hands with Poor Stretches, Trills - The Bow - Spiccato, Martele, Staccato - Arpeggio, Ricochet, Legato - Expression and Interpretation: Variety of Tone - Vibrato - Phrasing - Rubato, Rhythm and Time Generally

Originally published in 1930, this little book is not an exposition of the art of violin-playing, nor does it claim to teach a system of technical study. The authors aim was to help students and less experienced teachers through some of the more frequent problems from which they will, almost inevitably, be faced. Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. Hesperides Press are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork. Contents Include: Posture and the Holding of the Instrument - 'Bow Measurement' - On Bowing Generally - Intonation - Various Difficulties - Playing of Chords and Chord Passages - Shifting and the Portamento - The Playing of Octaves - Double-Stopping - Harmonics - 'Artificial' Harmonics - Vibrato - Tenths and Fingered Octaves - Memorizing, Playing From Melody - Conclusion, Inspiration, A Repertoire Always Ready