The Mind's Ear offers a unique approach to stimulating the musical imagination and inspiring creativity, as well as providing detailed exercises aimed at improving the ability to read and imagine music in silence, in the "mind's ear." Modelling his exercises on those used in theatre games and acting classes and drawing upon years of experience with improvisation and composition, Bruce Adolphe has written a compelling, valuable, and practical guide to musical creativity that can benefit music students at all levels and help music teachers be more effective and inspiring. This expanded edition offers 34 new exercises inspired by improv comedy, hip-hop sampling and loops, robots, and AI as well as a new section based on Mr. Adolphe's Piano Puzzlers segment on public radio's Performance Today. The book provides provocative ideas and useful tools for professional performers and composers, as well as offering games and exercises to serious listeners that can increase their musical understanding and level of engagement with music in a variety of ways.

Electronic Music School: A Contemporary Approach to Teaching Musical Creativity is a practical blueprint for teachers wanting to begin teaching music technology to secondary age students. Will Kuhn and Ethan Hein inspire classroom music teachers to expand beyond traditional ensemble-based music education offerings to create a culture of unique creativity and inclusivity at their schools. Part One offers an overview of the philosophical and institutional aspects of starting a music technology program, with a particular focus on the culture of electronic music surrounding digital music creation tools. Part Two dives deep into curricula for music lab classes, including several lesson examples and techniques. This section also includes abbreviated project plans for teachers who have fewer contact hours with their students. Part Three discusses how music technology courses can grow into a larger media creation program, how such a program can contribute to the broader school culture, and how project-based music learning effectively prepares students for careers in media. Electronic Music School also includes narratives from music technology students themselves, who often have an intuitive understanding of the future directions music technology programs can take.

This Workbook accompanies The Musician's Guide to Theory and Analysis, Fourth Edition, and features hundreds of exercises students can complete on tear-out-and-turn-in pages.

This book starts at the very beginning and ends with some remarkably profound insights on conductorial subtleties. An experienced conductor is one in whom detection, diagnosis, and remedy take place simultaneously; as he hears the error, he realizes where the fault lies and what to do about it. This book gives valuable hints about these three basic conductorial functions from the viewpoint of chorus and orchestra alike. McElheran leads the student toward mastery of the problems at hand, with firmness and gentle humour.

The practices of singing and teaching singing are inextricable, joined to each other through the necessity of understanding the vocal art and craft. Just as singers must understand the physical functions of voice in order to become musically proficient and artistically mature, teachers too need to have a similar mastery of these ideas - and the ability to explain them to their students - in order to effectively guide their musical and artistic growth. With this singer-instructor relationship in mind, Richard and Ann Alderson's A New Handbook for Singers and Teachers presents a fresh, detailed guide about how to sing and how to teach singing. It systematically explores all aspects of the vocal technique - respiration, phonation, resonance, and articulation - with each chapter containing exercises aimed at applying and teaching these principles. Beyond basic vocal anatomy and singing fundamentals, the handbook also covers such understudied topics as the young voice, the changing voice, and the aging voice, along with helpful chapters for teachers about how to organize vocal lessons and training plans. Thoughtfully and comprehensively crafted by two authors with decades of singing and teaching experience between them, A New Handbook for Singers and Teachers will prove an invaluable resource for singers and teachers at all stages of their vocal and pedagogical careers.

Lang Lang Piano Academy: mastering the piano level 1 (approximately equivalent to Grade 1/Early Intermediate) looks at techniques such as playing legato and staccato and the left hand. Units in Level 1: Exploring the keyboard Feeling the beat Legato playing Staccato playing Developing dexterity Playing chords The left hand Playing with dynamics Mastering the piano is the first series of books to be launched in the Lang Lang Piano Academy. Comprising five progressive books, mastering the piano captures Lang Lang's passion, drive and extraordinary mastery of the piano. Each book gives students the chance to learn from this exceptional talent, with: 8 units that develop key aspects of piano technique; specially devised exercises & studies; a diverse selection of repertoire including Lang Lang's favourite works; and inspirational commentary & guidance from Lang Lang himself. Level 1 is also available as an iPad App! Listen to Lang Lang playing Mo li hua (Jasmine Flower) Download Scales & Arpeggios chart for Level 1

For nearly 70 years, The Enjoyment of Music has led the way in preparing students for a lifetime of listening to great music and understanding its cultural and historical context. The Fourteenth Edition expands on this foundation with new chapters and features that add many voices to its already rich repertoire.

In this practical, project-based book, music students, educators, and coders receive the necessary tools to engage with real-world experiences in computation and creativity using the programming language Scratch. Designed to teach students the fundamental concepts of computational thinking through interactive music, sound, and media, projects vary in complexity and encourage readers to make music through playing and creating music. This book introduces readers to concepts in computational thinking and coding alongside parallel concepts in music, creative sound, and interaction. The book begins with a gentle introduction to the Scratch 3.0 programming environment through hands-on projects using a computer keyboard and mouse to make music and control sounds, creating original sounds, and performing them as an instrument. The next chapters introduce programming musical sequences, melodies, and structures, and assembling them into a virtual band that can be performed live or automated through algorithms. The final chapters explore computational thinking and music in the contexts of making games with sound effects, teaching the computer to generate music using algorithms and rules, interacting with music using live video, finishing with a chapter on musical live coding, where readers will create and manipulate computer code to perform, improvise, and create original music live.

Teaching Music to Students with Autism is a comprehensive practical guide for music eductors who work with students with autism. Authors and veteran music educators Alice M. Hammel and Ryan M. Hourigan offer an approach centered in inclusion designed for music educators, music teacher educators, and all those who have an interest in the education of students with autism. In this second edition, the authors offer fully up-to-date information on the diagnosis of autism, advocating for students and music programs, and creating and maintaining a team-approach when working with colleagues. A significant portion of the book is focused on understanding the communication, cognition, behavior, sensory, and socialization challenges inherent in students with autism and ways to structure classroom experiences and learning opportunities for all students. A chapter of classroom snapshots (vignettes) written by teachers in the field of music education provides additional opportunities to transfer information to 'real life' situations. Finally, the book offers a chapter of print and web resources for further study.

Keyboard artists in the time of J.S. Bach were simultaneously performers, composers, and improvisers. By the twentieth century, however, the art of improvisation was all but lost. Today, vanishingly few classically-trained musicians can improvise with fluent, stylistic integrity. Many now question the system of training that leaves players dependent upon the printed page, and would welcome a new approach to musicianship that would enable modern performers to recapture the remarkable creative freedom of a bygone era. The Pianist's Guide to Historic Improvisation opens a pathway of musical discovery as the reader learns to improvise with confidence and joy. Useful as either a college-level textbook or a guide for independent study, the book is eminently practical. Author John Mortensen explains even the most complex ideas in a lucid, conversational tone, accompanied by hundreds of musical examples. Mortensen pairs every concept with hands-on exercises for step-by-step practice of each skill. Professional-level virtuosity is not required; players of moderate skill can manage the material. Suitable for professionals, conservatory students, and avid amateurs, The Pianist's Guide leads to mastery of improvisational techniques at the Baroque keyboard.

With the shift towards online education, teaching and learning music has evolved to incorporate online environments. However, many music instructors, faculty, and institutions are being challenged on how to evolve their curriculum to meet these demands and successfully foster students. Pedagogy Development for Teaching Online Music is a critical scholarly resource that examines the nature of teaching and learning music in the online environment at the post-secondary level. Featuring a broad range of topics such as online and face-to-face instruction, instructional design, and learning management system, this book is geared towards educators, professionals, school administrators, academicians, researchers, and students seeking current research on designing online music courses using a social constructivist framework.