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vi, 290 pages : illustrations, music ; 29 cm
Music Library
vi, 158 pages : illustrations ; 25 cm.
Music Library
xvi, 475 pages : illustrations ; 26 cm
  • Acknowledgments Introduction: The Contemporary Commercial Composer and the Digital Audio Workstation I. Fundamentals of Music and Audio Ia: Fundamentals of Music Chapter 1: Introduction to Pitch Chapter 2: Introduction to Rhythm Chapter 3: Introduction to Harmony Chapter 4: Melody and Counterpoint Ib: Fundamentals of Audio Engineering and Sequencing Chapter 5: Introduction to Audio and MIDI Chapter 6: Manipulating Rhythm in the DAW Environment Chapter 7: Introduction to Acoustics Chapter 8: Melodic Sequencing II. Music Production Essentials IIa. Composition Essentials Chapter 9: Functional Diatonic Harmony Chapter 10: Expanding Your Harmonic Vocabulary Chapter 11: Form and Development Chapter 12: Basic Orchestration IIb. Audio Engineering Essentials Chapter 13: Introduction to Mixing Chapter 14: Recording and Editing Live Instruments Chapter 15: Mixing and Processing Chapter 16: Final Mix Considerations III. Producing Music for Media Chapter 17: The Client/Composer Relationship Chapter 18: Scoring for Short-Form Media Chapter 19: Scoring for Longer-Form Media IV. The Business of Music Composition Chapter 20: The Business of Music Composition Appendix A: List of CC Messages and Their Associated Functions Appendix B: Glossary Permission Acknowledgments Index.
  • (source: Nielsen Book Data)9781138930629 20171017
In the contemporary world, the role of the commercial composer has grown to include a wide range of new responsibilities. Modern composers not only write music, but also often need to perform, record, and market their own works. The Craft of Contemporary Commercial Music prepares today's music students for their careers by teaching them to compose their own music, produce it professionally, and sell it successfully. The textbook integrates three areas of concentration-music theory and composition, audio engineering, and music business-allowing students to understand and practice how to successfully navigate each stage of a score's life cycle from concept to contract. Students will learn how to: Translate musical ideas into scores utilizing music theory and composition techniques Transform scores into professional audio through the production stages of tracking, sequencing, editing, mixing, mastering, and bouncing Market works to prospective clients The textbook assumes no prior knowledge of music theory or audio topics, and its modular organization allows instructors to use the book flexibly. Exercises at the end of each chapter provide practice with key skills, and a companion website supports the book with video walkthroughs, streaming audio, a glossary, and printable exercise pages. Combining a grounding in music notation and theory concepts with a foundation in essential technologies, The Craft of Contemporary Commercial Music offers an innovative approach that addresses the needs of students preparing for music careers.
(source: Nielsen Book Data)9781138930629 20171017
Music Library
x, 207 pages : illustrations ; 24 cm.
Music Library

5. Discovering music [2018]

xxxvi, 611 pages : illustrations (chiefly color) ; 26 cm
Music Library
xv, 209 pages ; 24 cm.
Music Library
xx, 190 pages : illustrations ; 23 cm
  • A context for expressive conducting: lessons from drawing and tai chi
  • The conductor's body
  • Moving with availability
  • Performance theory and technique: acting and conducting
  • The body is your instrument: maximizing expression and moving weight
  • The performance sequence
  • Coaching notes
  • Availability exercises
  • A language for expressive conducting.
Music Library
xiv, 210 pages : illustrations ; 24 cm.
Music Library

9. Listen to this [2018]

xxv, 550 pages : illustrations (some color), color maps ; 25 cm
  • The Elements of Music: A Brief Introduction PART I: THE MIDDLE AGES 1. Hildegard von Bingen, Play of Virtues (excerpt) 2. San Ildefonso Indians of New Mexico, Eagle Dance 3. Plainchant Alleluia, "Caro mea" 4. Francesco Landini, "Behold, Spring" 5. Guillaume de Machaut, "No More than One Man Could Count the Stars" 6. Alfonso el Sabio, Songs to the Virgin Mary, no. 147, "The Talking Sheep" PART II: THE RENAISSANCE 7. Josquin des Prez, "The Cricket" 8. Thomas Weelkes, "Since Robin Hood" 9. William Byrd, "Sing Joyfully" 10. Giovanni Pierluigi da Palestrina, Pope Marcellus Mass, "Gloria" 11. Rhyming Singers of the Bahamas, "My Lord Help Me to Pray" 12. Tielman Susato, Moorish Dance PART III: THE BAROQUE ERA 13. Claudio Monteverdi, Orpheus, selection from Act II 14. Henry Purcell, Dido and Aeneas, selections 15. Mbuti Pygmies, "Marriage Celebration Song" 16. Barbara Strozzi, "Revenge" 17. Antonio Vivaldi, The Four Seasons, "Winter, " first movement 18. Johann Sebastian Bach, Fugue in G Minor, BWV 578 ("Little" Fugue) 19. Johann Sebastian Bach, Brandenburg Concerto no. 2 in F Major, BWV 1047, finale 20. Johann Sebastian Bach, Cantata 140: Awake, a Voice Calls to Us, selections 21. George Frideric Handel, Messiah, selections PART IV: THE CLASSICAL ERA 22. Joseph Haydn, String Quartet in C Major, op. 76, no. 3, second movement 23. Master Musicians of the Ikuta-ryu, Cherry Blossom 24. Joseph Haydn, Symphony no. 102 in B-flat Major, third and fourth movements 25. Wolfgang Amadeus Mozart, Symphony no. 40 in G Minor, K. 550, first movement 26. Wolfgang Amadeus Mozart, Piano Concerto in A Major, K. 488, first movement 27. Wolfgang Amadeus Mozart, The Marriage of Figaro, Act I, "Cosa sento" 28. Jingju, "The Reunion" 29. William Billings, "Chester" PART V: THE NINETEENTH CENTURY 30. Ludwig van Beethoven, Symphony no. 5 in C Minor, op. 67 31. Franz Schubert, "Erlkonig, " D. 328 32. Felix Mendelssohn, Overture to A Midsummer Night's Dream 33. Hector Berlioz, Symphonie fantastique, fourth movement ("March to the Scaffold") 34. Fanny Mendelssohn Hensel, Piano Trio in D Minor, op. 11, third movement ("Song") 35. Robert Schumann, "Dedication" 36. Clara Wieck Schumann, "Forward!" 37. Frederic Chopin, Mazurka in B-flat Major, op. 7, no. 1 38. Louis Moreau Gottschalk, Union: Concert Paraphrase on National Airs 39. Ravi Shankar, Raga Sindhi-Bhairavi 40. Giuseppe Verdi, La Traviata, Act I, selection ("Follie!") 41. Richard Wagner, The Valkyrie, Act III, selection ("Wotan's Farewell") 42. Peter Ilyich Tchaikovsky, Swan Lake, Act IV, finale 43. Johannes Brahms, Symphony no. 4 in E Minor, op. 98, finale 44. Antonin DvoYak, String Quartet in F Major, op. 96 ("American"), third movement PART VI: SINCE 1900 45. Claude Debussy, Voiles 46. Charles Ives, The Unanswered Question 47. Arnold Schoenberg, "Columbine" from Pierrot lunaire 48. Igor Stravinsky, The Rite of Spring, Part One 49. Scott Joplin, Maple Leaf Rag 50. Robert Johnson, "Terraplane Blues" 51. Duke Ellington, "Cotton Tail" 52. Charlie Parker, "Ornithology" 53. Ruth Crawford, Piano Study in Mixed Accents 54. Germaine Tailleferre, Concertino for Harp and Orchestra, finale 55. William Grant Still, "A Black Pierrot" from Songs of Separation 56. Aaron Copland, "Hoe-Down" from Rodeo 57. Bela Bartok, Concerto for Orchestra, second movement ("Game of Pairs") 58. Leonard Bernstein, "Tonight" from West Side Story 59. John Cage, Sonata II from Sonatas and Interludes 60. Gamelan Gong Kebyar of Belaluan, Bali, Kebyar Ding III, "Oncang-oncangan" 61. Philip Glass, "Knee Play 1" from Einstein on the Beach 62. Mahalia Jackson, "It Don't Cost Very Much" 63. Tania Leon, A la Par, second movement ("Guaguanco") 64. Corey Dargel, "On This Date Every Year" 65. Austin Wintory, "Nascence, " from Journey Revel Bonus Chapters 66. Chuck Berry, "School Day" 67. The Sex Pistols, "God Save the Queen" 68. Public Enemy, "Fight the Power" 69. John Williams, "The Walls Converge, " from Star Wars.
  • (source: Nielsen Book Data)9780134419510 20170327
For courses in Music Appreciation Listen to the music. Hear the elements. Connect your playlist. Listen to This is designed to connect students' interest in the music on their own playlists with great music from throughout history and all over the world. It is based on the idea that all music is built on a combination of a few basic elements - melody, dynamics, rhythm, harmony, texture, timbre, form, and word-music relationships - and if students listen for those elements they can better understand how a piece of music works, no matter how unfamiliar it may seem at first. This elements-centered approach provides a strong foundation for learning about, and enjoying, many new musical styles. The Fourth Edition includes expanded coverage of timbre as well as new chapters on additional musical works. Listen to This, Fourth Edition is also available via Revel(TM), an interactive digital learning environment that replaces the print textbook, enabling students to read, practice, and study in one continuous experience. Revel is ideal for courses where student engagement and mobile access are important. Available to package with Listen to This, Fourth Edition, MyLab(TM) Music for the Music Appreciation course is an online homework, tutorial, and assessment program designed to work with this text to engage students and improve results. MyLab Music also gives students access to the music and listening guides that accompany the text. Please note: this version of MyLab Music does not include an eText. Note: You are purchasing a standalone product; MyLab does not come packaged with this content. Students, if interested in purchasing this title with MyLab, ask your instructor for the correct package ISBN and Course ID. Instructors, contact your Pearson representative for more information. 0134492099 / 9780134492094 Listen to This plus MyLab Music for Music Appreciation - Access Card Package, 4/e Package consists of: *0134419510 / 9780134419510 Listen to This, 4/e*0134489500 / 9780134489506 MyLab Music for Music Appreciation.
(source: Nielsen Book Data)9780134419510 20170327
Music Library
x, 307 pages ; 24 cm.
  • Preface Introduction 1. Annotations of Books, Chapters, Reference Sources, and Other Selected Writings 2. Annotations of Journals: Essays, Studies, and Other Selected Articles 3. Annotations of Dissertations and Studies 4. Annotations of Arrangements, Lead Sheets, Transcriptions, and Tribute Music Compositions 5. Annotations of Selected Videos and Audio Tapes Index of Names Index of Music Compositions Subject Index.
  • (source: Nielsen Book Data)9781138652460 20170919
This research and information guide provides a wide range of scholarship on the life, career, and musical legacy of Miles Davis, and is compiled for an interdisciplinary audience of scholars in jazz and popular music, musicology, and cultural studies. It serves as an excellent tool for librarians, researchers, and scholars sorting through the massive amount of material in the field.
(source: Nielsen Book Data)9781138652460 20170919
Music Library
xxxiii, 600 pages : color illustrations, music ; 29 cm
  • PrefacePart I Elements1. Sound: Pitch, Dynamics, and Tone Color2. Performing Media: Voices and Instruments3. Rhythm4. Music Notation5. Melody6. Harmony7. Key8. Musical Texture9. Musical Form10. Performance 11. Musical StylePart II The Middle Ages1. Music In The Middle Ages (450-1450)2. Gregorian Chant3. Secular Music in the Midde Ages4. The Development of Polyphony: Organum5. Fourteenth -Century Music: The "New Art" in Italy and FrancePart III The Renaissance 1. Music in the Renaissance (1450 - 1600) 2. Sacred Music in the Renaissance 3. Secular Music in the Renaissance 4. The Venetian School: From Renaissance to BaroquePart IV The Baroque Period1. Baroque Music (1600-1750)2. Music In Baroque Society3. The Concerto Grosso And Ritornello Form4. The Fugue5. The Elements Of Opera6. Opera In The Baroque Era7. Claudio Monteverdi8. Henry Purcell9. The Baroque Sonata10. Arcangelo Corelli11. Antonio Vivaldi12. Johann Sebastian Bach13. The Baroque Suite14. The Chorale And Church Cantata15. The Oratorio16. George Frideric HandelPart V The Classical Period1. The Classical Style (1750-1820)2. Composer, Patron, And Public In The Classical Period3. Sonata Form4. Theme And Variations5. Minuet And Trio6. Rondo7. The Classical Symphony8. The Classical Concerto9. Classical Chamber Music10. Joseph Hadyn11. Wolfgang Amadeus Mozart12. Ludwig Van BeethovenPart VI The Romantic Period1. Romanticism In Music (1820-1900)2. Romantic Composers And Their Public3. The Art Song4. Franz Schubert5. Robert Schumann 6. Clara Wieck Schumann7. Frederic Chopin8. Franz Liszt9. Felix Mendelssohn10. Program Music11. Hector Berlioz12. Nationalism In Nineteenth-Century Music13. Peter Ilyich Tchaikovsky14. Bed rich Smetana15. Antonin Dvorak16. Johannes Brahms 17. Georges Bizet18. Giuseppe Verdi19. Giacomo Puccini20. Richard Wagner 21. Gustav MahlerPart VII The Twentieth Century1. Musical Styles: 1900-19452. Music and Musicians in Society since 19003. Impressionism and Symbolism4. Claude Debussy5. Maurice Ravel6. Neoclassicism7. Igor Stravinsky8. Expressionism9. Arnold Schoenberg10. Alban Berg11. Anton Webern12. Bela Bartok13. Dmitri Shostakovich14. Music in America15. Charles Ives16. George Gershwin17. William Grant Still18. Aaron Copland19. Albert Ginestera20. Musical Styles Since 194521. Music Since 1945: Five Representative PiecesPart VIII Jazz1. Jazz Styles 2. Ragtime 3. Blue 4. New Orleans Style 5. Swing 6. Bebop 7. Jazz Styles since 1950Part IX Music for Stage and Screen1. Musical Theater 2. Leonard Bernstein 3. Music in Film Part X Rock1. Rock Styles 2. Rock in American Society 3. The BeatlesPart XI Nonwestern Music1. Music in Nonwestern Cultures2. Music In Sub-Saharan Africa3. Classical Music Of India 4. Koto Music of Japan AppendixesGlossaryAcknowledgmentsPhoto CreditsIndex.
  • (source: Nielsen Book Data)9781259892707 20170410
McGraw-Hill is revolutionizing the Music Appreciation course by introducing its first personalized digital learning experience with Roger Kamien's Music: An Appreciation. Using this market-leading instrument that brings great music to the course in more ways than ever before, students are now transformed into active participants in the Music Appreciation space. The result is active listening, active reading, and active learning. Connect is the only integrated learning system that empowers students by continuously adapting to deliver precisely what they need, when they need it, so that your class time is more engaging and effective. It provides tools that make assessment easier, learning more engaging, and studying more efficient.
(source: Nielsen Book Data)9781259892707 20170410
Music Library
xviii, 230 pages : illustrations, music ; 21 cm.
  • Über diese Arbeit
  • Einleitung
  • Improvisieren : Mystik, Herausforderung und Relevanz
  • Eine interdisziplinäre Grundfrage
  • Eine pankulturelle künstlerische Ausdrucksform
  • Forschungsfragen und inhaltlicher Überblick
  • Die Basis
  • Komponieren in Echtzeit
  • Vorbereitung und Antizipation
  • Fehler und Reparaturstrategien
  • Teleologie und makroskopischer Verlauf
  • Die Constraints
  • Allgemeines zu den Constraints
  • Verbreitung, Stabilität und Dynamik
  • Freiheit und Beschränkung
  • Arten von Constraints
  • Kognitive Constraints
  • Theoretische Constraints
  • Constraints und Expertise
  • Kognition und Expertise
  • Kognitive Arbeitsweisen
  • Die Knowledge-base
  • Die Kompetenzvermittlung (Sozialisierung) am Beispiel der Jazzkultur
  • Das musikalische Fähigkeitenarsenal
  • Der Improvisationsfluss : Kognition und Verlaufsform
  • Innere Modi beim Improvisieren
  • Die theoretisch-reflektive Kompetenz
  • Der improvisatorische Verlauf unter der kognitiven Lupe
  • Pressings (1987) Event-Cluster
  • Die Sektion und die individuelle Zuordnung
  • Die Entscheidungsstruktur beim Improvisieren
  • Entscheidungen als "Kontinuum"?
  • Conclusio und Ausblick
  • Die Funktion von Entscheidungen
  • Zusammenfassung
  • Diskussion : die Constraints und die Improvisationsforschung
  • Gewichtungen in der Improvisationsforschung
  • Ein enggestecktes Forschungsfeld : Immer wieder BeBop
  • Ein schmales musikphänomenales Band
  • Die theoretischen Constraints unter der Lupe
  • Kulturspezifische Constraints sind "dynamisch"
  • Elastizität
  • Theoretische und kognitive Constraints und Expertise
  • Conclusio und Ausblick
  • Die nächsten Kapitel
  • Das Produkt : die musikalische Entität
  • Musik als Product der Wahrnehmug
  • Übersummativitat in der Musikwahrnehmung
  • Emergenz und phänomenale Qualitäten
  • Emergenz : eine weitere Begriffsbestimmung
  • Synchrone Emergenz
  • Diachrone Emergenz
  • Die Musikwahrnehmung und der synchrone Emergentismus
  • Die musikalische Gestalt
  • Die granulare Gestaltebene
  • Die Gestalten hierarchischer Ebenen
  • Gestalt und Expression
  • Die musikalisch affizierende Wirkung
  • Die Wirkung von Klängen
  • Klänge und Periodizität
  • Spannungen in der Zweistimmigkeit
  • Mehrstimmigkeit und Klangfelder
  • Harmonische Verbindungen, Kadenzen und Quintenzirkel
  • Relativität, makroskopische Dominanz und Submergenz
  • "Conceptualization" von Wirkungen
  • "Enactive affective approach" und "psychological constructionist approach"
  • Sensibilisierung, Differenzierung und das "sense-making"
  • Conclusio
  • Produktion und Kompetenz
  • Die Errichtung eines handlungsschematischen Kompetenzsystems
  • Die Anfänge
  • Prinzipien einer Erzeugung
  • Die Erzeugungskompetenz und die Improvisationsentität
  • Handlung und Handlungsschematik
  • Musikalische Bildungsprinzipien und die "genetischen Mechanismen"
  • Auf dem Weg zur Kompetenz
  • Komplette Neuerfahrung
  • Neuvernetzung und motorische Redundanz
  • Das Bilden neuer Beziehungsstrukturen
  • Filtern von Redundanzen
  • Conclusio
  • Redundanz der Gestalt und der Wirkung (Systematisierung von Improvisationsentitäten)
  • Relative Tonartenkonstanz
  • Die Systematisierung der Peripherie
  • Die "subjektive Wichtigkeit"
  • Die Systematisierung motorischer Teilaspekte
  • Tonhh̲en-relatives Improvisieren
  • Flexible Operationalisierung (mit "offenen Slots")
  • Conclusio
  • Die generischen Wege des Kompetenzsystems, die Entwicklung einer "echten" Generierfähigkeit
  • Viele Wege : gleicher Output
  • Viele Wege : gleicher Output : viele Entitäten
  • Soft-assembly
  • Expertise führt zu einer differenzierten Artikulierung und Makrogestaltung
  • Dynamik und Stilerkennbarkeit
  • Ein diachron emergenter Vorgang und generisches Prinzip
  • Conclusio und Ausblick
  • Die theoretisch-reflektive Kompetenz (das abstrahierte Know-How)
  • Wie entwickelt sich dieses theoretische Wissen?
  • Was bringt das theoretisch-abstrahierte Know-How?
  • Die Reflexionsebene als "Beeinflussung zweiter Ordnung"
  • Mentales Improvisieren
  • Mehrere Modi von "sensory mental imagery"
  • Was bringt das mentale Improvisieren?
  • Entwicklung und Kompetenzbestimmung
  • Einordnung
  • Ein feindosiertes theoretisches Know-How
  • Mentales Improvisieren und Antizipieren
  • Strategien
  • Conclusio
  • Die Wirkung als Steuervariable
  • Die musikalische Affizierung
  • Die Affizierung und die Knowledge-base
  • Improvisieren als Affektregulierung
  • Die Regulierung
  • Die Faszination am Improvisieren
  • Fremdregulierung und Übertragung
  • Conclusio
  • Die Affektregulierung als Steuerebene
  • Automatisiertes Improvisieren über Wirkungen
  • Wirkintentionen
  • Wie mit Wirkungen gearbeitet wird
  • Parallel laufende Ebenen von Wirkungen
  • Dekonstruierende Wirkintentionen und makroskopische Selbstüberraschung
  • Conclusio
  • Outro und Ausblick
  • Ziele
  • Inhaltliche Kurzdarstellung
  • Empirische Ideen
  • Literatur
  • Anhang : eine kleine Einführung in die Jazztheorie
  • Akkordtheorie und harmonischer Konsens
  • Kodiersystem
  • Aufteilung der Akkordtöne
  • Harmonische Substrukturen, Stufen, Kadenzen und Formen
  • Kompositionen und Repertoire
  • Melodische Improvisationsmaterialien
  • Abstracts (Deutsch, English).
Music Library
xi, 169 pages : illustrations ; 23 cm
Music Library
xvi, 366 pages ; 24 cm.
  • Chapter 1: Messiaen Studies and Bibliographies A Discussion of Messiaen Studies Messiaen Bibliographies Chapter 2: Primary Sources I: Fonds Olivier Messiaen - Bibliotheque nationale de France/Richelieu, Library of Congress and Symphony Orchestra Archives, Other Collections Fonds Olivier Messiaen - VM FONDS 30 MES - Bibliotheque nationale de France/Richelieu Cahiers de notations de chants d'oiseaux Musical Works of Olivier Messiaen Pedagogical Works Compositional Notebooks Selected Correspondence Diaries Other Materials Library of Congress and Symphony Orchestra Archives Other Collections - Library and Private Chapter 3: Primary Sources II: Articles and Reviews, Pedagogical Works, and Lectures and Librettos Articles, Essays in Collected Editions, Reviews, and Other Materials by Messiaen Pedagogical Works Lectures and Librettos Chapter 4: Primary Sources III: Prefaces to Works, Interviews, Published Correspondence-- and Documentaries and Filmed Performances Prefaces to Works, Articles/Special Issues, and Books Interviews Published Correspondence and Dedicatory Notes Documentaries and Filmed Performances Chapter 5: Biographical and Stylistic Studies General Studies of Messiaen's Life and Music, Style, and Aesthetics Specialized Discussions of Messiaen's Music Essay Collections, Program Booklets, and Special Periodical Issues Devoted to Messiaen General Biographical, Historical, and Stylistic Discussions of Messiaen and His Music in Articles and Essays in Collected Editions Chapter 6: Topical Studies Analytical and Theoretical Studies of Messiaen's Music Birdsong Instrumental, Orchestral, Choral, and Vocal Music Organ Music Piano Music Improvisation Religion Teaching Chapter 7: Studies of Particular Works Opera Orchestral Works Chamber Works Organ Works Piano Works Vocal and Choral Works Electronic Works Chapter 8: Accounts of Messiaen and His Work in Sources Devoted to Other Topics Articles and Essays in Collections Books Dissertations and Other Unpublished Documents Dictionary and Encyclopedia Articles Appendix: List of Musical Works by Olivier Messiaen I. Opera II. Orchestral Works III. Chamber and Instrumental IV. Organ V. Piano VI. Vocal and Choral VII. Electronic/Stage Music Index of Names and Subjects.
  • (source: Nielsen Book Data)9781138106505 20171121
Olivier Messiaen: A Research and Information Guide, Second Edition presents researchers with the most significant and helpful resources on Olivier Messiaen, one of the twentieth century's greatest composers. With multiple indices, this annotated bibliography will serve as an excellent tool for librarians, researchers, and scholars sorting through the massive amount of material in the field. The second edition has been fully revised and updated.
(source: Nielsen Book Data)9781138106505 20171121
Music Library
pages cm
Music Library
222 pages : illustrations ; 24 cm.
  • Introduction. 1. The Bass and the Early Mechanical Roots of Jazz (1915-1930) 2. The Bass, Technology and the Development of the Rhythm Section (1930-1945) 3. The Spoils of War and the Jazz Bass: Tape Recorders and Editing (1945-1960) 4. The Electrification of the Bass: Behold the Illegitimate Cousin (1954-1970) 5. The Jazz Bass, Multi-Track Recording Technology and Fusion (1970s) 6. Jaco Pastorius: The Electric Jazz Bass Attains Respectability (1976-1985) 7. The Young Lions and the Technological Backlash (1980-1990) 8. Pro Tools, Computers and the Bass (1990-2005) 9. The Future of the Jazz Bassist (2005-2012) Conclusion.
  • (source: Nielsen Book Data)9781138236561 20171009
Technology and the Stylistic Evolution of the Jazz Bass traces the stylistic evolution of jazz from the bass player's perspective. Historical works to date have tended to pursue a `top down' reading, one that emphasizes the influence of the treble instruments on the melodic and harmonic trajectory of jazz. This book augments that reading by examining the music's development from the bottom up. It re-contextualizes the bass and its role in the evolution of jazz (and by extension popular music in general) by situating it alongside emerging music technologies. The bass and its technological mediation are shown to have driven changes in jazz language, musical style, and even transformed creative hierarchies in ways that have been largely overlooked. The book's narrative is also informed by investigations into more commercial musical styles such as blues and rock, in order to assess how, and the degree to which, technological advances first deployed in these areas gradually became to be incorporated into general jazz praxis. Technology and the Jazz Bass reconciles technology more thoroughly into jazz historiography by detailing and evaluating those that are intrinsic to the instrument (including its eventual electrification) and those extrinsic to it (most notably evolving recording and digital technologies). The author illustrates how the implementation of these technologies has transformed the role of the bass in jazz, and with that, jazz music as an art form.
(source: Nielsen Book Data)9781138236561 20171009
Music Library
xvi, 236 pages : illustrations ; 24 cm
Music Library
xiii, 184 pages : illustrations ; 23 cm.
  • Preface Chapter 1: Overview Where Music Fits Into the Undergraduate Research Movement Why Undergraduate Research is Important Can Undergraduate Research Benefit the Student AND the Professor? Sample Senior Capstone Course How to Use this Text Chapter 2: Literature Reviews Finding Appropriate Sources Analyzing Existing Research Examples of Existing Literature Reviews Chapter 3: Choosing Topics and Appropriate Research Questions Refining the Topic Using Additional Mentors Will Success be Measurable? Chapter 4: Working with Human Subjects What is the Training and Why Do We Need It? The Immortal Life of Henrietta Lacks How Do We Get Trained? Chapter 5: Collecting Data Document Analysis Research Journals and Field Notes Surveys Interviews Chapter 6: Analyzing and Synthesizing Data Basic Qualitative Analysis Basic Quantitative Analysis Drawing Conclusions Chapter 7: Citing Sources Rationale Plagiarism APA as model Resources Chapter 8: Dissemination of Results Why Publish, and Where? How to Disseminate Your Work What Will You Gain From Presenting and/or Publishing? Chapter 9: Music Performance and Related Topics Performance as a Comprehensive Activity Justification of Performance as Research Case Studies and Sample Abstracts Chapter 10: Is Music Composition Original Research? What is the Process? Why call it Research? How to Document the Process and Why? Perspectives from Student Composers Sample Abstracts Submitted to Conferences Chapter 11: Interdisciplinary Ideas: The path less taken Why Two Different Disciplines? Great Stories of Discovery Examples of Interdisciplinary Projects Chapter 12: The Discovery of Knowledge in Music History Possible Topics Has It Been Done Before? Format of Different Projects with Examples Chapter 13: Music Theory Structural, Harmonic and Linear Analyses Contrapuntal Techniques Sample Qualitative and Quantitative Studies Chapter 14: Music Education Impacting Teaching and Learning Undergraduate Portfolios as Research Overview of Topics in Music Education Research Sample Projects in Several Topic Areas Chapter 15: Music Technology Software and Hardware Science of Sound Multi-media Sample Projects in Several Topic Areas Chapter 16: Music Therapy Music and Memory Physical, Mental and Emotional Healing Music and the Brain Sample Projects Chapter 17: Ethnomusicology, Culture and Popular Music Music Appreciation/Music Preference Music and Society Women in Music/Gender Issues Chapter 18: Philosophy and Psychology of music Why we Reflect and Think Deeply about Music How are Psychology and Philosophy Related? Are we Hardwired to Like Music? Sample Projects in Both Disciplines Chapter 19: Online Resources Links to Research Tools Links to More Sample Projects Links to Important Organizations.
  • (source: Nielsen Book Data)9780415787833 20171030
Undergraduate Research in Music: A Guide for Students supplies tools for scaffolding research skills, with examples of undergraduate research activities and case studies on projects in the various areas of music study. Undergraduate research has become a common degree requirement in some disciplines and is growing rapidly. Many undergraduate activities in music have components that could be combined into compelling undergraduate research projects, either in the required curriculum, as part of existing courses, or in capstone courses centered on undergraduate research. The book begins with an overview chapter, followed by the seven chapters on research skills, including literature reviews, choosing topics, formulating questions, citing sources, disseminating results, and working with data and human subjects. A wide variety of musical subdisciplines follow in Chapters 9-18, with sample project ideas from each, as well as undergraduate research conference abstracts. The final chapter is an annotated guide to online resources that students can access and readily operate. Each chapter opens with inspiring quotations, and wraps up with applicable discussion questions. Professors and students can use Undergraduate Research in Music: A Guide for Students as a text or a reference book in any course that has a significant opportunity for the creation of knowledge or art, within the discipline of music or in connecting music with other disciplines.
(source: Nielsen Book Data)9780415787833 20171030
Music Library
193 pages : illustrations ; 23 cm.
Music Library
Music score
1 score (27 pages) + 6 parts ; 31 cm.
Music Library