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xiv, 703 pages : music ; 27 cm
  • Part I: THE PRIMARY MATERIALS AND PROCEDURES. 1. Key, Scales, and Modes. 2. Intervals. 3. Rhythm and Meter. 4. Triads and Seventh Chords. 5. Introduction to Counterpoint. 6. Procedures of Four-Part Writing. Part II: I-V-I AND ITS ELABORATIONS. 7. I, V, and V7. 8. I6, V6, vii6. 9. Inversions of V7. 10. Leading to V: IV, ii, and ii6. 11. The Cadential 6/4. 12. vi and IV6. 13. Supertonic and Subdominant Seventh Chords. 14. Other Uses of IV, IV6, and vi. 15. V as a Key Area. 16. III and VII. Part III: 5/3, 6/3, AND 6/4 TECHNIQUES. 17. 5/3-Chord Techniques. 18. Diatonic Sequences. 19. 6/3-Chord Techniques. 20. 6/4-Chord Techniques. Part IV: ELEMENTS OF FIGURATION. 21. Melodic Figuration. 22. Rhythmic Figuration. Part V: DISSONANCE AND CHROMATICISM I. 23. Leading-Tone Seventh Chords. 24. Mixture. 25. Remaining Uses of Seventh Chords. 26. Applied V and VII. 27. Diatonic Modulation. Part VI: DISSONANCE AND CHROMATICISM II. 28. Seventh Chords with Added Dissonance. 29. The Phrygian II (Neapolitan). 30. Augmented Sixth Chords. 31. Other Chromatic Chords. 32. Chromatic Voice-Leading Techniques. 33. Chromaticism in Larger Contexts. Appendix I: Keyboard Progressions. Appendix II: Score Reduction. Appendix III: Roman Numerals and Registers-- Explanatory Tables and Charts. Index of Musical Examples. Subject Index.
  • (source: Nielsen Book Data)9781337560573 20180226
A clear and accessible volume spanning the entire theory course sequence, HARMONY AND VOICE LEADING, covers all basic concepts, including species counterpoint. Available with MindTap Music, which includes the ebook with audio examples, Guided Listening Exercises for many units--showing a step-by-step resolution of a unit exercise--and PDFs of the workbook exercises.
(source: Nielsen Book Data)9781337560573 20180226
Music Library
xiv, 529 pages : illustrations, music ; 26 cm
  • Preface A Note for Instructors A Student's Introduction Acknowledgments Preludes - Rudiments Prelude 1 - Notation of Sound Prelude 2 - Meter Prelude 3 - Scales and Key Signatures Prelude 4 - Intervals Prelude 5 - Triads Prelude 6 - Seventh Chords Part I - Melody Chapter 1 - Melodic Construction Chapter 2 - Major Key Functionality Chapter 3 - Minor Key Functionality Chapter 4 - Chromaticism in Melodies Part II - Species Counterpoint to Chorale Style Chapter 5 - Background for Species Chapter 6 - First Species in Two Voices Chapter 7 - Second and Third Species in Two Voices Chapter 8 - Fourth Species in Two Voices Chapter 9 - Fifth Species (Florid Counterpoint) in Two Voices Chapter 10 - Two-Voice Counterpoint Chapter 11 - Three Voices and Chords Chapter 12 - First Species in Three Voices Chapter 13 - Second and Third Species in Three Voices Chapter 14 - Fourth Species in Three Voices Chapter 15 - Fifth Species (Florid Counterpoint) in Three Voices Chapter 12-15 Redux Chapter 16 - Four Voice Counterpoint and Chorale Style Chapter 17 - Figured Bass Chapter 18 - Other Dissonances Chapter 19 - The Purpose of Chorale Style Part III - Diatonic Harmony to Form Chapter 20 - Roman Numerals and Harmonic Progressions Chapter 21 - Tonic and Dominant: The Fundamental Relationship Chapter 22 - Predominants: The Basic Progression Chapter 23 - Intensifying the Motion: Adding Dissonance 1.Sevenths 2.Cadential 6/4 Chapter 24 - Submediant Chapter 25 - Mediant Chapter 26 - Harmonic Rhythm Chapter 27 - Harmonizations Chapter 28 - Linear Chords Chapter 29 - Sequences Chapter 30 - Tonicization Chapter 31 - Modulation Chapter 32 - Phrase-level Analysis Chapter 33 - Small Forms Part IV - Color Chords and Bold Chromaticism Chapter 34 - Modal Mixture Chapter 35 - Neapolitan Chapter 36 - Augmented Sixth Chords Chapter 37 - Altered Dominants Chapter 38 - Enharmonic Reinterpretation Chapter 39 - Third Relations Part V - Popular Music Chapter 40 - Introduction to Popular Music Chapter 41 - General Stylistic Elements Chapter 42 - Sonorities from Jazz: Stable Sevenths, Extended Tertian Chords, and Added Note Harmonies Chapter 43 - Lead Sheet Notation Chapter 44 - Pop Progressions Following Classical Diatonic Functions Chapter 45 - Blues and the Retrogression Chapter 46 - Mediant and Ascending Thirds Chapter 47 - Supertonic, Linear Harmonic Motion, and Diatonic Summary Chapter 48 - Chromaticism from Classical Music Chapter 49 - Chromaticism from Jazz - Tritone Substitution Chapter 50 - Pop Chromaticism 1: L and â ­VII Chapter 51 - Pop Chromaticism 2: Quality Change Chapter 52 - Three Analyses Appendices Appendix A - Melodies for Study Appendix B - Cantus Firmi and Figured Basses for Exercises Appendix C - Church Modes Appendix D - Extended Tertian Harmony Glossary About the Author.
  • (source: Nielsen Book Data)9781538101230 20180403
Music Theory and Composition: A Practical Approach presents a pragmatic, accessible approach to music theory through an emphasis on melody and counterpoint. This focus explains the "why" of musical construction more clearly than the traditional approach of beginning with chords. By starting with a single melodic line and gradually adding voices in counterpoint, the book drills part-writing while simultaneously explaining functionality, first with scale degrees and then with harmony. The text has students learn musical techniques and progressively build on their functions and importance to create their own compositions. With short, digestible chapters, Music Theory and Composition clearly presents otherwise complicated ideas not as strict rules, but as artistic ideals, encouraging the interactive creation of new compositions as a tool for learning. The textbook is versatile and easily customizable, suiting -Different skill levels with species counterpoint providing a framework for the beginner while providing an interesting challenge for more experienced students -Different curricular schedules with complete exercises in two, three, and four voices, allowing for an optional skip from two voices to four -Different pedagogical approaches with species exercises encouraging students to consider harmonic choices and figured bass ensuring functional progressions Specific features of this text include: -complete curriculum for first-year theory courses -over 500 musical examples drawn from Common Practice Era compositions as well as more contemporary and popular pieces -workbook sections printed at the end of each chapter and available for download on companion website -focus on active composition throughout the text and workbook sections -conversational tone to encourage student engagement Designed for first-year college music theory courses, but accessible enough for the interested lay reader or high school student, the text offers a true balance of counterpoint and harmony.â .
(source: Nielsen Book Data)9781538101230 20180403
Music Library
xxxiv, 523 pages : illustrations, music ; 28 cm
  • 1. General Considerations and Prerequisites. 2. Basic Percussion Technique Through the Study of the Snare Drum. 3. Multiple Percussion. 4. Keyboard Percussion. 5. Timpani. 6. Bass Drum, Cymbals, and Accessories. 7. Percussion Instruments of the World. 8. Drum Set. 9. Marching Percussion. 10. Musical Interpretation of Percussion Parts. 11. Supplemental Playing Exercises. Appendix A--Orchestral Excerpts for Percussion and Discography of Percussion Music. Appendix B -Select Percussion Solo and Ensemble Music.
  • (source: Nielsen Book Data)9781337560719 20180226
Gain the knowledge and skills needed to learn--and teach--percussion with TEACHING PERCUSSION, Enhanced 3rd Edition! Providing a comprehensive introduction to every aspect of percussion education, technique and performance, this text and its accompanying videos guide you toward a greater musical awareness and improved technique. Illustrations, examples and exercises acquaint you with the special needs of all percussion instruments. And modern techniques and numerous exercises give you greater insight into music learning and performance. Available with MindTap Music, the digital study tool that empowers you to learn when, where and how you want--even on your mobile.
(source: Nielsen Book Data)9781337560719 20180226
Music Library
xv, 157 pages : illustrations, music ; 24 cm.
  • Table of Contents Series Editor's Foreword Preface Part I Introduction to the Musicalische Paradoxal-Discourse Werckmeister Biography Werckmeister Treatises Contents and Sources of the Musicalische Paradoxal-Discourse Part II Translation of the Musicalische Paradoxal-Discourse Title page and dedicatory comments Preface Index and contents of the chapters Chapter 1 An introduction to this work: the division of the musical proportions Chapter 2 A testimonial through mathematics and Holy Scriptures themselves, that the course of the heavens are harmonic Chapter 3 How the mortal body and soul are harmonically created, and furthermore, on the influence of the stars Chapter 4 Why humans find such pleasure in music, and whence composers and musicians arise Chapter 5 As the image of God, humans are to praise the Creator with music. Buildings and eras in scripture are also harmonic wonders of spiritual music. Chapter 6 On the abuse of music, which the authorities could abolish Chapter 7 How the inclination of a people determines its attitude towards music, and how the heathens were so scattered in their views on music Chapter 8 On the music of the early Christians, and the subsequent changes Chapter 9 The great difficulties arising out of solmization and the linear staff-system Chapter 10 Proof that the linear staff system is accompanied by great difficulties Chapter 11 Proof of how everything can be played or sung through the twelve note-names Chapter 12 Further proof, that the linear staff system has many more variants than the twelve note-names Chapter 13 How the temperaments can be examined, and on German tablature Chapter 14 How the chromatic system is to be applied to the tempered keyboard Chapter 15 On the disorder of hymn singing Chapter 16 On the simplicity of old organs Chapter 17 How the musical modes can be differentiated Chapter 18 On the nature and property of the harmonic numerals Chapter 19 On the hidden meaning of the numerals Chapter 20 On the properties of the harmonic numerals, when they themselves are subdivided Chapter 21 On the subdivision of the harmonic numerals Chapter 22 On the properties of the dissonant musical numerals Chapter 23 How the harmonic radical numerals are transformed into a tempered tuning, and of their hidden meaning Chapter 24 A comparison of incorrect tempered tuning with false Christianity Chapter 25 How the temperament can be perfect or imperfect, and how the same can be compared with Christianity Chapter 26 The Lord's Prayer in the musical proportional numerals Bibliography About the author.
  • (source: Nielsen Book Data)9781498566346 20180129
Andreas Werckmeister (1645 - 1706), a late seventeenth-century German Lutheran organist, composer, and music theorist, is the last great advocate and defender of the Great Tradition in music, with its assumptions that music is a divine gift to humanity, spiritually charged yet rationally accessible, the key being a complex of mathematical proportions which govern and are at the root of the entire universe and all which that embraces. Thus understood, music is the audible manifestation of the order of the universe, allowing glimpses, sound-bites of the very Creator of a well-tempered universe, and of our relationship to each other, our environment, and the divine powers which placed us here. This is the subject matter of the conversation which Werckmeister wishes to have with us, his readers, particularly in his last treatise, the Musicalische Paradoxal-Discourse. But he does not make it easy for today's readers. He assumes certain proficiencies from his readers, including detailed biblical knowledge, a fluency in Latin, and a familiarity with treatises and publications concerning music, theology, and a number of related disciplines. He writes in a rather archaic German, riddled with obscure references which require a thorough explanation. With its extensive commentary and translation of the treatise, this book seeks to bridge Werckmeister's world with that of the twenty-first century. Werckmeister wrote for novice and professional musicians alike, an author who wanted to consider with his readers the basic and existential questions and issues regarding the wondrous art of music, questions as relevant then as they are now.
(source: Nielsen Book Data)9781498566346 20180129
Music Library
vi, 290 pages : illustrations, music ; 29 cm
  • (source: Nielsen Book Data)9781138656994 20171201
Basic Conducting Techniques, Seventh Edition provides a clear and intelligible introduction to the art of conducting an ensemble. Over twenty chapters lay out the elements of conducting, followed by an extensive selection of musical examples from the classical repertoire. This seventh edition has been updated to include the full scores of key excerpts. A companion website now accompanies the book, providing additional resources including transposed scores, recordings of the excerpts, and video demonstrations of techniques. The new edition will feature: * Chapters rewritten and redesigned to better highlight important information and show connections between different sections. * Material on expressive conducting has been updated and expanded to a new full chapter. * Select full scores added in the Musical Excerpts section. * Excerpts with transpositions added to the text of each chapter, allowing easy access for class performance. * A new companion website, which will include the scores and transpositions for all the musical excerpts, audio files of excerpts, and new demonstration videos modelling specific techniques for each chapter. * Updated photographs.
(source: Nielsen Book Data)9781138656994 20171201
Music Library
1 online resource.
  • Part I. Philosophy Chapter 1 - Swimming with the Tide Chapter 2 - Human Learning and Behavior Chapter 3 - Why Do People Sing? Chapter 4 - The Role of the Conductor Chapter 5 - The Choral Conducting Phenomenon Chapter 6 - Toward a Super-Model Choral Conductor Part II. Practice Chapter 7 - The Conductors' Craft: Rehearsing Chapter 8 - Less Is More: Conducting Gesture Chapter 9 - Conducting and Vocal Development and Health Chapter 10 - Teaching Choral Conducting: Philosophy and Practice Chapter 11 - Last Movement.
  • (source: Nielsen Book Data)9781138682054 20171201
Choral Conducting: Philosophy and Practice, Second Edition is an updated resource for conductors and singers alike, a college-level text for students of choral conducting that considers conducting and singing from a holistic perspective. This singer-friendly and voice-healthy approach examines the rehearsal environment alongside its musical performance counterpart. The author explores what is involved in leading a choral group, examining theories of learning and human behavior to understand the impact choral conductors have on the act of singing. Divided into two main parts-Philosophy and Practice-the text begins with an historical look at conducting, exploring questions of why people sing and why they sing together, and ultimately presents the application of this philosophy, showing how a conductor's gestures and patterns can influence vocal outcomes. In addressing how singers learn and respond to choral music, as well as how conductors communicate with singers in rehearsal and performance, Choral Conducting turns an eye to learning how we learn and the role successful choral conductors play in motivating singers, developing healthy singing habits, and improving individual and ensemble vocal quality-all with the aims of enhancing musical understanding. New to this edition: Updated diagrams, photos, and musical examples Revised sample choral programs Increased consideration of the orchestral conductor A renewed focus on the intersections of learning, health and well-being, and the social perspective, supported by new and recent research.
(source: Nielsen Book Data)9781138682054 20171201
EBSCOhost Access limited to 1 user
1 online resource.
  • Chapter 1. Words Chapter 2. Composers and Singers Chapter 3. The Nature of the Singing Voice: A Composer's Perspective Chapter 4. Voice/Music/Text I Chapter 5. Voice/Music/Text II Chapter 6. The Singer and Actor-and Beyond Chapter 7. Vocal Examples Chapter 8. Singers on Composers Chapter 9. Conclusions and a Way Forward Chapter 10. Educational Activities.
  • (source: Nielsen Book Data)9781351998543 20180508
Composing for Voice: Exploring Voice, Language and Music, Second Edition, elucidates how language and music function together from the perspectives of composers, singers and actors, providing an understanding of the complex functions of the voice pedagogically, musicologically and dramatically. Composing for Voice examines the voice across a wide range of musical genres (including pop, jazz, folk, classical, opera and the musical) and explores the fusion of language and music that is unique to song. This second edition is enlarged to attract a wider readership amongst all music and theatre professionals and educators, whilst also engaging an international audience with the introduction of new co-author Maria Huesca. New to the second edition: A review of the history of singing An overview of the development of melisma A chapter to help performers understand each other, as singers and actors often receive disparate educations Case studies and qualitative research around song, lyric and meaning A discussion of the synthetic voice An introduction to the concept of embodied composition Interviews with composers and singers Summaries of various vocal styles A website with links to performances discussed, as well as related workshops: www.composingforvoice.com Composing for Voice: Exploring Voice, Language and Music, Second Edition, articulates possibilities for the practical exploration of language, music and voice by composers, singers and actors.
(source: Nielsen Book Data)9781351998543 20180508
EBSCOhost Access limited to 1 user
1 online resource : illustrations (black and white)
This work provides a foundational understanding of quantitative inquiry methods suitable for music education research, updating and expanding the tools that music researchers have at their disposal for conceptualizing and analyzing data pertaining to music-related phenomena.

9. Discovering music [2018]

xxxvi, 611 pages : illustrations (chiefly color) ; 26 cm
Music Library
xx, 190 pages : illustrations ; 23 cm
  • Chapter 1 A Context for Expressive Conducting: Lessons from Drawing and Tai Chi Chapter 2 The Conductor's Body Chapter 3 Moving with Availability Chapter 4 Performance Theory and Technique: Acting and Conducting Chapter 5 The Body Is Your Instrument: Maximizing Expression and Moving Weight Chapter 6 The Performance Sequence Chapter 7 Coaching Notes Chapter 8 Availability Exercises Chapter 9 A Language for Expressive Conducting.
  • (source: Nielsen Book Data)9781138636644 20171127
Expressive Conducting: Movement and Performance Theory for Conductors applies the insight of movement and performance theory to the practice of conducting, offering a ground-breaking new way of learning to conduct. Where traditional conducting pedagogies often place emphasis on training parts of the body in isolation, Expressive Conducting teaches conductors to understand their gestures as part of an interconnected system that incorporates the whole body. Rather than simply memorizing gestures, this book enables student and professional conductors to develop a conducting technique that is centered around expressing the themes of the music. Drawing parallels to the worlds of acting and dance, this text treats the body as the conductor's instrument. Coaching notes derived from years of conducting experience offer readers approachable methods for eliminating communication barriers-both conscious and subconscious-to encourage optimal performance, highlighting breathing techniques, arm exercises, and the significance of weight distribution. Unlike other conducting studies, this text understands that conducting resonates throughout the entire body and is not conveyed by the hands or baton alone. With an exhaustive consideration of the conductor's body and movements, featuring over 50 original illustrations, Expressive Conducting presents strategies for improving one's conducting skills in rehearsal and performance. Jerald Schwiebert and Dustin Barr develop a practical language for expressive conducting, suitable for conducting students, instructors, and professionals alike.
(source: Nielsen Book Data)9781138636644 20171127
Music Library
135 pages : illustrations, music ; 21 cm.
  • Eine Formenlehre
  • Kleinste musikalische Bausteine : Motiv und Modell
  • Melodie und Thema
  • Analyse : A. Webern : Thema der Variationen Op. 30
  • Die kleine Komposition : homophone Formen
  • Analyse : L. van Beethoven : 2. Satz der "Sonate pathetique"
  • Polyphone Formen
  • Analyse : J. S. Bach : Invention C-Dur
  • Die Fuge
  • Analyse : J. S. Bach : Erste Fuge aus "Die Kunst der Fuge"
  • Charakteristische Teile grösserer Formen
  • Der Sonatenhauptsatz
  • Analyse : L. van Beethoven : 1. Satz der 8. Sinfonie, F-Dur
  • Grosse Formen : Ouvertüre, Variation, Rondo
  • Analyse : D. Schostakowitsch : Letzter Satz der 9. Sinfonie
  • Programm-Musik
  • Analyse : R. Strauss : "Till Eulenspiegel"
  • Vokalmusik
  • Der Zyklus
  • Analyse : W. A. Mozart : 1. Akt aus "Die Hochzeit des Figaro"
  • Die Messe
  • Der Text des Credo
  • Literaturverzeichnis.
Music Library
xii, 212 pages : illustrations, music ; 25 cm
  • Introduction Bjoern Heile, with Eva Moreda Rodriguez 1. Should There Be a 21st century `Complete Kapellmeister'? The Skills, Content and Purposes of a University Music Degree John Butt 2. The Learning Community, a Quodlibet Martin Parker-Dixon 3. Integrative Music History: Rethinking Music since 1900 Bjoern Heile 4. The Many Voices of `Art Song' David Code 5. The Music Industries: Theory, Practice and Vocations - a Polemical Intervention Martin Cloonan and John Williamson 6. Writing about Music in the 21st Century Eva Moreda Rodriguez 7. Assessing Making and Doing Nick Fells 8. The Teaching of Creative Practice within Higher Music Education: Guerrilla Learning Objectives (GLOs) and the Importance of Negotiation Louise Harris and David McGuinness 9. On Teaching Composition: Why it Can Be Taught and Why that Matters Bill Sweeney 10. A Reflective Dialogue on Teaching Composition Drew Hammond and Jane Stanley.
  • (source: Nielsen Book Data)9781472467324 20180129
In this book, the contributors reconsider the fundamentals of Music as a university discipline by engaging with the questions: What should university study of music consist of? Are there any aspects, repertoires, pieces, composers and musicians that we want all students to know about? Are there any skills that we expect them to be able to master? How can we guarantee the relevance, rigour and cohesiveness of our curriculum? What is specific to higher education in music and what does it mean now and for the future? The book addresses many of the challenges students and teachers face in current higher education; indeed, the majority of today's music students undoubtedly encounter a greater diversity of musical traditions and critical approaches to their study as well as a wider set of skills than their forebears. Welcome as these developments may be, they pose some risks too: more material cannot be added to the curriculum without either sacrificing depth for breadth or making much of it optional. The former provides students with a superficial and deceptive familiarity with a wide range of subject matter, but without the analytical skills and intellectual discipline required to truly master any of it. The latter easily results in a fragmentation of knowledge and skills, without a realistic opportunity for students to draw meaningful connections and arrive at a synthesis. The authors, Music academics from the University of Glasgow, provide case studies from their own extensive experience, which are complemented by an Afterword from Nicholas Cook, 1684 Professor of Music at the University of Cambridge. Together, they examine what students can and should learn about and from music and what skills and knowledge music graduates could or should possess in order to operate successfully in professional and public life. Coupled with these considerations are reflections on music's social function and universities' role in public life, concluding with the conviction that a university education in music is more than a personal investment in one's future; it contributes to the public good.
(source: Nielsen Book Data)9781472467324 20180129
Music Library
1 online resource (xxxii, 397 pages)
  • Part 1: Basics 1. Music Fundamentals 2. Jazz Rhythms 3. Harmonic Function 4. Four-Part Chords 5. Five-Part Chords 6. The II-V-I Progression 7. Modes 8. Chord-Scale Theory 9. The Blues 10. Improvisation Part 2: Intermediate 11. Voicing Formations 12. Keyboard and Jazz Chorale Textures 13. Idiomatic Jazz Progressions 14. Bebop 15. Bebop Blues 16. The Confirmation Changes 17. The Rhythm Changes 18. Pentatonics, Hexatonics, Octatonics 19. The Tristano Style of Improvisation Part 3: Advanced 20. Analyzing Jazz Lead Sheets 21. Phrase Models 22. Song Forms 23. Reharmonization Techniques 24. Post-Tonal Jazz: Atonality 25. Set Classes in Jazz 26. Twelve-Tone Techniques 27. Stylistic Crossovers: Developing a New Jazz Repertory.
  • (source: Nielsen Book Data)9781138235106 20171218
Jazz Theory: From Basic to Advanced Study, Second Edition, is a comprehensive textbook for those with no previous study in jazz, as well as those in advanced theory courses. Written with the goal to bridge theory and practice, it provides a strong theoretical foundation from music fundamentals to post-tonal theory, while integrating ear training, keyboard skills, and improvisation. It hosts "play-along" audio tracks on a Companion Website, including a workbook, ear-training exercises, and an audio compilation of the musical examples featured in the book. Jazz Theory is organized into three parts: Basics, Intermediate, and Advanced. This approach allows for success in a one-semester curriculum or with subsequent terms. If students sense that theory can facilitate their improvisational skills or can help them develop their ears, they become more engaged in the learning process. The overall pedagogical structure accomplishes precisely that in an original, creative-and above all, musical-manner. KEY FEATURES include 390 musical examples, ranging from original lead sheets of standard tunes, jazz instrumentals, transcriptions, and original compositions, to fully realized harmonic progressions, sample solos, and re-harmonized tunes. The completely revamped Companion Website hosts: 46 "Play Along Sessions" audio tracks, offering experiences close to real-time performance scenarios. Over 1,000 (audio and written) exercises covering ear training, rhythm, notation, analysis, improvisation, composition, functional keyboard, and others.ã Recordings of all 390 musical examples from the textbook. Links: Guide to Making Transcriptions, List of Solos to Transcribe, Selected Discography, Classification of Standard Tunes, and more. Lists of well-known standard tunes, including a comprehensive list of 999 Standard Tunes - Composers and Lyricists. NEW TO THE SECOND EDITION are instructors' tools with answer keys to written and ear-training exercises, 380 rhythmic calisthenics featuring exercises from the swing, bebop, and Latin rhythmic traditions, a new improvisation section, a set of 140 Comprehensive Keyboard exercises, plus an expanded ear-training section with 125 melodic, 50 rhythmic dictations, and 170 harmonic dictations, plus 240 written exercises, 25 composition assignments, and 110 singing exercises. Companion website coming soon! Until then, please visit the website for the first edition: http://www.routledgetextbooks.com/textbooks/9780415537612/.
(source: Nielsen Book Data)9781138235106 20171218
EBSCOhost Access limited to 1 user

14. Leading musically [2018]

1 online resource.
  • 1. The muse within Part I: Enactment of musical leadership 2. The choral conductor role 3. Situational-relational mastery 4. Existential foundation 5. The intersubjective space of leading and following Part II: Developing artful leadership 6. Expanding the leadership repertoire 7. Music in team development 8. The choir as the conductor's mirror Part III: Agency and surrender 9. Authority and musical leadership 10. The locus of charisma 11. Leading musically: power and senses in concert.
  • (source: Nielsen Book Data)9781138058781 20180604
Musical leadership is associated with a specific profession-the conductor-as well as being a colloquial metaphor for human communication and cooperation at its best. This book examines what musical leadership is, by delving into the choral conductor role, what goes on in the music-making moment and what it takes to do it well. One of the unique features of the musical ensemble is the simultaneity of collective discipline and individual expression. Music is therefore a potent laboratory for understanding the leadership act in the space between leader and team. The musical experience is used to shed light on leading and following more broadly, by linking it to themes such as authority, control, empowerment, intersubjectivity, sensemaking and charisma. Jansson develops the argument that musical leadership involves the combination of strong power and deep sensitivity, a blend that might be equally valid in other leadership domains. Aesthetic knowledge and musical perception therefore offer untapped potential for leadership and organisational development outside the art domain.
(source: Nielsen Book Data)9781138058781 20180604

15. 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
ix, 111 pages : illustrations ; 26 cm
  • Introduction: Machine learning and music generation Jose M. Inesta, Darrell Conklin, and Rafael Ramirez 1. Chord sequence generation with semiotic patterns Darrell Conklin 2. A machine learning approach to ornamentation modeling and synthesis in jazz guitar Sergio Giraldo and Rafael Ramirez 3. Analysis of analysis: Using machine learning to evaluate the importance of music parameters for Schenkerian analysis Phillip B. Kirlin and Jason Yust 4. Mapping between dynamic markings and performed loudness: a machine learning approach Katerina Kosta, Rafael Ramirez, Oscar F. Bandtlow, and Elaine Chew 5. Data-based melody generation through multi-objective evolutionary computation Pedro J. Ponce de Leon, Jose M. Inesta, Jorge Calvo-Zaragoza, and David Rizo.
  • (source: Nielsen Book Data)9780815377207 20180604
Computational approaches to music composition and style imitation have engaged musicians, music scholars, and computer scientists since the early days of computing. Music generation research has generally employed one of two strategies: knowledge-based methods that model style through explicitly formalized rules, and data mining methods that apply machine learning to induce statistical models of musical style. The five chapters in this book illustrate the range of tasks and design choices in current music generation research applying machine learning techniques and highlighting recurring research issues such as training data, music representation, candidate generation, and evaluation. The contributions focus on different aspects of modeling and generating music, including melody, chord sequences, ornamentation, and dynamics. Models are induced from audio data or symbolic data. This book was originally published as a special issue of the Journal of Mathematics and Music.
(source: Nielsen Book Data)9780815377207 20180604
Music Library
1 online resource.
  • (source: Nielsen Book Data)9781138714199 20180604
Materials and Techniques of Post-Tonal Music, Fifth Edition provides the most comprehensive introduction to post-tonal music and its analysis available. Covering music from the end of the nineteenth century through the beginning of the twenty-first, it offers students a clear guide to understanding the diverse and innovative compositional strategies that emerged in the post-tonal era, from Impressionism to computer music. This updated fifth edition features: chapters revised throughout to include new examples from recent music and insights from the latest scholarship; the introduction of several new concepts and topics, including parsimonius voice-leading, scalar transformations, the New Complexity, and set theory in less chromatic contexts; expanded discussions of spectralism and electronic music; timelines in each chapter, grounding the music discussed in its chronological context; a companion website that provides students with links to recordings of musical examples discussed in the text and provides instructors with an instructor's manual that covers all of the exercises in each chapter. Offering accessible explanations of complex concepts, Materials and Techniques of Post-Tonal Music, Fifth Edition is an essential text for all students of post-tonal music theory.
(source: Nielsen Book Data)9781138714199 20180604
ProQuest Ebook Central Access limited to 1 user
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, 340 pages : illustrations, music ; 25 cm
The music theory of composer Paul Hindemith (1895-1963), originally entitled Unterweisung im Tonsatz, is well known, yet poorly understood. This book provides a critical engagement with Hindemith's Unterweisung, particularly concerning its relationship to existing acoustic music theories. By examining different Unterweisung-versions, it charts the evolution of Hindemith's use of language and mode of communication, including his reference to polytonality, atonality, Fuxian species counterpoint, and avoidance of existing music for his examples. It also elaborates the source material on which the theory is based, using a reconstruction of Hindemith's personal library. Central to the book is the relationship of Hindemith's Unterweisung to his compositional practice. Hindemith's fascination with the challenges of music theory falls into a middle period in his oeuvre, enabling profitable comparisons with his compositional practice both before and after his theory-making. The book also comprises a detailed discussion of Hindemith's theoretical and compositional legacy. Beginning with an overview of existing polemics, it draws together unpublished materials from the Yale Hindemith Institute with reminiscences from former students to construct an Unterweisung reception history. The book shows that, while many areas of Hindemith's theory have been overtaken by recent interests in music theory that relate to cognition and geometry, his influence has been deeply felt. SIMON DESBRUSLAIS is Lecturer in Music and Director of Performance at the University of Hull and an internationally acclaimed trumpet soloist.
(source: Nielsen Book Data)9781783272105 20180423
Music Library
1 online resource.
  • Table of Contents Chapter 1: Introduction: Why this Book? Introduction: An Ear Opening Experience Old School Aesthetics When Sound Gets Divorced from Music Who Should Read this Book Overview of the Book Bibliography Ten Questions Things to Share Notes Part I: The Nature of Time Chapter 2: Let There Be a Big Bang Introduction: If a Tree Falls in the Universe... The Nature of Light and Sound The Evolution of Hearing and Speaking The Evolution of the Brain Leads to the Ability to Express Emotions Eyes and Ears, Space and Time Ten Questions Things to Share Notes Bibliography Chapter 3: The Great Mystery of Time Introduction: Babbling in Babelsberg The Mammalian Invasion We Are Such Stuff as Dreams Are Made of... The Relativity of Time Ten Questions Things to Share Notes Bibliography Part II: Music = Time Manipulated Chapter 4: What Is Music? Introduction: What's in a Name? Music Is Organized Sound Narrowing Our Definition of Music Music Is Visual as Well as Audible The Elements of Design Energy Characteristics Temporal Characteristics Spatial Characteristics Complex Elements that Combine Energy in Time and Space The Importance of These Elements of Music A Proposed Definition of Music Ten Questions Things to Share Notes Bibliography Chapter 5: Primate Numbers Introduction: Who's on First? Music, Language and Mimesis: The Really Early Years Bipedal Primates Ten Questions Things to Share Notes Bibliography Part III: Song = Music + Idea Chapter 6: Campfire Songs (Rhythm and Entrainment) Introduction: Welcome Homo One Giant Leap for Mankind Early Homo Homo Erectus Running, Tempo, Pulse, Tactus and Entrainment Tempo, Pacing, Tactus, Entrainment and Theatre Composition When Music Meets Mimesis Conclusion Ten Questions Things to Share Notes Bibliography Chapter 7: Music and Language Introduction: "All Theatre Starts with a Script" Brain Gains Fantastic Voyage Conclusion: Song = Music + Idea Ten Questions Things to Share Notes Bibliography Chapter 8: Consonance and Dissonance (The Evolution of Line) Introduction: The Roots of Who We Become The Evolution of Line Consonance and Dissonance What is Consonance and Dissonance? Subcortical Consonance and Dissonance Perception Cortical Consonance and Dissonance Perception Consonance and Dissonance in Theatre Line/Melody Harmony Conclusion: Consonance and Dissonance and Time Ten Questions Things to Share Notes Bibliography Part IV: Theatre = Song + Mimesis Chapter 9: Ritual, Arousal, Reward, Ecstasy Introduction: From High Mass to Ecstasy The Development of Ritual, Shamanism, and (Altered States of Consciousness) The Neuroscience of Arousal and Reward in the Altered States of Consciousness of Shamanism and Theatre Introduction: Dreams, Altered States of Consciousness and Theatre The Basic Neuroscience of Arousal The Effect of Music on Physiological Systems The Effect of Music on Psychological Systems Cognitive Models for Music in Theatre Robert Thayer's Model of Psychological Moods Berlyne's Theory of Arousal in Aesthetics and Psychobiology Conclusion: Experiments in Ecstasy Ten Questions Things to Share Notes Bibliography Chapter 10: Music, Mimesis, Memory Introduction: Traveling Backwards in Time The New Stone Age Memory Introduction Sensory Memory Long Auditory Store/Short Term Memory/Working Memory Long-Term Memory Creating and Retrieving Long-Term Memories Implicit Memory Explicit Episodic Memory Involuntary Explicit Episodic Memory Autobiographical Memory Conclusion: The Origins of Theatre and the Problems of the Oral Tradition Ten Questions Things to Share Notes Bibliography Chapter 11: The Bronze Age and the Invention of Writing Introduction: Theatre Becomes Drama The Bronze Age The Emergence of Written Language The Transition from Oral Tradition to Recorded History Conclusion: Lost in Translation? Ten Questions Things to Share Notes Bibliography Chapter 12: Conclusion: Evolution and Greek Theatre Introduction: A Case Study The Origins of Greek Music: Music = Time Manipulated The Development of Greek Song: Song = Music + Idea Music as Math Made Audible: The Greeks Revisit Consonance and Dissonance The First Autocratic Theatre: Theatre = Song + Mimesis Plato and His World Aristotle's Theatre Conclusion of the Conclusion Eleven Questions, Part I Eleven Questions, Part II Things to Share Notes Bibliography.
  • (source: Nielsen Book Data)9781138295469 20180430
Music as a Chariot offers a multidisciplinary perspective whose primary proposition is that theatre is a type of music. Understanding how music enables the theatre experience helps to shape our entire approach to the performing arts. Beginning with a discussion on the origin and nature of time, the author takes us on an evolutionary journey to discover how music, language and mimesis co-evolved, eventually coming together to produce the complex way we experience theatre. The book integrates the evolutionary neuroscience of the human brain into this journey, offering practical implications and applications for the auditory expression of this concept-namely the fundamental techniques artists use to create sound scores for theatre. With contributions from directors, playwrights, actors and designers, Music as a Chariot explores the use of music to carry ideas into the human soul-a concept that extends beyond the theatrical to include film, video gaming, dance, or anywhere art is manipulated in time.
(source: Nielsen Book Data)9781138295469 20180430