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Book
xv, 157 pages : illustrations, music ; 24 cm.
Music Library
Book
vi, 290 pages : illustrations, music ; 29 cm
  • PART ONE Conducting Technique Chapter 1 THE BATON, PREPARATION, DOWNBEAT, AND RELEASE Chapter 2 BEAT PATTERNS AND PREPARATIONS IN TEMPO, DYNAMIC, AND BASIC STYLE Chapter 3 PREPARATIONS AND RELEASES FOR ALL COUNTS Chapter 4 FRACTIONAL BEAT PREPARATIONS Chapter 5 DIVIDED METERS Chapter 6 ASYMMETRICAL AND CHANGING METERS Chapter 7 THE FERMATA Chapter 8 THE CUE Chapter 9 CONDUCTING MUSICAL STYLES Chapter 10 EXPRESSIVE CONDUCTING AND THE LEFT HAND Chapter 11 TEMPO CHANGES AND ACCOMPANYING PART TWO Score Preparation and Rehearsal Technique Chapter 12 ANALYSIS AND SCORE PREPARATION Chapter 13 THE INSTRUMENTAL REHEARSAL Chapter 14 THE CHORAL REHEARSAL PART THREE Musical Excerpts Chapter 15 THE BATON, PREPARATION, DOWNBEAT, AND RELEASE Chapter 16 BEAT PATTERNS AND PREPARATIONS IN TEMPO, DYNAMIC, AND BASIC STYLE Chapter 17 PREPARATIONS AND RELEASES FOR ALL COUNTS Chapter 18 FRACTIONAL BEAT PREPARATIONS Chapter 19 DIVIDED METERS Chapter 20 ASYMMETRICAL AND CHANGING METERS Chapter 21 THE FERMATA Chapter 22 THE CUE Chapter 23 CONDUCTING MUSICAL STYLES Chapter 24 EXPRESSIVE CONDUCTING AND THE LEFT HAND Chapter 25 TEMPO CHANGES AND ACCOMPANYING TECHNICAL MASTERY APPENDICES Appendix A COMPETENCIES FOR THE BEGINNING CONDUCTING CLASS Appendix B STUDENT EVALUATION Appendix C CHART OF TRANSPOSITIONS AND CLEFS Appendix D FULL SCORE INSTRUMENTATION AND FOREIGN EQUIVALENTS Appendix E COUNTING DRILLS FOR UNEVEN METERS Appendix F MUSICAL STYLE CHART Appendix G GLOSSARY Appendix H MODEL VIDEO EXCERPT CHART.
  • (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
Book
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
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4. Discovering music [2018]

Book
xxxvi, 611 pages : illustrations (chiefly color) ; 26 cm
Music Library
Book
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
Book
xii, 212 pages : illustrations, music ; 25 cm
Music Library
Book
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

8. Listen to this [2018]

Book
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
Book
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
Book
1 online resource.
  • Module 1 - Basics of Pitch Module 2 - Basics of Rhythm Module 3 - Basics of Rhythm: Extending Duration, Anacrusis, Rests Module 4 - Accidentals Module 5 - Rhythm: Simple Meter Expanded Module 6 - Major Scale Module 7 - Major Scale Key Signatures Module 8 - Rhythm: Compound Meter Module 9 - Minor Scale Module 10 - Intervals Module 11 - Traids Module 12 - Rhythm: Compound Meter Expanded Module 13 - Triads: Roman Numerals Module 14 - Inversions of Triads Module 15 - Seventh Chords Module 16 - Form in Music Appendix 1 - Musical Terms Appendix 2 - Acoustics Appendix 3 - C Clefs (Alto and Tenor) Appendix 4 - Modes Appendix 5 - Other Seventh Chords (Major, Minor, Half Diminished, Diminished) Appendix 6 - Basic Guitar Chords.
  • (source: Nielsen Book Data)9781138654402 20171023
Music Fundamentals: A Balanced Approach, Third Edition combines a textbook and workbook with an interactive website for those who want to learn the basics of reading music. Intended for students with little or no prior knowledge of music theory, it offers a patient approach to understanding and mastering the building blocks of musical practice and structure. Musical examples range from Elvis Presley songs to Filipino ballads to Beethoven symphonies, offering a balanced mixture of global, classical, and popular music. The new edition includes: * Additional vocabulary features in most modules * The addition of guitar tablature * A revised text design that more clearly designates the different types of exercises and makes the Workbook pages easier to write on * An improved companion website with added mobile functionality The author's balanced approach to beginning music theory engages student interest while demonstrating how music theory concepts apply not only to the Western classical canon but to popular and world music as well. With the beginner student in mind, Music Fundamentals: A Balanced Approach, Third Edition is a comprehensive text for understanding the foundations of music theory.
(source: Nielsen Book Data)9781138654402 20171023
EBSCOhost Access limited to 1 user
Book
xvii, 295 pages : illustrations ; 24 cm.
Music Library
Book
ix, 235 pages : music ; 26 cm
Music Library
Book
x, 177 pages : illustrations ; 25 cm.
  • Art, culture and creation in the university : social issues
  • University training in research-creation
  • Definition and scope of research-creation.
Music Library
Book
xi, 274 pages : music ; 29 cm
Tonal Analysis: A Schenkerian Perspective features bite-sized chapters that help students recognize Schenkerian concepts in music and show them in analyses. An innovative new analysis pedagogy guides students through the process of producing their own Schenkerian graphs.
(source: Nielsen Book Data)9780393283792 20171218
Music Library
Music score
1 score (2 volumes (15 unnumbered pages, 347 pages)) ; 30 cm + 1 online resource (pages 357-415). Digital: text file; PDF.
  • Volume 1. Partimenti nos. 1-100
  • Volume 2. Partimenti nos. 101-189
  • Volume 3. Critical commentary.
Music Library
Book
xvii, 380 pages : illustrations, music ; 25 cm
  • Table of Contents Foreword Chapter 1 - Basic Concepts for the MIDI Composer, Arranger and Orchestrator Chapter 2 - Writing and Sequencing for Rhythm Section Chapter 3 - Writing and Sequencing for the String Orchestra Chapter 4 - Writing and Sequencing for the Woodwind Section Chapter 5 - Writing and sequencing for the Brass Section Chapter 6 - Writing and sequencing for Vocal Ensembles Chapter 7 - Writing and sequencing for Vocal Ensembles and Other Final Considerations Appendix A - Music Scores and examples.
  • (source: Nielsen Book Data)9781138692756 20170227
Acoustic and MIDI Orchestration for the Contemporary Composer, Second Edition provides effective explanations and illustrations to teach you how to integrate traditional approaches to orchestration with the use of the modern sequencing techniques and tools available to today's composer. By covering both approaches, Pejrolo and DeRosa offer a comprehensive and multifaceted learning experience that will develop your orchestration and sequencing skills and enhance your final productions. A leading manual on its subject, the second edition allows experienced composers and producers to be exposed to sequencing techniques applied to traditional writing and arranging styles. The book continues to provide a comprehensive and solid learning experience and has been fully revised to include the latest tools and techniques. The new edition has been updated to include: * A new chapter on cover writing and sequencing for vocal ensembles * Coverage of writing for different ensemble sizes * A new final chapter on writing and production techniques for mixed contemporary ensembles. * All new techniques, tools, and sound libraries available to today's composer. A companion website (www.routledge.com/cw/pejrolo) includes a wide selection of audio examples, templates, sounds, and videos showcasing operational processes, allows you the opportunity to listen to the techniques discussed within the book.
(source: Nielsen Book Data)9781138692756 20170227
Music Library
Book
1 online resource : illustrations (black and white)
This comprehensive study offers practical strategies for overcoming the unique challenges of practicing and performing as a small-handed pianist. Informed by established scientific and pedagogical principles and illustrated by hundreds of examples, it is an incomparable resource for pianists and teachers.
(source: Nielsen Book Data)9780190616847 20171204
Book
xxi, 729 pages : illustrations ; 24 cm
Designed for music technology students, enthusiasts, and professionals, Audio Processes: Musical Analysis, Modification, Synthesis, and Control describes the practical design of audio processes, with a step-by-step approach from basic concepts all the way to sophisticated effects and synthesizers. The themes of analysis, modification, synthesis, and control are covered in an accessible manner and without requiring extensive mathematical skills. The order of material aids the progressive accumulation of understanding, but topics are sufficiently contained that those with prior experience can read individual chapters directly. Extensively supported with block diagrams, algorithms, and audio plots, the ideas and designs are applicable to a wide variety of contexts. The presentation style enables readers to create their own implementations, whatever their preferred programming language or environment. The designs described are practical and extensible, providing a platform for the creation of professional quality results for many different audio applications. There is an accompanying website (www.routledge.com/cw/creasey), which provides further material and examples, to support the book and aid in process development. This book includes: * A comprehensive range of audio processes, both popular and less well known, extensively supported with block diagrams and other easily understood visual forms. * Detailed descriptions suitable for readers who are new to the subject, and ideas to inspire those with more experience. * Designs for a wide range of audio contexts that are easily implemented in visual dataflow environments, as well as conventional programming languages.
(source: Nielsen Book Data)9781138100138 20170206
Music Library
Book
97 pages : illustrations, charts ; 22 cm.
  • Avis aux amateurs -- Ecouter, réécouter, jouer -- Le corpus du consensus -- Des questions demeurent -- Un autre regard sur les Variations Goldberg -- Ce que la musique dit d'elle-même -- Des formes d'une grande forme -- Programme pour un concert de clavecin -- Les Variations Goldberg : une musique à programme ?
"C'est un regard nouveau qui est porté sur les Variations Goldberg, l'oeuvre de Bach qui, depuis Gould, fascine nos contemporains. Les lectures et interprétations qu'on en fait se multiplient, mais n'épuisent pas les questions qu'elle soulève. Sans jamais s'écarter de "ce que la musique dit d'elle-même", partant d'une observation jamais faite, l'essai apporte une lumière originale sur une manière de secret et fait apparaitre une "grande forme" anticipatrice de modernité. Avec les Goldbeig, Bach fait aussi en quelque sorte sa tournée d'adieux de concertiste, offrant à sa postérité la plus magnifique célébration du clavecin. Surprenant, argumenté, en dialogue constant avec les biographes, les musicologues et les interprètes, l'essai s'adresse aux mélomanes autant qu'aux musiciens, aux "amateurs" comme aux "connaisseurs". Depuis sa formation (piano, orgue) auprès de Maurice Linglin et de Jeanne Joulain, Patrick Calais a porté un intérêt constant à l'oeuvre d'orgue de Jean-Sébastien Bach. C'est cependant aux Variations Goldberg qu'il a consacré pas loin de quatre années, au tournant du siècle, et auquel il revient avec l'essai."--Page 4 of cover.
Music Library
Book
1 online resource.
  • Cover; The Band Teacher's Percussion Guide; Copyright; Dedication; Contents; Introduction; Acknowledgments; About the Companion Website; Part 1: Getting Organized; 1.1 Selecting Your Percussionists; 1.2 Planning Your Percussion Program; 1.3. Challenging the Beginning Percussionist; Part 2: The Snare Drum; 2.1 Introduction: The Snare Drum; 2.2 Holding the Sticks; 2.3 The Relaxed Stroke; 2.4 Working with the Rebound; 2.5 Lifts and Levels; 2.6 The Rudiments: Flams, Paradiddles, Drags, and Four-​Stroke Ruffs; 2.7 Sticking; 2.8 Snare Drum Rolls; 2.9 Evaluating Snare Drum Performance
  • Part 3: The Drum Set3.1 Introduction: The Drum Set; 3.2 Drum Set Techniques; 3.3 Jazz Drumming; 3.4 Latin Drumming; 3.5 Rock Drumming; 3.6 Solos and Fills; Part 4: The Mallet Instruments; 4.1 Introduction: The Mallet Instruments; 4.2 Holding the Mallets: The Two-​ and Four-​Mallet Grips; 4.3 Playing Mallet Instruments; 4.4 Sight-​Reading on Mallet Instruments; 4.5 Evaluating Mallet Instrument Performance; Part 5: The Timpani; 5.1 Introduction: The Timpani; 5.2 Playing Timpani; Part 6: Bass Drum; Auxiliary Percussion; 6.1 Introduction: Bass Drum; Auxiliary Percussion
  • 6.2 The Concert Bass Drum6.3 Suspended and Crash Cymbals; 6.4 The Tambourine; 6.5 The Triangle and Sleigh Bells; Part 7: Latin Percussion; 7.1 Introduction: Latin Percussion; 7.2 The Conga Drum; 7.3 Other Latin Percussion; Part 8: Instrument Storage and Maintenance; 8.1 Storing the Instruments; 8.2 Replacing and Tuning Drum Heads; 8.3 An Overview of Percussion Inventory and Instrument Maintenance; Appendix A: Percussion Inventory and Repair Checklist; Appendix B: Book Recommendations; Index
The Band Teacher's Percussion Guide: Insights into Playing and Teaching Percussion is an essential practical resource for instrumental music teachers and band directors. Author Stewart Hoffman, a Juilliard-trained percussionist, performer, private instructor, and former classroom teacher, offers comprehensive yet accessible and clearly written handbook to help set teachers and students alike firmly on the road to classroom success. In this book, he offers a thorough foundation in snare drum, timpani, keyboard percussion, drum set, and auxiliary and Latin percussion techniques. More than this, he provides practical advice on curriculum and methodology, packing page after page with teaching tips developed through the decades of experience. For educators and band directors who want to learn more about percussion instruments and playing techniques, refine their percussion-teaching skills, or set the classroom stage for a more effective and rewarding teaching experience, The Band Teacher's Percussion Guide: Insights into Playing and Teaching Percussion will be a valued resource for discovering: -keys to effective and relevant evaluation -how to plan a percussion program, organize a band room and select percussionists -lists of recommended instruments and mallets, and guidelines for instrument maintenance and repair -"lifts and levels", a system that leads students to greater control and a more relaxed snare drum technique dozens of practical exercises for the development of techniques on all the main and accessory percussion instruments -easily referenced lists summarizing important points to focus on when practicing -guidelines for teaching jazz, Latin and rock drumset -numerous suggestions and tips to help teachers bring out the best in their students' playing.
(source: Nielsen Book Data)9780190461690 20171030
EBSCOhost Access limited to 1 user