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Book
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
Book
1 online resource.
  • Music Fundamentals Chapter 1: Experiencing Music Chapter 2: Listening to Music Chapter 3: Three Listening Examples Musical Identities Chapter 4: Music and the Life Cycle Chapter 5: Music and Ethnicity Chapter 6: Music and Gender Chapter 7: Music and Spirituality Musical Intersections Chapter 8: Music and Nation Chapter 9: Music and War Chapter 10: Music and Love Musical Narratives Chapter 11: American Musical Theater Chapter 12: Music and Film Chapter 13: Music and Dance Chapter 14: Music and Concert Chapter 15: Music and Technology.
  • (source: Nielsen Book Data)9781351839167 20180910
By taking a thematic approach to the study of music appreciation, Music: A Social Experience, Second Edition demonstrates how music reflects and deepens both individual and cultural understandings. Musical examples are presented within universally experienced social frameworks (ethnicity, gender, spirituality, love, and more) to help students understand how music reflects and advances human experience. Students engage with multiple genres (Western art music, popular music, and world music) through lively narratives and innovative activities. A companion website features streaming audio and instructors' resources. New to this edition: Two additional chapters: "Music and the Life Cycle" and "Music and Technology" Essay questions and "key terms" lists at the ends of chapters Additional repertoire and listening guides covering all historical periods of Western art music Expanded instructors' resources Many additional images Updated student web materials.
(source: Nielsen Book Data)9781351839167 20180910
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Music Library
Book
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
Book
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
Music score
1 score (31 pages) ; 31 cm.
Music Library
Book
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
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.
  • Introduction Part I: JAZZ AND THE CREATIVITY TURN Chapter 1: CREATIVITY AS NEW ORGANIZING PRINCIPLE Chapter 2: MULTICULTURALISM, TRANSCULTURALISM and RACE Chapter 3: MUSIC SCHOOL FOR A TRANSCULTURAL AGE Chapter 4: CONVERSATIONS WITH CONSERVATIVES Part II: JAZZ AND THE INTEGRAL REVOLUTION Chapter 5: WHAT IS CONSCIOUSNESS?: A Jazz-inspired Integral Perspective Chapter 6: WHAT IS IMPROVISATION?: An Integral, Consciousness-based Perspective Chapter 7: JAZZ AND THE INTEGRAL REVOLUTION Epilogue About the Author References.
  • (source: Nielsen Book Data)9781538111703 20180910
Black Music Matters: Jazz and the Transformation of Music Studies is one of the first books to promote the reform of music studies with a centralized presence of jazz and black music to ground American musicians in a core facet of their true cultural heritage. Ed Sarath applies an emergent consciousness-based worldview called Integral Theory to music studies while drawing upon overarching conversations on diversity and race and a rich body of literature on the seminal place of black music in American culture. Combining a visionary perspective with an activist tone, Sarath installs jazz and black music in as a foundation for a new paradigm of twenty-first-century musical training that will yield an unprecedented skill set for transcultural navigation among musicians. Sarath analyzes prevalent patterns in music studies change discourse, including an in-depth critique of multiculturalism, and proposes new curricular and organizational systems along with a new model of music inquiry called Integral Musicology. This jazz/black music paradigm further develops into a revolutionary catalyst for development of creativity and consciousness in education and society at large. Sarath's work engages all those who share an interest in black-white race dynamics and its musical ramifications, spirituality and consciousness, and the promotion of creativity throughout all forms of intellectual and personal expression.
(source: Nielsen Book Data)9781538111703 20180910
EBSCOhost Access limited to 1 user
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
EBSCOhost Access limited to 1 user
Book
1 online resource.
  • Acknowledgments Preface Introduction: Sport-Specific Training for the Vocal Athlete Chapter 1: Alignment Chapter 2: Breathing Chapter 3: Laryngeal Function Chapter 4: Articulation & Resonance Chapter 5: The Mind/Body Connection Chapter 6: A Singer-Centered Workout Regimen Chapter 7: Warming Up Chapter 8: Fueling Your Art Chapter 9: Maintaining Your Health Chapter 10: Form Follows Function About the Author About the Artists Additional Resources Glossary.
  • (source: Nielsen Book Data)9781538105443 20180709
Complete Vocal Fitness: A Singer's Guide to Physical Training, Anatomy, and Biomechanics is a primer on sport-specific training for vocal athletes. Elite athletes apply cutting-edge research in movement and physiology to customize fitness regimens that ensure peak performance. The principles of sports science that enable them to fine-tune strength, flexibility and dynamic stabilization to meet the requirements of a given sport are invaluable for preparing the body to meet the physical demands of singing. This book will teach you to: *Optimize alignment by identifying and resolving postural distortions *Balance strength and flexibility throughout your torso to facilitate full breathing and promote coordinated breath management *Improve oxygen consumption to enhance your stamina and ability to sustain long phrases *Stabilize your spine and major joints in order to continue performing with solid technique while meeting the demands of stage movement Musicians of all kinds benefit from understanding the basics of how their instruments work. This book is also a guide to how the vocal instrument functions. You will find accessible descriptions of the fundamental components of vocal anatomy - laryngeal function, articulation and resonance - explaining their movements, their interaction with one another, their integration with the anatomy of breathing and alignment, and relating them to common non-anatomical terminology often used in the voice studio.
(source: Nielsen Book Data)9781538105443 20180709
EBSCOhost Access limited to 1 user
Book
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
Book
xviii, 249 pages : illustrations ; 26 cm
  • Chapter 1: Notation and Some Piano Basics Chapter 2: The History and Mechanism of the Piano Chapter 3: On the Keys and on the Pedals Chapter 4: Pizzicato, Strumming, Scraping, Rubbing Chapter 5: Muting Chapter 6: Harmonics Chapter 7: The Piano is a Big Box and the Pianist is a Noise-Making Animal Chapter 8: Bowing Chapter 9: Preparations Chapter 10: The Toy Piano Appendix A: Repertoire Appendix B: Materials for Piano Preparation Appendix C: Grand Piano Interior Architecture and Stringing.
  • (source: Nielsen Book Data)9781442281899 20180709
With Contemporary Piano: A Performer and Composer's Guide to Techniques and Resources, Alan Shockley provides a comprehensive resource for composers writing music that uses extended techniques for the piano, and for pianists interested in playing repertoire that makes use of techniques and/or implements unfamiliar to them. Shockley explains dozens of ways to prepare a piano without damaging the instrument, how to notate every standard technique and many, many obscure ones, and the specific geographies of every common concert hall piano. This will be the standard reference for pianists touring and playing inside-the-piano repertoire, and for composers at all levels of familiarity with the piano hoping to understand the mechanical miracle that is the modern piano.
(source: Nielsen Book Data)9781442281899 20180709
Music Library
Book
124 pages : illustrations, facsimiles ; 20 cm.
Music Library
Book
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.

15. Discovering music [2018]

Book
xxxvi, 611 pages : illustrations (chiefly color) ; 26 cm
Music Library
Book
vi, 278 pages : illustrations ; 24 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
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
Book
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
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
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