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Teaching Music in American Society: A Social and Cultural Understanding of Teaching Music
by Steven N. KellyTeaching Music in American Society, Third Edition, provides a comprehensive overview of social and cultural themes directly related to music education, teacher training, and successful teacher characteristics. Music teachers need to be not only knowledgeable in conducting and performing but also socially and culturally aware of students, issues, and events that affect their classrooms. This book is designed for educators seeking K-12 music teacher certification to teach in American schools. At the conclusion of each chapter is a summary of the chapter and a list of key items and people discussed, plus a series of related questions for students to consider. Current topics in the third edition include: • an emphasis on social justice, sensitivity to transgender students, and bullying, • the influences of social media, • a focus on urban music education, and • a new chapter on diverse learning. Further, recent policy issues are addressed in this new edition: • the evolution of the No Child Left Behind Act into the Every Student Succeeds Act, • the increasing emphasis on charter schools, the privatization of public school, • changes in how schools are assessed, and • changes occurring within the teaching profession—and how all of these affect developments in music education. A major structural change is the chapter on equality of education has been split into two chapters, providing a stronger focus on both educational equality and diverse inclusive learning.
Teaching Music in Higher Education
by Colleen M. ConwayWith five newly written chapters and sizable additions to nine original chapters, this second edition provides a welcome update to author Colleen M. Conway's essential guide. <p><p>In the book's new chapters, Conway offers insights beyond music and cognition including gender identity, sexual identity, and issues of cultural diversity not addressed in the first edition. Conway also covers technology in instructional settings and includes new references and updated student vignettes. <p><p>Designed for faculty and graduate assistants working with undergraduate music majors as well as non-majors in colleges and universities, the book is designed to fit within a typical 15-week semester. The book's three sections address concerns about undergraduate curricula that meet National Association of School of Music requirements as well as teacher education requirements for music education majors in most states. <p><p>Part I includes chapters on assessment and grading in music courses; understanding students' cognitive, musical, and identity growth; and syllabus design. Part II focuses on creating a culture for learning; instructional strategies to facilitate active learning; and applied studio teaching. Part III addresses growth in teaching practices for the college music professor and focuses on the job search in higher education, feedback from students, and navigating a career in higher education. The book features highly useful templates including a departmental assessment report, forms for student midterm and final evaluation, a Faculty Activities Report for music professors, and a tenure and promotion materials packet. <p><p>Each of the three sections of the book makes reference to relevant research from the higher education or learning sciences literature as well as suggestions for further reading in the various topic areas.
Teaching Music Musically (Classic Edition)
by Keith Swanwick'There are countless gems within these pages ... Swanwick seems to write from more experience as a musician and teacher than most others who write for this audience. There is a real sense of his having been there. - Patricia Shehan Campbell, Professor of Music, University of Washington, USA'... contains the essential and highly valued hallmark of
The Teaching of Instrumental Music
by Richard J. Colwell Michael P. HewittThe Teaching of Instrumental Music, Sixth Edition, introduces music education majors to basic instrumental pedagogy for the instruments and ensembles commonly found in the elementary and secondary curricula. It focuses on the core competencies required for teacher certification in instrumental music, with the pervasive philosophy to assist teachers as they develop an instrumental music program based on understanding and respecting all types of music.Parts I and II focus on essential issues for a successful instrumental program, presenting first the history and foundations, followed by effective strategies in administrative tasks and classroom teaching. Parts III, IV, and V are devoted to the skills and techniques of woodwind, brass and percussion, and string instruments. In all, The Teaching of Instrumental Music is the complete reference for the beginning instrumental teacher, commonly retained in a student’s professional library for its unique and comprehensive coverage.This Sixth Edition includes: Streamlined language and improved layout throughout, making this edition more concise and accessible to students. Updated content throughout, including insights from current research for curriculum development, coverage of current law and policy changes that impact the classroom, contemporary motivational strategies, and more information on the history of African-American and all-female music ensembles. Updated references, photos, lists of artists, and online resources.
The Teaching of Instrumental Music (5th Edition)
by Richard Colwell Michael Hewitt Mark Fonder<p>The Teaching of Instrumental Music, Fifth Edition introduces music education majors to basic instrumental pedagogy for the instruments and ensembles commonly found in the elementary and secondary curricula. It focuses on the core competencies required for teacher certification in instrumental music, with the pervasive philosophy to assist teachers as they develop an instrumental music program based on understanding and respecting all types of music. <p>Parts I and II focus on essential issues for a successful instrumental program, presenting first the history and foundations, followed by effective strategies in administrative tasks and classroom teaching. Parts III, IV, and V are devoted to the skills and techniques of woodwind, brass and percussion, and string instruments. In all, The Teaching of Instrumental Music is the complete reference for the beginning instrumental teacher, commonly retained in a student’s professional library for its unique and comprehensive coverage.
Teaching Performance: A Philosophy of Piano Pedagogy
by Jeffrey SwinkinHow can the studio teacher teach a lesson so as to instill refined artistic sensibilities, ones often thought to elude language? How can the applied lesson be a form of aesthetic education? How can teaching performance be an artistic endeavor in its own right? These are some of the questions Teaching Performance attempts to answer, drawing on the author's several decades of experience as a studio teacher and music scholar. The architects of absolute music (Hanslick, Schopenhauer, and others) held that it is precisely because instrumental music lacks language and thus any overt connection to the non-musical world that it is able to expose essential elements of that world. More particularly, for these philosophers, it is the density of musical structure--the intricate interplay among purely musical elements--that allows music to capture the essences behind appearances. By analogy, the author contends that the more structurally intricate and aesthetically nuanced a pedagogical system is, the greater its ability to illuminate music and facilitate musical skills. The author terms this phenomenon relational autonomy. Eight chapters unfold a piano-pedagogical system pivoting on the principle of relational autonomy. In grounding piano pedagogy in the aesthetics of absolute music, each domain works on the other. On the one hand, Romantic aesthetics affords pedagogy a source of artistic value in its own right. On the other hand, pedagogy concretizes Romantic aesthetics, deflating its transcendental pretentions and showing the dichotomy of absolute/utilitarian to be specious.
Teaching Piano in Groups
by Christopher FisherThis book provides a one-stop compendium of information related to all aspects of group piano teaching. <p><p> Motivated by an ever-growing interest in this instructional method and its widespread mandatory inclusion in piano pedagogy curricula, the author highlights the proven viability and success of group piano teaching, and arms front-line group piano instructors with the necessary tools for practical implementation of a system of instruction in their own teaching. <p><p> Contained within are: a comprehensive history of group piano teaching; accessible overviews of the most important theories and philosophies of group psychology and instruction; suggested group piano curricular competencies; practical implementation strategies; and thorough recommendations for curricular materials, instructional technologies, and equipment. The book also addresses specific considerations for pre-college teaching scenarios, the public school group piano classroom, and college-level group piano programs for both music major and non-music majors. <p><p> This book is accompanied by an extensive companion website, featuring a multi-format listing of resources as well as interviews with several group piano pedagogues.
Teaching Secondary Music: Drama, Visual Art, Music And Design (Cross-curricular Teaching And Learning In-- Ser.)
by Jonathan Savage Jayne PriceDesigned to support teachers in developing new strategies and pedagogies for teaching music, and for teacher education students requiring a comprehensive overview of the subject Teaching Secondary Music provides a modern and accessible insight into the key issues in music education at secondary level. Focusing on the nature of musical understanding and how to facilitate and assess musical progress, the editors bring together a team of experienced music educators leading the programme of support for the new secondary curriculum. Supported with practical examples, case studies and resources exploring effective practice, Teaching Secondary Music covers the key concepts and approaches which underpin good practice in secondary music education. These include: -How music relates to other curriculum subjects -Ways of implementing newer aspects of the curriculum -The music industry and intellectual property rights -Working with a range of musicians -Using ICT as a tool for musical performance -Developing musical leadership This book is essential reading for PGCE Secondary music specialists and practising music teachers. Jayne Price is the Music Education Coordinator in the School of Education and Professional Development at the University of Huddersfield. Jonathan Savage is a Reader in Education at the Institute of Education, Manchester Metropolitan University.
Teaching Singing in the 21st Century
by Scott D. Harrison Jessica O'BryanThis volume brings together a group of leading international researchers and practitioners in voice pedagogy alongside emerging academics and practitioners. Encompassing research across voice science and pedagogy, this innovative collection transcends genre boundaries and provides new knowledge about vocal styles and approaches from classical and musical theatre to contemporary commercial music. The work is sure to be valuable in tertiary institutions, schools and community music associations, suitable for use by private studio teachers, and will appeal to choral leaders and music educators interested in vocal pedagogy. "I thoroughly enjoyed reading this book and I am confident it will help bring all aspects of vocal pedagogy firmly into the 21st century. Refreshingly, many different areas of pedagogy are included in the text so we can all work together to more fully understand the singing voice. Up to the moment research is included along with an exploration of the evolving contemporary styles of singing. Further, areas regarding teaching and curriculum in higher education are also reviewed. All in all, this text a crucial addition to a professional's vocal library. " Jeanne Goffi-Fynn, Teachers College, Columbia University, USA.
Teaching Strings in Today's Classroom: A Guide for Group Instruction
by Rebecca B. MacLeod<p>Teaching Strings in Today’s Classroom: A Guide for Group Instruction assists music education students, in-service teachers, and performers to realize their goals of becoming effective string educators. It introduces readers to the school orchestra environment, presents the foundational concepts needed to teach strings, and provides opportunities for the reader to apply this information. The author describes how becoming an effective string teacher requires three things of equal importance: content knowledge, performance skills, and opportunities to apply the content knowledge and performance skills in a teaching situation. <p>In two parts, the text addresses the unique context that is teaching strings, a practice with its own objectives and related teaching strategies. Part I (Foundations of Teaching and Learning String Instruments) first presents an overview of the string teaching environment, encouraging the reader to consider how context impacts teaching, followed by practical discussions of instrument sizing and position, chapters on the development of each hand, and instruction for best practices concerning tone production, articulation, and bowing guidelines. Part II (Understanding Fingerings) provides clear guidance for understanding basic finger patterns, positions, and the creation of logical fingerings. String fingerings are abstract and thus difficult to negotiate without years of playing experience—these chapters (and their corresponding interactive online tutorials) distill the content knowledge required to understand string fingerings in a way that non-string players can understand and use. <p>Teaching Strings in Today’s Classroom contains pedagogical information, performance activities, and an online virtual teaching environment with twelve interactive tutorials, three for each of the four string instruments.</p>
Teaching the Beatles
by Paul O. Jenkins and Hugh JenkinsTeaching the Beatles is designed to provide ideas for instructors who teach the music of the Beatles. Experienced contributors describe varied approaches to effectively convey the group’s characteristics and lasting importance. Some of these include: treating the Beatles’ lyrics as poetry; their influence on the world of art, film, fashion and spirituality; the group’s impact on post-war Britain; political aspects of the Fab Four; Lennon and McCartney’s songwriting and musical innovations; the band’s use of recording technology; business aspects of the Beatles’ career; and insights into teaching the Beatles in an online format.
Teaching Tuk Tuk (Step into Reading)
by Mei NakamuraThis Step 2 Step into Reading leveled reader with more than 30 stickers is based on Disney's new animated film Raya and the Last Dragon!Discover how Raya and Tuk Tuk met and became friends in this Step 2 Step into Reading leveled reader! Children ages 4 to 6 will love this story based on the Disney animated film–with more than 30 stickers! Step 2 readers use basic vocabulary and short sentences to tell simple stories. For children who recognize familiar words and can sound out new words with help. Walt Disney Animation Studios' fantasy-action-adventure, Raya and the Last Dragon, introduces Raya, a lone warrior from the fantasy kingdom of Kumandra who teams up with a crew of misfits in her quest to find the last dragon and bring light and unity back to their world. Awkwafina lends her voice to Sisu, the last dragon, who was left on Kumandra in case dark forces return to the world, and Kelly Marie Tran voices the lead character, Raya. Exploring themes of community and hope, and inspired by the beautiful and diverse cultures of Southeast Asia, the fantasy-action-adventure Raya and the Last Dragon opened in U.S. theaters on March 12th 2021.
Teaching Violin, Viola, Cello, and Double Bass: Historical and Modern Pedagogical Practices
by Dijana Ihas Miranda Wilson Gaelen McCormickTeaching Violin, Viola, Cello, and Double Bass summarizes three centuries of string pedagogy treatises to create a comprehensive resource on methods and approaches to teaching all four bowed string instruments. Co-written by three performance and pedagogy experts, each specializing in different string instruments, this book is applicable to all levels of instruction. Essays on historical pedagogues are clearly structured to allow for easy comprehension of their philosophies, pedagogical practices, and unique contributions. This book concludes with a section on application through comparative analysis of the historical methods and approaches. With coverage from the eighteenth century to the present, this book will be invaluable for teachers and students of string pedagogy and general readers who wish to learn more about string pedagogy’s rich history, diverse content, and modern developments.
Teaching Violin, Viola, Cello, and Double Bass: Historical and Modern Pedagogical Practices
by Dijana Ihas Miranda Wilson Gaelen McCormickTeaching Violin, Viola, Cello, and Double Bass summarizes three centuries of string pedagogy treatises to create a comprehensive resource on methods and approaches to teaching all four bowed string instruments. Co-written by three performance and pedagogy experts, each specializing in different string instruments, this book is applicable to all levels of instruction.Essays on historical pedagogues are clearly structured to allow for easy comprehension of their philosophies, pedagogical practices, and unique contributions. This book concludes with a section on application through comparative analysis of the historical methods and approaches.With coverage from the eighteenth century to the present, this book will be invaluable for teachers and students of string pedagogy and general readers who wish to learn more about string pedagogy’s rich history, diverse content, and modern developments.
Teaching Woodwinds
by Harold Gene GriswoldFor one semester/quarter courses in woodwind methods. Teaching Woodwinds has draws on the authors thirty-five years of experience teaching woodwinds to students. Organized by specific teach topics from the fundamentals of hand and finger position to articulation and intonation. Drawing on a classic set of teacher/student duets, the included twenty-five class lessons enable students to learn by doing and by listening as they play duets with the instructor.
Team Piano Repertoire: A Manual of Music for Multiple Players at One or More Pianos
by Frederic Ming Chang Albert FaurotListing of classical musical pieces written for 2 or more piano players
Tearing the World Apart: Bob Dylan and the Twenty-First Century (American Made Music Series)
by Nina Goss and Eric HoffmanContributions by Alberto Brodesco, James Cody, Andrea Cossu, Anne Margaret Daniel, Jesper Doolard, Nina Goss, Jonathan Hodgers, Jamie Lorentzen, Fahri Öz, Nick Smart, and Thad Williamson Bob Dylan is many things to many people. Folk prodigy. Rock poet. Quiet gentleman. Dionysian impresario. Cotton Mather. Stage hog. Each of these Dylan creations comes with its own accessories, including a costume, a hairstyle, a voice, a lyrical register, a metaphysics, an audience, and a library of commentary. Each Bob Dylan joins a collective cast that has made up his persona for over fifty years. No version of Dylan turns out uncomplicated, but the postmillennial manifestation seems peculiarly contrary—a tireless and enterprising antiquarian; a creator of singular texts and sounds through promiscuous poaching; an artist of innovation and uncanny renewal. This is a Dylan of persistent surrender from and engagement with a world he perceives as broken and enduring, addressing us from a past that is lost and yet forever present. Tearing the World Apart participates in the creation of the postmillennial Bob Dylan by exploring three central records of the twenty-first century—“Love and Theft” (2001), Modern Times (2006), and Tempest (2012)—along with the 2003 film Masked and Anonymous, which Dylan helped write and in which he appears as an actor and musical performer. The collection of essays does justice to this difficult Bob Dylan by examining his method and effects through a disparate set of viewpoints. Readers will find a variety of critical contexts and cultural perspectives as well as a range of experiences as members of Dylan's audience. The essays in Tearing the World Apart illuminate, as a prism might, their intransigent subject from enticing and intersecting angles.
Tears for Water: Poetry & Lyrics
by Alicia KeysFrom acclaimed musician Alicia Keys comes a revealing songbook of collected poems and lyrics that document her growth as a person, a woman, and an artist.&“All my life, I&’ve written these words with no thought or intention of sharing them. Not even with my confidants. These are my most delicate thoughts. The ones that I wrote down just so I could understand what in the world these things I was thinking meant...&” When she burst onto the music scene with her multi-million bestselling, Grammy® Award-winning first album, Songs in A Minor, Alicia Keys became a superstar. Two decades later, her career has expanded into producing, acting, and passionate activism—winning her worldwide acclaim, numerous awards, and a spot on Time&’s list of &“The 100 Most Influential People.&”Though Alicia has been very vocal through her career, there were always &“delicate thoughts&” that she never before imagined she&’d share with anyone else—until now. In Tears for Water, Alicia Keys opens the journals and notebooks that she has kept throughout her life and reveals her heart to her fans in return for all the love they have shown to her and her music.Hello morningnow I see youcause I am awakeWhat was once so sweet and securehas turned out to be fakeGirl, you can&’t be scaredgotta stand up tall and let &’em see what shines in youPush aside the partlying in your heartlike the ocean is deep, dark and blue—from Golden Child
The Technique of Orchestration: Pearson New International Edition
by Kent Kennan Donald GranthamThe Technique of Orchestration, Seventh Edition, is the definitive textbook on the study of orchestration, offering a concise, straight-to-the-point approach that prepares students to score their own compositions with confidence. Updated to reflect developments in instruments and orchestral best practices, this seventh edition features: Copious musical examples spanning the history of the orchestra Detailed descriptions of instruments and their distinctive characteristics Explanations of how to score chords and transcribe piano idioms Discussions on specialized ensembles and scoring techniques New musical examples have been added throughout and listening lists have been revised to include more music by women and composers of color, representing a diverse musical catalogue. Supported by an accompanying workbook of scores and scoring exercises (available separately), as well as a robust listening program keyed to the textbook, The Technique of Orchestration, Seventh Edition, is an accessible, essential, all-in-one resource for the student of orchestration.
The Technique of Orchestration Workbook
by Kent Kennan Donald GranthamThe Technique of Orchestration Workbook, Seventh Edition, accompanies the textbook of the same name—the definitive resource on the study of orchestration—providing musical excerpts, full scores, and scoring assignments to enrich the lessons learned in the textbook. Spanning an array of periods and styles, the musical examples collected here cover scoring techniques in the following sections: Strings Woodwinds Brass Scoring of Chords Transcribing Piano Music Scoring for Woodwinds, Horns, and Strings Percussion Harp and Keyboard Instruments Scoring for Full Orchestra Additional learning tools include transposition exercises, error detection drills, and discussions on harmonics, while the workbook pages are perforated throughout for ease of use in and out of the classroom. Featuring the music of Bach, Mozart, Brahms, Beethoven, Schumann, Copland, Bartók, and many more, The Technique of Orchestration Workbook, Seventh Edition, is an invaluable companion to the textbook.
Techniques of Hearing: History, Theory and Practices
by Michael Schillmeier, Robert Stock, and Beate OchsnerHearing, health and technologies are entangled in multi-faceted ways. The edited volume addresses this complex relationship by arguing that modern hearing was and is increasingly linked to and mediated by technological innovations. By providing a set of original interdisciplinary investigations that sheds new light on the history, theory and practices of hearing techniques, it is able to explore the heterogeneous entanglements of sound, hearing practices, technologies and health issues. As the first book to bring together historians, scholars from media studies, social sciences, cultural studies, acoustics and neuroscientists, the volume discusses modern technologies and their decisive impact on how ‘normal’ hearing, enhanced and smart hearing as well as hearing impairment have been configured. It brings both new insights into the histories of hearing technologies as well as allowing us to better understand how enabling hearing technologies have currently been unfolding an increasingly hybrid ecology engaging smart hearing devices and offering stress-free hearing and acoustic wellbeing in novel auditory environments. The volume will be of interest to all scholars and students of disability studies, sound studies, sociology of health and illness, medical history, health and society as well as those interested in the practices and techniques of self-monitored and smart hearing.
Techno Rebels: The Renegades of Electronic Funk
by Bill Brewster Dan SickoAn updated, expanded history of techno music with special attention to its roots in Detroit.
Technology and the Gendering of Music Education
by Victoria ArmstrongCritical of technologically determinist assumptions underpinning current educational policy, Victoria Armstrong argues that this growing technicism has grave implications for the music classroom where composition is often synonymous with the music technology suite. The use of computers and associated compositional software in music education is frequently decontextualized from cultural and social relationships, thereby ignoring the fact that new technologies are used and developed within existing social spaces that are always already delineated along gender lines. Armstrong suggests these gender-technology relations have a profound effect on the ways adolescents compose music as well as how gendered identities in the technologized music classroom are constructed. Drawing together perspectives from the sociology of science and technology studies (STS) and the sociology of music, Armstrong examines the gendered processes and practices that contribute to how students learn about technology, the repertoire of teacher and student talk, its effect on student confidence and the issue of male control of technological knowledge. Even though girls and female teachers have technological knowledge and skill, the continuing material and symbolic associations of technology with men and masculinity contribute to the perception of women as less able and less interested in all things technological. In light of the fact that music technology is now central to many music-making practices across all sectors of education from primary, secondary through to higher education, this book provides a timely critical analysis that powerfully demonstrates why the relationship between gender and music technology should remain an important empirical consideration.
Technology and the Stylistic Evolution of the Jazz Bass (Ashgate Popular and Folk Music Series)
by Peter DowdallTechnology and the Stylistic Evolution of the Jazz Bass traces the stylistic evolution of jazz from the bass player’s perspective. Historical works to date have tended to pursue a ‘top down’ reading, one that emphasizes the influence of the treble instruments on the melodic and harmonic trajectory of jazz. This book augments that reading by examining the music’s development from the bottom up. It re-contextualizes the bass and its role in the evolution of jazz (and by extension popular music in general) by situating it alongside emerging music technologies. The bass and its technological mediation are shown to have driven changes in jazz language and musical style, and even transformed creative hierarchies in ways that have been largely overlooked. The book’s narrative is also informed by investigations into more commercial musical styles such as blues and rock, in order to assess how, and the degree to which, technological advances first deployed in these areas gradually became incorporated into general jazz praxis. Technology and the Jazz Bass reconciles technology more thoroughly into jazz historiography by detailing and evaluating those that are intrinsic to the instrument (including its eventual electrification) and those extrinsic to it (most notably evolving recording and digital technologies). The author illustrates how the implementation of these technologies has transformed the role of the bass in jazz, and with that, jazz music as an art form.
Teclados: Pasado y presente (¡Arriba la Lectura! Level V #63)
by Diana NoonanNIMAC-sourced textbook