Techniques of music Books
Ma Non Troppo Cómo Desarrollar El Oído Musical: Entrenamiento
Book Synopsis
£17.79
Edit Nerea Como Hablar de Musica Clasica A los Ninos
Book Synopsis
£17.81
Swing Aprende a Leer Música: Las Claves Prácticas de la
Book Synopsis
£12.11
Oxford University Press Thinking Outside the Voice Box Adolescent Voice Change in Music Education
a huge range and FREE tracked UK delivery on ALL orders.
£25.99
Oxford University Press Teaching Artists Companion How to Define and Develop Your Practice
a huge range and FREE tracked UK delivery on ALL orders.
£20.99
Oxford University Press The Compleat Conductor
Book SynopsisWritten by a world renowned conductor and composer, this highly provocative critique of modern conducting is sure to spark debate in the music world.Trade Review[Schuller's] analyses should be read by all serious conductors, for they contain insights that the ordinary listener does not consider but that, if followed, will help truly realize a composer's work. * Booklist *
£20.99
Oxford University Press Teaching Music Globally Experiencing Music Expressing Culture Global Music Series
£23.76
Oxford University Press END EARLY MUSIC PER PERF HIST MUSIC 21 C
Trade ReviewHaynes always writes as the insider performer, and his writing is fresh and direct...likely to be enjoyed by most musicians. * David Ledbetter, British Clavichord Society *Bruce's arguments are rich, not obvious, and very convincing. Read Bruce's ideas: applaud, question, be infuriated. But you will never think about early music as you did before. * Clifford Bartlett, Early Music Review *Table of ContentsList of Musical Examples List of Recorded Excerpts Preface: If this Muses Come to Call Acknowledgements Part I: Performing Styles One: Performing Style: When You Say Something Differently, You Say Something Different Two: Mind the Gap: Current Styles Three: Mainstream Style: "Chops, but no Soul" Part II: How Romantic Are We? Four: Classical Music's Coarse Caress Five: The Transparent Performer Six: Changing Meanings, Permanent Symbols Part III: Anachronism and Authenticity Seven: Original Ears Eight: Ways of Copying the Past Nine: The Medium is the Message: Period Instruments Ten: Baroque Oratory Compared with Romantic Autobiography Eleven: Gestural Phrasing Part V: The End of "Early" Music Twelve: Passive and Active Musicking: Stop Staring and Grow Your Own Thirteen: Mainstream Musicking as "Early Music" Fourteen: Perpetual Revolution Notes List of Bibliographic Abbreviations Bibliography Index
£49.40
Oxford University Press The Flute Book A Complete Guide for Students and Performers Oxford Musical Instrument Series
Trade ReviewI would recommend this book to every serious flute student, and it should be required reading by every teacher. * The Flutist Quarterly *Table of ContentsAbout the Companion Website ; Figures ; Plates ; Terminology used in this book ; Preface ; Acknowledgments ; THE INSTRUMENT ; 1. The Flute Today ; What Is a Flute? / Manufacturing: The State of the Art ; 2. How to Choose an Instrument ; To Rent or To Buy / Setting Priorities / Materials / Open or Closed Holes / C or B Footjoint / Mechanical Options / Testing an Instrument ; 3. Care and Maintenance of the Flute ; Preventive Maintenance: Assembling the Instrument / Daily Cleaning / Storage / Polishing / Replating / Lubrication / The Headjoint Cork / Mechanical Problems ; 4. A Brief History of the Flute ; Old System Flutes / The Boehm Flute / Other Nineteenth Century Flutes / Minor Modifications to the Boehm System ; 5. The Flute Family ; The Piccolo / The Alto Flute / The Bass Flute / The Contr'alto, Contrabass, and Subcontrabass Flutes / The Flute Choir ; PERFORMANCE ; 6. Breathing ; Posture / Inhalation / Suspension / Exhalation / The Diaphragm / Exercises / Breathing and Phrasing / Circular Breathing ; 7. Tone ; The Acoustical Basis / Tone Production / Focus and Projection / Homogeneity of Sound / Interpretation through Tone Development / Intonation / National Styles of Flute Playing ; 8. Vibrato ; What is Vibrato? / The History of Vibrato / The Uses of Vibrato ; 9. Articulation ; The Bowing Analogy / Single-Tonguing / Double-Tonguing / Triple-Tonguing / Flutter-Tonguing / Tongueless Attack / Legato / Note Endings / Practice ; 10. Technique ; Position / Practice / Fingering / Harmonics / The B-flat Thumb Key / Three Fingering Tricks ; 11. Style ; Virtuosity and Interpretation / The Theoretical Background: Basic Musicianship / Analysis / Phrasing / Performance Practice / The Early Music Movement and Questions of Authenticity ; 12. Performance ; Opportunities for Performance / Planning a Recital Program / Accompanists and Assisting Artists / Choosing a Recital Hall / The Printed Program / Publicity / Preparation and Rehearsal / Stage Protocol / The Entrance / Playing the Program / Memorization / Breaks between Pieces / Encores ; 13. Recordings ; Building a Recording Collection / How to Listen / Playing Along / Making Your Own Recordings ; THE MUSIC ; 14. The Baroque Era ; Flute Versus Recorder / Musical Forms / France / Italy / England / Germany ; 15. The Classic Era ; Musical Forms / Paris / Germany / Spain / England / Vienna ; 16. The Romantic Era ; Music by Nonflutists / Music by Flutists ; 17. The Modern Era ; France / Great Britain / Elsewhere in Western Europe / Eastern Europe / The United States / The Avant-Garde / The Flute and Electronics ; REPERTOIRE CATALOG ; Introduction ; A. The Baroque Era ; B. The Classic Era ; C. The Romantic Era ; D. The Modern Era ; E. Study Materials ; APPENDICES ; A. Fingering Chart for the Boehm Flute ; B. Flute Manufacturers ; C. Repair Shops ; D. Sources for Instruments and Accessories ; E. Sources for Music and Books ; F. Journals, Societies, and Service Organizations ; G. Flute Clubs and Societies ; Notes ; Selected Bibliography ; Index
£42.74
Oxford University Press Singing And Imagination A Human Approach to a Great Musical Tradition
Book SynopsisThis is a comprehensive philosophy of the art of singing, addressed to those with a gift for singing who would like to understand better how to approach putting that gift to use. The central theme is that the imagination is an essential pre-requisite of singing--not an optional extra.Trade ReviewThis is one of the best (if not the best) books to be written about singing in recent times. Hemsley talks so much common sense, touches on so many truths about singers, singing and performance, and writes it all in such well-proportioned, unencumbered prose that active singers and aspiring students alike can and should benefit from reading his many wise and enlightening words. The public who attend opera and song recitals would also profit from reading the volume ... With so much wisdom imparted it is no wonder Janet Baker writes in praise of 'the extraordinary wisdom and truth' within the book's pages. * Alan Blyth, Opera *I couldn't put it down. Hemsley treats the subject seriously; everyone who is genuinely serious about singing, teacher, pupil, or listener, will find, as I did, extraordinary wisdom and truth within its pages ... His ideas should have far-reaching influence on the teaching of singing and the criteria used for accepting pupils into a vastly over-crowded profession' * Dame Janet Baker *Table of ContentsIntroduction ; I: THE BASIC PRINCIPLES ; Readiness to sing - The Raw Material ; Posture ; Posture - Hints ; The Impulse ; The Intention ; Intention - Hints ; The Anacrusis ; Colour ; Falsetto ; The Importance of Good Diction ; The Singer's Ear ; The Pitch-Intensity Effect ; Breath ; II: WORDS AND MUSIC ; The Works of the Imagination - Words and Music ; Legato and Tessitura ; The Pulse ; III: PERFORMANCE ; Performance ; Bibliography ; Index
£69.35
Oxford University Press, USA DIFFERENT VOICE A DIFFERENT SONG P Reclaiming Community Through The Natural Voice And World Song
Trade Review"A Different Voice, A Different Song is valuable for how it reveals a complex set of circumstances and motivations...This is one of the very few publications that deal exclusively with singing in all its complexity and beauty. Scholars of musicology, social studies, and cultural anthropology will find this book a provocative account of singing practice, and an inspiration for further research into music making, political action and aesthetic sensibility."--Yearbook for Traditional MusicTable of ContentsContents ; List of illustrations ; About the companion website ; List of illustrations on the companion website ; List of video tracks on the companion website ; Acknowledgements ; Introduction ; 1 The Natural Voice, Community Choirs and World Song: Setting the Scene ; Singing for Water ; The Bigger Picture: Definitions and Perspectives ; Singing in the Spotlight ; Research Contexts: Surveying the Literature ; Voice and Voicework ; Singing and Choirs ; Community Music and Community Music Therapy ; Ethnomusicology and World Musics in Education ; Musical Tourism ; Digging Deeper: Themes, Issues and Concepts ; Networks, Scenes and Movements ; Global Flows, Cosmopolitan Cultures and Transnational Connections ; World Music, Cultural Appropriation and Intercultural Engagement ; The Politics of Participation and the Art of Celebration ; Dancing in the Streets ; 2 In Search of the Natural Voice ; The Original Instrument ; Frankie Armstrong and the Natural Voice Practitioners' Network ; The NVPN Philosophy and Concepts of Music in Society ; The Giving Voice Project, Theatrical Roots and the Natural Voice in Performance ; Kristin Linklater and Michele George ; Alfred Wolfsohn and Roy Hart ; Jerzy Grotowski and W?odzimierz Staniewski ; Giving Voice as Culture and Community ; A Meeting of Worlds: Giving Voice and the Natural Voice Network ; The Natural Voice in Perspective ; 3 Natural Voice Practitioners and their Journeys: Histories and Connections ; A Gathering of the Natural Voice Clan ; The Roads that Lead to the Natural Voice ; Frankie's Singing Journey ; Meetings with Voice Practitioners: Contexts and Continuities ; Musical Lives ; The Folk Connection ; The Political Connection ; The Theatre Connection ; The Classical Connection ; The Community Music Connection ; The Therapy Connection ; The Circle Dance, Summer Camp and Alternative Community Connection ; The World Music Connection ; The NVPN as Community of Practice ; 4 From Principles to Practice: The Culture of Natural Voice Choirs and Workshops ; If You Can Talk, You Can Sing ; Working with the Voice ; Preparing to Sing: The Function of Warm-up Exercises ; Arriving and Tuning In ; Voice, Body, Breath, Mind ; Paving the Way for Singing in Style ; How Times Have Changed ; The Aural Method: Teaching and Learning by Ear ; Repertoire: Songs from the Oral Tradition ; Resources for Teachers ; Expanding Horizons ; Of Learning and Living ; 5 Singing the Songs of Others ; A World of Song ; The Attraction of Songs from Elsewhere ; Entering New Sound Worlds ; Entering the Lives of Others ; Deeper Resonances: Lost Pasts and Present Yearnings ; The Politics of Unintelligibility ; Songs from Taize ; Text and Meaning in the Vernacular ; Vocables in Georgian Song ; Ours or Theirs? Of Boundaries and Crossings ; 6 Performing the Other: Appropriations and Transformations ; Framing Intercultural Encounters ; The African American Continuum and Gospel's Global Journeys ; Back to Africa ; Songs and Dances from South Africa ; Songs of the Aka and Baka ; Balkan Bridges ; Gifts from Georgia ; Authenticity, Alterity and Possession ; 7 Singing Communities: The World of Community Choirs ; Singing in the Streets ; Choirs, Choirs Everywhere ; Choirs in the British Media ; Amateur Choirs in Britain: Social and Political Legacies ; International Perspectives: Building Bridges through Song ; Locating the Community Choir: Worlds within Worlds ; The Choir in the Community and the Community in the Choir ; Singing, Health and Happiness ; The Place of Performance ; Opening Doors ; 8 Scenes from the Global Village: Singing Camps and Travels ; The Singing Village ; Reclaiming Paradise: Of Fields, Festivals and Foreign Shores ; Tapping into the Festival Current ; Theorising Travel and Tourism ; A Village in a Field: The Unicorn Natural Voice Camp ; The Unicorn Experience ; The Unicorn Repertoire ; The Unicorn Community ; Choirs on the Move ; The Village on the Move: Village Harmony's Overseas Camps ; Village Harmony in Corsica ; Village Harmony in Bosnia ; Village Harmony and other Travels in Georgia ; Of Refashioning Identities and Living Differently ; 9 The Voice of the Future ; Gathering the Threads ; Fallacies and Other Truths ; A Quiet Revolution ; A River of Music ; Appendix: NVPN Philosophy and Working Principles ; References ; Index
£39.49
Oxford University Press, USA COMPOSING OUR FUTURE P Preparing Music Educators to Teach Composition
Book SynopsisComposing Our Future is the ideal book for music teacher educators seeking to learn more about composition education. It provides resources to guide the development of undergraduate and graduate curricula, specific courses, professional development workshops, and environments where composition education can flourish.Trade ReviewChapter authors are identified experts in their fields and provide a wide range of theoretical and practical knowledge for readers. * J. A. Helfer, CHOICE *Table of ContentsContents ; Introduction ; Chapter 1. Embracing Composition in Music Teacher Education, Michele Kaschub and Janice Smith ; Section I. Foundations & Futures ; Chapter 2. Music Composition Intelligence and Creative Thinking in Music, Peter Webster ; Chapter 3. How Teachers Can Learn from Composition Research, Maud Hickey ; Chapter 4. The Compositional Turn in Music Education: From Closed Forms to Open Texts, Randall Everett Allsup ; Section II. Model Practices in Teaching Composition ; Chapter 5. Preparing to Engage Children in Musical Creating, Sandra Stauffer ; Chapter 6. Scaffolding Student Composers, Jackie Wiggins with Mike Medvinsky ; Chapter 7. Teaching Gifted Learners in Composition, Daniel Deutsch ; Chapter 8. Facilitating Composition in Instrumental Settings, Alexander J. Koops ; Chapter 9. Guiding Composition in Choral Settings, Katherine Strand ; Chapter 10. Composition and Students with Special Needs, Alice M. Hammel ; Section III: Composition and Technology ; Chapter 11. Capitalizing on Emerging Technologies in Composition Education, Rick Dammers ; Chapter 12. The Vermont Midi Project - Fostering Mentorships in Multiple Environments, Sandi McLeod ; Chapter 13. Digital Natives and Composition in the Middle School Band: From Imagination to Music, Bruce Carter ; Section IV. Composition in Undergraduate Courses ; Chapter 14. Composition in International Settings: Broadening Pre-service Perceptions, Patricia Riley ; Chapter 15. Pre-Service Teachers in Urban Settings: Composing Connections, Janice Smith ; Chapter 16. Preparing Teachers to Facilitate Songwriting, John Kratus ; Section V. Strategic Administrative Practices for Including Composition in Music Education ; Chapter 17. "All In" for Composition Education: Opportunities and Challenges for Pre-Service Music Teacher Curricula, John Richmond ; Chapter 18. Creating School-University Partnerships to Enhance Composition Teaching & Learning, Gena Greher ; Chapter 19. Advancing Composition in Music Education Through Strategic Professional Development, Michele Kaschub ; Section VI .Moving Forward ; Chapter 20. Enacting the Vision: Creating and Sustaining Meaningful Composition, Betty Anne Younker ; Author bios ; Index
£37.52
Taylor & Francis Notes Become Music
a huge range and FREE tracked UK delivery on ALL orders.
£128.25
Taylor & Francis Anthology for Hearing Rhythm and Meter
a huge range and FREE tracked UK delivery on ALL orders.
£128.25
Taylor & Francis Ltd Keyboard Skills for the Practical Musician
a huge range and FREE tracked UK delivery on ALL orders.
£128.25
Taylor & Francis Ltd Grounding the Analysis of Cognitive Processes in Music Performance
a huge range and FREE tracked UK delivery on ALL orders.
£39.99
Taylor & Francis Ltd Teaching Violin Viola Cello and Double Bass
a huge range and FREE tracked UK delivery on ALL orders.
£128.25
Taylor & Francis Expanding the Space for Improvisation Pedagogy in Music
a huge range and FREE tracked UK delivery on ALL orders.
£39.99
Taylor & Francis Musical Performance A Philosophical Study
a huge range and FREE tracked UK delivery on ALL orders.
£128.25
Taylor & Francis Keyboard Skills for Music Educators Score Reading
a huge range and FREE tracked UK delivery on ALL orders.
£128.25
Taylor & Francis Acoustic Guitar Styles
a huge range and FREE tracked UK delivery on ALL orders.
£34.19
Taylor & Francis Ltd Creative Music Making
a huge range and FREE tracked UK delivery on ALL orders.
£37.99
Cambridge University Press Performance Lute Guitar Vihuela Historical Practice and Modern Interpretation 6 Cambridge Studies in Performance Practice Series Number 6
Book SynopsisThis is the first book-length study in any language dedicated specifically to lute, guitar, and vihuela performance. Brings to light various new ideas about performance and technique for a wide range of instruments, including the fifteenth-, sixteenth- and seventeenth-century Italian lute, archlute, theorbo, French Baroque lute, vihuela. Will be of interest to players, teachers and scholars.Trade Review'… a very valuable addition to the lute player's library.' Early Music Today'Victor Coehlo has assembled a fine team of collaborators for this excellent collection of essays … All in all, a collection worth having: the essays are thought provoking and of a high standard.' The LuteTable of Contents1. An invitation to the fifteenth-century plectrum lute: the Pesaro manuscript Vladimir Ivanoff; 2. Lute tablature instructions in Italy: a survey of the Regole from 1507 to 1759 Dinko Fabris; 3. The performance context of the English lute song, 1596 to 1622 Daniel Fischlin; 4. Per cantare e sonare: lute song at the end of the sixteenth century Kevin Mason; 5. Authority, autonomy, and interpretation in performing seventeenth-century Italian lute music Victor Coelho; 6. The soul of the lute: performance in the style brisé Wallace Rave; 7. The vihuela: performance practice, style, and context John Griffiths; 8. Performing seventeenth-century Italian guitar music: the question of an appropriate stringing Gary Boye; 9. Essential issues in performance practices of the Classical guitar, 1779–1840 Richard Savino.
£22.99
Cambridge University Press Modern Invention of Medieval Music Scholarship Ideology Performance Musical Performance and Reception
a huge range and FREE tracked UK delivery on ALL orders.
£22.99
Cambridge University Press Studies in the Performance of Late Medieval Music
a huge range and FREE tracked UK delivery on ALL orders.
£37.99
Cambridge University Press Voice and Song
a huge range and FREE tracked UK delivery on ALL orders.
£36.09
Cambridge University Press Bachs Feet The Organ Pedals in European Culture Musical Performance and Reception
a huge range and FREE tracked UK delivery on ALL orders.
£78.85
Cambridge University Press The Virtuoso FlutePlayer Cambridge Musical Texts and Monographs
a huge range and FREE tracked UK delivery on ALL orders.
£25.64
Cambridge University Press A History of Pianoforte Pedalling
a huge range and FREE tracked UK delivery on ALL orders.
£42.74
Cambridge University Press The Practice of Performance Studies in Musical Interpretation
a huge range and FREE tracked UK delivery on ALL orders.
£37.99
Cambridge University Press Early Keyboard Instruments A Practical Guide Cambridge Handbooks to the Historical Performance of Music
a huge range and FREE tracked UK delivery on ALL orders.
£77.90
Cambridge University Press Early Keyboard Instruments
a huge range and FREE tracked UK delivery on ALL orders.
£36.09
Cambridge University Press The Cambridge Companion to the Lied Cambridge Companions to Music
Book SynopsisBeginning several generations before Schubert, the Lied first appears as domestic entertainment. In the century that follows it becomes one of the primary modes of music-making. By the time German song comes to its presumed conclusion with Richard Strauss's 1948 Vier letzte Lieder, this rich repertoire has moved beyond the home and keyboard accompaniment to the symphony hall. This is a 2004 introductory chronicle of this fascinating genre. In essays by eminent scholars, this Companion places the Lied in its full context - at once musical, literary, and cultural - with chapters devoted to focal composers as well as important issues, such as the way in which the Lied influenced other musical genres, its use as a musical commodity, and issues of performance. The volume is framed by a detailed chronology of German music and poetry from the late 1730s to the present and also contains a comprehensive bibliography.Trade Review'How pleasing to see that the lied merits its own volume in this attractively presented series from CUP' The Schubertian'… a fine addition to the material written on this subject, and I do recommend it highly.' Piano ProfessionalTable of ContentsNotes on the contributors; Acknowledgments; The Lied in context: a chronology; Names and dates mentioned in this Volume; Part I. Introducing a Genre: 'Introduction: Why the Lied?' James Parsons: 1. 'In the beginning was poetry' Jane Brown; Part II. The Birth and Early History of a Genre in the Age of Enlightenment: 2. The eighteenth-century Lied James Parsons; 3. The Lieder of Carl Philipp Emanuel Bach, Haydn, Mozart, and Beethoven Amanda Glauert; Part III. The Nineteenth Century: Issues of Style and Development: 4. The Lieder of Schubert Marie-Agnes Dittrich; 5. The early nineteenth-century song cycle Ruth O. Bingham; 6. Schumann: reconfiguring the Lied Jürgen Thym; 7. The Lied at mid-century James Deaville; 8. The Lieder of Liszt Rena Charnin Mueller; 9. The Lieder of Brahms Heather Platt; 10. Tradition and innovation: the Lieder of Hugo Wolf Susan Youens; 11. Song beyond song: instrumental transformations and adaptations of the Lied from Schubert to Mahler Christopher H. Gibbs; Part IV. Into the Twentieth Century: 12. The Lieder of Mahler and Richard Strauss James L. Zychowicz; 13. The Lied in the modern age: to mid century James Parsons; Part V. Reception and Performance: 14. The circulation of the Lied: the double life of an artwork and a commodity David Gramit; 15. The Lied in performance Graham Johnson; A guide to suggested further reading; Index.
£79.93
Cambridge University Press A History of Singing
a huge range and FREE tracked UK delivery on ALL orders.
£103.55
Cambridge University Press The Cambridge Companion to Conducting Cambridge Companions to Music
a huge range and FREE tracked UK delivery on ALL orders.
£68.40
Cambridge University Press The Singing of the New World Indigenous Voice in the Era of European Contact New Perspectives in Music History and Criticism Series Number 15
a huge range and FREE tracked UK delivery on ALL orders.
£77.00
Cambridge University Press The Other Worlds of Hector Berlioz Travels with the Orchestra
a huge range and FREE tracked UK delivery on ALL orders.
£94.50
Cambridge University Press Rock Guitar Virtuosos
a huge range and FREE tracked UK delivery on ALL orders.
£17.00
Cambridge University Press Bachs Feet
Book SynopsisFrom 1500, the independent use of the feet in musical performance at the organ was unique to Germany and vital to its cultural standing in Europe. Yearsley presents an account of this mode of music-making spanning some 500 years, including reappraising J. S. Bach's crucial role in that history.Trade Review'There is much to enjoy in this compelling study.' Early Music'Part of [Yearsley's] intent in writing Bach's Feet, which is clearly a labor of love, is to reintroduce the organ into general musicological discourse, and perhaps even attract some lay readers. His book certainly deserves to succeed in its mission, and the organ, as he says, is 'ready for a comeback'.' NotesTable of ContentsIntroduction; 1. Inventing the organist's feet; 2. Harmonies of the feet, visions of the body; 3. Walking towards perfection: pedal solos and cycles; 4. The pedal in the cosmopolitan age of travel; 5. Treading the globe: the world-wide expansion of the German pedal ideal; 6. Bach's feet.
£23.74
Oxford University Press Inc Teaching Instrumental Music
Book SynopsisTeaching Instrumental Music: Contemporary Perspectives and Pedagogies reflects the music pedagogy of recent years while acknowledging traditional instruments and styles. Written by a diverse, expert team of 47 authors, the text covers both the teaching of individual instruments and the teaching of instrumental ensembles. It can serve as the sole comprehensive text to accompany any instrumental music education class, including concert band, jazz band, marching band, strings, and popular music.Trade Review“A terrific textbook for instrumental methods classes and an excellent resource for music education philosophies.” - Professor Brian Gibbs, Sam Houston State University.“This text is a bold approach to instrumental music education… The focus on multiple perspectives is just what we need in music education for the future.” - Professor John T. Hart, Jr., Keene State College.Table of ContentsPart I. Teaching and Learning 1. Transferable Pedagogical Concepts (Kristen Pellegrino) 2. Learning to Teach: Preservice Teacher Experiences (Kristen Pellegrino & Cynthia L. Wagoner) 3. How Students Learn (Kristen Pellegrino & Cynthia L. Wagoner) 4. Proactive and Reactive Classroom Management Strategies (Kristen Pellegrino) 5. Teaching Executive Skills, Musical Skills, and Artistic Skills (Stephen J. Benham) 6. Teaching Notation in Instrumental Music (Bryan Powell) 7. Planning (Lesson Planning and Curriculum) & Assessment (J. Si MIllican) 8. Strategies for Planning, Building, and Managing Music Programs (Kelvin D. Jones) 9. Student Motivation (Quincy C. Hilliard) 10. Technology in Instrumental Music Instruction (Bryan Powell) 11. Care, Communication, and Connection in Instrumental Learning Spaces (Karin S. Hendricks & Tawnya D. Smith) 12. Peer-Assisted Learning in the Instrumental Music Ensemble (Erik Johnson and Christina Herman) 13. Teaching Instruments to Students with Disabilities (Kimberly McCord) 14. Teaching for Social Impact through Fluidity in the 21st Century Instrumental Ensemble (William L Lake, Jr.) 15. Applications of Arranging and Transcribing for Ensembles (Herbert Marshall) 16. Instrumental Substations: Rescoring for Small Bands and Limited Instrumentation (Quincy C. Hilliard) 17. Advocating for the Arts: What Every Future Music Educator Should Know (John L. Benham & Stephen J. Benham) Part II. Popular Music and Non-Traditional 18. Pedagogical Considerations for Teaching Modern Band Students (Bryan Powell) 19. Pedagogies for Teaching Ukulele Popular Music Education (Christopher Cayari) 20. Pedagogies for Teaching Guitar in Popular Music Education (Warren Gramm) 21. Pedagogies for Teaching Electric Bass in Popular Music Education (Spencer Hale) 22. Pedagogies for Teaching Keyboard in Popular Music Education (Letitia Stancu) 23. Pedagogies for Teaching Drum Set in Popular Music Education (Mary Claxton) 24. Pedagogies for Teaching Vocalists in Popular Music Ensembles (Kat Reinhert) 25. Culturally Relevant Pedagogy in Modern Band (Antonio Sauza) Part III. Teaching Strings 26. Pedagogical Considerations for Teaching String Students (Kristen Pellegrino) 27. Pedagogies for Teaching Right Hand to String Players (Kristen Pellegrino and Joel Schut) 28. Pedagogies for Teaching Left-Hand Position, Intonation, and Instrument Tuning to String Players (Erin M. Hansen and Kristen Pellegrino) 29. Pedagogies for Teaching Shifting and Vibrato to String Players (Kristen Pellegrino and Erin M. Hansen) 30. Building and Maintaining a Successful Orchestra Program (Michael Hopkins) 31. Culturally Responsive Teaching in School Orchestras (James Ray, Brian W. Kellum, & Karin S. Hendricks) Part IV. Teaching Woodwinds 32. Pedagogical Considerations for Teaching Woodwind Students (Cynthia L. Wagoner) 33. Pedagogies for Teaching Flute (Cassandra Eisenreich) 34. Pedagogies for Teaching Clarinet (Cynthia L. Wagoner & Asia Muhaimin) 35. Pedagogies for Teaching Oboe (Alison Robuck) 36. Pedagogies for Teaching Bassoon (Robin Hochkeppel) 37. Pedagogies for Teaching Saxophone (Nathan Holder) Part V. Teaching Brass 38. Pedagogical Considerations for Teaching Brass Students (Benjamin Yates) 39. Pedagogies for Teaching Horn (Meryl Sole) 40. Pedagogies for Teaching Trumpet (Steven Cunningham) 41. Pedagogies for Teaching Trombone (Dunwoody Mirvil) 42. Pedagogies for Teaching Baritone/Tuba (Jennifer Jester) 43. Culturally Relevant Pedagogy in Band (Darrin Thornton) Part VI. Teaching Percussion 44. Pedagogical Considerations for Teaching Teaching Percussion Students (Virginia Davis and Daniel Smithiger) 45. Pedagogies for Teaching Pitched and Non-pitched Orchestral Percussion (Virginia Davis and Daniel Smithiger) 46. Pedagogies for Teaching Latin Percussion (Aixa Burgos) 47. Pedagogies for Teaching Steel Pan and Steel Bands (David Knapp) Part VII. Ensemble Rehearsal Techniques 48. Modern Band Rehearsal Techniques (Scott Burstein) 49. Concert Band Rehearsal Techniques (Quincy C. Hilliard) 50. Jazz Band Rehearsal Techniques (Lonnie Easter II) 51. Marching Band Rehearsal Techniques (Kelvin D. Jones) 52. String and Orchestra Rehearsal Strategies (Joel Schut & Rebecca B. MacLeod) 53. Mariachi Ensemble Rehearsal Techniques (Sergio Alonso) 54. Musical Theatre Pit Orchestra Preparation and Performance (Herbert Marshall)
£107.67
Oxford University Press Music for Analysis Examples from the Common Practice Period and the Twentieth Century
Book Synopsis.Trade Review"I really like this book's brief examples, the brevity of the chapters, and the variety of genres." --Leslie M. Sabina, St. Bonaventure University "For those of us who choose not to use a standard tonal harmony textbook in our courses, Music for Analysis, Eighth Edition, provides organized musical examples in a single source." --Susan Piagentini, Bienen School of Music, Northwestern UniversityTable of ContentsPREFACE SUGGESTIONS FOR USING THIS BOOK PART I DIATONIC MATERIALS Suggestions for Discussion 1. TONIC TRIAD Questions for Analysis 1. HAYDN, Sonatina in G major, Hob. XVI: 8 2. CZERNY, Sonatina, op. 792, no. 8 3. RIMSKY-KORSAKOV, Le Coq d'Or: Hymn to the Sun 4. BEETHOVEN, Leonora Overture No. 2, op. 72 5. BEETHOVEN, Trio, op. 70, no. 2 6. CHOPIN, Polens Grabgesang, op. 74 7. CHOPIN, Valse (Posthumous) 8. BEETHOVEN, Symphony No. 5, op. 67 9. COUPERIN, Carnival 2. DOMINANT TRIAD IN ROOT POSITION Questions for Analysis 10. MOZART, Rondo 11. KUHNAU, Biblical Sonata No. 1: Victory Dance and Festival 12. BEETHOVEN, Für Elise 13. SCHUMANN, Album for the Young, op. 68: Reiterstück 14. WEBER, Euryanthe, op. 81: Overture 15. BEETHOVEN, Symphony No. 5, op. 67 3. DOMINANT SEVENTH AND NINTH IN ROOT POSITION Questions for Analysis Model Analysis 16. WEBER, German Dance 17. MOZART, Sonata, K. 332 18. SCHUBERT, Wiegenlied, op. 98, no. 2 19. VERDI, Rigoletto, Act I, no. 2 20. HAYDN, Sonata in E major, Hob. XVI: 13 21. BEETHOVEN, Symphony No. 4, op. 60 22. WEBER, Oberon: Overture 23. SCHUBERT, Ländler 24. SCHUBERT, Valses Nobles, op. 77 25. MOZART, Valse 4. SUBDOMINANT TRIAD IN ROOT POSITION Questions for Analysis 26. SCHEIDT, Bergamasca 27. SCHUMANN, Faschingsschwank aus Wien, op. 26, no. 3: Scherzino 28. CHOPIN, Mazurka, op. 17, no. 1 29. BEETHOVEN, Egmont Overture, op. 84 30. VERDI, Rigoletto, Act I, no. 7 31. SCHUBERT, Impromptu, op. 90, no. 4, D. 899 32. KERN, Look for the Silver Lining 33. BEETHOVEN, Seven Country Dances, no. 7 34. SCHUBERT, Ländler 5. CADENTIAL TONIC SIX-FOUR CHORD Questions for Analysis 35. SCHUBERT, Valses Sentimentales, op. 50, no. 18 36. CHOPIN, Mazurka, op. 24, no. 3 37. DONIZETTI, Lucia di Lammermoor, Act II, no. 6 38. BEETHOVEN, Trio, op. 97 6. TONIC, SUBDOMINANT, AND DOMINANT TRIADS IN FIRST INVERSION Questions for Analysis Model Analysis 39. BACH, Lobt Gott, ihr Christen, allzugleich 40. MOZART, Bastien und Bastienne, K. 46B, no. 9 41. MOZART, Sonata, K. 332 42. HAYDN, Sonata in D major, Hob. XVI:37 43. MOZART, Abendempfindung, K. 523 44. BEETHOVEN, Symphony No. 5, op. 67 45. BEETHOVEN, Fidelio, Act I, no. 9 46. MOZART, Sonata, K. 570 47. MENDELSSOHN, Elijah, op. 70, no. 29 48. COUPERIN, Le Petit Rien 49. DANDRIEU, Les Fifres 7. SUPERTONIC TRIAD Questions for Analysis 50. ANONYMOUS, Dir, dir, Jehovah, will ich singen 51. SCHUBERT, Waltz, op. 9, no. 3, D. 365 52. BEETHOVEN, Six Variations on "Nel cor più non mi sento" 53. MOZART, Die Zauberflöte, K. 620, Act II, no. 21 54. CHOPIN, Zwei Leichen 55. BEETHOVEN, Trio, op. 121A 56. VERDI, Rigoletto, Act II, no. 14 57. CHOPIN, Mazurka, op. 33, no. 2 58. HAYDN, Sonata in E minor, Hob. XVI: 34 8. INVERSIONS OF THE DOMINANT SEVENTH CHORD Questions for Analysis 59. J. C. F. BACH, Nun danket alle Gott 60. HAYDN, Sonata in C major, Hob. XVI: 35 61. PAISIELLO, Le donne sur balcone 62. MOZART, Quartet, K. 464 63. BEETHOVEN, Sonata, op. 31, no. 3 64. RAMEAU, Sarabande I, vol. I 65. HAYDN, Trio in C major, Hob. XV: 3 66. KUHLAU, Sonatina, op. 20, no. 1 67. BEETHOVEN, Symphony No. 2, op. 36 68. BEETHOVEN, Minuet in C 9. LINEAR (EMBELLISHING) SIX-FOUR CHORDS Questions for Analysis 69. BEETHOVEN, Concerto No. 1 for Piano, op. 15 70. SCHUBERT, Valses Sentimentales, op. 50, no. 1, D. 779 71. MOZART, Rondo, K. 485 72. HAYDN, Quartet, op. 3, no. 5 73. SCHUBERT, Waltz, op. 9, no. 1, D. 365 74. KUHLAU, Sonatina, op. 88, no. 3 75. MOZART, Symphony No. 35, K. 385 76. BEETHOVEN, Sonatina in G major 77. BEETHOVEN, Symphony No. 7, op. 92 78. MOZART, Symphony No. 41, K. 551 79. HAYDN, Sonata in D major, Hob. XVI: 37 80. BEETHOVEN, Contradanse 81. BUXTEHUDE, Passacaglia 82. BEETHOVEN, Symphony No. 3, op. 55 83. GOUNOD, Faust, Act I, no. 6 84. SULLIVAN, H.M.S. Pinafore, "I'm Called Little Buttercup" 10. SUBMEDIANT AND MEDIANT TRIADS Questions for Analysis 85. CRÜGER, Herzliebster Jesu, was hast du verbrochen 86. ANONYMOUS, Dir, dir, Jehovah, will ich singen 87. BACH, Schmücke dich, o liebe Seele 88. MOZART, Bastien und Bastienne, K. 46b, no. 1 89. MOZART, Sonata, K. 545 90. HANDEL, Sonata in F for Flute and Continuo 91. VERDI, Rigoletto, Act I, no. 1 92. BRAHMS, Symphony No. 4, op. 98 93. CORELLI, Sonata for Violin and Continuo, op. 5, no. 9 94. SCHUBERT, Quartet in D major, D. 74 95. BEETHOVEN, Trio, op. 1, no. 3 96. MOZART, Sonata, K. 283 97. J. C. F. BACH, Menuet 98. TESSIER, Au joli bois je m'en vais 99. STRAUSS, Der Rosenkavalier, Act III 100. BRAHMS, Romance, op. 118, no. 5 101. SCHUMANN, Phantasiestücke, op. 12, no. 4, Grillen 102. SCHUBERT, Im Abendroth (Posthumous) 103. SCHUBERT, Symphony in C major ("The Great") 11. LEADING TONE TRIAD Questions for Analysis 104. TESCHNER, Schatz über alle Schätze 105. BACH, Aus meines Herzens Grunde 106. SCHUMANN, Album for the Young, op. 68: Soldatenmarsch 107. HANDEL, Courante 108. HAYDN, Sonata in E major, Hob. XVI: 49 109. HAYDN, Sonatina in D major, Hob. XVI: 4 110. MOZART, Sonata, K. 280 111. DAQUIN, La Joyeuse 12. VARIANT QUALITIES OF DIATONIC TRIADS Questions for Analysis Scalar Variants in Minor 112. Bach, Herr, ich habe mißgehandelt 113. Pachelbel, Chaconne 114. Telemann, Fantasie No. 8 115. Byrd, Pavana "The Earle of Salisbury" 116. A. Scarlatti, Folia 117. Mattheson, Minuet 118. Mozart, Sonata, K. 310 Modal Borrowing 119. VERDI, La Traviata, Act I, no. 4 120. DONIZETTI, Linda di Chamounix, "O luce di quest'anima" 121. MOZART, Sonata for Violin and Piano, K. 306 122. HAYDN, Sonatina in C major, Hob. XVI: 7 123. SCHUBERT, Aufenthalt 124. SCHUBERT, Der Wanderer 125. BRAHMS, Symphony No. 3, op. 90 126. VERDI, Il Trovatore, Act II, no. 11 127. BEETHOVEN, Symphony No. 5, op. 67 128. BRAHMS, Symphony No. 4, op. 98 13. SUPERTONIC SEVENTH CHORD Questions for Analysis 129. ANONYMOUS, Herr, wie du willst, so schick's mit mir 130. BACH, Straf' mich nicht in deinem Zorn 131. HAYDN, Sonata in A? major, Hob. XVI: 46 132. GRIEG, Lyric Pieces, op. 12, no. 3: Voegtersang 133. BEETHOVEN, Symphony No. 6, op. 68 134. SCHUBERT, Quartet, op. 168, D. 112 135. MOZART, Sonata, K. 310 136. SCHUBERT, Ständchen 137. BEETHOVEN, Symphony No. 2, op. 36 138. BEETHOVEN, Sonata, op. 14, no. 2 139. BEETHOVEN, Symphony No. 6, op. 68 140. BIZET, Carmen, Act II: Entr'acte 141. RODGERS, Blue Moon 14. LEADING TONE SEVENTH CHORD Questions for Analysis 142. DVORAK, Quartet, op. 96 143. MOZART, Sonata, K. 457 144. SCHUMANN, Carnaval, op. 9: Chiarina 145. BRAHMS, Ballade, op. 10, no. 4 146. HANDEL, Sonata for Flute and Basso Continuo, HWV 362 147. HAYDN (?), Allegro 148. HAYDN, Trio in G major, Hob. XV: 25 149. MOZART, Requiem, K. 626: Offertorium 150. HAYDN, Sonatina in G major, Hob. XVI: 11 151. HANDEL, Judas Maccabaeus, Part III: no. 53, Introduction 152. WAGNER, Das Rheinghold, Scene 1 153. GLUCK, Orphée, Act I, no. 1 154. HANDEL, Aria con Variazioni, Leçon No. 1 155. TELEMANN, Fantasia, Dozzina 1, no. 5 156. MOZART, Sonata for Violin and Piano, K. 306 15. OTHER DIATONIC SEVENTH CHORDS Questions for Analysis 157. BACH, O Ewigkeit, du Donnerwort 158. MOZART, Rondo. K. 494 159. MENDELSSOHN, Kinderstück, op. 72, no. 1 160. PACHELBEL, Fantasie 161. HANDEL, Sonata for Flute and Continuo 162. HANDEL, Leçon No. 2, Menuet 163. TCHAIKOVSKY, Symphony No. 4, op. 36 164. BACH, French Suite in D minor, Menuet 16. COMPLETE PIECES FOR ANALYSIS I Checklist for Analysis 165. BEETHOVEN, Minuet 166. SCHUBERT, Dance 167. SCHUBERT, German Dance, op. 33, no. 12 168. BEETHOVEN, Scottish Dance 169. PURCELL, Rigadoon 170. RAMEAU, Minuet 171. WITT, Passacaglia 172. GRIEG, Lyric Pieces, op. 12, no. 6: Norsk PART II CHROMATIC MATERIALS Suggestions for Discussion 17. SECONDARY (APPLIED, BORROWED) DOMINANTS Questions for Analysis Model Analysis 173. BEETHOVEN, Trio, op. 1, no. 1 174. MOZART, Sonata, K. 281 175. SCHUBERT, Impromptu, op. 142, no. 3 176. HAYDN, Trio in D major 177. BEETHOVEN, Sonatina in G major 178. WEBER, Oberon: Overture 179. BEETHOVEN, Trio, op. 1, no. 1 180. SCHUMANN, Sonata, op. 118c., Andante 181. BEETHOVEN, Symphony No. 1, op. 21 182. HANDEL, Suite XI 183. SCHUMANN, Arabeske, op. 18 184. BEETHOVEN, Symphony No. 4, op. 60 185. SCHUMANN, Widmung, op. 25, no. 1 186. SCHUBERT, Symphony No. 8 ("Unfinished") 187. SCHUMANN, Sonata, op. 118c., Puppenwiegenlied 188. SCHUBERT, Quintet ("Die Forelle"), op. 114, D. 667 189. BEETHOVEN, Quintet, op. 29 190. BEETHOVEN, Trio, op. 11 191. VERDI, Rigoletto, Act II, no. 7 192. HANDEL, Suite XVI 193. BEETHOVEN, Sonata, op. 53 194. SCHUBERT, Symphony in C major ("The Great") 195. BEETHOVEN, Trio, op. 1, no. 3 196. SCHUBERT, Mass in E major: Benedictus 197. MENDELSSOHN, Midsummer Night's Dream, op. 61: Wedding March 198. VERDI, Rigoletto, Act II, no. 14 199. BACH, Christmas Oratorio, Part I, no. 4: Bereite dich, Zion 200. HANDEL, Sonata VII for Flute and Continuo 201. CHOPIN, Mazurka, op. 67, no. 2 202. CHOPIN, Valse, op. 69, no. 1 203. CHOPIN, Valse Brillante, op. 34, no. 3 204. GERSHWIN, Someone to Watch Over Me 205. TCHAIKOVSKY, Children's Album, op. 39, no. 1.: Morning Prayer 18. MODULATION TO CLOSELY RELATED KEYS Questions for Analysis Modulation to Dominant 206. MOZART, Symphony No. 39, K. 543 207. MOZART, Sonata, K. 331 208. BEETHOVEN, Symphony No. 2, op. 36 209. HAYDN, Minuet 210. SCHUBERT, Quartet, D. 173 211. HAYDN, Sonata in C minor, Hob. XVI: 36 212. MOZART, Symphony No. 41, K. 551 213. CHOPIN, Mazurka, op. 7, no. 2 214. HAYDN, Sonata in G major, Hob. XVI: 39 215. MOZART, Sonata, K. 282, Menuet I 216. SCHUBERT, Quartet, D. 173 Modulation to Relative Major 217. HAYDN, Trio in F minor, Hob. XV: 26 218. HAYDN, Sonata in E minor, Hob. XVI: 34 219. MOZART, Sonata, K. 330 220. DONIZETTI, Lucia di Lammermoor, Act I, Cavatina 221. BRAHMS, Quintet, op. 115 222. BEETHOVEN, Symphony No. 7, op. 92 223. HAYDN, Symphony No. 104, Hob. I: 104 Modulation to Other Closely Related Keys 224. HAYDN, Sonatina, Hob. XVI: 1 225. BONONCINI, Deh più a me non vàscondete 226. SAINT-SAËNS, Carneval des Animaux: Le Cygne 227. BRAHMS, Waltz, op. 39, no. 15 228. BEETHOVEN, Quartet, op. 18, no. 2 229. PURCELL, Dido and Aeneas, Act I, scene I 230. BACH, French Suite in C Minor 19. COMPLETE PIECES FOR ANALYSIS II Checklist for Analysis 231. BACH, Wachet auf, ruft uns die Stimme 232. BACH, In dulci jubilo 233. BACH, Christ lag in Todesbanden 234. HANDEL, Menuet 235. BEETHOVEN, Sonata, op. 26 236. SCHUMANN, Sonata, op. 118b., Abendlied 237. BRAHMS, Waltz, op. 39 238. HANDEL, Prelude 239. BEETHOVEN, Sonatina in F major 240. HAYDN, Sonata in G major, Hob. XVI: 27 241. GERSHWIN, I Got Rhythm 20. LINEAR (EMBELLISHING) DIMINISHED SEVENTH CHORDS Questions for Analysis 242. HAYDN, Symphony No. 104, Hob. I: 104, Menuet 243. BEETHOVEN, Symphony No. 7, op. 92 244. LISZT, Les Préludes 245. BEETHOVEN, Contradanse 246. TCHAIKOVSKY, Symphony No. 6, op. 74 247. BEETHOVEN, Quartet, op. 18, no. 3 248. SCHUBERT, Sonata, op. 53 249. GOUNOD, Faust, Act IV, no. 18 250. SCHUMANN, Carnaval, op. 9: Arlequin 251. MOZART, Waltz, K. 567 252. WAGNER, Rienzi: Overture 253. BELLINI, I Puritani, Act II, scene 3 254. HAYDN, Symphony No. 104, Hob. I: 104 255. RODGERS, The Girl Friend 256. BRAHMS, Liebeslieder Walzer, op. 52, no. 4 21. NEAPOLITAN TRIAD Questions for Analysis 257. MOZART, Concerto in A major, K. 488 258. SCHUBERT, Die schöne Müllerin, Op. 25: Der Müller und der Bach 259. BACH, Ach Gott, vom Himmel sieh' darein 260. BACH, Invention No. 13 261. VERDI, Il Trovatore, Act II, no. 8 262. BRAHMS, Intermezzo in A major, op. 118, no. 2 263. CHOPIN, Prelude, op. 28, no. 20 264. BEETHOVEN, String Quartet, op. 59, no. 2 265. BRAHMS, Wie Melodien zieht es mir, op. 105 266. BEETHOVEN, Quartet, op. 18, no. 3 267. SCHUBERT, Mass in E major: Credo 268. BACH, The Well-Tempered Clavier, Vol. II, Fugue 17 269. CHOPIN, Prelude, op. 28, no. 6 22. AUGMENTED SIXTH CHORDS, SUBMEDIANT DEGREE AS LOWEST NOTE Model Analysis Questions for Analysis Italian 270. BACH, Ich hab' mein' Sach' Gott heimgestellt 271. BEETHOVEN, Bagatelle, op. 119, no. 1 272. BEETHOVEN, Coriolan Overture, op. 62 273. TCHAIKOVSKY, Children's Album, op. 39, no. 10: Mazurka 274. SCHUBERT, Quartet, op. 168, D. 112 275. BEETHOVEN, Symphony No. 1, op. 21 German 276. MOZART, Sonata, K. 457 277. BEETHOVEN, Sonata, op. 109 278. HAYDN, Trio, Hob. XV: 25 279. BEETHOVEN, Thirty-Two Variations, WoO 80, Var. 30 280. SIBELIUS, Chanson Sans Paroles, op. 40, no. 2 281. STRAUSS, Der Rosenkavalier, Act I French 282. MENDELSSOHN, Elijah, op. 70, no. 1 283. SCHUBERT, Mass in G major: Kyrie 284. BACH, Wer nur den lieben Gott lä t walten 285. SCHUBERT, Sonata, op. 42 286. VERDI, La Traviata, Act III: Prelude 287. SCHUBERT, Symphony in C major ("The Great") 288. GRIEG, Alfedans, op. 12 289. HERBERT, Gypsy Love Song Enharmonic German 290. SCHUMANN, Dichterliebe, op. 48, no. 12: "Am leuchtenden Sommermorgen" 23. AUGMENTED SIXTH CHORDS, OTHER SCALE DEGREES AS LOWEST NOTE Questions for Analysis 291. MOZART (?), Adagio 292. GRANADOS, Valses Poeticos 293. SCHUBERT, Symphony No. 8 ("Unfinished") 294. MOUSSORGSKY, Songs and Dances of Death, no. 4 295. GLUCK, Orphée, Act I, nos. 6 and 7 24. AUMENTED SIXTH CHORDS, OTHER USES Question for Analysis Linear 296. VERDI, Rigoletto, Act I: Prelude 297. TCHAIKOVSKY, Song Without Words, op. 40, no. 6 298. TCHAIKOVSKY, Romeo and Juliet 299. SCHUBERT, Waltz 300. BRAHMS, Intermezzo, op. 76, no. 4 301. TCHAIKOVSKY, Children's Album, op. 39, no. 20: The Witch Secondary 302. CHOPIN, Prelude, op. 28, no. 22 303. SCHUBERT, Mass in G major: Benedictus 304. SCHUBERT, Die Allmacht, op. 79, no. 2 Altered Dominants 305. SCHUBERT, Quintet, op. 163 306. LISZT, Liebestraum, no. 3 307. RIMSKY-KORSAKOV, Snowmaiden, Chanson du Bonhomme Hiver 308. GRIEG, Solvejg's Lied 25. OTHER MEANS OF MODULATION Model Analysis Question for Analysis 309. SCHUBERT, Mass in G major: Gloria 310. BRAHMS, Wenn du nur zuweilen lächelst, op. 57, no. 2 311. BEETHOVEN, Symphony No. 5, op. 67 312. SCHUBERT, Waltz, op. 9, no. 14, D. 365 313. MOZART, Die Entführung aus dem Serail, K. 384, Act III, no. 18 314. SCHUMANN, Symphony No. 2, op. 61 315. BEETHOVEN, Symphony No. 7, op. 92 316. HAYDN, String Quartet, op. 76, no. 6 317. BEETHOVEN, Sonata, op. 13 318. BEETHOVEN, Trio, op. 70, no. 1 319. SCRIABIN, Prelude, op. 13, no. 3 320. J. STRAUSS, Die Fledermaus: Overture 321. BRAHMS, Wie bist du meine Königen, op. 32, no. 9 322. SCHUBERT, Mass in A major: Agnus Dei 323. BEETHOVEN, Trio, op. 11 324. RACHMANINOFF, Melodie, op. 3, no. 3 325. SCHUBERT, Symphony No. 8 ("Unfinished") 26. NINTH CHORDS Questions for Analysis Dominant Ninths 326. J. STRAUSS, Artist's Life Waltzes, op. 316, no. 3 327. FRANCK, Sonata for Violin and Piano 328. BEETHOVEN, Theme from Six Easy Variations, WoO 77 329. CHOPIN, Valse Brillante, op. 34, no. 1 330. SCHUMANN, Waldesgespräch, op. 39, no. 3 331. CHOPIN, Prelude, op. 28, no. 15 Secondary Dominant Ninths 332. BACH, St. Matthew Passion, no. 78 333. SCHUMANN, Genoveva, op. 81: Overture 334. GRIEG, Grandmother's Minuet, op. 68, no. 2 335. SCHUMANN, Kinderszenen, op. 15, no. 7: Träumerei Nondominant Ninths 336. GRIEG, Wedding Day at Troldhaugen, op. 65, no. 6 337. MENDELSSOHN, Midsummer Night's Dream, op. 21: Overture 338. FAUR´E, Après un Rêve 27. EXTENDED LINEAR USAGES Questions for Analysis Model Analysis 339. CHOPIN, Mazurka, op. 6, no. 1 340. BRAHMS, "Der Tod, das ist die kühle Nacht," op. 96, no. 1 341. WEBER, Euryanthe: Overture 342. BRAHMS, Variations on a Theme by Handel, var. 20 343. FRANCK, Symphony in D minor 344. WAGNER, Lohengrin, Act I, scene 2 345. WAGNER, Wotan's Farewell, Die Walküre, Act III 346. CHOPIN, Prelude, op. 28, no. 9 347. BEETHOVEN, Quartet, op. 18, no. 6 28. COMPLETE PIECES FOR ANALYSIS III Checklist for Analysis 348. BACH, Ein' feste Burg ist unser Gott 349. BACH, Es ist genug, so nimm, Herr 350. MOZART, Minuet, K. 355 351. SCHUMANN, C., Myrthen, op. 25, no. 24 352. SCHUMANN, R., Drei Lieder, op. 12, no. 2 353. MENDELSSOHN, Lieder ohne Wörte, op. 30, no. 3 354. CHOPIN, Mazurka, Op. posth. 67, no. 2 355. SCHUMANN, Phantasiestücke, op. 12, no. 3: Warum? 356. GRIEG, Lyric Pieces: op. 43, no. 5: Erotikon 357. LISZT, Il pensieroso, from Années de Pèlerinage 358: COLERIDGE-TAYLOR, Cameos for piano, op. 56, no. 3 359. R. STRAUSS, Morgen, op. 27, no. 4 360. WAGNER, Wesendonck Lieder, no. 1: Der Engel 361. BEETHOVEN, Sieben Variationen über das Volkslied: "God Save the King", WoO 78 362. MOZART, Symphony No. 40, K. 550 363. BEACH, Sketches, op. 15: Phantoms 364. JOPLIN, A Breeze from Alabama: March and Two-Step 365. WAGNER, Tristan und Isolde, Act I: Prelude 366. MOZART, Sonata, K. 309 I. Allegro con spirito II. Andante, un poco Adagio III. Allegretto grazioso 367. BEETHOVEN, Sonata, op. 2, no. 3 I. Allegro con brio II. Adagio III. Scherzo, Allegro IV. Allegro assai 29. EXAMPLES OF COUNTERPOINT Questions for Analysis 368. BACH, Cantata No. 4: Sinfonia 369. BACH, Chorale Prelude on "In Dulci Jubilo" 370. BACH, Chorale Prelude on "Christ lag in Todesbanden" 371. BRAHMS, Chorale Prelude on "O Wie selig seid ihr doch, ihr Frommen" 372. PURCELL, "Thy hand Belinda", from Dido and Aeneas 373. BACH, Invention No. 4, BWV 775 374. BACH, Invention No. 13, BWV 775 375. BACH, Sinfonia 3, BWV 789 376. BACH, The Well-Tempered Clavier, Vol. I, Fugue 2 377. BACH, The Well-Tempered Clavier, Vol. II, Fugue 9 378. MENDELSSOHN, Fugue No. 2, op. 35 Additional Examples for the Study of Contrapuntual Techniques PART III CONTEMPORARY MATERIALS Suggestions for Discussion Model Analysis 30. EXTENDED AND ALTERED TERTIAN HARMONY Questions for Analysis 379. HANSON, Symphony No. 2, op. 30 380. KABALEVSKY, Sonatina, op. 13 381. HOVHANESS, Mysterious Mountain 382. SHOSTAKOVICH, Prelude, op. 34, no. 24 383. DEBUSSY, Pelléas et Mélisande, Act I, scene 1 384. SCRIABIN, Poem, op. 32, no. 2 385. RAVEL, Valses Nobles et Sentimentales 386. RODGERS, Slaughter on Tenth Avenue 387. ELLINGTON, Prelude to a Kiss 388. DUKE JORDAN, Jordu 389. PARKER, Anthropology 390. BERG, Four Songs, op. 2, no. 3 391. RAKSIN, Laura 31. DIATONIC (CHURCH) MODES Model Analysis Questions for Analysis 392. BARTO´K, Little Pieces for Children, no. III 393. CHA´VEZ, Ten Preludes, no. 1 394. POULENC, Valse 395. DEBUSSY, Trois Chansons, no. 1 396. KABALEVSKY, Toccatina 397. BRITTEN, Ceremony of Carols, no. 8 398. DEBUSSY, Suite bergamasque, Passepied 399. FLOYD, Susannah, Act II, scene 3 400. STRAVINSKY, Five Fingers: Lento 401. BARTO´K, Fourteen Bagatelles, op. 6, no. 4 402. CASELLA, Siciliana 403. ADDERLEY, Work Song 32. PANDIATONICISM AND ADDITIVE HARMONY Questions for Analysis 404. RAVEL, Mother Goose Suite: The Magic Garden 405. MILHAUD, Touches Blanches 406. COWELL, The Irishman Dances 407. COPLAND, The Young Pioneers 408. BARBER, Excursions, III 409. STRAVINSKY, Petroushka, Danse Russe 410. POULENC, Gloria, Laudamus te 33. EXOTIC (ARTIFICIAL, SYNTHETIC) SCALES Questions for Analysis 411. MILHAUD, Touches Noires 412. BARTO´K, Mikrokosmos, no. 78: Five Tone Scale 413. KODA´LY, Valsette 414. VAUGHAN WILLIAMS, London Symphony 415. DEBUSSY, Préludes, II: Voiles 416. BARTO´K, Mikrokosmos, no. 136: Whole Tone Scale 417. DEBUSSY, Pelléas et Mélisande, Act II, scene 1 418. BARTO´K, Fourteen Bagatelles, op. 6, no. 10 419. LUTOSLAWSKI, Bucolic, no. 3 420. BARTO´K, Mikrokosmos, no. 101: Diminished Fifth 421. BARTO´K, Sketches, op. 9, no. 6 422. BARTO´K, Fourteen Bagatelles, op. 6, no. 6 34. QUARTIAL AND SECUNDAL HARMONY Questions for Analysis 423. HINDEMITH, Mathis der Maler: Grablegung 424. IVES, Majority 425. KRENEK, Piano Piece, op. 39, no. 5 426. HINDEMITH, Ludus Tonalis, Fuga secunda in G 427. BARTO´K, Concerto for Orchestra 428. BERG, Wozzeck, Act II 429. BARTO´K, Mikrokosmos, no. 107: Melody in the Mist 430. BERG, Wozzeck, Act II 431. COWELL, Tiger 432. IVES, Majority 433. BRUBECK, Blue Rondo à la Turk 35. POLYHARMONY AND POLYTONALITY Questions for Analysis 434. HONEGGER, Symphony No. 5 435. SCHUMAN, A Three-Score Set, II 436. KRAFT, Allegro Giocoso 437. STRAVINSKY, The Rake's Progress: Prelude 438. STRAVINSKY, Petroushka, Scene 2 439. MILHAUD, Saudades do Brazil, no 7: Corcovado 440. BARTO´K, Forty-Four Violin Duets, no. 33 441. BRUBECK, Strange Meadowlark 36. FREE ATONALITY Questions for Analysis 442. SCHÖNBERG, Drei Klavierstücke, op. 11, no. 1 443. SCHÖNBERG, Klavierstücke, op. 19, no. 2 444. SCHÖNBERG, Pierrot Lunaire, op. 21, no. 1: Mondestrunken 445. WEBERN, Five Movements for String Quartet, op. 5, no. 4 446. BARTO´K, Mikrokosmos, no. 144: Minor Seconds, Major Sevenths 447. BARTO´K, Fourth String Quartet 448. BERGER, Two Episodes, I 37. TWELVE-TONE SERIALISM Model Analysis Questions for Analysis 449. KRENEK, Dancing Toys, op. 83, no. 1 450. SCHÖNBERG, Suite für Klavier, op. 25: Gavotte 451. DALLAPICCOLA, Cinque Frammenti di Saffo 452. WEBERN, Drei Lieder, op. 25, no. 1 38. MUSIC SINCE 1945 Questions for Analysis 453. Stockhausen, Klavierstücke, no. 2 454. Lutoslawski, String Quartet (1965) 455. Penderecki, String Quartet, no. 2 456. Crumb, Madrigals, Book IV 457. Druckman, Valentine, for solo contrabass 458. Rouse, Valentine 459. Horne, Six Short Studies, Sixteenth Notes 39. COMPLETE PIECES FOR ANALYSIS IV Suggestion for Analysis 460. Ravel, Sonatine, Mouvt II 461. Debussy, Pour le Piano: Sarabande 462. Debussy, Préludes, X: La Cathédrale engloutie 463. Boulanger, Trois Morceaux, no. 1: "D''un vieux jardin" 464. Milhaud, Saudades do Brazil, No. 6: Gavea 465. Tailleferre, Berceuse 466. Tailleferre, Impromptu 467. Prokofiev, Classical Symphony, op. 25 468. Prokofiev, The Love of Three Oranges: March 469. Hindemith, Ludus Tonalis: Fuga undecima in B (Canon) 470. Ruggles, Evocations, no. 1 471. Schönberg, Suite für Klavier, op. 25: Menuett 472. Porter, Night and Day 473. Gershwin, Porgy and Bess: "Summertime" 474. Rodgers and Hart, Blue Moon. Arranged by André Previn 475. Stravinsky, Sonata for Two Pianos, II: Theme with Variations 476. Hindemith, Piano Sonata No. 2 477. Macmillan, Piano Sonata, I APPENDIX A. CHECKLIST FOR ANALYSIS AND SAMPLE ANALYSIS APPENDIX B. FOR FURTHER REFERENCE APPENDIX C. TEXTBOOK CORRELATION CHART ACKNOWLEDGMENTS INDEX OF COMPOSERS AND THEIR COMPOSITIONS INDEX OF COMPLETE PIECES
£198.99
OUP India Global Music Cultures
Book Synopsis
£106.99
Oxford University Press Analysis of Tonal Music A Schenkerian Approach
Book Synopsis
£172.99
Oxford University Press Includes CD Learning Piano
a huge range and FREE tracked UK delivery on ALL orders.
£97.48
Oxford University Press Inc Choral Repertoire
Book SynopsisTrade Reviewa fascinating overview of the western choral tradition that many singers and choral enthusiasts should find valuable * Music Teacher *Table of ContentsPreface ; Acknowledgments ; The Medieval Era ; The Renaissance Era: France - Italy - Spain and the New World - Germany and Austria - England ; The Baroque Era: Italy - France - Germany - England - Spain and the New World ; The Classical Era: Austria and Germany - Italy and France - England - The United States ; The Romantic Era: France - Italy - Austria and Germany- Russia - England - The United States ; The Modern Era: France and Switzerland - Austria and Germany - Italy and Spain- Hungary, Poland, and the Czech Republic - Russia and Estonia - Sweden, Norway, Denmark, and Finland- England - The United States ; Glossary ; Composer Index
£174.02
OUP India Principles of Music
Book Synopsis
£96.99
Oxford University Press Conducting
Book SynopsisFeaturing a diverse range of flexible and practical instrumentation exercises, Conducting: the Art of Communication, Second Edition, provides the most comprehensive treatment available of all aspects of instrumental conducting: technical, analytical, and expressive.Trade Review"A refreshing addition to the market."--Carolyn Barber, University of Nebraska-Lincoln "This strong text, with a particular strength in addressing the subjective aspects of physical conducting, is the best at articulating gestures into words."--Joseph Missal, Oklahoma State University "Other books can be informative, but they are not as practical or 'easy to follow' as Conducting. I would highly recommend this text."--Michael Golemo, Iowa State UniversityTable of ContentsPreface Unit 1: Introduction to the Art of Conducting Chapter 1: The Art of Conducting Purpose and Training of Conductors Development of Conducting Chapter 2: The Language of Conducting Ictus Rebound Preparatory Beat Active/Passive Gestures Hinges Releases Cues Gesture of Syncopation Mirror Conducting Travel Chapter 3: Podium Posture Stance Position of Arms and Hands Parts of the Baton Holding the Baton The Ready Position Gesture Box Chapter 4: Basic Pattern Development Preparatory Gestures Patterns Basic Releases Use of the Left Hand for Releases Subdivision of Beats Conductor Evaluation Form Unit 2: Advanced Techniques Chapter 5: Advanced Techniques Articulation and Style Dynamics Accented Pitches Cues Fermata Tenuto Tempo Fluctuations and Maintenance Pre Beats for Syncopated Entrances Mixed Patterns Unmetered and Timed Passages Use of the Left Hand Conductor Evaluation Form Chapter 6: Expression in Conducting Facial Expressions in Conducting Posture and Body Language Hinges Combining the Elements Phrasal Conducting and Melding Conductor Evaluation Form Unit 3: Score Study Chapter 7: Score Study Types of Scores Clefs and Transpositions Score Order Score Study Interpreting the Score Rehearsal Planning Marking the Score Languages and the Score Orchestral Bowings Chapter 8: Sample Score Analyses Symphony no. 35, K.V. 385, Andante, Wolfgang Amadeus Mozart First Suite in E-Flat for Military Band, Chaconne, Gustav Holst Unit 4: Error Detection and Correction Chapter 9: Aural Skills and Error Detection Rhythmic and Tempo Errors Pitch Errors Intonation Errors Dynamic Errors Articulation Errors Chapter 10: Aural Skills Exercises Rhythmic Errors and Errors of Pulse Note Errors Intonation Errors Dynamic and Articulation Errors Errors of All Types Bibliography Music Examples Index Subject Index
£116.09
Oxford University Press Inc Teaching for Musical Understanding
Book SynopsisTrade Review"One of the best books of its kind. Teaching for Musical Understanding is written with great style and authority."--Carlos X. Rodriguez, University of Michigan "An excellent mix of the theoretical and the practical. It is exactly what entry-level undergraduate music education majors need as a first text in the field."--Frank Heuser, UCLA "The only comprehensive discussion that applies theory to music education."--Joseph Pignato, SUNY OneontaTable of Contents* Each chapter ends with selected resources: Preface: Acknowledgments: 1. Learning: An Embodied, Constructive Process Contemporary Understandings About Learning Understanding as Schema: Understanding as Metaphor: Understanding as Image: Understanding as Embodied: Implications for Teaching Contexts for Learning 2. Learning: A Sociocultural, Constructive Process A Social Constructivist Vision of Learning Scaffolding: Learning is a Holistic Process: Learning is Experiential, Not Necessarily Sequential: Learning Requires Learner Agency: Learner Agency and Teacher Power: A Social Constructivist Music Learning Community 3. Learning Music through Embodied, Constructive Process Conceptualizing Music Our Metaphorical Understanding of Music Concepts Elements or Dimensions of Music? Metadimensions of Music Dimensions as Points of Entry: A Doorway In How do we Construct our Concepts of Music? Constructing Concepts in Context Teaching for Musical Understanding 4. Learning Music through Sociocultural, Constructive Process Teacher Role: Scaffolding Learners Scaffolding Learners: Establishing a Supportive Learning Environment: Finding Out What Learners Know: Encouraging Expression of Musical Ideas: Focusing Learner Energy: Monitoring Learner Understanding and Progress: Providing a Model of Musicianship: Learner Roles A Social Constructivist Music Learning Community 5. Music Learning as Musical Problem Solving Learning Through Problem Solving Learning and Teaching Music Through Problem Solving Planning Musical Problems What Will Learners Be Learning? The Musical Context: Organizing the Experience: Assessment: Lesson Planning Planning the Problem: 6. Performing, Listening and Creating Problems Performing Problems Listening Problems Creating Problems Composing and Arranging: Media for Composing: Musical Dimensions as Points of Entry for Composing: Organizing Small-Group Composing: Songwriting: Improvising: Dimensions as Points of Entry for Improvising: Improvising Within Structures: Music Learners as Creative Musicians: 7. Thinking About Learners in Planning Musical Problems Entry-level Experiences for Young Learners Singing: Moving: Playing: Creating: Listening: Notating: Technology: Nature of Problems for Young Learners Entry-level Experiences for Older Beginners Middle-Level Experiences More Complex Experiences Sample Lesson and Unit Plans 8. Entry-Level Musical Problems Lesson 8.1 Identifying and Representing Beat Lesson 8.2 Identifying and Representing Duration and Pitch Lesson 8.3 (For Older Beginners) Entry-Level Exploration of Pitch and Duration Lesson 8.4 Exploring Contour and Direction through Listening Lesson 8.5 Using a Song to Develop a Class Performance Lesson 8.6 Experiencing Style Lesson 8.7 A Musical Conversation Sample of Student Work: 9. Middle-Level Musical Problems Lesson 9.1 Experiencing and Creating with Dynamics Sample of Student Work: Lesson 9.2 Analyzing and Creating a Melody Samples of Student Work: Lesson 9.3 Effects of Tempo Change Sample of Student Work: Lesson 9.4 Timbre: Using Alternate Sound Sources Lesson 9.5 Tonal Center Lesson 9.6 What Do You Hear? 10. Planning Units of Study Planning a Unit on Texture Unit: Texture Lesson 10.1 Melody and Countermelody: Lesson 10.2 Representing Texture (Score Reading): Lesson 10.3 Solo and Ensemble: Sample Student Work: Unit: Monothematic Works Lesson 10.5 Creating Interest through Expressive Qualities: Qualities: Samples of Student Work: Unit: Meter (2-4 Class Sessions) Lesson 10.6 Identifying Meter (1 Session): Lesson 10.7 Compose a Piece That Changes Meter: Unit: Arranging a Round Lesson 10.8 Learning the Round: Lesson 10.9 Arranging the Round: Sample of Student Work: 11. Complex Musical Problems Unit: Bithematic Forms (Verse and Refrain, ABA Form, etc.) (3-6 Class Sessions) Lesson 11.1 Hearing Bithematic Form: Lesson 11.2 Composing in Bithematic Form: Samples of Student Work: Lesson 11.3 A More Extended Bithematic Work: Unit: Harmonic Structure (4 Sessions) Lesson 11.4 Introducing Tonic and Dominant Harmonies: Lesson 11.5 Using Tonic and Dominant Harmonies: Sample of Student Work: Lesson 11.6 Hearing Tonic, Dominant, and Subdominant Harmonies: Lesson 11.7 Singing Chordal Harmonies: Unit: Theme and Variation (6-8 Sessions) Lesson 11.8 Introducing the Idea of Variation: Lesson 11.9 Analyzing a Theme and Variation: Lesson 11.10 Composing Variations on a Theme: Samples of Student Work: Unit: The Blues (4-6 Sessions) Lesson 11.11 Introducing the Blues: Unit: Variations On A Ground Bass (6-8 Sessions) Extension: Sample of Student Work: 12. Connecting to Other Ways of Understanding Interdisciplinary Learning in K-12 Settings Interdisciplinary Learning through Process and Conceptual Connections Process Connections: Conceptual Connections: An Arts-infused Curriculum Pathway: Characterization: Point of View: Stories and Illustrations: Egyptian Art: Role of the Individual within a Group: Wood Sculptures: Balance: Daffodils: Symmetry: Some Closing Thoughts Epilogue: Appendix A: Music for Lessons: Appendix B: Classroom Materials: Appendix C: Directions for Games: Endnotes: References: Index:
£96.29
