Format : Score and Parts
SKU: PR.UE026852
ISBN 9783702470753. UPC: 803452067856.
For admirers of Gustav Mahler's masterpiece 8th Symphony, editor Elisabeth Kappel and the Studien zur Wertungsforschung present a compilation of essays, which discuss the great work in various contexts and approaches. Delve deep into the collective consciousness, as it reacts to Mahler's finest work. Paperback edition, 240 pages, 5½ x 8.
SKU: GI.G-9684
ISBN 9781622773350.
Contributions by: Michael L. Alexander • William I. Bauer • Rhoda Bernard • Nikki Booth • Leonardo Borne • Frederick Burrack • Richard M. Cangro • Kyle Chandler • Samantha Clements • Obadias de Oliveira Cunha • Sally E. Daunt • Kirsty J. Devaney • Paul Doerksen • Martin Fautley • Keith Griffioen • Alice Hammel • Marshall Haning • Demaris Hansen • Michele L. Henry • John Holmes • Daniel C. Johnson • Joo Hyun Kang • Gail Kuppan • Andreas Lehmann-Wermser • Sharon Lierse • Jason Longtin • Jeffrey Marlatt • Melissa C. McCabe • Karabo Lucy Mogane • Helena Muciño-Guerra • Dorothy J. Musselwhite • Flávia Motoyama Narita • Emma Nenadic • Glenn E. Nierman • Helena de Souza Nunes • Kelly A. Parkes • Phillip D. Payne • Laura Navarro Ramón • Patricia Riley • Shelley Sanderson • Megan M. Sheridan • Stephanie L. Standerfer • David A. Stringham • Dennis Ping-Cheng Wang • Jeffrey Ward • Brian C. Wesolowski • Benjamin Weyel The Sixth International Symposium on Assessment in Music Education was hosted by the University of Florida and Birmingham City University. The symposium brought together 110 participants from 23 nations and six continents to learn of each other’s work, establish collaborations and professional networks, and shape new directions for research in this important area of music education in Birmingham, England, from April 18-21, 2017. The two keynote addresses and 35 papers published in this volume document music assessment practice and the measurement and evaluation of music learning across the world in local, state, and national contexts at all levels. The attendees also attended special work sessions to discuss the International Principles for Assessment in Music Education (developed and introduced by the co-chairs at this symposium), and their discussions are summarized in this collection. As music educators across the world come to terms with increased expectations for accountability of learning in music, the scholars and practitioners who have contributed to this volume provide insight to guide their work. Timothy S. Brophy is Professor of Music Education and Director of Institutional Assessment at the University of Florida in Gainesville, Florida. Martin Fautley is Professor of Education and Director of Research in Education at Birmingham City University in Birmingham, England.
SKU: HL.49030432
ISBN 9781902455013. English. John Minnion.
In this sixth book of the series, the authors builld upon the lower junior stage, and use a similar modular format. Designed to extend skill acquisition in performance, improvising and composing, listening and appraising, and notating music, pupils are challenged by incresingly demanding musical materials. At the same time there is an emphasis on pupils acquiring knowledge and expertise of the deep structures of a range of music, and a greater acknowledgement of musical purpose and context. Attuned to the National Curriculum experiences, particular features of this book are: a consolidation and deepening of vocal and instrumental techniques and performance * an integrated approach to improvising and composing, combing skills in listening and appraising, knowledge and understanding * a module focusing on aural observation, representation, recording and notation of sound * an active, analytical and frequently physical approach to listening and appraising * a focus on music in its social and historical context in relation to dance.
SKU: PR.11641600S
ISBN 9781491134689. UPC: 680160685271. English. Text: Ryan Carson.
Among the most intriguing of this pioneering American composer’s works, Three Songs on poems of Carl Sandburg is scored for Contralto with Oboe, Percussion, and Piano, plus an optional orchestra. The study score includes an essay introducing Crawford’s unique work in historical contexts as she sought a new musical language accessible to the many, while remaining uncompromisingly avant-garde.
SKU: HL.49018031
ISBN 9783795705961. UPC: 884088566340. 6.75x9.5x1.014 inches. German - English.
For decades, the Orff Schulwerk has influenced educational, artistic and therapeutic fields. But the development of this music and dance teaching method at the Salzburg Orff Institute and its worldwide application are also influenced and inspired again and again by new theories and practical phenomena from various areas.This dialogical situation was the topic of the International Symposion 2006 'Orff-Schulwerk - In Dialogue'. Contributions from the fields of educational science, psychology, musical ethnology, neurobiology and music psychology take up interdisciplinary issues that every music and dance teacher faces in practice. Contributions concerning the education in art introduce 'new ways to the public'.
SKU: AP.12-0571507719
ISBN 9780571507719. English.
The Faber Early Organ Series is among the most comprehensive anthologies of early organ music ever published. In 18 volumes it spans two centuries and six geographical regions, presenting a broad and balanced view of the main forms, styles and composers. Within each geographical region the pieces, most of which are for manuals only, are arranged by date of composition or publication. The presentation is both scholarly and practical; all of the music has been newly edited from the earliest surviving sources according to a systematic editorial method that preserves as many features of the original notation as possible while making it fully accessible to modern players. In every volume, an informative Introduction sets the music in historical context. There are also helpful sections on Ornamentation and Registration, and a Critical Commentary giving detailed information on the sources.
SKU: PR.11641867L
UPC: 680160683215.
Contextures: Riots -Decade '60 was commissioned by Zubin Mehta and the Southern California Symphony Association after the successful premiere of the Concerto for Four Percussion Soloists and Orchestra. It was written during the spring and summer months of 1967. Riots stemming from resentment against the racial situation in the United States and the war in Vietnam were occurring throughout the country and inevitably invaded the composer's creative subconscious. Contextures, as the title implies, was intended to exploit various and varying textures. As the work progressed the correspondence between the fabric of music and the fabric of society became apparent and the allegory grew in significance. So I found myself translating social aspects into musical techniques. Social stratification became a polymetric situation where disparate groups function together. The conflict between the forces of expansion and the forces of containment is expressed through and opposition of tonal fluidity vs. rigidity. This is epitomized in the fourth movement, where the brass is divided into two groups - a muted group, encircled by the unmuted one, which does its utmost to keep the first group within a restricted pitch area. The playful jazzy bits (one between the first and second movements and one at the end of the piece) are simply saying that somehow in this age of turmoil and anxiety ways of having fun are found even though that fun may seem inappropriate. The piece is in five movements, with an interlude between the first and second movements. It is scored for a large orchestra, supplemented by six groups of percussion, including newly created roto-toms (small tunable drums) and some original devices, such as muted gongs and muted vibraphone. There is also an offstage jazz quartet: bass, drums, soprano saxophone and trumpet. The first movement begins with a solo by the first clarinetist which is interrupted by intermittent heckling from his colleagues leading to a configuration of large disparate elements. The interlude of solo violin and snare-drum follows without pause. The second movement, Prestissimo, is a display piece of virtuosity for the entire orchestra. The third movement marks a period of repose and reflection and calls for some expressive solos, particularly by the horn and alto saxophone. The fourth movement opens with a rather lengthy oboe solo, which is threatened by large blocks of sound from the orchestra, against an underlying current of agitated energy in the piano and percussion. This leads to a section in which large orchestral forces oppose one another, ultimately bringing the work to a climax, if not to a denouement. Various thematic elements are strewn all over the orchestra, resulting in the formation of a general haze of sound. A transition leads to the fifth movement without pause. The musical haze is pierced gently by the offstage jazz group as if they were attempting to ignore and even dispel the gloom, but a legato bell sound enters and hovers over both the jazz group and the orchestra, the latter making statements of disquieting finality. Two films were conceived to accompany portions of Contextures. The first done by Herbert Kosowar, was a chemography film (painting directly into the film using dyes and various implements) with fast clips of riot photographs. The second was a film collage made by photographically abstracting details from paintings of Reginald Pollack. The purpose was to invoke a non-specific response - as in music - but at the same time to define the subject matter of the piece. The films were constructed to correspond with certain developments in the piece and in no way affect the independence and musical flow of the piece, having been made after the piece was completed. Contextures: Riots - Decade '60 is dedicated to Mehta, the Southern California Symphony Association and the Los Angeles Philharmonic Orchestra. The news of the assassination of Dr. Martin Luther King came the afternoon of the premiere, April 4, 1968. That evening's performances, and also the succeeding ones, were dedicated to him and a special dedication to Dr. King has been inserted into he score. All the music that follows the jazz group - beginning with the legato bell sound playing the first 2 notes to We shall overcome constitutes a new ending to commemorate Dr. King's death.
SKU: PR.11641867S
UPC: 680160683208.
SKU: UT.APS-4
ISBN 9788881094677. 6.5 x 9.5 inches.
Essays by Tomasz Baranowski, Andrzej Chwalba, Stephen Downes, Peter Franklin, Stefan Keym, Ryszard D. Golianek, Agata Mierzejewska, Michael Murphy, Jadwiga Paja-Stach, Luca Sala, Renata Suchowiejko, Emma Sutton, Andrzej Tuchowski, Alistair Wightman, James L. ZychowiczIn this volume I aim to examine the figure of Mieczyslaw Karlowicz in the broader sociocultural context which fostered his work. The attempt to contextualize an immense intellectual patrimony -- despite being restricted to a tiny number of works when compared to more prolific authors, especially in the context of the xix and the xx centuries -- is always a complex and hazardous task. My primary intention in organizing the volume has been to explicate Karlowicz the man as well as Karlowicz the composer, against the complex background of the European fin-de-siecle. The various essays aim to present the reader with an exhaustive reconstruction of Karlowicz's intellectual work. Karlowicz's oeuvre offers a broad artistic portrayal of Poland at the end of the nineteenth century as a fast-evolving country, politically divided and filled with contradictions. Hence the necessity to investigate the fin-de-siecle context with its social and historical implications, showing the influence of the European cultural milieu on the composer's poetics and on his thought. We shall examine the spectrum of relationships and affinities linking Karlowicz's works to the Polish cultural world (on the wave of the rising 'autochthonous' avant-garde movements) and to the wider cultural life pulsating beyond its borders, with special reference to German Wagnerism and Symphonism. Essentially, we are striving to define the uniqueness of his oeuvre, which -- in relation to the manifold influences co-existing in Poland, an insubstantial nation from the political viewpoint and divided along three socio-cultural fronts -- could be defined as distinctively Polish, yet ultimately European. (Luca Sala).
SKU: BT.DHP-1064074-010
9x12 inches. English-German-French-Dutch.
This unusual concert work, commissioned by the concert band ?Harmonie Concorde? from Sanem in Luxembourg, is built on two basic ideas: the evolution of the economic and social context of this Luxembourg city with its strong mining industry and the European concept, which is clearly present in this very small but prosperous country with its many European institutes. This is musically expressed in a few quotes from the European hymn Ode to Joy, the closing of Beethoven?s Ninth Symphony and from the Te Deum by Charpentier ? widely known as the signature tune for Eurovision broadcasts. A work of true unity.Aan dit concertwerk - geschreven voor de Harmonie Concorde uit Sanem in Luxemburg - liggen twee basisideeën ten grondslag. Als eerste de sociaal-economische context van het stadje: de mijnbouw heeft decennialang mensen uit diverselanden aangetrokken, met name Portugal. Dit wordt ge llustreerd door de verwerking van een authentiek arbeidslied uit dat land. De tweede pijler is de Europese gedachte die in Luxemburg duidelijk aanwezig is. Dit komt muzikaal totuiting in een dynamische thematiek en citaatjes uit Ode an die Freude van Beethoven en het Te Deum van Charpentier - de herkenningstune voor Eurovisie-uitzendingen. Concordia, een werk dat verschillende elementenin zich verenigt, staat symbool voor eenheid.Zwei Bilder des Landes Luxemburg bilden die Grundlage dieses ungewöhnlichen Werkes: Zunächst beschreiben schöne, teilweise düstere Klänge die Bergbauregion Luxemburg und ihre vielen Gastarbeiter.Mit Zitaten aus Beethovens Ode an die Freude und Charpentiers Te Deum wird Luxemburg als Sitz einiger wichtiger europäischer Institutionen vorgestellt. Der gemeinsame Nenner und Inspiration zum Titel Concordia - lateinisch für Einheit - ist das funktionierende Miteinander vielfältiger Kulturen und Interessen in so einem kleinen Land.Concordia est une oeuvre de commande pour l’Orchestre d’Harmonie Concorde de Sanem au Luxembourg. Cette pièce de concert inhabituelle s’appuie sur deux éléments principaux : l’évolution du contexte économique et social de cette ville luxembourgeoise située dans une région minière et l’idéal européen souligné par une riche palette de nuances et l’utilisation de quelques fragments de l’Hymne la Joie et du Te Deum. Concordia è un brano commissionato a Jan Van der Roost dall’Orchestra di Fiati Concorde di Sanem in Lussemburgo. Questo inusuale brano da concerto si appoggia su due elementi principali: l’evoluzione del contesto economico e sociale di questa citt lussemburghese situata in una regione mineraria, e l’ideale europeo evidenziato da una ricca gamma di suoni e dall’utilizzo di qualche frammento dell’Inno alla Gioia e del Te Deum.
SKU: BT.SLB-00595900
INSSTR inches. French.
A previously unreleased piece by Francis Poulenc, published with permission from the Bibliothèque Historique de la Ville de Paris and Benoît Seringe, secretary of the Association des amis de Francis Poulenc [Association of the Friends ofFrancis Poulenc]. Le Voyageur sans bagage [The Traveller Without Luggage], which had been premiered in 1937 with music by Darius Milhaud, was reprised on 1 April 1944 at the Thé tre de la Michodière; Francis Poulenc was asked to compose new stage music. Theentire unpublished score lay undiscovered until Bérengère de l’Épine, a librarian at the Bibliothèque Historique de la Ville de Paris, announced the existence of a manuscript in the Association de la Régie Thé trale collection.Poulenc finalised the score between 19 and 21 March 1944. It contains nine songs, all written for a small instrumental ensemble including oboe, clarinet, cello and piano. However, at the end of the manuscript, the composer echoes the second song Lent [Slow] and creates another version for cello and piano; curiously, the original version of the song has not been erased in the manuscript. Poulenc seems to suggest that we consider the piece for cello and piano, that we have publishedhere, as a different piece of music. It was premiered on Wednesday 23 January 2013 by Marc Coppey, accompanied by Jean-François Heisser, in the organ auditorium of the Conservatoire National Supérieur de Musique et Danse de Paris (CNSMDP), during thesymposium for the fiftieth anniversary of Poulenc’s death.Given in a dramatic context, some elements allow us to get an idea of the character of the piece, which Benoît Seringe, Poulenc’s beneficiary, judiciously chose to name Souvenirs.The main character of Anouilh’s play, Gaston, is suffering from amnesia at the end of World War One. Several families try to claim him; they want him to be their missing relative. The Renaud family prove to be particularly stubborn, but Gaston doesnot recognize himself in the child and young man they depict: a ruthless and violent person. In Act 1 Scene 3, left alone for a moment, overwhelmed by the story of the “old Gaston†that is gradually coming to light, and outraged by the desire ofthose around him to appropriate him (to the detriment of the person he would like to be from now on), he whispers these words: “You all have proof, photographs that look like me, memories as clear as day… I’ve listened to you all and it’s slowlycausing a hybrid person to rise up in me; a person in which there is a piece of each of your sons and nothing of me.†Poulenc chose to place the second piece from his stage music score as these words are spoken.He borrowed part of the material, as he often did, from an earlier composition. In this particular case, the beginning is a recycled version of the “slow and melancholic†section from L’Histoire de Babar , composed between 1940 and 1945, andpremiered in 1946 (unless it is Babar that reuses the musical idea from Voyageur ).The eponymous elephant decides to leave in search of the great forest. He embraces the old lady, promises her he will return and reassures her that he will never forget her. Left alone, the old lady, feeling sad and pensive, wonders when she’ll seeher friend Babar again. The situation is similar to that in Voyageur sans bagage: solitude, sadness, a distressing and introspective time, fear of oblivion, the presence of memories…Pièce inédite de Francis Poulenc, publiée avec l’autorisation de la Bibliothèque historique de la ville de Paris et de Benoît Seringe, secrétaire de l’Association des Amis de Francis Poulenc.Le 1er avril 1944, Le Voyageur sans bagage d’Anouilh, qui avait été créé en 1937 avec de la musique de Darius Milhaud, est repris au Thé tre de la Michodière. Francis Poulenc a été sollicité afin d’écrire une nouvelle musique de scène. On ignoraittout de cette partition inédite, jusqu’au jour où Bérengère de l’Épine, conservateur la Bibliothèque historique de la ville de Paris, nous signala l’existence d’un manuscrit dans le fonds de l’Association de la Régie thé trale.Poulenc mit au point sa partition entre le 19 et le 21 mars 1944. Elle comprend neuf numéros, tous écrits pour un petit effectif instrumental réunissant un hautbois, une clarinette, un violoncelle et un piano.Cependant, la fin de son manuscrit, le compositeur reprend le no 2 Lent et en donne une seconde version, pour violoncelle et piano. Curieusement, la version originale de ce numéro n’est pas biffée dans le manuscrit.Poulenc semble nous inviter considérer comme un morceau distinct cette pièce pour violoncelle et piano dont nous proposons ici l’édition. Elle a été créée par Marc Coppey, accompagné de Jean-François Heisser, lors du concert donné durant lecolloque organisé pour le cinquantenaire du décès de Poulenc, le mercredi 23 janvier 2013, salle d’orgue du Conservatoire National Supérieur de Musique et de Danse de Paris (CNSMDP).Quelques éléments sur le contexte dramatique permettront de se faire une idée du caractère du morceau, que Benoît Seringe, ayant droit Poulenc, a judicieusement choisi d’intituler Souvenirs.Le personnage principal de la pièce d’Anouilh, Gaston, a été retrouvé amnésique la fin de la Première Guerre Mondiale. Plusieurs familles le réclament. On veut voir en lui un parent disparu. Les Renaud se montrent particulièrement tenaces ; maisGaston ne parvient se reconnaître dans l’enfant et le jeune homme dont on lui trace le portrait : un être violent et sans scrupule. Au tableau 3 de l’acte I, resté seul un moment, écrasé par l’histoire de cet autre lui-même qu’il découvre peu peu, indigné par le désir des personnes qui l’entourent de le ramener elles au détriment de celui qu’il voudrait être désormais, il se murmure ces paroles : « Vous avez tous des preuves, des photographies ressemblantes, des souvenirs précis commedes crimes… je vous écoute tous et je sens surgir peu peu derrière moi un être hybride où il y a un peu de chacun de vos fils et rien de moi »…C’est sur ces mots que Poulenc a choisi de placer le no 2 de sa partition de musique de scène.Comme il le fait souvent, il emprunte une composition antérieure une part de son matériau. Dans ce cas précis, il réutilise pour le début du morceau la section « Lent et mélancolique » de l’Histoire de Babar, composée entre 1940 et 1945, créée en1946 ( moins que ce ne soit Babar qui réutilise l’idée musicale du Voyageur). Le héros-éléphant s’est décidé partir pour retrouver la grande forêt. Il a embrassé la vieille dame, lui a promis de revenir, l’a rassurée : jamais il ne l’oubliera.Restée seule, la vieille dame, triste et pensive, se demande quand elle reverra son ami Babar. La situation est similaire celle du Voyageur sans bagage : solitude, tristesse, instantde trouble et de retour sur soi, crainte de l’oubli, présence des souvenirs….
SKU: BT.DHP-1084420-010
Giacomo Puccini was one of the all time great opera composers andis especially famed for his wonderful, warm-blooded melodies, hiscolourful instrumentations, his compelling dramatics, his musicalfantasy and his power to reflect exotic ambiences in sounds. ForPuccini Highlights, Wil van der Beek has made use of musical materialfrom the tenor aria â??E lucevan le stelleâ?? (Tosca), the choral aria â??Girala coteâ?? (Turandot) and the soprano aria â??Un bel di vedremoâ?? (MadamButterfly). An operatic masterpiece that will go down a storm at anyconcert.Puccini wordt geroemd om zijn warmbloedige melodieën, kleurrijke instrumentaties, meeslepende dramatiek en muzikale fantasie. Opvallend veel Puccini-ariaâ??s zijn buiten hun eigenlijke context aantrekkelijk gebleken voor de concertpraktijk.Voor Puccini Highlights heeft Wil van der Beek gebruik gemaakt van muzikaal materiaal uit de tenoraria â??E lucevan le stelleâ?? (Tosca), de kooraria â??Gira la coteâ?? (Turandot) en de sopraanaria â??Un bel divedremoâ?? (Madama Butterfly).Puccini war zweifellos einer der erfolgreichsten italienischen Opernkomponisten aller Zeiten. Viele seiner Arien haben sich auch als beliebte Konzertstücke auÃ?erhalb ihres eigentlichen Kontexts bewährt. Für Puccini Highlights verwendete Wil van der Beek musikalisches Material aus der Tenorarie E Lucevan le Stelle aus Tosca, der Chorarie Gira la Cote aus Turandot sowie der Sopranarie Un Bel di Vedremo aus Madama Butterfly.Giacomo Puccini (1858-1924) est, après Verdi, lâ??un des plus grands représentants de lâ??opéra italien. Il reste célèbre pour les teintes sublimes de ses mélodies chaleureuses, ses orchestrations colorées, ses drames envo tants, sa créativité musicale et son incroyable capacité délivrer des ambiances exotiques travers des textures sonores.Parmi les classiques des opéras pucciniens, on peut citer Manon Lescaut, La Bohème, Tosca, Madame Butterfly et Turandot. Il est également frappant de constater que de nombreux airs de Puccini, même sortis de leur contexte dâ??origine, sont parfaitement adaptés une interprétation en concert.Pour réaliser cet arrangement, Wil van derBeek a puisé dans le tissu musical de lâ??air pour ténor E lucevan le stelle (Tosca), dans le ch?ur dâ??opéra Gira la cote! Gira! (Turandot) et dans lâ??air pour soprano Un bel di vedremo (Madame Butterfly).
SKU: GI.G-9417
ISBN 9781622772315.
This delightful collection of children's folksongs and games from Bali is perfect for elementary classrooms exploring cultural traditions from around the world. The collection includes: An introductory booklet containing: A colorful map of Bali A description of the island of Bali and its people A description of the context and historical background of the project A guide to reading titilaras nding-ndong notation (the notation system used in Bali) A pedagogical guide for creating lesson plans Biographies of the author, collaborator, composer, and illustrators Thirteen song booklets (10 for songs with games, 3 for songs without games). Each song booklet includes: A beautifully illustrated cover by Balinese artists A description of the song and how it is related to daily life in Bali A description of how to play the game The song notated in Titilaras Nding-Ndong notation The lyrics in Basa Bali (the language spoken in Bali) and a transliteration in English An arrangement of the song by famed Balinese composer, Ketut Gede Asnawa. Each arrangement is notated in Western notation and can be performed on gamelan (the instrumental ensemble most common in Bali) or on classroom Orff instruments. A build-your-own shadow puppet kit containing three puppets (Arjuna, Krishna, and the Kayon) that you can color, cut out, and assemble on your own. Access to multimedia including: High definition videos of Balinese children playing the games High definition videos of Balinese children singing the songs High definition videos of Balinese children pronouncing the lyrics Audio recordings of gamelan Photographs of Bali  Brent C. Talbot travels the globe researching how music is learned and taught in various cultural contexts. He is the coordinator of music education at Gettysburg College and the founding director of Gamelan Gita Semara. Made Taro is a master teacher, storyteller, and writer of Balinese songs, games, and culture. He has collected over 250 children’s songs and games from across Bali and has written over 30 books. Taro is the founder of Sanggar Kukuruyuk, a children’s program for storytelling, singing, and playing featured in the videos associated with this book. Ketut Gede Asnawa is a renowned composer, performer, and scholar of Balinese music. Asnawa serves on the faculty in the School of Music at the University of Illinois in Urbana and created the instrumental arrangements in this book. The Bali-Based graphic design studio neverlandART was founded in 2005 by graduates of the Indonesia Institute of Art in Denpasar. The talented Mangkoe and Ajik created the artwork found throughout this book.
SKU: CY.CC3162
ISBN 9790530111321. 8.5 x 11 in inches.
Here is a description of Warming Up Together from the composer, Andrew Friedrichs: Warming Up Together is a book of duets that are designed to provide a musical context as well as a focus on specific areas of technique. There are eight sections in this book that correspond to what I feel are the most fundamental components of trombone technique: tone (long tones), flexibility (slow slurs, wide slurs, and fast slurs), range (high range and low range), and articulation (slow articulation and fast articulation). The idea for this book came out of my own warm up. I was trying to develop a warm up routine that was a series of technical categories rather than a series of exercises, but I also wanted to have the opportunity to be able to play it with someone else. As a trombone player and teacher, I have made specific choices within the duets based on technical challenges that I've observed in my own playing and in the playing of students and colleagues. As a composer, I've focused on addressing various styles in order to keep the duets fun and fresh while allowing the musical contexts to be as far reaching as possible in their application. As a not-to-be-taken-seriously backrow member of the orchestra, I've thrown in the critical element of terrible humor by way of pathetic jokes and ignominious puns.
SKU: GI.G-10496
ISBN 9781622776061.
Imagine a conversation among leaders who are passionate about their general music teaching, who have found incredible power in Music Learning Theory (MLT), who exchange ideas about how to be successful in the classroom, and who are eager to share what they’ve learned with one another. This is the magic of Q & A for MLT. Drawing from their expertise, experience, and unique perspectives, authors Jill Reese, Heather Shouldice, and Jennifer Bailey—along with a series of guest contributors—provide practical suggestions for managing the challenges and choices in a Music Learning Theory-based classroom, sometimes agreeing and other times highlighting differing perspectives that encourage the reader to consider what best fits their understanding and context. The book addresses key topics, including: An overview of Music Learning Theory Suggestions for classroom activities Developing the teacher's own musical skills and content knowledge Blending MLT with the Kodaly and Orff approaches Measuring music aptitude and assessing student growth Long-term and short-term planning Adapting MLT for diverse populations (students with disabilities, visual impairments, and English Language Learners) How to use MLT in various contexts (the preshool classroom, urban settings, elementary choir, and middle school general music) Through a conversational blend of research, scholarship, stories from the classroom, and humor, this book gives educators a reliable source for finding answers to real-life questions and suggestions for navigating the specifics of successfully applying MLT in the classroom. Jill Reese is Associate Professor of Music Education at the State University of New York at Fredonia. Dr. Reese is also the author of Navigating Music Learning Theory: A Guide for General Music Teachers. Heather N. Shouldice is Associate Professor of Music Education at Eastern Michigan University. Dr. Shouldice is also the author of Weaving It All Together: A Practical Guide to Applying Gordon’s Music Learning Theory in the Elementary General Music Program and the host of a podcast about Music Learning Theory called “Everyday Musicality.†Jennifer M. Bailey is an elementary vocal music teacher in Farmington Public Schools with over 25 years of experience using Music Learning Theory in the classroom.
SKU: BT.DHP-1064074-140
This unusual concert work, commissioned by the concert band ?Harmonie Concorde? from Sanem in Luxembourg, is built on two basic ideas: the evolution of the economic and social context of this Luxembourg city with its strong mining industry and the European concept, which is clearly present in this very small but prosperous country with its many European institutes. This is musically expressed in a few quotes from the European hymn Ode to Joy, the closing of Beethoven?s Ninth Symphony and from the Te Deum by Charpentier ? widely known as the signature tune for Eurovision broadcasts. A work of true unity.Zwei Bilder des Landes Luxemburg bilden die Grundlage dieses ungewöhnlichen Werkes: Zunächst beschreiben schöne, teilweise düstere Klänge die Bergbauregion Luxemburg und ihre vielen Gastarbeiter.Mit Zitaten aus Beethovens Ode an die Freude und Charpentiers Te Deum wird Luxemburg als Sitz einiger wichtiger europäischer Institutionen vorgestellt. Der gemeinsame Nenner und Inspiration zum Titel Concordia - lateinisch für Einheit - ist das funktionierende Miteinander vielfältiger Kulturen und Interessen in so einem kleinen Land.Concordia est une oeuvre de commande pour l’Orchestre d’Harmonie Concorde de Sanem au Luxembourg. Cette pièce de concert inhabituelle s’appuie sur deux éléments principaux : l’évolution du contexte économique et social de cette ville luxembourgeoise située dans une région minière et l’idéal européen souligné par une riche palette de nuances et l’utilisation de quelques fragments de l’Hymne la Joie et du Te Deum. Concordia è un brano commissionato a Jan Van der Roost dall’Orchestra di Fiati Concorde di Sanem in Lussemburgo. Questo inusuale brano da concerto si appoggia su due elementi principali: l’evoluzione del contesto economico e sociale di questa citt lussemburghese situata in una regione mineraria, e l’ideale europeo evidenziato da una ricca gamma di suoni e dall’utilizzo di qualche frammento dell’Inno alla Gioia e del Te Deum.
SKU: BT.DHP-1064074-040
SKU: BT.DHP-1084420-140
Giacomo Puccini was one of the all time great opera composers andis especially famed for his wonderful, warm-blooded melodies, hiscolourful instrumentations, his compelling dramatics, his musicalfantasy and his power to reflect exotic ambiences in sounds. ForPuccini Highlights, Wil van der Beek has made use of musical materialfrom the tenor aria ‘E lucevan le stelle’ (Tosca), the choral aria ‘Girala cote’ (Turandot) and the soprano aria ‘Un bel di vedremo’ (MadamButterfly). An operatic masterpiece that will go down a storm at anyconcert.Puccini wordt geroemd om zijn warmbloedige melodieën, kleurrijke instrumentaties, meeslepende dramatiek en muzikale fantasie. Opvallend veel Puccini-aria’s zijn buiten hun eigenlijke context aantrekkelijk gebleken voor de concertpraktijk.Voor Puccini Highlights heeft Wil van der Beek gebruik gemaakt van muzikaal materiaal uit de tenoraria ‘E lucevan le stelle’ (Tosca), de kooraria ‘Gira la cote’ (Turandot) en de sopraanaria ‘Un bel divedremo’ (Madama Butterfly).Puccini war zweifellos einer der erfolgreichsten italienischen Opernkomponisten aller Zeiten. Viele seiner Arien haben sich auch als beliebte Konzertstücke außerhalb ihres eigentlichen Kontexts bewährt. Für Puccini Highlights verwendete Wil van der Beek musikalisches Material aus der Tenorarie E Lucevan le Stelle aus Tosca, der Chorarie Gira la Cote aus Turandot sowie der Sopranarie Un Bel di Vedremo aus Madama Butterfly.Giacomo Puccini (1858-1924) est, après Verdi, l’un des plus grands représentants de l’opéra italien. Il reste célèbre pour les teintes sublimes de ses mélodies chaleureuses, ses orchestrations colorées, ses drames envo tants, sa créativité musicale et son incroyable capacité délivrer des ambiances exotiques travers des textures sonores.Parmi les classiques des opéras pucciniens, on peut citer Manon Lescaut, La Bohème, Tosca, Madame Butterfly et Turandot. Il est également frappant de constater que de nombreux airs de Puccini, même sortis de leur contexte d’origine, sont parfaitement adaptés une interprétation en concert.Pour réaliser cet arrangement, Wil van derBeek a puisé dans le tissu musical de l’air pour ténor E lucevan le stelle (Tosca), dans le chœur d’opéra Gira la cote! Gira! (Turandot) et dans l’air pour soprano Un bel di vedremo (Madame Butterfly).
SKU: HL.14072031
This book contains commentary and analysis on the set works for OCR's 2020 A Level Music Exam, namely Haydn's Symphony No 48 in C minor (Maria Theresia), first and second movements and four songs from the album Color Me Barbara. As well as a detailed look at context and musical elements, this full-colour supplement also includes practice examination questions, accompanying mark schemes, and links to wider contextual listening.
SKU: GI.G-10661
ISBN 9781622776399.
Harambee (Swahili): a festive gathering for singing and dancing. This beautiful collection of songs and games for elementary and middle school students showcases the vibrant and varied musical traditions of Tanzania, and in particular those of the Wagogo people of central Tanzania. As with all books in the World Music Initiative series, this collection guides students and teachers to an understanding of world music traditions by providing cultural and historical context for each selection, including information on geography, ethnic groups, languages, music genres, and traditional instruments—complete with pictures and video links. Audio recordings—both a spoken pronunciation track and a singing track—are available online for all songs and chants, as well as PowerPoint slides for many of the materials. Each selection also includes notation, translations, phonetic pronunciations, and optional ideas for pedagogical extensions. Created with the generous support and input of many Tanzanian children, teachers, and friends, this collection presents the music of Tanzania in an accessible way that honors the music’s original context while adapting it for a new context and to teach new musical concepts. Kedmon Mapana is a senior lecturer of music in the Department of Creative Arts at the University of Dar es Salaam, founder of the Cigogo Music Festival, and is one of the directors of the Chamwino Arts Centre. As a member of the Wagogo ethnic group of Tanzania, his research and community interests include highlighting local communities throughout Tanzania and empowering young Tanzanians. Karen Howard (series editor) is Associate Professor of Music at the University of St. Thomas in St. Paul, Minnesota, where she teaches courses in music education, vocal pedagogy, research, and global music traditions. She has extensive training in global vocal, instrumental, and dance traditions from many music cultures, and her research interests and publications include works on world music cultures, music activism, and global singing traditions. CLICK HERE to download the Online Resources.
SKU: SU.80101214
Commissioned by the 2005 American Guild of Organists Region II/III Convention, Poughkeepsie, New York, and premiered by Craig Williams on the organ at the West Point Cadet Chapel. This suite takes one of Jesus' parables as the inspiration for each of its four movements: Parable of the Mustard Seed (Voluntary), Parable of the Lost Sheep (Siciliano), Parable of the Good Samaritan (Reflection), Parable of the Lost Coin (Toccata Rondo). Accessible and evocative, the work is useful for both service and recital contexts. 24 pages Published by: Zimbel Press service and recital contexts. 24 pages Published by: Zimbel Press.
SKU: FL.FX072368
This collection will bring an educational and stylistic dimension, and will find its place in the context of auditions or exams. To place in your schoolbag...A series of pieces for exams or auditions - for students playing Clarinet for 3 years onwards.This collection will bring an educational and stylistic dimension, and will find its place in the context of auditions or exams. To place in your schoolbag...A series of pieces for exams or auditions.
