Self Destruct

SKU: B7.B111

8.5x11 inches.

TRIBUTE TO KEROUAC, version for solo piano by David Alpher was inspired by the work, life, and times of Jack Kerouac, King of the Beat Generation. Cast in 7 movements, this significant composition is hugely influenced by jazz. In the preface to the score the composer writes: Kerouac demonstrated the epic contradiction of America: on the one hand its wild energy, joy of life, and expansiveness; on the other, its tendency to self-destruct. Tribute to Kerouac is my musical response to, and commemoration of, this important American writer who liked to describe himself as a 'jazz.poet.'The ensemble version of this work (for clarinet, tenor sax, piano & string bass) is recorded on Ongaku Records #024-112.

SKU: AP.74-0142196946

ISBN 9780142196946. English. [John Taylor; Duran Duran] By Nick Rhodes.

The talent. The charisma. The videos. From their 1981 hit Planet Earth to their latest number-one album, All You Need Is Now, John Taylor and Duran Duran have enchanted audiences around the world. It's been a wild ride, and for John in particular, dangerous. John recounts the story of the band's formation, their massive success, and his journey to the brink of self-destruction. Told with humor, honesty, and packed with exclusive pictures, John Taylor: In the Pleasure Groove is an irresistible rock-and-roll portrait of a band whose popularity has never been stronger.

SKU: HL.14005308

ISBN 9780853601425.

In this interplanetary musical by Debbie Campbell, strange but gentle visitors from outer space (the Bumblesnouts) come to Earth to save our planet from self-destruction. The Earthlings are persuaded to change their ways and make the world a better place. This entertaining and lively musical for unison voices and piano aims to stimulate children to think about the world we inhabit and the importance of caring about our environment. Any number of children can take part in this show as Bumblesnouts, Punks, Hunters, Gangsters, Animals and Trees. This complete Vocal Score includes nine songs plus an overture along with useful suggestions for staging and whimsical illustrations by Richard Oke.

SKU: GI.G-9542

ISBN 9781622772803.

The Ultimate Guide to Creating a Quality Music Assessment Program is a hands-on, step-by-step action plan to use assessment to improve your teaching and your students’ performances. This expanded Second Edition of the popular Scale Your Way to Music Assessment provides examples of how to teach student musicians at every level—elementary, middle, and high school—to become accurate and consistent assessors of musical performance. This book also describes how to meaningfully self- and peer-assess, and set goals for practicing and improving the performances of a group. The ultimate goal is to enhance learning and education through assessment. Also included are appendices with actual written and listening tests, outlines of a testing program for band, choir, and orchestra, a glossary of terms—and more. The Ultimate Guide to Creating a Quality Music Assesement Program includes everything you'll need to develop your program. New downloadable resources include sample data, tests for all grade levels, music examples, and reference material. The extensive range of topics in this revised edition incorporate exemplars for all grade levels of a music program, including: Developing performance assessments Aligning music department goals Developing written assessments with district and school goals Developing listening assessments Writing course goals Writing music tests Helping a program realize its vision  Involving students in taking responsibility Integrating the National Core Arts Standards for improving skills Updating references and websites A review of test-making software Frequently asked questions While reading the second edition of Scale Your Way, I was reminded of why I liked the book to begin with: lots of concrete ideas, a throrough treatment based on years of experience, an accurate and useful discussion of classroom assessment, and—most of all—it puts students in the driver's seat. The person doing the assesing does the learning. The authors' discussions in the book also have the added benefit of helping teachers develop the classroom role they want to have—coaches and cheerleaders rather than enforcers. —Judy Arter, author, musician, and consultant for Educational Testing Service.

SKU: HL.50601597

8.0x11.75 inches.

German text. The title “Jeita” has a double meaning. Firstly, Jeita is the name of a district in Lebanon, noted for the karstic limestone cavernsin the almost nine-kilometre wide Nahr a-Kalb Valley. Secondly, the roots of the word “Jeita” are also found in the Aramaic word “Ge’itts”, which means “roaring” or “noise”. Michaela Rea Catranis had a cave as the symbol of isolation and creativity in mind whilst composing her work for cello solo. “A quiet, hidden place of self-observation”, as the composer says. In addition, the “roaring” in this piece plays an important role; Catranis calls it “a primordial, energising, deep-bellied and life-giving roar, notan aggressive one. It represents the impulse of creative energy: both the instinct to create and the flow of energy awakened throughthe process of creation.”.

SKU: DY.DO-1526

ISBN 9782897963064.

Wynwood Walls draws on 9 artworks which lend their titles to the 9 connected sections of the quintet. The music reflects and amplifies my own subjective responses to the artworks.

The movements are organised in pairs, circling out from a still centre – No Woman, No Cry. The title for this centrepiece comes from Chris Ofili’s moving portrait of Doreen Lawrence, the mother of a teenager murdered in an unprovoked racist attack. As well as this specific reference, the artist intended the painting to be read as a universal portrayal of melancholy, solace, and grief. The two segments flanking No Woman, No Cry complete the central triptych. Edward Hopper’s Nighthawks explores loneliness and isolation, while Grayson Perry’s #Lamentation is a meditation on remembrance and the transience of life. In contrast to the rest of Wynwood Walls, the music here is dark and introspective.

I want my time with you is a giant neon sign designed by Tracey Emin for St. Pancras Station, London. Selfie with Sunflowers is an essay written by Julian Barnes about our over-familiarisation with Van Gogh’s iconic sunflower paintings. The music is sentimental, bordering on schmaltz and kitsch. Sunflower Seeds and Infinity Room are a pair of moto perpetuo scherzos inspired by the minimalist installations of Ai Weiwei and Yayoi Kusama respectively. The opening section, Bathers at Asnières, suggests Seurat’s iconic painting, while the finale, Seurat’s Bathers, evokes Howard Hodgkin’s reworking of the Seurat using a blaze of vivid colours.

The title of the quintet is borrowed from the Wynwood art district of Miami – an area characterised by the hundreds of colourful street murals which decorate the walls of old warehouses in the neighbourhood. In performance, the artworks can be projected onto a screen behind the ensemble.

Wynwood Walls s'appuient sur 9 œuvres d'art dont les titres prêtent leurs noms aux 9 sections connectées du quintette. La musique reflète et amplifie mes propres réponses subjectives aux œuvres d'art.

Les mouvements sont organisés par paires, émergeant d'un centre immobile - No Woman, No Cry. Le titre de cette pièce maîtresse provient du portrait émouvant de Chris Ofili de Doreen Lawrence, la mère d'un adolescent assassiné lors d'une attaque raciste gratuite. En plus de cette référence spécifique, l'artiste a voulu que le tableau soit perçu comme une représentation universelle de la mélancolie, du réconfort et du chagrin. Les deux segments flanquant No Woman, No Cry complètent le triptyque central. Nighthawks d'Edward Hopper explore la solitude et l'isolement, tandis que #Lamentation de Grayson Perry est une méditation sur le souvenir et la fugacité de la vie. Contrairement au reste des Wynwood Walls, la musique ici est sombre et introspective.

I want my time with you est un immense panneau néon conçu par Tracey Emin pour la gare de St. Pancras, à Londres. Selfie with Sunflowers est un essai écrit par Julian Barnes sur notre sur-familiarisation avec les peintures emblématiques de tournesols de Van Gogh. La musique est sentimentale, frôlant le kitsch et le sentimentalisme. Sunflower Seeds et Infinity Room sont une paire de scherzos moto perpetuo inspirés des installations minimalistes d'Ai Weiwei et de Yayoi Kusama respectivement. La section d'ouverture, Bathers at Asnières, suggère le tableau emblématique de Seurat, tandis que le finale, Seurat’s Bathers, évoque la réinterprétation de Seurat par Howard Hodgkin en utilisant une explosion de couleurs vives.

Le titre du quintette est emprunté au quartier artistique de Wynwood à Miami - une zone caractérisée par les centaines de fresques murales colorées qui ornent les murs des vieux entrepôts du quartier. En performance, les œuvres d'art peuvent être projetées sur un écran derrière l'ensemble.

SKU: HL.48188977

UPC: 888680874155. 9.0x12.0x0.32 inches. French.

“Having been considered as a 'fashionable' and 'cliché' composer of his day, Hahn was best known for his contributions to the French Mélodie, however his other works have never gone amiss. His The Distraught Nightingale Poems for Piano represents the engaging diversity of the composer's music. Venezuelan born Reynaldo Hahn (1875-1947) entered the Paris Conservatoire at 10 years old. He received a high standard of musical education from Decombes, Lavignac, Dubois and Massenet before becoming a prolific and versatile composer himself, writing works for all genres. For Hahn, music was a magical art and his instrumental compositions often contain expressions of his otherwise hidden emotions and moods. Suitable advanced pianists, the first volume of Hahn's The Distraught Nightingale Poems provides pleasant and evocative performance pieces, incorporating a range of expressions, rhythms and other musical features.”.

SKU: UT.CH-395

ISBN 9790215328587. 9 x 12 inches.

Il grande larice rosso; Piccole vite; Requiem per un bosco

Never before have I felt the urgency within myself to communicate with my instrument something which goes beyond just the notes, a desire to embrace with music parts of the world which I see as being so neglected and abandoned, as if man were no longer able to see beyond the narrow confines of his home and work spaces. The environment which surrounds us, free and pure, seems to bow more and more to the base instincts of abuse which man brings into play... the destruction of centuries-old forests and glaciers, the construction of harmful and disturbing, useless and polluting elements... and I wonder what we can do, what I, as a musician, can do, at least to show my disapproval of these situations. I have no straight answer but I know that writing the music I love to play, often born in natural and wild environments can help to dream of, or imagine a present time which is more on a human scale, thanks to the strong evocative power which music possesses and emanates.
This is the meaning of these compositions, dedicated to a tree, a 700-year-old specimen of the Stura Valley, Lu Merze Gros (The Big Larch), to the small beings which inhabit it, in the bark, among its foliage, in the surrounding soil and to my sense of frustration at seeing a forest of fir trees razed to the ground to allow the construction of a bobsleigh run.
This action of mine has been useless and nostalgic perhaps, but it has given me intense moments of emotion in the writing and moves me enormously during its performance.

Giorgio Signorile.

SKU: HL.4003859

UPC: 888680005788. 9.0x12.0x0.079 inches.

Combining a district-wide extravaganza for players of all levels creates an exciting spectacle for parents, while providing much needed incentives for the younger players. Shorewood Overture is specifically designed to be performed by multi-level bands and, rather than the typical massed band number where everyone plays at once, this ingenious overture allows each level to be featured briefly by itself, along with sections where everyone plays together. In addition, the “Level 3” parts include cues (also in the Level 3 score), which allows the piece to be performed by a single ensemble. Dur: 4:20 Note: Level 2/Level 1 versions are not playable separately.