SKU: HL.14004382

ISBN 9780711979208. 9.0x12.0x0.091 inches. English.

A message for little children through seven enchanting new songs, tolerance and acceptance of others who may be different to ourselves. Billy Bee is rejected because he can't buzz, but is eventually accepted for being himself. Ideal for use as part of a Personal and Social Development programme. Suitable for Pre-School and Key Stage 1 children. For use in schools, Sunday school drama workshops and after-school clubs. Edited by Alison Hedger. If you need to license a school/youth theatre performance of this product, please use the online application form.

SKU: GI.G-J383

ISBN 9781622775408.

Through engaging children using Music Play 2, adults may build relationships with newborn and young children, additional family members, and other adults as they joyfully make music together, affirm and nurture newborn and young children’s innate capacities for expressive musicking and movement, and honor and extend young children’s expressed musical curiosities, ideas, and audeas (musical thoughts and ideas), helping them realize that their musical identities are worth sharing, developing, and preserving. Music Play 2 materials function in companion with Music Play (GIA, 1998) and Edwin Gordon’s Music Learning Theory for Newborn and Young Children (GIA, 2013). Music Play 2 (494 pages) is bundled into two parts, Part A and Part B. The following are the features of each part:   Part A (264 pages) Part B (229 pages) Tribute to Edwin Gordon Guiding Newborn and Young Children’s Innate Music Capacities Guiding Young Children Through Types and Stages of Preparatory Audiation: The Materials Using Music Play 2 Inclusion: All Children and Their Families (Salvador) 45 Extended Music Engagement Plans, each with a music selection (i.e., song, song/chant combination, or chant) in a wide variety of tonalities and meters, and prototypical examples of social-music and movement play in relation to Gordon’s three types of preparatory audiation. Each song has a chord root or bass-line melody notated, singable as an additional part, as well as chord functions to guide harmonic accompaniment to the melody. Each plan features More Audeas for Music Play, such as tonal pattern and/or rhythm pattern examples for each type of preparatory audiation, supplemental harmonic and rhythm accompaniments to add to the music selection, and More Ideas for Music Play, such as examples of ways to connect Music Play 2 activities to PK–2 2014 Music Standards, and one inclusion strategy in a Domain of Learning. Guidance for teaching chord root or bass line melodies and additional harmony parts, and chordal accompaniments. Complete listing of all PK–2 2014 Music Standards, along with which extended music engagement plans feature each standard. Indices: Comprehensive Index Headings, Music Play (1998) and Music Play 2 Comprehensive Index of Music Selections Alphabetized by Type and Title: Music Play (1998) and Music Play 2 Modified Comprehensive Index, Music Play 2: Parts A and B Music Play 2: Part A Music Selections Alphabetized by Type and Title Music Play 2: Part A Music Selections Alphabetized by Title 71 Music Engagement Plans, each with a music selection (i.e., song, song/chant combination, or chant) in a wide variety of tonalities and meters, and prototypical examples of social-music and movement play in relation to Gordon’s three types of preparatory audiation. Each song has a chord root or bass-line melody notated, singable as an additional part, as well as chord functions to guide harmonic accompaniment to the melody. Apply More Audeas and More Ideas you discover using Part A to music selections and engagement plans in Part B. Part B features tonalites and meters unique to music selections in Part B, and “Hello” and/or “Goodbye” music selections. Guidance for teaching chord root or bass line melodies and additional harmony parts, and chordal accompaniments. Editor and Contributor List (83 total) An 11-page, comprehensive bibliography and resource list to support researchers and practitioners and promote their audiation-based social-music and movement play with others, especially during early childhood. Indices: Comprehensive Index Headings: Music Play (1998) and Music Play 2 Comprehensive Index of Music Selections Alphabetized by Type and Title: Music Play (1998) and Music Play 2 Modified Comprehensive Index, Music Play 2: Parts A and B Music Play 2: Part B Music Selections Alphabetized by Type and Title Music Play 2: Part B Music Selections Alphabetized by Title Download Music Play 2 Extended Indexes (free)   Music Play 2 is a welcomed contribution for all who are concerned with appropriately guiding children’s musical understandings—parents, teachers, and caregivers. The book is extremely well organized with an excellent balance of theory and practice. The theoretical underpinnings of Music Play 2 are presented in a “user friendly” manner, the lessons are easy to follow and adapt for individual children’s needs and level of development, the numerous songs and chants represent a wide variety of tonalities and meters, and an extensive section on inclusion and inclusive practices has been added. Music Play 2 will be the resource I use for my early childhood music classes! —Joanne Rutkowski, Ph.D., Professor Emeritus, Music Education     The Pennsylvania State University This book had me interested from the table of contents onward. The lessons are detailed and ready to use in the classroom. I love that there are tonal and rhythmic patterns to go with each song or chant. This is truly a resource that will delight children and teachers as it is easy to use, appropriate for young children, and pedagogically sound. When I finished, I was ready to jump back into teaching early childhood music. Fantastic! —Alice M. Hammel, Ph.D.     James Madison University Music Play 2 is devoted to the wonder of young children’s musical development. The authors have adeptly woven theory and practice, offering a treasure trove of fresh, accessible lesson plans developed by leading researchers and practitioners in the field of early childhood music. An excellent, indispensable resource with original and high-quality music content, Music Play 2 is essential for all providers of music for young children, and sure to be used time and time again. —Suzanne L. Burton, Ph.D., Professor of Music Education     University of Delaware.

SKU: BT.REG9781898466611

ISBN 9781905908110. English.

Designed for those in the early stages of studying classical guitar, this is part of a progressive series of ten handbooks, primarily intended for candidates considering taking the London College of Music examinations in classical guitar playing. This handbook covers all the material needed for the Grade One examination, however, even if you do not intend to take an examination, given the handbook's wide content of musical repertoire and extensive educational material, the handbook provides a structured and comprehensive method of studying classical guitar. This handbook contains all the required pieces, scales, chords and arpeggios for the grade and also includes sectionson musical knowledge, sight reading and aural ability - in fact, absolutely everything you need for this grade! There are 12 pieces included, such as Beethoven’s ‘Ode To Joy’ and Brahms’ ‘Lullaby in G major’, as well as pieces by Tchaikovsky, Sor, Giuliani and others.

SKU: PR.114421310

UPC: 680160680993.

A lot of chamber music playing went on in Fargo, North Dakota during my teenage years. The participants included both high school friend - my brother, who plays viola, was an is an inveterate chamber music player - and members of parents' generation. The latter included not only professional musicians (the conductor of the Fargo-Moorhead Community Orchestra, who also played cello and was my first composition teacher, his wife, who was the orchestra's concert mistress, and others) but also people from various other walks of life. Although I don't play a string instrument, I was almost always in attendance, with score in hand. (One summer, all the young cellists we played with went to the Interlochen Music Camp, so I got to play the cello parts on the bassoon.) Mostly it was string quartets that were played, but one of the larger pieces I remember being done more than once was the Brahms Sextet in G Major, and I think that the idea for utilizing that combination had been lurking in the back of my mind since then. In the middle 1980's, ideas for a string sextet began appearing in my sketchbooks; one movement (the fourth) was actually completed in one of the sketchbooks. But without a deadline, it's hard for me to finish a major work, since there are always other pieces (with deadlines) waiting to be completed. So when the Composers Showcase at Lincoln Center asked me to put together a retrospective of my work, I knew I wanted to have a premiere on the program, and May 7, 1990 became the deadline that I got the piece done. The work is in six movements, with a symmetrical key pattern; the movements range from the very dramatic to the very easy-going. I had contacted the Lark Quartet, who had commissioned my String Quartet No.2, about forming the core of the sextet. Unfortunately, one of the Larks had a scheduling conflict, but the other three rounded up three more players, and the six of them gave the piece a rousing performance, in spite of the limited rehearsal time. The players were Eva Gruesser, Genovia Cummins, Anna Kruger, Mary Hamman, Astrid Schween and Julia Lichten.
A lot of chamber music playing went on in Fargo, North Dakota during my teenage years. The participants included both high school friend – my brother, who plays viola, was an is an inveterate chamber music player – and members of parents’ generation. The latter included not only professional musicians (the conductor of the Fargo-Moorhead Community Orchestra, who also played cello and was my first composition teacher, his wife, who was the orchestra’s concert mistress, and others) but also people from various other walks of life. Although I don’t play a string instrument, I was almost always in attendance, with score in hand. (One summer, all the young cellists we played with went to the Interlochen Music Camp, so I got to play the cello parts on the bassoon.)Mostly it was string quartets that were played, but one of the larger pieces I remember being done more than once was the Brahms Sextet in G Major, and I think that the idea for utilizing that combination had been lurking in the back of my mind since then. In the middle 1980’s, ideas for a string sextet began appearing in my sketchbooks; one movement (the fourth) was actually completed in one of the sketchbooks. But without a deadline, it’s hard for me to finish a major work, since there are always other pieces (with deadlines) waiting to be completed. So when the Composers Showcase at Lincoln Center asked me to put together a retrospective of my work, I knew I wanted to have a premiere on the program, and May 7, 1990 became the deadline that I got the piece done.The work is in six movements, with a symmetrical key pattern; the movements range from the very dramatic to the very easy-going.I had contacted the Lark Quartet, who had commissioned my String Quartet No.2, about forming the core of the sextet. Unfortunately, one of the Larks had a scheduling conflict, but the other three rounded up three more players, and the six of them gave the piece a rousing performance, in spite of the limited rehearsal time. The players were Eva Gruesser, Genovia Cummins, Anna Kruger, Mary Hamman, Astrid Schween and Julia Lichten.