Selections From West Side Stor

SKU: BT.BHI5401405

SKU: HL.49034685

ISBN 9780793599431. UPC: 073999606102. 305 X 229 inches.

Contents: Adagio (Beethoven) • Aria (Donizetti) • Berceuse (Stravinsky) • Bourree I from Cello Suite No. 3 (Bach) • Cool • Entr'acte • Es ist vollbracht (Bach) • The Sorcerer's Apprentice (Dukas)• Symphony No. 4, Finale (Tchaikovsky) • Symphony No. 5 (Tchaikovsky) • Theme from Pictures at an Exhibition (Mussorgsky).Twelve Solos for the Bassoon player, mainly adapted from Orchestral excerpts in order to give the performer practice at playing these solos in context with proper harmonic backing (Piano accompaniment). Selected and edited by Sol Schoenbach, these pieces range from J.S. Bach's Cello Suite to Leonard Bernstein's West Side Story. The bulk of this music falls under the 'intermediate' (Grade 4-6) category, however the Tchaikovsky and Berstain pieces are somewhat harder.

Contents: Adagio (Beethoven) • Aria (Donizetti) • Berceuse (Stravinsky) • Bourree I from Cello Suite No. 3 (Bach) • Cool • Entr'acte • Es ist vollbracht (Bach) • The Sorcerer's Apprentice (Dukas)• Symphony No. 4, Finale (Tchaikovsky) • Symphony No. 5 (Tchaikovsky) • Theme from Pictures at an Exhibition (Mussorgsky).

SKU: BT.MUSAM92045

ISBN 9780711941755.

Some of the most memorable, poignant, shocking or side-splitting film moments are captured in this specially selected anthology of silver-screen songs for Piano, Voice and Guitar. From classic movies such as CasablancaandGrease to modern-day masterpieces like Donnie Darko and Moulin Rouge, a great film song is often so much more than just a soundtrack, with many of the songs featured here becoming huge chart-topping hitsintheir own right!

Whether you're looking for that tear-jerking ballad, sensational show-stopper or vintage heart-warmer, you'll find that magical movie-song right here.

SKU: HL.49018099

ISBN 9790001158428. UPC: 884088567347. 8.25x11.75x0.457 inches. Latin - German.

On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of 'letting go'. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: 'I will return the key of my door'. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though 'in an ocean' of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: 'So teach us to number our days, that we may apply our hearts unto wisdom'. This cannot be expressed more plainly.I have begun the requiem with a solo boy's voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent 'lux aeterna'. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: 'Entreiss dich, Seele, nun der Zeit, entreiss dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen' ['Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morning'] and later: 'Und die Seele unbewacht will in freien Flugen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben' ['And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfold']. Or Joseph von Eichendorff whose text evokes a distant song in his lines: 'Und meine Seele spannte weit ihre Flugel aus. Flog durch die stillen Lande, als floge sie nach Haus' ['And my soul spread its wings wide. Flew through the still country as if homeward bound.']Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven's late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my 'renewed' occupation with the 'old' country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a 'homecomer'. Harald WeissColonia de San PedroMarch 2009.

SKU: HH.HH531-SOL

ISBN 9781914137280.

Mozartâ??s final three symphonies were composed, according to Mozartâ??s autograph VerzeichnüÃ?, in the space of a few weeks, from late June to early August 1788. During that year the 11-year-old Hummel was a resident pupil of Mozart and would have been a daily witness to the creation of these foundational works of the Western musical canon. There is an almost total lack of documentary evidence concerning the circumstances of these works, however, which has led to considerable speculation as to their origins, early performances and reception. There are three plausible scenarios for the genesis of these symphonies: that they were written for a series of subscription concerts scheduled for autumn 1788; that Mozart wrote them with the (unfulfilled) intention of publication as an opus; that they may have been prepared in advance of Mozartâ??s projected visit to London with his British friends the Storace family, Thomas Attwood and Michael Kelly (again unfulfilled). A contemporaray review in The Harmonicum (1823) of Hummelâ??s piano arrangements of these works notes, approvingly, that they show his perfect knowledge of the instrument and his nice [= fastidious] discrimination in selecting the most effective parts from the score in those places where the whole could not be taken.

SKU: GI.G-10760

ISBN 9781622776979.

Questions abound about diversity in music education. How can we engage with diverse populations, repertoire, and identities while upholding integrity and achieving equity? What are cultural appropriation, othering, tokenizing, and essentializing? How can we avoid bias in our teaching and repertoire selection? How do we create a more socially just music education? These are critical questions with accessible answers. But if we are to become better music educators, we must reflect on these questions, our own identities, and our relationships with the music and people of the world. Realizing Diversity by Karen Howard is a groundbreaking and practical resource for crafting diverse and anti-bias music education in classrooms, ensembles, and studios at all levels—from preschool to university and community settings. At the book’s core is an Anti-Bias Framework intended to help music educators gain confidence and comfort in designing music curricula that are just, equitable, and make participants feel safe and welcome. Structured around the four social justice domains of identity, diversity, justice, and action, this framework explores topics of anti-racism, gender and sexual identity, power and privilege, disabilities, economic realities, empathy, and critical consciousness. Dr. Howard also includes discussion of educational movements in United States history, the challenging “world music” label and related authenticity, the hyper-prevalence of Western Eurocentric music, inclusive repertoire selection, as well as appendices with critical practices for educators and a sample curriculum. An indispensable book for pre-service, beginning, and veteran music teachers of toddlers through adults, Realizing Diversity considers the many separate but deeply interrelated questions related to creating a more socially just music education. Karen Howard is a frequent presenter working with teachers and presenting research related to creating a more socially just world of music education. She is Associate Professor of Music at the University of St. Thomas in St. Paul, Minnesota. She teaches undergraduate and graduate courses related to children’s music, sociology of education, research methods, ethnomusicology, and matters of diversity.