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An approach to musicianship that is fun and appealing! Focusing on keyboard skills such as five-finger patterns, scales, sightreading, ear training and transposition, this series is designed to prepare students for National Guild of Piano Teachers musicianship requirements. Logically organized by Musicianship Phase. Includes practice suggestions and enjoyable exercises.
An approach to musicianship that is fun and appealing! Focusing on keyboard skills such as five-finger patterns, scales, sightreading, ear training and transposition, this series is designed to prepare students for National Guild of Piano Teachers musicianship requirements. Logically organized by Musicianship Phase. Includes practice suggestions and enjoyable exercises.
Children are inherently musical. They respond to music and learn through music. Music expresses children's identity and heritage, teaches them to belong to a culture, and develops their cognitive well-being and inner self worth. As professional instructors, childcare workers, or students looking forward to a career working with children, we should continuously search for ways to tap into children's natural reservoir of enthusiasm for singing, moving and experimenting with instruments. But how, you might ask? What music is appropriate for the children I'm working with? How can music help inspire a well-rounded child? How do I reach and teach children musically? Most importantly perhaps, how can I incorporate music into a curriculum that marginalizes the arts?This book explores a holistic, artistic, and integrated approach to understanding the developmental connections between music and children. This book guides professionals to work through music, harnessing the processes that underlie music learning, and outlining developmentally appropriate methods to understand the role of music in children's lives through play, games, creativity, and movement. Additionally, the book explores ways of applying music-making to benefit the whole child, i.e., socially, emotionally, physically, cognitively, and linguistically.
The magic of sheet music continues in this exciting series! Available in three separate collections, teachers will find some of Alfred's best-loved sheet music solos by favorite Alfred composers including Dennis Alexander, Cynthia Sepaugh Clarke, Margaret Goldston, Randall Hartsell, Gayle Kowalchyk, E.L. Lancaster, Martha Mier, June Montgomery, Lynn Freeman Olson, and Catherine Rollin.
Through the years, children have loved fairy tales and stories of enchantment. This piano book helps late elementary and early intermediate students learn to play expressively by creating images in their minds and communicating those images through their performance. Audiences will clearly hear and feel when students are imagining a huge fire-breathing dragon walking with heavy steps to the castle to capture the princess! A great escape for students-and fun for teachers, too.
These uplifting collections contains some of the best-known hymns as well as those which are not so familiar. These arrangements maintain the original melodies while adding altered harmonies and will serve well as supplemental materials for the piano lesson and especially well for preludes and offertories in the church.
How do children learn music? And how can music teachers help children to become independent and self-sufficient musical thinkers? Author Eric Bluestine sheds light on these issues in music education.
Originally published in the 1940s, Paul Hindemith's remarkable textbooks are still the outstanding works of their kind. In contrast to many musical textbooks written by academic musicians, these were produced by a man who could play every instrument of the orchestra, could compose a satisfying piece for almost every kind of ensemble, and who was one of the most stimulating teachers of his day. It is therefore not surprising that nearly forty years later these books should remain essential reading for the student and the professional musician.
In higher music education, learning in social settings (orchestras, choirs, bands, chamber music and so on) is prevalent, yet understanding of such learning rests heavily on the transmission of knowledge and skill from master to apprentice. This narrow view of learning trajectories pervades in both one-to-one and one-to-many contexts. This is surprising given the growing body of knowledge about the power of collaborative learning in general, underpinned by theoretical developments in educational psychology: the social dimensions of learning, situational learning and concepts of communities of learners. Collaborative Learning in Higher Music Education seeks to respond to the challenge of becoming more conscious of the creative and multiple dimensions of social interaction in learning music, in contexts ranging from interdisciplinary projects to one-to-one tuition, and not least in the contemporary context of rapid change in the cultural industries and higher education as a whole. It brings together theoretical papers and case studies of practice. Themes covered include collaborative creativity, communities of practice, peer-learning, co-teaching as co-learning, assessment and curriculum structures. Chapters illuminate reasons for enabling collaborative learning, and provide exemplars of innovative practice and designs for collaborative learning environments in higher music education. A central purpose of the book is to scaffold change, to help in meeting the rapid changes in society and to find constructive stepping stones or signposts for teachers and students.