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Third in a series designed to expand the idea of music theory to points beyond the written page, to have students realize that the music they are performing, listening to, and composing evolves from the realm of music theory. Book 3 covers notes on the grand staff, rhythm, eighth notes, intervals, pentachords, and triads.
"Altogether it is a book that should be required reading for any student of music, be he composer, performer, or theorist. It clears the air of many confused notions . . . and lays the groundwork for exhaustive study of the basic problem of music theory and aesthetics, the relationship between pattern and meaning."—David Kraehenbuehl, Journal of Music Theory "This is the best study of its kind to have come to the attention of this reviewer."—Jules Wolffers, The Christian Science Monitor "It is not too much to say that his approach provides a basis for the meaningful discussion of emotion and meaning in all art."—David P. McAllester, American Anthropologist "A book which should be read by all who want deeper insights into music listening, performing, and composing."—Marcus G. Raskin, Chicago Review
Information Literacy in Music: An Instructor’s Companion is a practical guide to information literacy instruction for busy librarians and music faculty. This book contains examples of course-integrated assignments designed to help postsecondary music students develop foundational skills in information literacy. These assignments have been solicited from experienced librarians and faculty across the United States, and they represent a broad spectrum of approaches to music research, from historical to applied studies. Be inspired by new and creative solutions to students’ information literacy challenges and by the many examples of successful collaborations between librarians and music faculty.
(Meredith Music Resource). Highlights the major components for survival and success during the formative years in a college, university or conservatory and provides examples and strategies to greatly assist the student musician. With no-nonsense advice and practical tips, this guide will prepare music students (and their parents!) to meet the many challenges, and take advantage of the opportunities afforded them during the glorious college years.
Drawing upon a wide range of scholarly enquiry into early music, queer musicology, ethnomusicology, performance practice, music education and technology, Aesthetics and Experience in Music Performance provides a lively forum for the articulation of varied perspectives on the role of music, its interpretation and function in contexts supported by those who practice or experience it. The formal and shorter discussion papers included in this scholarly collection were presented at the National Workshop of the Musicological Society of Australia, held at the University of Queensland, Brisbane in October 2003. The themes of aesthetics and experience are central to this publication and each paper engages in a scholarly dialogue on the technical, expressive and embodied aspects of performance. The papers included in this publication bring together the research of a wide community of scholars (e.g., musicologists, anthropologists, ethnomusicologists and linguists) working in the field of performance studies and collectively reflect the musicological issues being debated in Australia today.
A comprehensive guide to music education, ensuring a solid foundation for supporting effective learning and teaching.
The notion of care is at times misunderstood in the context of music education--equated simply with kindness or associated with lowered expectations--and is often dismissed without consideration of its full value to music learning. When viewed through a student "deficit" perspective, concepts of care might evoke unnecessary pity or a sense of rescue, thereby positioning teachers and learners in a superior/inferior relationship that may be unhealthy and unhelpful to either person. Furthermore, many well-meaning approaches to care emphasize a unidirectional relationship from teacher to student, discounting the ways in which a teacher also continues to learn and develop. A more empowering conceptualization of care in music education involves sharing--sharing experience, sharing passion, sharing excitement, sharing goals, and sharing humanness. The Oxford Handbook of Care in Music Education addresses ways in which music teachers and students interact as co-learners and forge authentic relationships with one another through shared music-making. Concepts of care addressed in the handbook stem from philosophies of relationship, feminist ethics, musical meaningfulness, and compassionate music teaching. These essays highlight the essence of authentic relationships and shared experiences between teachers and learners, extending previous conceptions of care to meet the needs of contemporary music learners and the teachers who care for, about, and with them.
This book introduces path-breaking applications of concepts from mathematical topology to music-theory topics including harmony, chord progressions, rhythm, and music classification. Contributions address topics of voice leading, Tonnetze (maps of notes and chords), and automatic music classification. Focusing on some geometrical and topological aspects of the representation and formalisation of musical structures and processes, the book covers topological features of voice-leading geometries in the most recent advances in this mathematical approach to representing how chords are connected through the motion of voices, leading to analytically useful simplified models of high-dimensional spaces; It generalizes the idea of a Tonnetz, a geometrical map of tones or chords, and shows how topological aspects of these maps can correspond to many concepts from music theory. The resulting framework embeds the chord maps of neo-Riemannian theory in continuous spaces that relate chords of different sizes and includes extensions of this approach to rhythm theory. It further introduces an application of topology to automatic music classification, drawing upon both static topological representations and time-series evolution, showing how static and dynamic features of music interact as features of musical style. This volume will be a key resource for academics, researchers, and advanced students of music, music analyses, music composition, mathematical music theory, computational musicology, and music informatics. It was originally published as a special issue of the Journal of Mathematics and Music.
The Oxford Handbook of Philosophical and Qualitative Assessment in Music Education offers global, comprehensive, and critical perspectives on a wide range of conceptual and practical issues in music education assessment, evaluation, and feedback as these apply to various forms of music education within schools and communities. The central aims of this Handbook focus on broadening and deepening readers' understandings of and critical thinking about the problems, opportunities, spaces and places, concepts, and practical strategies that music educators and community music facilitators employ, develop, and deploy to improve various aspects of music teaching and learning around the world.
Viewing the plurality of creativity in music as being of paramount importance to the field of music education, The Routledge Companion to Creativities in Music Education provides a wide-ranging survey of practice and research perspectives. Bringing together philosophical and applied foundations, this volume draws together an array of international contributors, including leading and emerging scholars, to illuminate the multiple forms creativity can take in the music classroom, and how new insights from research can inform pedagogical approaches. In over 50 chapters, it addresses theory, practice, research, change initiatives, community, and broadening perspectives. A vital resource for music education researchers, practitioners, and students, this volume helps advance the discourse on creativities in music education.