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As the sound-producing mechanism for the bassoon, the reed is a vital component in the sound of the entire instrument. While pre-manufactured reeds are widely available for purchase at music stores, this one-size-fits-all option hardly does justice to the unique needs of the musician and the piece. Many bassoonists, including seasoned professional bassoonist Eric Arbiter, instead choose to craft their own reeds. A nuanced and difficult craft to master, reed-making involves specialized machinery and necessitates special attention to the thickness, and even topography, of the reed itself. When done correctly, however, this process results in a reed that not only produces a more beautiful sound, but also holds up to even the most demanding musical performances. In The Way of Cane, Arbiter demystifies this process for bassoonists of all levels of experience. Drawing from his decades-long experience as both musician and reed-maker, Arbiter provides a comprehensive yet accessible overview of the craft, from the differing sound qualities produced by changing the dimensions of the reed's blades to the changes in the reed's behaviors as it passes through cycles of wetting and drying during production. Small changes in each of these variables, Arbiter explains, contribute to the ultimate goal of producing a bassoonist's ideal sound. With step-by-step instructions, detailed photos that further illuminate the reed-making process, and a companion website featuring the author's own recordings. The Way of Cane emphasizes the importance of the reed to the bassoon's sound, as well as the harmony between reed and musician.
Withheld by leading pedagogues in an effort to control competition, the art of reed making in the early 20th century has been shrouded in secrecy, producing a generation of performers without reed making fluency. While tenets of past decades remain in modern pedagogy, Christin Schillinger details the historical pedagogical trends of bassoon reed making to examine the impact different methods have had on the practice of reed making and performance today. Schillinger traces the pedagogy of reed making from the earliest known publication addressing bassoon pedagogy in 1687 through the publication of Julius Weissenborn's Praktische Fagott-Schule and concludes with an in-depth look at contemporary methodologies developed by Louis Skinner, Don Christlieb, Norman Herzberg, and Lewis Hugh Cooper. Aimed at practitioners and pedagogues of the bassoon, this book provides a deeper understanding of the history and technique surrounding reed-making craft and instruction.
Wind Talk for Woodwinds provides instrumental music teachers, practitioners, and students with a handy, easy-to-use pedagogical resource for woodwind instruments found in school instrumental programs. With thorough coverage of the most common woodwind instruments - flute, oboe, clarinet, saxophone, and bassoon - the book offers the most topical and information necessary for effective teaching. This includes terminology, topics, and concepts associated with each specific instrument, along with teaching suggestions that can be applied in the classroom. Be sure to look to the back of the book for a "Practical Tips" section, which discusses common technical faults and corrections, common problems with sound (as well as their causes and solutions to them), fingering charts, literature lists (study materials, method books, and solos), as well as a list of additional resources relevant to teaching woodwind instruments (articles, websites, audio recordings). Without question, Wind Talk for Woodwinds stands alone as an invaluable resource for woodwinds!
Since it was first published in 1993, the Sourcebook for Research in Music has become an invaluable resource in musical scholarship. The balance between depth of content and brevity of format makes it ideal for use as a textbook for students, a reference work for faculty and professional musicians, and as an aid for librarians. The introductory chapter includes a comprehensive list of bibliographical terms with definitions; bibliographic terms in German, French, and Italian; and the plan of the Library of Congress and the Dewey Decimal music classification systems. Integrating helpful commentary to instruct the reader on the scope and usefulness of specific items, this updated and expanded edition accounts for the rapid growth in new editions of standard works, in fields such as ethnomusicology, performance practice, women in music, popular music, education, business, and music technology. These enhancements to its already extensive bibliographies ensures that the Sourcebook will continue to be an indispensable reference for years to come.
The Teaching of Instrumental Music, Fifth Edition introduces music education majors to basic instrumental pedagogy for the instruments and ensembles commonly found in the elementary and secondary curricula. It focuses on the core competencies required for teacher certification in instrumental music, with the pervasive philosophy to assist teachers as they develop an instrumental music program based on understanding and respecting all types of music. Parts I and II focus on essential issues for a successful instrumental program, presenting first the history and foundations, followed by effective strategies in administrative tasks and classroom teaching. Parts III, IV, and V are devoted to the skills and techniques of woodwind, brass and percussion, and string instruments. In all, The Teaching of Instrumental Music is the complete reference for the beginning instrumental teacher, commonly retained in a student’s professional library for its unique and comprehensive coverage. NEW TO THIS EDITION: Revision and updating of curriculum developments, such as coordinating State Department of Education student learning objectives with the recent Every Student Succeeds Act (ESSA) New discussion of the NAfME National Standards as they relate to the teaching of instrumental music Revamping of rehearsing instrumental ensembles chapters, including new or expanded sections on programming, choosing quality music, and applying successful rehearsal techniques Updates on references, plus new discussion questions, and websites and internet links A chapter devoted to classroom guitar Updates on the use of technology for teaching and learning music More on healthy performance practice, marching band, and jazz band Online materials located in the eResources section on the Routledge website.
Part history, part explanation of early music, this book also plays devil's advocate, criticizing current practices and urging experimentation. Haynes, a veteran of the movement, describes a vision of the future that involves improvisation, rhetorical expression, and composition.