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Making Music on the Organ has already established itself as an indispensable guide to the art of organ playing. It records the ideas which underpin Peter Hurford's performance and teaching and its chief concern, as the title indicates, is to show how to make music, rather than merely playing the notes, on this instrument. There is advice on the technical problems of performance, an explanation of the workings of the instrument, and chapters on interpretation, including, most usefully, reflections on the interpretation of Bach. This new paperback edition makes a number of textual amendments and additions, and includes three new appendices on the principles of good organ design, the swell-box, and the temperament. This title also appears in the Oxford General Books catalogue for Autumn 1990. Contents: Notes of Usage; Introduction; The Organists Place in Musical Performance; How the Organ Works; A Basic Physical Approach to the Organ; The technical Basis of Movement and Expression; Some Thoughts on Interpretation; Towards a grounding in Bach Interpretation; The French Classical School; Renaissance; Appendices; Reading List; Index of Works Cited; General Index.
Written for early-level adult piano students of any age, this book enables students to play gratifying music while developing their skills. Maris discusses nearly every issue encountered by the beginner, from appropriate goals and good playing habits to how the piano works. For students who love to play as well as practice, this is the ideal guide.
Why does a piano sound like a piano? A similar question can be asked of virtually all musical instruments. A particular note-such as middle C-can be produced by a piano, a violin, a clarinet, and many other instruments, yet it is easy for even a musically untrained listener to distinguish between these different instruments. A central quest in the study of musical instruments is to understand why the sound of the "same" note depends greatly on the instrument, and to elucidate which aspects of an instrument are most critical in producing the musical tones characteristic of the instrument. The primary goal of this book is to investigate these questions for the piano. The explanations in this book use a minimum of mathematics, and are intended for anyone who is interested in music and musical instruments. At the same time, there are many insights relating physics and the piano that will likely be interesting and perhaps surprising for many physicists.
This book includes thirty-three provocative essays on corporate worship, hymnody and psalmody, issues, and composers and composition. It explores scripture teaching on the role of music in the church. This volume exists because it contains ideas that every worshiper (pastor and layperson) and Christian musician (performer and academic) may benefit from reading, since it is entirely possible to live in the subculture of the evangelical church without encountering some of them. - Publisher.
For a pianist or organist new to playing the organ.This book has been written for the pianist who has never played an organ or an organist unfamiliar with the Roland, Rodgers or Infinity organs, but may be used by an experienced organist as well. Designed to be used for self-teaching but also useful when studying with a teacher.The Playing the Church Organ series is also useful for the experienced organist as it quickly introduces you to using all the stops on the organ, ones named on the stop tablets or drawknobs, and all that are waiting inside for you to call on them to more perfectly match the stops you choose to the music you are playing.This innovative teaching system works backwards - the goal is not to teach you all about playing the organ, it's to get you playing the organ with confidence and sounding professional from the first day you play, even if you have never had an organ lesson and just know how to play piano or a keyboard.Technique:We achieve this by starting you off with preset sounds, just as a teacher does, but here you control them yourself, right from the beginning. All that you need to learn to get started are three things:• Pressing Piston Buttons.When you press a piston button, the organ is ready for you to play. We have picked music for you that only uses the keyboards. This isn't simplified music - there has been a lot of organ music written for organs without pedals - in fact, even during the time of Handel, many organs only had keyboards. You will find the number of the piston to push at the top of the music - then you just begin to play. • Which Keyboard to Play?We mark every piece for you so you know which keyboard you [play.• The Expression Pedal Sets the Volume.You'll be surprised when you find out that the organ is not as difficult as you are able to focus more on playing the notes instead of also making them loud or soft or somewhere in between. • What happens then?“But...do I have to play the pedals?” You will find organ music written without pedals in books 1-4 that is easy to medium difficulty. As you play through the music you will be using 10 preset sound combinations that are enough to play services, including weddings and memorial services. This book also hows you how to use the Bass Coupler to play the pedals for you automatically on some of the music - we do this to get you excited and interested in playing them yourself.• This first book contains 33 pieces of useful music for you to enjoy playing the voices you are learning about. • The first four books in this series are a complete course in music for the organ, as well as exploring the stops of the organ.• Careful attention to encouraging you through lots of interesting music that is playable and that your congregation will appreciate. • These books may be used with or without a teacher.• Book 13 - A Playing Guide to the Roland, Rodgers and Infinity Organs is a good companion guide to this series qof instruments.
Infused with a warm, affable tone, Making Music in Montessori is the Guide’s guide to music education, providing Montessori teachers all at once a snappy, practical handbook, music theory mentor, pedagogical manual, and resource anthology.The book’s goal: To give teachers confidence in music, so that when their children walk away from a lesson all fired up to compose their own music, their teacher will know how to guide them. Before Making Music in Montessori, teachers may have only dreamed of a classroom buzzing with children working, learning, and growing with music alongside all of the other subject areas in the Montessori curriculum. Now, it’s a reality. If children’s minds are a fertile field, then Making Music in Montessori will stir Montessori teachers of all musical backgrounds to don their overalls, roll up their sleeves, sow the musical seeds, and watch them blossom under their children’s flaming imagination.
The renowned Flor Peeters is known as an organist and composer from his native Belgium to all of Europe and both Americas. Little Organ Book, consisting of hymn tunes and original compositions, has won special favor among teachers and students because of the clear presentation of elementary rules for organ playing.
Teach Your Students How to Use Computing to Explore Powerful and Creative Ideas In the twenty-first century, computers have become indispensable in music making, distribution, performance, and consumption. Making Music with Computers: Creative Programming in Python introduces important concepts and skills necessary to generate music with computers. It interweaves computing pedagogy with musical concepts and creative activities, showing students how to integrate the creativity and design of the arts with the mathematical rigor and formality of computer science. The book provides an introduction to creative software development in the Python programming language. It uses innovative music-creation activities to illustrate introductory computer programming concepts, including data types, algorithms, operators, iteration, lists, functions, and classes. The authors also cover GUIs, event-driven programming, big data, sonification, MIDI programming, client–server programming, recursion, fractals, and complex system dynamics. Requiring minimal musical or programming experience, the text is designed for courses in introductory computer science and computing in the arts. It helps students learn computer programming in a creative context and understand how to build computer music applications. Also suitable for self-study, the book shows musicians and digital music enthusiasts how to write music software and create algorithmic music compositions. Web Resource A supplementary website (http://jythonMusic.org) provides a music library and other software resources used in the text. The music library is an extension of the jMusic library and incorporates other cross-platform programming tools. The website also offers example course and associated media resources.
Gillock supplies details about the organ at La Trinité in Paris, the instrument for which most of Messiaen's pieces were imagined.