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These easy-to-read, progressive exercises by Joanne Martin develop a student's reading skills one stage at a time, with many repetitions at each stage. I Can Read Music is designed as a first note-reading book for students of string instruments who have learned to play using an aural approach such as the Suzuki Method®, or for traditionally taught students who need extra note reading practice. Its presentation of new ideas is clear enough that it can be used daily at home by quite young children and their parents, with the teacher checking progress every week or two.
This is the sixth volume in a series of books devoted to the history, documentation and analysis of music in Asia. Four essays are dedicated to documents from the past: fifth-century Korean tomb paintings; tenth-century Chinese scores for lute; eighth-century Japanese documents; early Chinese sutras on the perception of sound. The remainder concern contemporary documents: the notations of the Japanese end-blown flute (shakuhachi) and lute (biwa) and their relationship to performance; acoustical analysis of contemporary shakuhachi. The focus on musical documents, whether ancient or modern, provides a unifying thread which renders this volume unique in the ethnomusicological literature on East Asian music.
Clarifies the conventions governing the practice of implied accidentals in vocal polyphony from the fourteenth to sixteenth centuries.
Available in English for the first time, Prosdocimo's Tractatus plane musice (1412) and Tractatus musice speculative (1425) are exemplary texts for understanding the high sophistication of music theory in the early fifteenth century. Known for considering music as a science based on demonstrable mathematical principles, Prosdocimo praises Marchetto for his theory of plainchant but criticizes his influential Lucidarium for its heterodox mathematics. In dismissing Marchetto as a “mere performer,” Prosdocimo takes up matters as broad as the nature and definition of music and as precise as counterpoint, tuning, and ecclesiastical modes. The treatises also reveal much about Prosdocimo’s understanding of plainchant; his work with Euclid's Elementa; and his familiarity with the music theory of Boethius, Macrobius, and Johannes de Muris. A foremost authority on Italian music theory of the Middle Ages and early Renaissance, Jan Herlinger consults manuscripts from Bologna, Cremona, and Lucca in preparing these valuable first critical editions.
This annotated chronology of western music is the third in a series of outlines on the history of music in western civilization. It contains a 120-page annotated bibliography, followed by a detailed, documented outline that is divided into ten chapters. Each chapter is written in chronological order with every line being documented by means of abbreviations that refer to the annotated bibliography. There are short biographies of the theorists and detailed discussions of their works. The information on music is organized by classes of music rather than by composer. Also included are lists of manuscripts with descriptions of their contents and notations as to where they may be found. The material for the outline has been taken from primary and secondary sources along with articles from periodicals. Like the other two volumes in this series, Music History from the Late Roman through the Gothic Periods, 313-1425 and Music History During the Renaissance Period, 1425-1520, this volume will be an important research tool for anyone interested in music history.
In the Música Latina series, students experience the rhythms, styles, and musical characteristics of Latin American music. Each piece begins with a short rhythm exercise that prepares students for the rhythm patterns featured in the piece. A brief description of each title helps spark the imagination of the performer. Book 4 is written for late intermediate-level piano students. Titles: * Bosque nuboso * El mercado del puerto * Mambo para un mundo nuevo * Rumba medianoche * Trem para Paranaguá * Vals de un día Ilovioso
In the Música Latina series, students experience the rhythms, styles, and musical characteristics of Latin American music. Each piece begins with a short rhythm exercise that prepares students for the rhythm patterns featured in the piece. A brief description of each title helps spark the imagination of the performer. Book 2 is written for early intermediate level piano students. Titles: *Baia de Botafogo *Bela bossa nova *¡Carnaval! *Desierto de Atacama *Fuego de la pasión *Pasos locos *Salida del sol *Vals Peruano "Baia de Botafogo," "Desierto de Atacama," and "Fuego de la pasión" are Federation Festivals 2014-2016 selections.