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Here is a complete repertoire and textbook for the older or adult beginner. Starting with material appropriate for the first lesson, it moves rapidly through discoveries, music and activities equivalent to The Music Tree and Levels 1 and 2. On completing the book, the student is ready for Level 3 of the Clark Library. The book provides quantities of music, all of it selected or composed to appeal to the older student -- Studies (introducing each of 65 new subjects), Repertoire (155 solos and duets), Accompanying and Transposing (62 melodies to accompany and to transpose to all major and minor keys), Sight Reading (107 one-line pieces that review each of the new discoveries and teach sight reading skills). In addition, the 22 units in 208 pages include: Technical Exercises, Rhythm Exercises, Written Work and Improvising. A Glossary at the end defines all new signs and terms introduced throughout the book.
Ten progressively advanced sections, each with notations and keyboard diagrams, make up a new approach to learning how to play the piano quickly and pleasurably, with no scale exercises and a minimum of memorization
It has never been easier or more fun for students to compose, improvise, arrange, and produce music than with today's technology. Perfect for pre- or in-service music educators, Using Technology to Unlock Musical Creativity offers both a pedagogical framework and a description of the technology tools for engaging students in creative musical projects.
Gillespie discusses 350 composers and their works for harpsichord and piano, including Bach, Handel, Mozart, Beethoven, and Debussy. Includes 116 musical examples, illustrations, and a glossary of musical terms.
Focusing on the domain of music, the approach taken in this book falls into three sections: investigations of the people, processes, products, and places of collaborative creativity in compositional thought and practice; explorations of the ways in which creative collaboration provides a means of crossing boundaries between disciplines such as music performance and musicology; and studies of the emergence of creative thought and practice in educational contexts including that of the composer and the classroom. The volume concludes with an extended chapter that reflects on the ways in which the studies reported advance understandings of creative thought and practice.