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By exploring the many different types and forms of contemporary musical instruments, this book contributes to a better understanding of the conditions of instrumentality in the 21st century. Providing insights from science, humanities and the arts, authors from a wide range of disciplines discuss the following questions: · What are the conditions under which an object is recognized as a musical instrument? · What are the actions and procedures typically associated with musical instruments? · What kind of (mental and physical) knowledge do we access in order to recognize or use something as a musical instrument? · How is this knowledge being shaped by cultural conventions and temporal conditions? · How do algorithmic processes 'change the game' of musical performance, and as a result, how do they affect notions of instrumentality? · How do we address the question of instrumental identity within an instrument's design process? · What properties can be used to differentiate successful and unsuccessful instruments? Do these properties also contribute to the instrumentality of an object in general? What does success mean within an artistic, commercial, technological, or scientific context?
In this book, the contributors reconsider the fundamentals of Music as a university discipline by engaging with the questions: What should university study of music consist of? Are there any aspects, repertoires, pieces, composers and musicians that we want all students to know about? Are there any skills that we expect them to be able to master? How can we guarantee the relevance, rigour and cohesiveness of our curriculum? What is specific to higher education in music and what does it mean now and for the future? The book addresses many of the challenges students and teachers face in current higher education; indeed, the majority of today’s music students undoubtedly encounter a greater diversity of musical traditions and critical approaches to their study as well as a wider set of skills than their forebears. Welcome as these developments may be, they pose some risks too: more material cannot be added to the curriculum without either sacrificing depth for breadth or making much of it optional. The former provides students with a superficial and deceptive familiarity with a wide range of subject matter, but without the analytical skills and intellectual discipline required to truly master any of it. The latter easily results in a fragmentation of knowledge and skills, without a realistic opportunity for students to draw meaningful connections and arrive at a synthesis. The authors, Music academics from the University of Glasgow, provide case studies from their own extensive experience, which are complemented by an Afterword from Nicholas Cook, 1684 Professor of Music at the University of Cambridge. Together, they examine what students can and should learn about and from music and what skills and knowledge music graduates could or should possess in order to operate successfully in professional and public life. Coupled with these considerations are reflections on music’s social function and universities’ role in public life, concluding with the conviction that a university education in music is more than a personal investment in one’s future; it contributes to the public good.
This collection about the early music movement will appeal to performers, teachers, academics, instrument makers, amateur musicians, and music lovers. With chapters about new ways to study, teach, perform, and listen to early music, there is something to appeal to everyone. The diverse group of authors--from young to established voices who live across the globe--offer positive, diverse, exciting, and challenging points of view about how the early music movement can go forward into the future.
This book surveys current music education landscapes and presents promising practices that may serve as models. Contributors explore curriculum and pedagogy, the power structures that influence education, the role of contemporary musical practices in teacher education, and the communication challenges that surround institutional change.
Music is an expression of feelings of the soul conveyed through the medium of sound. But not all sounds are music. It might be said that only an organised sound or series of sounds can be called music. Thus, music is connected to the eternal and constant flow and order of the universe, to the laws and rhythms of nature. It can also be said that musical order is comparable to the natural order of the universe. There are laws of a certain nature in the natural sciences and likewise in music there are structures and procedures, or even rules, that should be followed to produce beautiful music. The International Conference "Innovations for 21st Century Music Education and Research" provided a timely opportunity to take stock of the latest developments in music education and brought together educators, researchers and members of the broader community in a welcoming forum in which they were able to express theoretical and practical views, concepts, research results and principles to help support the further development of music education.
This volume brings together scholars and artist-researchers to explore the nature and function of musical instruments in creative practices, and their role in musical culture. Through historical, theoretical, critical, practical-artistic perspectives and case studies, the contributors here examine identities and affordances of acoustical, electronic and digital musical instruments, the kinds of relationships that composers and performers establish with them, and the crucial role they play in the emergence of musical experiences and meanings.
Level Two, continues at the same pace as Level One, expanding range, scale study, rhythms, technique, and ensemble playing. As well as classical, world music, and patriotic pieces, there are 11 popular standard songs, including: * Chitty Chitty Bang Bang * Sleigh Ride * A Trumpeter's Lullaby * The Little Drummer Boy * Have Yourself a Merry Little Christmas * I'd Like to Teach the World to Sing * The Syncopated Clock * We're Off to See the Wizard * The Merry-Go-Round Broke Down * Theme from Star Wars The two commissioned performance pieces are Celtic Air and Dance by Elliot del Borgo, and Destiny by Larry Clark. This book combines the percussion book (snare drum, bass drum, and auxiliary percussion) on left hand pages, and keyboard percussion on right hand pages.
This book is good for all classes of people, both lay men and clergy men. It covers the lifestyle of a believer, and the ordained way that God intended us to worship Him. This book is meant to revive the worship of this generation.