| Lea Michele - Louder Piano, Vocal and Guitar Hal Leonard
By Lea Michele. For Piano/Vocal/Guitar. Piano/Vocal/Guitar Artist Songbook. Soft...(+)
By Lea Michele. For Piano/Vocal/Guitar. Piano/Vocal/Guitar Artist Songbook. Softcover. 72 pages. Published by Hal Leonard
$16.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Michele McLaughlin - Piano Sheet Music Collection Piano solo Hal Leonard
By Michele McLaughlin. Piano Solo Personality. New Age, Contemporary. Softcove...(+)
By Michele McLaughlin. Piano
Solo Personality. New Age,
Contemporary. Softcover.
Published by Hal Leonard
$24.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Autumn Leaves (Hojas Caidas) Jazz Ensemble [Score and Parts] - Intermediate Hal Leonard
Composed by Johnny Mercer and Joseph Kosma. Arranged by Michele Ferná and nde...(+)
Composed by Johnny Mercer and
Joseph Kosma. Arranged by
Michele Ferná and ndez. Young
Jazz (Jazz Ensemble). Jazz,
Standards. Softcover.
Published by Hal Leonard
$50.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| To Love You More Choral 3-part SSA Hal Leonard
Choral (SSA Choir) SKU: HL.123777 Pop Choral Series. Octavo. 12 pages. Pu...(+)
Choral (SSA Choir) SKU: HL.123777 Pop Choral Series. Octavo. 12 pages. Published by Hal Leonard (HL.123777). UPC: 884088961947. 6.75x10.5 inches. Adapt. Kirby Shaw. This 1998 hit by Celine Dion was memorably covered by Lea Michele on Glee in a powerful rendition that explored the depth of the emotional lyrics. This selection offers challenges and rewards for pop, jazz, show and concert choirs looking to create a touching concert moment! Ideal for Valentine's Day, prom or other romantic occasions! $1.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Gustave Vogt's Musical Album of Autographs English horn, Piano Carl Fischer
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and ...(+)
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and English Horn. Composed by Gustave Vogt. Edited by Kristin Jean Leitterman. Collection - Performance. 32+8 pages. Carl Fischer Music #WF229. Published by Carl Fischer Music (CF.WF229). ISBN 9781491153789. UPC: 680160911288. Introduction Gustave Vogt's Musical Paris Gustave Vogt (1781-1870) was born into the Age of Enlightenment, at the apex of the Enlightenment's outreach. During his lifetime he would observe its effect on the world. Over the course of his life he lived through many changes in musical style. When he was born, composers such as Mozart and Haydn were still writing masterworks revered today, and eighty-nine years later, as he departed the world, the new realm of Romanticism was beginning to emerge with Mahler, Richard Strauss and Debussy, who were soon to make their respective marks on the musical world. Vogt himself left a huge mark on the musical world, with critics referring to him as the grandfather of the modern oboe and the premier oboist of Europe. Through his eighty-nine years, Vogt would live through what was perhaps the most turbulent period of French history. He witnessed the French Revolution of 1789, followed by the many newly established governments, only to die just months before the establishment of the Third Republic in 1870, which would be the longest lasting government since the beginning of the revolution. He also witnessed the transformation of the French musical world from one in which opera reigned supreme, to one in which virtuosi, chamber music, and symphonic music ruled. Additionally, he experienced the development of the oboe right before his eyes. When he began playing in the late eighteenth century, the standard oboe had two keys (E and Eb) and at the time of his death in 1870, the System Six Triebert oboe (the instrument adopted by Conservatoire professor, Georges Gillet, in 1882) was only five years from being developed. Vogt was born March 18, 1781 in the ancient town of Strasbourg, part of the Alsace region along the German border. At the time of his birth, Strasbourg had been annexed by Louis XIV, and while heavily influenced by Germanic culture, had been loosely governed by the French for a hundred years. Although it is unclear when Vogt began studying the oboe and when his family made its move to the French capital, the Vogts may have fled Strasbourg in 1792 after much of the city was destroyed during the French Revolution. He was without question living in Paris by 1798, as he enrolled on June 8 at the newly established Conservatoire national de Musique to study oboe with the school's first oboe professor, Alexandre-Antoine Sallantin (1775-1830). Vogt's relationship with the Conservatoire would span over half a century, moving seamlessly from the role of student to professor. In 1799, just a year after enrolling, he was awarded the premier prix, becoming the fourth oboist to achieve this award. By 1802 he had been appointed repetiteur, which involved teaching the younger students and filling in for Sallantin in exchange for a free education. He maintained this rank until 1809, when he was promoted to professor adjoint and finally to professor titulaire in 1816 when Sallantin retired. This was a position he held for thirty-seven years, retiring in 1853, making him the longest serving oboe professor in the school's history. During his tenure, he became the most influential oboist in France, teaching eighty-nine students, plus sixteen he taught while he was professor adjoint and professor titulaire. Many of these students went on to be famous in their own right, such as Henri Brod (1799-1839), Apollon Marie-Rose Barret (1804-1879), Charles Triebert (1810-1867), Stanislas Verroust (1814-1863), and Charles Colin (1832-1881). His influence stretches from French to American oboe playing in a direct line from Charles Colin to Georges Gillet (1854-1920), and then to Marcel Tabuteau (1887-1966), the oboist Americans lovingly describe as the father of American oboe playing. Opera was an important part of Vogt's life. His first performing position was with the Theatre-Montansier while he was still studying at the Conservatoire. Shortly after, he moved to the Ambigu-Comique and, in 1801 was appointed as first oboist with the Theatre-Italien in Paris. He had been in this position for only a year, when he began playing first oboe at the Opera-Comique. He remained there until 1814, when he succeeded his teacher, Alexandre-Antoine Sallantin, as soloist with the Paris Opera, the top orchestra in Paris at the time. He played with the Paris Opera until 1834, all the while bringing in his current and past students to fill out the section. In this position, he began to make a name for himself; so much so that specific performances were immortalized in memoirs and letters. One comes from a young Hector Berlioz (1803-1865) after having just arrived in Paris in 1822 and attended the Paris Opera's performance of Mehul's Stratonice and Persuis' ballet Nina. It was in response to the song Quand le bien-amie reviendra that Berlioz wrote: I find it difficult to believe that that song as sung by her could ever have made as true and touching an effect as the combination of Vogt's instrument... Shortly after this, Berlioz gave up studying medicine and focused on music. Vogt frequently made solo and chamber appearances throughout Europe. His busiest period of solo work was during the 1820s. In 1825 and 1828 he went to London to perform as a soloist with the London Philharmonic Society. Vogt also traveled to Northern France in 1826 for concerts, and then in 1830 traveled to Munich and Stuttgart, visiting his hometown of Strasbourg on the way. While on tour, Vogt performed Luigi Cherubini's (1760-1842) Ave Maria, with soprano Anna (Nanette) Schechner (1806-1860), and a Concertino, presumably written by himself. As a virtuoso performer in pursuit of repertoire to play, Vogt found himself writing much of his own music. His catalog includes chamber music, variation sets, vocal music, concerted works, religious music, wind band arrangements, and pedagogical material. He most frequently performed his variation sets, which were largely based on themes from popular operas he had, presumably played while he was at the Opera. He made his final tour in 1839, traveling to Tours and Bordeaux. During this tour he appeared with the singer Caroline Naldi, Countess de Sparre, and the violinist Joseph Artot (1815-1845). This ended his active career as a soloist. His performance was described in the Revue et gazette musicale de Paris as having lost none of his superiority over the oboe.... It's always the same grace, the same sweetness. We made a trip to Switzerland, just by closing your eyes and listening to Vogt's oboe. Vogt was also active performing in Paris as a chamber and orchestral musician. He was one of the founding members of the Societe des Concerts du Conservatoire, a group established in 1828 by violinist and conductor Francois-Antoine Habeneck (1781-1849). The group featured faculty and students performing alongside each other and works such as Beethoven symphonies, which had never been heard in France. He also premiered the groundbreaking woodwind quintets of Antonin Reicha (1770-1836). After his retirement from the Opera in 1834 and from the Societe des Concerts du Conservatoire in 1842, Vogt began to slow down. His final known performance was of Cherubini's Ave Maria on English horn with tenor Alexis Dupont (1796-1874) in 1843. He then began to reflect on his life and the people he had known. When he reached his 60s, he began gathering entries for his Musical Album of Autographs. Autograph Albums Vogt's Musical Album of Autographs is part of a larger practice of keeping autograph albums, also commonly known as Stammbuch or Album Amicorum (meaning book of friendship or friendship book), which date back to the time of the Reformation and the University of Wittenberg. It was during the mid-sixteenth century that students at the University of Wittenberg began passing around bibles for their fellow students and professors to sign, leaving messages to remember them by as they moved on to the next part of their lives. The things people wrote were mottos, quotes, and even drawings of their family coat of arms or some other scene that meant something to the owner. These albums became the way these young students remembered their school family once they had moved on to another school or town. It was also common for the entrants to comment on other entries and for the owner to amend entries when they learned of important life details such as marriage or death. As the practice continued, bibles were set aside for emblem books, which was a popular book genre that featured allegorical illustrations (emblems) in a tripartite form: image, motto, epigram. The first emblem book used for autographs was published in 1531 by Andrea Alciato (1492-1550), a collection of 212 Latin emblem poems. In 1558, the first book conceived for the purpose of the album amicorum was published by Lyon de Tournes (1504-1564) called the Thesaurus Amicorum. These books continued to evolve, and spread to wider circles away from universities. Albums could be found being kept by noblemen, physicians, lawyers, teachers, painters, musicians, and artisans. The albums eventually became more specialized, leading to Musical Autograph Albums (or Notestammbucher). Before this specialization, musicians contributed in one form or another, but our knowledge of them in these albums is mostly limited to individual people or events. Some would simply sign their name while others would insert a fragment of music, usually a canon (titled fuga) with text in Latin. Canons were popular because they displayed the craftsmanship of the composer in a limited space. Composers well-known today, including J. S. Bach, Telemann, Mozart, Beethoven, Dowland, and Brahms, all participated in the practice, with Beethoven being the first to indicate an interest in creating an album only of music. This interest came around 1815. In an 1845 letter from Johann Friedrich Naue to Heinrich Carl Breidenstein, Naue recalled an 1813 visit with Beethoven, who presented a book suggesting Naue to collect entries from celebrated musicians as he traveled. Shortly after we find Louis Spohr speaking about leaving on his grand tour through Europe in 1815 and of his desire to carry an album with entries from the many artists he would come across. He wrote in his autobiography that his most valuable contribution came from Beethoven in 1815. Spohr's Notenstammbuch, comprised only of musical entries, is groundbreaking because it was coupled with a concert tour, allowing him to reach beyond the Germanic world, where the creation of these books had been nearly exclusive. Spohr brought the practice of Notenstammbucher to France, and in turn indirectly inspired Vogt to create a book of his own some fifteen years later. Vogt's Musical Album of Autographs Vogt's Musical Album of Autographs acts as a form of a memoir, displaying mementos of musicians who held special meaning in his life as well as showing those with whom he was enamored from the younger generation. The anonymous Pie Jesu submitted to Vogt in 1831 marks the beginning of an album that would span nearly three decades by the time the final entry, an excerpt from Charles Gounod's (1818-1893) Faust, which premiered in 1859, was submitted. Within this album we find sixty-two entries from musicians whom he must have known very well because they were colleagues at the Conservatoire, or composers of opera whose works he was performing with the Paris Opera. Other entries came from performers with whom he had performed and some who were simply passing through Paris, such as Joseph Joachim (1831-1907). Of the sixty-three total entries, some are original, unpublished works, while others came from well-known existing works. Nineteen of these works are for solo piano, sixteen utilize the oboe or English horn, thirteen feature the voice (in many different combinations, including vocal solos with piano, and small choral settings up to one with double choir), two feature violin as a solo instrument, and one even features the now obscure ophicleide. The connections among the sixty-two contributors to Vogt's album are virtually never-ending. All were acquainted with Vogt in some capacity, from long-time friendships to relationships that were created when Vogt requested their entry. Thus, while Vogt is the person who is central to each of these musicians, the web can be greatly expanded. In general, the connections are centered around the Conservatoire, teacher lineages, the Opera, and performing circles. The relationships between all the contributors in the album parallel the current musical world, as many of these kinds of relationships still exist, and permit us to fantasize who might be found in an album created today by a musician of the same standing. Also important, is what sort of entries the contributors chose to pen. The sixty-three entries are varied, but can be divided into published and unpublished works. Within the published works, we find opera excerpts, symphony excerpts, mass excerpts, and canons, while the unpublished works include music for solo piano, oboe or English horn, string instruments (violin and cello), and voice (voice with piano and choral). The music for oboe and English horn works largely belong in the unpublished works of the album. These entries were most likely written to honor Vogt. Seven are for oboe and piano and were contributed by Joseph Joachim, Pauline Garcia Viardot (1821-1910), Joseph Artot, Anton Bohrer (1783-1852), Georges Onslow (1784-1853), Desire Beaulieu (1791-1863), and Narcisse Girard (1797-1860). The common thread between these entries is the simplicity of the melody and structure. Many are repetitive, especially Beaulieu's entry, which features a two-note ostinato throughout the work, which he even included in his signature. Two composers contributed pieces for English horn and piano, and like the previous oboe entries, are simple and repetitive. These were written by Michele Carafa (1787-1872) and Louis Clapisson (1808-1866). There are two other entries that were unpublished works and are chamber music. One is an oboe trio by Jacques Halevy (1799-1862) and the other is for oboe and strings (string trio) by J. B. Cramer (1771-1858). There are five published works in the album for oboe and English horn. There are three from operas and the other two from symphonic works. Ambroise Thomas (1811-1896) contributed an excerpt from the Entr'acte of his opera La Guerillero, and was likely chosen because the oboe was featured at this moment. Hippolyte Chelard (1789-1861) also chose to honor Vogt by writing for English horn. His entry, for English horn and piano, is taken from his biggest success, Macbeth. The English horn part was actually taken from Lady Macbeth's solo in the sleepwalking scene. Vogt's own entry also falls into this category, as he entered an excerpt from Donizetti's Maria di Rohan. The excerpt he chose is a duet between soprano and English horn. There are two entries featuring oboe that are excerpted from symphonic repertoire. One is a familiar oboe melody from Beethoven's Pastoral Symphony entered by his first biographer, Anton Schindler (1796-1864). The other is an excerpt from Berlioz's choral symphony, Romeo et Juliette. He entered an oboe solo from the Grand Fete section of the piece. Pedagogical benefit All of these works are lovely, and fit within the album wonderfully, but these works also are great oboe and English horn music for young students. The common thread between these entries is the simplicity of the melody and structure. Many are repetitive, especially Beaulieu's entry, which features a two-note ostinato throughout the work in the piano. This repetitive structure is beneficial for young students for searching for a short solo to present at a studio recital, or simply to learn. They also work many technical issues a young player may encounter, such as mastering the rolling finger to uncover and recover the half hole. This is true of Bealieu's Pensee as well as Onslow's Andantino. Berlioz's entry from Romeo et Juliette features very long phrases, which helps with endurance and helps keep the air spinning through the oboe. Some of the pieces also use various levels of ornamentation, from trills to grace notes, and short cadenzas. This allows the student to learn appropriate ways to phrase with these added notes. The chamber music is a valuable way to start younger students with chamber music, especially the short quartet by Cramer for oboe and string trio. All of these pieces will not tax the student to learn a work that is more advanced, as well as give them a full piece that they can work on from beginning to end in a couple weeks, instead of months. Editorial Policy The works found in this edition are based on the manuscript housed at the Morgan Library in New York City (call number Cary 348, V886. A3). When possible, published scores were consulted and compared to clarify pitch and text. The general difficulties in creating an edition of these works stem from entries that appear to be hastily written, and thus omit complete articulations and dynamic indications for all passages and parts. The manuscript has been modernized into a performance edition. The score order from the manuscript has been retained. If an entry also exists in a published work, and this was not indicated on the manuscript, appropriate titles and subtitles have been added tacitly. For entries that were untitled, the beginning tempo marking or expressive directive has been added as its title tacitly. Part names have been changed from the original language to English. If no part name was present, it was added tacitly. All scores are transposing where applicable. Measure numbers have been added at the beginning of every system. Written directives have been retained in the original language and are placed relative to where they appear in the manuscript. Tempo markings from the manuscript have been retained, even if they were abbreviated, i.e., Andte. The barlines, braces, brackets, and clefs are modernized. The beaming and stem direction has been modernized. Key signatures have been modernized as some of the flats/sharps do not appear on the correct lines or spaces. Time signatures have been modernized. In a few cases, when a time signature was missing in the manuscript, it has been added tacitly. Triplet and rhythmic groupings have been modernized. Slurs, ties, and articulations (staccato and accent) have been modernized. Slurs, ties, and articulations have been added to parallel passages tacitly. Courtesy accidentals found in the manuscript have been removed, unless it appeared to be helpful to the performer. Dynamic indications from the manuscript have been retained, except where noted. --Kristin Leitterman. IntroductionGustave Vogt’s Musical ParisGustave Vogt (1781–1870) was born into the “Age of Enlightenment,†at the apex of the Enlightenment’s outreach. During his lifetime he would observe its effect on the world. Over the course of his life he lived through many changes in musical style. When he was born, composers such as Mozart and Haydn were still writing masterworks revered today, and eighty-nine years later, as he departed the world, the new realm of Romanticism was beginning to emerge with Mahler, Richard Strauss and Debussy, who were soon to make their respective marks on the musical world. Vogt himself left a huge mark on the musical world, with critics referring to him as the “grandfather of the modern oboe†and the “premier oboist of Europe.â€Through his eighty-nine years, Vogt would live through what was perhaps the most turbulent period of French history. He witnessed the French Revolution of 1789, followed by the many newly established governments, only to die just months before the establishment of the Third Republic in 1870, which would be the longest lasting government since the beginning of the revolution. He also witnessed the transformation of the French musical world from one in which opera reigned supreme, to one in which virtuosi, chamber music, and symphonic music ruled. Additionally, he experienced the development of the oboe right before his eyes. When he began playing in the late eighteenth century, the standard oboe had two keys (E and Eb) and at the time of his death in 1870, the “System Six†Triébert oboe (the instrument adopted by Conservatoire professor, Georges Gillet, in 1882) was only five years from being developed.Vogt was born March 18, 1781 in the ancient town of Strasbourg, part of the Alsace region along the German border. At the time of his birth, Strasbourg had been annexed by Louis XIV, and while heavily influenced by Germanic culture, had been loosely governed by the French for a hundred years. Although it is unclear when Vogt began studying the oboe and when his family made its move to the French capital, the Vogts may have fled Strasbourg in 1792 after much of the city was destroyed during the French Revolution. He was without question living in Paris by 1798, as he enrolled on June 8 at the newly established Conservatoire national de Musique to study oboe with the school’s first oboe professor, Alexandre-Antoine Sallantin (1775–1830).Vogt’s relationship with the Conservatoire would span over half a century, moving seamlessly from the role of student to professor. In 1799, just a year after enrolling, he was awarded the premier prix, becoming the fourth oboist to achieve this award. By 1802 he had been appointed répétiteur, which involved teaching the younger students and filling in for Sallantin in exchange for a free education. He maintained this rank until 1809, when he was promoted to professor adjoint and finally to professor titulaire in 1816 when Sallantin retired. This was a position he held for thirty-seven years, retiring in 1853, making him the longest serving oboe professor in the school’s history. During his tenure, he became the most influential oboist in France, teaching eighty-nine students, plus sixteen he taught while he was professor adjoint and professor titulaire. Many of these students went on to be famous in their own right, such as Henri Brod (1799–1839), Apollon Marie-Rose Barret (1804–1879), Charles Triebert (1810–1867), Stanislas Verroust (1814–1863), and Charles Colin (1832–1881). His influence stretches from French to American oboe playing in a direct line from Charles Colin to Georges Gillet (1854–1920), and then to Marcel Tabuteau (1887–1966), the oboist Americans lovingly describe as the “father of American oboe playing.â€Opera was an important part of Vogt’s life. His first performing position was with the Théâtre-Montansier while he was still studying at the Conservatoire. Shortly after, he moved to the Ambigu-Comique and, in 1801 was appointed as first oboist with the Théâtre-Italien in Paris. He had been in this position for only a year, when he began playing first oboe at the Opéra-Comique. He remained there until 1814, when he succeeded his teacher, Alexandre-Antoine Sallantin, as soloist with the Paris Opéra, the top orchestra in Paris at the time. He played with the Paris Opéra until 1834, all the while bringing in his current and past students to fill out the section. In this position, he began to make a name for himself; so much so that specific performances were immortalized in memoirs and letters. One comes from a young Hector Berlioz (1803–1865) after having just arrived in Paris in 1822 and attended the Paris Opéra’s performance of Mehul’s Stratonice and Persuis’ ballet Nina. It was in response to the song Quand le bien-amié reviendra that Berlioz wrote: “I find it difficult to believe that that song as sung by her could ever have made as true and touching an effect as the combination of Vogt’s instrument…†Shortly after this, Berlioz gave up studying medicine and focused on music.Vogt frequently made solo and chamber appearances throughout Europe. His busiest period of solo work was during the 1820s. In 1825 and 1828 he went to London to perform as a soloist with the London Philharmonic Society. Vogt also traveled to Northern France in 1826 for concerts, and then in 1830 traveled to Munich and Stuttgart, visiting his hometown of Strasbourg on the way. While on tour, Vogt performed Luigi Cherubini’s (1760–1842) Ave Maria, with soprano Anna (Nanette) Schechner (1806–1860), and a Concertino, presumably written by himself. As a virtuoso performer in pursuit of repertoire to play, Vogt found himself writing much of his own music. His catalog includes chamber music, variation sets, vocal music, concerted works, religious music, wind band arrangements, and pedagogical material. He most frequently performed his variation sets, which were largely based on themes from popular operas he had, presumably played while he was at the Opéra.He made his final tour in 1839, traveling to Tours and Bordeaux. During this tour he appeared with the singer Caroline Naldi, Countess de Sparre, and the violinist Joseph Artôt (1815–1845). This ended his active career as a soloist. His performance was described in the Revue et gazette musicale de Paris as having “lost none of his superiority over the oboe…. It’s always the same grace, the same sweetness. We made a trip to Switzerland, just by closing your eyes and listening to Vogt’s oboe.â€Vogt was also active performing in Paris as a chamber and orchestral musician. He was one of the founding members of the Société des Concerts du Conservatoire, a group established in 1828 by violinist and conductor François-Antoine Habeneck (1781–1849). The group featured faculty and students performing alongside each other and works such as Beethoven symphonies, which had never been heard in France. He also premiered the groundbreaking woodwind quintets of Antonin Reicha (1770–1836).After his retirement from the Opéra in 1834 and from the Société des Concerts du Conservatoire in 1842, Vogt began to slow down. His final known performance was of Cherubini’s Ave Maria on English horn with tenor Alexis Dupont (1796–1874) in 1843. He then began to reflect on his life and the people he had known. When he reached his 60s, he began gathering entries for his Musical Album of Autographs.Autograph AlbumsVogt’s Musical Album of Autographs is part of a larger practice of keeping autograph albums, also commonly known as Stammbuch or Album Amicorum (meaning book of friendship or friendship book), which date back to the time of the Reformation and the University of Wittenberg. It was during the mid-sixteenth century that students at the University of Wittenberg began passing around bibles for their fellow students and professors to sign, leaving messages to remember them by as they moved on to the next part of their lives. The things people wrote were mottos, quotes, and even drawings of their family coat of arms or some other scene that meant something to the owner. These albums became the way these young students remembered their school family once they had moved on to another school or town. It was also common for the entrants to comment on other entries and for the owner to amend entries when they learned of important life details such as marriage or death.As the practice continued, bibles were set aside for emblem books, which was a popular book genre that featured allegorical illustrations (emblems) in a tripartite form: image, motto, epigram. The first emblem book used for autographs was published in 1531 by Andrea Alciato (1492–1550), a collection of 212 Latin emblem poems. In 1558, the first book conceived for the purpose of the album amicorum was published by Lyon de Tournes (1504–1564) called the Thesaurus Amicorum. These books continued to evolve, and spread to wider circles away from universities. Albums could be found being kept by noblemen, physicians, lawyers, teachers, painters, musicians, and artisans.The albums eventually became more specialized, leading to Musical Autograph Albums (or Notestammbücher). Before this specialization, musicians contributed in one form or another, but our knowledge of them in these albums is mostly limited to individual people or events. Some would simply sign their name while others would insert a fragment of music, usually a canon (titled fuga) with text in Latin. Canons were popular because they displayed the craftsmanship of the composer in a limited space. Composers well-known today, including J. S. Bach, Telemann, Mozart, Beethoven, Dowland, and Brahms, all participated in the practice, with Beethoven being the first to indicate an interest in creating an album only of music.This interest came around 1815. In an 1845 letter from Johann Friedrich Naue to Heinrich Carl Breidenstein, Naue recalled an 1813 visit with Beethoven, who presented a book suggesting Naue to collect entries from celebrated musicians as he traveled. Shortly after we find Louis Spohr speaking about leaving on his “grand tour†through Europe in 1815 and of his desire to carry an album with entries from the many artists he would come across. He wrote in his autobiography that his “most valuable contribution†came from Beethoven in 1815. Spohr’s Notenstammbuch, comprised only of musical entries, is groundbreaking because it was coupled with a concert tour, allowing him to reach beyond the Germanic world, where the creation of these books had been nearly exclusive. Spohr brought the practice of Notenstammbücher to France, and in turn indirectly inspired Vogt to create a book of his own some fifteen years later.Vogt’s Musical Album of AutographsVogt’s Musical Album of Autographs acts as a form of a memoir, displaying mementos of musicians who held special meaning in his life as well as showing those with whom he was enamored from the younger generation. The anonymous Pie Jesu submitted to Vogt in 1831 marks the beginning of an album that would span nearly three decades by the time the final entry, an excerpt from Charles Gounod’s (1818–1893) Faust, which premiered in 1859, was submitted.Within this album ... $16.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| New Dance For The Sugar Plum Fairy Choral SATB SATB A Cappella Shawnee Press
By Amy Engelhardt and Peter Ilyich Tchaikovsky (1840-1893). Arranged by Michele ...(+)
By Amy Engelhardt and Peter Ilyich Tchaikovsky (1840-1893). Arranged by Michele Weir. For SATB choir unaccompanied (SATB A Cappella). Shawnee Press. Choral. 8 pages
$2.50 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Varadero Hip Jazz Ensemble [Score and Parts] - Intermediate Kendor Music Inc - Digital
New Kids, Old Shore. Composed by Michele Fernández. Jazz Journey Seri...(+)
New Kids, Old Shore. Composed
by Michele Fernández. Jazz
Journey Series Grade 3. Funk.
Score and Parts. Kendor Music
Inc #JJK2305. Published by
Kendor Music Inc
$55.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Dark Dreams - Easy Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 2 SKU: CF.YAS190 Composed by Sean O'Loughlin. Young String Orchestra. Set of Score and Parts. With Standard notation. 16+16+4+10+10+10+3+12 pages. Duration 3 minutes, 38 seconds. Carl Fischer Music #YAS190. Published by Carl Fischer Music (CF.YAS190). ISBN 9781491151556. UPC: 680160909056. 9 x 12 inches. Key: E minor. As part of a collaboration between students and composer, Sean O'Loughlin, Dark Dreams is a dark and mysterious piece that utilizes techniques such as tremolo and pizzicato. Following a slow and mysterious opening which illustrates the tapestry of sound for the composition, the work develops the musical material into various vivid, intense, and gripping musical moments.
Dark Dreams was commissioned by the Westport, Connecticut Public Schools for the Bedford Middle School 7th Grade Orchestra, Michele Anderson, director. It is a piece influenced by many ideas from the students including such descriptive words as dark, mysterious, vivid, intense and gripping. The collaboration process on commissions like this are very rewarding for both the students and composer. The students were looking to include techniques like tremolo and pizzicato, so the opening includes both of these to set the tapestry of sound for the composition. The slow and mysterious opening gives way to an intense fast section at m. 19. Trading off between upper and lower strings adds to the tension before the upper strings take hold of the melody at m. 31. This melody is derived from the slow opening material. The lower strings get their chance on the melody at m. 47 in an augmented form. This builds to a dramatic slow section at m. 57. The opening material returns at m. 66 to transition back to the fast material. Make sure to play the silence at m. 88 for maximum effect and really lean into the final note even though it is on beat 3 of the measure. . Dark Dreams was commissioned by the Westport, Connecticut Public Schools for the Bedford Middle School 7th Grade Orchestra, Michele Anderson, director. It is a piece influenced by many ideas from the students including such descriptive words as dark, mysterious, A vivid, intense and gripping. The collaboration process on commissions like this are very rewarding for both the students and composer. The students were looking to include techniques like tremolo and pizzicato, so the opening includes both of these to set the tapestry of sound for the composition. The slow and mysterious opening gives way to an intense fast section at m. 19. Trading off between upper and lower strings adds to the tension before the upper strings take hold of the melody at m. 31. This melody is derived from the slow opening material. The lower strings get their chance on the melody at m. 47 in an augmented form. This builds to a dramatic slow section at m. 57. The opening material returns at m. 66 to transition back to the fast material. Make sure to aplaya the silence at m. 88 for maximum effect and really lean into the final note even though it is on beat 3 of the measure. . Dark Dreams was commissioned by the Westport, Connecticut Public Schools for the Bedford Middle School 7th Grade Orchestra, Michele Anderson, director. It is a piece influenced by many ideas from the students including such descriptive words as dark, mysterious, A vivid, intense and gripping. The collaboration process on commissions like this are very rewarding for both the students and composer. The students were looking to include techniques like tremolo and pizzicato, so the opening includes both of these to set the tapestry of sound for the composition. The slow and mysterious opening gives way to an intense fast section at m. 19. Trading off between upper and lower strings adds to the tension before the upper strings take hold of the melody at m. 31. This melody is derived from the slow opening material. The lower strings get their chance on the melody at m. 47 in an augmented form. This builds to a dramatic slow section at m. 57. The opening material returns at m. 66 to transition back to the fast material. Make sure to aplaya the silence at m. 88 for maximum effect and really lean into the final note even though it is on beat 3 of the measure. . Dark Dreams was commissioned by the Westport, Connecticut Public Schools for the Bedford Middle School 7th Grade Orchestra, Michele Anderson, director. It is a piece influenced by many ideas from the students including such descriptive words as dark, mysterious, vivid, intense and gripping. The collaboration process on commissions like this are very rewarding for both the students and composer. The students were looking to include techniques like tremolo and pizzicato, so the opening includes both of these to set the tapestry of sound for the composition. The slow and mysterious opening gives way to an intense fast section at m. 19. Trading off between upper and lower strings adds to the tension before the upper strings take hold of the melody at m. 31. This melody is derived from the slow opening material. The lower strings get their chance on the melody at m. 47 in an augmented form. This builds to a dramatic slow section at m. 57. The opening material returns at m. 66 to transition back to the fast material. Make sure to play the silence at m. 88 for maximum effect and really lean into the final note even though it is on beat 3 of the measure. . Dark Dreams was commissioned by the Westport, Connecticut Public Schools for the Bedford Middle School 7th Grade Orchestra, Michele Anderson, director. It is a piece influenced by many ideas from the students including such descriptive words as dark, mysterious, vivid, intense and gripping. The collaboration process on commissions like this are very rewarding for both the students and composer. The students were looking to include techniques like tremolo and pizzicato, so the opening includes both of these to set the tapestry of sound for the composition. The slow and mysterious opening gives way to an intense fast section at m. 19. Trading off between upper and lower strings adds to the tension before the upper strings take hold of the melody at m. 31. This melody is derived from the slow opening material. The lower strings get their chance on the melody at m. 47 in an augmented form. This builds to a dramatic slow section at m. 57. The opening material returns at m. 66 to transition back to the fast material. Make sure to play the silence at m. 88 for maximum effect and really lean into the final note even though it is on beat 3 of the measure. Dark Dreams was commissioned by the Westport, Connecticut Public Schools for the Bedford Middle School 7th Grade Orchestra, Michele Anderson, director. It is a piece influenced by many ideas from the students including such descriptive words as dark, mysterious,  vivid, intense and gripping. The collaboration process on commissions like this are very rewarding for both the students and composer. The students were looking to include techniques like tremolo and pizzicato, so the opening includes both of these to set the tapestry of sound for the composition. The slow and mysterious opening gives way to an intense fast section at m. 19. Trading off between upper and lower strings adds to the tension before the upper strings take hold of the melody at m. 31. This melody is derived from the slow opening material. The lower strings get their chance on the melody at m. 47 in an augmented form. This builds to a dramatic slow section at m. 57. The opening material returns at m. 66 to transition back to the fast material. Make sure to “play†the silence at m. 88 for maximum effect and really lean into the final note even though it is on beat 3 of the measure. About Carl Fischer Young String Orchestra Series This series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by: --Occasionally extending to third position --Keys carefully considered for appropriate difficulty --Addition of separate 2nd violin and viola parts --Viola T.C. part included --Increase in independence of parts over beginning levels $55.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Dark Dreams - Easy Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 2 SKU: CF.YAS190F Composed by Sean O'Loughlin. Young String Orchestra (YAS). Full score. With Standard notation. 12 pages. Carl Fischer Music #YAS190F. Published by Carl Fischer Music (CF.YAS190F). ISBN 9781491151921. UPC: 680160909421. 9 x 12 inches. As part of a collaboration between students and composer, Sean O'Loughlin, Dark Dreams is a dark and mysterious piece that utilizes techniques such as tremolo and pizzicato. Following a slow and mysterious opening which illustrates the tapestry of sound for the composition, the work develops the musical material into various vivid, intense, and gripping musical moments.
Dark Dreams was commissioned by the Westport, Connecticut Public Schools for the Bedford Middle School 7th Grade Orchestra, Michele Anderson, director. It is a piece influenced by many ideas from the students including such descriptive words as dark, mysterious, vivid, intense and gripping. The collaboration process on commissions like this are very rewarding for both the students and composer. The students were looking to include techniques like tremolo and pizzicato, so the opening includes both of these to set the tapestry of sound for the composition. The slow and mysterious opening gives way to an intense fast section at m. 19. Trading off between upper and lower strings adds to the tension before the upper strings take hold of the melody at m. 31. This melody is derived from the slow opening material. The lower strings get their chance on the melody at m. 47 in an augmented form. This builds to a dramatic slow section at m. 57. The opening material returns at m. 66 to transition back to the fast material. Make sure to play the silence at m. 88 for maximum effect and really lean into the final note even though it is on beat 3 of the measure. . Dark Dreams was commissioned by the Westport, Connecticut Public Schools for the Bedford Middle School 7th Grade Orchestra, Michele Anderson, director. It is a piece influenced by many ideas from the students including such descriptive words as dark, mysterious, A vivid, intense and gripping. The collaboration process on commissions like this are very rewarding for both the students and composer. The students were looking to include techniques like tremolo and pizzicato, so the opening includes both of these to set the tapestry of sound for the composition. The slow and mysterious opening gives way to an intense fast section at m. 19. Trading off between upper and lower strings adds to the tension before the upper strings take hold of the melody at m. 31. This melody is derived from the slow opening material. The lower strings get their chance on the melody at m. 47 in an augmented form. This builds to a dramatic slow section at m. 57. The opening material returns at m. 66 to transition back to the fast material. Make sure to aplaya the silence at m. 88 for maximum effect and really lean into the final note even though it is on beat 3 of the measure. . Dark Dreams was commissioned by the Westport, Connecticut Public Schools for the Bedford Middle School 7th Grade Orchestra, Michele Anderson, director. It is a piece influenced by many ideas from the students including such descriptive words as dark, mysterious, A vivid, intense and gripping. The collaboration process on commissions like this are very rewarding for both the students and composer. The students were looking to include techniques like tremolo and pizzicato, so the opening includes both of these to set the tapestry of sound for the composition. The slow and mysterious opening gives way to an intense fast section at m. 19. Trading off between upper and lower strings adds to the tension before the upper strings take hold of the melody at m. 31. This melody is derived from the slow opening material. The lower strings get their chance on the melody at m. 47 in an augmented form. This builds to a dramatic slow section at m. 57. The opening material returns at m. 66 to transition back to the fast material. Make sure to aplaya the silence at m. 88 for maximum effect and really lean into the final note even though it is on beat 3 of the measure. . Dark Dreams was commissioned by the Westport, Connecticut Public Schools for the Bedford Middle School 7th Grade Orchestra, Michele Anderson, director. It is a piece influenced by many ideas from the students including such descriptive words as dark, mysterious, vivid, intense and gripping. The collaboration process on commissions like this are very rewarding for both the students and composer. The students were looking to include techniques like tremolo and pizzicato, so the opening includes both of these to set the tapestry of sound for the composition. The slow and mysterious opening gives way to an intense fast section at m. 19. Trading off between upper and lower strings adds to the tension before the upper strings take hold of the melody at m. 31. This melody is derived from the slow opening material. The lower strings get their chance on the melody at m. 47 in an augmented form. This builds to a dramatic slow section at m. 57. The opening material returns at m. 66 to transition back to the fast material. Make sure to play the silence at m. 88 for maximum effect and really lean into the final note even though it is on beat 3 of the measure. . Dark Dreams was commissioned by the Westport, Connecticut Public Schools for the Bedford Middle School 7th Grade Orchestra, Michele Anderson, director. It is a piece influenced by many ideas from the students including such descriptive words as dark, mysterious, vivid, intense and gripping. The collaboration process on commissions like this are very rewarding for both the students and composer. The students were looking to include techniques like tremolo and pizzicato, so the opening includes both of these to set the tapestry of sound for the composition. The slow and mysterious opening gives way to an intense fast section at m. 19. Trading off between upper and lower strings adds to the tension before the upper strings take hold of the melody at m. 31. This melody is derived from the slow opening material. The lower strings get their chance on the melody at m. 47 in an augmented form. This builds to a dramatic slow section at m. 57. The opening material returns at m. 66 to transition back to the fast material. Make sure to play the silence at m. 88 for maximum effect and really lean into the final note even though it is on beat 3 of the measure. Dark Dreams was commissioned by the Westport, Connecticut Public Schools for the Bedford Middle School 7th Grade Orchestra, Michele Anderson, director. It is a piece influenced by many ideas from the students including such descriptive words as dark, mysterious,  vivid, intense and gripping. The collaboration process on commissions like this are very rewarding for both the students and composer. The students were looking to include techniques like tremolo and pizzicato, so the opening includes both of these to set the tapestry of sound for the composition. The slow and mysterious opening gives way to an intense fast section at m. 19. Trading off between upper and lower strings adds to the tension before the upper strings take hold of the melody at m. 31. This melody is derived from the slow opening material. The lower strings get their chance on the melody at m. 47 in an augmented form. This builds to a dramatic slow section at m. 57. The opening material returns at m. 66 to transition back to the fast material. Make sure to “play†the silence at m. 88 for maximum effect and really lean into the final note even though it is on beat 3 of the measure. About Carl Fischer Young String Orchestra Series This series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by: --Occasionally extending to third position --Keys carefully considered for appropriate difficulty --Addition of separate 2nd violin and viola parts --Viola T.C. part included --Increase in independence of parts over beginning levels $8.50 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Level Up - Volumes 1 & 2 (Teacher Manual) GIA Publications
SKU: GI.G-10003 Foundational Skills. Composed by Keitha Lucas Hama...(+)
SKU: GI.G-10003 Foundational Skills. Composed by Keitha Lucas Hamann and Michele Henry. Music Education. 98 pages. GIA Publications #10003. Published by GIA Publications (GI.G-10003). ISBN 9781622774135. Help your students Level Up! their sight-reading skills using their minds and ears, as well their voices! Level Up! is a sequential, interactive, and comprehensive resource built from the authors’ decades of research and experience teaching students of all levels and ages. Using the concept of target skills (isolated pitch and rhythm patterns), Level Up! guides students to carefully understand and analyze every new skill by difficulty. Authors Michele L. Henry and Keitha Lucas Hamann then reinforce each skill by asking students to sight-read specially sequenced practice melodies. Each of the five volumes—Foundational, Emerging, Minor, Developing, and Advanced—is designed as an interactive workbook for students to mark up, and is available in both treble clef and bass clef editions. The companion Teacher Manuals include clear instructions for how to best use the Level Up! system, outline the approach and sequencing, and provide assessments. Level Up! supports the artistic literacy goals of the National Coalition for Core Arts Standards (NCCAS) and many state music education standards. The companion website, giamusic.com/levelup, provides even more reinforcement. The goal of Level Up! is simple: to help students become independent and confident musicians, with benefits to last a lifetime! Michele L. Henry, Ph.D. is Professor of Choral Music Education at Baylor University, Waco, Texas. Keitha Lucas Hamann, Ph.D. is Associate Professor of Music Education at the University of Minnesota, Twin Cities.  Level Up! is the most sequential approach to the teaching of sight-reading that I’ve ever seen! Designed for use with singers at the middle school through high school levels, the methodology aligns with National Standards, UIL, and TEKS, and is range related for developing voices. Within each lesson, specific skills are targeted and the interactive approach further encourages the mastery of skills. Individual assessment is provided both for long-term and short-term goals, thus creating a complete and accessible methodology which can be used in any choral or general music classroom. —Lynne Gackle, Director of Choral Activities, Baylor University This book fills a unique niche in the field. I love that it takes the needs of developing/changing voice singers into account and that students can write in the books like a workbook as they are learning the tools for sight singing. Teachers will definitely appreciate the opportunities for assessment built into the series. —Jessica Nápoles, Associate Professor of Choral Music Education, University of North Texas As a teacher, I really do love this resource. It’s broken down in a way that makes it very easy to incorporate into my lessons, and the fact that it’s sequential and very clear about the concepts introduced at each level is extremely helpful. I can see my students (beginners especially) getting better and more confident with their sight-reading. I look forward to using this resource as our primary sight-reading resource! —Courtney Neva, Choir Director, Dripping Springs High School. $29.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Level Up - Vol. 2: Bass Clef (Student Workbook) GIA Publications
SKU: GI.G-10005 Emerging Skills. Composed by Keitha Lucas Hamann a...(+)
SKU: GI.G-10005 Emerging Skills. Composed by Keitha Lucas Hamann and Michele Henry. Music Education. Book. 72 pages. GIA Publications #10005. Published by GIA Publications (GI.G-10005). Help your students Level Up! their sight-reading skills using their minds and ears, as well their voices! Level Up! is a sequential, interactive, and comprehensive resource built from the authors’ decades of research and experience teaching students of all levels and ages. Using the concept of target skills (isolated pitch and rhythm patterns), Level Up! guides students to carefully understand and analyze every new skill by difficulty. Authors Michele L. Henry and Keitha Lucas Hamann then reinforce each skill by asking students to sight-read specially sequenced practice melodies. Each of the five volumes—Foundational, Emerging, Minor, Developing, and Advanced—is designed as an interactive workbook for students to mark up, and is available in both treble clef and bass clef editions. The companion Teacher Manuals include clear instructions for how to best use the Level Up! system, outline the approach and sequencing, and provide assessments. Level Up! supports the artistic literacy goals of the National Coalition for Core Arts Standards (NCCAS) and many state music education standards. The companion website, giamusic.com/levelup, provides even more reinforcement. The goal of Level Up! is simple: to help students become independent and confident musicians, with benefits to last a lifetime! Michele L. Henry, Ph.D. is Professor of Choral Music Education at Baylor University, Waco, Texas. Keitha Lucas Hamann, Ph.D. is Associate Professor of Music Education at the University of Minnesota, Twin Cities.  Level Up! is the most sequential approach to the teaching of sight-reading that I’ve ever seen! Designed for use with singers at the middle school through high school levels, the methodology aligns with National Standards, UIL, and TEKS, and is range related for developing voices. Within each lesson, specific skills are targeted and the interactive approach further encourages the mastery of skills. Individual assessment is provided both for long-term and short-term goals, thus creating a complete and accessible methodology which can be used in any choral or general music classroom. —Lynne Gackle, Director of Choral Activities, Baylor University This book fills a unique niche in the field. I love that it takes the needs of developing/changing voice singers into account and that students can write in the books like a workbook as they are learning the tools for sight singing. Teachers will definitely appreciate the opportunities for assessment built into the series. —Jessica Nápoles, Associate Professor of Choral Music Education, University of North Texas As a teacher, I really do love this resource. It’s broken down in a way that makes it very easy to incorporate into my lessons, and the fact that it’s sequential and very clear about the concepts introduced at each level is extremely helpful. I can see my students (beginners especially) getting better and more confident with their sight-reading. I look forward to using this resource as our primary sight-reading resource! —Courtney Neva, Choir Director, Dripping Springs High School. $8.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Level Up - Vol. 3: Bass Clef (Student Workbook) GIA Publications
SKU: GI.G-10008 Minor Skills. Composed by Keitha Lucas Hamann and ...(+)
SKU: GI.G-10008 Minor Skills. Composed by Keitha Lucas Hamann and Michele Henry. Music Education. Book. 72 pages. GIA Publications #10008. Published by GIA Publications (GI.G-10008). Help your students Level Up! their sight-reading skills using their minds and ears, as well their voices! Level Up! is a sequential, interactive, and comprehensive resource built from the authors’ decades of research and experience teaching students of all levels and ages. Using the concept of target skills (isolated pitch and rhythm patterns), Level Up! guides students to carefully understand and analyze every new skill by difficulty. Authors Michele L. Henry and Keitha Lucas Hamann then reinforce each skill by asking students to sight-read specially sequenced practice melodies. Each of the five volumes—Foundational, Emerging, Minor, Developing, and Advanced—is designed as an interactive workbook for students to mark up, and is available in both treble clef and bass clef editions. The companion Teacher Manuals include clear instructions for how to best use the Level Up! system, outline the approach and sequencing, and provide assessments. Level Up! supports the artistic literacy goals of the National Coalition for Core Arts Standards (NCCAS) and many state music education standards. The companion website, giamusic.com/levelup, provides even more reinforcement. The goal of Level Up! is simple: to help students become independent and confident musicians, with benefits to last a lifetime! Michele L. Henry, Ph.D. is Professor of Choral Music Education at Baylor University, Waco, Texas. Keitha Lucas Hamann, Ph.D. is Associate Professor of Music Education at the University of Minnesota, Twin Cities.  Level Up! is the most sequential approach to the teaching of sight-reading that I’ve ever seen! Designed for use with singers at the middle school through high school levels, the methodology aligns with National Standards, UIL, and TEKS, and is range related for developing voices. Within each lesson, specific skills are targeted and the interactive approach further encourages the mastery of skills. Individual assessment is provided both for long-term and short-term goals, thus creating a complete and accessible methodology which can be used in any choral or general music classroom. —Lynne Gackle, Director of Choral Activities, Baylor University This book fills a unique niche in the field. I love that it takes the needs of developing/changing voice singers into account and that students can write in the books like a workbook as they are learning the tools for sight singing. Teachers will definitely appreciate the opportunities for assessment built into the series. —Jessica Nápoles, Associate Professor of Choral Music Education, University of North Texas As a teacher, I really do love this resource. It’s broken down in a way that makes it very easy to incorporate into my lessons, and the fact that it’s sequential and very clear about the concepts introduced at each level is extremely helpful. I can see my students (beginners especially) getting better and more confident with their sight-reading. I look forward to using this resource as our primary sight-reading resource! —Courtney Neva, Choir Director, Dripping Springs High School. $8.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Level Up - Vol. 3: Treble Clef (Student Workbook) GIA Publications
SKU: GI.G-10007 Minor Skills. Composed by Keitha Lucas Hamann and ...(+)
SKU: GI.G-10007 Minor Skills. Composed by Keitha Lucas Hamann and Michele Henry. Music Education. Book. 72 pages. GIA Publications #10007. Published by GIA Publications (GI.G-10007). Help your students Level Up! their sight-reading skills using their minds and ears, as well their voices! Level Up! is a sequential, interactive, and comprehensive resource built from the authors’ decades of research and experience teaching students of all levels and ages. Using the concept of target skills (isolated pitch and rhythm patterns), Level Up! guides students to carefully understand and analyze every new skill by difficulty. Authors Michele L. Henry and Keitha Lucas Hamann then reinforce each skill by asking students to sight-read specially sequenced practice melodies. Each of the five volumes—Foundational, Emerging, Minor, Developing, and Advanced—is designed as an interactive workbook for students to mark up, and is available in both treble clef and bass clef editions. The companion Teacher Manuals include clear instructions for how to best use the Level Up! system, outline the approach and sequencing, and provide assessments. Level Up! supports the artistic literacy goals of the National Coalition for Core Arts Standards (NCCAS) and many state music education standards. The companion website, giamusic.com/levelup, provides even more reinforcement. The goal of Level Up! is simple: to help students become independent and confident musicians, with benefits to last a lifetime! Michele L. Henry, Ph.D. is Professor of Choral Music Education at Baylor University, Waco, Texas. Keitha Lucas Hamann, Ph.D. is Associate Professor of Music Education at the University of Minnesota, Twin Cities.  Level Up! is the most sequential approach to the teaching of sight-reading that I’ve ever seen! Designed for use with singers at the middle school through high school levels, the methodology aligns with National Standards, UIL, and TEKS, and is range related for developing voices. Within each lesson, specific skills are targeted and the interactive approach further encourages the mastery of skills. Individual assessment is provided both for long-term and short-term goals, thus creating a complete and accessible methodology which can be used in any choral or general music classroom. —Lynne Gackle, Director of Choral Activities, Baylor University This book fills a unique niche in the field. I love that it takes the needs of developing/changing voice singers into account and that students can write in the books like a workbook as they are learning the tools for sight singing. Teachers will definitely appreciate the opportunities for assessment built into the series. —Jessica Nápoles, Associate Professor of Choral Music Education, University of North Texas As a teacher, I really do love this resource. It’s broken down in a way that makes it very easy to incorporate into my lessons, and the fact that it’s sequential and very clear about the concepts introduced at each level is extremely helpful. I can see my students (beginners especially) getting better and more confident with their sight-reading. I look forward to using this resource as our primary sight-reading resource! —Courtney Neva, Choir Director, Dripping Springs High School. $8.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Level Up - Vol. 2: Treble Clef (Student Workbook) GIA Publications
SKU: GI.G-10004 Emerging Skills. Composed by Keitha Lucas Hamann a...(+)
SKU: GI.G-10004 Emerging Skills. Composed by Keitha Lucas Hamann and Michele Henry. Music Education. Book. 72 pages. GIA Publications #10004. Published by GIA Publications (GI.G-10004). ISBN 9781622774142. Help your students Level Up! their sight-reading skills using their minds and ears, as well their voices! Level Up! is a sequential, interactive, and comprehensive resource built from the authors’ decades of research and experience teaching students of all levels and ages. Using the concept of target skills (isolated pitch and rhythm patterns), Level Up! guides students to carefully understand and analyze every new skill by difficulty. Authors Michele L. Henry and Keitha Lucas Hamann then reinforce each skill by asking students to sight-read specially sequenced practice melodies. Each of the five volumes—Foundational, Emerging, Minor, Developing, and Advanced—is designed as an interactive workbook for students to mark up, and is available in both treble clef and bass clef editions. The companion Teacher Manuals include clear instructions for how to best use the Level Up! system, outline the approach and sequencing, and provide assessments. Level Up! supports the artistic literacy goals of the National Coalition for Core Arts Standards (NCCAS) and many state music education standards. The companion website, giamusic.com/levelup, provides even more reinforcement. The goal of Level Up! is simple: to help students become independent and confident musicians, with benefits to last a lifetime! Michele L. Henry, Ph.D. is Professor of Choral Music Education at Baylor University, Waco, Texas. Keitha Lucas Hamann, Ph.D. is Associate Professor of Music Education at the University of Minnesota, Twin Cities.  Level Up! is the most sequential approach to the teaching of sight-reading that I’ve ever seen! Designed for use with singers at the middle school through high school levels, the methodology aligns with National Standards, UIL, and TEKS, and is range related for developing voices. Within each lesson, specific skills are targeted and the interactive approach further encourages the mastery of skills. Individual assessment is provided both for long-term and short-term goals, thus creating a complete and accessible methodology which can be used in any choral or general music classroom. —Lynne Gackle, Director of Choral Activities, Baylor University This book fills a unique niche in the field. I love that it takes the needs of developing/changing voice singers into account and that students can write in the books like a workbook as they are learning the tools for sight singing. Teachers will definitely appreciate the opportunities for assessment built into the series. —Jessica Nápoles, Associate Professor of Choral Music Education, University of North Texas As a teacher, I really do love this resource. It’s broken down in a way that makes it very easy to incorporate into my lessons, and the fact that it’s sequential and very clear about the concepts introduced at each level is extremely helpful. I can see my students (beginners especially) getting better and more confident with their sight-reading. I look forward to using this resource as our primary sight-reading resource! —Courtney Neva, Choir Director, Dripping Springs High School. $8.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Level Up - Volume 1: Treble Clef (Student Workbook) GIA Publications
SKU: GI.G-10001 Foundational Skills. Composed by Keitha Lucas Hama...(+)
SKU: GI.G-10001 Foundational Skills. Composed by Keitha Lucas Hamann and Michele Henry. Music Education. Book. 72 pages. GIA Publications #10001. Published by GIA Publications (GI.G-10001). ISBN 9781622774111. Help your students Level Up! their sight-reading skills using their minds and ears, as well their voices! Level Up! is a sequential, interactive, and comprehensive resource built from the authors’ decades of research and experience teaching students of all levels and ages. Using the concept of target skills (isolated pitch and rhythm patterns), Level Up! guides students to carefully understand and analyze every new skill by difficulty. Authors Michele L. Henry and Keitha Lucas Hamann then reinforce each skill by asking students to sight-read specially sequenced practice melodies. Each of the five volumes—Foundational, Emerging, Minor, Developing, and Advanced—is designed as an interactive workbook for students to mark up, and is available in both treble clef and bass clef editions. The companion Teacher Manuals include clear instructions for how to best use the Level Up! system, outline the approach and sequencing, and provide assessments. Level Up! supports the artistic literacy goals of the National Coalition for Core Arts Standards (NCCAS) and many state music education standards. The companion website, giamusic.com/levelup, provides even more reinforcement. The goal of Level Up! is simple: to help students become independent and confident musicians, with benefits to last a lifetime! Michele L. Henry, Ph.D. is Professor of Choral Music Education at Baylor University, Waco, Texas. Keitha Lucas Hamann, Ph.D. is Associate Professor of Music Education at the University of Minnesota, Twin Cities.  Level Up! is the most sequential approach to the teaching of sight-reading that I’ve ever seen! Designed for use with singers at the middle school through high school levels, the methodology aligns with National Standards, UIL, and TEKS, and is range related for developing voices. Within each lesson, specific skills are targeted and the interactive approach further encourages the mastery of skills. Individual assessment is provided both for long-term and short-term goals, thus creating a complete and accessible methodology which can be used in any choral or general music classroom. —Lynne Gackle, Director of Choral Activities, Baylor University This book fills a unique niche in the field. I love that it takes the needs of developing/changing voice singers into account and that students can write in the books like a workbook as they are learning the tools for sight singing. Teachers will definitely appreciate the opportunities for assessment built into the series. —Jessica Nápoles, Associate Professor of Choral Music Education, University of North Texas As a teacher, I really do love this resource. It’s broken down in a way that makes it very easy to incorporate into my lessons, and the fact that it’s sequential and very clear about the concepts introduced at each level is extremely helpful. I can see my students (beginners especially) getting better and more confident with their sight-reading. I look forward to using this resource as our primary sight-reading resource! —Courtney Neva, Choir Director, Dripping Springs High School. $8.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Level Up - Volume 1: Bass Clef (Student Workbook) GIA Publications
SKU: GI.G-10002 Foundational Skills. Composed by Keitha Lucas Hama...(+)
SKU: GI.G-10002 Foundational Skills. Composed by Keitha Lucas Hamann and Michele Henry. Music Education. Book. 72 pages. GIA Publications #10002. Published by GIA Publications (GI.G-10002). ISBN 9781622774128. Help your students Level Up! their sight-reading skills using their minds and ears, as well their voices! Level Up! is a sequential, interactive, and comprehensive resource built from the authors’ decades of research and experience teaching students of all levels and ages. Using the concept of target skills (isolated pitch and rhythm patterns), Level Up! guides students to carefully understand and analyze every new skill by difficulty. Authors Michele L. Henry and Keitha Lucas Hamann then reinforce each skill by asking students to sight-read specially sequenced practice melodies. Each of the five volumes—Foundational, Emerging, Minor, Developing, and Advanced—is designed as an interactive workbook for students to mark up, and is available in both treble clef and bass clef editions. The companion Teacher Manuals include clear instructions for how to best use the Level Up! system, outline the approach and sequencing, and provide assessments. Level Up! supports the artistic literacy goals of the National Coalition for Core Arts Standards (NCCAS) and many state music education standards. The companion website, giamusic.com/levelup, provides even more reinforcement. The goal of Level Up! is simple: to help students become independent and confident musicians, with benefits to last a lifetime! Michele L. Henry, Ph.D. is Professor of Choral Music Education at Baylor University, Waco, Texas. Keitha Lucas Hamann, Ph.D. is Associate Professor of Music Education at the University of Minnesota, Twin Cities.  Level Up! is the most sequential approach to the teaching of sight-reading that I’ve ever seen! Designed for use with singers at the middle school through high school levels, the methodology aligns with National Standards, UIL, and TEKS, and is range related for developing voices. Within each lesson, specific skills are targeted and the interactive approach further encourages the mastery of skills. Individual assessment is provided both for long-term and short-term goals, thus creating a complete and accessible methodology which can be used in any choral or general music classroom. —Lynne Gackle, Director of Choral Activities, Baylor University This book fills a unique niche in the field. I love that it takes the needs of developing/changing voice singers into account and that students can write in the books like a workbook as they are learning the tools for sight singing. Teachers will definitely appreciate the opportunities for assessment built into the series. —Jessica Nápoles, Associate Professor of Choral Music Education, University of North Texas As a teacher, I really do love this resource. It’s broken down in a way that makes it very easy to incorporate into my lessons, and the fact that it’s sequential and very clear about the concepts introduced at each level is extremely helpful. I can see my students (beginners especially) getting better and more confident with their sight-reading. I look forward to using this resource as our primary sight-reading resource! —Courtney Neva, Choir Director, Dripping Springs High School. $8.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Level Up - Vol. 3: Teacher Manual GIA Publications
SKU: GI.G-10006 Minor Skills. Composed by Keitha Lucas Hamann and ...(+)
SKU: GI.G-10006 Minor Skills. Composed by Keitha Lucas Hamann and Michele Henry. Music Education. Book. 74 pages. GIA Publications #10006. Published by GIA Publications (GI.G-10006). Help your students Level Up! their sight-reading skills using their minds and ears, as well their voices! Level Up! is a sequential, interactive, and comprehensive resource built from the authors’ decades of research and experience teaching students of all levels and ages. Using the concept of target skills (isolated pitch and rhythm patterns), Level Up! guides students to carefully understand and analyze every new skill by difficulty. Authors Michele L. Henry and Keitha Lucas Hamann then reinforce each skill by asking students to sight-read specially sequenced practice melodies. Each of the five volumes—Foundational, Emerging, Minor, Developing, and Advanced—is designed as an interactive workbook for students to mark up, and is available in both treble clef and bass clef editions. The companion Teacher Manuals include clear instructions for how to best use the Level Up! system, outline the approach and sequencing, and provide assessments. Level Up! supports the artistic literacy goals of the National Coalition for Core Arts Standards (NCCAS) and many state music education standards. The companion website, giamusic.com/levelup, provides even more reinforcement. The goal of Level Up! is simple: to help students become independent and confident musicians, with benefits to last a lifetime! Michele L. Henry, Ph.D. is Professor of Choral Music Education at Baylor University, Waco, Texas. Keitha Lucas Hamann, Ph.D. is Associate Professor of Music Education at the University of Minnesota, Twin Cities.  Level Up! is the most sequential approach to the teaching of sight-reading that I’ve ever seen! Designed for use with singers at the middle school through high school levels, the methodology aligns with National Standards, UIL, and TEKS, and is range related for developing voices. Within each lesson, specific skills are targeted and the interactive approach further encourages the mastery of skills. Individual assessment is provided both for long-term and short-term goals, thus creating a complete and accessible methodology which can be used in any choral or general music classroom. —Lynne Gackle, Director of Choral Activities, Baylor University This book fills a unique niche in the field. I love that it takes the needs of developing/changing voice singers into account and that students can write in the books like a workbook as they are learning the tools for sight singing. Teachers will definitely appreciate the opportunities for assessment built into the series. —Jessica Nápoles, Associate Professor of Choral Music Education, University of North Texas As a teacher, I really do love this resource. It’s broken down in a way that makes it very easy to incorporate into my lessons, and the fact that it’s sequential and very clear about the concepts introduced at each level is extremely helpful. I can see my students (beginners especially) getting better and more confident with their sight-reading. I look forward to using this resource as our primary sight-reading resource! —Courtney Neva, Choir Director, Dripping Springs High School. $29.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Maracatu for Drumset and Percussion Drums [Sheet music + CD] Hal Leonard
A Guide to the Traditional Brazilian Rhythms of Maracatu de Baque Virado. Drum I...(+)
A Guide to the Traditional Brazilian Rhythms of Maracatu de Baque Virado. Drum Instruction. Brazilian, Instruction, African. Softcover with CD. 128 pages. Published by Hal Leonard
$19.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Vocal Improvisation Advance Music
Voice SKU: AP.1-ADV14100 Composed by Michele Weir. Improvisation; Method/...(+)
Voice SKU: AP.1-ADV14100 Composed by Michele Weir. Improvisation; Method/Instruction; Technique Musicianship; Vocal Method. Advance Music. Jazz. Book and CD. Advance Music #01-ADV14100. Published by Advance Music (AP.1-ADV14100). ISBN 9783892210627. UPC: 805095141009. English. Vocal Improvisation is designed for individual jazz singers, classroom students, and teachers of vocal jazz. The exercises are appropriate for all levels of experience and can also be useful to instrumentalists for developing jazz articulation and learning to better connect what they hear to what they play. The chapters on jazz theory and keyboard, as well as the glossary and selected solos for transcribing section make this publication an excellent resource of information for any jazz musician. In the interviews section you will find questions and answers about jazz and improvisation from some of today's leading professional jazz singers, including DeeDee Bridgewater, Kurt Elling, Jon Hendricks, Sheila Jordan, Kevin Mahogany, Bobby McFerrin, Mark Murphy, and more. The accompanying CD contains vocal examples with rhythm section background featuring Darmon Meader, Don Shelton, and the author. The stereo separation allows you to sing along with them, or turn them off to practice with Michele Weir, piano; John Clayton, bass; and Joe LaBarbera, drums. This is a well written, highly informative and to the point publication. $44.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Choral Conductor's Companion GIA Publications
SKU: GI.G-10339 Rehearsal Techniques, Imaginative Ideas, Quotes and Fa...(+)
SKU: GI.G-10339 Rehearsal Techniques, Imaginative Ideas, Quotes and Facts. Edited by Brian Winnie. Music Education. 256 pages. GIA Publications #10339. Published by GIA Publications (GI.G-10339). ISBN 9781574635256. Compiled and Edited by Brian J. Winnie One hundred powerful rehearsal techniques and ideas passionately shared by leading expert choral pedagogues, composers, conductors, vocologists, music therapists, researchers, speech-language pathologists, studio teachers, and professional practitioners. Each quick-to-read, insightful article includes fascinating facts about famous composers and conductors, thoughtful motivational quotes, and suggested additional reading selections. It’s an excellent university text and “go-to†source for choral conductor-teachers at all levels. Sample topics include: Useful Compositional Techniques for Directors, Jeffery L. Ames, Professor, Belmont University The Yin and Yang of Vocal Sight-Reading, Michele L. Henry, Professor, Baylor University Five Steps for Planning and Rehearsing Repertoire, Patrick K. Freer, Professor, Georgia State University Teacher Talk, Jessica Nápoles, Associate Professor, University of North Texas Choral Resonance: Sound, Science, Spirit, Amanda Quist, Director of Choral Activities, University of Miami Conductor vs. Cooking Appliance: Creating Meaning through Temporal Flexibility, Jake Runestad, Composer & Conductor Recruit from a Position of Strength, Ethan Sperry, Professor, Portland State University The Improvising Choral Director, Patrice Madura Ward-Steinman, Professor, Indiana University Honoring Female Changing Voices, Bridget Sweet, Associate Professor, University of Illinois Teaching Traditional South African Music, Michael Joseph Barrett, Composer & Conductor, University of Pretoria Leadership through a New Lens, Hilary Apfelstadt, Professor Emerita, The University of Toronto The Choral Warm-Up Period, Anthony T. Leach, Professor Emeritus, The Pennsylvania State University Rethinking Gender in the Choral Context, Joshua Palkki, Assistant Professor, California State University, Long Beach Involving Students in Repertoire Selection, Janet Galván, Director of Choral Activities, Ithaca College. $24.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Ojitos (Little Eyes) - Intermediate/advanced Hal Leonard
Jazz Ensemble (Score) - Grade 4 SKU: HL.7013637 Composed by Michele Fern...(+)
Jazz Ensemble (Score) - Grade 4 SKU: HL.7013637 Composed by Michele Fernández. Jazz Ensemble Library. Concert, Salsa. Softcover. Published by Hal Leonard (HL.7013637). UPC: 840126915532. 9.0x12.0x0.096 inches. Having written this for her son in 1998, composer Michele Fernandez brings us this highly emotional and rewarding work for jazz ensemble. The nostalgic opening solo section (which is optional) leads to a sizzling salsa groove which gradually intensifies throughout. The distinctive melody is complemented with lushly scored countermelodies, and all rhythm section parts are carefully notated for authenticity. Playable with 1 or 2 percussionists. $7.50 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Varadero Hip - Intermediate Kendor Music Inc.
Jazz Ensemble - Grade 3 SKU: KN.JJK2305FS New Kids, Old Shore. Com...(+)
Jazz Ensemble - Grade 3 SKU: KN.JJK2305FS New Kids, Old Shore. Composed by Michele Fernández. Jazz Journey Series Grade 3. Funk. Score Only. Kendor Music Inc #JJK2305FS. Published by Kendor Music Inc (KN.JJK2305FS). 12 x 9 inches. One of the most famous (and beautiful) beaches anywhere is Varadero in Cuba. Listening to Michele's new funk tune, it is easy to envision the clear blue water and white sand stretching for miles. $10.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| A Music Pedagogy for Our Time GIA Publications
SKU: GI.G-10770 Conversation and Critique. Composed by Frank Abrah...(+)
SKU: GI.G-10770 Conversation and Critique. Composed by Frank Abrahams. Music Education. 352 pages. GIA Publications #10770. Published by GIA Publications (GI.G-10770). ISBN 9781622777198. Contributing Authors: Jocelyn Armes, Cara Faith Bernard, Ian Cicco, Lisa Crawford, Christine D’Alexander, Libby Gopal, Ethan Hein, Steve Holley, Tina Huynh, Ronald Juzeler, Michele Kaschub, Elizabeth S. Palmer, Marissa Silverman, Jason Vodicka, G. Preston Wilson School education in all disciplines is changing. School teachers—including music educators—now need to be aware of a wide range of issues, including social justice, cultural responsiveness, integrating technology, composition and improvisation, critical thinking, social and emotional learning, and how to foster a community of practice. How do music educators best understand the hot-button issues of today—culture wars, critical race theory, and much more—and at the same time create positive and proactive musical experiences for their students? In A Music Pedagogy for Our Time, Frank Abrahams and his colleagues offer solutions. The authors provide a framework so music teachers can both be aware of these issues and create supportive opportunities for students to learn—without compromising the goals that have been and will continue to be the foundation of school music programs. Each chapter in this book focuses on a topic that defines a problem and then poses potential solutions. This ambitious book advocates for critical pedagogy, reciprocal teaching, and popular music pedagogy, and provides templates to develop lessons and rehearsals that are meaningful and significant to students in the twenty-first century. Frank Abrahams is Associate Dean (retired) and Professor of Music Education (emeritus) at Westminster Choir College of Rider University. $44.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Chormusik Und Analyse Vol.2 Noten Schott
SKU: HL.49015487 Beitrage zur Formanalyse und Interpretation mehrstimm...(+)
SKU: HL.49015487 Beitrage zur Formanalyse und Interpretation mehrstimmiger Vokalmusik. Edited by Heinrich Poos. This edition: Paperback/Soft Cover. Book. Edition Schott. Classical. 471 pages. Schott Music #ED 8474. Published by Schott Music (HL.49015487). ISBN 9783795702991. German. Grundlage der von namhaften Musikwissenschaftlern erarbeiteten 35 Werkdarstellungen von Guillaume de Machaut uber Orlando di Lasso, Bach, Schubert und Brahms bis Schonberg und Britten ist die Interpretation der in Wort und Ton fixierten musikalischen Texte, die Erorterung von deren ideengeschichtlichem Zusammenhang und kunstgeschichtlichem Wesen unter vielfaltigen Gesichtspunkten. Mit der Erschliessung der Werkgehalte wird jedem Ausfuhrenden und jedem Horer - Chorleitern und Sangern, Studenten, Komponisten, Wissenschaftlern und Padagogen - der Weg zu einer gleichermassen geistigen und sinnlichen Auffassung der Musik gewiesen. In einem separaten Band sind alle im Text behandelten Kompositionen vollstandig wiedergegeben. Mit diesem Sammelband wird die erstmals 1983 erschienene erfolgreiche Publikation gleichen Titels fortgesetzt und zu einem Abriss der Geschichte der unbegleiteten Chor- und Ensemblemusik von der Ars antiqua bis zur Gegenwart erganzt, der theoretischem Analyseanspruch wie musikpraktischen Erfordernissen gleichermassen gerecht wird. $95.00 - See more - Buy online | | |
| Advancing Music Education through Assessment: Honoring Culture, Diversity, and Practice GIA Publications
SKU: GI.G-10242 Selected Papers from the Seventh International Symposi...(+)
SKU: GI.G-10242 Selected Papers from the Seventh International Symposium on Assessment in Music Education. Composed by Marshall Haning and Timothy S. Brophy. Music Education. 534 pages. GIA Publications #10242. Published by GIA Publications (GI.G-10242). ISBN 9781622774463. Contributors: Michael L. Alexander, Myriam I. Athanas, Leonardo Borne, Frederick Burrack, Isabelle Adna Lopes da Hora, Paul F. Doerksen, Sergio Figueiredo, Christina Haaf, Barry Hartz, Johannes Hasselhorn, Jason A. Hawkins, Michele L. Henry, Jasmine Hines, Kelly Hollingsworth, Gabriel Imthurn, Amanda Kastner, Anita Kumar, Andreas C. Lehmann, Andreas Lehmann-Wermser, Florian Lill, Melissa A. Lloyd, Brandon C. McDaniel, Adam P. Miller, David W. Montgomery, Dorothy J. Musselwhite, Patty K. Nelson, Glenn E. Nierman, Douglas C. Orzolek, Kelly A. Parkes, Phillip Payne, Seth Pendergast, Leigh M. Powell, Jared R. Rawlings, Patricia E. Riley, Joanne Rutkowski, Elizabeth S. Schultz, Sydney C. Seed, Megan M. Sheridan, Dayvison Sousa Silva, David A. Stringham, Justine Swainson, Jack Walton, Dennis Ping-Cheng Wang, Jeffrey Ward, Brian C. Wesolowski The Seventh International Symposium on Assessment in Music Education was hosted by the University of Florida. The symposium brought together 112 participants from 12 nations across six continents and 24 U.S. states to learn of each other’s work, establish collaborations and professional networks, and shape new directions for research in this important area of music education at the University of Florida in Gainesville from March 19–22, 2019. The two keynote addresses and 31 papers published in this volume document music assessment practice and the measurement and evaluation of music learning across the world in local, state, and national contexts at all levels. The attendees also attended special work sessions to begin developing a set of assessment literacy standards for music teachers based on the International Principles for Assessment in Music Education (developed and introduced by the co-chairs at ISAME6 in 2017), and their discussions are summarized in this collection. As music educators across the world come to terms with increased expectations for accountability of learning in music, the scholars and practitioners who have contributed to this volume provide insight to guide their work. About the Editors: Timothy S. Brophy is Professor of Music Education and Director of Institutional Assessment at the University of Florida in Gainesville. Marshall Haning is Assistant Professor of Music Education at the University of Florida in Gainesville. $47.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Context Matters GIA Publications
SKU: GI.G-9684 Selected Papers from the Sixth International Symposium ...(+)
SKU: GI.G-9684 Selected Papers from the Sixth International Symposium on Assessment in Music Education. Composed by Martin Fautley and Timothy S. Brophy. Assessment. Music Education. 550 pages. GIA Publications #9684. Published by GIA Publications (GI.G-9684). ISBN 9781622773350. Contributions by: Michael L. Alexander • William I. Bauer • Rhoda Bernard • Nikki Booth • Leonardo Borne • Frederick Burrack • Richard M. Cangro • Kyle Chandler • Samantha Clements • Obadias de Oliveira Cunha • Sally E. Daunt • Kirsty J. Devaney • Paul Doerksen • Martin Fautley • Keith Griffioen • Alice Hammel • Marshall Haning • Demaris Hansen • Michele L. Henry • John Holmes • Daniel C. Johnson • Joo Hyun Kang • Gail Kuppan • Andreas Lehmann-Wermser • Sharon Lierse • Jason Longtin • Jeffrey Marlatt • Melissa C. McCabe • Karabo Lucy Mogane • Helena Muciño-Guerra • Dorothy J. Musselwhite • Flávia Motoyama Narita • Emma Nenadic • Glenn E. Nierman • Helena de Souza Nunes • Kelly A. Parkes • Phillip D. Payne • Laura Navarro Ramón • Patricia Riley • Shelley Sanderson • Megan M. Sheridan • Stephanie L. Standerfer • David A. Stringham • Dennis Ping-Cheng Wang • Jeffrey Ward • Brian C. Wesolowski • Benjamin Weyel The Sixth International Symposium on Assessment in Music Education was hosted by the University of Florida and Birmingham City University. The symposium brought together 110 participants from 23 nations and six continents to learn of each other’s work, establish collaborations and professional networks, and shape new directions for research in this important area of music education in Birmingham, England, from April 18-21, 2017. The two keynote addresses and 35 papers published in this volume document music assessment practice and the measurement and evaluation of music learning across the world in local, state, and national contexts at all levels. The attendees also attended special work sessions to discuss the International Principles for Assessment in Music Education (developed and introduced by the co-chairs at this symposium), and their discussions are summarized in this collection. As music educators across the world come to terms with increased expectations for accountability of learning in music, the scholars and practitioners who have contributed to this volume provide insight to guide their work. Timothy S. Brophy is Professor of Music Education and Director of Institutional Assessment at the University of Florida in Gainesville, Florida. Martin Fautley is Professor of Education and Director of Research in Education at Birmingham City University in Birmingham, England. $47.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The All-Jazz Real Book - Eb Edition Eb Instruments [Fake Book] Sher Music Company | | |
| Bons Sohnos, Maestro - Intermediate/advanced Excelcia Music Publishing
Jazz Band - Grade 4 SKU: XC.ZJE2301FS Sweet Dreams, Maestro. Compo...(+)
Jazz Band - Grade 4 SKU: XC.ZJE2301FS Sweet Dreams, Maestro. Composed by Michele Fernández. Jazz Zenith Series Grade 4 & Up. Slow samba. Score. Excelcia Music Publishing #ZJE2301FS. Published by Excelcia Music Publishing (XC.ZJE2301FS). This dreamy Brazilian samba sets the haunting melody of Chopin’s Prelude #4 as a background to a beautiful Trombone feature that takes us through a lushly-scored journey of a life well lived, as it soars to a joyous, half-time funk groove before winding back down to an introspective end will truly leave the audience floating. All rhythm parts are completely written out, with suggested solos included. $12.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The All-Jazz Real Book - Bb Edition Bb Instruments [Sheet music + CD] Sher Music Company | | |
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