SKU: HL.259564

UPC: 888680725877. 5.0x5.0x0.15 inches.

Suggested for grades 4-8, these easily-produced 25-minute Express Musicals are perfect for a short program in the spring or fall, community outreach events, recruiting programs, or as part of a larger concert. Short narrations for up to 39 speakers provide an introduction to each song. The Teacher Edition includes piano/vocal arrangements with choreography notes, reproducible program narration and tips for using the digital lessons provided via My Library. The printed black and white Singer Editions feature vocal lines only to be distributed to each student. Use the full color non-printable Student Edition available via My Library for whole class viewing on your interactive whiteboard or computer to projector, or send to student classroom viewing devices such as iPads or Chromebooks for individual use. To perform with recordings, you have three options. Purchase the Performance/Accompaniment CD for a physical copy of the full performance and accompaniment tracks. Redeem the My Library code found inside the front cover to play or download all of the recordings. The recordings may also be played directly from your digital lesson page. The choreography videos may be viewed directly from your My Library account or from the digital lesson page. Follow the easy directions for using digital lessons and send your classroom into the technology age!

ISBN 9781622771783. English.

With Contributions byFrank Abrahams    Michael L. Alexander    Kimberly Lansinger AnkneyEdward Asmus    Rafael Guerini Atolini    William BauerElaine Bernstorf    Leonardo Borne    Pamela BurnardFrederick Burrack    Paul Chapin    Jian-Jun Chen-EdmundWilliam Cirullo    Richard Colwell    Rachel E. CopelandBaisheng Dai    Paul F. Doerksen    Cláudia Elisiane Ferreira dos SantosDavid Edmund    Jian-Jun Chen-Edmund    Jan EdwardsGeorge Engelhard, Jr.    José Carlos Godinho    Sandy GoldieChristina Haaf    Dee Hansen    Jason HawkinsMichele L. Henry    René Human    Ryan JohnSangmi Kang    Don Lebler    Kathleen A. MelagoJennifer S. McDonel    M. David Miller    Tobias S. MonteGlenn Nierman    Helena de Souza Nunes    Denese OdegaardDouglas C. Orzolek    Kelly A. Parkes    Phillip PayneJohn Peasant, Jr.    Jared R. Rawlings    Gary K. RitcherMaria Gleice Rodrigues    Maria Runfola    Shelley SandersonEdilson Schultz    Ronald G. Sherwin    Scott C. ShulerTimothy W. Smith    Nathan St. Pierre    Stephanie StanderferCynthia L. Wagoner    Dennis Ping-Cheng Wang    Jeffrey WardBrian C. Wesolowski    Stefanie A. Wind    Chia-Chieh WuBrian C. Wuttke    Hyesoo YooThe 5th International Symposium on Assessment in Music Education was hosted by the University of Florida, James Madison University, and The Shenandoah Conservatory of Shenandoah University. The symposium brought together 288 participants from 17 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 Williamsburg, Virginia, from February 18-21, 2015. The four keynote addresses and 37 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 key questions of the 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.About the EditorsTimothy S. Brophy is Professor of Music Education and Director of Institutional Assessment at the University of Florida in Gainesville. Florida. Jeffrey Marlatt is Associate Professor of Music Education and Assistant Dean for Student Learning, Director of Music Education, and holds the Charlotte A. & Verne E. Collins Endowed Professorship at the Shenandoah Conservatory of Shenandoah University, Winchester, Virginia. Gary Ritcher is Professor and Coordinator of Music Education at James Madison University, Harrisonburg, Virginia.

ISBN 9781470647414. UPC: 038081566658. English.

Bring music history to life with this innovative classroom resource! Short readers' theater scripts allow students to immerse themselves in important musical moments, from Guido d'Arezzo developing music notation, to Marian Anderson performing at the Lincoln Memorial, to hip-hop emerging in the Bronx. Background music suggestions, optional props, and class discussion prompts are included for each. Use individually or combine a few for an informance, school assembly, or full performance onstage or on Zoom. Recommended for grades four and up. Book is 100% reproducible. Suitable for remote teaching / distance learning.

SKU: BT.DHP-1084444-010

9x12 inches. English-German-French-Dutch.

Der letzte Traum der alten Eiche schrieb der dänische Schriftsteller und Dichter Hans Christian Andersen, dessen zeitlose Märchen in über achtzig Sprachen übersetzt wurden und schon zahllose Künstler aller Sparten inspirierten. So auch Maxime Aulio, dessen kunstvolle Art, verschiedene Klangfarben und Stimmungen miteinander zu verknüpfen, die Fantasie von Musikern und Zuhörern anregt.

L’écrivain et poète danois Hans Christian Andersen (1805-1875) est entré dans l’histoire de la littérature mondiale gr ce ses innombrables contes. Le fantastique et le merveilleux y jouent un rôle primordial mais l'humour et la portée philosophique qui s'en dégage les font parfois ressembler des satires plus qu' des contes pour enfants. Doté d'une imagination extraordinaire, Andersen allie l'ironie et le rêve en un subtil mélange. Traduits en plus de quatre-vingts langues, ses contes n’ont pas de temporalité et continuent d’inspirer les écrivains, réalisateurs, chorégraphes, sculpteurs, peintres et compositeurs.The Last Dream of the Old Oak (Le dernier rêve du chêne) deMaxime Aulio s’inspire du conte éponyme d’Andersen. La musique descriptive nous raconte l’histoire d’un chêne antique et séculaire. « Il avait justement atteint trois cent soixante-cinq ans (…). Souvent, par les beaux jours d'été, il discutait avec les éphémères qui venaient s'ébattre et tourbillonner gaiement autour de sa couronne. (…) Le temps approchait où il allait se reposer (…). Le chêne (…) s'endormit pour tout le long hiver ; et il eut bien des rêves, où sa vie passée lui revint en souvenir. (…) Et, tout coup, le chêne éprouva comme si un nouveau et puissant courant de vie partant des extrémités de ses racines le traversait de part en part, montant jusqu' sa cime, jusqu'au bout de ses plus hautes feuilles. (…) Soudainement, ses racines se détachèrent de terre. (…) Ce fut la fin du rêve du vieux chêne. Une tempête terrible soufflait sur mer et sur terre. (…) Il tomba, au moment où il rêvait qu'il s'élançait vers l'immensité des cieux. (…) »Les couleurs et les atmosphères créées par Maxime Aulio laissent l'imagination toute la liberté de ses rêveries.The Last Dream of the Old Oak est une commande de la Communauté de Communes de Vinay en Isère (France) pour l’inauguration de son Musée de la Noix. L’œuvre fut donnée en création sous le titre éphémère du Dernier rêve du noyer, mais l’histoire racontée était bien celle.

SKU: HL.48024645

ISBN 9781784544034. UPC: 888680949099.

In 1989 when Louis Andriessen was teaching at the State University of New York at Buffalo, Miles Davis Autobiography was published.While reading it, he suddenly knew what the subject of his piece for the Kronos Quartet should be - early be-bop licks and especially the work of Charlie Parker. He wanted to do the impossible - be-bop is not at all idiomatic for string instruments. But be-bop had been an important influence on his musical development when he was young, and he decided to do something with this music from his youth. Basically the essence of Charlie Parkers playing is the extremely fast tempo. This fast tempo is really fast, because the playing is based upon the chord structure of existing melodies which are sometimes played two or three times as fast as normal. Parker needed speed to express what he musically felt: little time was left for him. This is the main explanation of the title of the work.In the beginning of Facing Death, Andriessen literally quotes fragments of Charlie Parker improvisations. He also quotes one original melody: Ornithology (which is based on How High the Moon). The 7th and 8th bars of Ornithology become an important motif inthe piece. The whole composition is one long development in Parker's fast tempo. This work was composed in 1990 for string quartet and later arranged for saxophone quartet.