Marching percussion ensemble (Snare, Tenor Drums, Cymbals, Bass Drums, Bells, Xylophone, Marimba, Vibes, (3) Timpani, (2) Suspended Cymbals, Pang Cymbal, Splash Cymbal, (3) Temple Blocks, Concert Bass Drum, Tambourine, Vibra Slap, Gong) - Grade 6

SKU: RF.9310-WTCD

Composed by Chris Brooks. Marching Series. Score and digital audio. Duration 1:20. Row-Loff Publications #9310-WTCD. Published by Row-Loff Publications (RF.9310-WTCD).

Composed by Chris Brooks. For marching percussion ensemble (Snare, Tenor Drums, Cymbals, Bass Drums, Bells, Xylophone, Marimba, Vibes, (3) Timpani, (2) Suspended Cymbals, Pang Cymbal, Splash Cymbal, (3) Temple Blocks, Concert Bass Drum, Tambourine, Vibra Slap, Gong). Grade 5. Score and parts. Duration 1:20. Published by Row-Loff Publications

Schirmer's Library of Musical Classics Volume 2109. Composed by Various. Piano Collection. Softcover. 192 pages. G. Schirmer #LB2109. Published by G. Schirmer

Schirmer's Library of Musical Classics, Vol. 2139. Composed by Various. Piano. Classical. Softcover. 386 pages. G. Schirmer #LIB 2139. Published by G. Schirmer

Composed by Jason Sifford. For piano. Early Intermediate/Intermediate . Collection. Published by The FJH Music Company Inc

SKU: GI.G-10580

Philosopher and Practitioner in Dialogue. Composed by William Perrine. Music Education. 430 pages. GIA Publications #10580. Published by GIA Publications (GI.G-10580).

ISBN 9781622776375.

Cont ributors: Travis J. Cross (University of California–Los Angeles) • David J. Elliott (New York University) • Marissa Silverman (Montclair State University) • Jacob Wallace (South Dakota State University) • Randall Everett Allsup (Teachers College, Columbia University) • Cynthia Johnston Turner (Wilfrid Laurier University) • Carolyn Barber (University of Nebraska-Lincoln) • John Kratus (Independent Scholar) • Vincent C. Bates (Weber State University) • Thomas G. Warner, Jr. (North Carolina Agricultural and Technical State University) • Ben Hawkins (Transylvania University) • Thomas A. Regelski (SUNY Fredonia School of Music, Helsinki University of Finland) • Paul Woodford (Western University) • Charles Peltz (New England Conservatory of Music) In the wind band profession—as in every great discipline—it is critical to take stock in the big questions about where we are heading, and why, as we move through the twenty-first century. This thought-provoking book contains seven high-level exchanges between a leading wind band practitioner and a music education philosopher. Each section of The Future of the Wind Band grapples with the most profound issues facing the music education profession and the path of instrumental music education in our schools: Relevance: What relevance, if any, does the wind band have both to today’s students and to culture more broadly in the twenty-first century? What relevance does the band experience hold for students’ everyday life? Repertoire: What is the relationship between the repertoire performed by wind ensembles and the larger musical world? Pedagogy: What constitutes best practice in terms of musical pedagogy and rehearsal technique within the large-ensemble experience? Creativity: Can the wind band function as a vehicle for enhancing the individual creativity of its members? Economic Justice: How do issues of social class and the distribution of wealth relate to broader questions of social justice within the context of instrumental music education? Professional Ethics: What are the primary ethical responsibilities of the wind band conductor? Democratic Citizenship: What relationship, if any, can be drawn between membership in the wind band and citizen participation in democracy? Such exchanges can only strengthen our profession and pay rich dividends in our musical and educational work with the students we serve. Editor of this book, William (Bill) M. Perrine is Associate Professor of Music and Director of Instrumental Activities at Concordia University in Ann Arbor, Michigan, where he directs the wind ensemble, marching band, and community orchestra.

Piano

SKU: BT.EMBZ60

Composed by Bela Bartok. Book Only. Composed 1951. 20 pages. Editio Musica Budapest #EMBZ60. Published by Editio Musica Budapest (BT.EMBZ60).

English-German-Hungari an.

'Bartók wrote the first dance around the time of the Romanian movements of the 'Seven Sketches', after his first trip collecting Romanian folk music in July-August 1909. The second dance is the fruit of March the following year, and it was only after some time he decided they should be published as a pair. From the beginning, audiences were impressed by the first dance, in the composer's peculiar performance, with its initial drumming, and its driving rhythms. If less popular, compositionally the second dance is more original. He parades and varies his material in a chain form, and this too is reminiscent of the dances heard in the playing of Romanian Transylvanian villagemusicians, which in his scholarly work Bartók called 'motive dances.' (HCD 32525 Bartók New Series Vol. 25, László Somfai).

By Bela Bartok. EMB. Size 9x12 inches. 20 pages. Published by Editio Musica Budapest.