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Notes:

• Includes bibliographical references (pages 127-131) and index.
• Urban music teaching : a counternarrative — Understanding our students — Culturally relevant music teaching : an introduction — Making music — Rejecting the one size fits all model : setting your own definition of music program success — Common issues of interest for urban music teachers — Finding support and inspiration.

Subjects:

• Music — Instruction and study — United States.
• Education, Urban — United States.
• United States. fast (OCoLC)fst01204155

Requested by Kurpiers, R.

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Notes:

• Includes bibliographical references and index.
• Introduction — Part one: Soprano/High mezzo — From The boys from Syracuse: Falling in love with love — From Brigadoon: Waitin’ for my dearie — From Guys and Dolls: If I were a bell — From Fanny: I have to tell you — From The most happy fella: Somebody, somewhere — From The most happy fella: Warm all over — From The music man: My white knight — From Flower drum song: Love, look away — From Fiorello!: When did I fall in love? — From She loves me: Ice cream — From Fiddler on the Roof: Far from the home I love — From The apple tree: What makes me love him? — From Drood: Moonfall — From Evita: Another suitcase in another hall — From Carrie: It hurts to be strong — From Elegies: Anytime (I am there) — From Little women: Some things are meant to be — From The light in the Piazza: The light in the Piazza — From Grey Gardens: Will you? — Part Two: Mezzo-Alto — From Anything Goes: Anything Goes — From Allegro: So far — From Bye bye Birdie: An English teacher — From 110 in the shade: Is it really me? — From 110 in the shade: Old Maid — From Merrily we roll along: Not a day goes by — From Man of La Mancha: Aldonza — From Cabaret: Cabaret — From Applause: Applause — From Mack and Mabel: Time heals everything — From Starting here, starting now: Crossword puzzle — From City of Angels: You can always count on me — From March of the Falsettos: Trina’s song — From Baby: The story goes on — From Rags: Children of the wind — From Brownstone: Since you stayed here — From Carrie: I’m not alone — From Chess: Heaven help my heart — From The Secret Garden: Hold on — From State Fair: It might as well be spring — From I love you, You’re perfect, now change: I will be loved tonight — From Jekyll and Hyde: A new life — From the Wild Party: Raise the roof — From Floyd Collins: Through the mountain — From The Last five years: A part of that — From the Last five years: Still hurting — From Wicked: I’m not that girl — From Little Women: Astonishing — From A catered affair: Don’t ever stop saying
• The Broadway Song is a practical and comprehensive guide to the formal characteristics of key Broadway songs on a song-by-song basis, including main voice type, secondary voice qualities, range, and tessitura, as was as larger contextual information about the musical and the character that provides the performer a way into the character. Clark brings his wide-ranging and extensive experience as a director, performer, and teacher to bear in his performance notes on the individual pieces. Additionally, he includes excerpts from short interviews with artists that provide insight into the song from the perspective of those who first created (or re-created) it. The interviews, conducted with composers, lyricists, performers, and – in one case – book collaborators, are snapsnots into the creative process and act as conduits to further study of the selected songs. — from back cover.

Subjects:

• Singing — Instruction and study.
• Popular music — Analysis, appreciation.
• Singing — Instruction and study. fast (OCoLC)fst01119319
• Popular music — Analysis, appreciation. fast (OCoLC)fst01071424

Requested by Thompson, S.

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Notes:

• Includes bibliographical references (p. 485-490) and index.
• Part I: The rehearsal scenario. The rehearsal scenario: infrastructure and process — Creating the rehearsal environment and climate — The ten essentials of the rehearsal process scenario — Part II: The conductor in the rehearsal process. Conducting technique — Score study, music imagery, and inner singing — Rehearsal segments and procedures — An integrated approach to rehearsing — Part III: Technical priorities and teaching strategies. Intonation and tuning — Rhythms and rhythm patterns — Ensemble sonority: tone, balance, blend, color, and texture — Articulation and bowing — Part IV: Musical priorities and teaching strategies. Tempo and ensemble precision — Phrasing and the musical line — Style and musical interpretation — Dynamics, nuances, and musical expression — Part V: The conductor in the 21st century. Conducting and rehearsing contemporary music — Conductor profile and self-evaluation — Coda: from rehearsal process to concert performance — Appendixes.
• The most comprehensive guide on the rehearsal process for conducting instrumental music ensembles. This work breaks the multidimensional activity of working with an ensemble, orchestra, or band into its constituent components. –from publisher description.

Subjects:

• Conducting.
• Instrumental music — Instruction and study.

Requested by Klemp, M. & Kagin, R. & Diamond, D.

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Notes:

• Voice research has revealed much about the singing voice, but this valuable information does not necessarily transfer into fine singing. In The Essentials of Beautiful Singing: A Three-Step Kinesthetic Approach, performer and scholar Karen Tillotson Bauer bridges this gap by reframing the complexities of voice science with a cultivated simplicity of style and terminology that speaks directly to the singer’s experience of singing. With her three-step approach, Bauer integrates fact and application in a logical order, step by step. With clarity and immediate relevancy, this work takes the mystery out of singing by approaching it as a kinesthetic experience. Through the use of short verbal prompts and guided exercises, The Essentials of Beautiful Singing helps the singer discover good breath management, realize good resonance, and achieve clear enunciation. The focus throughout is on the skillful use of the body as a musical instrument, the source of fine singing. For the experienced voice teacher, choral director and singer at any level, Bauer’s three-step approach offers a fresh perspective on the familiar principles of vocal function. Clear explanations of the singing processes replace vague notions, and a relevant terminology makes refined singing more accessible. The Essentials of Beautiful Singing cuts to the heart of vocal technique and challenges some common pedagogical assumptions while defining a dependable foundation for fine singing — Provided by publisher.
• Includes index.
• Part I: Setting the stage for the three-step approach. Overview of the three-step approach — Posture : a precondition of beautiful singing — Part II: The three steps : one step at a time. Step 1: Open body and breath management — Step 2: Open throat and resonance — Step 3: Forward articulation and enunciation — Part III: Refinements toward greater skill. Principles of registration — Developing the upper range — Legato and musicality — Postlude: What goes around comes around — Appendix: Selected international phonetic alphabet symbols and corresponding English words.

Subjects:

• Singing — Instruction and study.
• Singing — Instruction and study. fast (OCoLC)fst01119319

Requested by Kagin, R.

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Notes:

• The crisis of classical music in America focuses on solutions for the oversupply of classically trained musicians in America, a problem that grows ever more chronic as opportunities for classical musicians to gain full-time employment diminish. An acute observer of the professional music scene, Robert Freeman describes how this problem has no chance of abating unless music schools equip students with the communication and analytical skills they need to succeed in the rapidly changing landscape for America’s music professionals. The book maps a broad range of reforms required in the field of advanced music education and the organizations responsible for that education. Featuring a foreword by Leonard Slatkin, music director of the Detroit Symphony Orchestra, The Crisis of Classical Music in America speaks to parents, prospective and current music students, music teachers and professors, department deans, university presidents and provosts, and even foundations and public organizations that fund such music programs. This book reaches out to all of these stakeholders and argues for meaningful change though wide-spread collaboration — Provided by publisher.
• Includes index.
• The winds of change — Where did musical education come from? — My education — Advice for parents : should your child play the cello? — Advice for college music students : what’s your goal — Really? — Advice for music professors : should all your students aim for Carnegie Hall? Should they all teach at Harvard? — Advice for music deans : building education programs appropriate for the new century — Advice for provosts and presidents : who should lead your music school and how should that person lead? — Advice for foundation directors and civic leaders : what do we do to balance the supply of and demand for professionally trained musicians? — Epilogue.

Subjects:

• Music — Instruction and study — United States.
• Music in universities and colleges — United States.

Requested by Kurpiers, R.

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Notes:

• Includes bibliographical references.
• Special signs and distributions of parameters : pages vi-viii.
• The traditional flute. Mechanics of the Boehm flute Different varieties of concert flutes Fourth octave pitches The piccolo, alto and bass flutes Traditional flute writing — Single sounds. Tone coloration Microtones Glissandi — Multiple sonorities. Based on natural harmonics Based on fingerings of pitches in the chromatic scale Based on the microtonal segments — Other resources. Flutter tonguing Percussive sounds Pitch blending Whisper tones and residual tones Jet whistles Singing and playing simultaneously Circular breathing.

Subjects:

• Flute — Instruction and study.

Requested by Klemp, M.

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Notes:

• Title from disc label.
• This 6-CD set contains the full set of recordings for Listen, Eighth Edition. –Container.
• Various performers.
• Complete list of tracks inserted in container.
• Disc 1: In paradisum / Anonymous (1:18) — Columba aspexit / Hildegard of Bingen (3:52) — La dousa votz / Bernart de Ventadorn (2:09) — Alleluia. Diffusa est gratia / Pérotin (3:38) — Sumer is icumen in / Anonymous (1:51) — Dame, de qui toute ma joie vient (excerpt) / Machaut (2:06) — Ave maris stella / Dufay (3:50) — Pange lingua mass. Kyrie (3:04) from the Gloria (2:14) / Josquin — Mille regrets / Josquin (1:54) — Pope Marcellus Mass, from the Gloria / Palestrina (3:35) — As Vesta was from Latmos Hill descending / Weelkes (3:12) — Daphne / Anonymous (3:13) — Kemp’s jig / Anonymous (1:43) — O magnum mysterium / Gabrieli (3:07) — The coronation of Poppea, from Act I. Tornerai? (2:18) Speranza, tu mi vai (1:33) / Monteverdi — Dido and Aeneas, from Act III. Thy hand, Belinda When I am laid (4:01) With drooping wings (2:22) / Purcell — Canzona (1:17) Balletto (0:48) and Corrente (0:57) / Frescobaldi — Violin concerto in G, op. 4, no. 12. I-II / Vivaldi (5:45) — Violin concerto in E, Spring, op. 8, no. 1. I (3:20) / Vivaldi — The well-tempered clavier. Book 1. Prelude in C major (2:22) Fugue in C major (1:55) / Bach — Qur’anic recitation, Ya sin (2:00) — Hawai’ian chant, mele pule (1:10) — Navajo song, K’adnikini’ya (1:23) — Inca processional music, Hanaq pachap kusikuynin (1:19) — Gambian minstrel song, Laminba (2:47) — Pygmy polyphony, Elephant-hunt song (2:49).
• Disc 2: Brandenburg concerto no. 5, I / Bach (9:44) — Minuet from the Royal fireworks music / Handel (1:45) — Gigue from cello suite no. 2 in D minor / Bach (2:30) — Julius Caesar. La giustizia / Handel (4:15) — Messiah. There were shepherds Glory to God (3:48) Hallelujah chorus (3:37) / Handel — Cantata no. 4, Christ lag in Todesbanden (stanzas 3, 4, and 7) / Bach (5:16) — Symphony no. 40 in G minor, K. 550, I / Mozart (8:14) — Symphony no. 94 in G ( The surprise ), II / Haydn (6:50) — Symphony no. 99 in E-flat, III / Haydn (5:17) — Symphony no. 101 in D ( The clock ), IV / Haydn (4:37) — Piano concerto no. 23 in A, K. 488, I / Mozart (11:42) — Don Giovanni, from Act I, scene iii. Ho capito (1:36) Alfin siam liberati (1:48) Là ci darem la mano (3:11) / Mozart — Piano sonata in E, op. 109, I / Beethoven (4:04).
• Disc 3: Symphony no. 5 in C minor, op. 67. I II III IV / Beethoven (31:31) — Erlkönig / Schubert (4:02) — Dichterliebe. Im wunderschönen Monat Mai (1:49) Die alten, bösen Lieder (4:09) / R. Schumann — Der Mond kommt still gegangen / C. Schumann (2:11) — Moment musical no. 2 in A-flat / Schubert (6:20) — Carnaval. Eusebius (1:52) Florestan (1:04) / R. Schumann — Nocturne in F-sharp, op. 15, no. 2 / Chopin (3:31) — Fantastic symphony, V / Berlioz (10:02) — Japanese gagaku, Etenraku (8:06) — Balinese gamelan, Bopong (4:33).
• Disc 4: Rigoletto, from Act III, scene i. La donna è mobile (3:04) Bella figlia dell’amore (4:42) / Verdi — The Valkyrie, Act I, scene i / Wagner (13:18) — Madame Butterfly, from Act II, Un bel di / Puccini (4:47) — Romeo and Juliet, Overture-fantasy / Tchaikovsky (20:30) — Pictures at an exhibition. Promenade [1] Gnomus Promenade [2] The great gate at Kiev / Musorgsky (11:41) — Violin concerto in D, III / Brahms (7:45) — Symphony no. 1, III, Funeral march / Mahler (10:23) — Beijing opera, The prince who changed into a cat (2:18).
• Disc 5: Clouds, from Three nocturnes / Debussy (7:03) — The rite of spring, from Part I, The adoration of the earth / Stravinsky (10:45) — Pierrot lunaire. No. 8, Night (2:16) No. 18, The moonfleck (1:12) / Schoenberg — Wozzeck, Act III, scenes iii and iv / Berg (12:06) — Second orchestral set, II, The rockstrewn hills join in the people’s outdoor meeting / Ives (4:47) — Piano concerto in G, I / Ravel (8:15) — Music for strings, percussion, and celesta, II / Bartók (7:00) — Prelude for piano no. 6 / Crawford (2:44) — Afro-American symphony, IV / Still (8:32) — Appalachian spring (sections 1, 2, 5, and 6) / Copland (12:28).
• Disc 6: The battle on ice from Alexander Nevsky cantata / Prokofiev (5:22) — Five orchestral pieces, IV / Webern (0:30) — Poème électronique (excerpt) / Varèse (3:23) — Lux aeterna / Ligeti (7:54) — Music for 18 musicians (excerpt) / Reich (8:38) — Voices from a forgotten world. House of the rising sun (4:33) Hallelujah, I’m a bum! (2:56) / Crumb — Indígena / León (8:26) — If you ever been down blues / Thomas (3:04) — Conga brava / Ellington/Tizol (2:59) — Out of nowhere / Parker/Davis (3:21) — Bitches brew (excerpt) / Davis (4:00) — West side story. Dance at gym : meeting scene (2:09) Cool (4:24) / Bernstein — Yoruba drumming, Ako (2:47) — South African popular song, Anoku Gonda (2:53).

Subjects:

• Music appreciation.

Requested by Klemp, M.

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Notes:

• Includes index.

Subjects:

• Music appreciation.

Requested by Klemp, M.

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Notes:

• Includes bibliographical references (p. 219-220) and index.
• pt. 1. Fundamentals — Posture, breathing, and support — Embouchure and other matters of tone production — Finger facility — Articulation — Expression — Practice — Extended techniques.
• pt. 2. Reed making. Reed construction — Reed evaluation and adjustment.
• pt. 3. Equipment and its care. Instrument selection, care, and adjustment — Selection and care of tools and equipment.
• pt. 4. Professional and performance considerations. Professional behavior and deportment — Career development.
• Appendix 1. Thoughts for the complete beginner — Appendix 2. Fingering chart for oboe and English horn — Appendix 3. Trill fingering chart for oboe and English horn.

Subjects:

• Oboe — Instruction and study.

Requested by Klemp, M.

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Part of the series Yehudi Menuhin music guides;Yehudi Menuhin music guides.
Notes:

• Includes bibliographical references and index.

Subjects:

• Bassoon — Instruction and study.

Requested by Klemp, M.