From Studio To Stage

The repertoire files of the late Dr. Barbara Doscher, in which she noted her tips, observations on each particular piece, and notes on how to best teach it, comprise a unique trove of wisdom unmatched by any other source. Laboriously transcribed and annotated by John Nix, one of Doscher's students, the notes are presented here as a companion volume to her best-selling text, The Functional Unity of the Singing Voice. Entries are divided by broad category (art song, arias, folk songs, oratorio, musicals, etc.) and are arranged by song title. Each entry includes author, poet or librettist, key(s) available, ranges (for each key), tessitura, difficulty level, voice types, comments, a summary of the text, and notes as to genre, language, and editions available. Five comprehensive indexes facilitate searching. As a guide to selecting vocal repertoire, this book's practical and sometimes colorful comments on each song or aria will assist the vocal instructor in matching the student's ability and range to the appropriate piece. This distillation of Barbara Doscher's many years of experience in the teaching studio is a necessary addition to any vocal instructor's collection, as well as a valuable resource for the individual singer.

The late Doscher was a singing teacher at the U. of Colorado-Boulder. This volume compiles the note cards on songs and arias that she composed in order to aid her teaching. The entries are broadly organized by type of piece, with notes on difficulty, author, keys available, ranges, tessitura, voice types, and other comments included. Five indexes allow readers to find compositions by composer, lyricist, title, range, and difficulty level. Annotation copyrighted by Book News, Inc., Portland, OR

Award for Best Research in the Field of Record Labels or Manufacturers from the Association for Recorded Sound CollectionsWinner of the Kenneth W. Baldridge Prize from the Phi Alpha Theta Honor Society, Hawaii Region Between the late nineteenth and mid-twentieth century, technology transformed the entertainment industry as much as it did such heavy industries as coal and steel. Among those most directly affected were musicians, who had to adapt to successive inventions and refinements in audio technology—from wax cylinders and gramophones to radio and sound films. In this groundbreaking study, James P. Kraft explores the intersection of sound technology, corporate power, and artistic labor during this disruptive period. Kraft begins in the late nineteenth century's "golden age" of musicians, when demand for skilled instrumentalists often exceeded supply, analyzing the conflicts in concert halls, nightclubs, recording studios, radio stations, and Hollywood studios as musicians began to compete not only against their local counterparts but also against highly skilled workers in national "entertainment factories." Kraft offers an illuminating case study in the impact of technology on industry and society—and a provocative chapter in the cultural history of America.

An expanded, updated, and improved second edition of an essential book for aspiring teacher-musicians. Whether serving on the faculty at a university, maintaining a class of private students, or fulfilling an invitation as guest artist in a master class series, virtually all musicians will teach during their careers. From the Stage to the Studio speaks directly to the performing musician, highlighting the significant advantages of becoming distinguished both as a performer and a pedagogue. Drawing on over sixty years of combined experience, authors Cornelia Watkins and Laurie Scott provide the guidance and information necessary for any musician to translate their individual approach into productive and rewarding teacher-student interactions. Premised on the synergistic relationship between teaching and performing, this book provides a structure for clarifying the essential elements of musical artistry, and connects them to such tangible situations as setting up a studio, teaching a master class, interviewing for a job, judging competitions, and recruiting students. From the Stage to the Studio serves as an essential resource for university studio faculty, music pedagogy teachers, college music majors, and professionals looking to add effective teaching to their artistic repertoire. This second edition provides readers useful tools for understanding current and ever-changing neurological and behavioral studies of music practice. This edition also features best practice recommendations for online teaching in both individual and ensemble settings, as well as new sections featuring financial advice for independent musicians and self-employed studio teachers. Beyond this, the authors have added practical tips on essential writing and language skills for teaching, planning, self-promotion, job applications, and advocacy. They have also revised the book's discussion of additional training and certification requirements for teaching positions, and provided updated information on professional music teaching associations. Bringing it all together is the second edition's larger format, ideal for including readers' written responses, plus a new user-friendly, worksheet-style grid for cross-referencing sequenced instruction with a variety of learning approaches.

The Physical Actor is a comprehensive book of exercises for actors. It is carefully designed for the development of a strong and flexible physical body able to move with ease through space and interact instinctively on-stage. Annie Loui draws on her training with Etienne Decroux, Carolyn Carlson, and Jerzy Grotowski to bring Contact Improvisation into the theatrical sphere. She explains how it can be used to develop alert and embodied listening skills in the actor, and how to apply it to working with texts on stage. This book will guide the reader through a full course of movement skills, including: Partnering skills Spatial awareness for groups and individuals Fine motor control through mime Heightened co-ordination and sustained motion New for this edition are additional partnering exercises, in-depth applications of contact improvisation to monologues and scenes, and a chapter on devising physical theatre performances.

"The fact is, you will teach." from the Foreword by Stephen Clapp, Dean Emeritus, The Julliard School. Whether serving on the faculty at a university, maintaining a class of private students, or fulfilling an invitation as guest artist in a master class series, virtually all musicians will teach during their careers. From the Stage to the Studio speaks directly to the performing musician, highlighting the significant advantages of becoming distinguished both as a performer and a pedagogue. Drawing on over sixty years of combined experience, authors Cornelia Watkins and Laurie Scott provide the guidance and information necessary for any musician to translate his or her individual approach into productive and rewarding teacher-student interactions. Premised on the synergistic relationship between teaching and performing, this book provides a structure for clarifying the essential elements of musical artistry, and connects them to such tangible situations as setting up a studio, teaching a master class, interviewing for a job, judging competitions, and recruiting students. From the Stage to the Studio serves as an essential resource for university studio faculty, music pedagogy teachers, college music majors, and professionals looking to add effective teaching to their artistic repertoire.