Music Buff

Offering a brand new approach to teaching music in the primary classroom, Teaching Music Creatively provides training and qualified teachers with a comprehensive understanding of how to effectively deliver a creative music curriculum. Exploring research-informed teaching ideas, diverse practices and approaches to music teaching, the authors offer well-tested strategies for developing children’s musical creativity, knowledge, skills and understanding. With ground-breaking contributions from international experts in the field, this book presents a unique set of perspectives on music teaching. Key topics covered include: Creative teaching, and what it means to teach creatively; Composition, listening and notation; Spontaneous music-making; Group music and performance; The use of multimedia; Integration of music into the wider curriculum; Musical play; Cultural diversity; Assessment and planning. Packed with practical, innovative ideas for teaching music in a lively and creative way, together with the theory and background necessary to develop a comprehensive understanding of creative teaching methods, Teaching Music Creatively is an invaluable resource for undergraduate and postgraduate students in initial teacher training, practising teachers, and undergraduate students of music and education.

A study of American popular music, focusing on genre and cultural contexts. Individual chapters treat particular artists and the different genres and styles that they exemplify. Copyright © Libri GmbH. All rights reserved.

Research in the 20th and 21st centuries into historical performance practice has changed not just the way performers approach music of the 17th and 18th centuries but, eventually, the way audiences listen to it. This volume, beginning with a 1915 Saint-Sa lecture on the performance of old music, sets out to capture musicological discussion that has actually changed the way Baroque music can sound. The articles deal with historical instruments, pitch, tuning, temperament, the nexus between technique and style, vibrato, the performance implications of musical scores, and some of the vexed questions relating to rhythmic alteration. It closes with a section on the musicological challenges to the ideology of the early music movement mounted (principally) in the 1990s. Leading writers on historical performance practice are represented. Recognizing that significant developments in historically-inspired performance have been led by instrument makers and performers, the volume also contains representative essays by key practitioners.

The Must-Have Guide for Breaking into the Music Business Completely revised and updated for the twenty-first century, The Music Business provides essential career advice and information on how to get started and advance in all areas of the music industry—from an author who’s had careers in music as an artist and professor for more than two decades. This comprehensive volume gives you guidance and information on: • Starting your music career • The ins and outs of recording contracts • Record producing and music engineering • The distribution and sale of records • The Internet and MP3s, and their effects on the music industry • The latest computer programs • Copyright law • Composing music and songwriting • Music education • The international music industry • And much more . . . The Music Business is an indispensable reference for anyone who wants to begin a career in any of the industry’s facets, as well as an invaluable aid to professional and would-be professional musicians alike.

Music is an accumulation of mediators: instruments, languages, sheets, performers, scenes, media and so on. There is no musical object in itself; music must always be made again. In this innovative book, Hennion turns the elusiveness of music into a resource for a pragmatic analysis: by which collective process do we make music appear among us? Rather than offering a sociology of music, The Passion for Music listens to the lesson provided by the case of music - this art of infinite mediations. Learning from music allows us to transform the paradigm to be offered by sociology, by confronting it (from Durkheim and Weber to Bourdieu) with a different way of considering objects. For this task, Hennion draws on aesthetics (Adorno) and art history (Haskell, Baxandall), as well as science and technology studies and popular music studies (Latour, Frith, DeNora). As part of that project, The Passion for Music presents a wide-ranging series of case studies, restoring attention to the rich and varied intermediaries through which music is brought to life: from the debate around the reinterpretation of baroque music, to the classroom, the rock scene, the classical music concert, Bachs social career in the nineteenth and twentieth centuries, and the practices of music amateurs today. This is the first English translation of one of the most important works of French scholarship on music and society.

Can music feel pain? Do songs possess dignity? Do symphonies have rights? Of course not, you might say. Yet think of how we anthropomorphize music, not least when we believe it has been somehow mistreated. A singer butchered or mangled the "Star-Spangled Banner" at the Super Bowl. An underrehearsed cover band made a mockery of Led Zeppelin's classics. An orchestra didn't quite do justice to Mozart's Requiem. Such lively language upholds music as a sentient companion susceptible to injury and in need of fierce protection. There's nothing wrong with the human instinct to safeguard beloved music . . . except, perhaps, when this instinct leads us to hurt or neglect fellow human beings in turn: say, by heaping outsized shame upon those who seem to do music wrong; or by rushing to defend a conductor's beautiful recordings while failing to defend the multiple victims who have accused this maestro of sexual assault. Loving Music Till It Hurts is a capacious exploration of how people's head-over-heels attachments to music can variously align or conflict with agendas of social justice. How do we respond when loving music and loving people appear to clash?