School Of Music Programs

Co-published by MENC: The National Association for Music Education

Voice Studies brings together leading international scholars and practitioners, to re-examine what voice is, what voice does, and what we mean by "voice studies" in the process and experience of performance. This dynamic and interdisciplinary publication draws on a broad range of approaches, from composing and voice teaching through to psychoanalysis and philosophy, including: voice training from the Alexander Technique to practice-as-research; operatic and extended voices in early baroque and contemporary underwater singing; voices across cultures, from site-specific choral performance in Kentish mines and Australian sound art, to the laments of Kraho Indians, Korean pansori and Javanese wayang; voice, embodiment and gender in Robertson’s 1798 production of Phantasmagoria, Cathy Berberian radio show, and Romeo Castellucci’s theatre; perceiving voice as a composer, listener, or as eavesdropper; voice, technology and mobile apps. With contributions spanning six continents, the volume considers the processes of teaching or writing for voice, the performance of voice in theatre, live art, music, and on recordings, and the experience of voice in acoustic perception and research. It concludes with a multifaceted series of short provocations that simply revisit the core question of the whole volume: what is voice studies?

Building Strong Music Programs uniquely focuses on music programs in the public school community, providing strategies and tools for developing a vibrant music program and building community support. Covering relationships with colleagues, parents, staff, administrators, and the community at large, Charlene Ryan also provides tactics for developing courses, performances, and publicity to enhance your program. Build a repertoire of tried-and-true strategies covering curriculum, classroom management, special needs, concerts, assessment, budget, and more that are based on years of teaching at all levels. While program building is an essential, time-consuming part of every music teacher's job, students are rarely prepared for it. The questions for discussion and student assignments make this an excellent choice for preservice teacher training courses. Ryan covers issues important to student teachers, new teachers, teachers changing schools, and teachers looking to rejuvenate their existing programs. From student trips to music software to district ensembles to advocacy to entry-level instrumental courses, Ryan covers it all in this comprehensive handbook.

Community Music at the Boundaries examines how music enhances the lives of those living in what might be considered marginalized settings. Built on foundational principles of community music, the volume addresses music and accessibility, health, justice and the prison system, faith, and education, by contributors from more than ten countries.

From amateur collegiate a cappella groups to professional ensembles like Straight No Chaser and Pentatonix, contemporary a cappella has exploded onto the world pop music scene. In So You Want to Sing A Cappella, Deke Sharon combines historical context and a comprehensive look at the a cappella community with a detailed discussion of vocal techniques, rehearsal practices, and live audio support needed to sing great a cappella. Additional contributed chapters discuss singing and voice science, vocal health, vocal percussion, and audio technology. The So You Want to Sing series is produced in partnership with the National Association of Teachers of Singing, and each book features online supplemental material on the NATS website. Please visit www.nats.org to access style-specific exercises, audio and video files, and additional resources.

Judith Nasby, founding director and curator of the Macdonald Stewart Art Centre, animates the story of the gallery from its humble beginnings in the hallways of a university campus in 1916 to its latest incarnation as the internationally recognized Art Gallery of Guelph. The book is beautifully illustrated with eighty images of artworks in the permanent collection, beginning with the gallery's first acquisition, Tom Thomson's 1917 masterpiece The Drive, the last large canvas he painted before his tragic death. As curator, Nasby oversaw the creation of one of the most comprehensive sculpture parks in Canada and the amassing of a permanent collection of some nine thousand artworks. In The Making of a Museum Nasby reveals how the museum developed its internationally recognized collection of contemporary Inuit drawings and wall hangings that toured four continents. She discusses the development of the collection's specializations in contemporary works by Canadian silversmiths; historical European etchings; Woodland and Northeastern Indigenous beadwork; and others that arose from curatorial collaborations, such as molas by Kuna women artists from Panama and contemporary paintings and indigenous woodcuts from Chongqing, China. Nasby recounts her long career as founding director and curator, peppering the hundred-year history of cultural development on the University of Guelph campus and in the city with humorous anecdotes and personal insights to reveal how arts institutions can be created through dedication, serendipity, and perseverance.

Offers a state-by-state listing of over 900 college and university music programs.