The Conservatory

The Conservatory celebrates the history, technology, and architectural majesty of these light-filled structures

Amid enormous changes in higher education, audience and music listener preferences, and the relevant career marketplace, music faculty are increasingly aware of the need to reimagine classical music performance training for current and future students. But how can faculty and administrators, under urgent pressure to act, be certain that their changes are effective, strategic, and beneficial for students and institutions? In this provocative yet measured book, Michael Stepniak and Peter Sirotin address these questions with perspectives rooted in extensive experience as musicians, educators, and arts leaders. Building on a multidimensional analysis of core issues and drawing upon interviews with leaders from across the performing arts and higher education music fields, Stepniak and Sirotin scrutinize arguments for and against radical change, illuminating areas of unavoidable challenge as well as areas of possibility and hope. An essential read for education leaders contemplating how classical music can continue to thrive within American higher education.

A complete pedagogical method for students of trumpet and cornet, this "brass bible" contains hundreds of exercises from basics to advanced. Includes the author's famous arrangement of Carnival in Venice.

NOVUS VIA MUSIC GROUP

Like Ted Dalbottens previous books, Winterreise and Triptych a Mystery (Part I, The Painting) which among other material dealt with various aspects of both the performing and non performing arts, the present volume aside from its examination of the human condition concerns itself particularly with musical matters, though not only performing issues. Since music has been the predominant activity of the author now in his eighty fourth year it was almost inevitable he would eventually seek to explore this aspect of his life in some extended fictional form and in some depth. Aside from his work as both dance and vocal accompanist, for the last twenty four years he has been involved in a small group calling themselves Two Piano- Eight, which meet regularly and of which he is one of the founding members. Their activity is reading through arrangements of mainly orchestral and chamber works for two pianos, eight hands to which he has contributed over seventy five of his own transcriptions of both large and smaller works.

Book 4 includes the use of triad inversions in sight-reading exercises, clapping exercises notated as melodies, key signatures of up to four sharps and flats, and 6/8 meter.