Band Expressions Book One Student Edition

Orchestra Expressions(tm) provides music educators at all levels with easy-to-use, exciting tools to meet daily classroom challenges and bring new vibrancy and depth to teaching music. The lessons were written based on the National Standards for the Arts in Music -- not retro-fitted to the Standards. The program is music literacy-based and satisfies reading and writing mandates in orchestra class. The pedagogy involves a "four-fingers-down" start for every instrument and separate but simultaneous development of both hands. Each student book features an attractive full-color interior with easy-to-read notes and includes: -A 59-track accompaniment CD that covers Units 1-15 (a second CD covering Units 16-33 is available separately, individually as item 00-EMCO2006CD or in a 25-pack as item 00-EMCO2007CD) -Historical notes on some of the most notable composers of orchestral music -A thorough glossary of musical terms -Scales and warm-up exercises Future reprints may be printed with black and white interiors. This title is available in SmartMusic.

Orchestra Expressions(tm) provides music educators at all levels with easy-to-use, exciting tools to meet daily classroom challenges and bring new vibrancy and depth to teaching music. The lessons were written based on the National Standards for the Arts in Music -- not retro-fitted to the Standards. The program is music literacy-based and satisfies reading and writing mandates in orchestra class. The pedagogy involves a four-fingers-down" start for every instrument, separate but simultaneous development of both hands, and beginning the bass in III position to develop early shifting. CD 2 for Book 2 covers Units 16-33. This title is available in MakeMusic Cloud."

Solo Expressions for the Beginning Percussionist is a sequential introduction of skills, techniques and knowledge through the performance of 40 solos for the percussionist. It begins at a novice level and gradually progresses through each solo to develop individual and ensemble skills. The play-along CD includes all solos and an introduction track for each that allows the player to experience the meter, volume, tempo and style before they begin to play.

Expression and truth are traditional opposites in Western thought: expression supposedly refers to states of mind, truth to states of affairs. Expression and Truth rejects this opposition and proposes fluid new models of expression, truth, and knowledge with broad application to the humanities. These models derive from five theses that connect expression to description, cognition, the presence and absence of speech, and the conjunction of address and reply. The theses are linked by a concentration on musical expression, regarded as the ideal case of expression in general, and by fresh readings of Ludwig Wittgenstein’s scattered but important remarks about music. The result is a new conception of expression as a primary means of knowing, acting on, and forming the world. "Recent years have seen the return of the claim that music’s power resides in its ineffability. In Expression and Truth, Lawrence Kramer presents his most elaborate response to this claim. Drawing on philosophers such as Wittgenstein and on close analyses of nineteenth-century compositions, Kramer demonstrates how music operates as a medium for articulating cultural meanings and that music matters too profoundly to be cordoned off from the kinds of critical readings typically brought to the other arts. A tour-de-force by one of musicology’s most influential thinkers."—Susan McClary, Desire and Pleasure in Seventeenth-Century Music.

David McGill has assembled an exhaustive study that uses the musical concepts of the legendary Marcel Tabuteau as a starting point from which to develop musical thought. McGill methodically explains the frequently misunderstood ""Tabuteau number system"" and its relationship to note grouping-the lifeblood of music. The controversial issue of baroque performance practice is also addressed. Instrumentalists and vocalists alike will find that many of the ideas presented in this book will help develop their musicianship as well as their understanding of what makes a performance ""musical.""

(Meredith Music Resource). Fully explains through musical example, the concept of expressive musicianship as taught by Anton Horner, William Kincaid and Marcel Tabuteau. This book clearly illustrates how to teach students to play or sing with expression, musicianship and style and will help to make your performances "come alive".

Winner of the 2007 National Book Critics Circle Award for Criticism A New York Times Book Review Top Ten Book of the Year Time magazine Top Ten Nonfiction Book of 2007 Newsweek Favorite Books of 2007 A Washington Post Book World Best Book of 2007 In this sweeping and dramatic narrative, Alex Ross, music critic for The New Yorker, weaves together the histories of the twentieth century and its music, from Vienna before the First World War to Paris in the twenties; from Hitler's Germany and Stalin's Russia to downtown New York in the sixties and seventies up to the present. Taking readers into the labyrinth of modern style, Ross draws revelatory connections between the century's most influential composers and the wider culture. The Rest Is Noise is an astonishing history of the twentieth century as told through its music.

A new theory of aesthetics and music, grounded in the collision between language and the body. In this book, Tim Hodgkinson proposes a theory of aesthetics and music grounded in the boundary between nature and culture within the human being. His analysis discards the conventional idea of the human being as an integrated whole in favor of a rich and complex field in which incompatible kinds of information—biological and cultural—collide. It is only when we acknowledge the clash of body and language within human identity that we can understand how art brings forth the special form of subjectivity potentially present in aesthetic experiences. As a young musician, Hodgkinson realized that music was, in some mysterious way, “of itself”—not isolated from life, but not entirely continuous with it, either. Drawing on his experiences as a musician, composer, and anthropologist, Hodgkinson shows how when we listen to music a new subjectivity comes to life in ourselves. The normal mode of agency is suspended, and the subjectivity inscribed in the music comes toward us as a formative “other” to engage with. But this is not our reproduction of the composer's own subjectivation; when we perform our listening of the music, we are sharing the formative risks taken by its maker. To examine this in practice, Hodgkinson looks at the work of three composers who have each claimed to stimulate a new way of listening: Pierre Schaeffer, John Cage, and Helmut Lachenmann.

Learning was never so much fun! If you're looking for a revolutionary band curriculum that builds solid musicianship while motivating your students to practice throughout the year, then you've found it! This full band curriculum is sound in its pedagogy, written by leading young band composers and educators, including Robert W. Smith and Michael Story. The integration of important songs from the band world, that are both familiar and fun to play, is one of the stellar aspects of this course. Throughout the book, students experience music from a veritable who's who list of great band composers. They'll discover the musical contributions of Percy Grainger, Gustav Holst, Aaron Copland, George Gershwin, Duke Ellington, John Williams and John Philip Sousa as well as classical composers. Some of the notable features include: A wonderful variety of melodies that span various styles and periods, including many popular themes students will know: -A 96-track CD in each student