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World Music Pedagogy, Volume II: Elementary Music Education (Routledge World Music Pedagogy Series)
by J. Christopher Roberts Amy C. BeegleWorld Music Pedagogy, Volume II: Elementary Music Education delves into the theory and practices of World Music Pedagogy with children in grades 1-6 (ages 6-12). It specifically addresses how World Music Pedagogy applies to the characteristic learning needs of elementary school children: this stage of a child’s development—when minds are opening up to broader perspectives on the world—presents opportunities to develop meaningful multicultural understanding alongside musical knowledge and skills that can last a lifetime. This book is not simply a collection of case studies but rather one that offers theory and practical ideas for teaching world music to children. Classroom scenarios, along with teaching and learning experiences, are presented within the frame of World Music Pedagogy. Ethnomusicological issues of authenticity, representation, and context are addressed and illustrated, supporting the ultimate goal of helping children better understand their world through music.
World Music Pedagogy, Volume III: Secondary School Innovations (Routledge World Music Pedagogy Series)
by Karen Howard Jamey KelleyWorld Music Pedagogy, Volume III: Secondary School Innovations provides a rationale and a resource for the implementation of World Music Pedagogy in middle and high school music classes, grades 7–12 (ages 13–18). Such classes include secondary general music, piano, guitar, songwriting, composition/improvisation, popular music, world music, music technology, music production, music history, and music theory courses. This book is not a depository of ready-made lesson plans but rather a tool to help middle and high school teachers to think globally in the music classroom. Strategies and techniques of World Music Pedagogy are promoted by discussions of a multicultural music education, descriptive vignettes of realistic teaching environments, conversations with culture-bearers/pedagogues, and prompts for self-reflection. This volume approaches important issues of multicultural education and social justice that are often neglected in music education texts—proving to be a valuable resource for both nascent music educators and veteran practitioners alike.
World Music Pedagogy, Volume IV: Instrumental Music Education (Routledge World Music Pedagogy Series)
by Mark Montemayor William J. Coppola Christopher MenaWorld Music Pedagogy, Volume IV: Instrumental Music Education provides the perspectives and resources to help music educators craft world-inclusive instrumental music programs in their teaching practices. Given that school instrumental music programs—concert bands, symphony orchestras, and related ensembles—have borne musical traditions that broadly reflect Western art music and military bands, instructors are often educated within the European conservatory framework. Yet a culturally diverse and inclusive music pedagogy can enrich, expand, and transform these instrumental music programs to great effect. Drawing from years of experience as practicing music educators and band and orchestra leaders, the authors present a vision characterized by both real-world applicability and a great depth of perspective. Lesson plans, rehearsal strategies, and vignettes from practicing teachers constitute valuable resources. With carefully tuned ears to intellectual currents throughout the broader music education community, World Music Pedagogy, Volume IV provides readers with practical approaches and strategies for creating world-inclusive instrumental music programs.
World Music Pedagogy, Volume IV: Teaching World Music In Higher Education (Routledge World Music Pedagogy Series)
by Mark Montemayor William Coppola Christopher MenaWorld Music Pedagogy, Volume IV: Instrumental Music Education provides the perspectives and resources to help music educators craft world-inclusive instrumental music programs in their teaching practices. Given that school instrumental music programs—concert bands, symphony orchestras, and related ensembles—have borne musical traditions that broadly reflect Western art music and military bands, instructors are often educated within the European conservatory framework. Yet a culturally diverse and inclusive music pedagogy can enrich, expand, and transform these instrumental music programs to great effect.Drawing from years of experience as practicing music educators and band and orchestra leaders, the authors present a vision characterized by both real-world applicability and a great depth of perspective. Lesson plans, rehearsal strategies, and vignettes from practicing teachers constitute valuable resources. With carefully tuned ears to intellectual currents throughout the broader music education community, World Music Pedagogy, Volume IV provides readers with practical approaches and strategies for creating world-inclusive instrumental music programs.
World Music Pedagogy, Volume V: Choral Music Education (Routledge World Music Pedagogy Series)
by Sarah J. BartolomeWorld Music Pedagogy, Volume V: Choral Music Education explores specific applications of the World Music Pedagogy process to choral music education in elementary, middle, and high school contexts, as well as within community settings. The text provides clear and accessible information to help choral music educators select, rehearse, and perform a diverse global repertoire. It also guides directors in creating a rich cultural context for learners, emphasizing listening, moving, and playing activities as meaningful music-making experiences. Commentary on quality, commercially available world music repertoire bridges the gap between the philosophy of World Music Pedagogy and the realities of the performance-based choral classroom. All chapters open with a series of vignettes that illuminate the variety of possibilities within multiple K-12 contexts, providing the reader with a sense of how the ideas presented might look "on the ground." Ready-to-integrate activities serve as concrete and pedagogically sound examples to guide directors as they develop their own instructional materials according to the needs of their choir. Content features choral and vocal music-making traditions from South and West Africa; Latin America; Southeast, East, and South Asia; the Pacific Islands; Australia; New Zealand; Scandinavia; and the Baltics.
World Music Pedagogy, Volume VI: School-community Intersections (Routledge World Music Pedagogy Series)
by Patricia Shehan Campbell Chee Hoo LumWorld Music Pedagogy, Volume VI: School-Community Intersections provides students with a resource for delving into the meaning of "world music" across a broad array of community contexts and develops the multiple meanings of community relative to teaching and learning music of global and local cultures. It clarifies the critical need for teachers to work in tandem with community musicians and artists in order to bridge the unnecessary gulf that often separates school music from the music of the world beyond school and to consider the potential for genuine collaborations across this gulf. The five-layered features of World Music Pedagogy are specifically addressed in various school-community intersections, with attention to the collaboration of teachers with local community artist-musicians and with community musicians-at-a-distance who are available virtually. The authors acknowledge the multiple routes teachers are taking to enable and encourage music learning in community contexts, such as their work in after-school academies, museums and libraries, eldercare centers, places of worship, parks and recreation centers, and other venues in which adults and children gather to learn music, make music, and become convivial through music This volume suggests that the world’s musical cultures may be found locally, can be tapped virtually, and are important in considerations of music teaching and learning in schools and community contexts. Authors describe working artists and teachers, scenarios, vignettes, and teaching and learning experiences that happen in communities and that embrace the role of community musicians in schools, all of which will be presented with supporting theoretical frameworks.
World Music Pedagogy, Volume VII: Teaching World Music in Higher Education (Routledge World Music Pedagogy Series)
by William J. Coppola David G. Hebert Patricia Shehan CampbellWorld Music Pedagogy, Volume VII: Teaching World Music in Higher Education addresses a pedagogical pathway of varied strategies for teaching world music in higher education, offering concrete means for diversifying undergraduate studies through world music culture courses. While the first six volumes in this series have detailed theoretical and applied principles of World Music Pedagogy within K-12 public schools and broader communities, this seventh volume is chiefly concerned with infusing culture-rich musical experiences through world music courses at the tertiary level, presenting a compelling argument for the growing need for such perspectives and approaches. These chapters include discussions of the logical trajectories of the framework into world music courses, through which the authors seek to challenge the status quo of lecture-only academic courses in some college and university music programs. Unique to this series, each of these chapters illustrates practical procedures for incorporating the WMP framework into sample classes. However, this volume (like the rest of the series) is not a prescriptive "recipe book" of lesson plans. Rather, it seeks to enrich the conversation surrounding cultural diversity in music through philosophically-rooted, social justice-conscious, and practice-oriented perspectives.
World Music Pedagogy, Volume VII: Teaching World Music in Higher Education (Routledge World Music Pedagogy Series)
by William J. Coppola David G. Hebert Patricia Shehan CampbellWorld Music Pedagogy, Volume VII: Teaching World Music in Higher Education addresses a pedagogical pathway of varied strategies for teaching world music in higher education, offering concrete means for diversifying undergraduate studies through world music culture courses. While the first six volumes in this series have detailed theoretical and applied principles of World Music Pedagogy within K-12 public schools and broader communities, this seventh volume is chiefly concerned with infusing culture-rich musical experiences through world music courses at the tertiary level, presenting a compelling argument for the growing need for such perspectives and approaches.These chapters include discussions of the logical trajectories of the framework into world music courses, through which the authors seek to challenge the status quo of lecture-only academic courses in some college and university music programs. Unique to this series, each of these chapters illustrates practical procedures for incorporating the WMP framework into sample classes. However, this volume (like the rest of the series) is not a prescriptive "recipe book" of lesson plans. Rather, it seeks to enrich the conversation surrounding cultural diversity in music through philosophically-rooted, social justice-conscious, and practice-oriented perspectives.
The World of Ariana Grande: The Ultimate Unofficial Fan Guide Packed with Facts, Stats and Quizzes (The World Of #2)
by Catherine Saunders*THE ULTIMATE UNOFFICIAL ARIANA GRANDE FAN BOOK*Discover everything there is to know about Ariana Grande, pop icon, actress and star. Follow her amazing journey from moving to New York City to chase her dreams, to becoming a worldwide singing sensation and star of much-anticipated movie musical, Wicked.Uncover the secrets of Ariana Grande's biggest hits, amazing style and extraordinary world - from how she makes her award-winning pop songs and sells out arena tours, to creating her own amazing beauty line and starring on the big screen.Put your knowledge to the test with quick quizzes, impress your friends with the most amazing quotes, and discover record-breaking stellar stats and facts all about pop icon and star, Ariana Grande!*This book has not been authorised, licensed or endorsed by Ariana Grande, Universal Music Group or any associated company.Buy this book if you're looking for:- gifts for girls and boys aged 8, 9, 10, 11- a book that will inspire the biggest Ariana Grande and Wicked fans in your life- a book to get kids more interested in reading- a kid-favourite gift for birthdays, holidays or Christmas
The World of Henry Orient
by Nora Johnson"Two adolescent girls find companionship in each other as they follow the life of a concert pianist."
The World of Jerome Kern: A Biography
by David Ewen Jerome KernThe year was 1905, the name of the show was The Earl and the Girl, the hit tune was “How’d You Like to Spoon With Me?” and it started an unknown young songwriter named Jerome Kern on the road to success. Forty years and 1,000 songs later, at the time of his death, Jerome Kern was already a legend in Tin Pan Alley.Now the fantastic life story of this gentle little “music man” is told for the first time in a full-scale biography. David Ewen has painted a masterful portrait of Kern—the warm and ebullient human being, the creative genius whose melodies transformed America’s taste in popular music.Here is Kern the composer as seen through the eyes of his celebrated collaborators: Otto Harbach, Guy Bolton, Oscar Hammerstein II; as the creator of the memorable songs: “Who?”, “Look for the Silver Lining,” “Smoke Gets in Your Eyes,” and the one that had the composers themselves swooning—“Οl’ Man River.” Here, too, are the stories behind the great musicals of a glittering era: Sally, Roberta, Music in the Air, and, of course, Show Boat— the American classic that is perhaps Kern’s greatest monument.Interlaced throughout the book are warm glimpses of a successful man who enjoyed living and lived well: his youth in New York City and on the Continent, his marriage to Eva Leale, his days as friend and host to the famous of Broadway and Hollywood.Copiously illustrated with nostalgic photographs, THE WORLD OF JEROME KERN includes listings of Kern’s songs, as well as the Broadway productions and motion pictures for which he wrote the scores.
The World of Music
by Nicola Barber Mary MureIntroduces musical instruments and music from around the world and chronicles the history of music in the Western world from 1100 to the present.
The World Of Music
by David WilloughbyThe World of Music is a music listening book designed for the growing number of teachers who want to focus on listening to music as it exists in the real world of their students. Expanding the traditional repertoire used for music study, this popular text begins with American folk, religious, jazz, popular, and ethnic music before introducing some world music and concluding with a thorough overview of Western classical music. The approach captures the essence of each repertoire, and equips students to recognize different styles, appreciate their different functions, and possess a solid foundation for a lifetime of musical appreciation. The text also introduces students to the many styles of music currently enjoyed by people in the United States and helps them to appreciate the diverse roots of these styles. In addition, the text encourages its readers to appreciate different cultures around the world through an encounter with their music.
The World of Musical Comedy: The Story of the American Musical Story
by Stanley GreenThe world of musical comedy is a wonderful world of bright lights, gay costumes, and beautiful scenery. It is also an exciting world of frantic opening nights, of temperamental stars, and of last-minute changes; a world of fascination, glamour, and make-believe. Above all, however, it is a world of music.Because music is the primary ingredient of the musical stage, Stanley Green has told the story of the world of musical comedy through the careers of its most famous composers and lyricists. Of all the arts that pour into the creation of great musical comedy, music endures the longest. A good song is a good song whether it was written in 1900 or in 1960.Here are the stories of Victor Herbert, the king of the American operetta; of George M. Cohan, the Yankee Doodle Boy; and of Jerome Kern, whose Show Boat lifted the musical theatre to new heights. Here, also, are the stories of Irving Berlin, the untutored master of melody and lyrics; of George Gershwin, whose infectious rhythms thrilled the Twenties; of Rodgers and Hart and their youthful, daring musicals; of Cole Porter, whose world has always been compounded of elegance and sophistication; and of Schwartz and Dietz and their brilliant revues. Within these pages are also thrilling accounts of Rodgers and Hammerstein, the most successful and influential team in the history of the musical theatre; of the remarkably versatile Leonard Bernstein; of Lerner and Loewe and the fascinating story of how they wrote My Fair Lady; of the multi-talented Frank Loesser; and of all the other “music men” who are keeping the lights of Broadway bright.The World of Musical Comedy is the story of the group of men who have transformed the lowly song-and-dance show into America’s one truly indigenous art form. It is a book for every theatre-goer, ever’ music lover, and everyone who enjoys the excitement of the musical stage.
The World of William Byrd: Musicians, Merchants and Magnates
by John HarleyIn The World of William Byrd John Harley builds on his previous work, William Byrd: Gentleman of the Chapel Royal (Ashgate, 1997), in order to place the composer more clearly in his social context. He provides new information about Byrd's youthful musical training, and reveals how in his adult life his music emerged from a series of overlapping family, business and social networks. These networks and Byrd's navigation within and between them are examined, as are the lives of a number of the individuals comprising them.
World Within a Song: Music That Changed My Life and Life That Changed My Music
by Jeff TweedyAn exciting and heartening mix of memories, music, and inspiration from Wilco front man and New York Times bestselling author Jeff Tweedy, sharing fifty songs that changed his life, the real-life experiences behind each one, as well as what he’s learned about how music and life intertwine and enhance each other. <p><p> What makes us fall in love with a song? What makes us want to write our own songs? Do songs help? Do songs help us live better lives? And do the lives we live help us write better songs? <p><p> After two New York Times bestsellers that cemented and expanded his legacy as one of America’s best-loved performers and songwriters, Let’s Go (So We Can Get Back) and How to Write One Song, Jeff Tweedy is back with another disarming, beautiful, and inspirational book about why we listen to music, why we love songs, and how music can connect us to each other and to ourselves. <p><p>Featuring fifty songs that have both changed Jeff’s life and influenced his music—including songs by the Replacements, Mavis Staples, the Velvet Underground, Joni Mitchell, Otis Redding, Dolly Parton, and Billie Eilish—as well as Jeff’s “Rememories,” dream-like short pieces that related key moments from Jeff’s life, this book is a mix of the musical, the emotional, and the inspirational in the best possible way. <p> <b>New York Times Bestseller</b>
Worlds of Music
by Jeff Todd Titon Timothy J. Cooley David Locke Anne K. Rasmussen David B. Reck Christopher A. Scales John M. Schechter Jonathan P. J. Stock R. Anderson SuttonOpen yourself to a world of music with bestselling WORLDS OF MUSIC, Sixth Edition. The text presents an in-depth exploration of the world’s music cultures, with a new chapter on Native American music. Based on the authors’ fieldwork and expertise, the text’s case study approach gives you a true sense of both the music and the culture that created it.
Worlds of Sound: The Story of Smithsonian Folkways
by Richard CarlinA man, a microphone, and a dreamWhen he opened his tiny recording studio in New York in 1940, Moses Asch had a larger-than-life dream: To document and record all the sounds of his time. He created Folkways Records to achieve his goal, not just a record label but a statement that all sounds are equal and every voice deserves to be heard. The Folkways catalog grew to include a myriad of voices, from world- and roots-music to political speeches; the voices of contemporary poets and steam engines; folk singers Lead Belly and Woody Guthrie and jazz pianists Mary Lou Williams and James P. Johnson; Haitian vodoun singers and Javanese court musicians; deep-sea sounds and sounds from the outer ring of Earth's atmosphere. Until his death in 1986, Asch—with the help of collaborators ranging from the eccentric visionary Harry Smith to academic musicologists—created more than 2000 albums, a sound-scape of the contemporary world still unequalled in breadth and scope. Worlds of Sound documents this improbable journey. Along the way you'll meet:A young Pete Seeger, revolutionizing the world with his five-string banjo The amazing vocal ensembles of the Ituri PygmiesNorth American tree frogsElla Jenkins's children's musicLead Belly singing "The Midnight Special"The nueva canción of Suni Paz. Folkways became a part of the Smithsonian Institution's collections shortly after Asch's death. Today Smithsonian Folkways continues to make the "worlds of sound" Moe Asch first dreamed of 60 years ago available to all. The Folkways vision is expansive and all-inclusive, and Worlds of Sound advances its rich and lively spirit.
Worship Across the Racial Divide: Religious Music and the Multiracial Congregation
by Gerardo MartiMany scholars and church leaders believe that music and worship style are essential in stimulating diversity in congregations. Gerardo Marti draws on interviews with more than 170 congregational leaders and parishioners, as well as his experiences participating in worship services in a wide variety of Protestant, multiracial Southern Californian churches, to present this insightful study of the role of music in creating congregational diversity. <p><p>Worship across the Racial Divide offers a surprising conclusion: that there is no single style of worship or music that determines the likelihood of achieving a multiracial church. Far more important are the complex of practices of the worshipping community in the production and absorption of music. <p><p>Multiracial churches successfully diversify by stimulating unobtrusive means of interracial and interethnic relations; in fact, preparation for music apart from worship gatherings proves to be just as important as its performance during services. Marti shows that aside from and even in spite of the varying beliefs of attendees and church leaders, diversity happens because music and worship create practical spaces where cross-racial bonds are formed. <p><p>This groundbreaking book sheds light on how race affects worship in multiracial churches. It will allow a new understanding of the dynamics of such churches, and provide crucial aid to church leaders for avoiding the pitfalls that inadvertently widen the racial divide.
Worship and the World to Come: Exploring Christian Hope in Contemporary Worship (Dynamics of Christian Worship)
by Glenn PackiamChristians sing because we are people of hope. Yet our hope is unlike other kinds of hope. We are not optimists; nor are we escapists. Christian hope is uniquely shaped by the resurrection of Jesus Christ from the dead and by the promise of our own future resurrection. How is that hope both expressed and experienced in contemporary worship? In this volume in the Dynamics of Christian Worship series, pastor, theologian, and songwriter Glenn Packiam explores what Christians sing about when they sing about hope and what kind of hope they experience when they worship together. Through his analysis and reflection, we find that Christian worship is crucial to both the proclamation and the formation of Christian hope.
Worship in Song: A Biblical Approach to Music and Worship
by Scott AniolFew books have been written that carefully distinguish between secular music that we listen to every day, and sacred music, " Scott Aniol says. "After discussing some foundational matters, the first section considers how to make God-pleasing choices regarding the secular music we listen to, and the second deals more narrowly with sacred music. "Contending that much of the confusion about the music issue is primarily a theological misunderstanding, Aniol discusses such issues as what does Sola Scriptura really mean? the nature of biblical affections, the essence of biblical worship, and the purpose of music in the church. Cultural issues discussed include meaning in music, the nature of pop culture, and different kinds of emotion. Each chapter concludes with aids for discussion so that the book may be used in small groups and classrooms. Further resources are available at worshipinsongbook.com or at the website for Aniol's music and consulting ministry, religiousaffections.org.
Worship Leaders, We Are Not Rock Stars
by Stephen MillerWhy do you lead worship?Often the motives are mixed. You find yourself wanting to point people to Jesus but also feeling a desire to be noticed and praised, to make yourself the center of attention. Stephen Miller is the worship pastor for a large church of young, energetic Christians. He and his band record albums and lead worship for conferences all over the country. He knows the temptation to make himself the show, to pursue fame, to seek the applause of other people. And he has learned to want nothing to do with it. In this book, Miller exhorts his fellow worship leaders to make Jesus the center of all their efforts. He teaches how to do this with Scripture, teaching, prayer, story, and song. In all, Miller&’s call for worship leaders is to lead worship, whole-hearted and whole-minded exalting of God, rather than making a spectacle out of it. Worship Leaders, We&’re Not Rock Stars will encourage and challenge worship leaders by clarifying their purpose and identity, and by doing so will bless those they lead.
Worship Leaders, We Are Not Rock Stars
by Stephen MillerWhy do you lead worship?Often the motives are mixed. You find yourself wanting to point people to Jesus but also feeling a desire to be noticed and praised, to make yourself the center of attention. Stephen Miller is the worship pastor for a large church of young, energetic Christians. He and his band record albums and lead worship for conferences all over the country. He knows the temptation to make himself the show, to pursue fame, to seek the applause of other people. And he has learned to want nothing to do with it. In this book, Miller exhorts his fellow worship leaders to make Jesus the center of all their efforts. He teaches how to do this with Scripture, teaching, prayer, story, and song. In all, Miller&’s call for worship leaders is to lead worship, whole-hearted and whole-minded exalting of God, rather than making a spectacle out of it. Worship Leaders, We&’re Not Rock Stars will encourage and challenge worship leaders by clarifying their purpose and identity, and by doing so will bless those they lead.
Worship Through the Ages: How the Great Awakenings Shape Evangelical Worship
by Vernon M. Whaley Elmer L. TownsThrough the Ages provides a practical, historical and philosophical study of the Great Spiritual Awakenings as related to the worship of evangelicals around the globe. This is a fascinating story that reveals a unifying, unbroken thread of events whereby one can trace the development of worship practices through the ages. With each move of God came a change in the way people worshiped. <P><P>New paradigms were created, debated, accepted and passed on to the next generation. Narrative for this study is energized by telling "the story" of engaging personalities, influencers and movers and shakers. Emphasis is given to changes in worship practices from the Early Church, Reformation, the Great Awakenings, revival movements, large evangelistic crusades of the 1940s and 1950s, Jesus Movement, and the Praise and Worship movement. A chart tracing the development of worship from Genesis 4 to the twenty-first century is included.
The Worst Gig
by Jon Niccum"WORST GIG is Music Appreciation 225, taught by that cool professor everyone wanted to have beers with after class. One fun nugget after another. It was harder to close than my Twitter app."--Matthew James, McSweeney's "Tawdry tales of concert catastrophes!"--Buzzfeed "Musicians' 'Worst Gig' makes for best read ever."--Salon What is the worst show you've ever played? Sometimes the worst shows inspire the best stories. After hundreds of interviews with national headliners and beloved indie acts alike, entertainment journalist Jon Niccum has crafted a collection that chronicles the most embarrassing, most hilarious and most insane live show moments ever. THE WORST GIG features outrageous stories from stars such as Wilco, Def Leppard, Tenacious D, Rush, John Mayer, and The Sex Pistols. Be it nature's wrath, equipment breakdowns or even military intervention, get the wild scoop on what really happened, straight from the artists themselves.