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Books on the topic 'Activités musicales'

Author: Grafiati
Published: 4 June 2021
Last updated: 5 February 2022

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1

Fertier, André. Activités musicales pour détendre vos enfants. Paris: Ellébore, 1996.

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2

Poirier-Cox, Nathalie. À pas de loup !: Activités langagières et musicales : guide pédagogique. [S.l.]: Step by Step Productions, 2000.

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3

Takizawa, Tatsuko. Facets of musical activities in Singapore. [Singapore]: Dept. of Sociology, National University of Singapore, 1987.

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4

Pineau, Marion. Percevoir la musique: Une activité cognitive. Paris: L'Harmattan, 2001.

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5

Edge, Rhonda J. How to lead preschoolers in musical activities. Nashville: Convention Press, 1991.

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6

Amelia, Oldfield, ed. Pied Piper: Musical activities to develop basic skills. Cambridge: Cambridge University Press, 1991.

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7

Williams, Clare. Kitchen clutter!: Some musical activities with cross-curricular links. Birmingham: Curriculum Support Service, 1992.

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8

Show time!: Music, dance, and drama activities for kids. Chicago: Chicago Review Press, 2000.

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9

Nields, Nerissa. All together singing in the kitchen: The musical family. Boston: Trumpeter, 2011.

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10

Goodkin, Doug. Name games: Activities for rhythmic development. Miami, Fla: Warner Bros. Publications, 1998.

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11

Bance, Linda. Music for early learning: Songs and musical activities to support children's development. New York: Routledge, 2012.

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12

Jim, Widess, ed. Making gourd musical instruments. New York: Sterling Pub., 1999.

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13

Scott, Gloria Burnett. Musical games and activities: A collection of easy-to-play games and activities for the piano studio or music classroom. Chatham, N.Y: L. Roberts Music Pub., 1994.

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14

Sturgess, Dave Ramell. A green Christmas: An environmental musical for junior and middle schools. Woodford Green: International Music Publications, 1991.

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15

Adair-Hauser, Audrey J. Musical instruments and the voice: 50 ready to use activities for grades 3-9. West Nyack, N.Y: Parker Pub. Co., 1987.

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16

Schalkwijk, F. W. Music and people with developmental disabilities: Music therapy, remedial music making, and musical activities. London: Jessica Kingsley Publishers, 1994.

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17

Miller, Cristi Cary. Assessment in the music classroom: Practical tips and activities for measuring student progress. Milwaukee, WI: H. Leonard Corp., 2005.

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18

Adair-Hauser, Audrey J. Types of musical form and composition: 50 ready-to-use activities for grades 3-9. West Nyack, N.Y: Parker Pub. Co., 1987.

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19

Humphries, Pat. An uprising of hope: The songs and stories of emma's revolution. Berkeley, Calif: North Atlantic Books, 2009.

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20

Painter, William M. Musical story hours: Using music with storytelling and puppetry. Hamden, Conn: Library Professional Publications, 1989.

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21

Birkenshaw-Fleming, Lois. Come on everybody, let's sing!: Music activities for all children in regular, mainstreamed and special classes. Toronto: Gordon V. Thompson Music, 1989.

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22

George, Mary Gae. The art of movement: Creative activities for teaching and learning music. Miami, FL: Belwin Mills, 1992.

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23

Bartle, Jean Ashworth. A young singer's journey: An integrated approach to musical literacy. Chapel Hill, N.C: Hinshaw Music, 2006.

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24

Reid, Rob. Children's jukebox: A subject guide to musical recordings and programming ideas for songsters ages one to twelve. Chicago: American Library Association, 1995.

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25

Cohen, Richard Scott. The musical society community bands of Valencia, Spain: A global study of their administration, instrumentation, repertoire, and performance activities. Tutzing: Schneider, 2002.

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26

Reading and writing music: 50 ready-to-use activities for grades 3-9. West Nyack, N.Y: Parker Pub. Co., 1987.

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27

Fertier, André. Activités musicales pour détendre vos enfants. Ellebore Livre, 1998.

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28

Pace, Robert. Musical Games & Activities. Hal Leonard Corp, 1994.

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29

Musical Christmas: Activity. Egmont Childrens Books, 1998.

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30

Wolf, Stacy. Beyond Broadway. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190639525.001.0001.

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As a ubiquitous national performance form, musical theatre—an utterly American, unapologetically commercial, earnestly popular, middlebrow genre of art and entertainment—has astonishing staying power. Local productions cross economic, racial, and geographic divides, assuming the status of a national folk practice. Shows are handed down across generations, remarkable in a country with so few common cultural experiences. Artists and audiences learn the Broadway canon, absorb the musical’s conventions, and have a lot of fun in the process. “Broadway,” as a globally recognizable brand, maintains its status as musical theatre’s birthplace, but the form persists in American culture thanks to amateur productions at high schools, community theatres, afterschool programs, summer camps, and dinner theatres. Beyond Broadway illustrates the widespread presence and persistence of musical theatre in US culture and examines it as a social practice: a live, visceral experience of creating, watching, and listening. Why does local musical theatre flourish in America? Why do people continue to find it pleasurable? Why do they passionately engage in an old-fashioned, slow artistic practice that requires intense, person-to-person collaboration? Why do audiences still flock to musicals in their hometowns? What does local musical theatre do? Beyond Broadway answers these questions by traveling across America, stopping at elementary schools, a middle school performance festival, afterschool programs, high schools, summer camps, state park outdoor theatres, community theatres, and dinner theatres. This expedition illustrates the musical’s abundance and longevity as a thriving social activity that touches millions of lives.
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31

50 Musical Activities for Children. Kingsway Publications, 2001.

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32

Grand Staff's Musical Activities Book (Grand Staff & His Musical Friends). Grand Staff Musical Productions, LLC, 2005.

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33

Browne, Sarah. ‘Everybody’s Free to Fail’. Edited by Robert Gordon and Olaf Jubin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199988747.013.14.

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This chapter explores the ways in which the British model of subsidizing arts-related activities has encouraged theatres to programme ambitiously and afforded directors the freedom to adopt a fresh, innovative, and often daring approach to their work for the stage. Whilst staging a revival of a Broadway musical classic may seem far from daring, the case studies in this chapter elucidate the ways in which subsidy has allowed directors to address this material in a radical fashion. Exploring two very different theatrical venues reveals methods of programming: whilst the National Theatre chooses to present well-loved golden age Broadway musicals, the Donmar Warehouse focuses on intimate chamber musicals, rarely staged or revived in Britain. This chapter analyses how these musicals have been cast, staged, and received and, in doing so, highlights the manner in which directors have reimagined the Broadway musical for British audiences.
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34

Dwinal, Catherine. Interactive Visual Ideas for Musical Classroom Activities. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190929855.001.0001.

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This book is a resource on projection systems for any music teacher’s treasure chest of tools. Educators, from brand new to seasoned veterans, can discover new lessons, activities, and resources involving the projection systems already in their classrooms. From conventional projectors to streaming media players, beginners to the digital world will find tips and tricks to start using new systems. More experienced users will discover new resources and activities, from learning how to create VR worlds to demonstrate knowledge of music venues from around the world, to going on an outside safari to find missing instruments of the orchestra. This book also includes a resource index with app and website recommendations for going further and appendices that make it easier to find the activities and resources to fit any type of instruction. This book is a toolbox for teachers to keep on their desks to use every day to incorporate their digital tools in a meaningful way.
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35

Sanders, Barbara, and Rhonda J. Edge. How to Lead Preschoolers in Musical Activities. Genevox Music Group, 2000.

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36

Adam, Winky. Musical Instruments Stickers (Dover Little Activity Books). Dover Publications, 1999.

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37

Moir, Zack. Popular Music Making and Young People. Edited by Roger Mantie and Gareth Dylan Smith. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190244705.013.9.

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Many young people are involved in music making activities that may be considered as “leisure,” such as playing in bands, making recordings, or live performance. Music making, when considered as a leisure activity, is a cultural or social phenomenon that enjoys an interesting and complex relationship with education and industry. First, this chapter explores the ways in which young people engage with popular music making as leisure and leisure-education by considering the nature of musical activities that are self-directed, self-funded, and fuelled principally by the enthusiasm and autodidacticism of the participants. Second, consideration is given to the ecology of informal music making among young people with specific focus on the development of skills, competencies and creativities, and the economic, commercial, and professional pressures to monetise musical activity.
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38

Rimmer, Mark. Community Music and Youth. Edited by Brydie-Leigh Bartleet and Lee Higgins. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190219505.013.28.

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Recent years have witnessed an increasing alignment between community music activity and youth. From the range of community music-style activities taking place across formal domains of youth provision, to the youth-oriented musical activities occurring within informal settings, many commentators have come to see community music activities as holding particular relevance and value in relation to youth. Importantly, however, the assumptions lying behind the purportedly ‘special’ relationship between community music and youth—as well as their implications for the nature of much youth-focused community music activity—too often go unexamined. This chapter critically interrogates some of the key ways in which this relationship is commonly understood, and then examines how these sit alongside the broader purposes and values commonly associated with community music.
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39

Pied Piper: Musical Activities to Develop Basic Skills. Jessica Kingsley Publishers, 2001.

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40

Merchant, Tanya. Conclusion. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039539.003.0007.

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This conclusion considers the border-crossing process involved as women come together as a community, applying educational theorist Etienne Wenger's ideas about learning as engaged by a community of practice to musical activity—specifically to the musical activities of professional women musicians both inside and outside institutions. By contrasting practices within and beyond the Uzbek State Conservatory and by putting the rhetoric surrounding each of these musical styles into conversation, the diverse nature of women's musical contribution to the Uzbek national project comes into sharper focus. The more everyday context of a social gathering allows not only border crossing, but also an emphasis on the pleasure of music making and the joy of singing along. Institutions define musical genres, not musical experience. The conclusion emphasizes the complex relation of national identity to individual feminine experiences.
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41

Make It Multicultural - Musical Activities for Early Childhood Education. Mohawk College, 1989.

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42

All join in: Musical activities for hearing-impaired children. Music and the Deaf, 2000.

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43

MacDonald, Raymond, David J. Hargreaves, and Dorothy Miell. Musical identities. Edited by Susan Hallam, Ian Cross, and Michael Thaut. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199298457.013.0043.

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This article presents a number of key themes relating to the concept of musical identities. It provides a definition of identity, with a discussion of why identity is a timely topic for consideration. The article then presents an overview of a series of studies investigating musical identities of jazz musicians. These highlight the utility of qualitative techniques, and in particular focus-group and semi-structured interview methods, for understanding how professional musicians construct their identities in relation to both their musical activities and wider psychological and cultural issues. The article looks next at how theories of motivation and the self can help to explain some of the behavioural aspects of musical identities. It provides evidence that children's self-concepts, and in particular their levels of confidence (both of which are related to musical identities), can influence the rate of musical development and musical achievement, drawing briefly on a study which compares the views of pupils, parents, and teachers about what it is to be ‘good at music’.
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44

Ashley, Richard. Musical improvisation. Edited by Susan Hallam, Ian Cross, and Michael Thaut. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199298457.013.0038.

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Musical improvisation is, to many in the Western world, an activity shrouded in mystery. Most listeners are familiar with some genres of music in which improvisation is a commonplace, such as rock and other popular styles, jazz, or perhaps ‘ethnic’ musics – that is to say, composed or improvised ‘traditional’ musics falling outside the typical Western canons. Therefore listeners are aware that many musicians can, and routinely do, produce novel musical utterances in real time. The question for most them is ‘How is improvisation carried out?’ With this formulation of the question, musical improvisation becomes a suitable topic for psychological investigation, focusing on cognitive, physical, and interpersonal processes, and on the musical structures on which these processes operate. This article seeks to bring together the literature on musical improvisation that will be of interest and benefit to those wishing to know more about it from a cognitive perspective.
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45

Creech, Andrea, and Susan Hallam. Facilitating learning in small groups. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199346677.003.0004.

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Musical ensemble performance is an inherently social activity, offering a rich context for fostering deep learning. Yet, musicians need to be supported in developing the skills that underpin negotiation and collaboration in generating musically cohesive, imaginative and convincing performances. This chapter focuses on the role of the coach or facilitator in maximizing the potential for collaborative and creative music-making in groups. The group processes and roles found in ensembles of varying types are considered within a framework comprising musical, perceptual and social skills required for creative music-making. Case-study examples demonstrate how, in a range of musical contexts, musical coaches/facilitators might support group members in developing these skills. The chapter concludes by offering group coaches and facilitators points of reflection with regard to how they might apply the key messages within their own practice.
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46

Steichen, James. Balanchine and Kirstein's American Enterprise. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190607418.001.0001.

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George Balanchine is today one of the most celebrated figures in twentieth-century ballet and is closely identified with the two institutions he helped found in collaboration with Lincoln Kirstein: the School of American Ballet and the New York City Ballet. During the early years of their efforts in the 1930s, Balanchine and Kirstein’s enterprise underwent numerous changes and transformations. The complexity of their endeavors has been misrepresented in many existing accounts of their lives and careers, in part because their activities have not been assessed as a whole. This book chronicles Balanchine’s and Kirstein’s work between 1933 and 1940 in the spheres of ballet, opera, Broadway musicals, and Hollywood cinema. This new account shows the ways in which their collective and individual efforts influenced and affected one another and ultimately shaped the character of the institutions they would eventually found. The work of the short-lived organizations the American Ballet (1935–38) and Ballet Caravan (1936–40) brought together dozens of dancers and collaborators, and the activity of these companies was closely related to work of the School of American Ballet as well as Balanchine’s projects in Broadway musical theater and film.
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47

Bullock, Jamie. Designing Interfaces for Musical Algorithms. Edited by Roger T. Dean and Alex McLean. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190226992.013.10.

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This chapter presents a range of approaches to the design of interfaces for the creation of and interaction with musical algorithms. The first part of the chapter grounds the discussion in an overview of salient design and development methods, drawing on the fields of usability, user experience, user-centred design, activity-centred design, and the psychological concept of ‘flow’. This culminates in the exposition of a new conceptual framework, music-centred design, which brings together these methods within the context of musical activity. The second part of the chapter presents a series of design case studies, each focusing on a distinct approach to interfaces for musical algorithms, and critically situates these in terms of design philosophy and implementation. A concluding argument is made for the centrality of design in the development of interfaces for algorithmic music.
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48

Merchant, Tanya. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039539.003.0001.

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This book explores issues of gender performance and national identity as they are personalized and individualized and then themselves performed by women musicians of Uzbekistan. It considers the rich relationship that dutar music has with women's culture and history in Uzbekistan but shows that the performance of national identity, of femininity, and of a sense of tradition that engaged the modern world was not limited to the dutar but encompassed a wide range of professional musical activities. The book demonstrates the central place of women in the musical project of nationalism, not only as symbols but also as agents, actors, and innovators; they are the drivers of much of the musical activity that supports Uzbekistan's new national project and they engage in a variety of strategies of identity to make a place for themselves in these musical styles, musical worlds, and, ultimately, in Uzbekistan.
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49

Brown, Andrew R., Damián Keller, and Maria Helena de Lima. How Ubiquitous Technologies Support Ubiquitous Music. Edited by Brydie-Leigh Bartleet and Lee Higgins. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190219505.013.5.

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Pervasive computing technologies are providing opportunities and challenges for new musical practices and offering greater access to musical interactions for people at all levels of musical experience. In this chapter we review theoretical insights and practical experiences of taking advantage of these opportunities and meeting these challenges; we describe how to leverage ubiquitous technologies to support ubiquitous music; and we discuss ideas and techniques that can assist in ensuring that social music activities provide an appropriate variety of experiences and strategies to maximize socially positive and musically creative outcomes. Strategies include starting with what is known and available, enhancing human skills with computational automation, and increasing participation through simplification to improve access and promote cultures of open sharing. Three case studies illustrate how these ideas are put into practice, covering experiences from across the world based in varied social contexts and using differing technologies, but sharing the same ambition of enhancing everyday experience through musical interactions mediated by pervasive technologies.
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50

Giovinali, Jamie. Baby Steps Music & Play: Musical Activities For Parents, Teachers & Children. Lifevest Publishing, Inc., 2007.

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