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Books on the topic 'Music and progress'

Author: Grafiati

Published: 4 June 2021

Last updated: 3 February 2022

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1

The progress of music in Ireland. Four Courts Press, 2005.

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2

Gilligan, Russell. Perfect practice promotes progress. R. Gilligan, 1991.

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3

Snitkin, Harvey R. Practice planner: A journal of goals and progress. HMS Publications, 2002.

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4

Rock in progress: Promuovere, distribuire, far conoscere la vostra musica. Effequ, 2011.

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5

Ortiz, Joseph M. On the Origin and Progress of the Art of Music by John Taverner. Routledge, 2018. http://dx.doi.org/10.4324/9781315207193.

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6

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

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7

Paland, Ralph. Work in Progress und Werkindividualität: Bernd Alois Zimmermanns Instrumentalwerke, 1960-1965. Schott, 2006.

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8

International Symposium on Progress in Fish Vaccinology (3rd 2003 Bergen, Norway). Progress in fish vaccinology: The Grieg Music Hall Conference Centre, Bergen, Norway, April 9-11, 2003. Edited by Midtlyng Paul J, International Association for Biologicals, and VESO. Karger, 2005.

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9

Performance standards for music: Strategies and benchmarks for assessing progress toward the national standards, grades PreK-12. Music Educators National Conference, 1996.

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10

J, Anderson Michael. A classified index of American doctoral dissertations and dissertation projects on choral music completed or currently in progress through 1989. American Choral Directors Association, 1990.

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11

Nyström, Esbjörn. Libretto im Progress: Brechts und Weills Aufstieg und Fall der Stadt Mahagonny aus textgeschichtlicher Sicht. Lang, 2005.

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12

Hochschule für Musik "Carl Maria von Weber," Dresden, ed. Fortschritt, was ist das--? Wolke, 2014.

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13

Shaw, Joan. Musical bridges: Intergenerational music programs. MMB Music, 1996.

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14

Minor, Theodore E. Management of church music programs. Tad Minor Keyboard Services, 1991.

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15

International Musical Festival (20th 1985 Brno, Czechoslovakia). Hudba a slovo =: Muzyka i slovo = Music and word = Musique et parole = Musik und Wort. MHFB, 1985.

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16

Miller, Rodney E. Institutionalizing music: The administration of music programs in higher education. C.C. Thomas, 1993.

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17

Blakeslee, Michael. Model music programs: Ideas for everyone. Rowman & Littlefield Education, 2008.

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18

Astuti, Kun Setyaning. Developing model for teaching and learning music in public school based on a comparative study between Indonesia and the Netherlands second year: Research progress report international research co-operation. Yogyakarta State Univ., 2011.

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19

Pointon, Barbara. Primary music. Royal Society for the Protection of Birds, 2000.

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20

Marlboro Music School and Festival. Malboro music, 1951-1990. Marlboro Music School and Festival, 1990.

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21

Taylor, Dorothy. Targeting music. Schott Educational, 1998.

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22

Taylor, Dorothy. Targeting music. Schott Educational, 1995.

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23

Marlboro Music School and Festival. Marlboro music, 1951-1991. The Festival, 1992.

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24

Liszt, Franz. Un continuo progresso: Scritti sulla musica. Ricordi, 1987.

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25

Liszt, Franz. Un continuo progresso: Scritti sulla musica. Ricordi, 1987.

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26

Wright, Steve. Making music with computers & software. Making Music, 1994.

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27

Building strong music programs: A handbook for preservice and novice music teachers. Rowman & Littlefield Education, 2009.

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28

Levin, Herbert D. Learning through music. 2nd ed. Barcelona Publishers, 1998.

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29

San Francisco (Calif.). Board of Supervisors. Budget Analyst. Surcharge to support music programs in public schools. Budget Analyst, 1992.

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30

Lassfolk, Kai. Music notation as objects: An object-oriented analysis of the common western music notation system. International Semiotics Institute at Imatra : Semiotic Society of Finland : Department of Musicology, University of Helsinki, 2003.

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31

Music notation as objects: An object-oriented analysis of the common western music notation system. International Semiotics Institute, 2004.

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32

Freed, Gwendolyn. Musician's resource: The Watson-Guptill guide to workshops, conferences, residential programs, academic programs, festivals, masterclasses. Watson-Guptill Publications, 1997.

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33

group), Hot Snakes (Musical. Audit in progress. 2018.

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34

Finck, Henry Theophilus. The Progress of Music: Present-Day Problems. Library Reprints, 2001.

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35

Peart, Neil. A Work in Progress Complete (DCI Music Video). Alfred Publishing Company, 1996.

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36

Practice Planner: A Journal Of Goals and Progress. HMS Publications, Inc., 2001.

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37

RichardJ, Colwell, Lidral Karel, Graduate Committee in Music Education., and Council for Research in Music Education., eds. Institutional directory of approved music education dissertations in progress. Graduate Committee in Music Education, in cooperation with the Council for Research in Music Education, 1985.

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38

Colwell, Richard J. Directory of International Music Education Dissertations in Progress, 1988. Council for Research in, 1988.

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39

Directory of International Music Education Dissertations in Progress, 1985. Council for Research in, 1985.

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40

Directory of International Music Education Dissertations in Progress, 1989. Council for Research in, 1989.

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41

J, Colwell Richard, Lidral Karel, Graduate Committee in Music Education., and Council for Research in Music Education., eds. Institutional directory of approved music education dissertations in progress. Graduate Committee in Music Education in cooperation with the Council for Research in Music Education, 1985.

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42

Alliance, Massachusetts Cultural. Massachusetts cultural agenda, progress report and preliminary findings. 1988.

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43

On the Origin and Progress of the Art of Music by John Taverner. Taylor & Francis Group, 2018.

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44

Hodges, Donald A. Bodily responses to music. Edited by Susan Hallam, Ian Cross, and Michael Thaut. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199298457.013.0011.

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This article explores bodily responses to music, i.e., physiological and physical responses. Bodily responses to music are among the core experiences of music. They are hugely complex, with a myriad of response types interwoven into the fabric of thoughts, feelings, and social context. Bodily responses are highly idiosyncratic, as each person brings a unique self to a music-listening situation. Researchers have made significant strides in ferreting out the details of these responses, and, in collaboration with practitioners, have made progress in utilizing this knowledge, particularly in music

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45

Cohen, Annabel J. Music in performance arts. Edited by Susan Hallam, Ian Cross, and Michael Thaut. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199298457.013.0041.

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This article considers the psychology of music in the contexts of performance arts, in particular the arts of the moving image, drama, and dance. Research in the psychology of music far exceeds psychological research in any of the other arts. Within music psychology, research on the role of music in film and television constitutes a small but vibrant subdomain. The growing research on the psychology of film music reveals that the role of music in the context of other performance arts is amenable to psychological investigation. Similar progress can be envisioned for a psychology of music in the

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46

Lebler, Don, and Scott Harrison. Evaluating progress and setting directions. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199346677.003.0006.

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The complexity of assessing musical performance as a nonverbal art form is well known within the field of professional practice. This chapter addresses key issues including the tension between assessing craftsmanship and artistry. It surveys the strong tradition of expert panel assessment that continues to be the hallmark of musical performance assessment in many contexts, in relation to both solo and ensemble performance. It also explores how such practices may intersect with the development of self-assessment and self-reflection as core professional skills for performers, as well as the proc

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47

Wierzbicki, James. The Classical Music Mainstream. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040078.003.0008.

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This chapter looks at how the American Symphony Orchestra League reported that thirty million people in the U.S. are actively interested in concert music. This does not mean jazz, popular ditties, hillbilly dance-bands, hymn singing, or wedding marches, but classical music. Writer Virgil Thomson noted in his column that whereas during the previous year ticket buyers had spent $40 million on baseball, patrons of classical music had spent $45 million. This passion for what Thomson called “serious music” had been stirred even as World War II was in progress, and by the end of the Fifties it was s

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48

Sounds, Societies, Significations: Numanistic Approaches to Music (Numanities - Arts and Humanities in Progress Book 2). Springer, 2017.

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49

Tizuko, Kettmuno. Funny Progress Is Progress No Matter How Small - Inspirational Quote Notebook: 120 Pages - Size 6x9 Inch - Use for Doodle, Note, Plan, Music Tab, Diary... ... ... ... ... ... ... ... ... ... ... ... ... . Independently Published, 2020.

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50

Wb Music Practice Record and Assignment Book: A Chronological Record of Student Progress for 1 Year. Alfred Publishing Company, 2001.

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