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Books on the topic 'Pedagogia do instrumento musical'

Author: Grafiati
Published: 4 June 2021
Last updated: 17 February 2022

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1

Fuchs, Guillermo L. El auditorium como instrumento musical integrador. Facultad de Arquitectura y Urbanismo, Universidad Nacional de Córdoba, 1989.

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2

Paz, Ermelinda Azevedo. Pedagogia musical brasileira no século XX: Metodologias e tendências. MusiMed, 2000.

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3

Un instrumento para cada niño: Sepa cómo elegir el más adecuado. Ma Non Troppo, 2006.

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4

I︠U︡rʹev, A. I︠U︡. Ocherki istorii i teorii smychkovoĭ kulʹtury skripacha: Iz tvorcheskogo nasledii︠a︡ skripichnogo pedagoga. Peterburgskai︠a︡ gos. konservatorii︠a︡ im. N.A. Rimskogo-Korsakova, 2002.

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5

Ganassi, Silvestro. Opera intitulata Fontegara: La quale insegna a sonare di flauto chon tutta l'arte opportuna a esso instrumento massime il diminuire il quale sarà utile ad ogni instrumento di fiato et chorde ... Società italiana del flauto dolce, 1991.

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6

Villafruela, Miguel. El saxofón en la música docta de América Latina: El rol de los saxofonistas y de las instituciones de enseñanza en la creación musical para el instrumento. Universidad de Chile, Facultad de Artes, Revista Musical Chilena, 2007.

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7

Diccionario técnico-histórico del órgano en España: Con cuatro mil doscientas voces y locuciones documentadas en castellano, catalán y latín y algunos términos de la teoría modal útiles para su estudio y comprensión : completado con veintiocho láminas, una lista de sinónimos agrupados en más de seiscientos bloques y una miscelánea con doscientas entradas de curiosidades, términos, aforismos, modismos, paremias, etc., relacionados con este instrumento. Departamento de Musicología, Institución Milá y Fontanals, Consejo Superior de Investigaciones Científicas, 2001.

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8

Gainza, Violeta Hemsy De. Pedagogia Musical. Lumen Books/Sites Books, 2003.

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9

El instrumento musical. Un estudio filosófico. Acantilado, 2018.

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10

Bassoon reed making: A pedagogic history. Indiana University Press, 2016.

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11

Anton, Vicente J. Ruiz. El Ordenador Como Instrumento Musical Midi / Computer as a Musical Instrument Midi. Anaya Multimedia, 2005.

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12

Butz, Karel. Achieving Musical Success in the String Classroom. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190602888.001.0001.

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Achieving Musical Success in the String Classroom describes the author’s pragmatic pedagogical approach toward developing complete musicianship in beginning through advanced-level string players by incorporating the ideas of Mimi Zweig, Paul Rolland, and Shinichi Suzuki. The author’s philosophical assumptions are explained in regard to the structure and purpose of string teaching contributing to a high level of musical artistry among students. Introductory through advanced string concepts relating to instrument setup, posture, left- and right-hand development, music theory, aural skills, asses
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13

Weber, Vanessa. Aprendizagem da docência: um olhar sobre o professor de instrumento musical. Brazil Publishing, 2019. http://dx.doi.org/10.31012/978-65-5016-112-5.

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14

Senay, Banu. Musical Ethics and Islam. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043024.001.0001.

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At the heart of this study is a musical practice that occupies a significant place in the contemporary public soundscape of Turkey: the art of playing the ney. Intimately connected with Sufism in both the Ottoman Empire and, for better or worse, in modern secular Turkey, the ney has been a popular instrument throughout the Middle East and North Africa. After enduring a checkered social life during the Turkish Republic’s modernizing reforms, today in a more Islam-friendly socio-political environment the ney is flourishing. Based on extensive field research in Istanbul and an apprentice-style me
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15

Perspectives on organ playing and musical interpretation: Pedagogical, historical, and instrumental studies : a Festschrift for Heinrich Fleischer at 90. Graphic Arts, Martin Luther College, 2002.

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16

Levin, Frank S. Quantum Boxes, Stringed Instruments. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198808275.003.0008.

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Chapter 7 illustrates the results obtained by applying the Schrödinger equation to a simple pedagogical quantum system, the particle in a one-dimensional box. The wave functions are seen to be sine waves; their wavelengths are evaluated and used to calculate the quantized energies via the de Broglie relation. An energy-level diagram of some of the energies is constructed; on it are illustrations of the corresponding wave functions and probability distributions. The wave functions are seen to be either symmetric or antisymmetric about the midpoint of the line representing the box, thereby provi
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17

Fiala, Michele L., and Martin Schuring. Great Oboists on Music and Musicianship. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190915094.001.0001.

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This volume contains interviews with twenty-six of the most prominent oboists from around the world. The chapters are in prose format and highlight different aspects of each musician’s career, focusing on musicianship and pedagogy in ways that are applicable to all musicians. The interviews contain topics such as creating musical interpretations and shaping phrases, the relationship of vocal to instrumental music, taking orchestral auditions, and being a good ensemble player/colleague. The subjects describe their pedagogy and their thoughts on breathing and support on wind instruments, develop
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18

Garrett, Matthew L., and Joshua Palkki. Honoring Trans and Gender-Expansive Students in Music Education. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197506592.001.0001.

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Trans and gender-expansive (TGE) youth deserve safe and empowering spaces to engage in high-quality school music experiences. Supportive music teachers ensure that all students have access to ethically and pedagogically sound music education. In this practical resource, authors Matthew Garrett and Joshua Palkki encourage music educators to honor gender diversity through ethically and pedagogically sound practices. Honoring Trans and Gender-Expansive Students in Music Education is intended for music teachers and music teacher educators across choral, instrumental, and general music classroom en
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19

West, Chad, and Mike Titlebaum, eds. Teaching School Jazz. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190462574.001.0001.

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Teaching School Jazz: Perspectives, Principles, and Strategies is an edited collection of suggested practices in school jazz education authored by a seasoned and diverse lineup of jazz educators with supporting research-based case studies woven into the narrative. It provides not only a wealth of school jazz teaching strategies but also, and perhaps as important, the jazz perspectives and principles from which they are derived. The first part of the book describes the current landscape of school jazz education and offers an overview of basic jazz concepts through the lenses of two expert, yet
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20

Levin, Frank S. Surfing the Quantum World. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198808275.001.0001.

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Surfing the Quantum World bridges the gap between in-depth textbooks and typical popular science books on quantum ideas and phenomena. Among its significant features is the description of a host of mind-bending phenomena, such as a quantum object being in two places at once or a certain minus sign being the most consequential in the universe. Much of its first part is historical, starting with the ancient Greeks and their concepts of light, and ending with the creation of quantum mechanics. The second part begins by applying quantum mechanics and its probability nature to a pedagogical system,
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21

Polemann, Alejandro, and Karina Daniec. Guitarra - Piano. Editorial de la Universidad Nacional de La Plata (EDULP), 2016. http://dx.doi.org/10.35537/10915/53929.

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Este trabajo fue elaborado con el objetivo de brindar herramientas para el estudio de la ejecución instrumental del piano y la guitarra. Sus destinatarios principales son los estudiantes de la carrera de Música Popular que cursan el Ciclo de Formación Musical Básica. En función de que cumpla su objetivo y que sea un material accesible para todo perfil de ingresante, se ha simplificado al máximo la terminología utilizada como así también el desarrollo de algunos conceptos. Por ello, será necesario complementar parte de la información a través de la lectura de los demás materiales de Cátedra com
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22

Sánchez, Alfredo. Ser en la música: visión mayéutica de la interpretación. Universidad Veracruzana, 2019. http://dx.doi.org/10.25009/uv.2186.1088.

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Al profundizar en el análisis ontológico del ser en la música, surgieron las preguntas: ¿cuál es la esencia del intérprete?, ¿qué elementos la conforman?, ¿qué sentido tiene dedicar toda una vida a la interpretación de un instrumento?, ¿qué motivaciones subyacen a ello?, ¿qué pasa por la mente de un ejecutante al estar frente a su auditorio?, ¿qué papel juega el ego en escena?, ¿qué connotación damos al ser?, ¿podemos hablar del ser del arte?, ¿es válido preguntar si el arte es o se hace? Interrogantes que pueden ser afines a quienes dedican su vida a transmitir sus propuestas y vivencias en u
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