Books: 'The roll of the teacher/musician'

1

Christophersen, Catharina, and Ailbhe Kenny, eds. Musician–Teacher Collaborations. New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315208756.

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2

Percy Jones: Priest, musician, teacher. Melbourne: Melbourne University Press, 1988.

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3

Canada, National Library of. Claude Champagne 1891-1965: Composer, teacher, musician. Ottawa: National Library of Canada, 1990.

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4

Campbell, Patricia Shehan. Musician and teacher: An orientation to music education. New York: W. W. Norton, 2008.

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5

Kuprina, Elena. Co-creation in music and music education. ru: INFRA-M Academic Publishing LLC., 2020. http://dx.doi.org/10.12737/1019193.

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The monograph is devoted to the problem of musical co-creation, represents the artistic and dynamic system. The author considers the musical co-creation from the perspective of interdisciplinary approach, as the phase of the creative process, featuring self-contained characteristics, manifested in the "I" and "I'm Different" through specific regularities and principles. In music co-creation differentiated into spheres, types and forms, where the role of the ratio of the subjects and the performance of co-creative artistic projects are analyzed from the position of system dynamics. In music education operates a pedagogy of co-creation, manifesting the specifics through professional, psychological, reflective, and educational facets. Presented to the organizational form of the pedagogy of co-creation, from the perspective of information approach given the findings of a study of the influence of pop on the sensory system of the student of a musician-performer (the performer). Can be used in courses of the disciplines of the history of music, music psychology and music pedagogy, pedagogy of co-creation. Addressed to students of music schools, teachers, musicians of all disciplines, musicologists and cultural studies, researchers, creative processes, and a wide circle of curious readers.

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6

Fernandez, Jerry. To be a rock but not to roll: A 40-year odyssey (1966-2006) of a Singapore pop musician, Jerry Fernandez. 2nd ed. [Singapore: Comdesign Associates, 2009.

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7

Library, Canada National. Claude Champagne, 1891-1965, composer, teacher, musician: Exhibition held in Ottawa from November 16, 1990 to March 17, 1991. Ottawa: National Library of Canada, 1990.

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8

Nevins, Maureen. Claude Champaigne (1891-1965): Composer, teacher, musician : exhibition held in Ottawa from November 16, 1990 to March 17, 1991. Ottawa: National Library of Canada, 1990.

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9

Kozlov, Mihail. Ministers of pagan cult in the religious and political life of the Eastern Slavs (IX-XI centuries). ru: INFRA-M Academic Publishing LLC., 2019. http://dx.doi.org/10.12737/1058360.

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The subject of historical and cultural research in this monograph was the Institute of ancient servants of pagan cult, including both professional priests (Magi, sorcerers and magicians) and wandering buffoons (musicians, storytellers, guides bears, demons). In the first part of the study identified the main function of ancient Ministers of pagan cults, identified key priestly clans, identified the hierarchical structure of the East Slavic priests, its Charter and the basic sources of financing of the ancient pagan temples and their Ministers. The second part is devoted to the place and role of the old Russian Ministers of pagan cult in the religious and political life of the Eastern Slavs of the IX-XI centuries. It is designed for teachers of higher educational institutions, school teachers, students and all those interested in national history and culture.

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10

Stauffer, Donald W. Piano tuning for musicians & teachers: An easy, straight forward method of tuning to assist the musician & music teacher to care for his own piano and to gain a better perspective of the enigma of temperament. Birmingham, AL: Stauffer Press, 1989.

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11

Almog, Oz. him too..?? Concise Index Judeorum: A Chronicle of a Cultural Obsession. Vienna, Austria: Jewish Museum, Vienna, 2000.

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12

Nevins, Maureen. Claude Champagne 1891-1965, composer, teacher, musician : exhibition held in Ottawa from November 16, 1990 to March 17, 1991 =: Claude Champagne, 1891-1965, compositeur, pédagogue, musicien : exposition tenue à Ottawa du 16 novembre 1990 au 17 mars 1991. Ottawa, Ont: National Library of Canada = Bibliothèque nationale du Canada, 1990.

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13

Kenny, Ailbhe. Musician-Teacher Collaborations. Routledge, 2018.

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14

Musician-Teacher Collaboration. Taylor & Francis Group, 2018.

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15

Philosopher, Teacher, Musician: Perspectives on Music Education. University of Illinois Press, 1993.

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16

Ruth, Jorgensen Estelle, ed. Philosopher, teacher, musician: Perspectives on music education. Urbana: University of Illinois Press, 1993.

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17

Hanken, Ingrid Maria. The role and significance of masterclasses in creative learning. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199346677.003.0005.

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Masterclasses have a prominent place in the education of future musicians within the western classical music tradition. This chapter gives an overview of research on teaching and learning in masterclasses with a focus on how they might benefit the students, as well as how master teachers and students can optimize learning and teaching outcomes. The merits of various types and formats of masterclass and styles of interaction are discussed, as are the challenges faced by master teachers and student performers. One section of the chapter is devoted to the possible benefits for students in the audience, benefits which might be contested by the students themselves. Drawing on theories of learning by observation and of peer learning and assessment, the chapter argues that there is significant learning potential for the audience as well. It concludes by considering some implications for practice of the roles that the conservatoire, the master teacher and the principal instrumental or singing teacher can respectively play in helping both the student performing and students in the audience to get the most out of masterclasses.

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18

(Contributor), Steven M. Demorest, and Steven J. Morrison (Contributor), eds. Musician and Teacher: An Orientation to Music Education. W. W. Norton, 2007.

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19

Columbia's Rock'N Roll Fake Book: Featuring Classic Rock Hits for Practicing Musician. Columbia Pictures Pubns, 1985.

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20

Welch, Graham, and Adam Ockelford. The role of the institution and teachers in supporting learning. Edited by Susan Hallam, Ian Cross, and Michael Thaut. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199298457.013.0029.

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This article discusses how learning and teaching in music are shaped by processes outside the individual, not least because of the influences of group membership (allied to age and gender), performance expectations and practices, and professional and institutional cultures. The process of individual induction into the characteristics of a particular musical culture by teachers and institutions influences the formation of identities in music, for better or for worse, at least in terms of dominant models within the culture. Indeed, the development of music teachers themselves can be seen within an activity system, i.e. the teacher's understanding of their role is developed both by informal personal reflection of the experience of performance and their own learning, and, more systematically, through their own induction process by attendance at a specialist, pedagogically focused institution.

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21

Musician and Teacher in Nineteenth Century New England: Irving Emerson, 1843-1903. Lexington Books/Fortress Academic, 2015.

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22

Tear in the Curtain: The Musical Diplomacy of Erzsebet Szoenyi - Musician, Composer, Teacher of Teachers. Lang AG International Academic Publishers, Peter, 2014.

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23

Walker, Elsie. The Piano Teacher. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190495909.003.0006.

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This chapter focuses on The Piano Teacher as a complex, intertextual adaptation that draws from numerous sources, both directly and indirectly. The film clearly parallels and amplifies the sonic descriptions of an original novel by Elfriede Jelineke. We examine how The Piano Teacher also ironically engages with the sonic strategies of Classical Hollywood melodramas and musician-based dramas, and as it recontextualizes revered classical music in relation to the disturbing sadomasochistic desires of its female protagonist, Erika. The songs from Schubert’s Winterreise most closely match Erika’s conception of herself, and we explore how film incorporates them to sonically stress her ultimate aloneness. In addition, we place emphasis on Erika’s silences that leave her disempowered without those cathartic sonic consolations (such as empathetic non-diegetic music) that often provide a fantasy of female transcendence. The film’s feminist emphasis on such silences parallels Jelinek’s text, along with intensifying Haneke’s subversively uncomfortable, intertextually loaded creation.

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24

Roll of thunder, hear my cry by Mildred B. Taylor. Reproducibles and teacher guide. Logan, IA: Perfection Learning Corporation, 1993.

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25

Spangenberg-Urbschat, Karen. Roll of thunder, hear my cry, Mildred Taylor: Teacher guide (Reading beyond the basal plus). Perfection Learning Corporation, 1991.

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26

notebook, Guitar. Composition Notebook: Guitar Chord Chart Musician Guitarist Teacher Guitar Pl Journal/Notebook Blank Lined Ruled 6x9 100 Pages. Independently Published, 2020.

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27

Church, Joseph. Rock in the Musical Theatre. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190943462.001.0001.

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Rock ’n’ roll music and its offshoots, including pop, hard rock, rap, r&b, funk, folk, and many others, have become the standard language of today’s musical theatre. Theatre singers, performers, and coaches need a source of information on these styles, their origins, and their performance practices. Rock in the Musical Theatre: A Guide for Singers fills this need. Today’s musical theatre training programs are now including rock music in their coursework and rock songs and musicals in their repertoires. This is a text for those trainees, mentors, courses, and productions. It will also be of great value to working professionals, teachers, music directors, and coaches less familiar with rock styles, or who want to improve their rock-related skills. The author, an experienced music director, vocal coach, and university professor, and an acknowledged expert on rock music in the theatre, examines the many aspects of performing rock music in the theatre and offers practical advice through a combination of aesthetic and theoretical study; extensive discussions of musical, vocal, and acting techniques; and chronicles of coaching sessions. The book also includes advice from working actors, casting directors, and music directors who specialize in rock music for the stage.

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28

Publishers, Forever Rock. Notebook for Drummer Guitarrist Bassist Rocknroll Rock Roll Wings: Dot Dotted Grid Funny Notebook Diary Journal Rock N Roll Vintage Retro Classic Lover School Punk Gift for Men & Women Metal Guitar Drum Instrument Musician. Independently Published, 2019.

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29

Dueck, Jonathan. Music as Shared Space in Mennonite Development Work in Chad. Edited by Jonathan Dueck and Suzel Ana Reily. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199859993.013.9.

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This chapter highlights negotiations of meanings a Western church worker encountered in a Chadian congregation. For many mainline churches, “missions agencies,” focused on proselytization, are not the sole or even primary mode of outreach; “development agencies,” focused on local economic and social development, complement them. These two types of agencies are tied, through institutional memories in Western and African churches, to the cultural, including musical, practices of missions. The chapter retells the story of a Western development worker who frames her role as “learner” but finds she is understood as missionary “teacher” and is asked to teach and not learn music. Music is a persistent indicator of a history of missionary interactions between Chadian and Western Christians that lends meanings to and constrains present-day transnational interactions between them; it can provide a shared space of practice that is not contiguous with the “meanings” of the music under discussion.

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30

Roll of Thunder, Hear My Cry (Reproducibles and Teacher Guide) (Latitudes: Resources to Integrate Language Arts & Social Studies, 74572). Perfection Learning Corporation, 1993.

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31

James, Leah. Musician Notebook - Fa la la la la la la la la - Christmas Music - Holiday Gift - Music Teacher - Singer - Choir - Christmas Songs - Traditional - Gift. Independently Published, 2020.

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32

Ramnarine, Tina K. Aspirations, Global Futures, and Lessons from Sámi Popular Music for the Twenty-First Century. Edited by Fabian Holt and Antti-Ville Kärjä. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190603908.013.15.

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This chapter presents case studies of three Sámi musicians, focusing on their aspirations for collective rights, cultural distinctiveness, and self-determination. Contrary to early twentieth-century fears that vocal genres like joik were disappearing, music has become one of the most important elements in stories of Sámi cultural survival in the twenty-first century. The chapter examines the role that music plays in valuing nature and imagining alternatives to dominant power regimes in the context of climate change. The author argues that in the face of threats to global survival, historians could give more priority to questions about how the past speaks to us and what it teaches us about survival.

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33

Publishers, Forever Rock. Notebook for Drummer Guitarrist Bassist Rocknroll Rock Retirement Plan Fire: Dot Dotted Grid Funny Notebook Diary Journal Rock N Roll Vintage Retro Classic Lover School Punk Gift for Men & Women Metal Guitar Drum Instrument Musician. Independently Published, 2019.

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34

Tamarkin, Jeff, and Andy Cahan. Most Famous Musician You've Never Heard Of: A Rock and Roll Scrapbook Starring Hendrix, Ringo, Nilsson, the Turtles, Little Richard, Dr. John, Seals and Crofts, Billy Bob Thornton, Ray Bolger, Grace Slick, Me and More! Independently Published, 2020.

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35

Oti Rakena, Te. Community Music in the South Pacific. Edited by Brydie-Leigh Bartleet and Lee Higgins. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190219505.013.38.

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This chapter describes a community music research activity within an urban South Pacific context, and the processes used to ensure that authentic stories and new ways of knowing emerged from this interaction. The research project explored the prior learning experiences of indigenous Māori and minority Pasifika students enrolled in a faculty that teaches the disciplines associated with the creative arts and industries. The specific focus was the development of musical literacy through community music-making. By underpinning all research processes with methodologies that accommodate these populations’ worldviews and utilizing qualitative approaches that fit Pacific cultures, the researchers created the opportunity to enhance the data with new and unexpected findings. We uncovered stories about students’ community music-making experiences and a contemporary South Pacific view of the role of community music. This chapter focuses on those narratives, and the research design that allowed these stories to emerge.

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36

gac, Di. I Turn Coffee into Music Education Music Teacher Musician Women Creative Funny Image Quote Notebook and Journal - Diary Size 6x9 Inch 120 Pages... ... ... ... ... ... ... ... ... ... ... ... ... ... ... .: Creative Funny Image Quote Notebook and Journal - Diary Size 6x9 Inch 120 Pages... ... ... ... ... ... ... ... ... ... ... ... ... ... ... . Independently Published, 2020.

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37

Iddon, Martin, and Philip Thomas. John Cage's Concert for Piano and Orchestra. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190938475.001.0001.

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The book is a comprehensive examination of John Cage’s seminal Concert for Piano and Orchestra. It places the piece into its many contexts, examining its relationship with Cage’s compositional practice of indeterminacy more generally, the importance of Cage’s teacher, Arnold Schoenberg, on the development of his structural thought, and the impact of Cage’s (mis)understanding of jazz. It discusses, on the basis of Cage’s sketches and manuscripts, the compositional process at play in the piece. It details the circumstances of the piece’s early performances—often described as catastrophes—its recording and promotion, and the part it played in Cage’s (successful) hunt for a publisher. It examines in detail the various ways in which Cage’s pianist of choice, David Tudor, approached the piece, differing according to whether it was to be performed with an orchestra, alongside Cage delivering the lecture, ‘Indeterminacy’, or as a piano solo to accompany Merce Cunningham’s choreography Antic Meet. It demonstrates the ways in which, despite indeterminacy, the instrumental parts of the piece are amenable to analytical interpretation, especially through a method which exposes the way in which those parts form a sort of network of statistical commonality and difference, analysing, too, the pianist’s part, the Solo for Piano, on a similar basis, discussing throughout the practical consequences of Cage’s notations for a performer. It shows the way in which the piece played a central role, first, in the construction of who Cage was and what sort of composer he was within the new musical world but, second, how it came to be an important example for professional philosophers in discussing what the limits of the musical work are.

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38

Ramroth, Martin. Investigating Choral Pedagogies. Edited by Frank Abrahams and Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.15.

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While Western Europe heralds a celebrated tradition of classical choral music, conductors and choral pedagogues from other continents are often astounded to learn of the disparities among choral music education programs throughout the region. This chapter sets out to contextualize the role of music education in the curricula of the typical public or private school, and how private enterprise has evolved to provide music opportunities for those pursuing musical artistry and classical training. Does choral art thrive in a more diverse cultural landscape and a less regulated environment? How does the organizational context of school choir, church choir, community choir, choir club, or private initiative, predispose and shape the choral experience and the success of its endeavors? Is there a European methodology to teach choral music? Finally, how are artistic concepts such as the quest for a “German” choral music passed on?

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39

Reid, Helen. Insight. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199346677.003.0018.

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In considering the experiences that shaped her life as a musician and as a pianist, Helen Reid describes and assesses the implications of an injury that she suffered which nearly ended her career before it had begun. Despite the physical and emotional hardships that she endured, she no longer views this period as entirely negative: instead, she sees it as a positive experience that enabled her to grow as a person, musician and teacher.

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40

Maloy, Rebecca. Songs of Sacrifice. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190071530.001.0001.

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Songs of Sacrifice argues that liturgical music—both texts and melodies—played a central role in the cultural renewal of early Medieval Iberia. Between the seventh and eleventh centuries, Christian worship on the Iberian Peninsula was structured by rituals of great theological and musical richness, known as the Old Hispanic (or Mozarabic) rite. Much of this liturgy was produced during the seventh century, as part of a cultural and educational program led by Isidore of Seville and other bishops. After the conversion of the Visigothic rulers from Arian to Nicene Christianity at the end of the sixth century, the bishops aimed to create a society unified in the Nicene faith, built on twin pillars of church and kingdom. They initiated a project of clerical education, facilitated through a distinctive culture of textual production. The chant repertory was carefully designed to promote these aims. The creators of the chant texts reworked scripture in ways designed to teach biblical exegesis, linking both to the theological works of Isidore and others, and to Visigothic anti-Jewish discourse. The notation reveals an intricate melodic grammar that is closely tied to textual syntax and sound. Through musical rhetoric, the melodies shaped the delivery of the texts to underline words and phrases of particular liturgical or doctrinal import. The chants thus worked toward the formation of individual Christian souls and a communal, Nicene identity. The final chapters turn to questions about the intersection between orality and writing and the relationships of the Old Hispanic chant to other Western plainsong traditions.

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41

Trondalen, Gro. Self-Care in Music Therapy. Edited by Jane Edwards. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199639755.013.19.

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This chapter reflects on a variety of issues that affect ways of taking care of oneself as a music therapy practitioner. The aim is to promote music therapists’ capacity for personal awareness in daily work and/or during periods of time out including sabbaticals. The reflexive focus adopted keeps the music therapist in mind, but other helping professionals could be inspired by the content. Ideas for engaging self-care in order to preventburnout, compassion fatigueorcompassion stressare presented and discussed. Firstly, the text outlines a theoretical matrix. Then the needs and resources that are linked towear and tearfor the music therapist are presented. The next section focusses onself-carerelated to the music therapist’s different contexts and roles as a music therapist, musician, teacher, and researcher. Self-experience and supervision are also considered. The text ends with a discussion and concluding comments.

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42

Welsh, Mary Sue. In the Lions’ Den. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037368.003.0001.

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This chapter details Edna Phillips' appointment as a member of the Philadelphia Orchestra. Phillips entered the Philadelphia Orchestra as its only woman in 1930. Having chosen the harp, an instrument that women played in drawing rooms in the Victorian era and one that was associated with ethereal, feminine attributes, she was more easily accepted into an orchestra than a player of another instrument might have been, but that did not mean her colleagues or the orchestra's audiences accepted and welcomed her arrival. As a woman invading a male bastion, she was just that, an invader, a pioneer in uncharted territory, and her arrival was met with curiosity at best and hostility at worst. Phillips understood that her life in an all-male orchestra would be full of challenges, but that was not her primary concern when she entered the Philadelphia Orchestra. Her biggest fear was that she wouldn't be able to hold her own as a musician among the orchestra's superb players, not because she was a woman, but because her training had been cut short. In a move that shocked and surprised both Phillips and her teacher, conductor Leopold Stokowski had appointed her to the first-chair position in his orchestra rather than choosing her for the second harp position she thought she was auditioning for.

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Books on the topic 'The roll of the teacher/musician'

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