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Books on the topic 'Twenty first century vocal pedagogy'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 February 2022

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1

Counselor education for the twenty-first century. Bergin & Garvey, 1996.

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2

Critical pedagogy in the twenty-first century: A new generation of scholars. Information Age Pub., 2011.

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3

Julie, Coates, ed. The pedagogy of the 21st century. LERN Books, 2011.

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4

Critical pedagogy in the twenty-first century: A new generation of scholars. Information Age Pub., 2011.

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5

Malott, Curry, and Julie A. Gorlewski. Critical pedagogy in the twenty-first century: A new generation of scholars. Information Age Pub., 2011.

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6

Ninety-five languages and seven forms of intelligence: Education in the twenty-first century. P. Lang, 1999.

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7

Building communities of difference: Higher education in the twenty-first century. Bergin & Garvey, 1993.

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8

Johnson, Michael L. Education on the wild side: Learning for the twenty-first century. University of Oklahoma Press, 1993.

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9

Educating outside the lines: Bard College at Simon's Rock on a "new pedagogy" for the twenty-first century. P. Lang, 2010.

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10

Jesuit and feminist education: Intersections in teaching and learning in the twenty-first century. Fordham University Press, 2011.

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11

Snapshots of school leadership in the twenty-first century: Perils and promises of leading for social justice, school improvement, and democratic community : the UCEA Voices From the Field Project. Information Age Pub., 2012.

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12

Education for the Twenty-First Century. Caddo Gap Pr, 2002.

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13

Manning, Jane. Vocal Repertoire for the Twenty-First Century, Volume 1. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199391028.001.0001.

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In this new follow-up to her highly regarded New Vocal Repertory, volumes 1 and 2, English concert and opera soprano Jane Manning provides a seasoned expert’s guidance and insight into the vocal genre she calls home. This book contains a diverse array of contemporary vocal music available in the twentieth century. It provides specific pieces for different voices, abilities, and occasions. Choices range from substantial song cycles to shorter pieces suitable for encores, examinations, or auditions. Almost all works are for voice and piano, but there are some for solo voice. This volume also con
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14

Manning, Jane. Vocal Repertoire for the Twenty-First Century, Volume 2. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199390960.001.0001.

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In this new follow-up to her highly regarded New Vocal Repertory, volumes 1 and 2, English concert and opera soprano Jane Manning provides a seasoned expert’s guidance and insight into the vocal genre she calls home. Manning’s comprehensive selection of contemporary art songs in Vocal Repertoire for the Twenty-First Century ranges from the avant-garde to the more easily accessible, including substantial song cycles, shorter encore pieces, and songs suitable for auditions and competitions. Each of the selections is accompanied by a highly detailed performance guide, music examples, levels of di
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15

Wester, Maisha, and Xavier Aldana Reyes, eds. Twenty-First-Century Gothic. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474440929.001.0001.

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The first transnational and transmedia companion to the post-millennial Gothic. This book explores the post-millennial Gothic. It emphasises ‘new’ themes and emergent subgenres as well as revisions of the traditional Gothic, thus pressing readers to interrogate the multi-layered, multi-vocal conversations that occur within the Gothic in the new century. The areas of coverage engaged in this collection are parts of emerging interdisciplinary fields, and the book will thus be at the forefront of discussions about subgenres, such as Afro-futurism, Gothic comedy and Steampunk, as well as transnati
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16

Cadwallader, Jen, and Laurence W. Mazzeno. Teaching Victorian Literature in the Twenty-First Century: A Guide to Pedagogy. Palgrave Macmillan, 2018.

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17

Cadwallader, Jen, and Laurence W. Mazzeno. Teaching Victorian Literature in the Twenty-First Century: A Guide to Pedagogy. Palgrave Macmillan, 2017.

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18

Harris, Ellen T. Twentieth- and Twenty-First–Century Interpretations. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190271664.003.0009.

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The performance history of Dido and Aeneas from 1950 can be divided into three distinct periods. The first (1951–80) concentrated on the establishment of an accurate score based on the earliest sources and was defined by two major performances in London in 1951. The second (1980–95), coincident with the growth of the early music movement, focused on a transition to historical instruments, performance practices, and vocal techniques and to smaller forces; it is represented by an abundance of audio recordings. The third period (1995–2016) is defined by scholarly and theatrical interpretations of
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19

Manning, Jane. Vocal Repertoire for the Twenty-First Century, Volume 1: Works Written Before 2000. Oxford University Press, Incorporated, 2020.

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20

Vocal Repertoire for the Twenty-First Century, Volume 1: Works Written Before 2000. Oxford University Press, Incorporated, 2020.

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21

Developing Media Literacy in Cyberspace: Pedagogy and Critical Learning for the Twenty-First-Century Classroom. Praeger Publishers, 2002.

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22

Manning, Jane. Vocal Repertoire for the Twenty-First Century, Volume 2: Works Written from 2000 Onwards. Oxford University Press, Incorporated, 2020.

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23

Manning, Jane. Vocal Repertoire for the Twenty-First Century, Volume 2: Works Written from 2000 Onwards. Oxford University Press, Incorporated, 2020.

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24

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 c
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25

Seeman, Sonia Tamar. Embodied Pedagogy. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190658397.003.0010.

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Ethnomusicological methods and perspectives provide important contributions to twenty-first-century music pedagogy. In this chapter I make a number of claims regarding (1) the effective teaching of music and what it entails; (2) how heightening awareness of the gap between far and near may be most effectively addressed; and (3) how effective enactment of these teaching goals may aid student engagement with issues in the outside world. I offer three case studies to illustrate the techniques I lay claim to. I conclude with a description of core curriculum reforms at the Austin branch of the Univ
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26

Ward-Steinman, Patricia Madura. Choral Pedagogy Responds to the Media. Edited by Frank Abrahams and Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.2.

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Pop choral music has changed during the 21st century due to the enormous popularity of contemporary a cappella and commercial network TV shows such as Glee, The Voice, The Choir, The Sing-Off, American Idol, and the Clash of the Choirs. Choir students watch these shows and are influenced by them in terms of vocal tone, repertoire, showmanship, and competitive spirit. What is the proper pedagogical response? Should the media shape/influence choral pedagogy, or should traditional pedagogy develop the pop-influenced singer? This chapter addresses these questions and includes viewpoints of choral
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27

Patch, Justin. The Case for Pop Ensembles in the Curriculum. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190658397.003.0006.

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Music programs should include pop pedagogy, a serious engagement with applied popular music, as they adjust their curricula for the twenty-first century. Pop pedagogy is relevant for pragmatic reasons of future employment and also to meet long-standing missions of higher education. Pop performance, arranging, and songwriting have implications beyond creating music professionals—they open a music department up to students who might never take classes otherwise, teach critical communication skills and civics, provide opportunities for student leadership and applied learning, and prepare skilled
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28

Thiele, Leslie Paul, and Seaton Tarrant. Environmental Political Theory’s Contribution to Sustainability Studies. Edited by Teena Gabrielson, Cheryl Hall, John M. Meyer, and David Schlosberg. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199685271.013.42.

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In this chapter, we examine the relationship between environmental political theory and the development of sustainability studies within US higher education. We assess the incorporation of environmental political theory authors in sustainability classrooms and the extent to which environmental political theory and sustainability studies classrooms engage in experiential, skills-based learning. We situate this pedagogy as an extension of the tradition of the liberal arts, especially as developed by John Dewey, and effectively, as citizenship skill development for democratic societies. To teach
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29

Warren, Michelle R. Good History, Bad Romance, and the Making of Literature. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198795148.003.0012.

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Genre categories are shaped by cultural context and can change over time. This case study of Henry Lovelich’s Grail and Merlin (Cambridge, Corpus Christi College, MS 80) accounts for the malleability of ‘romance’ by assessing in detail how perceptions of genre are mediated by form, politics, religion, archival methods, aesthetics, and pedagogy. When MS 80 was created in the fifteenth century, the English text was part of a multilingual tradition in which romance and history were inherently entangled and overlapping. In the sixteenth century, the Grail and King Arthur served as politically usef
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30

Abate, Michelle Ann, and Gwen Athene Tarbox, eds. Graphic Novels for Children and Young Adults. University Press of Mississippi, 2017. http://dx.doi.org/10.14325/mississippi/9781496811677.001.0001.

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One of the most significant transformations in literature for children and young adults during the last twenty years has been the resurgence of comics. Educators and librarians extol the benefits of comics reading, and increasingly, children's and young adult comics and comics hybrids have won major prizes, including the Printz Award and the National Book Award. Despite the popularity and influence of children's and young adult graphic novels, the genre has not received adequate scholarly attention. This book offers a critical examination of children's and YA comics. The anthology is divided i
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31

Hirschfeld, Heather, ed. The Oxford Handbook of Shakespearean Comedy. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780198727682.001.0001.

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The Oxford Handbook of Shakespearean Comedy offers critical, contemporary resources for studying Shakespeare’s comic enterprises. It engages with perennial but still urgent questions raised by the comedies, looking at them from a range of new perspectives that represent the most recent methodological approaches to Shakespeare, genre, and early modern drama. Some essays take up firmly established topics of inquiry—Shakespeare’s source materials, gender and sexuality, hetero- and homoerotic desire, race, religion—and reformulate them in the kinds of materialist, formalist, phenomenological, or r
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