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Performance 3 (Steel String Silver) 6 string, Unique Tension Control, ART The new Performance 3 capo The Performance 3 is the culmination of year...

In this straightforward new book, Daniel L. Kohut offers you specific methods for teaching musical performance skills with primary emphasis on perceptual-motor learning. Several chapters are also relevant to the fields of physical education and dance.

Get to steppinModern musicians, performers, and producers need to move quickly from programming drums and samples to playing synth lines and back again. ATOM SQ was designed as a versatile and expressive MIDI pad controller for contemporary music production. Its unique design is optimized for both classic TR-style 16-step beat sequencing and drum pattern editing in Studio One or playing instruments and launching clips in Ableton Live-yet its staggered and RGB-lit 32-pad configuration is instantly familiar to anyone who's played a controller keyboard.Advanced features let you change the keyboard scale, and a built-in arpeggiator and user-configurable touch strip make the ATOM SQ the most expressive controller you'll ever use. In fact, it's the best PreSonus Studio One MIDI controller available.Control for the best step sequencer at your fingertipsDeep integration with Studio One's Pattern Editor allows for evolving step sequences that will bring your productions to life. Insert a pattern, change its length, add new variations, and change scales-right from the ATOM SQ. Need to make changes on the fly ATOM SQ lets you open the Studio One Pattern Editor, select and edit steps individually, and even copy, paste, duplicate, and delete events, all using tactile controls.You'll build compositions faster than ever before using the built-in step sequencer in Studio One and ATOM SQ. It's fast and easy for anyone who knows how to program a drum machine. And you'll find experimenting to yield particularly rewarding results, because ATOM SQ can constrain your performance to the scale of your choice. No more wrong notes!A complete production toolkitIncluded with ATOM SQ, Studio One Artist music production software enables you to compose, record, and produce without getting distracted by the tools or hemmed in with track limitations. Easy to learn and intuitive to use, Studio One's unique drag and drop workflow and powerful tools will let you produce faster than ever before. Also included are two carefully-curated loop libraries with custom Impact XT kits.New to version 5: Studio One Artist now lets you use your favorite third-party VST and AU plug-in effects and virtual instruments. You also now have complete support for Studio One Remote to use as a second screen or as remote Studio One control on your iPad or Android tablet. And with ATOM SQ, you have the most flexible PreSonus Studio One MIDI controller available.Ableton Live integration and moreATOM SQ is also a unique Ableton Live controller, designed for production and live performance. You can launch clips and scenes during a performance, select devices and edit parameters, navigate tracks and scenes, control each track's volume, panning, and send levels-plus do all your drum programming in Ableton from the ATOM SQ! Ableton Live Lite is included, so you can get to creating right away.It comes with all of Live's essential workflows, instruments and...

The Ibanez PF12MHCE Acoustic Electric Guitar provides lush acoustic and amplified tones and head turning looks at an affordable price.

This book unravels the complexities of playing music and reveals aspects of learning, playing and responding to music relevant to performances of all levels. A survey of performance through the ages leads to a presentation of basic historical, analytical and psychological concepts. Four chapters follow on teaching, development, practice and memorization. The next section considers the "translation" from score to sound, physical projection, ensemble playing and performance anxiety. The final section addresses the act of listening, the legacy of recordings, music criticism and "performers on performance".

In a tradition extending from the medieval era to the early twentieth century, visually disabled Japanese women known as goze toured the countryside as professional singers. An integral part of rural musical culture, the goze sang unique narratives of their own making and a significant repertory of popular ballads and short songs. Goze activities peaked in the nineteenth century, and some women continued to tour well into the middle of the twentieth. The last active goze lived until 2005.In Goze: Women, Musical Performance, and Visual Disability in Traditional Japan, Gerald Groemer examines the way of life, institutions, and songs of these itinerant performers. Groemer shows that the solidarity and success goze achieved with the rural public through narrative and music was based on the convergence of the goze's desire for a degree of social and economic autonomy with the audience's wish to mitigate the cultural deprivation it so often experienced. Goze recognized audiences as a stimulus for developing repertories and careers; the public in turn recognized goze as masterful artisans who acted as powerful agents of widespread cultural development.As the first full-length scholarly work on goze in English, this book is an invaluable resource to scholars and students of Japanese culture, Japanese music, ethnomusicology, and disability studies worldwide.

This comprehensive technique and musicianship book provides an abundance of enjoyable repertoire and musical, results-driven exercises (including scales, etudes, chorales, classical repertoire, and more) that will help your students develop solid, accurate technique. Establishing a strong foundation with good left and right hand technique will result in outstanding musical performances and will help open your students world to a vast wealth of incredible literature. Perfect for intermediate level students in class or private studio settings. Section 1: Technique, Tone, and TuningSection 2: Major and Minor Keys Section 3: Etudes and Bowing Styles

In a tradition extending from the medieval era to the early twentieth century, visually disabled Japanese women known as goze toured the countryside as professional singers. An integral part of rural musical culture, the goze sang unique narratives of their own making and a significant repertory of popular ballads and short songs. Goze activities peaked in the nineteenth century, and some women continued to tour well into the middle of the twentieth. The last active goze lived until 2005.In Goze: Women, Musical Performance, and Visual Disability in Traditional Japan, Gerald Groemer examines the way of life, institutions, and songs of these itinerant performers. Groemer shows that the solidarity and success goze achieved with the rural public through narrative and music was based on the convergence of the goze's desire for a degree of social and economic autonomy with the audience's wish to mitigate the cultural deprivation it so often experienced. Goze recognized audiences as a stimulus for developing repertories and careers; the public in turn recognized goze as masterful artisans who acted as powerful agents of widespread cultural development.As the first full-length scholarly work on goze in English, this book is an invaluable resource to scholars and students of Japanese culture, Japanese music, ethnomusicology, and disability studies worldwide.

How are we to assess the current popularity of period instruments and early-music performance? For musicians and audiences alike, the "historical authenticity" movement has increasingly influenced the performance of classical music. It has given us, claims Peter Kivy, "new and rewarding ways of listening to our musical reportory (as well as silly, vulgar, and unrewarding ones)." He believes that theory now overrules the ear in arguing for and justifying particular aesthetic decisions.In his customary engaging style, Kivy here mounts a philosophical inquiry into the desirability of using or re-creating historical performance. "Authenticity has become so widely accepted," he writes, "that why it should be accepted has become an unasked, indeed a forgotten question among the converted." In "How to Be Authentic," the first section of his book, he examines four different kinds of authenticity; in the second part, "Why to Be Authentic," he suggests how to evaluate them. Discussing issues that he cares about passionately, Kivy provides ammunition for both camps―those who follow authentic performance practice and those who do not.It is his hope that this book provides the groundwork for dialogue between mucisians and philosophers. "I look forward to that," he says, "and to being, when it comes, in the thick of things."

Author, Wallace Berry. Edition, illustrated. Publisher, Yale University Press, 1989. ISBN, 0300043279, 9780300043273.

What are musical works? Are they discovered or created? Can recordings substitute faithfully for live performances? This book considers these and other intriguing questions. It first outlines the nature of musical works, their relation to performances, and their notational specification; it then considers authenticity in performance, musical traditions, and recordings. Comprehensive and original, the volume discusses many kinds of music, applying its conclusions to issues as diverse as the authentic performance movement, the cultural integrity of ethnic music, and the implications of the dominance of recorded over live music.

This comprehensive technique and musicianship book provides an abundance of enjoyable repertoire and musical, results-driven exercises (including scales, etudes, chorales, classical repertoire, and more) that will help your students develop solid, accurate technique. Establishing a strong foundation with good left and right hand technique will result in outstanding musical performances and will help open your students world to a vast wealth of incredible literature. Perfect for intermediate level students in class or private studio settings. Section 1: Technique, Tone, and TuningSection 2: Major and Minor Keys Section 3: Etudes and Bowing Styles

These selected essays by conductor Andrew Parrott reflect the thinking behind some four decades of his ground-breaking performances and recordings. Bringing together seminal writings on the performance expectations of, amongst others, Monteverdi, Purcell and J. S. Bach, this volume also includes the full version of a major new article calling into question the presumed historical place of the 'countertenor' voice. Focusing primarily on vocal and choral matters, the time span is broad (some five centuries) and the essays multifarious (from extensive scholarly articles to radio broadcasts). Authoritative, provocative and readable, Parrott's writing is packed with information of value to scholars, performers, students and curious listeners alike. ANDREW PARROTT is the founder and director of the Taverner Consort, Choir and Players. His book The Essential Bach Choir (The Boydell Press, 2000) has been acclaimed as 'a brilliant piece of research' (BBC Radio 3); 'utterly fascinating' (Gramophone); and 'a document which will itself no doubt be a subject of study for years to come' (Times Literary Supplement).

These selected essays by conductor Andrew Parrott reflect the thinking behind some four decades of his ground-breaking performances and recordings. Bringing together seminal writings on the performance expectations of, amongst others, Monteverdi, Purcell and J. S. Bach, this volume also includes the full version of a major new article calling into question the presumed historical place of the 'countertenor' voice. Focusing primarily on vocal and choral matters, the time span is broad (some five centuries) and the essays multifarious (from extensive scholarly articles to radio broadcasts). Authoritative, provocative and readable, Parrott's writing is packed with information of value to scholars, performers, students and curious listeners alike. ANDREW PARROTT is the founder and director of the Taverner Consort, Choir and Players. His book The Essential Bach Choir (The Boydell Press, 2000) has been acclaimed as 'a brilliant piece of research' (BBC Radio 3); 'utterly fascinating' (Gramophone); and 'a document which will itself no doubt be a subject of study for years to come' (Times Literary Supplement).

Why do we feel the need to perform music in a historically informed style? Is this need related to wider cultural concerns? In this challenging study, John Butt sums up recent debates on the nature of the early music movement, calling upon a seemingly inexhaustible fund of ideas gleaned from historical musicology, analytic philosophy, literary theory, historiography and theories of modernism and postmodernism. He develops the critical views of both supporters and detractors, claiming ultimately that it has more intellectual and artistic potential than its detractors may have assumed.

Derived from the nationalist writings of José Martí, the concept of Cubanidad (Cubanness) has always imagined a unified hybrid nation where racial difference is nonexistent and nationality trumps all other axes identities. Scholars have critiqued this celebration of racial mixture, highlighting a gap between the claim of racial harmony and the realities of inequality faced by Afro-Cubans since independence in 1898. In this book, Rebecca M. Bodenheimer argues that it is not only the recognition of racial difference that threatens to divide the nation, but that popular regional sentiment further contests the hegemonic national discourse. Given that the music is a prominent symbol of Cubanidad, musical practices play an important role in constructing regional, local, and national identities. This book suggests that regional identity exerts a significant influence on the aesthetic choices made by Cuban musicians. Through the examination of several genres, Bodenheimer explores the various ways that race and place are entangled in contemporary Cuban music. She argues that racialized notions which circulate about different cities affect both the formation of local identity and musical performance. Thus, the musical practices discussed in the book--including rumba, timba, eastern Cuban folklore, and son--are examples of the intersections between regional identity formation, racialized notions of place, and music-making.

Text: French, English (translation)

Delivering unmatched sound quality and musical expression, the BOSS GT-1000 Guitar Multi-Effects Processor ushers in a new era of performance in am...

Delivering unmatched sound quality and musical expression, the BOSS GT-1000 Guitar Multi-Effects Processor ushers in a new era of performance in am...

This comprehensive technique and musicianship book provides an abundance of enjoyable repertoire and musical, results-driven exercises (including scales, etudes, chorales, classical repertoire, and more) that will help your students develop solid, accurate technique. Establishing a strong foundation with good left and right hand technique will result in outstanding musical performances and will help open your students world to a vast wealth of incredible literature. Perfect for intermediate level students in class or private studio settings. Section 1: Technique, Tone, and TuningSection 2: Major and Minor Keys Section 3: Etudes and Bowing Styles