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This book is designed with specific practical methods for teaching performance skills to music students, singers and/or instrumentalists. The book provides a wealth of information. Contents: (main headings only) Part 1 Perceptual motor leaning theory *Introduction *Basic concepts of perceptual motor learning *Neuromuscular physiology *Foundations of human psychology *Psychophysiological principles & techniques of learning Part II Principles & methods of teaching *Introduction to teaching *The psychology of teaching *Introduction to performance pedagogy *Developmental & remedial teaching Part III Principles, methods & theories of tone production *Anatomy & physiology of the tone production mechanism *Principles, methods & theories of breathing *Regulation of tone quality & resonance *Tone production problems: Causes & solutions Epilogue References Index

PreSonus ATOM production and performance pad controller with 16 full-size velocity and pressure sensitive RGB LED pads.From PreSonus: Fast, flexibl...

Overwhelm your senses with the ATOM Production and Performance Pad Controller, a versatile and dynamic tool for music production and live performances. This compact yet powerful device, developed by PreSonus, is designed to produce beats, play virtual instruments, and trigger sound effects and loops with unparalleled expressiveness and flexibility. The ATOM Pad Controller is more than just a performance controller; it's a fully integrated production environment. It comes bundled with the Studio One Artist production software, providing a seamless and intuitive platform for creating and performing music. As one of the most adaptable pad controllers in its category, the ATOM is compatible with a wide range of music software. It allows real-time performance and production with virtual instruments, triggering samples and loops using 16 full-size, velocity- and pressure-sensitive RGB pads. With 8 assignable pad banks, you can customize your setup to suit your unique style and needs. The ATOM connects to your computer via USB and works flawlessly with most music production and performance software. However, it truly shines when used with PreSonus Studio One. The tight integration between ATOM and Studio One allows for a quick and easy creation process. ATOM's navigation, editing, and loop-point-creation features, along with its transport controls, offer a fast, professional-style workflow. With 16 full-size, velocity- and pressure-sensitive RGB pads, you can trigger loops and effects and play virtual instruments with precision. The eight assignable pad banks allow you to assign your entire virtual drum rack to each pad within each bank. The ATOM also features MIDI Keyboard mode, Note Repeat mode, and Full Velocity mode, enabling you to custom control your instruments. With 4 programmable rotary encoders and 20 assignable buttons, you can navigate and set more parameters faster, putting you in full control of your music production software. The ATOM is not just a production pad controller; it's also an instrument controller. Use the velocity- and pressure-sensitive pads to play your virtual instruments live, with incredible expressiveness. Set up pad banks for a full virtual drum set and perform beats that will captivate any audience. The ATOM comes with a wealth of virtual instruments, loops, and drum kits with Studio One to fuel your creativity. We've also partnered with MVP Loops to deliver a carefully curated loop and one-shot library custom-designed for ATOM. The ATOM Pad Controller and Studio One Artist production software are the perfect combination for any music producer or performer. With their tight integration, you can enjoy a blazingly fast, professional-style workflow. The ATOM Pad Controller features 16 full-size velocity- and pressure-sensitive, RGB LED pads, 8 assignable pad banks, 20 assignable buttons, and 4 endless rotary encoders. It also includes the Studio One Artist production software for Mac and Windows, and MVP Loops content...

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

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.

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".

PreSonus ATOM Production and Performance Pad Controller Fast, flexible, and feature-packed. - Produce beats, play virtual instruments, and trigger ...

Express YourselfATOM: Production and Performance Pad Controller Rhythm nation. Capture the beat whenever and wherever creativity strikes with PreSo...

Presonus ATOM 16 Pad Performance Controller Capture the beat whenever and wherever creativity strikes with PreSonus ATOM. An intuitive, musical,...

PreSonus ATOM 16-pad Performance ControllerThe PreSonus ATOM 16-pad Performance Controller is a versatile and intuitive tool designed to enhance yo...

This is a reprint edition of the original book. The subtitle: and the Pantheon, May 26th, 27th, 29th; & June the 3rd, & 5th, 1785 in commemoration of Handel. In addition to the text, there are numerous illustrations throughout the book. Contents: 1. Preface 2. Sketch of the life of Handel 3. Character of Hander, as a composer 4. Chronological life of Handel's compositions 5. Protocols for printing a complete edition of his works 6. Addenda to the preface 7. Addenda to the life of Handel Commemoration of Handel 8. Introduction 9. Life of the directors, conductors, instrumental & vocal performers 10. Plan of the orchestra & definition of the band 11. First performance, Westminster Abbey 12. Second performance, Pantheon 13. Third performance, Westminster Abbey 14. Fourth performance, Westminster Abbey 15. Fifth performance, Westminster Abbey 16. Letter from Count Benincafa on the commemoration of Handel 17. State of the money received in confidence of the 5 musical performances 18. Different of sums expended & appropriated to charitable purposes

A clear, two 7 mil ply head manufactured with Aquarians Vacuum Process which eliminates air bubbles and wrinkles between the two plies. Remember th...

A clear, two 7 mil ply head manufactured with Aquarians Vacuum Process which eliminates air bubbles and wrinkles between the two plies. Remember th...

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.

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.

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."

On the coast of Washington and British Columbia sit the misty forests and towering mountains of Cascadia. With archipelagos surrounding its shores and tidal surges of the Salish Sea trundling through the interior, this bioregion has long attracted loggers, fishing fleets, and land developers, each generation seeking successively harder to reach resources as old-growth stands, salmon stocks, and other natural endowments are depleted. Alongside encroaching developers and industrialists is the presence of a rich environmental movement that has historically built community through musical activism. From the Wobblies’ Little Red Songbook (1909) to Woody Guthrie’s Columbia River Songs (1941) on through to the Raging Grannies’ formation in 1987, Cascadia's ecology has inspired legions of songwriters and musicians to advocate for preservation through music.In this book, Mark Pedelty explores Cascadia's vibrant eco-musical community in order to understand how environmentalist music imagines, and perhaps even creates, a more sustainable conception of place. Highlighting the music and environmental work of such various groups as Dana Lyons, the Raging Grannies, Idle No More, Towers and Trees, and Irthlingz, among others, Pedelty examines the divergent strategies―musical, organizational, and technological―used by each musical group to reach different audiences and to mobilize action. He concludes with a discussion of "applied ecomusicology," considering ways this book might be of use to activists and musicians at the community level.

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.

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).