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Designed to help class teachers, instrumental teachers and music services collaborate and refine their skills to enable them to deliver an holistic primary music curriculum. This book helps teachers involved in group teaching programmes. It provides practical strategies and advice and supports the five key aims of the Music Manifesto.
Guitarists are athletes. Playing the guitar requires the skilled use of your entire body. Unfortunately, most books on playing guitar focus exclusively on what notes to play, and give little or no attention to how they should be made. This leaves guitarists with a problem. Misunderstanding the mechanics of movement leads to frustration, because it makes learning new techniques harder, limits your abilities when techniques don't work like they should, and causes injury when unhealthy technique wears down your body. The solution is simple: Anatomy of Guitar Playing is your guide to moving well, learning faster and avoiding injury. When you understand the mechanics of moving, you will know for yourself how techniques work. Anatomy of Guitar Playing is both a description of how the body works, as well as a prescription for how to move better, taking you through what you need to know about the body in order to use it more effectively. It covers the anatomy and physics of fretting and picking, how to set up and adjust the guitar to your body and many other important topics. Through learning about the proper use of the body at the guitar, you will be able to learn faster, play with better facility and reduce injury.
Every day people come together to make music. Whether amateur or professional, young or old, jazz enthusiasts or rock stars, what is common to all of these musical groups is the potential to create communities of musical practice (CoMP). Such communities are created through practices: ways of engaging, rules, membership, roles, identities and learning that is both shared through collective musical endeavour and situated within certain sociocultural contexts. Ailbhe Kenny investigates CoMP as a rich model for community engagement, musical participation and transformation in music education. This book is the first to produce a valid and reliable in-depth study of music communities using a community of practice (CoP) framework - in this case focusing on the social process of musical learning. Employing case study research within Ireland, three illustrations from particular sociocultural, genre-specific, economic and geographical contexts are examined: an adult amateur jazz ensemble, a youth choir, and an online Irish traditional music web platform. Each case is analysed as a distinct community and phenomenon offering sharpened understandings of each sub-culture with specific findings presented for each community.
The two volumes of The Oxford Handbook of Music Education offer a comprehensive overview of the many facets of musical experience, behavior and development in relation to the diverse variety of educational contexts in which they occur. In these volumes, an international list of contributors update and redefine the discipline through fresh and innovative principles and approaches to music learning and teaching.
The Blue Moon Bassoon Songbook is a collection of diverse folk and classical melodies arranged for bassoon. With a wide variety of styles and familiar pieces, this book will take the beginning bassoonist from their first notes to their first orchestral excerpts. Arranged and designed by a professional bassoonist, each chapter builds essential techniques with tips and tricks throughout.
Featuring chapters by the world's foremost scholars in music education and cognition, this handbook is a convenient collection of current research on music teaching and learning. This comprehensive work includes sections on arts advocacy, music and medicine, teacher education, and studio instruction, among other subjects, making it an essential reference for music education programs. The original Handbook of Research on Music Teaching and Learning, published in 1992 with the sponsorship of the Music Educators National Conference (MENC), was hailed as "a welcome addition to the literature on music education because it serves to provide definition and unity to a broad and complex field" (Choice). This new companion volume, again with the sponsorship of MENC, explores the significant changes in music and arts education that have taken place in the last decade. Notably, several chapters now incorporate insights from other fields to shed light on multi-cultural music education, gender issues in music education, and non-musical outcomes of music education. Other chapters offer practical information on maintaining musicians' health, training music teachers, and evaluating music education programs. Philosophical issues, such as musical cognition, the philosophy of research theory, curriculum, and educating musically, are also explored in relationship to policy issues. In addition to surveying the literature, each chapter considers the significance of the research and provides suggestions for future study.Covering a broad range of topics and addressing the issues of music education at all age levels, from early childhood to motivation and self-regulation, this handbook is an invaluable resource for music teachers, researchers, and scholars.
Dynamic Group-Piano Teaching provides future teachers of group piano with an extensive framework of concepts upon which effective and dynamic teaching strategies can be explored and developed. Within fifteen chapters, it encompasses learning theory, group process, and group dynamics within the context of group-piano instruction. This book encourages teachers to transfer learning and group dynamics theory into classroom practice. As a piano pedagogy textbook, supplement for pedagogy classes, or resource for graduate teaching assistants and professional piano teachers, the book examines learning theory, student needs, assessment, and specific issues for the group-piano instructor.
In Teaching Core Practices in Teacher Education, Pam Grossman and her colleagues advocate an approach to practice-based teacher education that identifies “core practices” of teaching and supports novice teachers in learning how to enact them competently. Examples of core practices include facilitating whole-class discussion, eliciting student thinking, and maintaining classroom norms. The contributors argue that teacher education needs to do more to help teachers master these professional skills, rather than simply emphasizing content knowledge. Teaching Core Practices in Teacher Education outlines a series of pedagogies that teacher educators can use to help preservice students develop these teaching skills. Pedagogies include representations of practice (ways to show what this skill looks like and break it down into its component parts) and approximations of practice (the ways preservice teachers can try these skills out as they learn). Vignettes throughout the book illustrate how core practices can be incorporated into the teacher education curriculum. The book draws on the work of a consortium of teacher educators from thirteen universities devoted to describing and enacting pedagogies to help novice teachers develop these core practices in support of ambitious and equitable instruction. Their aim is to support teacher educator learning across institutions, content domains, and grade levels. The book also addresses efforts to support teacher learning outside formal teacher education programs. Contributors Chandra L. Alston Andrea Bien Janet Carlson Ashley Cartun Katie A. Danielson Elizabeth A. Davis Christopher G. Pupik Dean Brad Fogo Megan Franke Hala Ghousseini Lightning Peter Jay Sarah Schneider Kavanagh Elham Kazemi Megan Kelley-Petersen Matthew Kloser Sarah McGrew Chauncey Monte-Sano Abby Reisman Melissa A. Scheve Kristine M. Schutz Meghan Shaughnessy Andrea Wells
Sound Teaching explores the ways in which music psychology and education can meet to inspire developments in the teaching and learning of music performance. The book is based on music practitioners’ research into aspects of their own professional practice. Each chapter addresses a specific topic related to musical communication and expression, performance confidence and enjoyment, or skill development in individual and group learning. It explains the background of the research, outlines main findings, and provides suggestions for practical applications. Sound Teaching provides a research-informed approach to teaching and contributes to music tutors’ professional development in teaching children and adults of various ages and abilities. Sound Teaching is written for vocal and instrumental music teachers, music performers with a portfolio career, and music students at conservatoires and universities. Music students undertaking practice-related research will find examples of research methodologies and projects that are informative for their studies. Musical participants of all kinds – students, teachers, performers, and audiences – will find new ways of understanding their practice and experience through research.
