Offers tips, strategies, and advice on pursuing a music study program at a college, university, or conservatory.

(Meredith Music Resource). This book details the fundamental knowledge, skills, and attitudes that prospective music majors need in order to make a successful transition from high school to college. Specific exercises are offered, along with supporting online resources. It also suggests steps that parents, high school guidance counselors, and music teachers can take to identify, encourage, and guide future musicians and music educators.

Woodwind Basics: Core concepts for playing and teaching flute, oboe, clarinet, bassoon, and saxophone is a fresh, no-nonsense approach to woodwind technique. It outlines the principles common to playing all of the woodwind instruments, and explains their application to each one.The ideas in this book are critical for woodwind players at all levels, and have been battle-tested in university woodwind methods courses, private studios, and school band halls. Fundamental questions answered with newfound clarity include:- What should I listen for in good woodwind playing?- Why is breath support so important, and how do I do and teach it?- What is voicing? How does it relate to ideas like air speed, air temperature, and vowel shapes?- What things does an embouchure need to accomplish?- How can I (or my students) play better in tune?- What role does the tongue really play in articulation?- Which alternate fingering should I choose in a given situation?- How do I select the best reeds, mouthpieces, and instruments?- How should a beginner choose which instrument is the best fit?Woodwind Basics by Bret Pimentel is the new go-to reference for woodwind players and teachers.

One of Oprah Daily's 20 Favorite Books of 2021 • Selected as one of Pitchfork's Best Music Books of the Year “One of the best books of its kind in decades.” —The Wall Street Journal An epic achievement and a huge delight, the entire history of popular music over the past fifty years refracted through the big genres that have defined and dominated it: rock, R&B, country, punk, hip-hop, dance music, and pop Kelefa Sanneh, one of the essential voices of our time on music and culture, has made a deep study of how popular music unites and divides us, charting the way genres become communities. In Major Labels, Sanneh distills a career’s worth of knowledge about music and musicians into a brilliant and omnivorous reckoning with popular music—as an art form (actually, a bunch of art forms), as a cultural and economic force, and as a tool that we use to build our identities. He explains the history of slow jams, the genius of Shania Twain, and why rappers are always getting in trouble. Sanneh shows how these genres have been defined by the tension between mainstream and outsider, between authenticity and phoniness, between good and bad, right and wrong. Throughout, race is a powerful touchstone: just as there have always been Black audiences and white audiences, with more or less overlap depending on the moment, there has been Black music and white music, constantly mixing and separating. Sanneh debunks cherished myths, reappraises beloved heroes, and upends familiar ideas of musical greatness, arguing that sometimes, the best popular music isn’t transcendent. Songs express our grudges as well as our hopes, and they are motivated by greed as well as idealism; music is a powerful tool for human connection, but also for human antagonism. This is a book about the music everyone loves, the music everyone hates, and the decades-long argument over which is which. The opposite of a modest proposal, Major Labels pays in full.

Issued with a 7-inch vinyl record: Side A. Acknowledgements / performed by Major, Eklow, Ohe, Gray; written by Endless Boogie (5:35) -- Side B. Dog's life / performed by Sorcerers; written by Paul & Dave (4:43).

Music moves through time; it is not static. In order to appreciate music wemust remember what sounds happened, and anticipate what sounds might comenext. This book takes you on a journey of music from past to present, from the Middle Ages to the Baroque Period to the 20th century and beyond!

(Meredith Music Resource). Highlights the major components for survival and success during the formative years in a college, university or conservatory and provides examples and strategies to greatly assist the student musician. With no-nonsense advice and practical tips, this guide will prepare music students (and their parents!) to meet the many challenges, and take advantage of the opportunities afforded them during the glorious college years.

Taking a "Sing First, Talk Later" approach, The Singing Book gets students singing from the very first day. Combining a simple introduction to basic vocal technique with confidence-building exercises and imaginative repertoire--with 30 new songs--The Singing Book teaches beginners the vocal skills they need to get started, gives them exciting music to sing, and provides the tools they need to develop the voice and keep it healthy. A new recordings disc included free with every new book provides the melodies and accompaniments for all 78 songs for practice and performance.

For more than 60 years, this text has led the way in preparing students for a lifetime of listening to great music and understanding its cultural and historical context. The Thirteenth Edition builds on this foundation with NEW coverage of performance and musical style. NEW tools help students share their deepening listening skills and appreciation in writing and conversation.

From the neighborhood pianist of silent movie days to the synthesized effects and music video sequences of the 1980s: the great and not-so-great moments in film scoring. Scores from countless films, from Birth of a Nation (1915) through Top Gun (1986), are painstakingly analyzed: how does the score relate to onscreen activity? How does it follow or depart from tradition? How does it represent the strengths and foibles of its composer? The book includes discussion of trend-setting work such as Max Steiner's King Kong (1933--an early instance of music carrying a significant portion of onscreen action), Bernard Herrmann's Psycho (1960, with its unusual, high, scraping strings-only support of the famous shower scene), and Alex North's A Streetcar Named Desire (1951--the first essentially jazz-oriented score), as well as remarks on the work that followed within the resulting trends. Discussions are enhanced by musical reproductions of significant themes and motives. Chapters on 14 individual composers working largely within the United States are given perspective by summary chapters on the silent and early sound years, the decades 1930-1980, and the work of composers outside the United States.