Led by indefatigable singer and songwriter Robert Pollard, GBV are one of the most important rock groups of the past thirty years. After toiling for a decade in obscurity, they broke onto the scene in the early '90s by delivering generation- and genre-defining records such as 1994’s Bee Thousand and 1995’s Alien Lanes. Pollard and a rotating cast of musicians have kept at it ever since, releasing LP after LP of stadium-worthy rock’n’roll. Zeppelin Over Dayton: Guided By Voices Album By Album is the first serious and comprehensive look at the band’s work. Based on the popular GBV podcast Self-Inflicted Aural Nostalgia, it takes an in-depth look at each one of the group’s records, looking at who was in the band at the time and how the LP fits into the band’s discography, and providing commentary and analysis of every song. Drawing on new interviews and extensive research, Zeppelin Over Dayton offers an honest and thorough assessment of GBV’s amazingly sprawling discography, providing ardent admirers with tons of fresh anecdotes and insight, and new fans a way to successfully navigate the group’s dozens of LPs.

Children are inherently musical. They respond to music and learn through music. Music expresses children's identity and heritage, teaches them to belong to a culture, and develops their cognitive well-being and inner self worth. As professional instructors, childcare workers, or students looking forward to a career working with children, we should continuously search for ways to tap into children's natural reservoir of enthusiasm for singing, moving and experimenting with instruments. But how, you might ask? What music is appropriate for the children I'm working with? How can music help inspire a well-rounded child? How do I reach and teach children musically? Most importantly perhaps, how can I incorporate music into a curriculum that marginalizes the arts?This book explores a holistic, artistic, and integrated approach to understanding the developmental connections between music and children. This book guides professionals to work through music, harnessing the processes that underlie music learning, and outlining developmentally appropriate methods to understand the role of music in children's lives through play, games, creativity, and movement. Additionally, the book explores ways of applying music-making to benefit the whole child, i.e., socially, emotionally, physically, cognitively, and linguistically.

xxii + 89 pp.

Read and sing-along as you encourage your students to get their wiggles out. The whole class will be ready to learn with calm bodies. Text is paired with interactive music and colorful illustrations. This paperback book comes with CD and online music access.

In today's technological and globalised world, music remains a basic dimension of society. Music, Encounter, Togetherness outlines a relational approach to music that creates space for both human agency and social relationship. Throughout the book, author Nicholas Cook puts Euro-American musical traditions into dialogue with other world music cultures, complementing theory-driven approaches with comprehensive case studies ranging from late eighteenth-century India to contemporary China, and from Debussy's encounter with Javanese music and dance to cross-cultural musicking in Australia and in cyberspace. Through these examples, Cook examines how music affords interpersonal relationship and social togetherness, and what happens when musicians from different cultures interact. Central to the book is the idea of encounter, which highlights the dynamic and processual nature of musicking, as much in therapy or at home as in the jazz club or concert hall. Western musicologists have traditionally thought of music as primarily a repertory of objects; Cook illustrates how thinking of it in processual terms--through an expanded idea of performance--can make as much sense of Western art music as of other traditions. In basing an understanding of music on acts rather than objects and focussing on people and their relationships rather than on the impersonal forces of evolutionary or stylistic histories, the book opens up ways of thinking that counter some of the dehumanising aspects of musical thinking and practice in global modernity.