Creative Music Composition is designed to be an introductory textbook for music students. "Creative composition"-composing in your own style, rather than in the style of a composer of the past-is embraced by music educators not only for composition students, but for beginning performers and music educators, and is often offered to all music students and non-music majors who wish to enhance their musical creativity. With 25 years of experience teaching fledgling composers, the author tackles the key ingredients that make for successful composition, including: stimulus to the musical imagination; discussion of a variety of current musical languages; analysis of many examples from contemporary scores; technical exercises; suggestions as to how to start a composition; structures; and examinations of works from particular genres. Wilkins covers several musical languages, from folk and popular to serialism; analyses various rhythmic forms; suggests approaches for composing for a variety of instruments, from traditional to electronic ones, as well as for the human voice; addresses the nuts and bolts of score preparation; and offers career advice. For all composition students-and for music students in general-Creative Music Composition offers a clear and concise introduction that will enable them to reach their personal goals.

Lucille M. Schultz's The Young Composers: Composition's Beginnings in Nineteenth-Century Schools is the first full-length history of school-based writing instruction. Schultz demonstrates that writing instruction in nineteenth-century American schools is much more important in the overall history of writing instruction than we have previously assumed. Drawing on primary materials that have not been considered in previous histories of writing instruction—little-known textbooks and student writing that includes prize-winning essays, journal entries, letters, and articles written for school newspapers—Schultz shows that in nineteenth-century American schools, the voices of the British rhetoricians that dominated college writing instruction were attenuated by the voice of the Swiss education reformer Johann Heinrich Pestalozzi. Partly through the influence of Pestalozzi's thought, writing instruction for children in schools became child-centered, not just a replica or imitation of writing instruction in the colleges. It was also in these nineteenth-century American schools that personal or experience-based writing began and where the democratization of writing was institutionalized. These schools prefigured some of our contemporary composition practices: free writing, peer editing, and the use of illustrations as writing prompts. It was in these schools, in fact, where composition instruction as we know it today began, Schultz argues. This book features a chapter on the agency of textbook iconography, which includes illustrations from nineteenth-century composition books as well as a cultural analysis of those illustrations. Schultz also includes a lengthy bibliography of nineteenth-century composition textbooks and student and school newspapers.

This is a compelling and inspiring look at spiritual beliefs that influenced some of the world's greatest composers, now revised and expanded with eight additional composers.

The standard Ravel biography by the world's foremost authority — brilliantly detailed and documented, filled with quotations from letters, interviews with the composer's friends, an illuminating analysis of each of his works, a study of his musical esthetics and language, a complete catalog of his works, and a discography. "Highly recommended" — Choice. Includes 48 illustrations.

Florence loved her mother's piano playing and wanted to be just like her. When she was just four years old she played her first piano concert and as she grew up she studied and wrote music hoping one day to hear her own music performed by an orchestra. This is the story of a brilliant musician who prevailed against race and gender prejudices to become the first Black woman to be recognised as a symphonic composer and be performed by a major American orchestra in 1933.