Conducting is a multifaceted craft that includes ear training, vocal, training, conducting techniques, rehearsal techniques, performance practice, music theory, and music history--not to mention basic leadership and group dynamics. It can also be an art that will consume a lifetime of study and practice. Many people have skills in some of these areas, but it is the rare person who has mastered every facet of this complex craft. The scope of this book is to address only the physical skills, the one area that most people can master relatively quickly, regardless of their skill level in other areas. * Written for new directors or the director wanting more training * Contains illustrations and diagrams to covey key concepts * Written by one of America's most respected choral conducting instructors * Will help music leaders become more comfortable with this difficult area of music leadership * Will give directors a higher level of confidence with their church choir Maket *Church choir directors * Music directors

An illustrated guide to competitive swimming containing detailed overviews of the four primary strokes; racing strategies; and the most effective training methods and the science behind why they work.

This classic work is written for frontline clinicians who need to ask "Where is it?" when diagnosing a neurological disorder, helping them reach a diagnosis with greater accuracy and avoiding unnecessary testing. Updated to reflect the latest literature, enhanced with color anatomical diagrams and additional tables, Localization in Clinical Neurology is a cornerstone in clinical neurology.

The complex art of conducting may look effortless to the casual onlooker, however, it requires a great deal of knowledge and skill. The success of a performance hinges on the director's ability to keep the group playing together and interpreting the music as the composer intended. The Complete Idiot's Guide® to Conducting Music shows student and novice conductors how to lead bands, orchestras, choirs, and other ensembles effectively through sight-reading, rehearsals, and performances.

This monograph has been written for clinicians who are involved in the management of the dizzy patient and for scientists with a particular interest in the multi-sensorimotor mechan isms that subserve spatial orientation, motion perception, and ocular motor and postural con trol. Special emphasis has been put on making the correct diagnosis, and detailed recommendations have been given for specific treatments. The second edition has resulted in an almost completely new book due to the dramatic expansion in the 1990s of our understanding of vestibular function and dis orders. A few rele vant examples include the novel concept of canalolithiasis, as opposed to cupulolithiasis, both of which are established causes of typical posterior and horizontal canal benign paroxysmal positioning vertigo; familial episodic ataxia land II have been identified as inherited chan nelopathies; otolithic syndromes were recognized as a variety separate from semicircular canal syndromes; several new central vestibular syndromes have been described, localized, and attributed to vestibular pathways and centres; a new classification based on the three major planes of action of the vestibulo-ocular reflex is available for central vestibular syn dromes; and the mystery of the location and function of the multisensory vestibular cortex is slowly being unravelled. This book differs from other clinical textbooks in that it is not divided into two parts: anatomy and physiology, on the one hand, and disorders, on the other.

"Counterpoint proceeds by developing species counterpoint in the tradition of Johann Joseph Fux and his famous Gradus ad Parnassum (1725), but with attention to Schenker's more in-depth study. Everyone from beginning music theory students to composers to graduate composition students will benefit from the methods introduced here. As emphasized in the preface, readers are presented with "exercises for composition." Rather than actually teaching a student to compose, working through these exercises will improve musicianship as it applies to both composition and understanding music theory."--BOOK JACKET.

Revisiting Music Theory: A Guide to the Practice contains the basics of music theory with the vocabulary used in harmonic and formal analysis. The book assumes few music reading skills, and progresses to include the basic materials of music from J. S. Bach to the twentieth century. Based on Blatter's own three decades of teaching music theory, this book is aimed at a one or two year introductory course in music theory, can serve for individual study, or as a review for graduate students returning to school. Drawing examples from well-known classical works, as well as folk and popular music, the book shows how theory is applied to practice. The book is divided into five parts. The first part introduces music notation, reviewing the basics of pitch, time, and dynamics as represented in written music. Part 2 introduces the concept of melody, covering modes, scales, scale degrees, and melodic form. Part 3 introduces harmony, dealing with harmonic progression, rhythm, and chord types. Part 4 addresses part writing and harmonic analysis. Finally, Part 5 addresses musical form, and how form is used to structure a composition. Revisiting Music Theory will be a valuable textbook for students, professors, and professionals.

In this book Christopher Hasty presents a striking new theory of musical duration. Drawing on insights from modern "process" philosophy, he advances a fully temporal perspective in which meter is released from its mechanistic connotations and recognized as a concrete, visceral agent of musical expression. Part one of the book reviews oppositions of law and freedom, structure and process, determinacy and indeterminacy in the speculations of theorists from the eighteenth century to the present. Part two reinterprets these contrasts to form a highly original account of meter that engages diverse musical repertories and aesthetic issues.

Unlocking Meaning in Art Song teaches singers how to analyze songs in order to discover deeper meanings and create more compelling interpretations and performances. The first part of the book introduces important practical skills for analyzing the text as well as key musical elements including melody, rhythm, structure, linear motion, and harmony. The remainder of the book presents an in-depth guided analysis of twenty Schubert songs. The questions and prompts in these chapters allow students, singers, and other readers to discover for themselves the amazing ways in which music and expressive meaning are structured. Songs range from simpler analytical difficulty (such as An die Musik) to medium difficulty (such as Gretchen am Spinnrade), and finally to more complex (such as Erlkönig). The techniques presented in this book can be applied to all types of songs, allowing singers to build critical skills and artful consciousness. This is an ideal resource for song literature courses, voice teachers, students, collaborative pianists, and theory faculty.