The Fall of Troy
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Dmitri Shostakovich The Life And Background Of A Soviet Composer
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Sims Reeves, His Life and Recollections
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Geschichte der Oper
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The Hand of the Pianist
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Beethoven
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Some Current Folk-songs of the Negro
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The History of the Pianoforte
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Musical Accompaniment of Moving Pictures
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The Pianoforte and Its Acoustic Properties
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In Dahomey
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Memorials of John Curwen
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Richard Wagner, sa vie et ses Oeuvres
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Counterpoint
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Essays
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The Ideology of Competition in School Music
The Ideology of Competition in School Music explores competition as a structuring force in school music and provides critiques of that system from multiple philosophical and theoretical perspectives. Competition is seen by many music teachers, students, and supporters as natural and inevitable--a taken-for-granted aspect of music education or an irresistible force, rather than a choice. This book uncovers this ideological nature of competition and examines its effect on student learning, teacher agency, and equity within music education. It considers ways in which music educators might reconsider the role of competition in their teaching practice and offers alternative frameworks for organizing school music. In this book, author Sean Robert Powell views competition as a microcosm of the wider neoliberal capitalist society, in which subjects are interpellated in an antagonistic competitive field as market logic dictates a system of accountability, reduction, and audit culture. Music teachers, students, and education administrators, consciously and unconsciously, reinforce, replicate, and sustain the competitive structure, even if they do so while expressing a cynical disavowal. Powell considers competition broadly, including, for example: formal competitions between schools in which ensembles are given numerical scores and ranked; "festivals" in which groups are given ratings based on pre-given criteria; state, regional, and national honor ensembles; hierarchical arrangements within school music programs; or simply the pursuit of social prestige, reputation, and ever-higher performance standards. Although the book provides examples from the competitive landscape of school music in the United States (and, especially, Texas, considered a "hyper" example of competitive culture), Powell's analyses and discussions are relevant to readers in any context around the world. Although the degree to which competitive achievement as an explicitly-stated aim of instruction varies from program to program and location to location, the "realism" of neoliberal capitalism--and its effect on all aspects of education--is a global phenomenon.
Reminiscences of Michael Kelly, of the King’s Theatre, and Theatre Royal Drury Lane; Volume I
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Catalog of Rare Old Violins, Violas, and Violoncellos
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Sir Arthur Sullivan, His Life and Music
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Wagner's Opera Lohengrin, Containing the German Text, With an English Translation, and the Music of all the Principal Airs
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Memoirs of Doctor Burney
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Analysis of J.S. Bach's Forty-eight Fugues (Das Wohltemperirte Clavier)
Chippewa Music; Volume 2
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The Organ Question
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Autobiography of Anton Rubinstein, 1829-1889
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Form in Music
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Harmony And Instrumentation
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Historical Memoirs of the Irish Bards
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Memoirs Of Doctor Burney
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Early Concert-Life in America (1731-1800)
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In Dahomey
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Praktisches Lehrbuch der Harmonie
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Music-Study in Germany
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Recollections of Countess Theresa Brunswick (Beethoven's Unsterbliche Geliebte
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...The Embellishments of Music
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The Anglo-Saxon Harp Owner’s Manual
This 40 page booklet is the 2nd edition of the first ever instructional material for the Anglo-Saxon harp/Germanic lyre, written by Aelfric, a professional musician, music instructor and harp-builder, to be an owner's manual for the harps that were sold by THEOD and HallDream. However, the booklet serves as an excellent piece of instructional material for any Germanic lyre enthusiast and has remained in demand since its first publication in the early 2000s. Covering everything from different tunings, string types and peg types to different methods of playing, practice exercises and tablature, you don't have to be a trained musician to understand this manual, which is perfect for beginners and advanced players alike.
