Standard music notation book with four blank "Contents" or index pages, each with 30 blank rows. Staff pages are numbered on the top outside corner of each page to keep track of your music notes and compositions. 10 rows of 5-line staff notation per page.
(Misc). Capture your creativity in this unique notebook custom-made for musicians. Includes perforated blank staff paper for standard notation and guitar tablature, along with lined pages for lyrics and grid pages for scaled drawings.
A 50 page blank music manuscript notebook, pocket sized for convenience and composing on the go. Ideal for music students, theory students, music teachers and the professional musician. A great gift for the aspiring songwriter or young musician. 10 staves per page, 5''x 8'' (12.70 x 20.32cm) in size.
Sounds American provides new perspectives on the relationship between nationalism and cultural production by examining how Americans grappled with musical diversity in the early national and antebellum eras. During this period a resounding call to create a distinctively American music culture emerged as a way to bind together the varied, changing, and uncertain components of the new nation. This played out with particular intensity in the lower Mississippi River valley, and New Orleans especially. Ann Ostendorf argues that this region, often considered an exception to the nation—with its distance from the center of power, its non-British colonial past, and its varied population—actually shared characteristics of many other places eventually incorporated into the country, thus making it a useful case study for the creation of American culture. Ostendorf conjures the territory’s phenomenally diverse “music ways” including grand operas and balls, performances by church choirs and militia bands, and itinerant violin instructors. Music was often associated with “foreigners,” in particular Germans, French, Irish, and Africans. For these outsiders, music helped preserve collective identity. But for critics concerned with developing a national culture, this multitude of influences presented a dilemma that led to an obsessive categorization of music with racial, ethnic, or national markers. Ultimately, the shared experience of categorizing difference and consuming this music became a unifying national phenomenon. Experiencing the unknown became a shared part of the American experience.
In an era where the internet and technology drive education, a handful of subjects still align with the old school. Classical music is one example where you need a teacher, a “guru”. It is not about the music notes and notation. They can be documented. The pitch and tonal quality can be detected by a computer. With the advancement of artificial intelligence, the accuracy and purity of the raga structure may also be analysed soon. But that still does not negate the need for a guru if one would like to learn classical music. Learning in front of a guru does create a flow of hard-to-explain energy that gets transmitted from the teacher to the taught. It may be easy to switch to a different high school tuition class but not so easy to switch your guru. On a different note, the human mind does continually wave its own set of thoughts and perceptions, at the conscious or subconscious level of the mind. What if such thoughts and perceptions eventually dominate and manoeuvre over the otherwise sacred relationship of the teacher and taught? Where does it lead to?
As more and more music literature is published each year, librarians, scholars, and bibliographers are turning to music bibliography to retain control over the flood of information. Based on the Conference of Music Bibliography, this timely book provides vital information on the most important aspects of the scholarly practice of music bibliography. Foundations in Music Bibliography provides librarians with great insight into bibliographic issues they face every day including bibliographic control of primary and secondary sources, the emergence of enumerative and analytical bibliography, bibliographic instruction, and bibliographic lacunae. Foundations in Music Bibliography features the perspectives of prominent scholars and music librarians on contemporary issues in music bibliography often encountered by music librarians. It offers practical insights and includes chapters on teaching students how to use microcomputer programs to search music bibliographies, organizing a graduate course in music bibliography, and researching film music bibliography. The book also provides a supplement to Steven D. Westcott’s A Comprehensive Bibliography of Music for Film and Television. This insightful volume demonstrates the many ways that bibliography relates music publications to each other and endows grander meaning to individual scholarly observations. Some of the fascinating topics covered by Foundations in Music Bibliography include: the history of thematic catalogs indexing Gregorian chant manuscripts general principles of bibliographic instruction analyses of Debussy discographies musical ephemera and their importance in various types of musicological research bibliographical lacunae (i.e. lack of access to visual sources, failure to control primary sources, and lack of communication with the rest of the performing arts) Foundations in Music Bibliography shows librarians how bibliography can be used to help music students and researchers find the information they need among the innumerable available sources. It is an indispensable asset to the shelves of all music reference libraries that wish to provide their patrons with the latest bibliographic tools.
This series surveys three centuries of keyboard music, including representative shorter works by: * Bach * Handel * Scarlatti * C.P.E. Bach * Haydn * Clementi * Mozart * Beethoven * Schubert * Mendelssohn * Chopin * Schumann * Tchaikovsky * Grieg * MacDowell The student is helped to achieve stylistically correct performance through editing based on original sources, clear interpretation of ornaments, a glossary of musical terms and symbols for each book, and biographical material on composers, relating them to their period in music history.
Seeing Through Music levels the critical playing-field between film-music and so-called 'serious music', reflecting upon gender-related ideas about music and modernism as much as about film. It proposes a history of twentieth-century music that would include the scores of a number of the major Hollywood movies discussed here.