September marks the new Broadway musical season and the opening of fledgling shows like Natasha, Pierre and the Great Comet of 1812 and familiar revivals like Cats.
You might associate the recorder with memories of a second grade classroom and sounds vaguely resembling the tune of “Three Blind Mice” or “Mary Had a Little Lamb.” While the recorder has become a popular instrument in music education, it also has an extensive and interesting history.
To teach music effectively, we must know our subject—music. We must embody and exemplify musicianship.” (Elliott, Music Matters, 1995, p. 271). But how are we to communicate our musicianship to students in meaningful ways?
Most would agree with the idea that music can have a powerful hold over us—our thoughts, feelings, and movements. Given this, how might music help measure thoughts, feelings, and movements in a way that allows professionals in healthcare improve client treatment? The music therapy profession seems to be experiencing a surge in developing data-measuring tools that incorporate music in the client assessment.
Every summer since 1895, the Henry Wood Promenade Concert (commonly known as the BBC Proms) presents an eight-week orchestral classical music festival at the Royal Albert Hall in central London. This year’s Proms put a special focus on cellos.
You take out the scratched up Beatles’ Abbey Road LP from its musty slipcover, cue it onto the turntable, and broadcast it to the small, rural area surrounding your college campus. It’s 5:00 AM, you’re the only one in the booth, and you ask yourself: is anyone listening? Does what I’m doing matter? Little do you know, as you speak into the microphone introducing “Here Comes the Sun” (as the sun is literally rising), you are part of a long history of college radio. But how is college radio relevant today?
Shakespeare has inspired countless and varied performances, works of art and pieces of writing. He has also inspired music. In this 400th year since Shakespeare’s death we asked five composers ‘how did you approach setting the Shakespeare text you chose for your recent work?’
It’s been said that the Devil has all the best tunes. If this is true, he likes to keep a conspicuously low profile. While songs of praise for Jesus, God, Krishna, Buddha, the Virgin Mary, and a host of other deities, saints, and semi-deities abound, Satan is seldom properly hymned.
Tuba, trumpet, trombone…which one should you pick up this fall? Read below to learn what makes the trombone the right choice, and to find out a little more about this bass instrument’s long history.
It is a commonplace to say that, in Renaissance England, music was everywhere. Yet, however true the statement is, it obscures the fact that music existed in many different forms, with very different functions and very different meanings.
While the high drama of the Brexit vote and the US presidential election has grabbed international headlines, Japan has also completed an election that may have far-reaching implications. In the elections for the Upper House of the Diet (Japan’s parliament) on July 10, the ruling Liberal Democratic Party (LDP) and its coalition partners won 162 seats.
In the midst of celebrating the bass guitar all throughout the month of July, we sat down with music marketer for Oxford University Press Helena Palmer. Are four strings really easier than six? What is the most difficult aspect of learning to play the bass guitar?
Oxford University Press has taken the risk of providing for the UK what the Cambiata Press has for many years been providing in the US – “quality music for adolescent choirs containing changing voices.” I use the word “risk” because cambiata music is a small market and the music teachers and choir conductors who understand what it is and why it’s needed are a small proportion of the minority who might even consider that choral work with adolescent boys is important.
Anton Szandor LaVey was the most outspoken and most notorious apostle of Satan in the twentieth century. On his life before founding the Church of Satan in 1966, LaVey liked to spun wild tales, but he did actually work as a professional and semi-professional musician in the carnival circuit. The High Priest of Satan was fond of bombastic classic music in the Wagnerian mould and popular tunes from the thirties, forties, and fifties, the period in which he himself had been young.
We have all attended concerts where a performer dazzled us with technique that seemed hardly humanly possible – a phenomenon that has been a part of musical performances throughout history. In a 1783 anecdotal memory by Johann Matthias Gesner, the ability of J. S. Bach’s playing was described to “effect what not many Orpheuses, nor […]
This weekend, the 32nd International Society for Music Education World Conference will be hosted in Glasgow, Scotland. Researchers, practitioners, and performers will gather to present concerts, talks and discussions. We asked a few attendees for their pre-ISME thoughts and plans. What are you looking forward to at the conference?