Libros de Didáctica musical, página 6 de 54

The Cambridge History of American Music celebrates the richness of America''s musical life. It is the first study of music in the United States to be written by a team of scholars. American music is

This guide to the orchestra and orchestral life is unique in the breadth of its coverage. It combines orchestral history and orchestral repertory with a practical bias offering critical thought about the past, present and future of the orchestra as a sociological and as an artistic phenomenon. This approach reflects many of the current global discussions about the orchestras continued role in a changing society. Other topics discussed include the art of orchestration, scorereading, conductors and conducting, international orchestras, recording, as well as consideration of what it means to be an orchestral musician, an educator, or an informed listener. Written by experts in the field, the book will be of academic and practical interest to a wide-ranging readership of music historians and professional or amateur musicians as well as an invaluable resource for all those contemplating a career in the performing arts.

The vibrant world of jazz may be viewed from many perspectives, from social and cultural history to music analysis, from economics to ethnography. It is challenging and exciting territory. This volume of nineteen specially commissioned essays provides informed and accessible guidance to the challenge, offering the reader a range of expert views on the character, history and uses of jazz. The book starts by considering what kind of identity jazz has acquired and how, and goes on to discuss the crucial practices that define jazz and to examine some specific moments of historical change and some important issues for jazz study. Finally, it looks at a set of perspectives that illustrate different takes on jazz - ways in which jazz has been valued and represented.

From Robert Johnson to Aretha Franklin, Mahalia Jackson to John Lee Hooker, blues and gospel artists figure heavily in the mythology of twentieth-century culture. The styles in which they sang have proved hugely influential to generations of popular singers, from the wholesale adoptions of singers like Robert Cray or James Brown, to the subtler vocal appropriations of Mariah Carey. Their own music, and how it operates, is not, however, always seen as valid in its own right. This book provides an overview of both these genres, which worked together to provide an expression of twentieth-century black US experience. Their histories are unfolded and questioned; representative songs and lyrical imagery are analysed; perspectives are offered from the standpoint of the voice, the guitar, the piano, and also that of the working musician. The book concludes with a discussion of the impact the genres have had on mainstream musical culture.

Dick WeissmanBlues: The Basics gives a brief introduction to a century of the blues; it is ideal for students and interested listeners who want to learn more about this treasured American artform. The book is organized chronologically, focusing on the major eras in blues's growth and development. It opens with a chapter defining the blues form and detailing the major genres within it. Next, the author gives the beginning blues fan points on how to listen to and truly enjoy the music. The heart of the book traces blues's growth from its folk origins through early recordings of city blues singers like Ma Rainey and Bessie Smith and country blues stars like Robert Johnson and Blind Lemon Jefferson. Finally, the author gives an overview of the blues scene today. The book concludes with lists of key recordings, books, and videos. Blues: The Basics serves as an excellent introduction to the players, the music, and the styles that make blues an enduring and well-loved musical style.

3.TEORIA Y PRACTICA DE LENGUAJE MUSICAL es un libro del autor Robles editado por SI-BEMOL. 3.TEORIA Y PRACTICA DE LENGUAJE MUSICAL tiene un código de ISBN 978-84-16337-72-9 y consta de 170 Páginas.

Siguiendo las referencias históricas desde el siglo VI a nuestros días, nos acercamos al gran desconocido de la actividad musical: el canto coral. Su carácter popular -en España se cuentan por miles los coros amateurs- hace que el hecho coral adquiera una singular significacion social, hasta ahora no considerada. En este marco, Miguel Angel Jaraba nos presenta un libro que nos ayudara a conocer todos los elementos tecnicos y humanos que configuran un fenomeno social y artistico de innegable importancia en el panorama cultural de Occidente.

¿Quieres entender la teoría musical? Esta guía te explica los principales conceptos en un lenguaje sencillo –desde escalas, intervalos y tempos hasta progresiones de acordes, fraseo, armonización y a

Teoría Musical del Flamenco analiza este lenguaje mediante el estudio musical pormenorizado de los elementos que lo componen: la forma, el ritmo, la melodía y la armonía. Es un tratado técnico-musical que se vale de las herramientas clasicas de analisis, codificacion y notacion aplicadas normalmente en el estudio de otras musicas. Util a los musicos flamencos para comprender mejor la musica que interpretan; a los interpretes y compositores de otro tipo de musicas para aproximarse a la musica flamenca; y al alumnado de los centros de enseñanza musical como libro de texto. El libro consta de cuatro capitulos: Forma, ritmo, melodia y armonia a los que se añade uno final, a manera de epilogo, con reflexiones sobre tendencias contemporaneas en el flamenco. Premio de investigacion 2004 XLIV Festival Internacional del cante de las Minas. La Union. Murcia.

Lalo Carnota es un veterano, aunque joven, experto profesional de la música, actividad a la que se viene dedicando desde 1998. El trabajo que en este libro se desarrolla es el resultado de las enseñanzas desarrolladas por el autor durante los ultimos cursos en la Escuela Municipal de Musica de A Coruña. Es un trabajo riguroso y a la vez sencillo y practico que pretende no solo ser una obra de consulta, sino una herramienta practica para todos los que desean acercarse a la musica.

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TEORIA DEL LENGUAJE MUSICAL PRIMER CURSO ENSEÑANZA

A la vez que el cante flamenco iba perdiendo sus últimos intérpretes y esencias más hondas, un grupo de aficionados cultos dieron cuenta en escritos lúcidos y melancólicos de ese mundo que se perdía. Como Caballero Bonet o Fernando Quiñones, Alberto Garcia Ulecia (1932-2003) recogio sus opiniones sobre el flamenco en varios ensayos, hasta hoy ineditos, donde se equilibraba de manera magistral el conocimiento, la intuicion y el lirismo.Nacido en Moron, ciudad flamencologa donde las haya, este catedratico de derecho y poeta fue testigo de excepcion de muchas veladas de cante autentico. Sus opiniones fueron rescatadas por su amigo Fernando Ortiz para darnos un libro postumo que tendra que convertirse en referencia obligada de los estudios flamencos mas puros.