Readers of every age will be enchanted by this charming board book, which is distinguished by the exceptional quality of the musical sounds that bring every picture to life. I Love Music has a button on every spread, which triggers one of six captivating sounds that introduces a familiar instrument to the reader. An incredibly simple but utterly fascinating interactive book with sounds bound to enchant young readers and ignite an early love of music! A delightful and compelling book in the My First Sound Book series that everyone in the family will enjoy reading again and again.

Little ones will love learning to play music with this first guitar book. With easy-to-press buttons, and four well-known songs to master, there are hours of fun to be had with this awesome musical book.

Gives an introduction to classical music. Suitable for young children aged 5-7 years, this title asks readers to think about the different places in which we might hear music, whether it is in a concert hall, or just on television. They are then introduced to a selection of famous composers including Mozart and Beethoven.

What does it mean to author a piece of music? What transforms the performance scripts written down by musicians into authored books? In this fascinating cultural history of Western music’s adaptation to print, Kate van Orden looks at how musical authorship first developed through the medium of printing. When music printing began in the sixteenth century, publication did not always involve the composer: printers used the names of famous composers to market books that might include little or none of their music. Publishing sacred music could be career-building for a composer, while some types of popular song proved too light to support a reputation in print, no matter how quickly they sold. Van Orden addresses the complexities that arose for music and musicians in the burgeoning cultures of print, concluding that authoring books of polyphony gained only uneven cultural traction across a century in which composers were still first and foremost performers.

This unique anthology presents a wide variety of approaches to an ethnomusicology of Inuit and Native North American musical expression. Contributors include Native and non-Native scholars who provide erudite and illuminating perspectives on aboriginal culture, incorporating both traditional practices and contemporary musical influences. Gathering scholarship on a realm of intense interest but little previous publication, this collection promises to revitalize the study of Native music in North America, an area of ethnomusicology that stands to benefit greatly from these scholars' cooperative, community-oriented methods. Contributors are T. Christopher Aplin, Tara Browner, Paula Conlon, David E. Draper, Elaine Keillor, Lucy Lafferty, Franziska von Rosen, David Samuels, Laurel Sercombe, and Judith Vander.

What does it mean to author a piece of music? What transforms the performance scripts written down by musicians into authored books? In this fascinating cultural history of Western music’s adaptation to print, Kate van Orden looks at how musical authorship first developed through the medium of printing. When music printing began in the sixteenth century, publication did not always involve the composer: printers used the names of famous composers to market books that might include little or none of their music. Publishing sacred music could be career-building for a composer, while some types of popular song proved too light to support a reputation in print, no matter how quickly they sold. Van Orden addresses the complexities that arose for music and musicians in the burgeoning cultures of print, concluding that authoring books of polyphony gained only uneven cultural traction across a century in which composers were still first and foremost performers.

A colorful, imaginative, and highly absorbing introduction to music theory for the younger student. Packed with exciting exercises and entertaining characters, this is the ideal introduction to theory for a young instrumentalist.

My First Music Book introduces some of the most basic elements of music. This book includes illustrations to color.

Music in the Early Years is for teachers working across the 3 to 8 age phase who want to make music integral to the life of the nursery and early years classroom. Music has often been taught as if it were different, something outside the mainstream curriculum, with teaching approaches quite at odds with early years work. This book takes children's development as its basis and works towards building a music pedagogy within early years practice. A readiness to listen, observe and reflect is central to the practice which threads through the book. Based on the authors' extensive experience and drawing on that of other teachers and researchers, lots of well-tried, practical ideas show how teachers, parents and carers can help children fulfil their music potential. Sample activities model ways of working with children and have been written in such a way that they can be substituted with other material and adapted for further use. Earlier and later stages of learning and progression are described as a basis for matching activities with children's learning needs, as well as a companion book, Primary Music: Later Years.

This book provides a practical introduction to researching and performing early Anglo-American secular music and dance with attention to their place in society. Supporting growing interest among scholars and performers spanning numerous disciplines, this book contributes quality new scholarship to spur further research on this overshadowed period of American music and dance. Organized in three parts, the chapters offer methodological and interpretative guidance and model varied approaches to contemporary scholarship. The first part introduces important bibliographic tools and models their use in focused examinations of individual objects of material musical culture. The second part illustrates methods of situating dance and its music in early American society as relevant to scholars working in multiple disciplines. The third part examines contemporary performance of early American music and dance from three distinct perspectives ranging from ethnomusicological fieldwork and phenomenology to the theatrical stage. Dedicated to scholar Kate Van Winkle Keller, this volume builds on her legacy of foundational contributions to the study of early American secular music, dance, and society. It provides an essential resource for all those researching and performing music and dance from the revolutionary era through the early nineteenth century.

This book discusses WWI-era music in a historical context, explaining music's importance at home and abroad during WWI as well as examining what music was being sung, played, and danced to during the years prior to America's involvement in the Great War. • Provides an excellent resource for students investigating music during the First World War as well as for adults interested in WWI-era history or music of the pre-twenties • Documents the variety of reasons songs were sung by soldiers in wartime—to cheer themselves up, boost courage, poke fun at or stimulate hatred of their enemies, or express grievances or protest against the war or against authority • Covers stage music of the WWI era, including music hall (British), vaudeville, revues, operettas, and musicals

This entertaining history of Cuba and its music begins with the collision of Spain and Africa and continues through the era of Miguelito Valdes, Arsenio Rodriguez, Benny More, and Perez Prado. It offers a behind-the-scenes examination of music from a Cuban point of view, unearthing surprising, provocative connections and making the case that Cuba was fundamental to the evolution of music in the New World. The ways in which the music of black slaves transformed 16th-century Europe, how the "claves" appeared, and how Cuban music influenced ragtime, jazz, and rhythm and blues are revealed. Music lovers will follow this journey from Andalucia, the Congo, the Calabar, Dahomey, and Yorubaland via Cuba to Mexico, Puerto Rico, Saint-Domingue, New Orleans, New York, and Miami. The music is placed in a historical context that considers the complexities of the slave trade; Cuba's relationship to the United States; its revolutionary political traditions; the music of Santeria, Palo, Abakua, and Vodu; and much more.

A.C. Crombie is one of the best known writers on the history of Science. Science, Optics and Music in Medieval and Early Modern Thought brings together a coherent body of essays that complement his books and are of independent value. A.C. Crombie traces general themes in the development of Science: the Aristotelian inheritance and the importance of the search for logical explanation in the middle ages; the ambitions and limitations of experiment and quantification; changing attitudes to scientific progress; the relations between Science and the Arts, and between Mathematics, Music and Medical Science; and the study of the senses. In particular he shows how the mechanistic hypothesis stimulated the experimental and philosophical study of vision.

Twentieth- and Twenty-First-Century Song Cycles: Analytical Pathways Toward Performance presents analyses of fourteen song cycles composed after the turn of the twentieth century, with a focus on offering ways into the musical and poetic structure of each cycle to performers, scholars, and students alike. Ranging from familiar works of twentieth-century music by composers such as Schoenberg, Britten, Poulenc, and Shostakovich to lesser-known works by Van Wyk, Sviridov, Wheeler, and Sánchez, this collection of essays captures the diversity of the song cycle repertoire in contemporary classical music. The contributors bring their own analytical perspectives and methods, considering musical structures, the composers' selection of texts, how poetic narratives are expressed, and historical context. Informed by music history, music theory, and performance, Twentieth- and Twenty-First-Century Song Cycles offers an essential guide into the contemporary art-music song cycle for performers, scholars, students, and anyone seeking to understand this unique genre.

Easy Piano Sheet Music for Kids is a great first songbook for beginners. Songs on every page page have letters above each note to help children who are yet to learn how to read sheet music. Inside you will find 40 familiar favorites that are some of the most popular tunes for those beginning on piano or keyboard and are new to lessons. The following pieces are included: Mary Had a Little Lamb Twinkle, Twinkle, Little Star Happy Birthday Are You Sleeping? The Wheels on the Bus Itsy Bitsy Spider London Bridge Humpty Dumpty Head, Shoulders, Knees and Toes When the Saints Go Marching In This Little Light of Mine I'm a Little Teapot This Old Man Jingle Bells Rock-A-Bye Baby Old MacDonald Had a Farm The Muffin Man Row, Row, Row Your Boat She'll Be Coming Round the Mountain Three Blind Mice Hickory, Dickory, Dock Rudolph the Red-Nosed Reindeer Bingo Ring a Ring of Roses If You're Happy and You Know It Rain, Rain, Go Away Silent Night Baa, Baa, Black Sheep Hot Cross Buns Pop Goes the Weasel Sing a Song of Sixpence For He's a Jolly Good Fellow Take Me Out to the Ballgame Yankee Doodle Hey Diddle Diddle We Wish You a Merry Christmas Skip to My Lou Polly Put the Kettle On I've Been Working on the Railroad Hush, Little Baby This is a great addition to your young one's beginner instruction as they start learning notes. For example, this works best for a toddler that has taken a piano lesson and then wants to play some childrens songs. Nursery rhyme primer books are great for kid keyboards and pianos alike. Beginners of all ages are welcome!

In this amazing collection, Karen Howard truly opens the door to encountering folk songs from diverse cultures and experiences, on themes from family, animals, flowers, food, and more. The repertoire in First Steps in Global Music is particularly accessible for teachers and children wishing to discover these great songs. Organized by geographical region, Howard provides the context and guidance--including references to free recordings--for these songs to come alive.

This work, a companion to the author's Broadway Sheet Music: A Comprehensive Listing of Published Music from Broadway and Other Stage Shows, 1918 through 1993 (McFarland 1996), provides information about all sheet music published (1843-1918) from all Broadway productions--plus music from local shows, minstrel shows, night club acts, vaudeville acts, touring companies, and shows on the road that never made it to Broadway--and all the major musicals from Chicago.

Using a collection of over one thousand popular songs from the war years, as well as around 150 soldiers’ songs, John Mullen provides a fascinating insight into the world of popular entertainment during the First World War. He considers the position of songs of this time within the history of popular music, and the needs, tastes and experiences of their working-class audiences. He assesses the different genres of musical entertainment which were common in the war years and presents a subtle and nuanced approach to the nature of popular song, the ways in which audiences related to the music and the effects of the competing pressures of commerce, propaganda, patriotism, social attitudes and the progress of the war.