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1

The art of elementary band directing. Ft. Lauderdale, FL: Meredith Music Pub., 1997.

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2

The art of successful teaching: A blend of content & context. Chicago, IL: GIA Publications, 1992.

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3

Tenenbaum, Jeremy Eric. Flier: Philly Free School: Highwire Gallery, Philadelphia: 11-30-2004: (Literature/Music/Depravity). Manayunk, Philadelphia, Pa: Philly Free School, 2004.

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4

Serving a great and noble art: Howard Hanson and the Eastman School of Music. Rochester, NY: Meliora Press, 2009.

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5

"Bilder einer Ausstellung" von Viktor Hartmann und Modest Mussorgskij als Beispiel für eine integrative ästhetische Erziehung im Musikunterricht der Allgemeinbildenden Schule. Frankfurt am Main: P. Lang, 1993.

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6

Titzl, Boris. To byl český učitel: František Bakule, jeho děti a zpěváčci. Praha: Společnost Františka Bakule, 1998.

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7

Center for Arts in the Basic Curriculum. A fifty school arts education demonstration project: To include music, literature/creative writing, visual arts, drama and dance in the core curriculum of public elementary schools. [S.l: The Center, 1989.

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8

National Curriculum Council (Great Britain). Additional advice to the Secretary of State for Education and Science on: Art and music non-statutory programme of study material for Key Stage 4; Alternative optional courses in art and music at Key Stage 4; Non-statutory statements of attainment in art, music and physical education. York: National Curriculum Council, 1992.

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9

Bernstein, Leonard. Fanfare: (for the 25th anniversary of the High School of Music and Art, New York City). [New York?]: Jalni Publications, 1995.

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10

Jonathan, Savage, ed. Cross-curricular teaching and learning in the secondary school-- the arts: Drama, visual art, music, and design. London: Routledge, 2011.

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11

The concise guide to hip-hop music: A fresh look at the art of hip-hop, from old-school beats to freestyle rap. New York: St. Martin's Press, 2015.

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12

Kusheva, Todorka. Vŭzpriemane na muzika i izobrazitelno izkustvo (v DG i obshtoobrazovatelnoto uchilishte). Stara Zagora: Plovdivski universitet "Paisiĭ Khilendarski," In-t za povishavane kvalifikat͡s︡ii͡a︡ta na uchitelite "Anastasia Tosheva,", 1992.

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13

Flohr, John W. Storytelling with music: Sing, play, dance, and act. Denton, TX: Troost Press, 2008.

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14

School, Juilliard. Dance, drama, music: 100 years of the Juilliard School. Edited by Seeger Eric. Tampa, FL: Faircount LLC, 2005.

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15

metafisica, Archivio dell'arte, Università di Milano. Dipartimento di storia delle arti, della musica e dello spettacolo, and Università di Firenze. Dipartimento di storia delle arti e dello spettacolo, eds. Origine e sviluppi dell'arte metafisica: Milano e Firenze, 1909-1911 e 1919-1922 : atti del Convegno di studi, Milano, Palazzo Greppi, 28-29 ottobre 2010, organizzato da Archivio dell'arte metafisica, Milano, Dipartimento di storia delle arti della musica e dello spettacolo, Università degli studi di Milano, Dipartimento di storia delle arti e dello spettacolo, Università degli studi di Firenze. Milano: Scalpendi, 2011.

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16

Associations, Consortium of National Arts Education. Opportunity-to-learn standards for arts education. Reston, Va: The Consortium, 1995.

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17

Bergad, Ruth. Early childhood units for music. Huntington Beach, CA: Teacher Created Materials, Inc., 1995.

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18

Teo, Kenneth. The music school in Hong Kong: Yip's Training Centre : a case study. New York: Vantage Press, 1992.

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19

1940-, Yeoman Anita, ed. Primary music for winter: Grades 1-3. Napanee, Ont: S & S Learning Materials, 2006.

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20

Music Educators National Conference (U.S.), ed. The school music program: A new vision : the K-12 national standards, preK standards, and what they mean to music educators. Reston, VA: Music Educators National Conference, 1994.

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21

Cowan, Susan. Primary music for Fall. Niagara Fall, N.Y: T4T Learning Materials, 1994.

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22

Cowan, Susan. Junior music for Fall. Niagara Fall, N.Y: T4T Learning Materials, 1994.

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23

Kǣomanī, Sutthirā. Rāingān kānwičhai panhā læ khwāmtō̜ngkān khō̜ng khrū phūsō̜n dontrī læ nāttasin nai Rōngrīan Prathommasưksā Sangkat Samnakngān Kānprathommasưksā ʻAmphœ̄ Mư̄ang Čhangwat Chīang Mai =: Problems and needs of the music and dramatic art teachers in elementary schools under the Office of Muang District Primary Education, Chiang Mai Province. [Chiang Mai]: Khana Sưksāsāt, Mahāwitthayālai Chīang Mai, 1996.

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24

Lougheed, Judith. Signposts to music.: Games and activities for individuals, groups, and the whole class, investigating the different ways sounds are organised in simple forms, including patterns, repetition and contrast, phrases, and musical shapes. Oxford: Oxford University Press, 1997.

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25

Cacavas, John. The art of writing music: A practical book for composers and arrangers of instrumental, choral, and electronic music as applied to publication, films, television, recordings, and schools. Los Angeles: Alfred Pub. Co, 1993.

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26

Cacavas, John. The art of writing music: A practical book for composers and arrangers of instrumental, choral, and electronic music as applied to publication, films, television, recordings, and schools. Van Nuys, CA: Alfred Pub. Co., 1993.

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27

Andrew, Maddocks, and Somerset Music Education Programme, eds. Growing with music: Key stage 1 : teacher's book. Harlow, Essex: Longman, 1992.

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28

René, Boyer-Alexander, ed. Music fundamentals, methods, and materials for the elementary classroom teacher. 4th ed. Boston: Pearson Allyn & Bacon, 2006.

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29

René, Boyer-Alexander, ed. Music fundamentals, methods, and materials for the elementary classroom teacher. 3rd ed. New York: Addison Wesley Longman, 2000.

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30

René, Boyer-Alexander, ed. Music fundamentals, methods, and materials for the elementary classroom teacher. New York: Longman, 1990.

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31

René, Boyer-Alexander, ed. Music fundamentals, methods, and materials for the elementary classroom teacher. 2nd ed. New York: Longman, 1996.

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32

Stocks, Michael. Growing with music: Key stage 2 : teacher's book B. Harlow, Essex: Longman, 1992.

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33

Andrew, Maddocks, and Somerset Music Education Programme, eds. Growing with music: Key stage 2 : teacher's book A. Harlow, Essex: Longman, 1992.

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34

Kimberly, McCord, Walls Kimberly C. 1961-, and MENC, the National Association for Music Education (U.S.), eds. Strategies for teaching: Technology. Reston, VA: MENC, the National Association for Music Education, 2001.

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35

The artist as citizen. Pompton Plains, NJ: Amadeus Press, 2005.

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36

Chaseling, Marilyn. A class act: Teaching in a classroom arts program. Melbourne: Longman, 1998.

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37

Christiansen, Anne-Lise Steinmetz. Musik, sprog, bevægelse: Tværfaglig undervisning på begyndertrinnet. Danmark: Edition Egtved, 1989.

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38

Manning, Mick. Art school. London: Kingfisher, 1997.

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39

Fraedrich, Eileen. Art of Elementary Band Directing. Meredith Music, 2000.

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40

Bakan, Daniel Lowell. Folk music, songwriting, art therapy and education in non school settings. 1999.

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41

Lysaker, John T. Eno’s Journey from Art School to the Studio. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190497293.003.0004.

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Chapter 3 offers a brief biography of Eno’s development as an artist. It shows how he came to enter the avant-garde and how he acquired the techniques that blossomed on Music for Airports. Early influences like cybernetic theory and avant-garde musical practice are considered. The chapter also looks at his early work with Roxy Music and Robert Fripp in order to explain Eno’s self-proclaimed status as a “non-musician.” The chapter argues that this is Eno’s way of approaching and organizing the activity of sounds. Overall, the chapter argues that Eno is less a rock musician that found the avant-garde than an avant-garde art student who chanced into and transformed popular music.
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42

Hartunian, Paul. Power Publicity For Trade, Music and Art Schools. Clifford Publishing, 2006.

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43

Green, Lloyd A. Audition Stories: I Got Accepted To The High School of Music and Art. Independently published, 2018.

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44

How Art Made Pop. Tate Publishing, Limited, 2019.

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45

Deaf School: The Non-Stop Pop Art Punk Rock Party. Liverpool University Press, 2013.

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46

J, Higgins Barbara, ed. Reaching out: Cooperative activities for the LMC and art, P.E., home ec., music, health, and more. Englewood, Colo: Libraries Unlimited, 1989.

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47

J, Buchanan Heather, Mehaffey Matthew, and Abrahams Frank, eds. Teaching music through performance in choir. Chicago: GIA Publications, 2005.

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48

Russian Piano School: Russian Pianists and Moscow Conservatoire Professors on the Art of the Piano. Kahn & Averill Publishers, 2008.

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49

Ruck Keene, Hermione, and Lucy Green. Amateur and Professional Music Making at Dartington International Summer School. Edited by Roger Mantie and Gareth Dylan Smith. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190244705.013.16.

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Music summer schools in the United Kingdom offer a holiday context for “serious leisure” for amateurs, and high-level tuition for aspiring professionals. The majority exist in distinct spaces for either the vocational or avocational musician; Dartington International Summer School is anomalous in that it is attended by amateur, aspiring professional and professional musicians. Theories of leisure as symbol, play, and the other, and Bahktin’s theory of the “carnivalesque” are used in this chapter as lenses to view participant experience. Mantie’s concept of the learner-participant dichotomy sheds light on the clashes and complementarity arising from the differing intentions of the participants. The chapter discusses how the leisure-learning context of the summer school impacts on participants’ musical identity, and can serve both to challenge and reinforce hierarchical status relationships between vocational and avocational musicians.
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50

Abrahams, Frank, and et al Anton E. Armstrong. Teaching Music Through Performance in Choir: Volume 1 (Volume 1). GIA Publications, Inc., 2005.

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