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Books on the topic 'Music practice'

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Author: Grafiati

Published: 4 June 2021

Last updated: 20 February 2023

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1

Julian, Webb, and Associated Board of the Royal Schools of Music., eds. Music theory in practice. London: Associated Board ofthe Royal Schools of Music, 1993.

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2

Practice in music theory. 2nd ed. Singapore: Music Plaza, 1994.

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3

Practice in music theory. Singapore: Music Plaza, 1990.

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4

Julian, Webb, and Associated Board of the Royal Schools of Music., eds. Music theory in practice. London: Associated Board of the Royal Schools of Music, 1993.

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5

Renaissance music. Farnham, Surrey, England: Ashgate, 2011.

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6

Medieval music. Farnham, Surrey, England: Ashgate Pub Ltd, 2011.

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7

Musica practica: The social practice of Western music from Gregorian chant to postmodernism. London: Verso, 1994.

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8

Mayer, Brown Howard, and Sadie Stanley, eds. Performance practice: Music before 1600. Basingstoke, Hampshire: Macmillan Press, Music Division, 1989.

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9

The practice of practice. [Chicago, Illinois]: Sol UT Press, 2014.

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10

Engelke, Ulrike. Musik und Sprache: Interpretation der Musik des Frühbarock nach überlieferten Regeln = Music and language : interpretation of early Baroque music according to traditional rules. Zürich: Pan AG, 1990.

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11

Harmonic practice in tonal music. New York: W.W. Norton, 1997.

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12

Benward, Bruce. Music in theory and practice. 6th ed. Madison, WI: Brown & Benchmark, 1997.

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13

1937-, White Gary C., ed. Music in theory and practice. 5th ed. Madison, Wis: Brown & Benchmark, 1993.

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14

Harmonic practice in tonal music. 2nd ed. New York: W.W. Norton, 2004.

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15

Nadine, Saker Marilyn, ed. Music in theory and practice. 7th ed. Boston: McGraw-Hill, 1997.

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16

1937-, White Gary C., ed. Music in theory and practice. 4th ed. Dubuque, IA: Wm. C. Brown, 1989.

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17

Gary, White, ed. Music in theory and practice. 4th ed. Dubuque, IA: Brown, 1989.

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18

Nadine, Saker Marilyn, ed. Music in theory and practice. 8th ed. Boston: McGraw-Hill, 2008.

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19

Benward, Bruce. Music in theory and practice. 3rd ed. Dubuque, Iowa: W.C. Brown, 1985.

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20

Studio, Pangko. Music Practice Log: Music Practice Log. Independently Published, 2020.

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21

Practice, Music. Music Practice Log. Independently Published, 2018.

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22

Farmer, Paul. Music in Practice. Oxford University Press, USA, 1987.

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23

Howell, Gillian, Lee Higgins, and Brydie-Leigh Bartleet. Community Music Practice. Edited by Roger Mantie and Gareth Dylan Smith. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190244705.013.26.

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Many people have become disengaged from music making owing to the commercialization and commodification of music practices. This chapter examines a distinctive response to that disengagement, through the work of community music facilitators, who connect on interpersonal and musical levels to encourage community music practice. Four case studies are used to illustrate the central notions of this approach. Underpinning these four case studies is the concept of musical excellence in community music interventions. This notion of excellence refers to the quality of the social experience—bonds formed, meaning and enjoyment derived, and sense of agency that emerges for individuals and the group—alongside the musical outcomes created through the music making experience. The chapter concludes by considering the ways in which community music opens up new pathways for reflecting on, enacting, and developing approaches that respond to a wide range of social, cultural, health, economic, and political contexts.

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24

Line, Lorie. Lorie Line - Practice, Practice, Practice! - Book 7: Americana. Leonard Corporation, Hal, 2017.

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25

Saiprasad, M. Music Practice Book: For Music Lovers. Independently Published, 2017.

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26

Henry, Dellinda. Music Works: A Handbook for Music Therapists. Music Works, 1986.

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27

Line, Lorie. PRACTICE! PRACTICE! PRACTICE! Book Eight KID's CLASSICS. Lorie Line Music, Inc., 2020.

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28

Line, Lorie. Lorie Line - Practice, Practice, Practice! Book 2. Leonard Corporation, Hal, 2009.

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29

Music Publishers Association (U.S.) and Music Educators National Conference (U.S.), eds. Standard music notation practice. [U.S.]: Music Publishers' Association, 1993.

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30

Gwilt, Shirley. Music Theory in Practice. Associated Board of the Royal School of Music, 1990.

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31

Music Theory in Practice. Associated Board of the Royal School of Music, 1990.

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32

Music in Theory & Practice. 6th ed. Mcgraw-Hill College, 1997.

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33

Gwilt, Shirley. Music Theory in Practice. Associated Board of the Royal School of Music, 1998.

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34

Webb, Julian. Music Theory in Practice. Associated Board of the Royal School of Music, 1993.

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35

Webb, Julian. Music Theory in Practice. Associated Board of the Royal School of Music, 1992.

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36

Gwilt, Shirley. Music Theory in Practice. Associated Board of the Royal School of Music, 1998.

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37

Hansen, Katrinka, and Joshua Timothy. Miss Music Lessons Practice. Primedia eLaunch LLC, 2014.

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38

Smith, Denise Duff. Sheet Music: Practice Sheets. Independently Published, 2018.

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39

Music Theory in Practice. ABRSM, 2008.

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40

Eales, Andrew. How to Practice Music. Leonard Corporation, Hal, 2022.

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41

Eales, Andrew. How to Practice Music. Leonard Corporation, Hal, 2022.

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42

Hoffmann, Fa. Music: Its Theory & Practice. Franklin Classics Trade Press, 2018.

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43

Cook, Nicholas. Music as Creative Practice. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199347803.001.0001.

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Until recently, ideas of creativity in music revolved around composers in garrets and the lone genius. But the last decade has witnessed a sea change: musical creativity is now overwhelmingly thought of in terms of collaboration and real-time performance. Music as Creative Practice is a first attempt to synthesize both perspectives. It begins by developing the idea that creativity arises out of social interaction—of which making music together is perhaps the clearest possible illustration—and then shows how the same thinking can be applied to the ostensively solitary practices of composition. The book also emphasizes the contextual dimensions of musical creativity, ranging from the prodigy phenomenon, long-term collaborative relationships within and beyond the family, and creative learning to the copyright system that is supposed to incentivize creativity but is widely seen as inhibiting it.Music as Creative Practice encompasses the classical tradition, jazz and popular music, and music emerges as an arena in which changing concepts of creativity—from the old myths about genius to present-day sociocultural theory—can be traced with particular clarity. The perspective of creativity tells us much about music, but the reverse is also true, and this fifth and last instalment of the Studies in Musical Performance as Creative Practice series offers an approach to musical creativity that is attuned to the practices of both music and everyday life.

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44

Music Theory in Practice. Associated Board of the Royal School of Music, 1990.

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45

Gwilt, Shirley. Music Theory in Practice. Associated Board of the Royal School of Music, 1998.

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46

Music As Creative Practice. Oxford University Press, Incorporated, 2018.

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47

Association, Music Publishers', and Music Educators' National Conference, eds. Standard music notation practice. [s.l.]: Music Publishers' Association, 1993.

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48

Benward, Bruce. Music in Theory & Practice. 7th ed. Mcgraw-Hill College, 2003.

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49

Byzantine Music Theory & Practice. Holy Cross Pr, 1989.

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50

Ashton, Peter, and J. Webb. Music Theory in Practice. Associated Board of the Royal School of Music, 1993.

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