DOCSLIB.ORG

The GIA Historical Music Series

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The GIA Historical Music Series 2017 Music Education Catalog At GIA, we aspire to create innovative resources that communicate the joys of music making and music learning—that delve deeper into what it means to be musical. By working with leading authors who represent the very best the profession has to offer—preschool through college and beyond—GIA seeks to help music teachers communicate the joy, art, skill, complexity, and knowledge of musicianship. This year marks the 20th Anniversary of the launch of the Teaching Music through Performance series, which has become an indispensible resource for conductors looking to identify and perform the best repertoire, and to hear perspectives from top conductors and educators. With texts and recordings for band, orchestra, choir, and jazz, the series is truly at the forefront. In 2017, we are proud to release Vol. 4 for Choir (page 14) featuring a new team of editors, five CDs of Resource Recordings for Jazz and Beginning Jazz (pages12-13). And new books by Eugene Corporon, Ray Cramer, Ed Lisk, and Tim Lautzenheiser bring chapters from across the series into convenient one-author volumes (pages 8-11). This year, we are proud to publish the first ever musical theatre textbook (pages 16-17), a leading new marching band resource (page 26), a primer on songwriting (page 19), a stunning folk song picture book (page 45), books on music education advocacy (page 21), work-life balance (page 7)—and so much more! Thank you for taking time to explore this catalog! We’re happy to send single copies of the resources in this catalog on an “on approval” basis with full return privileges for 30 days. Happy music making! —The Staff of GIA Publications, Inc. What’s New! Featured Teaching Music through Performance 7 8 9 10 11 TEACHING Work-Life Celebrating 20 Years of MUSIC THROUGH Balance for Music Teaching Music through Performance PERFORMANCE IN BAND Educators Special Anniversary Anthologies from Cramer, Corporon, Lautzenheiser and Lisk anniversary Teaching Music Through Performance 12 13 1314 1514 Beginning Jazz Jazz Vol. 2 CDs Teaching Teaching CDs Teaching Teaching Music through Music through Music through Music through Performance in Performance in Performance Performance Choir Vol. 4 Choir Vol. 4 CDs General Interest 16 18 19 20 iTheatrics Tim Sharp Take It to the Improvisation The first musical helps bring Bridge Games for theatre how-to innovation to your Unlocking the Great Classical book ensemble Songs Inside You Musicians, vol. 2 2 GIA Publications, Inc. 1.800.GIA.1358 or 708.496.3800 • Fax: 708.496.3828 • www.giamusic.com 2017 music education catalog General Interest Instrumental 21 22 23 24 Advocate for Build the best school booster clubs! A Sousa Reader your school music David W. Vandewalker Bryan Proksch programs Instrumental 25 26 28 Marching Band A best-seller! Habits of a Successful Habits of a Methods Middle School Musician Successful Gary E. Smith Orchestra Director GIA WindWorks 29 30 31 John Mackey Inventions Discoveries GIA Composer’s Conducted by Conducted by Collection Eugene Migliaro Eugene Migliaro Corporon Corporon GIA Publications, Inc. 1.800.GIA.1358 or 708.496.3800 • Fax: 708.496.3828 • www.giamusic.com 3 What’s New! Composition Choir 32 33 34 35 Musicianship Arranging: A Hole in the Sky Inside the Composing in Beginners Guide featuring James Choral Choir Henson & Custer Jordan Rehearsal James Jordan Children’s Choir General Music 36 37 38 39 Educating Young Working with Body Mapping John M. Singers Young Singers for Children Feierabend brings us a China Doll Audiation and Assessment Choir 40 41 42 43 Edwin E. Gordon Music Aptitude Choral Conductor’s Resources Recruitment Guide for Choral Online Cards / Orchestral Repertoire 4 GIA Publications, Inc. 1.800.GIA.1358 or 708.496.3800 • Fax: 708.496.3828 • www.giamusic.com 2017 music education catalog Choral music Handbells Best Seller 44 45 171 46 Walton Music New in Evoking Handbell The Artistry of new releases Sound Series repertoire for Teaching and the classroom Making Music Plus ARTS AWARENESS A FIELDBOOK FOR AWAKENING CREATIVE CONSCIOUSNESS IN EVERYDAY LIFE PATRICIA HOY F OREWORD BY 47 B ENJAMIN K. R OE 48 49 50 Teaching Band Awaken Embracing Practice, and Orchestra, creativity with Administrative Measurement Second Edition Arts Awareness Leadership and Evaluation email alerts! New releases from Eager to know what else is new? Sign up to receive GIA Publications, Inc. email alerts of our newest releases. It’s easy. Go to www.giamusic.com and click on email updates! And, of course, you can always visit us at any time at www.giamusic.com! GIA Publications, Inc. 7404 S. Mason Ave., Chicago, IL 60638 1.800.442.1358 or 708.496.3800 Fax: 708.496.3828 WALTON Monday–Friday, 8:30 a.m. to 5 p.m. CST MUSIC A DIVISION OF GIA PUBLICATIONS, INC. GIA Publications, Inc. 1.800.GIA.1358 or 708.496.3800 • Fax: 708.496.3828 • www.giamusic.com 5 ConteNTs Featured New Releases ........... 7-43 GIAMusicAssessment.com .............41 Work-Life Balance for Music Educators ....7 Choir Recruitment Cards ...............42 Teaching Music through Performance in A Conductor’s Guide to Choral and Band 20th Anniversary Editions Orchestral Repertoire ..............43 Ray Cramer .....................8 Choral/Vocal New Releases ...... 44-45 Eugene Migliaro Corporon ........9 Walton Music new releases .............44 Tim Lautzenheiser ..............10 Evoking Sound Choral Series new releases ..45 Edward S. Lisk .................11 General Interest ................ 46-73 Teaching Music through Performance in Jazz Teaching Music Series .......... 74-101 for Beginning Ensembles ...........12 Leadership .................. .102-111 Teaching Music through Performance in Jazz, John M. Feierabend ........... 112-145 Vol. 2 ...........................13 Early Childhood .............. 146-151 Teaching Music through Performance in Elementary General ........... 152-167 Choir, Vol. 4 ..................14-15 Handbells ................... 168-170 The iTheatrics Method .............16-17 Recorder ................... .171-178 Innovation in the Ensemble Arts ........18 Scott Rush .................. 179-186 Take It to the Bridge ...................19 Choral/Vocal ................ .187-190 Improvisational Games for Classical James Jordan ................ .191-212 Musicians, Vol. 2 .................20 Conducting ................. .213-225 Music Advocacy ......................21 More Choral/Vocal ........... .226-251 Boosters to the Rescue! .................22 Music for Young Voices Series ...... .252 Strategic Plans for a Successful Evoking Sound Choral Series ... .253-260 Booster Club .....................23 Walton Music ............... .261-268 A Sousa Reader .......................24 Music from Westminster Series ...... 269 The System: Marching Band Methods ....25 Body Mapping ............... .270-276 Habits of a Successful Middle School Instrumental ................ .277-315 Musician .....................26-27 James O. Froseth ............. 316-329 Habits of a Successful Orchestra Director ..28 Assessment and Curriculum .... .330-339 GIA Composer’s Collection CD .........29 Music Learning Theory ........ 340-358 GIA WindWorks CDs ..............30-31 Music Testing ............... .359-365 Musicianship: Composing in Choir .......32 Piano ..................... 366-368 Arranging: A Beginner’s Guide ..........33 Index ..................... 369-379 GIA ChoralWorks CD .................34 Order Form ..................... .382 Inside the Choral Rehearsal: Method and Rehearsal Guide for Lux Aurumque All prices subject to change without notice. (Eric Whitacre) ..................35 Educating Young Singers ...............36 Touch lives, make great music! Working with Young Singers ............37 Teaching Body Mapping to Children .....38 Momma Buy Me a China Doll ..........39 Dissonance in Space Audiation ..........40 6 GIA Publications, Inc. 1.800.GIA.1358 or 708.496.3800 • Fax: 708.496.3828 • www.giamusic.com F EATURED N EW R ELEASES Work-Life Balance for Music Educators Paul Kimpton & Ann Kaczkowski Kimpton What if today’s music educators could benefit from the wisdom and experience of a life lived in the music education trenches: • How to create balance between teaching music and one’s personal life; • How to understand interconnections among all areas of a teacher’s life; and • How to deal with burnout and other stresses? In this captivating book, authors Paul and Ann Kimpton challenge music educators to: • use reflective learning to solve problems both inside and outside the workplace; A music educator for thirty-three years, • develop a process for dealing with professional Paul Kimpton is the co-author of and personal issues; Scale Your Way to Music Assessment, • understand that a feeling of restlessness is Grading for Musical Excellence, common and can be useful for one’s growth; • learn how to enhance communication skills to Common Core: Re-imagining the solve issues at work and at home; Music Rehearsal and Classroom, • recognize that professional and personal lives and the Adventures with Music intersect and can affect one another; fiction series where the heroes are • expand knowledge beyond one’s area of young musicians, all published by GIA expertise; and Publications, Inc. • find ways to maintain or revitalize life both at home and at work. Ann Kimpton is an educator who has played a variety of roles in Full of ideas for personal reflection and written schools, including assistant principal in workbook form, Work-Life Balance for Music for curriculum and instruction, literacy Educators encourages
Load more

Recommended publications
  • Bad Rhetoric: Towards a Punk Rock Pedagogy Michael Utley Clemson University, [email protected]
    Clemson University TigerPrints All Theses Theses 8-2012 Bad Rhetoric: Towards A Punk Rock Pedagogy Michael Utley Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/all_theses Part of the Rhetoric and Composition Commons Recommended Citation Utley, Michael, "Bad Rhetoric: Towards A Punk Rock Pedagogy" (2012). All Theses. 1465. https://tigerprints.clemson.edu/all_theses/1465 This Thesis is brought to you for free and open access by the Theses at TigerPrints. It has been accepted for inclusion in All Theses by an authorized administrator of TigerPrints. For more information, please contact [email protected]. BAD RHETORIC: TOWARDS A PUNK ROCK PEDAGOGY A Thesis Presented to the Graduate School of Clemson University In Partial Fulfillment of the Requirements for the Degree Master of Arts Professional Communication by Michael M. Utley August 2012 Accepted by: Dr. Jan Rune Holmevik, Committee Chair Dr. Cynthia Haynes Dr. Scot Barnett TABLE OF CONTENTS Page Introduction ..........................................................................................................................4 Theory ................................................................................................................................32 The Bad Brains: Rhetoric, Rage & Rastafarianism in Early 1980s Hardcore Punk ..........67 Rise Above: Black Flag and the Foundation of Punk Rock’s DIY Ethos .........................93 Conclusion .......................................................................................................................109
    [Show full text]
  • Immigrant Musicians on the New York Jazz Scene by Ofer Gazit A
    Sounds Like Home: Immigrant Musicians on the New York Jazz Scene By Ofer Gazit A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Benjamin Brinner, Chair Professor Jocelyne Guilbault Professor George Lewis Professor Scott Saul Summer 2016 Abstract Sounds Like Home: Immigrant Musicians On the New York Jazz Scene By Ofer Gazit Doctor of Philosophy in Music University of California, Berkeley Professor Benjamin Brinner, Chair At a time of mass migration and growing xenophobia, what can we learn about the reception, incorporation, and alienation of immigrants in American society from listening to the ways they perform jazz, the ‘national music’ of their new host country? Ethnographies of contemporary migrations emphasize the palpable presence of national borders and social boundaries in the everyday life of immigrants. Ethnomusicological literature on migrant and border musics has focused primarily on the role of music in evoking a sense of home and expressing group identity and solidarity in the face of assimilation. In jazz scholarship, the articulation and crossing of genre boundaries has been tied to jazz as a symbol of national cultural identity, both in the U.S and in jazz scenes around the world. While these works cover important aspects of the relationship between nationalism, immigration and music, the role of jazz in facilitating the crossing of national borders and blurring social boundaries between immigrant and native-born musicians in the U.S. has received relatively little attention to date.
    [Show full text]
  • From Guy Warren to Kofi Ghanaba: a Life of Transatlantic (Dis)Connections
    Individual Life From Guy Warren to Kofi Ghanaba: A Life of Transatlantic (Dis)Connections Robin D. G. Kelley “ here has never been anybody in the history of Jazz music like me . I am Tto Jazz music what Kwame Nkrumah was to modern African politics.”1 These bold words belong to the late Kofi Ghanaba, the Ghanaian-born drum- mer who pioneered jazz-African fusion music during the era of decolonization. Anyone familiar with Ghanaba and his music, whether as the wise African in Haile Gerima’s celebrated film “Sankofa,” or as the young, dynamic percussion- ist Guy Warren who had taken London, Chicago, and New York by storm in the 1950s, will immediately recognize his legendary hubris. But there is a grain of truth here beyond his conceit. Their lives might be read as parallel stories of two important Ghanaian-born intellectuals whose transatlantic travels between the United States, the United Kingdom, and West Africa profoundly shaped their politics, ideas, and identities. Both men studied at Achimota College in the Gold Coast; both men spent time in the United Kingdom where they encountered an African diasporic community whose politics and art widened their horizons; and both men spent several years in the United States, which they initially envi- sioned as a land of freedom and possibility in an era when the United Kingdom’s imperial fortunes were declining and the so-called American Century was beginning. Nkrumah first arrived in London in 1935, just after Italy invaded Ethiopia. Although he was passing through en route to the United States, Nkrumah fell in with a group of like-minded activists mobilizing against the occupation and demanding that the League of Nations protect Ethiopia’s sovereignty.
    [Show full text]
  • Past Presidents Vol 2
    The American Bandmasters Association Past Presidents 2001-2016 by Victor William Zajec, 2000 (Chicago, IL, March 4, 1923 - Homewood, IL, January 26, 2005) Revised by Raoul F. Camus, ABA Historian, 2016 Past Presidents of the American Bandmasters Association by Victor Zajec, Honorary Life Member and ABA Historian, was published in 2000. It was as much a history of the organization as that of the past presidents, and contained prefaces by several ABA presidents—Bryce Taylor, Stanley F. Michalski, Jr., and Edward S. Lisk. Except for the biographies, most of this information is presently available on the ABA web site. The ABA Board of Directors decided against reprinting the book and chose to put the biographies of the past presidents on the website in chronological order Additional information provided by Vincent J. Novara, curator, Special Collections in Performing Arts, Michelle Smith Performing Arts Library, University of Maryland. The American Bandmasters Association PRESIDENTS Arranged alphabetically 51. Allen, Eugene W. 1988 67. Junkin, Jerry F. 2004 78. Austin, Terry 2015 65. Keene, James F. 2002 13. Bachman, Harold B. 1950 53. Kelly, Mark S. 1990 10. Bainum, Glenn Cliffe 1947 6. King, Karl L. 1938 47. Begian, Harry 1984 24. Kraushaar, Otto J. 1961 31. Berdahl, James E. 1968 75. Leslie, Thomas 2012 70. Bianchi, Carl J. 2007 63. Lisk, Edward S. 2000 58. Bloomquist, Kenneth G. 1995 30. Loboda, Samuel R. 1967 46. Boundy, Martin 1983 68. Locke, John Raymond 2005 54. Bourgeois, John R. 1991 50. Long, John M. 1987 17. Brendler, Charles 1954 36. Mahan, Jack H. 1973 11. Bronson, Howard C.
    [Show full text]
  • From the Podium in This Issue: Michael Haithcock
    ReportReporDouglast Stotter,Stotter, editor Summer 2002 From the Podium country. How do we respond? How do we evolve artistically with- out leaving behind the school band programs that so desperately A frequent question discussed within our profession in recent need our help? months is the old eval u a tive adage, “where have we been and where Again, the answer is complicated and not entirely in our hands, are we going.” The fi rst CBNDA conference of the new cen tu ry, a but our efforts must maximize the considerable opportunities and wonderful symposium, “Wind Music Across the Cen tu ry,” hosted infl uence we potentially have as individuals and as a profession. by New England Conservatory in honor of Frank Battisitiʼs retire- Our national conference, March 26-29, 2003 hosted by the ment, and the exciting 50th Anniversary cel e bra tion of the Eastman Uni ver si ty of Minnesota will attempt to meet the issues presented Wind Ensemble have provided both a catalyst and an opportunity above “head-on.” An exciting program is being planned which will for meaningful refl ection. This Fall also marks the 110th anniver- give you many options for personal and professional growth. A sary of the Sousa professional touring band. From 1892 through tremendous line-up of bands will perform: Arizona State Uni ver si ty today we have accomplished some amazing things both as an artistic conducted by Gary Hill, Concordia College conducted by Russell medium and as an educational vehicle. We should cele brate more Pesola, Indiana University conducted by Ray Cramer, Ohio State our accomplishments without losing sight of our need to evolve! University conducted by Russell Mikkelson, Schwab School of For example, this Spring the San Francisco Symphony has Music at Columbus State College conducted by Robert Rumbelow, per formed works by Shostakovitch, Schuman, Stravinsky, and University of Kentucky conducted by Richard Clary, University of Weill that are regularly performed on wind band concerts.
    [Show full text]
  • Who Stole the Music?
    WHO STOLE THE MUSIC? Due to space limitations in the September/October issue of Clamor, we weren’t able to print any of the tons of music reviews that we had slated for the issue. In an effort to bring them to you in a timely fashion, we’re providing them for you here. We hope you find something you like. If you’d like to write reviews for Clamor, visit www.clamormagazine.org/freestuff.html to see our list of available material. 16/Today Is The Day and not really be cornered into categories. a great survey of the style, and plenty of variety. Zodiac Dreaming split CD I think that this band deserves recognition for Getting to know Bhangra Beatz, I approached Trash Art sticking to instrumental and because of their it in many ways. I put it on while my housemates www.trashart.com perseverance and sincere sound. Check them out if and I made dinner. It was perfect; an unobtrusive your older brother was into Rush or into Joe Satriani beat, different from our usual (funk-related) Two of the longest running and you couldn’t stand the virtuoso cockiness. selections. indy metal acts team up to The CD layout is pretty basic and not very The liner notes provide a history of bhangra show that they still have what it takes to unleash modern or fashionable which is very representative music, and a summary of the subject matter of each some powerful songs. 16 start off this record with of the band. Its clean and is a sound that’s familiar song’s lyrics.
    [Show full text]
  • West African Music in the Music of Art Blakey, Yusef Lateef, and Randy Weston
    West African Music in the Music of Art Blakey, Yusef Lateef, and Randy Weston by Jason John Squinobal Batchelor of Music, Music Education, Berklee College of Music, 2003 Master of Arts, Ethnomusicology, University of Pittsburgh, 2007 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Ethnomusicology University of Pittsburgh 2009 ffh UNIVERSITY OF PITTSBURGH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Jason John Squinobal It was defended on April 14, 2009 and approved by Dr. Nathan T. Davis, Professor, Music Department Dr. Akin Euba, Professor, Music Department Dr. Eric Moe, Professor, Music Department Dr. Joseph K. Adjaye, Professor, Africana Studies Dissertation Director: Dr. Nathan T. Davis, Professor, Music Department ii Copyright © by Jason John Squinobal 2009 iii West African Music in the Music of Art Blakey, Yusef Lateef, and Randy Weston Jason John Squinobal, PhD University of Pittsburgh, 2009 Abstract This Dissertation is a historical study of the cultural, social and musical influences that have led to the use of West African music in the compositions and performance of Art Blakey, Yusef Lateef, and Randy Weston. Many jazz musicians have utilized West African music in their musical compositions. Blakey, Lateef and Weston were not the first musicians to do so, however they were chosen for this dissertation because their experiences, influences, and music clearly illustrate the importance that West African culture has played in the lives of African American jazz musicians. Born during the Harlem Renaissance each of these musicians was influenced by the political views and concepts that predominated African American culture at that time.
    [Show full text]
  • Send Cash, Checks, Or Money Orders Made Payable to “MUTANT POP RECORDS.” QTY
    It’s the incredible free! MutantMutant PopPop AE Mailorder Catalog http://members.aol.com/mutantpop/ After a humongo delay MP-35 THE CHUBBIES “She Wanted More” is finally on the street... Thanks very much for your patience! It was my fault all the way, I dragged my tail and dragged my tail again, no excuses. Anyway, it’s finally time for us to savor two more blasts of Jeannette the King’s power-pop magic—the title track roars and purrs with a growling guitar and sultry vocals, the classic CHUBBIES formula. It’s very fine! We all know that female-fronted power pop is outside of Maximum Rocknroll’s area of coverage these days (whereas boys can go as wussy as they wanna and still draw a review!) but that doesn’t mean you should be ignoring this sub-genre of the pop-punk world or this band in particular. Jeannette Chubbie simply must be counted among the relatively small number of first rank songwriters of the current period. She is that talented! While Jeannette’s guitar work punches hard, The King’s lyrics tend towards the smart and artistic. I’d no sooner give you my detailed interpretation of her work than I would give you my inter- pretation of collage art by Winston Smith or a Sue Coe painting. Listen and derive your own meaning. I will say in general terms that the A-side deals with angst and expectations from a female perspective and the flipside, a song called “Pseudo-Christ,” is an understated howl of anti-religious fury and artis- tic hope.
    [Show full text]
  • NOTZ EDFS PRIE Is Provided for Humanities Courses. Stunts
    DOCUMENT BESUM 1. ED 211 442 ..10 C13 E45 / ! . AN ' AUTHOR Levine,, iPby H. TITLE Jumlistreet Humanities Project Learning Package. Curriculum Materials fcr Secondary Schtel Teachers and Students in Language Arts, faster)/ and Himavities. 'INSTITUTION National Endowment for the Humanities (NFAH) , Washington, D.C\ Elementary and 6eccndary Program- i PUB DATE 81 NOTZ 215p. P EDFS PRIE MF01/PC09 Plus Postage. DESCRIPTORS Black AchieveMent; Elack History; Blacks;,31cBlack Studies; Ethnic Studies; *Humanities Instruction; *Interdisciplinary 'Approach; *Language Arts; Musit Appreciation; *Music Eduation; Musicians; Secondary Education; *United States History; Units cf Study `ABSTRACI These language arts, U.S. history, and humanitges lessons for .secondary school student's are designed tc he used with "From Jumpstreet,A Stcry of Black Music," a series of13 half-hour terevIsiorli prOgrams. The'colorfgl-and rhythmic serifs explores the black muscal heritage from its African roots to its wide influence in.mcder/f American music. Each program of the series features ' performatmes end discussicn by talented contemporary entertainers, plusafilm clips and still photo sequences of Campus clack performers of,the past. This publication is divided into thr section's: language areit, history, and tht humanities. Each section beginswith a scope and sequence .outline. Examples oflesson activities fellow. point of view of . In the language arts lessons, students identify the the lyricist in selected songs by blacks,'participatein debate, give speeches, view and write a brief suinmary of the key ccnceptsin e. alven-teleyision program, and.create a dramatic scene based eke song lyric. The history lesso1s invelve'itudents in identifying characteristics of West African culture reflected in the music of black people; examining slavery, analyzing the music elpest-Civil War America, and comparing the Tanner in whichmusical etyles reflect social and political forces.A multicultural unit on dance and, poetry is provided for humanities courses.
    [Show full text]
  • Razorcake Issue #84 As A
    RIP THIS PAGE OUT WHO WE ARE... Razorcake exists because of you. Whether you contributed If you wish to donate through the mail, any content that was printed in this issue, placed an ad, or are a reader: without your involvement, this magazine would not exist. We are a please rip this page out and send it to: community that defi es geographical boundaries or easy answers. Much Razorcake/Gorsky Press, Inc. of what you will fi nd here is open to interpretation, and that’s how we PO Box 42129 like it. Los Angeles, CA 90042 In mainstream culture the bottom line is profi t. In DIY punk the NAME: bottom line is a personal decision. We operate in an economy of favors amongst ethical, life-long enthusiasts. And we’re fucking serious about it. Profi tless and proud. ADDRESS: Th ere’s nothing more laughable than the general public’s perception of punk. Endlessly misrepresented and misunderstood. Exploited and patronized. Let the squares worry about “fi tting in.” We know who we are. Within these pages you’ll fi nd unwavering beliefs rooted in a EMAIL: culture that values growth and exploration over tired predictability. Th ere is a rumbling dissonance reverberating within the inner DONATION walls of our collective skull. Th ank you for contributing to it. AMOUNT: Razorcake/Gorsky Press, Inc., a California non-profit corporation, is registered as a charitable organization with the State of California’s COMPUTER STUFF: Secretary of State, and has been granted official tax exempt status (section 501(c)(3) of the Internal Revenue Code) from the United razorcake.org/donate States IRS.
    [Show full text]
  • Digital Band Catalog V2 2012
    WWINTERINTER FFULLULL LLINEINE 20132013 && RRECORDSECORDS BBANDAND CCATALOGATALOG DDIGITALIGITAL Mark Custom Table of Contents Custom Recording Recording Service Service, Inc. Professional Quality Releases Annual Subscription . 2-3 Mark Records New/Feature Releases . 4-6 Records Commercial Quality The “Music of” Composer Series . 7-10 Mark Masters U.S. Armed Forces Bands . 11-12 Highest Quality College/Advanced Performances . 13-35 Mark Vintage MarkCustom.com Music Search . 20 Historic Re-issues Midwest Clinic on MP3 . 32 Recital/Ensemble Series . 36-45 Featured High School Performances from: New Sheet Music All-State . 45-51 Distribution! Midwest Clinic . 51-54 TMEA . 54-56 Additional/Featured H.S. Groups . 56-57 Find Mark Releases: Distinguished Music for the Developing Band . 58 MarkCustom.com Jr. High/Middle School Performances . 57-61 BUY DIRECT! Click the orange Music Store icon. Marching Band . 62-63 iTunes Jazz . 64-66 Amazon.com Christmas Music . 66 CDBaby.com Quick Reference Guides . 67-70 ArkivMusic.com 2011 Dixie Classic Festival . 71 2011 WASBE Order Form . 72 New!ClassicsOnline.com General Order Form & Price List . 73 Naxos.com 2012 TMEA Order Form . 74 in Asia, look for Mark products at 2012 Midwest Clinic Order Form . 75 New! SupportingSupporting www.Brain-Music.asia MusicMusic 3-10-30 Minami-Kannon Nishi-ku sincesince 19621962 Hiroshima 733-0035 Japan www.MarkCustom.com Wind Band CD Subscription RECEIVE “Mark” CD Produced This Year! What is the “Mark CD Subscription?” The “Mark CD Subscription” includes CDs from conventions, universities, All-State recordings, Wind Band Festival CDs, and high quality high school projects. New Only $400 Reduced Price 13 CDs from The Midwest Clinic 2011 All Mark Masters & Mark Records University of Illinois David R.
    [Show full text]
  • Development of Materials for a One Year Course in African Music for the General Undergraduate Student
    DOCUMENT RESUME ED 045 042 24 HE 001 879 AUTHOR Butcher, Vada E.; And Others TITLE Development of Materials for a One Year Course in African Music for the General Undergraduate Student. Final Report. INSTITUTION Howard Univ., Washington, D.C. SPONS AGENCY Office of Education (DHEW) , Washington, D.C. Bureau of Research. BUREAU NO PR-6-1779 PUB DATE Sep 70 CONTRACT OEC0-8-061779-2821 NOTE 242p. FDRS PRICE. 7rRs Price MF-$1.00 HC-$12.20 DESCRIPTORS. *African American Studies, *A.Erican Culture, *Curriculum Development, Curriculum Guides, *Higher Education, Instructional Materials; *Music, Music Education, Undergraduate Study IDENTIFIERS *Africa ABSTRACT The major objective of the Project in African Music at Howard University was to develop materials for a course in African music designed for General Education curricula in institutions of higher education. The project was expanded to include the development of materials on African-derived music and to make the materials adaptable for use in secondary schools. The report includes background!of the study, methods of collecting and developing materials, workshops and pilot courses, and results of the educational evaluation report sent to all workshop participants. Appendix A lists the collection of African traditional instruments gathered from Nigeria, Ghana, and Uganda. Appendix B includes materials developed by the project. The workshop program, auestionnaires, questionnaire recipients, and a press release conclude the report. (AF) 1,e e- 77(7 e,9 2_ id FINAL REPORT Project No. 6-1779 Contract No. 0-8-061779-2821 DEVELOPMENT OF MATERIALS FOR A ONE YEAR COURSE IN AFRICAN MUSIC FOR THE GENERAL UNDERGRADUATE STUDENT (PROJECT IN AFRICAN MUSIC) by Veda E.
    [Show full text]