This collection is the second of five dealing with the rudiments of music.

Welcome to Music 1300, Music: Its Language History, and Culture. The course has a number of interrelated objectives:
1. To introduce you to works representative of a variety of music traditions.These include the repertoires of Western Europe from the Middle Agesthrough the present; of the United States, including art music, jazz, folk, rock, musical theater; and from at least two non-Western world areas (Africa, Asia, Latin America, the Caribbean, the Middle East, Indian subcontinent).
2. To enable you to speak and write about the features of the music you study,employing vocabulary and concepts of melody, rhythm, harmony, texture, timbre,and form used by musicians.
3. To explore with you the historic, social, and cultural contexts and the role of class, ethnicity, and gender in the creation and performance of music,including practices of improvisation and the implications of oral andnotated transmission.
4. To acquaint you with the sources of musical sounds—instruments and voices fromdifferent cultures, found sounds, electronically generated sounds; basic principlesthat determine pitch and timbre.
5. To examine the influence of technology, mass media, globalization, and transnationalcurrents on the music of today.
The chapters in this reader contain definitions and explanations of musical terms and concepts,short essays on subjects related to music as a creative performing art, biographical sketchesof major figures in music, and historical and cultural background information on music fromdifferent periods and places.

Welcome to Music 1300, Music: Its Language History, and Culture. The course has a number of interrelated objectives:
1. To introduce you to works representative of a variety of music traditions.These include the repertoires of Western Europe from the Middle Ages through the present; of the United States, including art music, jazz, folk, rock, musical theater; and from at least two non-Western world areas (Africa, Asia, Latin America, the Caribbean, the Middle East, Indian subcontinent).
2. To enable you to speak and write about the features of the music you study,employing vocabulary and concepts of melody, rhythm, harmony, texture, timbre,and form used by musicians.
3. To explore with you the historic, social, and cultural contexts and the role of class, ethnicity, and gender in the creation and performance of music,including practices of improvisation and the implications of oral and notated transmission.
4. To acquaint you with the sources of musical sounds—instruments and voices from different cultures, found sounds, electronically generated sounds; basic principles that determine pitch and timbre.
5. To examine the influence of technology, mass media, globalization, and transnational currents on the music of today.
The chapters in this reader contain definitions and explanations of musical terms and concepts,short essays on subjects related to music as a creative performing art, biographical sketches of major figures in music, and historical and cultural background information on music from different periods and places.

Reviews available here: https://open.umn.edu/opentextbooks/textbooks/music-its-language-history-and-culture

This course is a creative, hands-on exploration of contemporary and historical approaches to live electronics performance and improvisation, including basic analog instrument design, computer synthesis programming, and hardware and software interface design.

Children are inherently musical. They respond to music and learn through music. Music expresses children’s identity and heritage, teaches them to belong to a culture, and develops their cognitive well-being and inner self worth. As professional instructors, childcare workers, or students looking forward to a career working with children, we should continuously search for ways to tap into children’s natural reservoir of enthusiasm for singing, moving and experimenting with instruments. But how, you might ask? What music is appropriate for the children I’m working with? How can music help inspire a well-rounded child? How do I reach and teach children musically? Most importantly perhaps, how can I incorporate music into a curriculum that marginalizes the arts?

This book explores a holistic, artistic, and integrated approach to understanding the developmental connections between music and children. This book guides professionals to work through music, harnessing the processes that underlie music learning, and outlining developmentally appropriate methods to understand the role of music in children’s lives through play, games, creativity, and movement. Additionally, the book explores ways of applying music-making to benefit the whole child, i.e., socially, emotionally, physically, cognitively, and linguistically.

Children are inherently musical. They respond to music and learn through music. Music expresses children’s identity and heritage, teaches them to belong to a culture, and develops their cognitive well-being and inner self worth. As professional instructors, childcare workers, or students looking forward to a career working with children, we should continuously search for ways to tap into children’s natural reservoir of enthusiasm for singing, moving and experimenting with instruments. But how, you might ask? What music is appropriate for the children I’m working with? How can music help inspire a well-rounded child? How do I reach and teach children musically? Most importantly perhaps, how can I incorporate music into a curriculum that marginalizes the arts?This book explores a holistic, artistic, and integrated approach to understanding the developmental connections between music and children. This book guides professionals to work through music, harnessing the processes that underlie music learning, and outlining developmentally appropriate methods to understand the role of music in children’s lives through play, games, creativity, and movement. Additionally, the book explores ways of applying music-making to benefit the whole child, i.e., socially, emotionally, physically, cognitively, and linguistically.

Above all, this course is meant to help students grow in their love for music in general. This book presents how music has evolved over time, technically and emotionally, and how it is a vital part of the human existence. Music has been a part of the existence of human beings for as far back as human history can confirm.

This text provides just a small sampling of some of the various musical styles and traditions that might be found, though the skills developed in this course can be applied to any type of music.

Table of Contents
I. Introduction
1. Fundamentals
2. Classifying Instruments

II. Place
3. Ozark Music
4. Eurovision Song Contest
5. Highlife

III. Identity and Politics
6. Hip Hop
7. Chimurenga

IV. Theatre
8. Jingju
9. Kabuki

V. Dance
10. Isicathamiya
11. Hula
12. Bhangra
13. Capoeira

VI. Religion and Spirituality
14. Sema
15. Bira

Music is a mobile art. When people move to faraway places, whether by choice or by force, they bring their music along. Music creates a meaningful point of contact for individuals and for groups; it can encourage curiosity and foster understanding; and it can preserve a sense of identity and comfort in an unfamiliar or hostile environment. As music crosses cultural, linguistic, and political boundaries, it continually changes. While human mobility and mediation have always shaped music-making, our current era of digital connectedness introduces new creative opportunities and inspiration even as it extends concerns about issues such as copyright infringement and cultural appropriation.

Music is a mobile art. When people move to faraway places, whether by choice or by force, they bring their music along. Music creates a meaningful point of contact for individuals and for groups; it can encourage curiosity and foster understanding; and it can preserve a sense of identity and comfort in an unfamiliar or hostile environment. As music crosses cultural, linguistic, and political boundaries, it continually changes. While human mobility and mediation have always shaped music-making, our current era of digital connectedness introduces new creative opportunities and inspiration even as it extends concerns about issues such as copyright infringement and cultural appropriation.

With its innovative multimodal approach, Music on the Move invites readers to listen and engage with many different types of music as they read. The text introduces a variety of concepts related to music's travels—with or without its makers—including colonialism, migration, diaspora, mediation, propaganda, copyright, and hybridity. The case studies represent a variety of musical genres and styles, Western and non-Western, concert music, traditional music, and popular music. Highly accessible, jargon-free, and media-rich, Music on the Move is suitable for students as well as general-interest readers.

Table of Contents

Part I: Migration
Chapter 1 Colonialism in Indonesia: Music Moving with an Occupying Force
Chapter 2 The Romani Diaspora in Europe: Mutual Influences
Chapter 3 The African Diaspora in the United States: Appropriation and Assimilation

Part 2: Mediation
Chapter 4 Sound Recording and the Mediation of Music
Chapter 5 Music and Media in the Service of the State

Part 3: Mashup
Chapter 6 Composing the Mediated Self
Chapter 7 Copyright, Surveillance, and the Ownership of Music
Chapter 8 Localizations: Mediated Selves Mixing Musics

Original Études for the Developing Conductor is a collection of supplemental études designed to enhance contemporary conducting pedagogy by amplifying the voices of composers from historically excluded groups. Each étude was commissioned from and composed by a living composer, the majority of whom are woman-identifying composers and/or composers of color. Each étude also addresses multiple specific pedagogical goals common to all conducting classrooms.

Conducting textbooks commonly include musical examples to expose student conductors to various musical challenges and situations. However, due to the relative ease of using only music from the public domain, most examples found in commercially published books are excerpts of larger works composed by deceased cisgender white men of European descent. Often, this music bears little relation to a significant portion of the music contemporary students engage with and perform. These excerpts also tend to be quite short (i.e., less than a minute) and do not create cohesive, self-contained musical arcs.

The history of music is closely linked to the history of copyright law. This book explores how the law shaped music and the music industry. From church and court patronage in pre-19th Century Europe, to the effects of social media on music, this book explores the abiding influence of the law on music.

¡Qué viva la música! Repaso de conversación en español, or Long Live Music! Spanish Conversational Review is an open textbook intended for conversational review, typically a fourth-semester Spanish class. The textbook is organized around nine different songs that provide students opportunities to practice, aurally and orally, as well as in writing, the main communicative goals and key grammatical structures learned in previous classes. It can also be used in similar high school classes.

We will study not only art and music to better understand these forms, we will also study where those forms came from and the cultural and economic impact they had on the public. We will also learn about how the artists and musicians dealt with or got around gatekeepers, along with who could get access to these forms of art and music.

Rockin Russian is designed to give students exposure to the Russian language and culture through the medium of Russian music videos. Students are able to perfect their grammar while rocking out to music videos from Russia's pop stars. Based on Russian music videos from MTV Russia, Rockin' Russian is supplemented with exercise materials focusing on pronunciation, vocabulary development, grammar and cultural features. Parts of the videos are embedded into exercises in each category that students can revisit, strengthening their language skills.

This not-for-profit site is intended to make vocal music and lyrics of the of the early 19th century in the British Isles, Europe, Canada, the United States, and Australia more accessible. It includes contemporary music of the period and later settings (e.g., Brian Holmes's complete score for Death's Jest Book and Lori Lange's settings of Byron lyrics).

Sight-Reading for Guitar: The Keep Going Method Book and Video Series teaches guitar players from all musical backgrounds to understand, read and play modern staff notation in real time. The Keep Going Method is designed to impart the knowledge, skills and attitudes needed for sight-reading with efficiency, fun and encouragement.

The team behind the series has decided to launch it early. We want to equip guitarists, who may be adjusting to new methods of teaching and learning, with a quality open resource.

Table of Contents:
1. Open Strings, Basic Rhythms & the 4/4 Time Signature
2. More Open Strings, Rhythms & Time Signatures
3. Notes on the First String & Tempo
4. Notes on the Second String, Articulations & Voicings
5. Notes on the Third String & Dotted Rhythms
6. Notes on the Fourth String, Ornaments & the Tie
7. Notes on the Fifth String, More Navigation & Ornaments
8. Notes on the Sixth String & Dynamics
9. Simple vs. Compound Meter
10. More Notes, Accidentals & the Eighth-Note Triplet
11. More Notes, Color & Navigation
12. More Notes, Repetition & Fingerings
13. More Notes, Sixteenth Note Rhythms & Dotted Eighth Note Rhythms
14. More Notes, Expression & Tuplets
15. More Notes & Meter
16. More Notes, Key Signatures & Cut Time Meter
17. More Notes & Extended Techniques
18. More Notes, Thirty-Second Rhythms & Swing
19. Playing in Positions
20. Intervals, Chords & Strums
21. More Enharmonics
22. Refining Your Practice

Table of Contents

Brass History
The Overtone Series
General Intonation Tendencies
Embouchure
Embouchure Problems
General intonation Tendencies
Instruments, Mouthpieces, and Equipment
Low Brass Literature
Basic Instrument Maintenance
Vibrato
Low Brass in the Marching Band
Baritone vs. Euphonium-What's the difference by David Werden
Appendix I - Trombone/Euphonium Etudes
Appendix II - Tuba Etudes
Appendix III - Warm-ups
Appendix IV - Trombone Slide Positions / Euphonium FIngerings
Appendix V - Tuba Fingerings
Appendix VI - Major Scales

About the Book

The purpose of this textbook is to provide resources about teaching low brass instruments to music educators and future music educators. The book was developed by the author as part of the open/alternative textbook initiative at Kansas State University. It Is the textbook used for the Kansas State University course Music 239-Low Brass Techniques and Materials.

The textbook focuses on two areas: basic information including pedagogical material for teaching low brass students and low brass etudes. The information is divided into several categories including brass history, the overtone series, general intonation tendencies, embouchure, instruments and equipment, literature, maintenance, vibrato, and low brass in the marching band. Pedagogical material is interspersed throughout each of the chapters.

Etudes are incorporated in the appendix of the textbook. These etudes are intended to be used in a laboratory setting with future music educators learning each low brass instrument for the first time. Instrument fingerings, slide positions, and simple warm-up material is also available in the appendix.

Our Class Piano & Piano Pedagogy teaching professor Dr. Janci Bronson has created a YouTube education channel designed to support student virtual learning within group piano and/or private lessons.
The educational channel covers the following key topics: beginning keyboard technique, sight-reading, transposition, scales, arpeggios, chords, harmonization, & improvisation.
Note: each video comes with closed captions, brief descriptions, suggestions to related videos, and chapters (“show more” under the video description).
We hope you may find these supplemental videos helpful to share with your group piano students. We welcome your feedback and suggestions to continue improving the videos.

These are also found: https://docs.google.com/document/d/1pzTA56_a9PgpWytpJ0oi4OTOwx_iCYrF/edit

Understanding Music: Past and Present is an open Music Appreciation textbook co-authored by music faculty across Georgia. The text covers the fundamentals of music and the physics of sound, an exploration of music from the Middle Ages to the present day, and a final chapter on popular music in the United States.