The strange fate of Boulanger and Pugno's La ville morte /Alexandra Laederich --Serious ambitions : Nadia Boulanger and the composition of La ville morte /Jeanice Brooks, Kimberly Francis --From the trenches : extracts from the final issue of the Paris Conservatory Gazette /translated by Anna Lehman --From technique to musique : the institutional pedagogy of Nadia Boulanger /Marie Duchêne-Thégarid --Nadia Boulanger's 1935 Carte du tendre --36 rue Ballu : a multifaceted place /Cédric Segond-Genovesi --"What an arrival!" : Nadia Boulanger's New world (1925) --Modern French music : translating Fauré in America, 1925-1945 /Jeanice Brooks --For Nadia Boulanger : five poems by May Sarton --Friend and force : Nadia Boulanger's presence in Polish musical culture /Andrea F. Bohlman, J. Mackenzie Pierce --"What awaits them now?" : a letter to Paris /Zygmunt Mycielski --A letter from Professor Nadia Boulanger /translated by J. Mackenzie Pierce --The Beethoven lectures for the Longy School /translated by Miranda Stewart --Boulanger and atonality : a reconsideration /Kimberly Francis --Why music? Aesthetics, religion, and the ruptures of modernity in the life and work of Nadia Boulanger /Leon Botstein.

While many teachers of music composition have influenced both the aesthetic and eventual success of their students, few have equaled the contributions of Arnold Schoenberg and Nadia Boulanger in the twentieth-century. A larger volume of a more comprehensive collection including all music composition teachers of the era would serve a certain purpose. However, the unique aspect of the current text examines, in detail, and herein presented for the first time in print, many of the teaching materials and approaches of these two famed musicians. Selection of these two teachers for comparison was made owing to the musical position so famously attributed to each: Schoenberg’s predilection to the German School; Boulanger’s favoritism to the French/Stravinsky aesthetic. In making the case for both Schoenberg and Boulanger, the Author has chosen two differing philosophies of music education practice of the late twentieth-century and early twenty-first century: those of Bennett Reimer and David Elliott. The Author examines the materials and methods of each Schoenberg and Boulanger in light of each Reimer’s and Elliott’s case for music education philosophy. Among the subjects discussed: the nature of musical creativity, the process and methods of teaching creativity/music, and the teacher/student dynamic, to name a few. In closing, the Author has presented his own suggestions for teachers, or would-be teachers, of music composition in a seven-step process leading to an effective pedagogy of the subject.

Drawing on decades of teaching experience and the collective wisdom of dozens of the most creative theorists in the country, Michael R. Rogers's diverse survey of music theory--one of the first to comprehensively survey and evaluate the teaching styles, techniques, and materials used in theory courses--is a unique reference and research tool for teachers, theorists, secondary and postsecondary students, and for private study. This revised edition of Teaching Approaches in Music Theory: An Overview of Pedagogical Philosophies features an extensive updated bibliography encompassing the years since the volume was first published in 1984. In a new preface to this edition, Rogers references advancements in the field over the past two decades, from the appearance of the first scholarly journal devoted entirely to aspects of music theory education to the emergence of electronic advances and devices that will provide a supporting, if not central, role in the teaching of music theory in the foreseeable future. With the updated information, the text continues to provide an excellent starting point for the study of music theory pedagogy. Rogers has organized the book very much like a sonata. Part one, "Background," delineates principal ideas and themes, acquaints readers with the author's views of contemporary musical theory, and includes an orientation to an eclectic range of philosophical thinking on the subject; part two, "Thinking and Listening," develops these ideas in the specific areas of mindtraining and analysis, including a chapter on ear training; and part three, "Achieving Teaching Success," recapitulates main points in alternate contexts and surroundings and discusses how they can be applied to teaching and the evaluation of design and curriculum. Teaching Approaches in Music Theory emphasizes thoughtful examination and critique of the underlying and often tacit assumptions behind textbooks, materials, and technologies. Consistently combining general methods with specific examples and both philosophical and practical reasoning, Rogers compares and contrasts pairs of concepts and teaching approaches, some mutually exclusive and some overlapping. The volume is enhanced by extensive suggested reading lists for each chapter.

A fresh look at the career of Nadia Boulanger, among the most influential musical figures of the entire twentieth century.

A new essay collection by the noted Polish poet For Adam Zagajewski—one of Poland’s great poets—the project of writing, whether it be poetry or prose, is an occasion to advance what David Wojahn has characterized as his “restless and quizzical quest for self-knowledge.” Slight Exaggeration is an autobiographical portrait of the poet, arranged not chronologically but with that same luminous quality that distinguishes Zagajewski’s spellbinding poetry—an affinity for the invisible. In a mosaic-like blend of criticism, reflections, European history, and aphoristic musings, Zagajewski tells the stories of his life in glimpses and reveries—from the Second World War and the occupation of Poland that left his family dispossessed to Joseph Brodsky’s funeral on the Venetian island of San Michele—interspersed with intellectual interrogations of the writers and poets (D. H. Lawrence, Giorgos Seferis, Zbigniew Herbert, Paul Valéry), composers and painters (Brahms, Rembrandt), and modern heroes (Helmuth James Graf von Moltke) who have influenced his work. A wry and philosophical defense of mystery, Slight Exaggeration recalls Zagajewski’s poetry in its delicate negotiation between the earthbound and the ethereal, “between brief explosions of meaning and patient wandering through the plains of ordinary days.” With an enduring inclination to marvel, Zagajewski restores the world to us—necessarily incomplete and utterly astonishing.

Written for music educators from K - 5 onwards, First Instruments is a practical guide to teaching musical ideas through the first instruments we develop in early childhood, laying the foundation for how the collective creativity the book presents can sustain a lifelong commitment to music-making: voice and hand gestures. Founded on the belief that all children are musical, the book gives music teachers the necessary tools to develop students' confident understanding of pitch relationships through improvisation and composition. Author Nicholas Bannan, a veteran pedagogue and children's choir director, accomplishes this in a classroom-tested system that combines Kod ly hand signs with extended use of physical motions that together result in deeply embodied musical knowledge. By participating in the book's many group exercises, students develop this knowledge that ultimately paves the way for acquisition and functional working knowledge of harmony that tends to elude most theory students. As Bannan shows, all effective music teaching needs to involve singing as the portal to a secure and transferable response to pitch. First Instruments encourages educators to draw on games, tasks, and activities in relation to their own curriculum planning. Marrying the development of fluent singing abilities with harmonic understandings, this approach supports musical creativity that is not dominated by the conventional features of a particular genre or style, but instead liberates the musical imagination and enables the exploration of musical styles from throughout history and all over the world.