This book is built to start from elementary and fundamental bases to the first degrees of harmony. It provides many theoretical and technical bases of music, presenting in detail relations between physics and music (harmonics, frequency and time spectrum, dissonance, etc.), physiological relations with human body and education.

Despite Messiaen's position as one of the greatest technical innovators of the twentieth century, his musical language has not been comprehensively defined and investigated. The composer's 1944 theoretical study, The Technique of My Musical Language, expounds only its initial stages, and while his posthumously published Traité de rythme, de couleur, et d'ornithologie contains detailed explanations of selected techniques, in most cases the reader is left to define these more precisely by observing them in the context of Messiaen's analyses of his own works. Technical processes are nevertheless in many cases the primary components of a work or movement. For instance, personnages dominate 'Joie du sang des étoiles' from the Turangalîla-symphonie, and in certain cases, such as 'L'échange' from the Vingt regards sur l'Enfant-Jésus, the process (asymmetric augmentation) is the only structuring element present. Given this reliance on idiosyncratic techniques, clear comprehension of the music is impossible without a detailed knowledge of Messiaen's methods. Gareth Healey charts their development and interconnections, considers their relationship with formal structures, and applies them in refined and extended form to works for which Messiaen himself left no published analysis.

Clinical Improvisation Techniques in Music Therapy: A Guide for Students, Clinicians and Educators provides a clear and systematic approach to understanding and applying improvisational techniques. It is inspired by the taxonomy of clinical improvisation techniques as described by Kenneth Bruscia in his book, Improvisational Models of Music Therapy. Based on years of their own experimenting with the teaching of improvisation, the authors have evolved a particular developmental sequence for introducing basic techniques of improvising and applying them through role-play exercises that have been sensitively designed to bring out one’s innate musicality and one’s empathic regard. Part One provides an introduction to the techniques. Part Two focuses on how to apply the techniques with clinical intent in order to meet the diverse needs of a client, individually or in the context of a group. This section also addresses the need to enrich one’s own musicianship by providing musical resources, relevant references and guidelines for working with client’s playing. This “hands-on” guide fulfills the need for a clear process-oriented approach to mastering clinical improvisation techniques, and in a style that can be understood not only by music therapy students, clinicians and educators but also by health care administrators and providers alike.

This practical book describes the specific use of receptive (listening) methods and techniques in music therapy clinical practice and research, including relaxation with music for children and adults, the use of visualisation and imagery, music and collage, song-lyric discussion, vibroacoustic applications, music and movement techniques, and other forms of aesthetic listening to music. The authors explain these receptive methods of intervention using a format that enables practitioners to apply them in practice and make informed choices about music suitable for each of the different techniques. Protocols are described step-by-step, with reference to the necessary environment, conditions, skills and appropriate musical material. Receptive Methods in Music Therapy will prove indispensable to music therapy students, practitioners, educators and researchers.

"Alex North's life and work are the focus of this book. The first part deals with his early life growing up in Chester, Pennsylvania, and Philadelphia, his studies at Juilliard in New York and in Russia and Mexico, his early experiences in modern dance, documentaries, and theater, and his major work in film.".

Felicity Baker and Jeanette Tamplin combine research findings with their own clinical experience and present step-by-step instructions and guidelines on how to implement music therapy techniques for a range of therapeutic needs. Photographs clearly illustrate interventions for physical rehabilitation.

This collection of essays centers on musical elements that authors have employed in their work, thus joining heard sounds to a visual perception of their stories. The spectrum of authors represented is a wide one, from Pound to Durrell, from Steinbeck to Cather, from Beckett to Gaines, but even more unusual is the variety of musical type represented. Classical music (the quartet, the fugue, the symphony), Jazz (the jazz riff and jazz improv) and the spiritual all appear along with folk song and so-called random "noise." Such diversity suggests that there are few limits when readers consider how great writers utilize musical styles and techniques. Indeed, each author seems to realize that it is not the type of music that s/he chooses to employ that is important. Rather, it is the realization that such musical elements as harmony, dissonance, tonal repetition and beat are just as important in prose composition as they are in poetry and song. The essayists have selected some works that may be considered obscure and some that are modern classics. Each one, however, has captured one of the varied ways in which words and music complement and enhance each other.

Choral Music Research and Information is a bibliographic research guide of work in the field. Sections include choral music for children and youth choirs, choral music for adult choirs, choral music with dance, choral settings, and multicultural music.

Innovation in Music: Technology and Creativity is a groundbreaking collection bringing together contributions from instructors, researchers, and professionals. Split into two sections, covering composition and performance, and technology and innovation, this volume offers truly international perspectives on ever-evolving practices. Including chapters on audience interaction, dynamic music methods, AI, and live electronic performances, this is recommended reading for professionals, students, and researchers looking for global insights into the fields of music production, music business, and music technology.