A timeless classic. Includes 8,200 songs in 818 lists for nine voice classifications; indexed by composer, title, vocal range, and publisher. The complete work represents the living song repertoire of today drawn from recital programs, recordings, broadcasts, telecasts, and other sources, and is comprised of Part I: Coloratura, Lyric and Dramatic Soprano, Part II: Mezzo Soprano and Contralto, Part III: Lyric and Dramatic Tenor, and Part IV: Baritone and Bass.

A timeless classic. Includes 8,200 songs in 818 lists for nine voice classifications; indexed by composer, title, vocal range, and publisher. The complete work represents the living song repertoire of today drawn from recital programs, recordings, broadcasts, telecasts, and other sources, and is comprised of Part I: Coloratura, Lyric and Dramatic Soprano, Part II: Mezzo Soprano and Contralto, Part III: Lyric and Dramatic Tenor, and Part IV: Baritone and Bass.

Now in paperback! A timeless classic. Includes 8,200 songs in 818 lists for nine voice classifications; indexed by composer, title, vocal range, and publisher. The complete work represents the living song repertoire of today drawn from recital programs, recordings, broadcasts, telecasts, and other sources, and is comprised of Part I: Coloratura, Lyric and Dramatic Soprano, Part II: Mezzo Soprano and Contralto, Part III: Lyric and Dramatic Tenor, and Part IV: Baritone and Bass.

For contents and other editions, see Author Catalog.

This classic text, first published in 1972, has withstood the test of time as a teaching aid for English-speaking singers, teachers, coaches, and accompanists, in order that their art may be more communicative to the public. These word-by-word translations of songs and arias allow the artist to properly interpret and express the feelings and emotions that the words require at the proper time.

NOW IN PAPERBACK! Designed for use by professional singers, amateurs, teachers, coaches, and students; contains annotations for more than 1,000 songs in the basic vocal repertoire. Invaluable for those who must prepare program notes.

A nationally recognized expert in teaching private voice, Joan Boytim has compiled some of the most widely used vocal collections in the US. Her clinics about various aspects of teaching voice, literature, and running a voice studio have been attended by thousands of teachers. Now that professional wisdom has been put into a new book indispensible for independent instructors, The Private Voice Studio Handbook. Its chapters address, in practical detail, topics such as - starting a private voice studio; equipment and space; recruiting and accepting students; ideas for the very first lesson with a student; studio policies, guidelines and ethics; teaching music reading; recommended syllable drills and vocalises; lesson plans; practice procedures; choosing repertoire suitable to students' abilities; finding appropriate sacred solos; accounting and record-keeping; tax, insurance and retirement advice; techniques for teaching voice to children and adults; planning studio recitals; and many more. An excellent resource for college and university voice faculty.

For contents and other editions, see Author Catalog.

Each year as high school solo and ensemble festivals approach, choir directors and voice teachers search for the right songs for their students to sing. There is so much music available for young developing voices, but how can an overworked teacher keep track of it all? Songs for Young Singers, a careful review of more than 2,000 songs printed in over 70 anthologies, has been written to address the needs of choir directors and voice teachers of junior high and high school age students. Section I lists songs by title as well as the anthologies in which they are found . Teachers wishing to explore the works of a particular composer will turn to section II, where songs are listed by composer. In section III, IV, and V, the songs are categorized by Beginning, Intermediate, and Advanced levels for Quick reference. Section VI lists the anthologies reviewed with a detailed description of the vocal demand of each song in the anthology. The songs have been evaluated on seven criteria: melodic contour (including range), phrase length, language, rhythm, accompaniment, harmonic language, and dynamics, and are listed by title, composer, and level of difficulty.

Music education takes place in many contexts, both formal and informal. Be it in a school or music studio, while making music with friends or family, or even while travelling in a car, walking through a shopping mall or watching television, our myriad sonic experiences accumulate from the earliest months of life to foster our facility for making sense of the sound worlds in which we live. The Oxford Handbook of Music Education offers a comprehensive overview of the many facets of musical experience, behavior and development in relation to this diverse variety of contexts. In this first of two volumes, an international list of contributors discuss a range of key issues and concepts associated with music learning and teaching. The volume then focuses on these processes as they take place during childhood, from infancy through adolescence and primarily in the school-age years. Exploring how children across the globe learn and make music and the skills and attributes gained when they do so, these chapters examine the means through which music educators can best meet young people's musical needs. The second volume of the set brings the exploration beyond the classroom and into later life. Whether they are used individually or in tandem, the two volumes of The Oxford Handbook of Music Education update and redefine the discipline, and show how individuals across the world learn, enjoy and share the power and uniqueness of music.