Introduces string instruments, including the violin, double bass, and harp.

Brazilian Choro: A Method for Mandolin focuses on teaching bandolim technique for playing Choro. the combination of method book and CD offers a great opportunity to add performance practice to the black-and-white notes on the page. the book, presented in both English and Portuguese, is written for two different groups-Brazilians learning to play bandolim in the Choro tradition, and non-Brazilians who play other styles and want to learn Choro. Mr. Sá, a native Carioca who as played Choro since childhood, understands Choro intuitively and brings a Brazilian perspective to the project. Ms. Mair, a classical mandolinist who has spent much of the past four years refining her Choro technique in Rio, brings an outsider's viewpoint, recognizing the subtle distinctions that make Choro style unique. Together these renowned performers and university professors have created a pathway to help you play Choro with a true Carioca accent. Music presented in standard notation.

What we call today "Western Music" has been turning over millennia into a gigantic accumulation of intellectual crap seasoned with religious necromancy without anyone stopping to try to put order in this mess. The abuse of so much rancid irrationality has made it a forbidden ground for reason and that it is only accessible through the abuse of memory and repetition; of suffering, in short. From Pythagoras, who wanted to reach twelve notes by combining seven different series of seven notes each, to the monk Guido of Arezzo who had the idea of ​​recording music with ink so that his melodies would not degenerate when going from one monastery to another. He designs the solfeggio with the obsessive idea of ​​avoiding playing the cursed tritone that would invoke Satan, dragging any good Christian into the most terrible hells, an idea that excited the Pope of the time and that ordered his learning. Another monk could not be missing, Miguel García alias "Padre Basilio" who at the end of the 18th century put so many strings on the guitar that he found himself with the problem that he did not have enough fingers to play three notes with six strings using only four fingers, so he dedicated himself to arranging orthopedic postures so that the new instrument would not sound horrendously bad. Most musicians are unaware that we are in the 21st century, that we know how to count to twelve, that we have devices for recording music that are better than India ink, and that we have five fingers on our right hand with which to select which strings to play and not just a deformed stump to tear them. We know that sound is produced in the auditory consciousness. We also know how we hear based on our anatomy and we have done neuroscientific studies with which we have defined harmony based on subjective relative dissonances and even that the most important thing, rhythm, is what music draws. Music differs from noise in its simplicity, and if there is anything a healthy brain hates more than complex sounds.

This book addresses core questions about the role of materials in general and of wood in particular in the construction of string instruments used in the modern symphony orchestra – violins, violas, cellos and basses. Further attention is given to materials for classical guitars, harps, harpsichords and pianos. While some of the approaches discussed are traditional, most of them depend upon new scientific approaches to the study of the structure of materials, such as for example wood cell structure, which is visible only using modern high resolution microscopic techniques. Many examples of modern and classical instruments are examined, together with the relevance of classical techniques for the treatment of wood. Composite materials, especially designed for soundboards could be a good substitute for some traditional wood species. The body and soundboard of the instrument are of major importance for their acoustical properties, but the study also examines traditional and new wood species used for items such as bows, the instrument neck, string pegs, etc. Wood species’ properties for musical instruments and growth origins of woods used by great makers such as Antonio Stradivari are examined and compared with more recently grown woods available to current makers. The role of varnish in the appearance and acoustics of the final instrument is also discussed, since it has often been proposed as a ‘secret ingredient’ used by great makers. Aspects related to strings are commented.As well as discussing these subjects, with many illustrations from classical and contemporary instruments, the book gives attention to conservation and restoration of old instruments and the physical results of these techniques. There is also discussion of the current value of old instruments both for modern performances and as works of art having great monetary value.The book will be of interest and value to researchers, advanced students, music historians, and contemporary string instrument makers. Musicians in general, particularly those playing string instruments, will also find its revelations fascinating. It will also attract the attention of those using wood for a variety of other purposes, for its use in musical instruments uncovers many of its fundamental features. Professor Neville H. FletcherAustralian National University, Canberra

Music programs have been scaled back or eliminated altogether from the curricula of many schools. Luckily, storytimes offer ideal opportunities for music and songs. In this collection of easy-to-use, easy-to-adapt library programs for children in grades K-3, Brown connects songs and musical activities directly to books kids love to read. Offering several thematic programs, complete with stories, songs, and flannelboard and other activities, her book includes Music activities, lists of music-related books, mix-and-match activities, and additional web resources Terrific tips on how to teach songs to young children Ways to develop original songs and rhythms to enliven children’s books Even if you can’t carry a tune in a bushel basket, this handy resource has everything you need to start the music in your storytimes.

This book presents sixteen chapters in Volume 1. This Volume I of the Proceedings of the Worldwide Music Conference 2021 offers a smorgasbord of scientific approaches to music. The congress is one of a kind; it is dedicated not to a specific field but to the interdisciplinary developments and the interaction with the representatives from actual scientific disciplines. The languages of mathematics, computer science, semiotics, palaeography, and medicine are in the mix; geography of the studies is also impressive—Greece, Mexico, China, Russia, India, Poland, and USA, to name just a few. The purpose of such juxtaposition is to see how the terminology, categorical apparatus, and interpretations of music vary from science to science and how this can enrich the terminology of music theory. They cover a wide range of topics that the editors divided into four subfields: music in interdisciplinary contexts, music and current technology, musical instruments and voice, and music pedagogy and medicine. The opening section of the Proceedings is thus dedicated to the idea of interdisciplinarity, relationship of creator of theory of harmony Rameau to sciences of his time, the idea of number in music, co-creation, and the category of musical network. Three more chapters here deal with Russian palaeography, Indian musical genre, and the idea of musical semiotics. It is a kind of opening statement from music theorists. Part two, music and current technology, united three chapters, on “zero gravity” concept in modern music, discussion of scales as mathematical networks, and the innovation in digital music making, transforming it from stationary to mobile applications. The third part, musical instruments and voice, is of special interest because it is in the study of the instruments, the design, acoustic characteristics, and tuning, and sciences have cooperated with music theory for centuries. In addition to instruments, one chapter here is dedicated to voice. The last part, musical pedagogy and medicine, takes the reader even further into the interdisciplinary domain. The Proceedings is written in standard English language, prepared for the pleasure of reading of wide circles of professionals in different fields. The purpose of the editors is to bring this rather diverse set of texts into the context of a fruitful dialogue.