Matériel : Partition + CD
SKU: GI.G-J214
English.
A revision of this beginning band series makes Jump Right In easier to use and more musical than ever before! Includes high-quality CDs of folk songs that: • Comprise many styles, tonalities, and meters • Span many cultures and many centuries • Are ideal for listening and playing along Features performances by some of the world’s greatest performers: • Artist faculty members from Eastman School of Music • Members of Rochester Philharmonic Orchestra • Rhythm and Brass Helps develop musicianship beyond instrumental classroom with: • Progress from sound to sight in logical, common sense sequence • Opportunities for improvisation from early stages of instruction • Tools to help students learn to read and write with better comprehension • Arrangements of familiar songs in each book Sequential and proven materials are: • Designed specifically to attend to individual differences • Based on current experimental and practical research • Based on the music learning theories of Edwin E. Gordon • Relevant to National Standards and include suggestions for measurement and evaluation Extensive Teacher’s Guide: • Contains lesson plans • Includes teaching procedures • May be used independently or in conjunction with Jump Right In: The Music Curriculum and Developing Musicianship through Improvisation.
SKU: AP.1-ADV9029
UPC: 805095090291. English.
Hear the composer perform his Preludes (Vol. 3) plus four jazz standards. Titles: Prelude XIII * Prelude XIV * Prelude XV * Prelude XVI * Prelude XVII * Prelude XVIII * Lotus Blossom (Billy Strayhorn) * Thingin' (Lee Konitz) * I Never Told You (Johnny Mandel) * Blue Rose (Duke Ellington) * The Single Pedal of a Rose (Duke Ellington).
SKU: GI.G-J159
SKU: GI.G-J213
SKU: GI.G-J160
SKU: AP.1-ADV9021
UPC: 805095090215. English.
Hear the composer perform his Preludes (Vol. 1) plus seven jazz standards. Titles: Prelude I * Prelude II * Prelude III * Prelude IV * Prelude V * Prelude VI * Close Enough For Love (Mandel/Williams) * The Lady Sings the Blues (Wilder/Engvick) * Hearsay (Ellington/Strayhorn) * There Was Nobody Looking (Ellington) * Oh Bess, Oh Where's My Bess? (Gershwin/Heyward) * This Is New (Weill/Gershwin) * Over the Rainbow (Arlen/Harburg).
SKU: BR.PB-15112
ISBN 9790004212691. 6.5 x 9 inches.
Mozart's Concerto K. 453 enjoyed great popularity during the composer's lifetime and was widely known through copies and a print. The state of the sources is thus multi-faceted yet unequivocal: the primary source is the rediscovered autograph, which was considered lost after 1945 and was not at the disposal of the Neue Mozart-Ausgabe. The editorial quality of the new edition is guaranteed not only by Schiffs sensitive fingerings and stylistically well-grounded cadenzas, but also by the Mozart scholar Stephan Horner to whom Henle has entrusted its urtext editions. Breitkopf/Henle cooperation means: Each work is edited according to predetermined standardized editorial guidelines. First and foremost among the sources consulted were Mozarts handwritten scores, being the most important sources. In some cases they had not been available when the previous editions were being prepared. Moreover, we know today that in addition to Mozarts own manuscripts, early copies in parts and prints also contain important information regarding the musical text.
SKU: BR.PB-15110-07
In Cooperation with G. Henle VerlagEB 10766 is printed in score form; two copies are needed for performance.Our edition EB 8578 contains Ferrucci Busoni's cadenzas for the Piano Concerto in C m. Solo concerto; Classical. Study Score. 72 pages. Duration 30'. Breitkopf and Haertel #PB 15110-07. Published by Breitkopf and Haertel (BR.PB-15110-07).
ISBN 9790004212677. 6.5 x 9 inches.
The editorial quality of the new edition is guaranteed not only by Schiff's sensitive fingerings and stylistically well-grounded cadenzas, but also by the Mozart scholar Norbert Gertsch to whom Henle has entrusted its urtext editions.Breitkopf/Henle cooperation means: Each work is edited according to predetermined standardized editorial guidelines. First and foremost among the sources consulted were Mozart's handwritten scores, being the most important sources. In some cases they had not been available when the previous editions were being prepared. Moreover, we know today that in addition to Mozart's own manuscripts, early copies in parts and prints also contain important information regarding the musical text.Die Editionen werden den Intentionen des Komponisten so weit wie moglich gerecht. Gemass Mozarts Anweisungen in den Autographen ist beispielsweise im unteren Klaviersolosystem sowohl der Partituren als auch der Klavierauszuge durchgangig die Bassstimme des Orchesters wiedergegeben. (Andreas Friesenhagen, FonoForum)L'interet particulier de cette nouvelle edition reside dans les notations complementaires des parties de violon ayant pour source la premiere execution de l'oeuvre par Joseph Joachim et Robert Hausmann avec, tres probablement, l'autorisation du compositeur, ces notes de jeu refletant les pratiques de l'epoque. (Crescendo).
SKU: CF.CPS251F
ISBN 9781491159880. UPC: 680160918478.
About the Music Semper Gratus is Latin for always grateful. The piece was written in honor of James E. Champion, who taught band for thirty-eight years, twenty-five of which were spent in Florence, Alabama, where he was my elementary school and high school band director. His bands consistently achieved superior ratings throughout his career. He holds multi-decade-spanning memberships in professional music education organizations, continues to serve in helping with Alabama Bandmasters Association events, and conducts and performs in various community bands and ensembles. As my band director at Bradshaw High School, Mr. Champion encouraged me to perform one of my first compositions, a clarinet quartet, at solo/ensemble festival. He taught his students the fundamentals of music, the technical aspects of performance, and exposed them to the great standards of band literature. But in doing so, he also modeled leadership, work-ethic, good character, and fostered the love of the activity of band that led me to choose music education as a career. And for that, I will always be grateful. Performance Notes Measures 1-12: The beginning of the piece should be performed in a majestic, fanfare-like style. The woodwind cues should only be used if absolutely needed during this section. Measures 41-58: The concert toms should establish a presence, but not overpower the winds. The triangle and woodblock parts should be heard distinctly over the concert toms. A higher pitched woodblock should be used for this section. (A set of claves could be used in place of the woodblock if desired.) Measures 59-94: The entirety of the middle section should be played in a rubato style to maximize musical expression, exaggerating dynamics and ritardando sections. The quarter-note triplets in the middle and low winds should be emphasized at m. 70. The molto ritardando that begins at m. 70 should be allowed to build as long as possible in m. 71 before reaching the musical apex of the middle section at m. 72. At mm. 92-94, depending on the size of the ensemble, you may want to limit the number of players (or put one per part) to achieve the most delicate sound possible. Measures 95-End: In mm. 99-107, be sure that the eighth-note running mallet parts are heard as a background texture, but do not overpower the winds. In mm. 114-115, the accents on beats 2 and 4 in the lower winds should be exaggerated to contrast the feel of the previous four measures. In m. 118, all winds should cut off and breathe on beat two for maximum impact on the next three measures.About the MusicSemper Gratus is Latin for “always grateful.” The piece was written in honor of James E. Champion, who taught band for thirty-eight years, twenty-five of which were spent in Florence, Alabama, where he was my elementary school and high school band director. His bands consistently achieved superior ratings throughout his career. He holds multi-decade-spanning memberships in professional music education organizations, continues to serve in helping with Alabama Bandmasters Association events, and conducts and performs in various community bands and ensembles. As my band director at Bradshaw High School, Mr. Champion encouraged me to perform one of my first compositions, a clarinet quartet, at solo/ensemble festival. He taught his students the fundamentals of music, the technical aspects of performance, and exposed them to the great standards of band literature. But in doing so, he also modeled leadership, work-ethic, good character, and fostered the love of the activity of band that led me to choose music education as a career. And for that, I will always be grateful.Performance NotesMeasures 1-12: The beginning of the piece should be performed in a majestic, fanfare-like style. The woodwind cues should only be used if absolutely needed during this section.Measures 41-58: The concert toms should establish a presence, but not overpower the winds. The triangle and woodblock parts should be heard distinctly over the concert toms. A higher pitched woodblock should be used for this section. (A set of claves could be used in place of the woodblock if desired.) Measures 59-94: The entirety of the middle section should be played in a rubato style to maximize musical expression, exaggerating dynamics and ritardando sections. The quarter-note triplets in the middle and low winds should be emphasized at m. 70. The molto ritardando that begins at m. 70 should be allowed to build as long as possible in m. 71 before reaching the musical apex of the middle section at m. 72. At mm. 92–94, depending on the size of the ensemble, you may want to limit the number of players (or put one per part) to achieve the most delicate sound possible.Measures 95-End: In mm. 99–107, be sure that the eighth-note running mallet parts are heard as a background texture, but do not overpower the winds. In mm. 114–115, the accents on beats 2 and 4 in the lower winds should be exaggerated to contrast the feel of the previous four measures. In m. 118, all winds should cut off and breathe on beat two for maximum impact on the next three measures.
SKU: CF.CPS251
ISBN 9781491159873. UPC: 680160918461.
SKU: HL.4005878
ISBN 9781540051219. UPC: 888680936358.
Moon River is the title song of the famous 1961 motion picture Breakfast at Tiffany's. Over the years the song was covered by many major stars, turning it into an absolute evergreen around the world. The beauty of the melody is also suited for mellow sounding instruments like the Eb alto horn; a great reason for the British composer and arranger Christopher Bond to make a version for brassband and alto horn.
SKU: HL.4005879
UPC: 888680936365.
SKU: HL.7013726
UPC: 840126964608. 9.0x12.0x0.216 inches.
Although known primarily as the theme for the famed Harlem Globetrotters, this familiar standard has remained popular through the years with recordings by countless jazz artists. Here's a fun version for young players featuring an infectious groove, melody in all parts, and a flexible solo section with sample written solos for all players. The Discovery Jazz Series features arrangements written for full band, playable with 3 saxes, 2 tpts., 1 tbn., rhythm section. Each arrangement includes optional parts for flute, clarinet, F horn and tuba and full length recordings available for each arrangement.
SKU: GI.G-8434
ISBN 9790570180639. English.
This new comprehensive resource for Christmas, Advent, and Epiphany not only offers one of the largest collections of carols ever published, but a range of support material that sets totally new standards in Christmas publishing. The Carol Book includes 150 carols in various settings, service outlines, prayers, readings, and blessings that will enhance your worship. It also includes a CD-ROM containing clip-art, service layouts, instrumental parts, and carol texts that you can paste into your service sheets. Edited by David Iliff and John Barnard, the carols from this book are an indispensable resource that reminds us why Christmas is so special to us. Each song in The Carol Book is formatted to be suitable for photocopying. Permission to reprint can be obtained from OneLicense.net. CD-ROM includes acompaniments without interlined words, accompaniments with guitar chords, accompaniments with solo instrumental parts, audio accompaniments, instrumental and orchestral parts, texts of all carols, prayers and other liturgical material, sets of readings, dramatised version of traditional readings, outline orders of service and clip art for carol service or concert programmes. Download the complete contents.
SKU: BR.PB-5420
ISBN 9790004211830. 9 x 12 inches.
Vielleicht so etwas wie ein ,,Parergon zu meiner Madchen-Oper Zwei Klangquellen - unter ambivalenten Aspekten zugleich homogen und heterogen, nicht so ohne weiteres zusammenpassend: - Posaune und Flote/Bassflote - (mit Resonanzen aus zwei Konzertflugeln), 8 Mannerstimmen - alle erzeugen Tone, und Luft, Zweiklange, Vibrationen, Schwebungen, Rattern, Konsonanzen. Und rattern und sprechen - und japsen, Orchester mit 4 Oboen, 3 Floten, 3 Klarinetten, zwei Kontrafagotten (unterbeschaftigt), 4 Horner, drei Trompeten, keinen Posaunen, 2 Tuben, die in der Tiefe rappeln, zwei Klavieren, Gitarre-Harfe, Streicher (,,Perforateure), 3 Schlagzeuger, rappeln (Fellwirbel), - und schwingen China-Becken durch die Luft, dampfen aus und vorzeitig ab (,,japsen) und: halten aus. Musik zum Aushalten, ist nicht zum Aushalten. Ein Orchester mit vielen Unisono-Quellen Es ist immer wieder auf andere Weise - jedes Mal das gleiche: Musik, nicht als Text, nicht als diskursiver Verlauf, gar als klingendes Drama, - eher eine Art kunstliches und als Produkt einer komplexen Spekulation zugleich transzendentes Natur-Schauspiel, als ,,reine Prasenz - (Das sind allerdings Wort-Hulsen, die schlecht an das erinnern, was sie nicht mehr zu nennen, zu fassen wagen bzw. imstande sind. Begriffe, die es abzurufen und zugleich im Blick auf die Sache selbst auszustreichen gilt.): Sie zu beschworen, ohne dabei in schlecht besinnliche ,,meditative Idyllen, bzw. idyllische Standards zu verfallen, gehort zu meinen zentralen Utopien - Ihre Wunschbarkeit/Stringenz/e xistentielle Notwendigkeit, ,,Wahrheit ist hienieden nicht zu trennen von ihrer Unmoglichkeit, wegen der Standardisiertheit aller Mittel, auf der ihre Verwirklichung, ihre Anpeilung, ihre Ins-Werk-Setzung verwiesen ist. Aber: alles soll/wird in dieser wie auch immer vermittelten Prasenz beruhrt, erlost, befreit sein. Kann man Erfahrungen, deren Unmoglichkeit, deren Verschuttetheit man sich bewusst macht, vermitteln durch den Kampf gegen diese Unmoglichkeiten, Verschuttetheiten (= Unfreiheiten)??? Wer bin ich? Was ist das: das ich, das solche Suche, solches Abenteuer, solchen Kampf gegen die Materie auf sich nimmt?? Das ,,Ich ist kein Ding, sondern ein Ort (Kitaro Nishida - aber ich bin kein Buddhist, und auch kein Zen-Monch, sondern ein Anfanger in allem, auch im Komponieren des jeweilig konzipierten Stucks.) Das Wasser wascht das Wasser nicht - das Feuer verbrennt das Feuer nicht - der Schmerz selbst tut nicht weh. Der Genuss geniesst nicht. Das Horen hort nicht, das Leben lebt nicht - und so lebt es. Das Ich ist nicht das ich. Musik ist nicht Musik, ist Nicht-Musik: die einzige Musik, die den Namen in seiner emphatischen Bedeutung verdient. Musik sei Nicht Musik?? Sondern?? Ja - sondern. Komponieren heisst: sondern. Utopien kompositorisch zu beschworen, bedeutete fur meinen Mechanismus stets: ihre Verschuttetheit. Und das was - nicht zufallig - sie verschuttet hat. Oder zu verschutten droht, in den Griff zu nehmen.Helmut Lachenmann (Skizze)Mitten in meiner Oper Das Madchen mit den Schwefelholzern - nach Hans Christian Andersen -, die im winterlichen eiskalten Kopenhagen spielt, gibt es einen Sprung in die mediterrane Vulkanlandschaft Suditaliens, wo - nach einem Text von Leonardo Da Vinci - ,,die Schwefelfeuer den grossen Berg offnen, um Steine und Erde samt den heraustretenden und herausgespieenen Flammen durch die Luft zu schleudern, und im Ausbruch ,,jedes Hindernis verjagen, das sich ihrem ungestumen Wuten entgegenstellt. Leonardo sieht in diesem Naturvorgang eine Metapher fur die Unruhe des menschlichen Herzens bei der Suche nach Erkenntnis. Er beschreibt eine Wanderung durch die schattigen Klippen hindurch bis vor den Eingang einer grossen Hohle, vor welcher der Erzahlende ,,im Gefuhl der Unwissenheit eine Zeitlang verharrt: ,,Ich hockte mit gekrummtem Rucken, die mude Hand aufs Knie gestutzt, beschattete ich mit der Rechten die gesenkten und geschlossenen Wimpern: - und n u n -, da ich mich mehrmals hin und her beugte, um in die Hohle hineinzublicken, verbot mir das die grosse Dunkelheit, die darin herrschte. Als ich aber eine Zeitlang verharrt hatte, erwachten in mir zwei Gefuhle: Furcht und Verlangen - Furcht vor der drohenden Dunkelheit der Hohle, Verlangen aber, mit eigenen Augen zu sehen, was an Wunderbarem darin sein mochte. Diesem ,,n u n ist meine Komposition gewidmet: Sie - ahnlich wie auf andere Weise mein Klavierkonzert Ausklang - ist sozusagen ,,meine Alpensymphonie. Anders als bei Strauss allerdings beschwort sie Energien und Eruptionen in einer Klanglandschaft weitab von jeglicher musiksprachlichen Geborgenheit. Wahrend im Strauss'schen Meisterwerk der Wanderer aus stimmungsvollem b-moll-Morgennebel aufbricht - allerdings erst den in A-Dur strahlenden Sonnenaufgang abwartet ... - und in frohlichem Es-Dur lossturmend auf tonal gesicherten Wegen zum majestatischen C-dur-Gipfel glucklich hinaufgelangt - den er allerdings bei hereinbrechendem Unwetter eilends verlasst, um ins schutzende Tal hinabzufluchten -, verharrt der Wanderer Leonardos in NUN in unwirtlicher Hohe vor jener Furcht und Verlangen erregenden Hohle. Meine Musik, sozusagen als brodelnder Krater beginnend, verwandelt sich in eine Sequenz von Rufen, deren Widerhall die ,,drohende Finsternis zu durchdringen und auszuloten versucht, und sie mundet - auf dem Umweg uber eine Art ,,Tanz auf dem Vulkan der beiden Solo-Instrumente - in eine instrumental paraphrasierte Sprech-Landschaft, als ob das Zischen und Fauchen, nichts weiter wiedergabe als die erweiterten Konsonanten eines gesprochenen imaginaren Textes. Dieser schliesslich - als Botschaft des im Ungeborgenen nach Erkenntnis Suchenden - konkretisiert sich zu jenem abgrundigen Satz des japanischen Philosophen und Grunders der ,,Kyoto-Schule, Kitaro Nishida: ,,Das Ich ist kein Ding, sondern ein Ort. Die Beziehung meines Werks zur Strauss'schen Alpensymphonie - der Komponist wollte sie ursprunglich nennen ,,der Antichrist - ist in ihrer antipodischen Gegensatzlichkeit evident. Es ist eine machtvolle, letztlich aber gutige, dem Menschen zugewandte, idyllische Natur, die bei Strauss beschworen wird, und den nachtlich in die hausliche Behaglichkeit Heimkehrenden erfullt Ehrfurcht und Dankbarkeit: es ist ein ,,glaubiger Antichrist, und die Pastorale Beethovens lasst grussen. Wie alles von Strauss war es ein - s e i n - letzter (oder vorletzter ...) Blick auf ein zerfallendes Paradies (1915 geschrieben ...). Heute ist vielleicht jedes Werk, welches sich den innovativen Anspruch von musikalischer Tradition zu Eigen gemacht hat und im 21. Jahrhundert den Musikbegriff jenseits tonaler Sprachvertrautheit in ungesichertem Klang-Terrain neu zu bestimmen sucht - eine Art Bergbesteigung in weglosem Gelande, und wenn schon nicht eine ,,Alpensymphonie, so doch eine Gratwanderung: abenteuerlich - verlockend - nicht ungefahrlich: ,,non hay caminos .... Helmut Lachenmann (Februar 2003)CDs: Gaby Pas-Van Riet (flute), Michael Svoboda (trombone), Neue Vocalsolisten Stuttgart, WDR Sinfonieorchester Koln, cond. Jonathan Nott CD KAIROS 0012142KAIDietmar Wiesner (flute), Uwe Dierksen (trombone), SCHOLA Heidelberg, Ensemble Modern Orchestra, cond. Markus StenzEMCD-004Bibliography :Hidalgo, Manuel: Mozart in Lachenmann, in: auf (-) und zuhoren. 14 essayistische Reflexionen uber die Musik und die Person Helmut Lachenmanns, hrsg. von Hans-Peter Jahn, Hofheim: Wolke 2005, pp. 35-46.Hiekel, Jorn Peter: Interkulturalitat als existentielle Erfahrung. Asiatische Perspektiven in Helmut Lachenmanns Asthetik, in: Nachgedachte Musik. Studien zum Werk von Helmut Lachenmann, hrsg. von Jorn Peter Hiekel und Siegfried Mauser, Saarbrucken: Pfau 2005, pp. 62-84.Kaltenecker, Martin: Was nun? Die Musik Helmut Lachenmanns als Beispiel, in: Der Atem des Wanderers. Der Komponist Helmut Lachenmann, hrsg. von Hans-Klaus Jungheinrich, Mainz: Schott 2006, pp. 113-128.Maier, Birgit; Britz, Vanessa; Arnold, Miriam: Helmut Lachenmann: NUN, in: Flote aktuell (2003), Heft 4, pp. 20-24.Pas-Van Riet, Gaby: On NUN, in: Helmut Lachenmann Inward Beauty, hrsg. von Dan Albertson, Contemporary Music Review 23 (2004), Heft 3/4, p. 165f.Svoboda, Mike: NUN An Inside View, in: Helmut Lachenmann Inward Beauty, hrsg. von Dan Albertson, Contemporary Music Review 23 (2004), Heft 3/4, pp. 161-164.Wellmer, Albrecht: Helmut Lachenmann: Die Befreiung des Klangs in der konstruktivistischen Tradition der europaischen Moderne, in: ders., Versuch uber Musik und Sprache, Munchen: Hanser 2009, pp. 270-299.Utz, Christian: Paradoxien musikalischer Temporalitat. Die Konstruktion von Klanggegenwart im Spatwerk Bernd Alois Zimmermanns im Kontext der Prasenzasthetik bei Giacinto Scelsi, Gyorgy Ligeti, Morton Feldman und Helmut Lachenmann, in: Die Musikforschung 68 (2015), pp. 22-52.World premiere: Cologne (Musik der Zeit), October 20, 1999 World premiere of the revised version: Berlin, Konzerthaus, January 17, 2003.
SKU: CA.2709431
Key: F minor. Latin.
Bruckner’s mighty Mass in F minor is one of his most significant creations and one of the great 19th-century choral works. The composer uniquely succeeds in exploring faith through the lens of music. In doing so, he ventures into extreme forms of expression, which caused some disgruntlement among the musicians at rehearsals for the premiere in November 1868. In subsequent years, however, the work has gradually become more accepted, and today presents a highly appealing challenge to advanced choirs. The Carus edition presents the Mass in F minor as the final 1893 version based on the autograph and the surviving copies from the copyist. As an Urtext edition it follows the latest scholarly standards ready for the Bruckner anniversary year in 2024!
SKU: CA.2709432
SKU: HL.7013816
UPC: 196288019145. 9.0x12.0x0.228 inches.
This enduring Gershwin classic has long been a favorite with jazz artists. Paul's marvelous setting for young players features a sultry Latin rock groove, tasty harmonies, easy rhythms, and no solos are required. Great feature number for the entire ensemble. Discovery Jazz series titles are written for full band, playable with 3 saxes, 2 trumpets, 1 trombone, and rhythm section. Each arrangement includes optional parts for flute, clarinet, F horn, and tuba. Full-length recordings are available for each arrangement online.
SKU: BR.PB-15112-07
SKU: GI.G-10242
ISBN 9781622774463.
Cont ributors: Michael L. Alexander, Myriam I. Athanas, Leonardo Borne, Frederick Burrack, Isabelle Adna Lopes da Hora, Paul F. Doerksen, Sergio Figueiredo, Christina Haaf, Barry Hartz, Johannes Hasselhorn, Jason A. Hawkins, Michele L. Henry, Jasmine Hines, Kelly Hollingsworth, Gabriel Imthurn, Amanda Kastner, Anita Kumar, Andreas C. Lehmann, Andreas Lehmann-Wermser, Florian Lill, Melissa A. Lloyd, Brandon C. McDaniel, Adam P. Miller, David W. Montgomery, Dorothy J. Musselwhite, Patty K. Nelson, Glenn E. Nierman, Douglas C. Orzolek, Kelly A. Parkes, Phillip Payne, Seth Pendergast, Leigh M. Powell, Jared R. Rawlings, Patricia E. Riley, Joanne Rutkowski, Elizabeth S. Schultz, Sydney C. Seed, Megan M. Sheridan, Dayvison Sousa Silva, David A. Stringham, Justine Swainson, Jack Walton, Dennis Ping-Cheng Wang, Jeffrey Ward, Brian C. Wesolowski The Seventh International Symposium on Assessment in Music Education was hosted by the University of Florida. The symposium brought together 112 participants from 12 nations across six continents and 24 U.S. states to learn of each other’s work, establish collaborations and professional networks, and shape new directions for research in this important area of music education at the University of Florida in Gainesville from March 19–22, 2019. The two keynote addresses and 31 papers published in this volume document music assessment practice and the measurement and evaluation of music learning across the world in local, state, and national contexts at all levels. The attendees also attended special work sessions to begin developing a set of assessment literacy standards for music teachers based on the International Principles for Assessment in Music Education (developed and introduced by the co-chairs at ISAME6 in 2017), and their discussions are summarized in this collection. As music educators across the world come to terms with increased expectations for accountability of learning in music, the scholars and practitioners who have contributed to this volume provide insight to guide their work. About the Editors: Timothy S. Brophy is Professor of Music Education and Director of Institutional Assessment at the University of Florida in Gainesville. Marshall Haning is Assistant Professor of Music Education at the University of Florida in Gainesville.
SKU: BR.EB-10765
ISBN 9790201807652. 9.5 x 12 inches.
