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Teaching music encompasses everything from putting a drum in a child's hands to helping an accomplished musician unlock the meaning and spirit of the classics. At every stage, some fundamental issues keep surfacing.   In this wide-ranging book, Susan Tomes reflects on how her own experience as a learner, in different genres from classical to jazz, hasinfluenced her approach to teaching. She tells us how her performing career has given her insight into what young performers need to know, and how discussions with students have fed into her own practice. She describes the brilliant and intriguing teachers whose masterclasses opened her ears to the many ways in which music can be brought alive and communicated.   This is a book to appeal to a wide range of readers - pianists of every level from beginnerto professional, piano teachers, musicians of all kinds, and the broader community of music-lovers. In a passionate contribution to the ongoing debate about the place of music in education, Susan Tomes argues that this most inspiring of arts can play a unique role in personal development.\u003cbr\u003e\u003cbr\u003e  This is a lovely, wise, elegantly written book, filled with tips and anecdotes which could be helpful and encouraging for any pianist, whether a beginner or aprofessional. Above all it is a book in which one senses constantly the deep love the author has for music itself, for its ability to inspire, touch and, indeed, change lives. STEPHEN HOUGH\u003cbr\u003e\u003cbr\u003e   SUSAN TOMES is a multi-award-winning pianist whose career encompasses solo, duo and chamber music playing; she has been at the heart of the internationally admired ensembles Domus, the Gaudier Ensemble and the Florestan Trio. Her lecture-recitals have enabled many listeners to engage with the classics on a new level. 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In \u003ci\u003eAnatomy of 55 More Songs\u003c\/i\u003e, based on his column for the \u003ci\u003eWall Street Journal\u003c\/i\u003e, music journalist and historian Marc Myers tells the story behind fifty-five rock, pop, R\u0026amp;B, country, and soul-gospel hits through intimate interviews with the artists who wrote and recorded them.\u003c\/p\u003e\u003cp\u003ePart oral history, part musical analysis, \u003ci\u003eAnatomy of 55 More Songs\u003c\/i\u003e ranges from Creedence Clearwater Revival’s “Bad Moon Rising” to Dionne Warwick’s “Walk On By,” The Beach Boys’ “Good Vibrations,” and Black Sabbath’s “Paranoid.” Bernie Taupin recalls how he wrote the lyrics to Elton John’s “Rocket Man;” Joan Jett remembers channeling her rage against how she had been unfairly labeled and treated as a female rocker into “Bad Reputation;” and Ozzy Osbourne, Elvis Costello, Bob Weir, Sheryl Crow, Alice Cooper, Roberta Flack, John Mellencamp, Keith Richards, Carly Simon, and many others reveal the emotions and technique behind their major works.\u003c\/p\u003e\u003cp\u003eThis new, expanded edition of the book features three new songs: “Go Your Own Way” by Fleetwood Mac, “Why Can’t We Be Friends?” by War, and “Come On Eileen” by Dexys Midnight Runners. 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It shows the extent to which most classical traditions are underpinned by improvisation, and reveals the cognate origins of seemingly unrelated musics; it reflects the multifarious ways in which colonialism, migration, and new technology have affected musical development, and continue to do today. With specialist language kept to a minimum, it's designed to help both students and general readers to appreciate musical traditions which may be unfamiliar to them, and to encounter the reality which lies behind that lazy adjective 'exotic'.\u003cbr\u003e\u003cbr\u003e       MICHAEL CHURCH has spent much of his career in newspapers as a literary and arts editor; since 2010 he has been the music and opera critic of \u003ci\u003eThe Independent\u003c\/i\u003e. 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For the layperson the core of the book is five dialogues betweenIcarus, an inquiring student intensely concerned with fulfilling his highest potential as a musician, and Daedalus, a curmudgeonly, iconoclastic teacher who guides Icarus's search. Three technical articles, geared to the music professional and academic, treat the issues in greater depth. \u003cbr\u003e Supplementary online audio files and musical examples. \u003cbr\u003e\u003cbr\u003e  Markand Thakar, music director of the Baltimore Chamber Orchestra, is an internationally renownedpedagogue of conducting. A protégé of the legendary Sergiu Celibidache and former assistant conductor of the New York Philharmonic, Thakar is author of \u003ci\u003eOn the Principles and Practice of Conducting\u003c\/i\u003e (University of RochesterPress, 2016) and \u003ci\u003eCounterpoint: Fundamentals of Music Making\u003c\/i\u003e (Yale University Press, 1990).","brand":"Markand Thakar","offers":[{"title":"Default Title","offer_id":42960009658486,"sku":"9781580465472","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0671\/1374\/6550\/files\/CoreSourceHub_d879e054-2929-444b-8028-e6769ef360ad.jpg?v=1767855460"},{"product_id":"composing-for-japanese-instruments-9781580465526","title":"Composing for Japanese Instruments","description":"\u003cb\u003eA practical but scholarly guide to Japanese instruments by one of the country's leading composers.\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eThe unique sounds of the biwa, shamisen, and other traditional instruments from Japan are heard more and more often in works for the concert hall and opera house. \u003ci\u003eComposing for Japanese Instruments\u003c\/i\u003e is a practical orchestration and instrumentation manual with contextual and relevant historical information for composers who wish to learn how to compose for traditional Japanese instruments. 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Popular with all who knew her, she was intensively protective of her inner life, reminding one friend of a 'locked door of which she had thrown away the key'.\u003cbr\u003e \u003ci\u003eImogen Holst: A Life in Music\u003c\/i\u003e uses a wealth of newly discovered material to explore the complexities and contradictions of her life and career, drawing on her own writings - ranging from heartfelt early poetry, through correspondence, to a series of journals that maintain a colourful record of her travels and achievements. Most revealing of these is the daily journal that she kept at the start of her working association with Britten, adocument that provides a unique insight both into her own thoughts, and into the professional and domestic life of a major composer.\u003cbr\u003e Extensively revised with new material, the book also includes a study of Imogen Holst's music and a chronological list of her works, revealing her as a composer of tremendous talent, whose music deserves to be much more familiar.\u003cbr\u003e\u003cbr\u003e CHRISTOPHER GROGAN is Director of Collections and Heritage at the Britten-Pears Foundation.","brand":"Christopher Grogan","offers":[{"title":"Default Title","offer_id":42960022732918,"sku":"9781843835998","price":39.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0671\/1374\/6550\/files\/CoreSourceHub_6faee06e-fdb5-489f-b5e4-116955f2274b.jpg?v=1767778042"},{"product_id":"the-event-of-music-history-9781783275991","title":"The Event of Music History","description":"\u003cb\u003eBrings musicology to the cutting edge of debates in the postmodern philosophy of history.\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eThis book presents a new theory of how to write music history, and offers an exemplar of this new theory in action, in a series of four chapter-length reflexions on Beethoven's heroic style. 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