Finding OERs by Discipline

Overview:
This is a look at some of the more successful jazz pianists from Memphis Tennessee. Each artist has experienced national and international acclaim as both a pianist and composer. What's more, they are all comtemporaries having attended the University of Memphis (then Memphis State University)at the same time.

This text is designed to introduce students to works representative of a variety of music traditions including the repertoires of Western Europe from the Middle Ages through the present; of the United States, including art music, jazz, folk, rock, musical theater; and from at least two non-Western world areas (Africa, Asia, Latin America, the Caribbean, the Middle East, Indian subcontinent). A primary goal is to enable students to speak and write about the features of the music, employing vocabulary and concepts of melody, rhythm, harmony, texture, timbre,and form used by musicians. The texts explores the historic, social, and cultural contexts and the role of class, ethnicity, and gender in the creation and performance of music, including practices of improvisation and the implications of oral and notated transmission.

Growing out of classes in computer music at Dartmouth College this is web version of a book that is intended as a "user-friendly" introduction to music and computers. AN excellent introduction to what is sound.

The author of this text has intentionally kept it general in nature in order to create a platform for those who want to expand content into more in depth studies of the mentioned concepts and traditions. I believe that appreciation of any subject comes from open-minded exposure to that topic. With the arts this generally must happen at a moment when the message and meaning of the work resonates naturally with the appreciator.

'Rhythm, melody, harmony, timbre, and texture are the essential aspects of a musical performance. They are often called the basic elements of music. The main purpose of music theory is to describe various pieces of music in terms of their similarities and differences in these elements, and music is usually grouped into genres based on similarities in all or most elements.

Welcome to Music Appreciation. I think you’ve made a smart choice to spend some weeks studying some of the greatest music ever written. Consider for a moment how quickly a hit pop song passes from fashionable to forgotten. Those of us that have been out of high school or college more years than we care to remember have certainly had the experience of hearing a favorite anthem of our youth and thinking, “Oh yeah, that song! I’d forgotten that one.” Think about that: the song was totally loved, then completely forgotten within a matter of just a few years.

Music appreciation is designed to teach students how to understand and describe the contexts and creative processes involved in music composition. Music appreciation classes also typically include information about the composers, the instruments and ensembles, and the different styles of music from an era. Courses revolving around this material are often designed for non-music tertiary students. Students learn how to listen and respond to recordings or live performances of musical pieces or excerpts from pieces such as symphonies, opera arias and concertos.

Introduction to works representative of a variety of music traditions. These include the repertoires of Western Europe from the Middle Ages through the present; of the United States, including art music, jazz, folk, rock, musical theater; and from at least two non-Western world areas.

This text provides just a small sampling of some of the various musical styles and traditions that might be found, though the skills developed in this course can be applied to any type of music.

Music is a mobile art. When people move to faraway places, whether by choice or by force, they bring their music along. Music creates a meaningful point of contact for individuals and for groups; it can encourage curiosity and foster understanding; and it can preserve a sense of identity and comfort in an unfamiliar or hostile environment. As music crosses cultural, linguistic, and political boundaries, it continually changes.

The history of music is closely linked to the history of copyright law. This book explores how the law shaped music and the music industry. From church and court patronage in pre-19th Century Europe, to the effects of social media on music, this book explores the abiding influence of the law on music.

Resonances: Engaging Music in Its Cultural Context offers a fresh curriculum for the college-level music appreciation course. The musical examples are drawn from classical, popular, and folk traditions from around the globe. These examples are organized into thematic chapters, each of which explores a particular way in which human beings use music. Topics include storytelling, political expression, spirituality, dance, domestic entertainment, and more.

Understanding Music: Past and Present is an open Music Appreciation textbook co-authored by music faculty across Georgia. The text covers the fundamentals of music and the physics of sound, an exploration of music from the Middle Ages to the present day, and a final chapter on popular music in the United States.

This is a free, online wikibook so it is continually being updated and refined. According to the authors, "Western Music History can be traced back to Medieval times, with the Introduction of Chanting (later termed Gregorian Chanting) into the Catholic church services. Western Music then started becoming more of an art form with the advances in music notation and more focus on secular themes that occurred in the Renaissance period.

Brass Techniques and Pedagogy is intended to serve as a guide for the band music educator. The text is written with the non-brass playing music education student in mind and focuses on developing beginning levels of brass technique alongside a more expansive understanding of brass fundamentals and pedagogy. While a basic level of technical proficiency will be developed throughout this text, the ability to teach beginning to intermediate brass players effectively with sound pedagogy is the primary purpose of this text.

Learn how to read music notes online;type of notes, type of rests, basic counting, symbols, and shaping music.

This collection deals with the rudiments of music.

This text is primarily designed to serve as a textbook for a college-level music theory fundamentals course. However, it also has the flexibility to serve equally well for a typical core curriculum college-level Music Theory I or Harmony I course. Our goal is to deliver sufficient information to enable the student to be able to evaluate and analyze select music from the literature as quickly as is practical. Secondly, we seek to provide sufficient instruction to enable a student to begin writing music as quickly as is practical. In order to develop a complete argument, it is important that the student understand that this text “assumes a blank slate.” No prior knowledge on the part of the student is assumed.

Music Theory for the 21st–Century Classroom is an openly–licensed online four–semester college music theory textbook. This text differs from other music theory textbooks by focusing less on four–part (SATB) voiceleading and more on relating harmony to the phrase. Also, in traditional music theory textbooks, there is little emphasis on motivic analysis and analysis of melodic units smaller than the phrase.

This textbook is meant to support active student engagement with music in the theory classroom. That means that this text is meant to take a back seat to student music making (and breaking). It is not the center of the course. The three original authors use this textbook in the context of “inverted” or “flipped” courses, often following an inquiry-based model. As a result, most of the pages in this textbook do not read like a typical twentieth-century textbook. They are somewhere in between prosy lecture notes and reference material, with minimal graphical or audio examples. Also, unlike many resources for “flipped” classes, there are few resources in this textbook where the core information is presented in video. We made these decisions consciously, so that this would not simply be a multimedia, web-based version of an industrial-era textbook. Rather, we wanted to create a textbook that could serve as a quick reference in the context of active musical engagement.

A Practical Approach to Understanding Music Theory is a textbook designed for the non-music performance major or music business/audio engineer who needs to professionally interface with musicians without needing to write or compose music.

The text offers a new approach to music appreciation for adults, focusing on style-independent concepts. While the course concentrates primarily on Western classical and modern music, the concepts that are introduced apply to music of any style or era. The goal of this text is to equip you with questions that you may ask of any piece of music, thereby creating a richer and more comprehensive understanding of music both familiar and unfamiliar. Here are some additional features of the text. 1) This text is completely listening based. No ability to read music is required. 2) The course assumes little or no musical background. A minimum of terminology is invoked. 3) Musical examples are interpolated directly into the text. 4) The course is interactive. A “listening gallery” with exercises follows each module, so that you may practice and refine your listening skills.

A Survey of Music Theory for the College Classroom is a concise, practical, and readable text and workbook for use in the freshman and sophomore music theory curriculum.

A Survey of Music Theory for the College Classroom is a concise, practical, and readable text and workbook for use in the freshman and sophomore music theory curriculum.

The main purpose of the course, however, is to explore basic music theory so thoroughly that the interested student will then be able to easily pick up whatever further theory is wanted. Music history and the physics of sound are included to the extent that they shed light on music theory. Students who find the section on acoustics (The Physical Basis) uninteresting may skip it at first, but should then go back to it when they begin to want to understand why musical sounds work the way they do. Remember, the main premise of this course is that a better understanding of where the basics come from will lead to better and faster comprehension of more complex ideas.

This course is designed to bring the student back to the basics of singing, remove any obstacles the student has created mentally and physically, and receive core knowledge of how to sing properly with one’s true voice. There are many things a person can do to try to make his or her voice sound like someone else, and most times this is a contrived sound, destined to become difficult to produce due to tension. Instead, why not create sound with the real voice that follows that style of singing, and brings out one’s unique voice? This type of sound is not only sustainable over time, but allows the singer to explore several different styles of music, giving flexibility to his or her performance.

Our Class Piano & Piano Pedagogy teaching professor Dr. Janci Bronson has created a YouTube education channel designed to support student virtual learning within group piano and/or private lessons.
The educational channel covers the following key topics: beginning keyboard technique, sight-reading, transposition, scales, arpeggios, chords, harmonization, & improvisation.

Iowa State University's Class Piano & Piano Pedagogy teaching professor Dr. Janci Bronson has created a YouTube education channel, Dr. Janci Bronson on YouTube, designed to support student virtual learning within group piano and/or private lessons. Sponsored by the Miller Open Education Mini-Grant Program at Iowa State University, the channel covers the following key topics: beginning keyboard technique, sight-reading, transposition, scales, arpeggios, chords, harmonization, and improvisation.