1 1000 11 https://oer.usk.ac.id/files/original/a3f85056e760e2b985aee185190f78de.png 8781027950bf9adf36ab269d11b789b0 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 780 Music Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Comprehensive Musicianship, A Practical Resource Subject The topic of the resource Musicianship Description An account of the resource This OER presents an integrated suite of learning resources developed for the core music theory and musicianship curriculum at the University of Northern Iowa School of Music. It provides a more comprehensive symbiosis of musicianship and music theory learning than can be found in existing textbooks, including engaging and progressive video demonstrations and interactive listening and vocal exercises that integrate musical knowledge with foundational musical skills. Creator An entity primarily responsible for making the resource Randall Harlow, Heather Peyton, Jonathan Clarke Schwabe, Source A related resource from which the described resource is derived https://open.umn.edu/opentextbooks/textbooks/comprehensive-musicianship-a-practical-resource Publisher An entity responsible for making the resource available Iowa State University Digital Press Date A point or period of time associated with an event in the lifecycle of the resource 2023 Contributor An entity responsible for making contributions to the resource Baihaqi Rights Information about rights held in and over the resource Creative Commons Format The file format, physical medium, or dimensions of the resource PDF Language A language of the resource English Type The nature or genre of the resource Textbooks https://oer.usk.ac.id/files/original/b74438eb6f75449d4fa2a8d924b20b6a.pdf 81175929103e299f15d810731a57f9f1 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 780 Music Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Music Appreciation (Georgia Gwinnett College) Subject The topic of the resource Music Description An account of the resource "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. Each instructor of music appreciation brings a unique expertise in differing genres. I encourage you to utilize this text along with musical examples of your choice. The music appreciation specific goals (found in the syllabus) vary between individual classes as the instructors see fit. These goals will be achieved by those who have competently met all of the requirements of the course. For the course that this text accompanies the goals for each student are: To gain basic exposure to the elements of music and their treatment in music To learn historical and cultural signifiers in a diverse body of music • To approach listening to music actively/analytically and to reflect on the experience To understand the factors that contribute to musical style in their own music and music presented in the course To gain knowledge about differing musical aesthetics and trends To become more knowledgeable and sensitive to varied human expression through music If we endeavor together to reach these course goals the successful student will be able to: Describe elements of music that s/he hears, employing correct musical terminology Place music into an appropriate historical and cultural context Listen critically and discuss a wide variety of musical styles Analyze the stylistic features of a diverse group of musical styles Identify nationalistic tendencies in musical expression Identify musical diversity and aspects of our global society" Creator An entity primarily responsible for making the resource Todd Mueller Elizabeth Whittenburg Ozment Catherine Kilroe-Smith Irina Escalante-Chernova Marc Gilley Publisher An entity responsible for making the resource available University System of Georgia Contributor An entity responsible for making contributions to the resource Cut Rita Zahara Rights Information about rights held in and over the resource Creative Commons Type The nature or genre of the resource Textbooks Music Music Appreciation https://oer.usk.ac.id/files/original/615717ee9a03a235452e5eb4c32f5e39.pdf 96f8faf3541a7291472729b15fc346d5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 780 Music Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Music Inquiry Subject The topic of the resource Music Arts Description An account of the resource An inquiry based approach to learning about music provides flexible lessons that deepen and broaden learners' understanding of music while engaging with their current musical interests, preferences, and goals. This hands-on experience with inquiry in a subject area that appeals to most learners also provides practice in selfdirected learning that can be applied in any area of life-long learning. Creator An entity primarily responsible for making the resource Catherine Schmidt-Jones Publisher An entity responsible for making the resource available Connexions, Rice University, Houston, Texas Contributor An entity responsible for making contributions to the resource Cut Rita Zahara Rights Information about rights held in and over the resource Creative Commons Type The nature or genre of the resource Textbooks active learning ethnomusicology IBL inquiry inquiry based learning learner-centered education life-long learning Music music education Music Inquiry Music Theory self-directed learning https://oer.usk.ac.id/files/original/a6bde1fa5f060f7ca0f6d9385f149c0a.pdf 39bbdf656beb9d5be38f107531b89060 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 780 Music Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Popular Music in Southeast Asia Subject The topic of the resource Music Description An account of the resource From the 1920s on, popular music in Southeast Asia was a mass-audience phenomenon that drew new connections between indigenous musical styles and contemporary genres from elsewhere to create new, hybrid forms. This book presents a cultural history of modern Southeast Asia from the vantage point of popular music, considering not just singers and musicians but their fans as well, showing how the music was intrinsically bound up with modern life and the societal changes that came with it. Reaching new audiences across national borders, popular music of the period helped push social change, and at times served as a medium for expressions of social or political discontent. Creator An entity primarily responsible for making the resource Bart Barendregt, Peter Keppy, Henk Schulte Nordholt Source A related resource from which the described resource is derived http://oapen.org/download?type=document&docid=637515 Publisher An entity responsible for making the resource available Amsterdam University Press Contributor An entity responsible for making contributions to the resource Rika Zulfia Rights Information about rights held in and over the resource Creative Commons Type The nature or genre of the resource Trxtbooks https://oer.usk.ac.id/files/original/2e593326669a48db787e97b5983eb069.pdf 1c5911d2e5f0985524fe73494276c2ea Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 780 Music Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Sound, Physics and Music Subject The topic of the resource Sound Physics Music Creator An entity primarily responsible for making the resource Catherine Schmidt-Jones Publisher An entity responsible for making the resource available Connexions Contributor An entity responsible for making contributions to the resource Cut Rita Zahara Rights Information about rights held in and over the resource Creative Commons Type The nature or genre of the resource Textbooks Music Physics Sound https://oer.usk.ac.id/files/original/dec01280588db128e41ebca6dd9597a5.pdf 96ea255f49d2b3231c6757a6183c6bae Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 780 Music Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Sound Reasoning Subject The topic of the resource Sound Description An account of the resource Sound Reasoning is designed to help you listen. This course encourages you to be self-reliant--to get up close to the music, without mediation or interference. Too often, listeners may feel that they need pre-concert lectures, program notes and other verbal explanations to fully appreciate a musical work. These certainly may enhance and supplement one's enjoyment. But, ideally, a musical performance is a direct conversation between performers and listeners. No matter what your knowledge or training, you should be able to enjoy music with the fullness of your thoughts, should be able to explore and interpret it with confidence. The fundamental premise of this course is that, if you listen attentively and think constructively about what you are hearing, your awareness will prosper and your direct connection to the music will thrive. The course assumes little or no prior musical background. The ability to read music is not required. A minimum of musical terminology will be invoked. When it is necessary, all terms are defined in a glossary easily accessible by hyper-link. Most importantly, musical examples are interpolated directly into the text, making it easy to evaluate all the concepts that are introduced. Music's sounds lack literal or fixed meanings: as such, the experience of a musical work is a very subjective one. This course will not teach what to think. It will show how to think, to arrive at your own balanced and carefully considered opinions. A subjective perspective is strongest when it is built upon objectively verifiable observations. You will learn to develop a concrete understanding of the music's progress. The poetry and conviction of your interpretation will grow out of this concentrated hearing. You will also have the confidence to test others' views against your own perceptions. Our musical awareness now stretches further back historically and wider geographically than ever before. It is important to be prepared for music both familiar and unfamiliar. Conventional musical training usually begins with a strong grounding in the elements, conventions and terminology of the classical repertoire. The risk of that approach is that it often leaves listeners at a loss in the face of music where these terms and conventions no longer apply. Sound Reasoning addresses this problem by focusing on style-transcendent principles. The concepts explored in this course apply to any piece of music, no matter when it was written. Composers of different historical periods and traditions have dealt with these concepts in different ways. But the concepts themselves are timeless: They are the issues with which any piece of music is engaged. Each concept is illustrated with examples both from the classical and modern repertoires of the Western tradition. These repertoires are often segregated from one another. Presenting them side-by-side will help illustrate the continuity of musical thought. It will demonstrate how music of any time and any place may explore music's basic resources of resonance, motion and design. It will also help to prepare and encourage listeners to be active and curious explorers, prepared to greet both the known and the unfamiliar with engagement and insight. One of the defining features of a musical performance is that, once it begins, it is unstoppable: Unlike a book, it is not possible for the listener to pause, review passages, or change the pace of unfolding. For these reasons, listening to music requires a very special kind of focus. Conventional musical attempts to develop this focus by beginning with the smallest elements of music--chords, scales, melodies and phrases--and eventually building into questions of the larger musical form. The risk of this approach is that it conditions listeners to focus primarily on the moment-to-moment progress of the music: if the sounds are surprising or unconventional, listeners may easily get easily get thrown into confusion and lose track of what is happening. Sound Reasoning takes a "top down" approach to listening: It will show you how to stretch your awareness so that it takes in the full expanse of a composition. Details will then be contemplated with respect to how they contribute to the developing form. The advantage of this approach is that you will no longer be thrown off or disengaged by puzzling or unexpected sounds. No matter how unusual or unusual the music, you will be able to maintain your concentration and actually experience the entire work. Intuition and analysis are often regarded as opposing and incompatible. Analysis is felt to fight spontaneity and deplete one’s enjoyment. This is an unfortunate and misleading dichotomy. Intuition is speeded up thought: It is reasoning that occurs too rapidly for us to be able to articulate it to ourselves consciously. The purpose of analysis is to train our intuition, so that our visceral responses arise from the most comprehensive possible perceptions and understanding. At first, you may have to study musical concepts very deliberately; over time, however, these concepts will become part of your intuitive framework. Done properly, analysis strengthens our intuition and deepens our enjoyment. Part of the purpose of the Connexions project is to invite scholars to provide additional examples, both from within the classical and modern repertoires, but also from jazz, folk music, music of other traditions, and popular music. Ideally, a large sampling of repertoires and styles will help demonstrate the reach and relevance of the concepts we will discuss. Each module presents a particular topic, illustrated with musical examples. A "listening gallery" follows, in which the student is asked put the concepts into practice by interactively analyzing musical examples. Please feel encouraged to listen to the examples as many times as you need. Listeners sometimes shy away from highly unfamiliar music. Sound Reasoning will show how much can be gained even at a first hearing. If we are attracted to the music, we will return to it for further, ever-deepening listenings. When we meet someone new at a party, a whole life is concealed from us. An initial conversation may inform us about the person's history, outlook, and character but there are many discoveries to be made. Many years later, we may look back at that first encounter and realize how little we yet knew, how many revelations would occur later. So it is with listening to music. It is impossible to develop a relationship with a piece of music without a first hearing; it is impossible to come to love something if we are not first prepared for it to be new. Sound Reasoning is designed to help you cultivate a lifelong intelligent and passionate connection to music. Creator An entity primarily responsible for making the resource Anthony Brandt Robert McClure Publisher An entity responsible for making the resource available Connexions Contributor An entity responsible for making contributions to the resource Cut Rita Zahara Rights Information about rights held in and over the resource Creative Commons Type The nature or genre of the resource Textbooks Sound Reasoning https://oer.usk.ac.id/files/original/8e595e87eb77ecbd89ab3034532b9c4c.pdf ac760ab6a6141ae91bb135f4b6cdf280 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 780 Music Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Music and the Child Subject The topic of the resource Music Child Description An account of the resource Children are inherently musical. They respond to music and learn through music. Music expresses children’s identity and heritage, teaches them to belong to a culture, and develops their cognitive well-being and inner self worth. As professional instructors, childcare workers, or students looking forward to a career working with children, we should continuously search for ways to tap into children’s natural reservoir of enthusiasm for singing, moving and experimenting with instruments. But how, you might ask? What music is appropriate for the children I’m working with? How can music help inspire a well-rounded child? How do I reach and teach children musically? Most importantly perhaps, how can I incorporate music into a curriculum that marginalizes the arts? This book explores a holistic, artistic, and integrated approach to understanding the developmental connections between music and children. This book guides professionals to work through music, harnessing the processes that underlie music learning, and outlining developmentally appropriate methods to understand the role of music in children’s lives through play, games, creativity, and movement. Additionally, the book explores ways of applying music-making to benefit the whole child, i.e., socially, emotionally, physically, cognitively, and linguistically. Creator An entity primarily responsible for making the resource Natalie Sarrazin Publisher An entity responsible for making the resource available Open SUNY Textbooks Contributor An entity responsible for making contributions to the resource Cut Rita Zahara Rights Information about rights held in and over the resource Creative Commons Type The nature or genre of the resource Textbooks Child Music https://oer.usk.ac.id/files/original/09be726b76227279a0199ffde9b3a45d.pdf 971defa71e2a6a81e5f961bfd0d0c009 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 780 Music Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Music Appreciation: Its Language, History and Culture Subject The topic of the resource Music Creator An entity primarily responsible for making the resource Douglas Cohen Emily Fairey Miriam Deutch Publisher An entity responsible for making the resource available OpenStax-CNX Contributor An entity responsible for making contributions to the resource Cut Rita Zahara Rights Information about rights held in and over the resource Creative Commons Type The nature or genre of the resource Textbooks https://oer.usk.ac.id/files/original/c818c5d87c658015fcaef22c89efc8e3.pdf 12976d2d897f0e300c27b904ee97315f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 780 Music Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Instruments for New Music: Sound, Technology, and Modernism Subject The topic of the resource Music Description An account of the resource At publication date, a free ebook version of this title will be available through Luminos, University of California Press’s new open access publishing program for monographs. Visit www.luminosoa.org to learn more. Player pianos, radio-electric circuits, gramophone records, and optical sound film—these were the cutting-edge acoustic technologies of the early twentieth century, and for many musicians and artists of the time, these devices were also the implements of a musical revolution. Instruments for New Music traces a diffuse network of cultural agents who shared the belief that a truly modern music could be attained only through a radical challenge to the technological foundations of the art. Centered in Germany during the 1920s and 1930s, the movement to create new instruments encompassed a broad spectrum of experiments, from the exploration of microtonal tunings and exotic tone colors to the ability to compose directly for automatic musical machines. This movement comprised composers, inventors, and visual artists, including Paul Hindemith, Ernst Toch, Jörg Mager, Friedrich Trautwein, László Moholy-Nagy, Walter Ruttmann, and Oskar Fischinger. Patteson’s fascinating study combines an artifact-oriented history of new music in the early twentieth century with an astute revisiting of still-relevant debates about the relationship between technology and the arts Creator An entity primarily responsible for making the resource Thomas Patteson Publisher An entity responsible for making the resource available University of California Press Contributor An entity responsible for making contributions to the resource Cut Rita Zahara Rights Information about rights held in and over the resource Creative Commons Type The nature or genre of the resource Textbooks Music Sounds Technology https://oer.usk.ac.id/files/original/37f9c950bbcc53eb2778fad5929a99c7.pdf 5f1f7a570226e954042da985ea56ca0b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 780 Music Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Basic Elements of Music Subject The topic of the resource Basic Elements of Music Creator An entity primarily responsible for making the resource Catherine Schmidt-Jones Publisher An entity responsible for making the resource available Connexions Contributor An entity responsible for making contributions to the resource Cut Rita Zahara Rights Information about rights held in and over the resource Creative Commons Type The nature or genre of the resource Textbooks Basic Elements of Music Music Music Theory https://oer.usk.ac.id/files/original/b0815596cd7a2f3640cfdb8725475d5c.pdf 64bd7277e465706c69be0150506bdfb3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 780 Music Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Understanding Basic Music Theory Subject The topic of the resource Music Theory Creator An entity primarily responsible for making the resource Chaterina Schmit-Jones Publisher An entity responsible for making the resource available Connexions Contributor An entity responsible for making contributions to the resource Cut Rita Zahara Rights Information about rights held in and over the resource Creative Commons Type The nature or genre of the resource Textbooks Music Theory