Skill Building Sequence for Choral Ensembles: Volume 1. Teacher's Guide for Children's Choir introduces an adaptable, literature-based choral music reading approach that empowers young singers with music literacy skills that point beyond the choral rehearsal and encourage independent and group music making for a lifetime.

The ability to bring meaning to music notation without the assistance of an accompanist playing choral parts is a requisite skill on a musician’s journey to self-reliance and full artistic expression. Despite its importance, high performance expectations pose a challenge for choir directors to allocate discrete rehearsal time to music reading skill development. Consider for a moment an embedded music reading system that facilitates choristers’ ability to read their choral octavos; a process that develops rhythm and tonal musicianship and gives choristers the tools they need to learn music on their own. This bookintroduces an adaptable, literature-based choral music reading approach that empowers young singers with music literacy skills that point beyond the choral rehearsal and encourage independent and group music making for a lifetime.

Choral Music: A Research and Information Guide, Third Edition, offers a comprehensive guide to the literature on choral music in the Western tradition. Clearly annotated bibliographic entries guide readers to resources on key topics within choral music, individual choral composers, regional and sacred choral traditions, choral techniques, choral music education, genre studies, and more, providing an essential reference for researchers and practitioners. Covering monographs, bibliographies, selected dissertations, reference works, journals, electronic databases, and websites, this research guide makes it easy to locate relevant sources. Comprehensive indices of authors, titles, and subjects keep the volume user-friendly. The new edition has been brought up to date with entries encompassing the latest scholarship, and updated references and annotations throughout, capturing the continued growth of literature on choral music since the publication of the second edition.

In this highly anticipated sequel to A Cappella Arranging, Deke Sharon and Dylan Bell provide even more tools and insights to help musicians master the craft of a cappella arranging—including new creative principles and theoretical techniques to expand the palate, as well as arranging in various musical genres spanning several decades of music. Since the publication of the original book in 2012, a cappella as a genre has grown enormously. Using conversational yet instructive tone, A Cappella Arranging 2.0: The Next Level picks up where the previous book left off, helping people deepen their a cappella arranging skills. In four parts, the book addresses a variety of topics including: The creative process An advanced understanding of vocal ranges Counterpoint and polyphony Harmonic concepts and techniques Arranging for the studio Live looping arrangements Instrumental idioms Arranging in different styles, including world styles Medleys and mashups This is the perfect resource for taking your a cappella arrangements to the next level.

Designed for both the practicing choral director and the choral methods student, this is a compact and comprehensive overview of the many teaching methods, strategies, materials, and assessments available for choral sight-singing instruction. Sight-singing is an important, if sometimes neglected, facet of choral music education that often inspires fear and uncertainty in student and teacher alike. Written in an accessible style, this book takes the mystery out of teaching music reading. Topics covered include the history of sight-singing pedagogy and research, prominent methods and materials, and practical strategies for teaching and assessment. This is the only book to provide such a wealth of information under one cover and will become an essential part of every choral conductor's library.

Vocal, Instrumental, and Ensemble Learning and Teaching is one of five paperback books derived from the foundational two-volume Oxford Handbook of Music Education. Designed for music teachers, students, and scholars of music education, as well as educational administrators and policy makers, this third volume in the set emphasizes the types of active musical attributes that are acquired when learning an instrument or to sing, together with how these skills can be used when engaging musically with others. These chapters shed light on how the field of voice instruction has changed dramatically in recent decades and how physiological, acoustical, biomechanical, neuromuscular, and psychological evidence is helping musicians and educators question traditional practices. The authors discuss research on instrumental learning, demonstrating that there is no 'ideal' way to learn, but rather that a chosen learning approach must be appropriate for the context and desired aims. This volume rounds out with a focus on a wide range of perspectives dealing with group performance of instrumental music, an area that is organized and taught in many varied ways internationally. Contributors Alfredo Bautista, Robert Burke, James L. Byo, Jean Callaghan, Don D. Coffman, Andrea Creech, Jane W. Davidson, Steven M. Demorest, Robert A. Duke, Robert Edwin, Shirlee Emmons, Sam Evans, Helena Gaunt, Susan Hallam, Lee Higgins, Jere T. Humphreys, Harald Jers, Harald Jørgensen, Margaret Kartomi, Reinhard Kopiez , William R. Lee, Andreas C. Lehmann, Gary E. McPherson, Steven J. Morrison, John Nix, Ioulia Papageorgi, Kenneth H. Phillips, Lisa Popeil, John W. Richmond, Carlos Xavier Rodriguez, Nelson Roy, Robert T. Sataloff, Frederick A. Seddon, Sten Ternström, Michael Webb, Graham F. Welch, Jenevora Williams, Michael D. Worthy