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Acceptance

Dostępne opracowania:

książka (1)
obój i fortepian (1)
skrzypce solo (1)

Acceptance znajdziesz w 3 publikacjach wymienionych poniżej:


Okładka: Moyse Louis, 10 utworów na obój i fortepian, op. 37, nr 2

cena 62,95 zł.


nuty.pl

Moyse Louis
10 utworów na obój i fortepian, op. 37, nr 2

Ilość stron:24 + 12
Format: 228.6 x 304.8
Opracowanie na:obój i fortepian
Rodzaj produktu:nuty drukowane
Wersja językowa:opisów: angielska
tytułów utworów: angielska
Stopień trudności:2 w skali od 0 do 10
Stopień trudności akompanamentu:3 w skali od 0 do 10
Dostępnośćw magazynie, wysyłka natychmiastowa
Kod produktu:NPL060164


Contents: Acceptance • Autumn Winds • Figurines • Impressions • Once upon a Time • Promenade of Leprechaun • Regrets • Resignation • Scurrying • Springtime Meadows.


Lista utworów:
Acceptance (Moyse L)
Autumn Winds (Moyse L)
Figurines (Moyse L)
Impressions (Moyse L)
Once Upon A Time (Moyse L)
Promenade Of Leprechaun (Moyse)
Regrets (Moyse L)
Resignation (Moyse L)
Scurrying (Moyse L)
Springtime Meadows (Moyse L)

Okładka: Lowinger Gene, Jazz Violin: Roots And Branches

cena 89,95 zł.


nuty.pl

Lowinger Gene
Jazz Violin: Roots And Branches

polski Skrzypce w jazzie: korzenie i odgałęzienia
angielski Jazz Violin: Roots And Branches


Ilość stron:96
Format:230 x 305
Opracowanie na:skrzypce solo
Obsada:Instrument (w nawiasie ilość materiałów wykonawczych)
Skrzypce (1)
Rodzaj produktu:nuty drukowane
Wersja językowa:wstępu: angielska
opisów: angielska
Stopień trudności:3 w skali od 0 do 10
Dostępnośćw magazynie, wysyłka natychmiastowa
Zawartość:

Zajrzyj do środka. Oto kilka stron z publikacji:

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Kod produktu:NPL065485

Analiza stylów gry różnych skrzypków jazzowych (np. Joe Venuti, Stephane Grappelli, Michał Urbaniak) poparta fragmentami ich improwizacji. W publikacji można znaleźć obszerne opisy i zdjęcia artystów.

In modern jazz, because of electrical devices available, the violin has emerged as a viable competitor to the loudest horn. Its pitch range of about four octaves is matched only by clarinet and piano, and a creative player can use the bow to spin out seemingly endless phrases. Thus it is gaining more acceptance and is becoming more widely used in rock bands and blues- or rock-oriented jazz ensembles.

Lista utworów:
Shine (Stephane Grappelli)
Beau soir (Stephane Grappelli)
Danny boy (Stephane Grappelli)
It don't mean a thing (Stephane Grappelli)
Bach no. 1 (Stephane Grappelli)
Shine (Joe Venuti)
Humoresque (Joe Venuti)
I can't belive that you're in love with me (Eddie South, Stuf Smih)
Yesterdays (Eddie South, Stuf Smih)
On the sunny side of the street (Eddie South, Stuf Smih)
It don't mean a thing (Eddie South, Stuf Smih)
Dwon home blues (John Creach, Don "Sugarcane" Harris)
Danny boy (John Creach, Don "Sugarcane" Harris)
String jet continues (John Creach, Don "Sugarcane" Harris)
Funk and Wagner (John Creach, Don "Sugarcane" Harris)
Yours eternally (John Creach, Don "Sugarcane" Harris)
Eleanor Rigby (John Creach, Don "Sugarcane" Harris)
Au private (Jean - Luc Ponty)
Scarborough fair (Jean - Luc Ponty)
Beau soir (Jean - Luc Ponty)
Butterfly (Michal Urbaniak)
Largo (Michal Urbaniak)
Stretch (Michal Urbaniak)

Spis treści:

Introduction
Elements of jazz
Melody
Harmony
Rhythm
Improvisation
Sound and phrasing
Joe Venuti
Stephane Grappelli
More swing players
Eddie South
Stuff Smith
Two blues men
John Creach
Don "Sugarcane" Harris
Jean - Luc Ponty
Michal Urbaniak
Discography

Okładka: Gumm Alan, Music Teaching Style

cena 193,95 zł.


nuty.pl

Gumm Alan
Music Teaching Style

polski Muzyczne style nauczania
angielski Music Teaching Style


Ilość stron:192
Format:178 x 254
Opracowanie na:książka
Rodzaj produktu:książka
Wersja językowa:angielska
Dostępnośćw magazynie, wysyłka natychmiastowa
Kod produktu:NPL065612

Publikacja Alana Gumma jest prezentacją stylów nauczania muzyki. Autor przedstawia nietypowe podejście do sztuki nauczania, a także popiera idee anegdotami i cytatami wielkich artystów i mistrzów. Głównym celem sposobów nauczania Gumma jest zdobycie doskonałego doświadczenia w nauczaniu i osiągnięcie trwałego sukcesu.


Music Teaching Style is an exciting, balanced approach to student performance, music learning and personal change. Written in an informal, engaging style, the text is highlighted by anecdotes, quotations, challenges for self-reflection, and techniques used by the author and top professionals in the field. The result - a fulfilling, productive and successful music teaching experience.


Spis treści:

Part 1. Overview
1. Setting the Context
Need for a Definition
Related Concepts
Personality
Learning Styles
Effective teaching
Conclusion
Discussion questions
2. Establishing a definition
The nature of music teaching style
Principle of tradicity
Several behaviors but one style
Stable and pervasive
Underlying focus
Many ways to be effective
Principle - based teaching
A clear and distinct definition
A new vantage point
A three - level model
Conclusion
Discussion questions
Part 2. Dimensions of music teaching style
3. Assertive teaching
Assertive vs. Aggressive
Cycle of teaching
Clear directions
Monitor student behavior
Specific feedback
Anticipating problems
Recognize cycles of misbehavior
Classroom rules
Consequences
Alerting
Conclusion
Discussion questions
4. Nonverbal motivation
Visual appearance
Proximity
Pacing
Conclusion
Discussion questions
5. Time efficiency
Concepts of time
Quickness
Quantity
Active learning
Conclusion
Discussion questions
6. Positive learning environment
Contingent approval
Transactional teaching
Time to think
Clarification
Encouragement
Elaboration
Awareness of student realities
Interpersonal relations
Conclusions
Discussion questions
7. Group dynamics
Self - responsibility
Student-to-student interactions
Leadership
Social loafing
Individualized listening and reading
Conclusion
Discussion questions
8. Music concept learning
Comprehensive musicianship
Concept of music
Questioning
Accountability
Questions as assessment
Handling incorrect answers
Types of questions
Critical thinking
Conclusion
Discussion questions
9. Artistic music performance
Multimodal learning
Asural Imagery
Psychomotor learning
Sound-to-performance cycle
Metaphor
Modeling and movement
Emotion and enthusiasm
Conclusion
Discussion questions
10. Student independence
Students as innovators
Creativity
Affective learning
Transformational teaching
Deepest levels of questioning
Discussion and dialogue
Student input in decision - making
Acceptance
Conclusion
Discussion questions
Part 3. Revealing your style
11. Types and trends of style
Prototypes
Comprehensive musicianship focus
Performance priorities
Intellectual focus
Group interaction priorities
Behavior management priorities
Styles that lack priority
Developmental teaching
Self - reflective stage
Broadening stage
Interdependent transition
Deepenning stages I and II
Development through insight
Conclusion
Discussion questions
12. Sorting out priorities
Trade offs
The Tyranny of time
Too much or too little control
Broader activity or deeper reflection
Principle of tradicity
Teacher - agenda interactions
Student - focused interactions
Subject matter interactions
You cannot touch learning
Conclusion
Discussion questions
Part 4. Choosing a new direction
13. Know yourself
Psychological controls
Internal - external
Time perceptions
Detail - holistic perspectives
To judge or not to judge
Absolute - relative
Background experience
We teach as we were taught
We teach what we know
Where we teach affects how we teach
Identity shapes our interactions
Conclusion
Discussion questions
14. Know your students
Developmental learning
External to internal
Dependent to independent
Student motivetion
Conclusion
Discussion questions
15. Know your subject matter
Music performance skills
Music knowledge
Creative experiences
Planning for balance in subject matter
Conclusion
Discussion questions
16. Learn what learning looks like
Define learning outcomes
Monitor learning
Conclusion
Discussion questions
17. Choose your focus
You get what you pay for
Focus away from the teacher
Focus on music
Refine your vision
18. Establish a set of principles
Make success the focus
Focus on all students' success
Get out of the way as the focus
Maintain a successful pace
Be independently succesfful
Teach deeply as well as broadly
Teach comprehensively
Final conclusion
About the author
Music teaching style inventory
Learning style glossary
References
General bibliography





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