Finding Music for a specific instrument or for an ensemble.
1. Use a Subject search. For example, Piano scores search.
Type the name of the instrument, or type the name of the chamber music genre, Below are examples from browse searches:
Piano music (4 hands).
Piano music -- 20th century -- Scores.
Piano quartets, Arranged -- Scores and parts.
Piano quartets -- Scores.
Piano quintet with string orchestra.
Quartets (Clarinet, violin, viola, violoncello) -- Scores and parts.
Quartets (Flute, guitar, viola, violoncello), Arranged.
Quartets (Flute, recorders (2), continuo) -- Scores and parts.
Quartets (Flute, violin, viola, continuo) -- Scores.
Trios (Bassoon, clarinet, flute).
Trios (Bassoon, flute, viola).
Trumpet and guitar music.
Trumpet and organ music.
Trumpet and percussion music.
2. Use the Basic Search option in the library catalogue. Type the search words, e.g. quartets AND clarinet AND viola AND TP
These examples were taken from the University of Arkansas Music Library Resources guide.
Black Diamond Queens by
African American women have played a pivotal part in rock and roll--from laying its foundations and singing chart-topping hits to influencing some of the genre's most iconic acts. Despite this, black women's importance to the music's history has been diminished by narratives of rock as a mostly white male enterprise. In Black Diamond Queens, Maureen Mahon draws on recordings, press coverage, archival materials, and interviews to document the history of African American women in rock and roll between the 1950s and the 1980s. Mahon details the musical contributions and cultural impact of Big Mama Thornton, LaVern Baker, Betty Davis, Tina Turner, Merry Clayton, Labelle, the Shirelles, and others, demonstrating how dominant views of gender, race, sexuality, and genre affected their careers. By uncovering this hidden history of black women in rock and roll, Mahon reveals a powerful sonic legacy that continues to reverberate into the twenty-first century.
Audio Metering by
In this comprehensive guide, Brixen takes the reader through the complex and confusing aspects of audio metering, imparting the knowledge and skills needed to utilize optional signal levels and produce high-quality audio. Covering all aspects of this fundamental subject, Audio Metering: Measurements, Standards and Practicebegins with the basics, such as audio definitions and digital techniques, and works up to more complex topics like hearing and psychoacoustics. This revised and expanded third edition includes: Updated information on loudness metering, covering both existing and new standards. Definitions of terms such as LKFS, LUFS, gating, LRA. Explanations of signal types and musical sounds and structures. Further details on immersive audio. Skills needed for both small-room acoustics and large auditorium sound design without loss of sound quality. Descriptions of measurement signals and systems for audio and acoustic sound. A chapter on listening tests from small set-ups to large-scale comparisons of PA/SR-systems. Packed full of valuable information with a wide range of practical applications, this is the essential reference guide to audio metering for technicians, engineers, and tonmeisters, as well as sound designers working with acoustics, electroacoustics, broadcast, studio recording, sound art, archiving, audio forensics, and theatrical and live-audio setups.
Loving Music till It Hurts by
Can music feel pain? Do songs possess dignity? Do symphonies have rights? Of course not, you might say. Yet think of how we anthropomorphize music, not least when we believe it has been somehow mistreated. A singer butchered or mangled the "Star-Spangled Banner" at the Super Bowl. Anunderrehearsed cover band made a mockery of Led Zeppelin's classics. An orchestra didn't quite do justice to Mozart's Requiem. Such lively language upholds music as a sentient companion susceptible to injury and in need of fierce protection.There's nothing wrong with the human instinct to safeguard beloved music . . . except, perhaps, when this instinct leads us to hurt or neglect fellow human beings in turn: say, by heaping outsized shame upon those who seem to do music wrong; or by rushing to defend a conductor's beautiful recordingswhile failing to defend the multiple victims who have accused this maestro of sexual assault. Loving Music Till It Hurts is a capacious exploration of how people's head-over-heels attachments to music can variously align or conflict with agendas of social justice. How do we respond when loving musicand loving people appear to clash?
Enacting Musical Time by
What is musical time? Where is it manifested? How does it enter into our experience, and how do we capture it in our analyses? A compelling approach among works on temporality, phenomenology, and the ecologies of the new sound worlds, Enacting Musical Time argues that musical time is itselfthe site of the interaction between musical sounds and a situated, embodied listener, created by the moving bodies of participants engaged in musical activities. Author Mariusz Kozak describes musical time as something that emerges when the listener enacts her implicit knowledge about "how musicgoes," from deliberate inactivity, to such simple actions as tapping her foot in time with the beat, to dancing in a way that engages her entire body.Kozak explores this idea in the context of modernist and postmodernist musical styles, where composers create unfamiliar and idiosyncratic temporal experiences, blur the line between spectatorship and participation, and challenge conventional notions of form. Basing his discussion on thephenomenology of Merleau-Ponty and on the ecological psychology of J. J. Gibson, Kozak examines different aspects of musical structure through the lens of embodied cognition and what phenomenologists call "lived time." A bold new theory derived from an unprecedented fusion of research perspectives,Enacting Musical Time will engage scholars across a range of disciplines, from music theory, music cognition, cognitive science, continental philosophy, and social anthropology.
Build by
Since 2001, the U.S. Department of State has been sending hip hop artists abroad to perform and teach as goodwill ambassadors. There are good reasons for this: hip hop is known and loved across the globe, acknowledged and appreciated as a product of American culture. Hip hop has from itsbeginning been a means of creating community through artistic collaboration, fostering what hip hop artists call building.A timely study of U.S. diplomacy, Build: The Power of Hip Hop Diplomacy in a Divided World reveals the power of art to bridge cultural divides, facilitate understanding, and express and heal trauma. Yet power is never single-edged, and the story of hip hop diplomacy is deeply fraught. Drawing fromnearly 150 interviews with hip hop artists, diplomats, and others in more than 30 countries, Build explores the inescapable tensions and ambiguities in the relationship between art and the state, revealing the ethical complexities that lurk behind what might seem mere goodwill tours. Author MarkKatz makes the case that hip hop, at its best, can promote positive, productive international relations between people and nations. A U.S.-born art form that has become a voice of struggle and celebration worldwide, hip hop has the power to build global community when it is so desperatelyneeded.
Transforming Music Education in P-12 Schools and the Community by
Though culture can affect different countries' preferences for musical style, musicking is a worldwide trend that produces enjoyment for all. However, there is a divide between professional music performance and music education. In order to better engage students, a musicking approach must be implemented into educational curricula and used to promote a platform for inclusivity and community enrichment. Transforming Music Education in P-12 Schools and the Community is a critical scholarly publication that traces the theoretical foundation of current beliefs and practices surrounding music performance and education and discusses how to transform teaching and learning by implementing musicking. The book covers musical engagement for young children and families, universal design in music education in special and inclusive education settings, critical approaches of music teaching and learning in P-12 schools, and reaching communities. It is essential for music teachers, conductors, music directors, instructional designers, academicians, educational professionals, administrators, researchers, and students.
Music Is Power by
Honorable Mention, 2019 Foreword INDIES Awards - Performing Arts & Music Honorable Mention, Graphis 2021 Design Annual Competition​ Popular music has long been a powerful force for social change. Protest songs have served as anthems regarding war, racism, sexism, ecological destruction and so many other crucial issues. Music Is Power takes us on a guided tour through the past 100 years of politically-conscious music, from Pete Seeger and Woody Guthrie to Green Day and NWA. Covering a wide variety of genres, including reggae, country, metal, psychedelia, rap, punk, folk and soul, Brad Schreiber demonstrates how musicians can take a variety of approaches-- angry rallying cries, mournful elegies to the victims of injustice, or even humorous mockeries of authority--to fight for a fairer world. While shining a spotlight on Phil Ochs, Gil Scott-Heron, The Dead Kennedys and other seminal, politicized artists, he also gives readers a new appreciation of classic acts such as Lesley Gore, James Brown, and Black Sabbath, who overcame limitations in their industry to create politically potent music Music Is Power tells fascinating stories about the origins and the impact of dozens of world-changing songs, while revealing political context and the personal challenges of legendary artists from Bob Dylan to Bob Marley. Supplemental material (Artist and Title List): https://d3tto5i5w9ogdd.cloudfront.net/wp-content/uploads/2020/07/24001955/Music_Is_Power_Supplementary_Artist_Title_List.doc
From time to time I will post a link to a web site of use to those of us in the field of music. I welcome your suggestions for sites to post. Enjoy! -Tom
For the students, faculty, and staff of the CSU East Bay Department of Music, the Music Resource Center maintains a collection of performance scores and resources. Justin Plank directs the center and is an excellent source for help with both the materials there and referral to our library collections. We work together to help you in your musical lives.
