Reference collection is a good place to start your research, such as biographies, dictionaries, encyclopedias, directories, bibliographies, etc.
There are many online reference material in reference databases.
60's Music by
Published for the first time in hard cover this invaluable handbook contains 1000 entries taken from the Encyclopedia of Popular Music , offering an insight into the 60s -- the most analyzed yet least understood decade in the history of popular music. It includes every artist who had a significant impact on the development of rock and pop music in those ten years, from the Beatles-led invasion of America to the States' own pop aristocracy of Phil Spector and the Beach Boys, from the rise of Motown to the arrival of psychedelia and the Summer of Love. A perfect mix of fact and informed opinion contained in one single volume. Covers the essential elements -- dates, career facts, discography, album ratings plus a sense of context for each artist.
A Dictionary of Musical Terms by
This illustrated dictionary, written by the prolific Victorian composer Sir John Stainer (1840-1901) - best remembered today for his oratorio The Crucifixion - and W. A. Barrett, was first published by Novello in 1876. It provides definitions for 'the chief musical terms met with in scientific, theoretical, and practical treatises, and in the more common annotated programmes and newspaper criticisms', ranging from short explanations of the Italian words for tempi, through descriptions of ancient instruments to expansive articles on such topics as acoustics, copyright, hymn tunes, the larynx and temperament. That it subsequently ran to several further editions suggests that it provided welcome guidance for the concert-going public in the nineteenth century.
Encyclopedia of World Pop Music, 1980-2001 by
In this eclectic encyclopedia, author Stan Jeffries chronicles the careers of over 110 musical artists from 37 different nations. Entries include biographical information, trace the entrants' musical development, and recount the performers' critical and popular reception. A collection of photos, an index by nation, and appendices of music industry awards and standards for gold and platinum certification by country complete this one-of-a-kind resource for music fans and aficionados. Popular music's global diversity is often overlooked in America, especially when performers achieved success in nations outside the United States. Some performers, such as A-Ha and Falco, are known as one-hit wonders in America despite their tremendous success elsewhere. Bands such as The Stone Roses and The Sugarcubes achieved cult or underground status in the United States but were headline acts in their native countries. And acts such as Dragon Ash, The Leningrad Cowboys, and Powderfinger--all but unknown in America-are considered landmark acts in their homelands.
Musicians and Composers of the 20th Century by
Benny GoodmanDizzy GillespieJim MorrisonKurt Cobainthese are the people who helped shape the history of music. Their stories and others are told in Mucicians and Composers of the 20th Century. This five volume set offers biographical and critcal ess
Music Education by
Music education takes place in many contexts, both formal and informal. Be it in a school or music studio, while making music with friends or family, or even while travelling in a car, walking through a shopping mall or watching television, our myriad sonic experiences accumulate from theearliest months of life to foster our facility for making sense of the sound worlds in which we live. The Oxford Handbook of Music Education offers a comprehensive overview of the many facets of musical experience, behavior and development in relation to this diverse variety of contexts. In thisfirst of two volumes, an international list of contributors discuss a range of key issues and concepts associated with music learning and teaching. The volume then focuses on these processes as they take place during childhood, from infancy through adolescence and primarily in the school-age years. Exploring how children across the globe learn and make music and the skills and attributes gained when they do so, these chapters examine the meansthrough which music educators can best meet young people's musical needs. The second volume of the set brings the exploration beyond the classroom and into later life. Whether they are used individually or in tandem, the two volumes of The Oxford Handbook of Music Education update and redefine thediscipline, and show how individuals across the world learn, enjoy and share the power and uniqueness of music.
The Oxford Handbook of Philosophy in Music Education by
Music education thrives on philosophical inquiry, the systematic and critical examination of beliefs and assumptions. Yet philosophy, often considered abstract and irrelevant, is often absent from the daily life of music instructors. In The Oxford Handbook of Philosophy in Music Education,editors Wayne D. Bowman and Ana Lucia Frega have drawn together a variety of philosophical perspectives from the profession's most exciting scholars. Rather than relegating philosophical inquiry to moot questions and abstract situations, the contributors to this volume address everyday concerns faced by music educators everywhere, demonstrating that philosophy offers a way of navigating the daily professional life of music education and provingthat critical inquiry improves, enriches, and transforms instructional practice for the better. Questioning every musical practice, instructional aim, assumption, and conviction in music education, The Oxford Handbook of Philosophy in Music Education presents new and provocative approaches to thepractice of teaching music. Bowman and Frega go deeper than mere advocacy or a single point of view, but rather conceive of philosophy as a dynamic process of debate and reflection that must constantly evolve to meet the shifting landscapes of music education. In place of the definitive answers often associated withphilosophical work, Bowman and Frega offer a fascinating cross-section of often-contradictory approaches and viewpoints. By bringing together essays by both established and up-and-coming scholars from six continents, Bowman and Frega go beyond the Western monopoly of philosophical practice andacknowledge the diversity of cultures, instructors, and students who take part in music education. This range of perspectives invites broader participation in music instruction, and presents alternative answers to many of the fields most pressing questions and issues. By acknowledging the inherent plurality of music educational practices, the Handbook opens up the field in new and importantways. Emphasizing clarify, fairness, rigor, and utility above all, The Oxford Handbook of Philosophy in Music Educationwill challenge music educators all over the world to make their own decisions and ultimately contribute to the conversation themselves.
Oxford Handbook of Qualitative Research in American Music Education by
Qualitative research has become increasingly popular in music education over the last decade, yet there is no source that explains the terms, approaches and issues associated with this approach. In The Oxford Handbook of Qualitative Research in American Music Education, editor Colleen Conway and the contributing music educators provide that clarification, as well as models of qualitative studies within various music education disciplines. The handbook outlines the history of qualitative research in American music education and explores the contemporary use of qualitative approaches in examining issues related to music teaching and learning. It includes 32 chapters that address a range of topics, from ways of approaching qualitative research and ways of collecting and analyzing data, to the various music teaching and learning contexts that have been studied using qualitative approaches. The final section of the book tackles permission to conduct research, teaching qualitative research, publishing qualitative research, and provides direction for the future. An ambitious and much-needed volume, this handbook will stand as a key resource for drawing meaning from the experiences of students and teachers in music classrooms and communities both in America and in other countries.
The Oxford Handbook of Technology and Music Education by
Few aspects of daily existence are untouched by technology. Learning and teaching music are no exceptions and arguably have been impacted as much or more than other areas of life. Digital technologies have come to affect music learning and teaching in profound ways, influencing how we create,listen, share, consume, interact, and conceptualize musical practices and the musical experience. For a discipline as entrenched in tradition as music education, this has brought forth myriad views on what does and should constitute music learning and teaching.To tease out and elucidate some of the salient problems, interests, and issues, The Oxford Handbook of Technology and Music Education critically situates technology in relation to music education from a variety of perspectives: historical; philosophical; socio-cultural; pedagogical; musical;economic; policy, organized around four broad themes: Emergence and Evolution; Locations and Contexts: Social and Cultural Issues; Experiencing, Expressing, Learning and Teaching; and Competence, Credentialing, and Professional Development. Chapters from a highly diverse group of junior and seniorscholars provide analyses of technology and music education through intersections of gender, theoretical perspective, geographical distribution, and relationship to the field. The Oxford Handbook of Technology and Music Education's dedication to diversity and forward-facing discussion promotescontrasting perspectives and conversational voices rather than reinforce traditional narratives and prevailing discourses.
