Here are 100 books that The Music Teaching Artist's Bible fans have personally recommended if you like
The Music Teaching Artist's Bible.
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Laurie grew up in a rural community and had the good fortune of working with kind and dedicated teachers who were both skillful pedagogues and encouraging mentors. Their passion for quality teaching and high-level musicianship instilled in Laurie the powerful relationship between teaching and artistic performance. Cornelia dreamed of playing the cello beautifully but didn’t have a real teacher until she was twenty. While the work required relearning almost everything she thought she knew, she was old enough to observe her own transformation, guided by a thoughtful and dedicated teacher, and teaching and performing became the inseparable “two sides of the same coin.”They've worked together ever since, writing, teaching, presenting, and sharing great ideas.
The title clearly outlines the premise of the book, and it delivers what it promises.
Although these essays are related to teaching and learning music, the overarching principles are applicable to the development of any skill. Duke challenges any approach that would promote difficult over beautiful, or fast over meticulous, championing music teaching itself as an art.
We’ve read this book dozens of times, used it as a text for classes over the past 25 years, and included it on every suggested reading list that has anything to do with teaching and learning. If a reader takes time to deeply consider the messages in this book and put the recommended strategies into practice, the efficiency and effectiveness of every lesson will improve.
In this collection of insightful essays, the author describes fundamental principles of human learning in the context of teaching music. Written in an engaging, conversational style, the individual essays outline the elements of intelligent, creative teaching. Duke effectively explains how teachers can meet the needs of individual students from a wide range of abilities by understanding more deeply how people learn. Teachers and interested parents alike will benefit from this informative and highly readable book.
Laurie grew up in a rural community and had the good fortune of working with kind and dedicated teachers who were both skillful pedagogues and encouraging mentors. Their passion for quality teaching and high-level musicianship instilled in Laurie the powerful relationship between teaching and artistic performance. Cornelia dreamed of playing the cello beautifully but didn’t have a real teacher until she was twenty. While the work required relearning almost everything she thought she knew, she was old enough to observe her own transformation, guided by a thoughtful and dedicated teacher, and teaching and performing became the inseparable “two sides of the same coin.”They've worked together ever since, writing, teaching, presenting, and sharing great ideas.
Neurologist Frank Wilson wrote this smart, funny, insightful book to connect his understanding of neuroscience to his own experience learning to play the piano as an adult.
While sharing his expertise about neural pathways and auditory perception, he pokes fun at himself, offers amusing anecdotes about other “experts” in various fields, writes lymmerics, and makes jokes when you least expect it: “We all know about biceps, triceps, deltoids, and ‘pecs’ but who ever heard of somebody having a knockout set of abductor digiti quinti minimi, or a breathtaking flexor pollicis brevis?”
His light touch creates an engaging and enlightening balance of science and music, and one can’t help but be encouraged by his enthusiasm and love of learning.
A neurologist and amateur musician explores the connections between neurology and music and provides an informative look into how and why people make music, how human beings hear music, and how musicians remember what they're playing
Laurie grew up in a rural community and had the good fortune of working with kind and dedicated teachers who were both skillful pedagogues and encouraging mentors. Their passion for quality teaching and high-level musicianship instilled in Laurie the powerful relationship between teaching and artistic performance. Cornelia dreamed of playing the cello beautifully but didn’t have a real teacher until she was twenty. While the work required relearning almost everything she thought she knew, she was old enough to observe her own transformation, guided by a thoughtful and dedicated teacher, and teaching and performing became the inseparable “two sides of the same coin.”They've worked together ever since, writing, teaching, presenting, and sharing great ideas.
Psychotherapist and string teacher Edmund Sprunger addresses the complex challenges parents face when trying to help their children learn.
Violin is the subject matter here, but it’s not a stretch to transfer his understanding to virtually any other learning situation (piano lessons, math assignments, baseball practice, etc). It’s also easy to replace “Helping Parents Practice” with “Helping Mature Students Practice” and “Helping Teachers Teach” because the wisdom in this book is so universal.
What makes us lose patience with the learning process? Or why, when we try to please others, we feel like it’s never enough? Sprunger teaches us how to recognize and respond to underlying issues—often tangled up with the love we desire and deserve or don’t deserve—to discover a more internally-motivated and peaceful way to learn.
Ideas for Making it Easier. Written in small, easily managed sections for the busy parent. The aim is to support and inform parents who want to maximize their usefulness and minimize their interference--but are sometimes unsure how to achieve these goals during practice. 270 pages.
Laurie grew up in a rural community and had the good fortune of working with kind and dedicated teachers who were both skillful pedagogues and encouraging mentors. Their passion for quality teaching and high-level musicianship instilled in Laurie the powerful relationship between teaching and artistic performance. Cornelia dreamed of playing the cello beautifully but didn’t have a real teacher until she was twenty. While the work required relearning almost everything she thought she knew, she was old enough to observe her own transformation, guided by a thoughtful and dedicated teacher, and teaching and performing became the inseparable “two sides of the same coin.”They've worked together ever since, writing, teaching, presenting, and sharing great ideas.
Most teachers have a clear vision of where their students are headed: the sequences of instruction required, the stages and pacing of learning, and what students will be able to do at the end.
However, if knowledge of that end goal is not shared with students, the momentum generated by the learning, even with successful completion of each step, can be lost. When students can see where they are going, and trust the pathway designed for their optimal learning, there is a ‘buy-in” that supports their internally-driven focus and the investment of time necessary for achievement.
We have enjoyed reading, rereading, and recommending this book that clearly explains research-based and consistently effective teaching strategies.
In November 2008, John Hattie's ground-breaking book Visible Learning synthesised the results of more than fifteen years research involving millions of students and represented the biggest ever collection of evidence-based research into what actually works in schools to improve learning.
Visible Learning for Teachers takes the next step and brings those ground breaking concepts to a completely new audience. Written for students, pre-service and in-service teachers, it explains how to apply the principles of Visible Learning to any classroom anywhere in the world. The author offers concise and user-friendly summaries of the most successful interventions and offers practical step-by-step guidance…
I am the former Principal bassist with the Cincinnati Symphony and am currently active as a soloist, educator, and author of three books on the mind, body, and spirit of music. My first book is about the mind, The Inner Game of Music, followed by The Mastery of Music on the human spirit of over 120 great musicians and Bringing Music to Life exploring physical skills of communication of all artists, actors, and dancers. I hope to inspire artists of all disciplines, that our performances come from our hearts and souls and not the technical form of dance, music, or words. Performers express feelings and use this gift to spread inspiration and joy to the world.
The Listening Book is about rediscovering the power of listening as an instrument of self-discovery and personal transformation. By exploring our capacity for listening to sounds of music, nature, and one’s own breathing, we can awaken and release our full creative powers. Mathieu guides the reader to hearing the connections between all sounds of music and everyday life. It is insightful and surprising to notice what is around us at any moment of the day and apply this heightened awareness to understanding and connecting with music listening or performance. This awareness can be neglected but applicable to connecting our inner soul with the outside world and to life. Brilliant illuminations from a genius composer, musician and teacher W.A. Mathieu.
The Listening Book is about rediscovering the power of listening as an instrument of self-discovery and personal transformation. By exploring our capacity for listening to sounds and for making music, we can awaken and release our full creative powers. Mathieu offers suggestions and encouragement on many aspects of music-making, and provides playful exercises to help readers appreciate the connection between sound, music, and everyday life.
After dabbling in music in my youth, I returned to playing roots music over fifteen years ago. I’ve joined music circles, jammed, made new friends, and learned a lot. My husband Gene and I have recorded three albums and played at bars, festivals, weddings, and listening rooms. Professionally, I’ve spent years as a writing teacher and writer, and I also teach at an annual folk music camp. I wanted to share the joys of music with others, so I talked with dozens of musicians, dug down to find rare resources, and pulled it together into Making Music for Life to make it easier for others to pursue their own musical journey.
This book comprehensively addresses a wide range of topics geared toward teen music students, from the foundations of practicing and understanding theory to working with a teacher and parents, playing in an orchestra, or planning a music career. Although some of the topics are useful for any musician (such as practice ideas and improving one’s musicality), this book is best for guiding adolescents on a musical path.
In her follow-up to Making Music and Enriching Lives: A Guide for All Music Teachers, Bonnie Blanchard offers students a set of tools for their musical lives that will help them stay engaged, even during the challenging times in their musical development. Blanchard discusses issues such as finding an instructor, selecting the right instrument, and choosing a college or conservatory. The book includes lessons on music theory and history as well as a guide to finding additional materials in print and online. Blanchard's strategies for making practice productive and preparing for auditions are useful tips students can return to again…
I am an award-winning composer, author, and educator. Since 1990 I have had the privilege of teaching others about music through my concerts, children’s books, academic books, lessons, and online courses.
This is a nice resource for teachers to have at their disposal. The book encompasses various grade levels. It was nice of the author to give permission to teachers to make copies for their classrooms. I love that besides the lessons, games, worksheets, and puzzles, it also includes a listening CD and PowerPoint presentation.
Paul Harris is one of the UK’s most influential music educationalists. He studied the clarinet at the Royal Academy of Music, where he won the August Manns Prize for outstanding performance in clarinet playing and where he now teaches. He is in great demand as a teacher, composer, and writer (he has written over 600 books); and his inspirational masterclasses and workshops continue to influence thousands of young musicians and teachers all over the world in both the principles and practice of musical performance and education.
For anyone who is performing at any level really, this book will help them enhance their performance and manage the stress that sometimes seems to appear in the performance situation. The book looks at ways to approach the music that we have decided to perform a variety of practice strategies and some particularly interesting techniques for all-around improvement taking in both the physical side of playing and the musical side. It’s a serious and quite academic book but well worth the effort.
Musical Excellence offers performers, teachers, and researchers, new perspectives and practical guidance for enhancing performance and managing the stress that typically accompanies performance situations. It draws together, for the first time in a single collection, the findings of pioneering initiatives from across the arts and sciences. Specific recommendations are provided alongside comprehensive reviews of existing theory and research, enabling the practitioner to place the strategies and techniques within the broader context of human performance and encouraging novel ways of conceptualizing music making and teaching.
Part I, Prospects and Limits, sets out ground rules for achieving musical excellence. What roles do…
Paul Harris is one of the UK’s most influential music educationalists. He studied the clarinet at the Royal Academy of Music, where he won the August Manns Prize for outstanding performance in clarinet playing and where he now teaches. He is in great demand as a teacher, composer, and writer (he has written over 600 books); and his inspirational masterclasses and workshops continue to influence thousands of young musicians and teachers all over the world in both the principles and practice of musical performance and education.
Whether you’re a learner or a teacher, developing an interest in what goes on behind the scenes will naturally reap many benefits. This fascinating book deals with many issues that need to be considered whether music is a hobby or a profession. Susan considers how music is processed in the brain, what musical ability actually is, the psychological side of learning to play an instrument and sing, what feeds into our motivation, and generally the extraordinary impact that music has on our lives.
The book will be of particular interest to those training to be instrumental and class teachers, and teachers wishing to further their understanding of teaching and learning. It addresses the psychological underpinnings of all elements of music education and provides a short introduction to the field of music psychology.
Ever since childhood, I’ve wondered about people who led inventive, innovative lives. How did they get their inspiration? Where did their ideas come from? How did they take that inspiration and change the world? I found information, but not the answers I was looking for, at the library. When I became an elementary library teacher, new forms of biographies – beautiful picture book biographies about people of all kinds – became available. My students loved them and so did I, and I became inspired to write for children. I’m excited that my first two picture book biographies, which received starred reviews, are out in the world – with more coming your way!
I love this energetic book about experimental composer Charles Ives for its liveliness, beautiful language, and glorious sounds! It’s also an important example of staying true to yourself and following your own path.
Before he became a composer, young Charles Ives’s life was full of noise–glorious noise! Influenced by his father, a music educator and bandleader, Ives experimented with sound. Like John Cage, he faced ridicule and criticism, and faced roadblocks to having his music performed.
The extraordinary story of the composer Charles Ives.
"Sometimes little Charlie lay in his crib just listening. He heard his mother’s long dress as she moved around his room. He heard big clocks and little clocks. He heard wagons and horse hooves. He heard dogs and crickets and the church bell next door."
Charlie listened all through his boyhood, and as he grew into a man, he found he wanted to re-create in music the sounds that he heard every day. But others couldn’t hear what Charlie heard. They didn’t hear it as music – only as noise. In this…
