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Performance Anxiety Strategies by Hendricks Sm Mcgrath; Karin S. Hendricks; Casey McGrath; Tawnya D. SmithMusic performance anxiety has long frustrated the artistic community and, while tricks and folk remedies abound, a comprehensive plan to solve this problem has remained elusive. Accomplished violinist Casey McGrath combines her experiences with the research of Karin S. Hendricks and Tawnya D. Smith to provide a resource guide to the most current solutions and therapies, as well as educational applications, for both individual and classroom use. Divided by area of therapeutic interest, Performance Anxiety Strategies presents relevant and noteworthy research and insight into some of the most popular and many lesser-known therapies--including holistic, exposure, cognitive, behavioral, and medicinal treatments. Each chapter also features self-guided activities and exercises, words of wisdom from established performing artists and athletes, and suggestions for music teachers, as well as first-person narratives about the authors' personal journeys with music performance anxiety both onstage and in the classroom. Including a wealth of offerings and approaches, this book is an invaluable resource for anyone who has ever experienced performance anxiety, from the aspiring classical musician to the garage band guitarist.
Call Number: ML3830 .M36 2017
Get the Callback by Jonathan FlomAll great auditions require preparation and practice, but what's the secret to securing a callback? What are the best ways to prepare for that pivotal moment? And once you're in front of the casting director, what does it take to make the most out of your moment in the spotlight? In this second edition of Get the Callback: The Art of Auditioning for Musical Theatre, Jonathan Flom provides practical advice on the many facets of preparation, including selection of songs and monologues to suit your voice and the audition, organizing and arranging your music, working with the accompanist, and presenting yourself to the casting team. The book gives a detailed description of the actual audition performance and even offers advice on how non-dancers can survive a dance audition. In addition to extensively revised chapters on the audition process and how to build a repertoire book, this guide also features updated chapters on headshots, resumes, and cover letters; voice training techniques from Matthew Edward; advice from musical director Joey Chancey; and a foreword by casting director Joy Dewing. Aimed at professionals as well as young artists, this second edition of Get the Callback is a must-have for both seasoned and aspiring musical theatre performers.
Call Number: MT956 .F56 2016
The Cambridge History of Musical Performance by Colin Lawson (Editor); Robin Stowell (Editor)The intricacies and challenges of musical performance have recently attracted the attention of writers and scholars to a greater extent than ever before. Research into the performer's experience has begun to explore such areas as practice techniques, performance anxiety and memorisation, as well as many other professional issues. Historical performance practice has been the subject of lively debate way beyond academic circles, mirroring its high profile in the recording studio and the concert hall. Reflecting the strong ongoing interest in the role of performers and performance, this History brings together research from leading scholars and historians and, importantly, features contributions from accomplished performers, whose practical experiences give the volume a unique vitality. Moving the focus away from the composers and onto the musicians responsible for bringing the music to life, this History presents a fresh, integrated and innovative perspective on performance history and practice, from the earliest times to today.
Call Number: ML457 .C35 2012
Acting for Singers by David F. OstwaldWritten to meet the needs of thousands of students and pre-professional singers participating in production workshops and classes in opera and musical theater, Acting for Singers leads singing performers step by step from the studio or classroom through audition and rehearsals to a successfulperformance. Using a clear, systematic, positive approach, this practical guide explains how to analyze a script or libretto, shows how to develop a character building on material in the score, and gives the singing performer the tools to act believably. More than just a "how-to" acting book,however, Acting for Singers also addresses the problems of concentration, trust, projection, communication, and the self-doubt that often afflicts singers pursuing the goal of believable performance. Part I establishes the basic principles of acting and singing together, and teaches the reader howto improvise as a key tool to explore and develop characters. Part II teaches the singer how to analyze theatrical work for rehearsing and performing. Using concrete examples from Carmen and West Side Story, and imaginative exercises following each chapter, this text teaches all singers how to beeffective singing actors.
Call Number: MT956 .O76 2005
The Artist's Compass by Rachel MooreAn inspiring, real world guide for artists in the classic bestselling tradition of What Color Is Your Parachute? that shows how to build a successful, stable career in the performing arts, from the President and CEO of the Los Angeles Music Center who has carved her own success through her creative talent and business skill. While performing artists have many educational opportunities to perfect their craft, they are often on their own when it comes to learning the business skills necessary to launch their careers. At the end of the day, show business is, well, a business. In The Artist's Compass, Los Angeles Music Center CEO Rachel Moore shares how to make life as a performer more successful, secure, and sustainable by approaching a career in the arts like an entrepreneur. A former dancer in the American Ballet Theatre's corps de ballet, Moore knows firsthand what it's like to struggle and succeed as an artist. Now in an offstage role as CEO, Moore shares the hard-won lessons she's learned about making one's own success and encourages every performer to develop creative talent alongside marketable skills. With testimonials from artists like Lang Lang, Sigourney Weaver, and Renee Fleming, plus inspiring anecdotes from Moore's own journey in the arts, The Artist's Compass teaches aspiring performers how to think like an entrepreneur to create their own brand and marketing platform to achieve personal and professional success. In an engaging, realistic, and authoritative voice, Moore combines her artistic and corporate experience to address the finer points of building a career in a challenging industry, teaching young performers how to achieve financial independence so that they might have creative independence.
Call Number: PN1580 .M66 2016
Unlocking Creativity by Michael Beinhorn(Music Pro Guides). Here, record producer Beinhorn reveals how to deal with interpersonal issues record producers face when they work with artists one on one or in small groups. The situations and solutions are based upon the author's personal and professional experience working with a variety of different artists, such as Herbie Hancock, the Red Hot Chili Peppers, Soul Asylum, Hole, Soundgarden, Ozzy Osbourne, Courtney Love, Marilyn Manson, Social Distortion, Korn, and Mew. Beinhorn's unique methods and perspective, applied to record producing and music making in the studio, opens the door to successful collaborative efforts. The author shows you how to find what he calls your sensory connection to the creativity process, which ultimately helps you find the intent behind your creative choices. You can read dozens of articles and books that feature a hundred different people talking about what microphones they used when they recorded Record X or how they set their stereo buss compressor, but you will never find out what prompted them to make these choices. Beinhorn's focus on collaborative effort enables record producers and artists to find solutions while working as a creative team. This perspective is especially valuable as it is transdisciplinary and can be applied to many occupations and modes of creativity outside of record production.
Call Number: ML3470 .B444 2015
Beyond Sound by Scott L. PhillipsBeyond Sound: The College and Career Guide in Music Technology is a must-read for anyone who loves music technology and wants to build a career in this competitive, fast-paced and exciting world. It is an outstanding resource for college and high school students, high school career centers,university placement centers, and libraries.Beyond Sound reflects on major technological advancements in recent history and explains why now is the ideal time to start a music technology career. An in-depth consideration of music technology education looks at over 200 schools that offer Music Technology, Music Recording, Music Industry, andMusic Business programs. Beyond Sound considers the differences between BM, BS, BA, and BFA degrees as well as Graduate School, Trade School, and Art school programs. The reader is given the tools to research and make informed decisions about where to go to pursue their own formal music technologyeducation.Beyond Sound provides practical guidance on career preparation, including how to get a great internship, how to land that first job, and how to make connections and move up in the business. Music technology jobs in recording, live sound, television and film, digital media, video games, retail sales,and education are described in great depth and clarity. Successful professionals in each of these fields share their stories, experiences, advice, and suggestions in candid interviews that provide the reader with a rare glimpse inside the professional world of music technology.Author Scott L. Phillips draws on his seventeen-year career as a technology trainer and educator, his scholarly research of music technology programs, and his extensive network of music technology professionals to bring the reader an intimate and accurate view of the exciting world of musictechnology. With this book, the aspiring music technologist will be able to learn about, prepare for, and begin a successful career that goes far Beyond Sound.
Call Number: ML3795 .P426 2013
Music Business Handbook and Career Guide by David Baskerville; Timothy BaskervilleThe special Tenth Edition of this powerhouse bestselling text maintains its tradition as the most comprehensive, up-to-date guide to the music industry. The breadth of coverage that this book offers is unlike that of any other resource available. Music business newcomers and professionals alike will find the book a valuable resource, whatever their specialty within the field music. It is ideal as the core textbook in courses dealing with the music business. Key features includes: * expanded and enhanced coverage of state-of-the-art technology and its implications for the music industry, including digital downloads, changing production technologies, marketing via social networking, and new distribution channels including video games * new business models and their implications including the topics of Internet outlets, the independent musician, the evolving role of producers, and satellite and Internet radio * updated information on careers * coverage of alternatives to radio airplay and to luring teens to local record stores, in light of the weakened format of radio and the disappearance of neighborhood music shops * cxamination of sophisticated marketing research tools for the industry, due to consumer clicks that illuminate customer buying behavior and changes in tastes and desires * reflection on the global shift of the music business world as it becomes less centered on American companies and culture * companion websites include password-protected Instructor Resources Site (featuring PowerPoint slides, tests, tips, and more) and an open-access Student Study Site (featuring new interactive exercises and links to material online to enhance learning).
Call Number: ML3795 .B33 2013
This Business of Music by M. William Krasilovsky; Sidney Shemel; John M. Gross (Contribution by); Jonathan S. Feinstein (Contribution by)The bible of the music industry! Now in its tenth edition, This Business of Music has been revised and completely updated to reflect the latest changes in the ever-evolving music business. Every chapter has been revised. An entirely new chapter has been added, asking and answering the question "Are there borders in cyberspace?" The answer is yes, and the book clearly and concisely explains what they are and how to maintain them. Commentary on recent legislation, a reader-friendly summary of the laws on copyright duration, and much more insightful analysis--plus fully updated lists of music organizations and important websites--make This Business of Music indispensable for musicians, agents, managers, marketers, music publishers and groups, colleges and universities, and everyone who wants to make music and make money.
Call Number: ML3790 .S5 2007
The Gigging Musician by Billy F. Mitchell(Book). Packed with proven solutions developed from real-life experiences, this book by Gig columnist Billy Mitchell analyzes both the business and creative challenges of successful gigging. Articles on specific issues with landing, planning and playing gigs are backed by firsthand interviews with musicians, agents, producers and others who have handled these problems on the road and in the studio. This well-rounded reference offers practical advice and inspiring insight on everything from curbing stage fright to controlling finances. "This book is a must for young musicians ... it's a great experience." Maurice White, Founder/Leader/Producer, Earth, Wind & Fire
Body - Language - Communication by Cornelia Müller (Editor); Alan Cienki (Editor); Ellen Fricke (Editor); Silva Ladewig (Editor); David McNeill (Editor); Sedinha Tessendorf (Editor)Volume II of the handbook offers a unique collection of exemplary case studies. In five chapters and 99 articles it presents the state of the art on how body movements are used for communication around the world. Topics include the functions of body movements, their contexts of occurrence, their forms and meanings, their integration with speech, and how bodily motion can function as language. By including an interdisciplinary chapter on 'embodiment', volume II explores the body and its role in the grounding of language and communication from one of the most widely discussed current theoretical perspectives. Volume II of the handbook thus entails the following chapters: VI. Gestures across cultures, VII. Body movements: functions, contexts and interactions, VIII. Gesture and language, IX. Embodiment: the body and its role for cognition, emotion, and communication, X. Sign Language: Visible body movements as language. Authors include: Mats Andrèn, Richard Asheley, Benjamin Bergen, Ulrike Bohle, Dominique Boutet, Heather Brookes, Penelope Brown, Kensy Cooperrider, Onno Crasborn, Seana Coulson, James Essegby, Maria Graziano, Marianne Gullberg, Simon Harrison, Hermann Kappelhoff, Mardi Kidwell, Irene Kimbara, Stefan Kopp, Grigoriy Kreidlin, Dan Loehr, Irene Mittelberg, Aliyah Morgenstern, Rafael Nuñez, Isabella Poggi, David Quinto-Pozos, Monica Rector, Pio Enrico Ricci-Bitti, Göran Sonesson, Timo Sowa, Gale Stam, Eve Sweetser, Mark Tutton, Ipke Wachsmuth, Linda Waugh, Sherman Wilcox.
Publication Date: 2014-09-15
Getting over Stage Fright by Janet EspositoHelping people learn to speak and perform with calm and confidence, this title offers an approach to this age-old problem. It includes various principles and practices that help you create the physical, mental, and spiritual well-being you need to get beyond your speaking or performing fear.
Publication Date: 2009-09-25
Playing with History by John Butt (Contribution by); Laurence Dreyfus (Contribution by)Why do we feel the need to perform music in a historically informed style? Is this need related to wider cultural concerns? In this 2002 study, John Butt sums up debates on the nature of the early music movement and historically informed performance, calling upon a seemingly inexhaustible fund of ideas gleaned from historical musicology, analytic philosophy, literary theory, historiography and theories of modernism and postmodernism. He develops the critical views of both supporters and detractors of the movement, while claiming ultimately that it has more intellectual and artistic potential than its detractors may have assumed. He also asks whether the phenomenon of historically informed performance reflects changes in the culture of western music and how it, in turn, may have influenced that culture, particularly in regard to such issues as the status of the composer, the work, intentionality and notation.