81. General Reference Sources Vaughan Memorial Library, Libraries, Internet Resources, Libraries, specific Libraries, MedievalMusic History, composers (General), Renaissance and Baroque http://plato.acadiau.ca/courses/musi/callon/2273/general.htm

General Music Reference Sources Gordon J. Callon site map Internet Resources (Various) General Music Resources ... Online Catalogue WebCat Museums General / Lists of Libraries Online Archives General Music History Resources ... , 2nd edition on the web [Open access only to general information and demos; full access only by subscription] Art History Internet Research Guides and Resources (Various): Duke Indiana Harvard Tennessee ... Duke University Libraries Duke University Libraries DW3 Classical Music Resources Composer Homepages Chronologies and Necrologies National and Regionally Oriented Pages ... The Music Department , Royal Holloway College, University of London)] The Golden Pages: Collections of Texts Online The Golden Pages The Music Department , Royal Holloway College, University of London)] Early Music Resources on the Web Musica Antiqua , Iowa State University] Barton Polot's Music Annotated Index of WWW Sites [out of date: 1997]] To: General / Lists of Libraries Specific Libraries Online Archives Thesis (etc.) Vendors ... General Music Resources Internet Research Guides and Resources, Libraries: Libweb: Library Servers via WWW (Thomas Dowling, Berkeley)

82. Classical Music music for all instruments, conductors, composers etc related to conducting and tospecific conductors music Education music education, chronology, and more stuff http://classicalmusic.about.com/mlibrary.htm

zfp=-1 About Classical Music Search in this topic on About on the Web in Products Web Hosting Classical Music with Cheryl Campbell Your Guide to one of hundreds of sites Home Articles Forums ... Help zmhp('style="color:#fff"') Subjects ESSENTIALS Classical 101 This Day in Classical Music History How to... ... All articles on this topic Stay up-to-date! Subscribe to our newsletter. Advertising Free Credit Report Free Psychics Advertisement Medieval and Renaissance Periods The medieval (middle ages) and renaissance (Elizabethan) periods in classical music history. Baroque Period Baroque composers (J.S. Bach, G. F. Handel, etc.). Virtuoso's delight. Classical Period Classical composers (Mozart, Beethoven, etc.). The rise of the piano. Romantic Period 20th Century 20th century composers (Claude Debussy, John Cage, etc.). The hodgepodge. Beginners Resources particularly suited for beginners in the world of classical music. Biography Indexes Resources which feature biographies for a number of composers and/ or performers. Competitions in Classical Music Competitions in classical music for all instruments, conductors, composers etc. Concert Listings Looking for an evening out? Try finding a concert online! In many cases, you can even buy your tickets electronically.

83. Musiclink It was a primary aim of baroque composers to use music to create a specificunifying mood and to biberate the mind from earthly concerns. http://www.geocities.com/spiritual_growth_and_healing/musiclink.html

There is no question that different music has different effects. Playing Mozart, according to French researcher Mme. Belanger, "coordinates breathing, cardiovasular rhythm, and brain-wave rhythm and leads to to positive effects on health. It acts on the unconscious, stimulating receptivity and perception." In a now famous experiment, subjects were asked to extend their right arm horizontally. Their resistance to downward pressure was measured. The students then relaxed and the experiment was repeated after half an hour but this time rock music (Led Zeppelin) was played. The resistance of every single student was measurably weakened! Classical music was tested but found to have either a neutral or strengthening effect. You can try it yourself. Anyone still skeptical about the physical property of music should talk to a professional rock musician. The reason rock, which uses a lot of loud and heavy bass guitar, is thought to be sexual, is because it vibrates at a specific frequency which literally vibrates in our loins. Rock seems sexy because it is physically sexual. Mendelssohn once said

84. Lesson Exchange: Be A Music Investigator (Middle, Music) of Lesson Help your students become music Investigators. will learn about two majorcomposers of all They will answer specific questions that are stated on a http://teachers.net/lessons/posts/641.html

Tell Congress to Keep Kids Learning #641. Be A Music Investigator Music, level: Middle Posted Thu Jun 17 13:07:32 PDT 1999 by Kelly Duhrkopf ( kellyd@powersurge.net Sumner Community Schools, Sumner, Iowa USA Materials Required: computer lab with internet, recordings of musical compositions, project handouts Activity Time: 3 class periods of 30 minutes Concepts Taught: Comparing Composers in History Be A Music Investigator By Kelly Duhrkopf Internet 101 June 18, 1999 Description of Lesson: Help your students become Music Investigators. In this activity, students will learn about two major composers of all time, Beethoven and Mozart. Your students will locate web sites that have been bookmarked for them about famous musicians. They will answer specific questions that are stated on a scavenger hunt activity sheet. After the activity is completed, they will compare their findings with a partner. Following the partner activity, the students will then use their information that was collected for an in-class discussion on the similarities and differences of the two composers.

85. Learning Lab - Online Orientation - Subject-specific Resources Lists -- Arts And Provides information on financial support for performers and composers of jazzmusic, including grants for international travel, concerts, and recordings. http://fdncenter.org/learn/orient/subarts.html

You Are HERE... ARTS AND HUMANITIES American Art Directory . 57th ed. New Providence, NJ: R.R. Bowker, 1999. Includes a section on scholarships and fellowships awarded by colleges and universities, art schools, and arts organizations. Anschell, Bill. Who Can I Turn To?: A Guide to Jazz Funding Programs and Support Services . Atlanta, GA: Southern Arts Federation, 1993. Provides information on financial support for performers and composers of jazz music, including grants for international travel, concerts, and recordings. Artists' Communities: A Directory of Residencies in the United States Offering Time and Space for Creativity . New York: Allworth Press, 1997. Lists 70 nonprofit residencies for performing and visual artists, composers, and writers, with basic information about programs, facilities, participants, and application procedures. "Artists' Retreats and Residencies: 1995-96." The Washington International Arts Letter Directory of retreats and residencies open to artists of all disciplines. Includes organizations that support individuals in the arts in the form of money, studio space, and teaching opportunities. Brunner, Helen, ed.

86. CCRMA Workshops 2002 specific technologies will include C programming for Atmel AVR PD and/or Max/MSP formusic synthesis workshop is intended for Musicians/composers interested in http://ccrma-www.stanford.edu/workshops/2002/

CCRMA Workshops 2002 Linux Sound: Open Source Music Synthesis, Composition, and Audio Programming: June 24 - July 5, 2002 Digital Signal Processing for Audio: Spectral and Physical Models: July 8 - 19, 2002 Physical Interaction Design for Music I: July 22 - 26, 2002 Physical Interaction Design for Music II: July 29 - August 2, 2002 Workshop Registration Workshop Housing Information Linux Sound: Open Source Music Synthesis, Composition, and Audio Programming June 24 - July 5, 2002; Fee: $1000 Two weeks instruction. Limited to 20 participants. Instructors: Fernando Lopez-Lezcano Miller Puckette Christopher Burns The Center for Computer Research in Music and Acoustics (CCRMA) has been using the Linux operating system for music composition, synthesis, and audio DSP research since 1996. This workshop will focus on currently available open source tools and environments for computer music research and composition using Linux. The workshop will include an overview of some of the most popular linux distributions and a brief installation clinic with specific focus on audio, midi and real-time performance (dealing with both hardware and software). Low level sound and midi drivers reviewed will include oss oss-free and alsa . Environments for sound synthesis and composition will include the Common Lisp based clm system

87. Courses Of Instruction, Page 4 583 Special Studies in Medieval music (2, max 4, Irregular) music problems and composersof the period. specific emphasis to be determined by the department. http://www.usc.edu/dept/publications/cat95/music/20_Courses_of_Instr.d.html

Courses of Instruction, page 4 School of Music Music History and Literature (MUHL) 100xg Jazz, Ragtime, and Blues (4) Historical evolution of jazz from its origins to present day; elements of musical structures and jazz styles. Not available for credit to jazz studies majors. 200xg Introduction to Concert Music (4, FaSpSm) Elements of music and media of performance in historical perspective. Listening sections and concert attendance integrated with lectures. Not available for credit to Bachelor of Music majors and Bachelor of Arts in Music majors. 220xg The Great Composers (4, FaSp) A survey of the life and musical works of one of the great composers of Western art music. No reading knowledge of music required. Not available for credit to music majors. 230x Opera (4, Irregular) A survey of opera; investigation of musical and literary traditions; emphasis on listening skills. Prior musical knowledge not required. Not available for credit to music majors. 280ab Music from 1750 to the Present (3, Fa-3, Sp) Major classical, romantic, and modern composers, styles, and musical genres. Detailed analysis of selected works.

88. ExMI Bookstore INSTRUMENT MAKERS Section 1 INDIVIDUAL INSTRUMENT MAKERS, composers, PERFORMERS. Genesisof a music An Account of a Creative Work, Its Roots and Its http://www.windworld.com/emi/bookstore/bks2a.htm

The ExMI Book Store in affiliation with Amazon.com This page: Individual instrument makers Or click as needed for: Specific instrument types, book titles A - D Specific instrument types, book titles E - P Specific instrument types, book titles Q - Z Collections of musical instrument plans ... Back to bookstore main page If you came to this page from our bookstore search engine you may now wish to find the exact location of your search term on this page by using the "find" function on your internet browser (usually found under the "edit" menu). INSTRUMENT MAKERS Section 1 INDIVIDUAL INSTRUMENT MAKERS, COMPOSERS, PERFORMERS Here we have books by and about individuals who have contributed in substantial ways to contemporary creative musical instrument making. Genesis of a Music: An Account of a Creative Work, Its Roots and Its Fulfillments, by Harry Partch Da Capo Press, 1979 (a reprint of Partch's definitive the 1974 edition). Paperback, 6" x 9"; 518 pages. Illustrated with photos, charts and musical examples. Available from the EMI Bookstore in affiliation with Amazon.com

89. APRA Communications 17 July 2002 APRA NAMES NOMINATED composers FOR CLASSICAL music AWARDS Australia'sfinest contemporary classical music composers have been named in nominations http://www.apra.com.au/Comm/ComMedia.htm

Media Releases For information on APRA Publicity and Media Relations, please contact member services CURRENT MEDIA RELEASES 28 November 2002 18 November 2002 The APRA-AGSC Screen Music Awards were held tonight in Sydney, bringing together the cream of this country's film, television and music industry professionals. The Hordern Pavilion was the setting for an evening of celebration, tributes and great entertainment. 14 November 2002 SCREEN MUSIC AWARDS ATTRACT ALL-STAR TALENT Next Monday November 18 is the night when the film, television and music industries come together in celebration of Australia's screen composers, at the 2002 APRA-AGSC Screen Music Awards in Sydney. 7 November 2002 REVENUE CONTINUES TO RISE FOR APRA Collecting society thrives against music industry's current downturn. Board of Directors adds new elected member.

90. IPL General/Reference Collection: Musicians & Composers see and see also references; and composerspecific pages and Arts HumanitiesFineArtsMusic ReferenceBiographiesMusicians composers. http://www.ipl.org.ar/ref/RR/static/ref15.50.00.html

the Internet Public Library Reference Biographies No further Subcategories Resources in this category are: African Music Encyclopedia http://africanmusic.org/ A searchable encyclopedia dedicated to African music performed by musicians in Africa and in countries around the world. There are country and artist indexes, along with a glossary of musical styles and terms. A list of links to related sites and information on buying African music are also included. Author: Janet Planet (info@africanmusic.org) Subjects: Social SciencesEthnicity, Culture, and RaceAfrican/African-American Keywords: African Diaspora All About Jazz http://www.allaboutjazz.com/ This comprehensive site includes jazz news, reviews, festivals, interviews, audio downloads, photos, and biographies of over 3600 jazz musicians. Author: Subjects: All Classical Guide http://allclassical.com/ The All Classical Guide site allows users to access brief biographies of composers/performers with links to information on specific works. When browsing the AMG Classical database, users can also listen to MIDI files containing the theme to major compositions. The Classical MIDI File Project, which contains more than 20,000 musical themes, can be accessed by composer name and then choosing from the listed repertoire. Links are also provided to the All Music Guide Glossary, a detailed reference source for a wide variety of music-related terms. Author: All Media Guide (amg@allmusic.com)

91. Obtaining Rights To Produce A Play Or Musical is best to find out the specific requirements for Both ASCAP (American Society ofComposers, Authors and Publishers) and BMI (Broadcast music, Inc.) have http://www.utsystem.edu/ogc/intellectualproperty/perform.htm

Obtaining Rights to Produce a Play or Musical or Use Music in Live Performances Rachel Durkin, Manager of Performing Arts Center, College of Fine Arts - University of Texas at Austin Obtaining Rights to Produce a Play or Musical The rights for most plays and musicals are held by play publishing houses. To obtain the rights to produce a play or musical, complete the following steps: 1. Determine which play publishing house has the rights to the play you wish to produce. Each company has a catalogue which will indicate a royalty fee. However, be aware that the fee for your particular organization may differ. 2. You should call the company to find out if the play is available for production. In some instances, plays are "restricted" which means that a particular play/musical is not available for production. Never assume that a play is available, you should always check with the play publishing house before you advertise or begin work on the production. 3. Once you have determined that the play is not restricted, you will need to contact the publishing house in writing. Generally the following information is needed in order to provide a royalty quote

92. UIL Sightreading Criteria http://www.uil.utexas.edu/mus/srband01.html

Sightreading Criteria Select a section: Preface / Selection Procedure / Solos Band Sightreading Preface Band Sightreading Criteria Orchestra Sightreading Criteria Choir Sightreading Preface Choir Sightreading Criteria Preface: Band Sightreading Music A primary goal of our music programs should be to produce students who are musically literate and prepared to experience a lifetime of musical enrichment. The development of sightreading skills is central to the achievement of this primary goal and also facilitates the successful performance of a greater body of musical literature. Therefore, the development of specific sightreading skills should be included at all levels of instruction and should encompass the essential elements of performance required to make appropriate, independent musical judgements and insure success during the initial reading of a musical work. The primary purpose of the commissioned sightreading music is to test musical literacy at specific levels. The guidelines stated for the sightreading material provide the composer with a parameter of difficulty in composing music for each specific classification. All of the elements need not be used in each composition. Specific Criteria for Composing Band Sightreading Music Composers of UIL band sightreading music are provided the following specific criteria: Composers of Level I-II-III compositions are encouraged to familiarize themselves with the scoring practices that are common place in Grade I-II-III educational music. A comprehensive listing of such works can be found in the UIL Prescribed Music List. Music directors of bands at these levels should realistically expect the music their students encounter in the sight-reading room to be similar in craft to the music they see everyday in the rehearsal hall. For example, isolated entrances, independent lines for single instruments or exposed passages for color instruments (regardless of how simple) should be avoided.

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