American Encounters provides a narrative of the history of American art that focuses on historical encounters among diverse cultures, upon broad structural transformations such as the rise of the middle classes and the emergence of consumer and mass culture, and on the fluid conversations between "high" art and vernacular expressions. The text emphasizes the intersections among cultures and populations, as well as the exchanges, borrowings, and appropriations that have enriched and vitalized our collective cultural heritage.

Textbook for undergraduate brass methods course focusing on brass instrument techniques and pedagogy.

This book aims to act as your map through the world of African art. As such, it will help you define the competencies you need to develop–visual analysis, research, noting what information is critical, asking questions, and writing down your observations–and provide opportunities for you to practice these skills until you are proficient. It will also expose you to new art forms and the worlds that produced them, enriching your understanding and appreciation.

Word Count: 108374

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Short Description:
This book is the result of a co-design project in a class in the Masters of Education program at the University of Calgary. The course, and the resulting book, focus primarily on the safe and ethical use of technology in digital learning environments. The course was organized according to four topics based on Farrow’s (2016) Framework for the Ethics of Open Education.This is the first of 2 Versions of this pressbook. Click on Volume 2 for information.

Long Description:
This book is the result of a co-design project in a class in the Masters of Education program at the University of Calgary. The course, and the resulting book, focus primarily on the safe and ethical use of technology in digital learning environments. The course was organized according to four topics based on Farrow’s (2016) Framework for the Ethics of Open Education. Students were asked to review, analyze, and synthesize each topic from three meta-ethical theoretical positions: deontological, consequentialist, and virtue ethical (Farrow, 2016). The chapters in this open educational resource (OER) were co-designed using a participatory pedagogy with the intention to share and mobilize knowledge with a broader audience. The first three chapters in the book discuss specific ethical considerations related to technologies such as Artificial Intelligence (AI) , social networking services (SNS), and 3D printing. The next four chapters shift to a broader discussion of resource sharing, adaptive learning systems, STEM, and assistive technologies. The final two chapters discuss admissions and communications that need to be considered from an institutional perspective. In each of the nine chapters, the authors discuss the connection to the value of technology in education, and practical possibilities of learning technologies for inclusive, participatory, democratic, and pluralistic educational paradigms.

Word Count: 56853

ISBN: 0-88953-438-1

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This text explores the visual and performing arts (art, music, dance, theatre).
Chapter 1: Elements, Vocabulary, and Iconography of Visual Art
Chapter 2: Mediums in Visual Art
Chapter 3: Ancient Arts (Prehistoric, Ancient Near East, Egyptian)
Chapter 4: Classical Period to Middle Ages
Chapter 5: Renaissance to Realism
Chapter 6: Impressionism to Modern
Chapter 7: An Introduction to the Theater and its Elements
Chapter 8: The Greek Origins of Western Theater
Chapter 9: Technical Theater
Chapter 10: The Actor's Craft
Chapter 11: Other Theater Traditions
Chapter 12: Introduction to Music
Chapter 13: Music in the Middle Ages and the Renaissance
Chapter 14: Baroque and Classical Music
Chapter 15: Music of the Romantic Era
Chapter 16: Music of the 20th Century
Chapter 17: Introduction to Dance
Chapter 18: Elements of Dance
Chapter 19: Dance History and Styles

Short Description:
Foundations of Aural Skills is a research-based, accessible, relevant, creative, inclusive, empowering textbook for teaching introductory aural skills. The first seven chapters provide thorough instruction in aural fundamentals, allowing students to build their foundations from a variety of starting points. The following chapters address the traditional tasks of sight-reading and dictation, but also improvisation, mimicking music you hear (“playback”), transcription, and ensemble skills. The final two chapters add some basic form- and chord-listening skills. Every section includes creative activities that learners can try out on their own or do in class. Embedded playlists for practicing listening skills include a diverse range of music that will connect with students’ preferences and allow them to experience music they haven’t worked with before. While the text is primarily designed for a first semester or year of instruction, it also includes some instruction on modulation, chromaticism, and mixed meter, and future additions/development will make these advanced applications more robust.

Word Count: 76943

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This open e-book is the result of a project funded by a University of Edinburgh Student Experience Grant, Open e-Textbooks for access to music education. The project was a collaboration between Open Educational Resources Service, and staff and student interns from the Reid School of Music. As a proof-of-concept endeavour, the project aimed to explore how effectively we could convert existing course content into convenient and reusable open formats suitable for use by staff and students both within and beyond the University. The resulting e-book presents open licensed educational materials that deal with the building blocks of musical stave (sometimes known as staff) notation, a language designed to communicate about musical ideas which is in use around the world. The resources in this e-book include video lectures and their transcripts, as well as supporting text explanations, examples and illustrations. The materials introduce topics such as the organisation of discrete pitches into scales and intervals, and temporal organisation of musical sounds as duration, in rhythm and metre. These rudiments are presented through an introduction to the elements of five-line stave notation, and through critical discussion of the advantages and limitations served by notational systems in the representation and analysis of musical sounds. This serves as the basis of further explanations, to illustrate musical concepts including key, time signature, harmonisation, cadence and modulation. We anticipate that subsequent versions of this e-book will update and develop the contents and presentation of the materials, following the success of this student-led collaboration.

The “Beginner’s guide” introduces foundational concepts, such as the chronology of Byzantine history, sacred imagery, and wearable objects. Subsequent sections are arranged chronologically, covering the Early Byzantine period (c. 330–700), the Iconoclastic Controversy (c. 700s–843), the Middle Byzantine period (843–1204), the Latin Empire (c. 1204–1261), and the Late Byzantine period (c. 1261–1453) and beyond.

These sections include thematic essays on Byzantine art and architecture, essays that focus on key works (subtitled artworks in focus or architecture in focus), and essays that explore Byzantium’s relationships with other cultures (subtitled cross-cultural perspectives). Finally, we have included questions for study or discussion to encourage teachers, students, and other readers to engage with videos and other content on the Smarthistory website which could not be included in this book format but which we believe richly compliments what is presented here.

The status of traditional worldviews and values

Short Description:
This book explores the role of traditional East Asian worldviews, ethical values, and common practices in the shaping of East Asian narratives in literature and film. It offers a specific method for this analysis. The interpretive goal is to arrive at interpretations that more accurately engage cultural information so that narratives are understood more closely in terms of their native cultural rather than that of the reader/interpreter. Current neuroscience related to processes of perception and the attribution of meaning form the basis for the theory of interpretation offered in the first half of the volume.

Word Count: 132559

ISBN: 978-0-9997970-0-6

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This text covers basic elements and vocabulary of music; appreciation and understanding of diverse styles of music past and present; developing listening skills. Includes opportunities for experiencing music (recorded and/or live).
I. Music Fundamentals
II. History of Western Music before 1600
III. History of Western Music after 1600
IV. Music of the 20th and 21st Centuries
V. Listening to Genres
VI. Music of Louisiana, the Americas, and the World

This collection is the first of five dealing with the rudiments of music.

This collection is the second of five dealing with the rudiments of music.

Welcome to Music 1300, Music: Its Language History, and Culture. The course has a number of interrelated objectives:
1. To introduce you to works representative of a variety of music traditions.These include the repertoires of Western Europe from the Middle Agesthrough the present; of the United States, including art music, jazz, folk, rock, musical theater; and from at least two non-Western world areas (Africa, Asia, Latin America, the Caribbean, the Middle East, Indian subcontinent).
2. To enable you to speak and write about the features of the music you study,employing vocabulary and concepts of melody, rhythm, harmony, texture, timbre,and form used by musicians.
3. To explore with you the historic, social, and cultural contexts and the role of class, ethnicity, and gender in the creation and performance of music,including practices of improvisation and the implications of oral andnotated transmission.
4. To acquaint you with the sources of musical sounds—instruments and voices fromdifferent cultures, found sounds, electronically generated sounds; basic principlesthat determine pitch and timbre.
5. To examine the influence of technology, mass media, globalization, and transnationalcurrents on the music of today.
The chapters in this reader contain definitions and explanations of musical terms and concepts,short essays on subjects related to music as a creative performing art, biographical sketchesof major figures in music, and historical and cultural background information on music fromdifferent periods and places.

Music Theory for the 21st–Century Classroom is an openly–licensed online four–semester college music theory textbook. This text differs from other music theory textbooks by focusing less on four–part (SATB) voiceleading and more on relating harmony to the phrase. Also, in traditional music theory textbooks, there is little emphasis on motivic analysis and analysis of melodic units smaller than the phrase. In my opinion, this led to students having difficulty with creating melodies, since the training they are given is typically to write a “melody” in quarter notes in the soprano voice of part writing exercises. When the assignments in those texts ask students to do more than this, the majority of the students struggle to create a melody with continuity and with appropriate placement of harmonies within a phrase because the text had not prepared them to do so.

Music Theory for the 21st–Century Classroom is an openly–licensed online college music theory textbook that is meant to take the student from the basics of reading and writing pitches and rhythms through twelve–tone technique and minimalism over the course of four semesters. This text differs from other music theory textbooks by focusing less on four–part (SATB) voiceleading and more on relating harmony to the phrase. Also, in traditional music theory textbooks, there is little emphasis on motivic analysis and analysis of melodic units smaller than the phrase. Whenever possible, examples from popular music and music from film and musical theater are included to illustrate melodic and harmonic concepts, usually within the context of the phrase. Practice exercises (with answers), homework exercises, and practice tests are included.

Music is a mobile art. When people move to faraway places, whether by choice or by force, they bring their music along. Music creates a meaningful point of contact for individuals and for groups; it can encourage curiosity and foster understanding; and it can preserve a sense of identity and comfort in an unfamiliar or hostile environment. As music crosses cultural, linguistic, and political boundaries, it continually changes. While human mobility and mediation have always shaped music-making, our current era of digital connectedness introduces new creative opportunities and inspiration even as it extends concerns about issues such as copyright infringement and cultural appropriation.

Original Études for the Developing Conductor is a collection of supplemental études designed to enhance contemporary conducting pedagogy by amplifying the voices of composers from historically excluded groups. Each étude was commissioned from and composed by a living composer, the majority of whom are woman-identifying composers and/or composers of color. Each étude also addresses multiple specific pedagogical goals common to all conducting classrooms.

Conducting textbooks commonly include musical examples to expose student conductors to various musical challenges and situations. However, due to the relative ease of using only music from the public domain, most examples found in commercially published books are excerpts of larger works composed by deceased cisgender white men of European descent. Often, this music bears little relation to a significant portion of the music contemporary students engage with and perform. These excerpts also tend to be quite short (i.e., less than a minute) and do not create cohesive, self-contained musical arcs.

The Artist’s Guide to Building Your Audience, Generating Income, and Realizing Career Sustainability

Short Description:
Based on coursework developed at Peabody Conservatory, this book breaks down the process of developing an artist mission statement, generating new ideas for creative projects, and creating an engaging project description. It also covers methods for artists to identify their audience, generate a comprehensive project budget, collect compelling work samples, and identify potential funders to support their creative work. Written by a team of active artists and educators, this resource provides creatives with tools and strategies to communicate passionately and effectively about their work and take control of their financial and artistic future.

Word Count: 63170

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