Bridging the Gap, 11/e, Annotated Instructor's Edition

Reference

Brenda, Smith

Words, Language & Grammar

Bridging the Gap has been fully revised to include Collaborative Critical Thinking boxes and Learning Logs, two critical thinking components new to this fifth edition. Along with these elements - which have been so successful in Breaking Through, the lower-level companion text to Bridging the Gap - all other features have been strengthened to further enhance this best-selling reading text. Widely praised for her engaging and motivating writing style, author Brenda D. Smith introduces three reading levels to students - in ascending order of difficulty - that are designed to encourage critical thinking. The fifth edition showcases expanded summary writing discussions, additional practice exercises, and new passages that model the various patterns of organization. Over 60 percent of the end-of-chapter selections were replaced, and all chapters now contain at least one new longer selection. Many academic disciplines are represented throughout, including psychology, history, business, allied health, sociology, English literature, and more.

Bridging the Gap: College Reading

Scott, Foresman Co.

Research, Teaching and Learning in Higher Education (SEDA Series)

Sally Brown

Routledge

This book should help conductors adjust expectations and methods to suit the condition and abilities of older singers. Maintaining one's vocal skill in later years is the goal, since getting better may not be possible. Knowing that every choral conductor hopes a choir will improve from season to season, a new paradigm for the aging choir must be established. Once involved, the conductor of older singers is certain to reap the benefits of making music with people whose appreciation of the text, the music and the act of singing is deeper than in any younger ensemble.

Choral Pedagogy and the Older Singer

Arts & Photography

Robert T. Sataloff

Music

Plural Publishing

Choral Pedagogy, Third Edition, is the ideal text for voice teachers, choral conductors, church musicians, and professional and amateur singers who wish to develop strategies for lifelong singing. It concisely and clearly presents the principles of voice pedagogy from the perspective of both conducting and voice science in a user-friendly fashion, including helpful charts and simple anatomic diagrams. In addition, it offers teaching methods from history and philosophy, medical and voice science, and pedagogical concepts from active musical experts. Special attention is given to the needs of amateur singers and conductors. Topics covered include choral diction, posture and seating, rehearsal practices, and matters of vocal health.
For the third edition, the authors have completely revised the text, updating the medical information and expanding the exercises. They have also added two new chapters: <ul>
<li>A chapter entitled "Singing in the 21st Century" that considers the vocal/choral demands of the choral repertoire being written in this century.</li> <li>A chapter on teaching young boys to sing written by Vic Oakes, the conductor of the Chattanooga Boys Choir.</li> </ul>
With its updates and additions, Choral Pedagogy, Third Edition, is a valuable resource for students of choral conducting, music education, church music, and choral singing.

Choral Pedagogy, Third Edition

Plural Publishing, Inc.

Diction in Context is a unique and highly practical textbook for singers learning to sing in English, Italian, German, and French. Each chapter is designed for use in diction courses in academic music and voice programs, helping students learn through pronunciation, articulation, enunciation, punctuation, and cultural context in each language. Students and teachers of singing will benefit from the text s pertinent biographical, historical and literary sources along with diction rules and textual examples of English, Italian, German and French song. For each language, there is a section on sentence structure and syntax intended to assist readers with poetic analysis and word-by-word translations. Representative song texts are provided for the purpose of comparative listening and phonetic transcription. Comparative listening reveals subtle differences in expression and diction. In addition, the texts are presented in a workbook format, allowing space for IPA dictation practice. Diction in Context provides singers with the tools needed to delve deeply into the poetry and music they sing, to pronounce text accurately and to feel confident in expressing it. By combining English, Italian, German, and French into one easy-to-use textbook, students will benefit from a comparative perspective of singing in each language. Key Features: <ul>
<li>
Repertoire lists are provided for each language and are designed to be used for class presentations and assessments</li> <li>
Discussion questions to challenge reader comprehension of key concepts and songs</li> <li>
Word-by-word translations to accompany foreign language texts</li> <li>An end-of-book glossary featuring definitions of terms in the text as well as terminology encountered in related literature</li> <li>
Three practical appendices, including:</li> </ul>
o Practice drills, quizzes, and assessment forms o A list of additional resources for diction learning o An Index of Works Cited featuring all poems and songs referenced in the book in one easily accessible list <ul>
<li>Access to a PluralPlus companion website with PowerPoint lecture slides, lesson plans, exercises, electronic versions of the appendices and supplementary resources</li> </ul>

Diction in Context: Singing in English, Italian, German, and French

Class Voice: Fundamental Skills for Lifelong Singing is a unique undergraduate textbook which can be adapted to needs of any potential voice user, including music education students, voice students who are not majoring in music, and adult learners. By explaining the basics of singing using practical skills and examples, this text is accessible to students with a wide range of talents, interests, and expertise levels. With chapters devoted to skills for singing solo and in groups, instructors can tailor the included materials to encourage students to become thoroughly familiar with their own voices and to identify and appreciate the gifts of others. 
Learning to sing is a process of trial and error. The warm-ups and other in-class performance opportunities contained in this textbook can raise student confidence and minimize anxiety. The chapters about age and size-appropriate repertoire and issues of vocal health provide vital information about preserving the vocal instrument for a lifetime of singing. 
Key Features Warm-up and cool-down exercise routines, including strategies for relaxing and breath management Repertoire topics divided by language and genre and suggestions about how to use the repertoire to develop specific skills Issues of diversity, gender, and inclusivity covered in Chapter 9 entitled “The Singing Life” Suggestions for comparative listening and questions for discussion to encourage deeper learning Adaptable materials which can be tailored to fit interests in choral music, musical theater, folksong, as well as Classical vocal repertoire Assignments, evaluation criteria, and assessment forms for midterm and final presentations A glossary of key terms A bibliography with resources for research and learning Information on basic musicianship skill training for those who need it A PluralPlus Companion website with a suggested course outline, PowerPoint lecture slides, chapter quizzes and discussion questions with answers along with repertoire lists tailored to suit three different class voice populations

Class Voice: Fundamental Skills for Lifelong Singing

Ronald Burrichter

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