THE CREATIVE DIRECTOR: CONDUCTOR, TEACHER, LEADER
AUTHOR: EDWARD S. LISK

SERIES: MEREDITH MUSIC RESOURCE
PUBLISHER: MEREDITH MUSIC
FORMAT: SOFTCOVER

DESCRIPTION:
-CONDUCTING-LISTENING SKILLS, HARMONIC AND MELODIC CONTENT, ENSEMBLE SONORITY AND EXPRESSIVE CONDUCTING ARE ONLY A FEW OF THE INSIGHTFUL TOPICS INCLUDED IN ED LISK`S LATEST PUBLICATION. THE COMPLEXITIES OF INSTRUMENTAL MUSIC AS RELATED TO HOWARD GARDNER`S THEORIES OF MULTIPLE INTELLIGENCES ARE THOROUGHLY DISCUSSED AND PROVIDE AN OVERWHELMING FOUNDATION FOR THE SUPPORT OF MUSIC IN THE SCHOOLS. FROM PHILOSOPHY TO PRACTICALITY, THIS BOOK HAS IT ALL!

CONTENTS:
-ABOUT THE AUTHOR
-EXERCISE IN STRAIGHT LINE TUNING
-PART 2.THE THREE NATURAL LAWS OF MUSICAL EXPRESSION: 1.LOW SEARCHES FOR HIGH, 2.HIGH
SEARCHES FOR L
-PART 1. BECOMING A BAND DIRECTOR
-PART 1. CONDUCTING AND LISTENING SKILLS
-PART 1. ENSEMBLE SONORITY
-PART 1. EXERCISES IN FREE FORM CONDUCTING
-PART 1. EXPRESSIVE CONDUCTING
-PART 1. FREE-FORM CONDUCTING
-PART 1. LISTENING FOR HARMONIC AND MELODIC CONTENT
-PART 1. SELECTING LITERATURE
-PART 1. SHAPING EXPRESSION
-PART 1. THE CONDUCTOR
-PART 2. A STORY ABOUT THE CIRCLE
-PART 2. ALTERNATIVE REHEARSAL TECHNIQUES: A PARADIGM SHIFT
-PART 2. BASIC CHORD PROGRESSIONS
-PART 2. COLOR SHIFTS
-PART 2. CRESCENDO EXERCISE
-PART 2. DECRESCENDO EXERCISE
-PART 2. DECRESCENDO-CRESCENDO EXERCISE
-PART 2. DEMONSTRATING TEMPO VARIATIONS
-PART 2. DYNAMIC COUNTING
-PART 2. DYNAMIC PERFORMANCE
-PART 2. EXERCISE IN FULL-ENSEMBLE LISTENING
-PART 2. EXERCISE NOTE DECAY
-PART 2. EXERCISES IN FREE-FORM EXPRESSION
-PART 2. EXERCISES IN SILENCE AT THE RIGHT SIDE OF THE NOTE
-PART 2. EXERCISES WITH THE ENSEMBLE
-PART 2. EXERCISING INTERNAL PULSE
-PART 2. INTERNAL PULSE: DISCIPLINE DURATION
-PART 2. INTRODUCING THE CIRCLE OF 4THS WORKSHEET
-PART 2. PRINCIPAL PLAYERS AND FULL-ENSEMBLE TUNING
-PART 2. REHEARSALS
-PART 2. SCALE KNOWLEDGE
-PART 2. SECTION TUNING
-PART 2. SIX STEP TUNING PROCESS
-PART 2. SPEAKING MUSICALLY FOR MEANING
-PART 2. THE GRAND MASTER SCALE
-PART 2. THE RULER OF TIME
-PART 2.A BURST OF SOUND
-PART 2.CRESCENDO-DECRESCENDO EXERCISE
-PART 2.DISCOVERING OUR EMOTIONAL CENTER
-PART 2.DISCOVERING THE “RIGHT SIDE” OF A NOTE
-PART 2.FINALE
-PART 2.GROUP ASSIGNMENTS
-PART 2.INTERNAL PULSE EXERCISE
-PART 2.INTONATION AND ENSEMBLE SONORITY
-PART 2.JUMPING THE HURDLES OF NOTATION
-PART 2.MUSICAL EXAMPLES: NATURAL LAWS OF MUSICAL EXPRESSION
-PART 2.REASONS FOR USING THE GRAND MASTER SCALE
-PART 2.SIGHT READING
-PART 2.STUDENT RESPONSIBILITY FOR BALANCE, BLEND, AND INTONATION
-PART 2.THE ART OF TUNING OVERTONES
-PART 2.THE POWER OF THE FUNDAMETNAL PITCH: TARGET TUNING
-PART 2.THE SECRET OF NOTE DECAY
-PART 2.THE TEACHER
-PART 3. THE IMPORTANCE OF INSTRUMENTAL MUSIC
-PART 3. YOU CAN MAKE A DIFFERENCE BY LEADING THE WAY
-PART 3.DATA CONTROL FOR PROGRAM LONGEVITY
-PART 3.ENROLLMENT AND GRADUATION DATA FORM
-PART 3.FINALE
-PART 3.GRADE-LEVEL ENROLLMENT AND PARTICIPATION FORM
-PART 3.INSTRUCTIONAL MODULES
-PART 3.INVENTORY COST-VALUE FORM
-PART 3.LEADER
-PART 3.ORGANIZING THE SESSION
-PART 3.PROGRAM FORMAT
-SOURCES AND REFERENCES