| SUBJECT | |
| First Floor | |
| 780 | Music - general |
| 780.1 | Music - philosophy & aesthetics |
| 780.15 | Music appreciation |
| 780.9 | Music history |
| 780.92 | Musicians |
| 781.5 | Music forms |
| 781.6 | Music - composition & performance |
| 781.9415 | Traditional Irish music |
| 781.91 | Musical instruments |
| 782.1 | Opera |
| 782.8 | Theatre music |
| 783 | Sacred music |
| 784 | Voice & vocal music |
| 784.4 | Folk song |
| 785 | Chamber music |
| 786 | Keyboard |
| 787 | Stringed instruments |
| 788 | Wind instruments |
| 808.042 / 808.066 | Study skills / academic writing |
Books are arranged by subject using the Dewey Classification System. This system arranges books by subject. Each book is assigned a shelfmark number which is a series of numbers followed by letters. The number identifies the subject and the longer the number the more specific the subject is. This number can be found on the spine of the book.
The map below shows the layout of the library.
Request items held outside of MIC Library collections. For more information about this service, please click here
Use the Catalogue to search for books or the SEARCH ALL tab on the library home page.
When you search, note the following:
The authoritative resource for music research. It charts the diverse history and cultures of music around the globe. It is also the gateway to Grove Music Online, with access to search The Oxford Dictionary of Music and The Oxford Companion to Music.
eBooks are books in digital format that can be read on a computer, tablet or mobile device and give full-text access to academic material.
They are available 24/7 via the library website and are accessible on and off-campus.
Most of the eBooks available through MIC library are from a platform called eBook Central.
There are two options available on this platform:
Features:
Music Schools in Changing Societies : How Collaborative Professionalism Can Transform Music Education by 
Music in the Baroque World: history, culture, and performance by
Music in the Baroque World: History, Culture, Performance offers an interdisciplinary study of the music of Europe and the Americas in the seventeenth and first half of the eighteenth centuries. It answers calls for an approach that balances culture, history, and musical analysis, with an emphasis on performance considerations such as notation, instruments, and performance techniques. It situates musical events in their intellectual, social, religious, and political contexts and enables in-depth discussion and critical analysis. The companion web site provide links to scores and audio/visual performances, making this a complete course for the study of Baroque music. Features An interdisciplinary approach that balances detailed analysis of specific pieces of music and broader historical overview and relevance A selection of historical documents at the end of each chapter that position musical works and events in their cultural context Extensive musical examples that show the melodic, textural, harmonic, or structural features of baroque music and enhance the utility of the textbook for undergraduate and graduate music majors A global perspective with a chapter on Music in the Americas A companion score anthology and website with links to audio/video content of key performances and research and writing guides Music in the Baroque World: History, Culture, Performance tells stories of local traditions, cultural exchange, performance trends, and artistic mixing. It illuminates representative works through the lens of politics, visual arts, theology, print culture, gender, domesticity, commerce, and cultural influence and exchange.
Music, the Moving Image and Ireland, 1897-2017 by
Music, the Moving Image and Ireland, 1897-2017 constitutes the first comprehensive study of music for screen productions from or relating to the island. It identifies and interprets tendencies over the first 120 years of a field comprising the relatively distinct yet often overlapping areas of Irish-themed and Irish-produced film. Dividing into three parts, the book first explores accompaniments and scores for 20th-century Irish-themed narrative features that resulted in significant contributions by many Hollywood, British, continental European and, to a lesser extent, Irish composers, along with the input of many orchestras and other musicians. Its second part is framed by a consideration of various cultural, political and economic developments in both the Republic of Ireland and Northern Ireland from the 1920s (including the Troubles of 1968-1998). Focusing on scoring and other aspects of soundtrack production for domestic newsreel, documentary film and TV programming, it interprets the substantial output of many Irish composers within this milieu, particularly from the 1960s to the 1990s. Also referring to broader cultural and historical themes, the book's third and final part charts approaches to and developments in music and sound design over various waves of Irish cinema, from its relatively late emergence in the 1970s to an exponential growth and increasingly transnational orientation in the early decades of the 21st century.
Understanding Music by
In an age when our patterns of music consumption are changing rapidly, musical understanding has never been more relevant. Understanding Music provides readers with an ideal entry point to the topic, addressing 'both the music lover who has made listening to music an important part of his life and at the same time is willing to reflect on music and his encounter with it, as well as the more academically-minded enthusiast and the thoughtful expert.' Its author, Hans Heinrich Eggebrecht, was one of the most influential German musicologists of the twentieth century and yet he is almost unknown to English readers. His published work stretches from one end of the musicological spectrum to the other, with research on historical topics in early music, Bach, Beethoven reception, Mahler and music aesthetics all featuring. Understanding Music summarizes Eggebrecht's thoughts on the relationship between music and cognition. As he says in his preface, the purpose of his book is 'to direct the reader towards the fundamental issues and processes implied in understanding music. What does understanding mean when applied to music? How is the process to be described? What different kinds of understanding are to be distinguished here? What other concepts are implicit in and related to the concept of understanding? How is the relationship between music and the listener who understands it to be articulated? What might correct understanding of music mean given music's multiplicity of meaning and effect? Where are the limits of understanding and what lies beyond? What role do language and history play?'. Eggebrecht's answers to these and other questions amount to a compelling account of how the mind grasps the sounds of music in themselves and what other factors contribute to music's meaning so much to us as listeners.
Transforming Music Education by
This quintet of essays examines the reasons why music education should be transformed, investigates the nature of education and musical transformation, and suggests alternative educational models and strategies. Estelle Jorgensen frames her argument for new approaches against the backdrop of historical musical and educational practice and draws on literature from various fields. Transforming Music Education is addressed to current and future music teachers, those who train them, and all who are interested in revolutionizing music education.
The Routledge Companion to Music, Technology, and Education by
The Routledge Companion to Music, Technology, and Education is a comprehensive resource that draws together burgeoning research on the use of technology in music education around the world. Rather than following a procedural how-to approach, this companion considers technology, musicianship, and pedagogy from a philosophical, theoretical, and empirically-driven perspective, offering an essential overview of current scholarship while providing support for future research. The 37 chapters in this volume consider the major aspects of the use of technology in music education: Part I. Contexts. Examines the historical and philosophical contexts of technology in music. This section addresses themes such as special education, cognition, experimentation, audience engagement, gender, and information and communication technologies. Part II. Real Worlds. Discusses real world scenarios that relate to music, technology, and education. Topics such as computers, composition, performance, and the curriculum are covered here. Part III. Virtual Worlds. Explores the virtual world of learning through our understanding of media, video games, and online collaboration. Part IV. Developing and Supporting Musicianship. Highlights the framework for providing support and development for teachers, using technology to understand and develop musical understanding. The Routledge Companion to Music, Technology, and Education will appeal to undergraduate and post-graduate students, music educators, teacher training specialists, and music education researchers. It serves as an ideal introduction to the issues surrounding technology in music education.
The Oxford Handbook of Technology and Music Education by
Few aspects of daily existence are untouched by technology. Learning and teaching music are no exceptions and arguably have been impacted as much or more than other areas of life. Digital technologies have come to affect music learning and teaching in profound ways, influencing how we create, listen, share, consume, interact, and conceptualize musical practices and the musical experience. For a discipline as entrenched in tradition as music education, this has brought forth myriad views on what does and should constitute music learning and teaching. To tease out and elucidate some of the salient problems, interests, and issues, The Oxford Handbook of Technology and Music Education critically situates technology in relation to music education from a variety of perspectives: historical; philosophical; socio-cultural; pedagogical; musical; economic; policy, organized around four broad themes: Emergence and Evolution; Locations and Contexts: Social and Cultural Issues; Experiencing, Expressing, Learning and Teaching; and Competence, Credentialing, and Professional Development. Chapters from a highly diverse group of junior and senior scholars provide analyses of technology and music education through intersections of gender, theoretical perspective, geographical distribution, and relationship to the field. The Oxford Handbook of Technology and Music Education's dedication to diversity and forward-facing discussion promotes contrasting perspectives and conversational voices rather than reinforce traditional narratives and prevailing discourses.
The Emotional Power of Music by
How can an abstract sequence of sounds so intensely express emotional states? How does music elicit or arouse our emotions? What happens at the physiological and neural level when we listen to music? How do composers and performers practically manage the expressive powers of music? How have societies sought to harness the powers of music for social or therapeutic purposes?In the past ten years, research into the topic of music and emotion has flourished. In addition, the relationship between the two has become of interest to a broad range of disciplines in both the sciences and humanities. The Emotional Power of Music is a multidisciplinary volume exploring the relationship between music and emotion. Bringing together contributions from psychologists, neuroscientists, musicologists, musicians, and philosophers, the volume presents both theoreticalperspectives and in-depth explorations of particular musical works, as well as first-hand reports from music performers and composers.In the first section of the book, the authors consider the expression of emotion within music, through both performance and composing. The second section explores how music can stimulate the emotions, considering the psychological and neurological mechanisms that underlie music listening. The third section explores how different societes have sought to manage and manipulate the power of music.The book is valuable for those in the fields of music psychology and music education, as well as philosophy and musicology
Sounding Off by
Sounding Off brings together a selection of essays on philosophy of music written by Peter Kivy--the leading expert on the subject. The essays fall into four groups, corresponding to Kivy's major interests. Part I contains two essays on the nature of musical genius. In Part II, three essays take up the subject of authenticity in performance, and explore what Kivy terms 'the authenticity of interpretation'. Part III contains four essays concerning the muchdiscussed issues of musical representation and musical meaning. Finally, Part IV consists of three essays on the 'pure musical parameters': these are essays on 'music alone' or 'absolute music'--music as the pure, formal structure of (sometimes) expressive sound. Eight of the eleven essays presented here arepreviously unpublished, and the book includes two appendices which provide Kivy's responses to criticism.
Culturally sustaining pedagogies in music education : expanding culturally responsive teaching to sustain diverse musical cultures and identities by 
Thousands are sailing : a brief song history of Irish emigration by 
The Age of Revolution: 1776-1815 in the Irish song tradition by 
With Fife and Drum: music, memories and customs of an Irish tradition by 
Simultaneous Learning by
Paul Harris's highly successful Simultaneous Learning approach is an entirely positive and imaginative way to teach, which embraces the understanding that all the elements of music are connected. In this definitive book, Harris outlines the complete philosophy of his ground-breaking approach. He examines topics such as language and body language, the first lesson on a new piece, introducing notation, and making the transition to Simultaneous Learning.
Teaching Singing to Children and Young Adults 2ed by
Following on from the enormous popularity of the first edition, this exciting new edition provides yet more practically relevant information for everyone working with children's voices. Completely new content includes much more up-to-date material on how to deliver information and exercises to the student. Learning new skills is not purely about repetition, the style and variety of information delivery from the teacher is crucial. The author has incorporated the latest research from sports science and the psychology of learning in order to explain lesson structure and the nature and frequency of feedback. New information from classroom teaching has given us useful guidance for effective group teaching. The nature of creativity and the particular needs of the creative child are explored in the light of recent research in psychology and learning. Reviews of the first edition '...a really useful and comprehensive reference guide for all those wishing to lead singing'. Howard Goodall CBE, Composer and Broadcaster 'The indispensable bible.... it is difficult to over-emphasise the significance which I think this book has for the future of our young singers....a remarkable treatise...'. Singing: Voice of the Association of Teachers of Singing What a great book! The book is so beautifully and clearly written, and I love the illustrations; it is, in essence, invaluable'. Music Teacher 'A well-conceived, well-written book, perfect for all involved with training young voices. I would heartily recommend the book to anyone involved in working with young voices at any level. Oliver Neal Parker, Head of Singing, Uppingham School, Rutland (Amazon reviewer)
