Miranda Wilson – författare

Notes for Cellists: A Guide to the Repertoire is an essential resource for anyone seeking to enrich their understanding of cello music. Written by cellist and cello professor Miranda Wilson, this book explores the world of cello repertoire with analytical overviews and background information on compositions spanning five centuries. In an engaging and accessible style, Notes for Cellists guides readers through the repertoire, providing detailed insights into the lives of composers and the cellists who inspired them. From Bach and Beethoven to contemporary works by living composers, Notes for Cellists offers historical and analytical contexts for over three dozen works. Whether you're a student, professional, teacher, college faculty member, amateur player, or simply an enthusiast of the cello, Notes for Cellists is an indispensable tool. With extended program notes on the essentials of cello repertoire, this book serves as a guide for reference or a starting point for further research.

Notes for Cellists: A Guide to the Repertoire is an essential resource for anyone seeking to enrich their understanding of cello music. Written by cellist and cello professor Miranda Wilson, this book explores the world of cello repertoire with analytical overviews and background information on compositions spanning five centuries. In an engaging and accessible style, Notes for Cellists guides readers through the repertoire, providing detailed insights into the lives of composers and the cellists who inspired them. From Bach and Beethoven to contemporary works by living composers, Notes for Cellists offers historical and analytical contexts for over three dozen works. Whether you're a student, professional, teacher, college faculty member, amateur player, or simply an enthusiast of the cello, Notes for Cellists is an indispensable tool. With extended program notes on the essentials of cello repertoire, this book serves as a guide for reference or a starting point for further research.

This timely volume challenges the ongoing underrepresentation of Latina women in science, technology, engineering and mathematics (STEM), and highlights resilience as a critical communal response to increasing their representation in degree programs and academic posts.An Asset-Based Approach to Advancing Latina Students in STEM documents the racialized and gendered experiences of Latinas studying and researching in STEM in US colleges, and centers resilience as a critical mechanism in combating deficit narratives. Adopting an asset-based approach, chapters illustrate how Latinas draw on their cultural background as a source of individual and communal strength, and indicate how this cultural wealth must be nurtured and used to inform leadership and policy to motivate, encourage, and support Latinas on the pathway to graduate degrees and successful STEM careers. By highlighting strategies to increase personal resilience and institutional retention of Latina women, the text offers key insights to bolstering diversity in STEM.This text will primarily appeal to academics, scholars, educators, and researchers in the fields of STEM education. It will also benefit those working in broader areas of higher education and multicultural education, as well as those interested in the advancement of minorities inside and outside of academia.Elsa M. Gonzalez is Assistant Professor of Higher Education at the University of Houston, USA.Frank Fernandez is Assistant Professor of Higher Education at the University of Mississippi, USA.Miranda Wilson earned a Ph.D. in Higher Education Leadership and Policy Studies at the University of Houston, USA.

This timely volume challenges the ongoing underrepresentation of Latina women in science, technology, engineering and mathematics (STEM), and highlights resilience as a critical communal response to increasing their representation in degree programs and academic posts.An Asset-Based Approach to Advancing Latina Students in STEM documents the racialized and gendered experiences of Latinas studying and researching in STEM in US colleges, and centers resilience as a critical mechanism in combating deficit narratives. Adopting an asset-based approach, chapters illustrate how Latinas draw on their cultural background as a source of individual and communal strength, and indicate how this cultural wealth must be nurtured and used to inform leadership and policy to motivate, encourage, and support Latinas on the pathway to graduate degrees and successful STEM careers. By highlighting strategies to increase personal resilience and institutional retention of Latina women, the text offers key insights to bolstering diversity in STEM.This text will primarily appeal to academics, scholars, educators, and researchers in the fields of STEM education. It will also benefit those working in broader areas of higher education and multicultural education, as well as those interested in the advancement of minorities inside and outside of academia.Elsa M. Gonzalez is Assistant Professor of Higher Education at the University of Houston, USA.Frank Fernandez is Assistant Professor of Higher Education at the University of Mississippi, USA.Miranda Wilson earned a Ph.D. in Higher Education Leadership and Policy Studies at the University of Houston, USA.

Teaching Violin, Viola, Cello, and Double Bass summarizes three centuries of string pedagogy treatises to create a comprehensive resource on methods and approaches to teaching all four bowed string instruments. Co-written by three performance and pedagogy experts, each specializing in different string instruments, this book is applicable to all levels of instruction.Essays on historical pedagogues are clearly structured to allow for easy comprehension of their philosophies, pedagogical practices, and unique contributions. This book concludes with a section on application through comparative analysis of the historical methods and approaches.With coverage from the eighteenth century to the present, this book will be invaluable for teachers and students of string pedagogy and general readers who wish to learn more about string pedagogy’s rich history, diverse content, and modern developments.

Teaching Violin, Viola, Cello, and Double Bass summarizes three centuries of string pedagogy treatises to create a comprehensive resource on methods and approaches to teaching all four bowed string instruments. Co-written by three performance and pedagogy experts, each specializing in different string instruments, this book is applicable to all levels of instruction.Essays on historical pedagogues are clearly structured to allow for easy comprehension of their philosophies, pedagogical practices, and unique contributions. This book concludes with a section on application through comparative analysis of the historical methods and approaches.With coverage from the eighteenth century to the present, this book will be invaluable for teachers and students of string pedagogy and general readers who wish to learn more about string pedagogy’s rich history, diverse content, and modern developments.

What does it mean to perform expressively on the cello? In Cello Practice, Cello Performance, professor Miranda Wilson teaches that effectiveness on the concert stage or in an audition reflects the intensity, efficiency, and organization of your practice. Far from being a mysterious gift randomly bestowed on a lucky few, successful cello performance is, in fact, a learnable skill that any player can master. Most other instructional works for cellists address techniques for each hand individually, as if their movements were independent. In Cello Practice, Cello Performance, Wilson demonstrates that the movements of the hands are vitally interdependent, supporting and empowering one another in any technical action. Original exercises in the fundamentals of cello playing include cross-lateral exercises, mindful breathing, and one of the most detailed discussions of intonation in the cello literature. Wilson translates this practice-room success to the concert hall through chapters on performance-focused practice, performance anxiety, and common interpretive challenges of cello playing. This book is a resource for all advanced cellists—college-bound high school students, undergraduate and graduate students, educators, and professional performers—and teaches them how to be their own best teachers.

What does it mean to perform expressively on the cello? In Cello Practice, Cello Performance, professor Miranda Wilson teaches that effectiveness on the concert stage or in an audition reflects the intensity, efficiency, and organization of your practice. Far from being a mysterious gift randomly bestowed on a lucky few, successful cello performance is, in fact, a learnable skill that any player can master. Most other instructional works for cellists address techniques for each hand individually, as if their movements were independent. In Cello Practice, Cello Performance, Wilson demonstrates that the movements of the hands are vitally interdependent, supporting and empowering one another in any technical action. Original exercises in the fundamentals of cello playing include cross-lateral exercises, mindful breathing, and one of the most detailed discussions of intonation in the cello literature. Wilson translates this practice-room success to the concert hall through chapters on performance-focused practice, performance anxiety, and common interpretive challenges of cello playing. This book is a resource for all advanced cellists—college-bound high school students, undergraduate and graduate students, educators, and professional performers—and teaches them how to be their own best teachers.

Poison's Dark Works in Renaissance England considers the ways sixteenth- and seventeenth-century fears of poisoning prompt new models for understanding the world even as the fictive qualities of poisoning frustrate attempts at certainty. Whether English writers invoke literal poisons, as they do in so many revenge dramas, homicide cases, and medical documents, or whether poisoning appears more metaphorically, as it does in a host of theological, legal, philosophical, popular, and literary works, this particular, “invisible” weapon easily comes to embody the darkest elements of a more general English appetite for imagining the hidden correlations between the seen and the unseen. This book is an inherently interdisciplinary project. This book works from the premise that accounts of poisons and their operations in Renaissance texts are neither incidental nor purely sensational; rather, they do moral, political, and religious work which can best be assessed when we consider poisoning as part of the texture of Renaissance culture. Placing little known or less-studied texts (medical reports, legal accounts, or anonymous pamphlets) alongside those most familiar to scholars and the larger public (such as poetry by Edmund Spenser and plays by William Shakespeare and Thomas Middleton) allows us to appreciate the almost gravitational pull exerted by the notion of poison in the Renaissance. Considering a variety of texts, written for disparate audiences, and with diverse purposes, makes apparent the ways this crime functions as both a local problem to be solved and as an apt metaphor for the complications of epistemology.

Poison's Dark Works in Renaissance England considers the ways sixteenth- and seventeenth-century fears of poisoning prompt new models for understanding the world even as the fictive qualities of poisoning frustrate attempts at certainty. Whether English writers invoke literal poisons, as they do in so many revenge dramas, homicide cases, and medical documents, or whether poisoning appears more metaphorically, as it does in a host of theological, legal, philosophical, popular, and literary works, this particular, “invisible” weapon easily comes to embody the darkest elements of a more general English appetite for imagining the hidden correlations between the seen and the unseen. This book is an inherently interdisciplinary project. This book works from the premise that accounts of poisons and their operations in Renaissance texts are neither incidental nor purely sensational; rather, they do moral, political, and religious work which can best be assessed when we consider poisoning as part of the texture of Renaissance culture. Placing little known or less-studied texts (medical reports, legal accounts, or anonymous pamphlets) alongside those most familiar to scholars and the larger public (such as poetry by Edmund Spenser and plays by William Shakespeare and Thomas Middleton) allows us to appreciate the almost gravitational pull exerted by the notion of poison in the Renaissance. Considering a variety of texts, written for disparate audiences, and with diverse purposes, makes apparent the ways this crime functions as both a local problem to be solved and as an apt metaphor for the complications of epistemology.