This document discusses the American composer Aaron Copland and his contribution to developing an American orchestral sound. It provides information on Copland's background and training in Paris with Nadia Boulanger. Two of Copland's most famous works are discussed in depth: Appalachian Spring, composed for ballet in 1945, which quotes the Shaker melody "Simple Gifts," and Fanfare for the Common Man from 1942. Links are provided to listen to excerpts from Appalachian Spring and Copland's piece Rodeo. The document is from a lecture on American musical nationalism and Copland's role in defining an American orchestral style.
Professor Silver's Lindy and Jazz 101: The Hop's History and Harlem's Heroes
Jazz Dance and Music History Lecture at You Should Be Dancing...! Studios on January 10, 2016.
Professor Silver's Lindy and Jazz 101: The Hop's History and Harlem's Heroes
Jazz Dance and Music History Lecture at You Should Be Dancing...! Studios on January 10, 2016.
MUS 106-10 AMERICAN POPULAR MUSIC .docxgilpinleeanna
MUS 106-10 AMERICAN POPULAR MUSIC 4
1. Describe the importance of Memphis in early Rock and Roll with a specific example. (1 point)
Memphis has a long history of music influence; being along the Mississippi, it had its own brand of music. The famous Sun Records was founded here and a African American radio station was the first of its kind.
2. Describe the impact of television on popular music in the 1950s. Be specific with an example. (2 points)
It spread the music quickly; it combined music and dance and started a movement of variety shows.
3. Regarding Elvis Presley, textbook author Campbell says that he was a symbol of rock and roll, giving rock and roll a sound and a look which immediately set the style apart from anything that had come before. (Campbell, 175-177) Describe one characteristic of Elvis’ musical style and one characteristic of his look in the 1950s that would explain this statement. Be specific. (2 points)
Musical style (sound); a mix of country, a little bit of gospel and rock and roll.
Look (appearance/stage persona)
He originally came across as clean cut country boy, but his persona became the sexy rock star particularly when he appeared on TV and swung those hips, which many people found offensive.
4. Explain one way that Elvis Presley achieved mega-star status. (1 point)
MATCH:
5. _I____ Pat Boone
A. Bill Haley’s group
6. ___D__ Col. Tom Parker
B. McKinley Morganfield, R&B singer and guitarist
7. ___A__ Comets
C. early successful girls’ group
8. ___G__ Carl Perkins
D. Elvis’ business manager and agent
9. __J___ Sam Phillips
E. Buddy Holly’s group
10. ___H__ Everly Brothers
F. R&B, Rock and Roll singer/pianist from New Orleans
11. ___F__ Fats Domino
G. member of Sam Phillips’ “million dollar quartet”
12. __C___ Shirelles
H. group known for novelty playlets
13. _B__Muddy Waters
I. major cover artist of R&B songs
14. ___E__ Crickets
J. owner of Sun Records
15. ____K_ Chords
K. doo-wop group of the 1950s “Sh-Boom”
16 Explain twodifferent criticisms of Rock and Roll in the 1950s. Be specific with examples of who and what, and the impact. Choose controversies about race,religion, music, or other topic (consider music, lyrics, stage persona, etc.). (4 points)
1. Topic___________________:
2. Topic __________________:
17. In your opinion, which performer of 1950s rock and roll would you have wanted to see/hear perform live, and why? Be specific. (1 point)
Presley because of his charisma, looks, style of playing and his intro of dance style within the age of rock and roll.
18. __d___ Louis Jordan
A. Texan who blended rock and roll with new ideas
19. __g___ Alan Freed
B. producer who coined the phrase, “rhythm & blues”
20. __f___ Little Richard
C. performed “Rocket 88” recorded at Sun Studio
21. _K____ Dick Clark
D. leader of a popular jump band
22. __a___ Buddy Ho ...
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http://sandymillin.wordpress.com/iateflwebinar2024
Published classroom materials form the basis of syllabuses, drive teacher professional development, and have a potentially huge influence on learners, teachers and education systems. All teachers also create their own materials, whether a few sentences on a blackboard, a highly-structured fully-realised online course, or anything in between. Despite this, the knowledge and skills needed to create effective language learning materials are rarely part of teacher training, and are mostly learnt by trial and error.
Knowledge and skills frameworks, generally called competency frameworks, for ELT teachers, trainers and managers have existed for a few years now. However, until I created one for my MA dissertation, there wasn’t one drawing together what we need to know and do to be able to effectively produce language learning materials.
This webinar will introduce you to my framework, highlighting the key competencies I identified from my research. It will also show how anybody involved in language teaching (any language, not just English!), teacher training, managing schools or developing language learning materials can benefit from using the framework.
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This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
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Read| The latest issue of The Challenger is here! We are thrilled to announce that our school paper has qualified for the NATIONAL SCHOOLS PRESS CONFERENCE (NSPC) 2024. Thank you for your unwavering support and trust. Dive into the stories that made us stand out!
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Phyto-Pharmacological Screening, New Strategies for evaluating
Natural Products, In vitro evaluation techniques for Antioxidants, Antimicrobial and Anticancer drugs. In vivo evaluation techniques
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3. Copland and the American
Orchestral Soundscape
• Aaron Copland (1900–1990)
• American composer
• Paris, Nadia Boulanger
• Jazz idioms
• Neo-Classicism and twelve-
tone composition
• Piano pieces, orchestral
works, ballets, film scores
4. Aaron Copland: Appalachian Spring,
excerpts
• Copland’s Appalachian
Spring (1945)
• Composed for ballet,
performed as a suite
• Pioneer celebration in
spring
• Quotes Shaker melody,
Simple Gifts
5. Aaron Copland: Appalachian Spring,
excerpts (Listening Guide)
• Section 1:
– Very slow, tranquil
– Solos in various woodwinds and trumpet
• Section 7:
– Theme (Simple Gifts) and five variations
– Calm and flowing duple meter
– Variations: Individual instruments featured
6. Fanfare for the Common Man;
Rodeo
• https://www.youtube.com/watch?
v=pgj7_DmgDqs
• https://www.youtube.com/watch?
v=6ajQYANLiug
■ The great bandmaster and composer John Philip Sousa fostered the American wind band, a tradition
long associated with the popular spirit of the United States.
■ American composer Aaron Copland used the sacred folk song Simple Gifts in his famous ballet Appalachian Spring, commissioned by the great
choreographer/dancer Martha Graham.
American composer Aaron Copland (1900–1990) studied in Paris with Nadia Boulanger during his early twenties. He was her first American student.
After his return from Paris, Copland incorporated jazz idioms in his works, culminating in his brilliant Piano Concerto.
Later, he experimented in neo-Classicism with works such as Statements for Orchestra, and twelve-tone composition in Connotations for Orchestra.
Copland’s prolific catalog of music includes piano pieces, orchestral works, ballets, and film scores.
Copland’s Appalachian Spring (1945) was composed as a ballet, which was the basis for this popular orchestral suite.
The story takes place in the early nineteenth century, in rural Pennsylvania, and portrays a pioneer celebration in Spring.
In tribute to early American music, Copland quotes the Shaker melody, Simple Gifts.
Excerpts for Copland’s Appalachian Spring (1945) are built on themes and variations.
In Section 1, a very slow, tranquil rhythm features solo clarinet, then a flute with an ascending motive, portraying daybreak over the vast horizon.
Throughout the section individual instruments are featured over a polychordal harmony.
In Section 7, the theme Simple Gifts is presented by solo clarinet and followed by five variations, featuring individual instruments.
Here the harmony moves between various keys, evoking colorful landscapes.
By the time the fifth variation arrives, the full orchestra makes a majestic statement of the theme before gradually dying away.
Listening Guide 36—Copland: Appalachian Spring (excerpts)
Listening Guide 36—Copland: Appalachian Spring (excerpts)