The document is a speech by Chris Weis about composing an original brass ensemble piece called "Travels of Fascination" for his senior project. He discusses choosing to write specifically for the brass section at his high school, learning music theory, using the Finale software to write the piece, and overcoming challenges like fixing parts that were awkward for certain instruments. He reflects on discovering that composing music well requires significant effort and time, and expresses pride in hearing the piece performed after completing it.
This document outlines the leadership team structure for the Cy-Fair High School Orchestra. It lists the director and president at the top, followed by various managerial roles such as vice president, operations manager, concertmaster, and section leaders for each instrument group. It also includes support roles for activities, facilities, publicity, librarians, and a children's concert script writing team.
Students in the course are required to attend at least three live concerts of unamplified music and write evaluations of their experiences. Concert evaluations make up 25% of the student's final grade. Students must submit their evaluations through Blackboard by the last day of the semester. The evaluations should answer questions about the title, performers, date, location, musical pieces, and the students' reflections on listening to and absorbing the music.
Assignment Concert ReportMUS 021 Dr. BjorkedalAttend a live .docxrock73
Assignment: Concert Report
MUS 021: Dr. Bjorkedal
Attend a live (no podcasts, etc) western classical music performance and write a typed report. Make sure to review all instructions prior to attending a performance.
Concert Guidelines:
1. The level of the performance must be college-age performers or professional—no middle/high school/etc. performances.
2. The performance must be of western art music, similar to the genres discussed in text chapters assigned in the syllabus—orchestra, chamber music, solo instrumental performances, opera, choir, ballet, musicals, etc. If you have doubts about a concert qualifying as “western art” music, e-mail the professor before attending.
3. You must attend the entire performance- no late arrivals or early departures.
Report:
Format: 2-4 pages, typed, double-spaced on 8.5 x 11 paper with one-inch margins. Report should include a title, a header with your name and the date, and page numbers.
Writing Voice and style: Your colleagues taking this class should be able to read the report and gain a clear concept of your experience. You will not need to define the terminology we have covered in class, but you do need to keep in mind that your audience will not HEAR this concert and will rely on a sense of the experience solely from your descriptions. This paper should have an academic style- formal, with no contractions used.
Content: The report is YOUR observations of the concert. A successful report will address these categories:
1. Performance setting and types of music: Give the date, place, and name(s) of groups performing. Briefly describe the performance setting- for example, you might include your observations on the ambiance of the performance space, performers’ attire dress, audience’s attire, etc. and how it affected your concert-going experience. Which types/genres of music were performed (symphony, opera, solo, chamber, etc). What pieces did you hear, who were the composers, and what were historical eras of these pieces?
2. The main body of your report should focus on accurately and interestingly applying the knowledge gained in this class to the specific music you heard at the concert. Narrow your focus to two movements or short pieces from your concert and do one of the following:
a. Choose two movements or short pieces from the program and contrast/compare these works with references to specific musical elements.
b. Choose two movements of short pieces and give an overview of their characters- what types of moods or feelings they evoked with references to specific musical elements.
c. Choose the music composition you liked best and describe why using specific musical elements. Choose the music composition you liked least and describe why using musical elements.
Use YOUR ears (not the internet’s ideas…) and listen for the basic elements discussed in class and apply them to the pieces of your concert. Try to highlight what really “stuck out” to you about the musical selections highlighted ...
1) The guest discusses how playing the double bass helped him develop as a musician through overcoming difficulties with practice, lessons, and perseverance over his high school career.
2) Learning the double bass was challenging because errors were more obvious as the sole or one of two double bass players, compared to the violin section where mistakes were masked.
3) The guest learned the importance of understanding the emotional atmosphere of pieces and their role in the orchestra beyond just practicing techniques. Ways of knowing like emotion and perception aided their musical development and understanding.
Students in this course are required to attend at least three unamplified concert performances and write evaluations of their experiences to develop their active listening skills. Concert evaluations will constitute 20% of the final grade. Students must submit their evaluations through the Blackboard turnitin widget by the last day of the semester. The evaluations should answer questions about the concert's title, performers, pieces performed, musical elements of each piece, overarching themes, personal meanings, unique details noticed, and potential benefits of repeated listening.
Hannah gave a speech about her senior project which was to compose her own choral piece. She has had a lifelong love of music and was inspired to pursue music composition in college. For her project, she researched the benefits of a music education and taught music theory to a freshman student. She composed an SATB choral piece which she revised with her project facilitator, the band director. Though coordinating with others was challenging, Hannah learned a great deal about music theory and composition through completing this project. She plans to continue her study of music in college with the goal of having a career in music.
The document is a speech by Chris Weis about composing an original brass ensemble piece called "Travels of Fascination" for his senior project. He discusses choosing to write specifically for the brass section at his high school, learning music theory, using the Finale software to write the piece, and overcoming challenges like fixing parts that were awkward for certain instruments. He reflects on discovering that composing music well requires significant effort and time, and expresses pride in hearing the piece performed after completing it.
This document outlines the leadership team structure for the Cy-Fair High School Orchestra. It lists the director and president at the top, followed by various managerial roles such as vice president, operations manager, concertmaster, and section leaders for each instrument group. It also includes support roles for activities, facilities, publicity, librarians, and a children's concert script writing team.
Students in the course are required to attend at least three live concerts of unamplified music and write evaluations of their experiences. Concert evaluations make up 25% of the student's final grade. Students must submit their evaluations through Blackboard by the last day of the semester. The evaluations should answer questions about the title, performers, date, location, musical pieces, and the students' reflections on listening to and absorbing the music.
Assignment Concert ReportMUS 021 Dr. BjorkedalAttend a live .docxrock73
Assignment: Concert Report
MUS 021: Dr. Bjorkedal
Attend a live (no podcasts, etc) western classical music performance and write a typed report. Make sure to review all instructions prior to attending a performance.
Concert Guidelines:
1. The level of the performance must be college-age performers or professional—no middle/high school/etc. performances.
2. The performance must be of western art music, similar to the genres discussed in text chapters assigned in the syllabus—orchestra, chamber music, solo instrumental performances, opera, choir, ballet, musicals, etc. If you have doubts about a concert qualifying as “western art” music, e-mail the professor before attending.
3. You must attend the entire performance- no late arrivals or early departures.
Report:
Format: 2-4 pages, typed, double-spaced on 8.5 x 11 paper with one-inch margins. Report should include a title, a header with your name and the date, and page numbers.
Writing Voice and style: Your colleagues taking this class should be able to read the report and gain a clear concept of your experience. You will not need to define the terminology we have covered in class, but you do need to keep in mind that your audience will not HEAR this concert and will rely on a sense of the experience solely from your descriptions. This paper should have an academic style- formal, with no contractions used.
Content: The report is YOUR observations of the concert. A successful report will address these categories:
1. Performance setting and types of music: Give the date, place, and name(s) of groups performing. Briefly describe the performance setting- for example, you might include your observations on the ambiance of the performance space, performers’ attire dress, audience’s attire, etc. and how it affected your concert-going experience. Which types/genres of music were performed (symphony, opera, solo, chamber, etc). What pieces did you hear, who were the composers, and what were historical eras of these pieces?
2. The main body of your report should focus on accurately and interestingly applying the knowledge gained in this class to the specific music you heard at the concert. Narrow your focus to two movements or short pieces from your concert and do one of the following:
a. Choose two movements or short pieces from the program and contrast/compare these works with references to specific musical elements.
b. Choose two movements of short pieces and give an overview of their characters- what types of moods or feelings they evoked with references to specific musical elements.
c. Choose the music composition you liked best and describe why using specific musical elements. Choose the music composition you liked least and describe why using musical elements.
Use YOUR ears (not the internet’s ideas…) and listen for the basic elements discussed in class and apply them to the pieces of your concert. Try to highlight what really “stuck out” to you about the musical selections highlighted ...
1) The guest discusses how playing the double bass helped him develop as a musician through overcoming difficulties with practice, lessons, and perseverance over his high school career.
2) Learning the double bass was challenging because errors were more obvious as the sole or one of two double bass players, compared to the violin section where mistakes were masked.
3) The guest learned the importance of understanding the emotional atmosphere of pieces and their role in the orchestra beyond just practicing techniques. Ways of knowing like emotion and perception aided their musical development and understanding.
Students in this course are required to attend at least three unamplified concert performances and write evaluations of their experiences to develop their active listening skills. Concert evaluations will constitute 20% of the final grade. Students must submit their evaluations through the Blackboard turnitin widget by the last day of the semester. The evaluations should answer questions about the concert's title, performers, pieces performed, musical elements of each piece, overarching themes, personal meanings, unique details noticed, and potential benefits of repeated listening.
Hannah gave a speech about her senior project which was to compose her own choral piece. She has had a lifelong love of music and was inspired to pursue music composition in college. For her project, she researched the benefits of a music education and taught music theory to a freshman student. She composed an SATB choral piece which she revised with her project facilitator, the band director. Though coordinating with others was challenging, Hannah learned a great deal about music theory and composition through completing this project. She plans to continue her study of music in college with the goal of having a career in music.
This document provides a daily lesson log for a Grade 6 class covering the subject areas of Music, Arts, Health, and Physical Education for the week. The log outlines the objectives, content, learning resources, and activities for each day. On Mondays the focus is on musical dynamics. Tuesdays cover basic photography principles. Wednesdays discuss ways to control noise pollution. Thursdays and Fridays include teaching and practicing traditional Philippine folk dances. Formative assessments are given each day to check student understanding before the next lesson.
This document contains a daily lesson log for a Grade 6 MAPEH (Music, Arts, Physical Education, and Health) class covering the week of March 11-15, 2024. It outlines the objectives, content, learning resources, teaching procedures, and evaluations for lessons on music dynamics, photography, environmental health, and Philippine folk dances. The lessons incorporate group activities, demonstrations, discussions and assessments to help students understand concepts like timbre, camera parts, noise pollution control, and dance skills and safety. Student understanding and areas for remediation are also reflected on.
This lesson plan focuses on increasing students' music literacy through sight reading. The teacher introduces solfege syllables, Curwen hand signs, and basic musical concepts like note values. Students practice identifying pitches using solfege. They also start learning a new piece of music, applying their solfege knowledge. Formative assessments evaluate understanding. The goal is for students to successfully sight read under level 1 examples on ThePracticeRoom.net, a website used for individual practice.
This document provides a lesson plan about networking and collaboration in music careers and other fields. The lesson introduces students to how collaboration works within their music classes and between music professionals. It also discusses how collaborative skills learned through music can apply to other careers. Students complete a worksheet where they research music careers, build example networks, and compare collaboration in music and non-music jobs. The goal is for students to understand collaborative skills are valuable for all careers.
The lesson plan focuses on warming up the choir, sight reading to improve musical skills, and self-evaluating a recorded performance to identify areas for improvement before an upcoming performance assessment. Various exercises and activities are outlined to engage students through visual, auditory, and kinesthetic methods. The goal is for the choir to refine their performance of selected pieces in order to meet criteria on the choral festival rubric.
Thank you for the thoughtful questions. While every performance has room for growth, I'm proud of the work our ensemble did to bring this joyful piece to life for our audience. Looking ahead, I aim to nurture an environment where students feel empowered to take creative risks and support each other in achieving musical excellence.
Peer Review Form 1Reviewer’s Name Melissa LoarAuthor’s Nam.docxherbertwilson5999
Peer Review Form 1
Reviewer’s Name: Melissa Loar
Author’s Name: Paula Noh
Peer Review Date: 8/24/14
ENG 112: PEER REVIEW FORM (Research Draft)
Instructions for Reviewers:
Read through your peer’s essay carefully (at least twice), and then offer your feedback by completing the form below.
As you read and make notes, keep in mind the instructions and rubric for this essay as well as the principles of writing you have been studying in the course.
When reading the essay and completing the Peer Review Form:
· Try to understand the writer’s message; your role is to help the writer express his or her views more effectively, not to change those views.
· Provide comments that are specific and constructive.
· Connect comments to specific portions of the paper.
· Comment only on the paper, not on the writer.
· Offer suggestions for revision where appropriate.
Save and submit this completed Peer Review Form according to the instructions given in the course. You will e-mail this to your partner as well as upload it to the course for credit.
1. Introduction/Thesis
Does the introduction provide a brief overview of the research topic? Explain.
The introduction is kind of confusing and hard to understand what the paper is going to be about. The first two sentences are confusing, for people who don’t know what emsemble, band and understudies are it can be hard to understand.
What is the main argument/thesis of this essay? (re-write below)
These projects can have a positive impact on understudies who are trying to figure out how to create cooperation with their accomplices and improve fixation on their work. Also, playing their instruments is useful for their general learning proficiency. All these have an impact and brings about a noticeable improvement on understudies. Hence, school music projects should not get wiped out.
Is the thesis well-stated? Does it present an argument? Explain.
I was unclear about the thesis statement, I thought the whole intro was a thesis, so if it was it needs to be cut down to one sentence.
What suggestions do you have to improve any of these elements of the introduction?
Try to grab the readers attention in the first sentence, also you need to explain better about some of the terms in your intro, make sure your readers will understand some of the terms. And lastly, the topic sentence should be once sentence.
2. Integrating Sources
Is the source material integrated using signal phrases? (provide an example)
No there are no sources in this paper. (In Fairfax, public schools have programs where youngsters can play in a symphony or in other music exercises and they start at forward grade.) I believe this was a source but it was quoted or sourced. So just make sure your quotes and citing your sources when you place them in your paper.
Is all of the source material cited properly in APA style? Is there a Reference page? Explain.
There are no sources cited in the paper but there is a reference page. And looks corre.
Brandon Ferrell conducted the Creekview High School Wind Ensemble as his senior project. He researched the benefits of music education and discovered it can increase standardized test scores by 30%. He gained experience assisting the middle school and high school bands. For his project, he chose to conduct the piece "River of Life" with the Wind Ensemble. He encountered some issues with his facilitator and performance dates, but was able to overcome them. Through the project, he learned conducting skills but decided against pursuing a career in music education due to lack of value placed on the field.
Lesson Plan Cpiii Answer In The Form Of A Questionsheehand
The document outlines a music lesson plan where students will suggest ways to add to and modify a song called "This Pretty Planet" by asking questions. The teacher will have the students brainstorm questions to prompt ideas, such as "Can we change how loud we sing?" and will have the class vote on suggestions to apply to performing the song. The lesson aims to address national standards around singing, composing, listening, and evaluating music.
Lesson Plan Cpiii Answer In The Form Of A Questionsheehand
The document outlines a music lesson plan where students will build on an existing song called "This Pretty Planet" by suggesting ways to add or change the music through asking questions. The teacher will have the students brainstorm questions to prompt different musical additions, like changing dynamics or adding movements. Students will then try applying their peer's suggested additions to the song and give feedback on the results. The goal is for students to encounter composing music in a new way through question-based suggestions.
analysis of cherry pink and apple blossom white by perez.pdfbkbk37
The document provides instructions for analyzing the song "Analysis of Cherry Pink and Apple Blossom White by Perez Prado". Students are asked to analyze elements of unity and variety in the music including: identifying musical ideas and their timings, dynamics, timbre, pitch levels, whether it features solo or ensemble performance, the musical style, its purpose, and any connotations. The song link is provided to listen to while completing the analysis.
The document provides information about music courses and subjects. It discusses that music counts towards a student's ATAR and can be done as group or solo work. Students can choose more than one subject between music, dance, and drama. Employers value well-rounded students with skills like teamwork, communication, and creativity that performing arts can provide. The music course involves studying topics like different music genres and cultures. It has four compulsory areas: aural (listening), performance, musicology, and composition. Aural is 30% and involves analyzing unseen music pieces. Performance requires all students to prepare one piece worth 10%. The document explains the course components and breakdown of compulsory versus optional areas.
The candidate composed a song-like piece without lyrics focusing on structure and form, and harmony and tonality. The piece has an introduction and ABAB structure in 4/4 time. The annotation describes the instrumentation and chord progressions in each section, but lacks details about tonality and melodic content. The appraisal answers the questions but with vague descriptions and little understanding of composition process and context. Overall, the piece shows a basic understanding of the areas of study and structure, but lacks coherence, imagination, and depth.
This guided lesson plan is for a 7th grade class and focuses on the song "What a Wonderful World" by Louis Armstrong. The objectives are for students to make connections to the theme, recognize sound devices in songs, listen to distinguish sensory expressions, and appreciate the theme. Activities include looking at pictures to describe their world, identifying alliteration and assonance in the song lyrics, noting the senses used in the song, and doing post-listening activities focused on different senses like sight, hearing, emotion, and taste. The lesson aims to teach students about sound effects like alliteration and help them understand the song through identifying the senses used.
This document provides a curriculum map for Key Stage 3 Music. It outlines 10 units that make up the recommended curriculum, including Stomp and Sing, The Power of the Pentatonic, and Band Musicianship 1: The Four-Chord Trick. Each unit contains multiple lessons with objectives about musical concepts and skills. The curriculum is designed to be flexible, evidence-informed, and accessible to enable schools to tailor it to their needs while building students' powerful musical knowledge.
Experiences in music - northwestern presentationiknowithink
This course on experiences in music will explore diverse musical genres and styles from around the world. Students will develop skills in analyzing, performing, and creating music, as well as broadening their historical and cultural understanding of music. The goal is to equip students with the necessary knowledge and skills to become lifelong, passionate consumers and thinkers about music.
The document outlines a series of lessons that use music to help students learn vocabulary. It discusses how music can make vocabulary more memorable and impactful. The lessons have students analyze song lyrics to understand word meanings, create their own songs that incorporate target vocabulary, and present their songs to the class. Assessments include a vocabulary test and measuring any impact on reading fluency.
This lesson explores the music of Motown Records in the 1960s through analyzing songs like "My Girl" by The Temptations. Students will examine the song's structure, identifying the verse and chorus. They will also critically discuss the compositional techniques used. The lesson aims to give students a better understanding of songwriting and composition through examining classic Motown artists like The Supremes, The Temptations, and The Jackson 5.
Wouldn't it be great to shock those around you with a new singing voice?
Have you ever found yourself alone, singing a song… maybe out of tune…
Only to realize a co-worker or family member listening and making fun of your ability?
Or maybe it was an insensitive joke, like: “Don’t give up your day job”.
We shrug these things off and pretend they don’t bother us – but it hurts… and it ruins our joy of singing.
Would it excite you, that within a matter of weeks, you could…
Sing so incredibly well and with such power and expression… that when people listened to your voice, they felt goosebumps and welled up with emotional tears?
This document provides a daily lesson log for a Grade 6 class covering the subject areas of Music, Arts, Health, and Physical Education for the week. The log outlines the objectives, content, learning resources, and activities for each day. On Mondays the focus is on musical dynamics. Tuesdays cover basic photography principles. Wednesdays discuss ways to control noise pollution. Thursdays and Fridays include teaching and practicing traditional Philippine folk dances. Formative assessments are given each day to check student understanding before the next lesson.
This document contains a daily lesson log for a Grade 6 MAPEH (Music, Arts, Physical Education, and Health) class covering the week of March 11-15, 2024. It outlines the objectives, content, learning resources, teaching procedures, and evaluations for lessons on music dynamics, photography, environmental health, and Philippine folk dances. The lessons incorporate group activities, demonstrations, discussions and assessments to help students understand concepts like timbre, camera parts, noise pollution control, and dance skills and safety. Student understanding and areas for remediation are also reflected on.
This lesson plan focuses on increasing students' music literacy through sight reading. The teacher introduces solfege syllables, Curwen hand signs, and basic musical concepts like note values. Students practice identifying pitches using solfege. They also start learning a new piece of music, applying their solfege knowledge. Formative assessments evaluate understanding. The goal is for students to successfully sight read under level 1 examples on ThePracticeRoom.net, a website used for individual practice.
This document provides a lesson plan about networking and collaboration in music careers and other fields. The lesson introduces students to how collaboration works within their music classes and between music professionals. It also discusses how collaborative skills learned through music can apply to other careers. Students complete a worksheet where they research music careers, build example networks, and compare collaboration in music and non-music jobs. The goal is for students to understand collaborative skills are valuable for all careers.
The lesson plan focuses on warming up the choir, sight reading to improve musical skills, and self-evaluating a recorded performance to identify areas for improvement before an upcoming performance assessment. Various exercises and activities are outlined to engage students through visual, auditory, and kinesthetic methods. The goal is for the choir to refine their performance of selected pieces in order to meet criteria on the choral festival rubric.
Thank you for the thoughtful questions. While every performance has room for growth, I'm proud of the work our ensemble did to bring this joyful piece to life for our audience. Looking ahead, I aim to nurture an environment where students feel empowered to take creative risks and support each other in achieving musical excellence.
Peer Review Form 1Reviewer’s Name Melissa LoarAuthor’s Nam.docxherbertwilson5999
Peer Review Form 1
Reviewer’s Name: Melissa Loar
Author’s Name: Paula Noh
Peer Review Date: 8/24/14
ENG 112: PEER REVIEW FORM (Research Draft)
Instructions for Reviewers:
Read through your peer’s essay carefully (at least twice), and then offer your feedback by completing the form below.
As you read and make notes, keep in mind the instructions and rubric for this essay as well as the principles of writing you have been studying in the course.
When reading the essay and completing the Peer Review Form:
· Try to understand the writer’s message; your role is to help the writer express his or her views more effectively, not to change those views.
· Provide comments that are specific and constructive.
· Connect comments to specific portions of the paper.
· Comment only on the paper, not on the writer.
· Offer suggestions for revision where appropriate.
Save and submit this completed Peer Review Form according to the instructions given in the course. You will e-mail this to your partner as well as upload it to the course for credit.
1. Introduction/Thesis
Does the introduction provide a brief overview of the research topic? Explain.
The introduction is kind of confusing and hard to understand what the paper is going to be about. The first two sentences are confusing, for people who don’t know what emsemble, band and understudies are it can be hard to understand.
What is the main argument/thesis of this essay? (re-write below)
These projects can have a positive impact on understudies who are trying to figure out how to create cooperation with their accomplices and improve fixation on their work. Also, playing their instruments is useful for their general learning proficiency. All these have an impact and brings about a noticeable improvement on understudies. Hence, school music projects should not get wiped out.
Is the thesis well-stated? Does it present an argument? Explain.
I was unclear about the thesis statement, I thought the whole intro was a thesis, so if it was it needs to be cut down to one sentence.
What suggestions do you have to improve any of these elements of the introduction?
Try to grab the readers attention in the first sentence, also you need to explain better about some of the terms in your intro, make sure your readers will understand some of the terms. And lastly, the topic sentence should be once sentence.
2. Integrating Sources
Is the source material integrated using signal phrases? (provide an example)
No there are no sources in this paper. (In Fairfax, public schools have programs where youngsters can play in a symphony or in other music exercises and they start at forward grade.) I believe this was a source but it was quoted or sourced. So just make sure your quotes and citing your sources when you place them in your paper.
Is all of the source material cited properly in APA style? Is there a Reference page? Explain.
There are no sources cited in the paper but there is a reference page. And looks corre.
Brandon Ferrell conducted the Creekview High School Wind Ensemble as his senior project. He researched the benefits of music education and discovered it can increase standardized test scores by 30%. He gained experience assisting the middle school and high school bands. For his project, he chose to conduct the piece "River of Life" with the Wind Ensemble. He encountered some issues with his facilitator and performance dates, but was able to overcome them. Through the project, he learned conducting skills but decided against pursuing a career in music education due to lack of value placed on the field.
Lesson Plan Cpiii Answer In The Form Of A Questionsheehand
The document outlines a music lesson plan where students will suggest ways to add to and modify a song called "This Pretty Planet" by asking questions. The teacher will have the students brainstorm questions to prompt ideas, such as "Can we change how loud we sing?" and will have the class vote on suggestions to apply to performing the song. The lesson aims to address national standards around singing, composing, listening, and evaluating music.
Lesson Plan Cpiii Answer In The Form Of A Questionsheehand
The document outlines a music lesson plan where students will build on an existing song called "This Pretty Planet" by suggesting ways to add or change the music through asking questions. The teacher will have the students brainstorm questions to prompt different musical additions, like changing dynamics or adding movements. Students will then try applying their peer's suggested additions to the song and give feedback on the results. The goal is for students to encounter composing music in a new way through question-based suggestions.
analysis of cherry pink and apple blossom white by perez.pdfbkbk37
The document provides instructions for analyzing the song "Analysis of Cherry Pink and Apple Blossom White by Perez Prado". Students are asked to analyze elements of unity and variety in the music including: identifying musical ideas and their timings, dynamics, timbre, pitch levels, whether it features solo or ensemble performance, the musical style, its purpose, and any connotations. The song link is provided to listen to while completing the analysis.
The document provides information about music courses and subjects. It discusses that music counts towards a student's ATAR and can be done as group or solo work. Students can choose more than one subject between music, dance, and drama. Employers value well-rounded students with skills like teamwork, communication, and creativity that performing arts can provide. The music course involves studying topics like different music genres and cultures. It has four compulsory areas: aural (listening), performance, musicology, and composition. Aural is 30% and involves analyzing unseen music pieces. Performance requires all students to prepare one piece worth 10%. The document explains the course components and breakdown of compulsory versus optional areas.
The candidate composed a song-like piece without lyrics focusing on structure and form, and harmony and tonality. The piece has an introduction and ABAB structure in 4/4 time. The annotation describes the instrumentation and chord progressions in each section, but lacks details about tonality and melodic content. The appraisal answers the questions but with vague descriptions and little understanding of composition process and context. Overall, the piece shows a basic understanding of the areas of study and structure, but lacks coherence, imagination, and depth.
This guided lesson plan is for a 7th grade class and focuses on the song "What a Wonderful World" by Louis Armstrong. The objectives are for students to make connections to the theme, recognize sound devices in songs, listen to distinguish sensory expressions, and appreciate the theme. Activities include looking at pictures to describe their world, identifying alliteration and assonance in the song lyrics, noting the senses used in the song, and doing post-listening activities focused on different senses like sight, hearing, emotion, and taste. The lesson aims to teach students about sound effects like alliteration and help them understand the song through identifying the senses used.
This document provides a curriculum map for Key Stage 3 Music. It outlines 10 units that make up the recommended curriculum, including Stomp and Sing, The Power of the Pentatonic, and Band Musicianship 1: The Four-Chord Trick. Each unit contains multiple lessons with objectives about musical concepts and skills. The curriculum is designed to be flexible, evidence-informed, and accessible to enable schools to tailor it to their needs while building students' powerful musical knowledge.
Experiences in music - northwestern presentationiknowithink
This course on experiences in music will explore diverse musical genres and styles from around the world. Students will develop skills in analyzing, performing, and creating music, as well as broadening their historical and cultural understanding of music. The goal is to equip students with the necessary knowledge and skills to become lifelong, passionate consumers and thinkers about music.
The document outlines a series of lessons that use music to help students learn vocabulary. It discusses how music can make vocabulary more memorable and impactful. The lessons have students analyze song lyrics to understand word meanings, create their own songs that incorporate target vocabulary, and present their songs to the class. Assessments include a vocabulary test and measuring any impact on reading fluency.
This lesson explores the music of Motown Records in the 1960s through analyzing songs like "My Girl" by The Temptations. Students will examine the song's structure, identifying the verse and chorus. They will also critically discuss the compositional techniques used. The lesson aims to give students a better understanding of songwriting and composition through examining classic Motown artists like The Supremes, The Temptations, and The Jackson 5.
Wouldn't it be great to shock those around you with a new singing voice?
Have you ever found yourself alone, singing a song… maybe out of tune…
Only to realize a co-worker or family member listening and making fun of your ability?
Or maybe it was an insensitive joke, like: “Don’t give up your day job”.
We shrug these things off and pretend they don’t bother us – but it hurts… and it ruins our joy of singing.
Would it excite you, that within a matter of weeks, you could…
Sing so incredibly well and with such power and expression… that when people listened to your voice, they felt goosebumps and welled up with emotional tears?
Similar to College Orchestra Director's Association presentation Chris Kim (20)
This presentation was provided by Racquel Jemison, Ph.D., Christina MacLaughlin, Ph.D., and Paulomi Majumder. Ph.D., all of the American Chemical Society, for the second session of NISO's 2024 Training Series "DEIA in the Scholarly Landscape." Session Two: 'Expanding Pathways to Publishing Careers,' was held June 13, 2024.
The chapter Lifelines of National Economy in Class 10 Geography focuses on the various modes of transportation and communication that play a vital role in the economic development of a country. These lifelines are crucial for the movement of goods, services, and people, thereby connecting different regions and promoting economic activities.
How to Make a Field Mandatory in Odoo 17Celine George
In Odoo, making a field required can be done through both Python code and XML views. When you set the required attribute to True in Python code, it makes the field required across all views where it's used. Conversely, when you set the required attribute in XML views, it makes the field required only in the context of that particular view.
ISO/IEC 27001, ISO/IEC 42001, and GDPR: Best Practices for Implementation and...PECB
Denis is a dynamic and results-driven Chief Information Officer (CIO) with a distinguished career spanning information systems analysis and technical project management. With a proven track record of spearheading the design and delivery of cutting-edge Information Management solutions, he has consistently elevated business operations, streamlined reporting functions, and maximized process efficiency.
Certified as an ISO/IEC 27001: Information Security Management Systems (ISMS) Lead Implementer, Data Protection Officer, and Cyber Risks Analyst, Denis brings a heightened focus on data security, privacy, and cyber resilience to every endeavor.
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Date: May 29, 2024
Tags: Information Security, ISO/IEC 27001, ISO/IEC 42001, Artificial Intelligence, GDPR
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College Orchestra Director's Association presentation Chris Kim
1. Changing the rehearsal dynamic of a chamber
orchestra through rehearsal and concert reflections
2. Outline
Setting at Cornell
Traditional approach vs. new approach
Logistics of the feedback loop system
Resources (wordpress.com, scores)
Internal and external benefits
Reaction to the system from students and
administrators
Q and A
3. Cornell University
Cornell Orchestras consists of Cornell Symphony and
Cornell Chamber Orchestra
99% non-music major and predominantly
undergraduates
2016 freshmen class
3221 in the 2016 freshmen class
160 auditioned for the orchestra for
85 in cso and 26 in cco
4. Rehearsal schedule
For Cornell Chamber Orchestra
Tuesdays from 4:45 – 6:15 pm
Thursdays from 4:45 – 6:45 pm
For Cornell Symphony Orchestra
Mondays from 4:45 – 6:25 pm
Wednesdays from 4:45 – 6:45 pm
2 concerts per semester.
5. Traditional approach
Conductor has all the answers – lack of
individual accountability from the
orchestra
Efficiency “I don’t have time to allow
students to make the right decisions.”
Lack of Trust. “Will my students be
able to make good choices and
decisions?”
7. Graph part 1
Old new
Conductor (with most of the
responsibility)
Section leader (with limited
responsibility)
Orchestra(with little or no
responsibility
Orchestra supported by
knowledge of the score ,
section leader, conductor,
responsibility and mentors
and coaches from the world
8. Graph Part 2
Unconscious Competency
Carlos Kleiber
Conscious Competency
Most of us
Conscious Incompetency
Young conductor
Unconscious Incompetency
Train conductor
9. Questions we should ask
How do you motivate your orchestra to
reach the next level ?
How many times can you rehearse the same
thing without affecting your relationship
with your orchestra?
Is your orchestra content driven? (is
conducting Mahler more important to you
or to your students?)
10. More questions
Are you conducting only your concert
master?
How do you get everyone in the
orchestra engaged?
Is music really enough?
11. Logistics of the blog system
Daily procedure in rehearsal
writing assignment
exposure to full score
blog service
documentation of rehearsals in video and audio
examples of posts
12. Daily Procedure in rehearsal
Each rehearsal two students from the orchestra takes
notes with a full score in the audience. Each student
takes one half of the rehearsal content.
He/She writes their own notes and feedback to the
orchestra. They are encouraged to focus on their own
section’s work, but also to comment on all sections of
the orchestra.
They are encouraged to summarize points raised in
rehearsal (an added benefit I did not foresee).
13. Writing requirement for orchestra?!
2 concert per semester and each student writes;
1 rehearsal reflection per concert period
1 practice partner session report
1 concert reflection per concert period.
1 non-cco music dept sponsored concert reflection per
semester. (exempt with perfect attendance record)
Makeup rehearsal reflection if they have an absence.
(encourages better attendance)
14. Modified writing requirement
Start with just a few of these without overwhelming
the orchestra with new writing assignments.
Benjamin Zander simply puts a blank page on the
stands.
Take the orchestra to a concert and use small details of
what was observed in the next rehearsal
15. Take the orchestra to a concert
Australian Chamber Orchestra
Program
*Webern, Five Pieces for
Strings, Op 5
*Crumb, Black Angels
Schneider, Winter Morning
Walks
Songs by Schubert and
Schumann
Schoenberg, Verklarte Nacht
http://www.cornellconcertseri
es.com/ccs_calendar.taf?_func
tion=detail&ev_id=233
16. Experiencing the full score
When was the first time you became aware of the full
score?
Each individual player experiences the piece not from
their own individual part from a full score.
For many this is their first experience looking at the
entire score.
27. PSY - GANGNAM STYLE (강남스타일) M/V
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28. Extending the rehearsal through discussion
Blogs allow the sharing of reflections to occur outside
of rehearsal and keeps the conversation extends our
time thinking about musical issues we are dealing with
in rehearsal past the rehearsal.
36. Comments
Expected
Technical matters like
bowing issues were
sorted out
Ensemble issues
Intonation issues
Unexpected
Establishment of safe
environment
Reinforcements of
concepts raised in
rehearsal
Use of internet to make a
point
Being able to track what
the orchestra is feeling in
specific way.
37. Encouraging comments
Cellos: you guys are the bomb.com. But you’re too loud lol
You guys will have to accommodate more since there are
more of you.
At 18: the cello solo needs to come down and be lighter
with half steps. Just a reminder because the second time
through sounded great. You sometimes sound timid, but
you have it so play confidently! (I noted that the cello solo
was beautiful at 36)
Eileen and Mallory still not together; problem is measure
12 (Eileen-early, Mallory-anticipate the beat a little more).
Both of you can also play out more! Rockin’ solos guys
Group camaraderie improved dramatically.
38. Soloist asking for feedback
Did people think my bark was too loud? I heard a few
in the audience mentioning it, but I wasn’t sure if they
just didn’t realize that I was not supposed to blend in
with the violins or if it actually took away from the
solo. I’d like to get some feedback for the next
performance.
39. Reinforcement of concepts
explored in rehearsal
Reminder: “Dissonance only works if it’s in tune!” –
Ariana Kim (wise words… this is applicable especially
at 14) Amy L.
40. Use of internet to emphasize their point
after Rehearsal 13, anyone with the half note + 8 16th
note pattern needs to play that with confidence.
In other words,
http://24.media.tumblr.com/tumblr_m8kra1EFkR1rsb
9r0o1_500.gif
41. Higher level concepts
initiated by students
Phrasing– At 68, Viola 1 tends to be behind Violin 4—
make eye contact and watch each others’ bows. Also be
aware of phrasing (go to the downbeat of 69 and
second beat of 70). All parts should know whom they
play with when they have this figure and be really
tightly together.
Color - everyone: could try to create a different color.
even the long notes can do a lot to contribute (eg. not
only forte–> piano but also lighter/sheer/cloudy/wispy
sound)
42. Score awareness
“In the opening passage, second violins bring out the
harmony and first violins back off!”
43. Harris’ comment
I’d like to reflect on CCO’s rehearsal process as a whole, contrasted with
that of CSO. Obviously, symphonic music has a lot more going on than
music for just strings, and there are many more people involved in it,
but even just within my section, I rarely felt such a sense of musicality
as I felt at the first CCO rehearsal. It wasn’t just playing music – it was
making music. And throughout the past few weeks, it’s only gotten
better. Not to point any fingers or name any names, but in CSO many
times I felt like my section’s sense of unity was lost when suggestions
were not only not passed around very often/ubiquitously, but generally
dismissed (or even worse, accepted) without much discussion. That
has not once happened in CCO. Within the sections and among the
sections, and the fact that we have someone in the audience listening at
every rehearsal aside, CCO’s sense of musical community is far greater
than I expected after two years in CSO, and I regret not switching over
sooner.
-Harris
44. Communication
At the beginning of the semester, we had quite a bit of
trouble staying together and keeping the beat. In music
that has many sections landing on different beats, listening
is beyond key to keeping together. During each rehearsal,
we got better and better at listening and anticipating the
other members of the orchestra. Once we added Ariana,
even though things were more complicated, our listening
and communication still improved. The off beat nature of
the piece definitely forced the sections to improve
communication among themselves and among the
orchestra as a whole. All in all, the Piazzolla was a great
exercise in communication and focus which helped us
improve drastically.
45. How do you engender
good feedback?
Lead with good examples by upper classmen who
know the system and can give feedback that can be
used as models for those new to the system.
Our goal is not to cut down someone but to improve as
a group, only constructive comments are allowed.
You must create an environment that allows mutual
trust among the orchestra to be honest in their
comments.
46. Curating good feedback
Encourage: When someone writes an especially good
comment, use it the very next rehearsal.
Reference with repetition: Mention all the points
raised as soon as possible.
Encourage them to read each other’s comments.
Accountability: Ask section members what their
colleague had suggested in yesterday’s comments,
make them accountable to reading the comments.
47. W, W, W and if possible H
Discussion in rehearsal about what it means to give
good feedback (i.e. who, where, what, if possible how)
Be specific.
Actionable feedback.
Think before talking, will this be helpful?
Is my comment relevant to what we are working on?
Be respectful.
48. Integration of Assessment
into your teaching
Assessment with clear rubrics
I hope you are not giving a grade in orchestra by
attendance as the only criteria. How long do we think
that model is sustainable?
49. Assessment Rubric for Student Reflections
Levels Criteria (Clarity, Relevance, Analysis, Interconnections, Self-
Criticism) we will only list Clarity below
Reflective
Practitioner
The language is clear and expressive. The reader can create a
mental picture of the situation being described. Abstract
concepts are explained accurately. Explanation of concepts
makes sense to an uninformed reader.
Aware
Practitioner
Minor, infrequent lapses in clarity and accuracy
Reflection
novice
There are frequent lapses in clarity and accuracy.
beginner Language is unclear and confusing throughout. Concepts are
either not discussed or are presented inaccurately.
50. Benefits: internal
Feedback improvement through peer pressure
Comments take into account what has already been
said by earlier comments, thus the sophistication of
each succeeding feedback rose.
Self reflecting orchestra
Creation of a safe environment in which students feel
their opinion matters.
An orchestra that is proactive about improving their
performance level.
51. Benefits: External
Documentation of the sophisticated multi-level
thinking required in a well functioning orchestra to
University level administrators.
Perhaps leading to better facility?
Participating in the assessment discussion in a
meaningful way that actually helps your orchestra.
54. Feedback from students
Examples drawn from course survey
I liked the idea of the blog, but I think it would be helpful if before the end of
rehearsal the note taker does a quick re-cap. Also it was helpful that rehearsals
were recorded, so you could more clearly see (and hear!) problems. Overall I
thought the blog was a great idea because it made us more into a "group",
forced us to listen to each other and made us more active in learning the music.
I really like the way CCO rehearses. I think it's important that everyone should
feel able to give feedback during rehearsal and have their comments taken
seriously. I think we achieve that by having the "open floor" time when anyone
can make comments.
Chris is always well prepared, gives great constructive criticism, gives effective
analogies and examples, and is always positive. I feel welcome and respected as
an adult, which is an asset to the whole group. Rehearsals are run well with
enough time being devoted to each piece.
55. Where do we go from here?
Exploring performing pieces without conductor
A clearer way of sharing a score that can accommodate
comments directly on the score.
Moving to a 2 credit course recognizing the extra
writing component for the course.
Accommodate video comments from students.
If they have an absence, whether excused or not, they must write a rehearsal reflection for the rehearsal missed (another good reason to document your rehearsals in video and audio). I do a playing test in the other orchestra when someone misses a rehearsal.Suddenly those requests to miss rehearsal dropped off dramatically.
Boosey (with a free account you can access currently about 500 scores.Britten’s Les Illumination to be performed by cco in the spring is available.
Some like Presser ises issuu.com which has a very nice interface also free and no need to create an account to view the score. You can just send students a link to the score. Here is Steven Stucky’s Music for Saxophones and Strings available from Presserhttp://issuu.com/theodorepresser/docs/stucky_sax-strings-re/1
I have never encountered one unwilling to provide a pdf of their score to the orchestra.Also many have an audio of the piece if it has been performed before. Here is Carter Pann’s site listing sample pdfs and full audio of the work we performed last season.http://www.carterpann.com/works_3secrets.htm
Benefits: Internal part 1Even without the blog I always wanted a way to give the orchestra members access to full scores. The Brussells Philharmonic is using Samsung tablets instead of sheetmusic. I wish we could rehearse from a full score. But the blog allows an environment in which members of the orchestra get used to using the full score.
How would you like to be able to make a strong case to make your hall ready for webcast with the latest streaming technology for your rehearsals and performances?