This document consists of exam materials for the International General Certificate of Secondary Education First Language English exam. It includes two reading passages and questions about the passages. Passage A describes an elderly orchestral conductor named Signor Alessandro and three sequences depicting events around one of his concerts. Passage B discusses a group called the Really Terrible Orchestra made up of amateur adult musicians. The questions assess comprehension of details in the passages and ask students to summarize information and have a mock interview.
This document provides a behind-the-scenes look at Lazara Carmen Perez's artistic thesis concert directing opera scenes and arias highlighting divas from Mozart to Britten. Perez faced many challenges in preparing for the concert, including funding, casting, finding rehearsal spaces and accompanists. Despite obstacles like pianist cancellations and a parade blocking access to the venue, the concert was a success. Perez learned the importance of expecting the unexpected when directing concerts.
Sarah Kwak is the concertmaster of the Oregon Symphony orchestra. As concertmaster, she acts as a bridge between the conductor and the orchestra, ensuring the conductor's vision is accurately conveyed. She is also proactive in building relationships with both orchestra members and the community. Kwak helped start the free Classical Up Close chamber music concerts to foster community connections. As concertmaster, Kwak must memorize all parts, mark bowings, and be constantly attentive to ensure ensemble cohesion during performances. She strives to influence the orchestra's musical style while handling demanding solo responsibilities.
The Playwright arrives at the Theatre Royal excited to see his play, which tells the story of a murder mystery aboard a 1930s British dirigible, begin rehearsals. However, tensions rise between the Playwright and the Director over creative decisions. With only two weeks until opening night, major issues with the set design and construction threaten to derail the production as the Playwright and Director argue over sticking to the Playwright's vision versus the Director's changes.
וויפלאש - התסריט מאת דמיאן צ'אזל (למטרות חינוכיות)Whiplash by damien chazelle...Maor Gillerman
Andrew is a first-year drumming student at Shaffer Conservatory who is obsessed with becoming a great jazz drummer. He had an audition with Fletcher, the legendary director of Studio Band, but struggled. Andrew works at a grocery store deli where he meets and gets the phone number of a girl named Nicole. He attends a jazz concert with his father but is disappointed by his lack of natural talent compared to the professional drummer. Andrew continues practicing hard and hopes to improve enough to join Studio Band under Fletcher's direction.
This document provides interviews and discussions with several famous piano masters and teachers, including Ignace Jan Paderewski. The interview with Paderewski discusses his remarkable ability to hold an audience spellbound with his playing, which was due to his wonderful piano tone with variety and color. Paderewski is known as a composer and pianist who gives rare instruction, but two individuals, Antoinette Szumowska and Sigismond Stojowski, have studied with him and discuss his teachings. Paderewski emphasizes legato playing, clarity of tone, and variety in tone production through touch and pedal usage.
Caruso and tetrazzini_on_the_art_of_singingMarcia Kaiser
Luisa Tetrazzini and Enrico Caruso authored a book on the art of singing. In her section, Tetrazzini emphasizes that breath control is the foundation of singing. She describes breathing from the diaphragm rather than the chest. Correct breathing allows a singer to rely on their breath and produce notes with ease and control. She advises loose clothing to allow for proper breathing. Singers must learn to control their breath and produce a steady flow of air for singing. Developing breath control takes practice over time.
This shot list provides the timing, music, lyrics, and visuals planned for a music video. It consists of an introduction and 5 verses. Static shots, close ups, and tracking shots of the singer are planned to match the lyrics. Scenes include the singer miming lyrics while holding a cigarette and torn photo, running with his head in his hands, and dropping cigarette boxes and torn ticket pieces. The video ends with the singer reunited with a girl, hugging as the song discusses fighting and defying gravity.
Terry Adams is a pioneering keyboardist and co-founder of the band NRBQ. The article discusses Adams' lifelong dedication to performing, from touring with NRBQ while meticulously maintaining his grand piano, to his recent album paying tribute to jazz legend Thelonious Monk. Adams' album interprets Monk's compositions through his own unique arrangements, drawing on Monk's influence to remain true to his own musical vision. The album is drawn from a live recording of Adams performing Monk's music with members of NRBQ and other musicians.
This document provides a behind-the-scenes look at Lazara Carmen Perez's artistic thesis concert directing opera scenes and arias highlighting divas from Mozart to Britten. Perez faced many challenges in preparing for the concert, including funding, casting, finding rehearsal spaces and accompanists. Despite obstacles like pianist cancellations and a parade blocking access to the venue, the concert was a success. Perez learned the importance of expecting the unexpected when directing concerts.
Sarah Kwak is the concertmaster of the Oregon Symphony orchestra. As concertmaster, she acts as a bridge between the conductor and the orchestra, ensuring the conductor's vision is accurately conveyed. She is also proactive in building relationships with both orchestra members and the community. Kwak helped start the free Classical Up Close chamber music concerts to foster community connections. As concertmaster, Kwak must memorize all parts, mark bowings, and be constantly attentive to ensure ensemble cohesion during performances. She strives to influence the orchestra's musical style while handling demanding solo responsibilities.
The Playwright arrives at the Theatre Royal excited to see his play, which tells the story of a murder mystery aboard a 1930s British dirigible, begin rehearsals. However, tensions rise between the Playwright and the Director over creative decisions. With only two weeks until opening night, major issues with the set design and construction threaten to derail the production as the Playwright and Director argue over sticking to the Playwright's vision versus the Director's changes.
וויפלאש - התסריט מאת דמיאן צ'אזל (למטרות חינוכיות)Whiplash by damien chazelle...Maor Gillerman
Andrew is a first-year drumming student at Shaffer Conservatory who is obsessed with becoming a great jazz drummer. He had an audition with Fletcher, the legendary director of Studio Band, but struggled. Andrew works at a grocery store deli where he meets and gets the phone number of a girl named Nicole. He attends a jazz concert with his father but is disappointed by his lack of natural talent compared to the professional drummer. Andrew continues practicing hard and hopes to improve enough to join Studio Band under Fletcher's direction.
This document provides interviews and discussions with several famous piano masters and teachers, including Ignace Jan Paderewski. The interview with Paderewski discusses his remarkable ability to hold an audience spellbound with his playing, which was due to his wonderful piano tone with variety and color. Paderewski is known as a composer and pianist who gives rare instruction, but two individuals, Antoinette Szumowska and Sigismond Stojowski, have studied with him and discuss his teachings. Paderewski emphasizes legato playing, clarity of tone, and variety in tone production through touch and pedal usage.
Caruso and tetrazzini_on_the_art_of_singingMarcia Kaiser
Luisa Tetrazzini and Enrico Caruso authored a book on the art of singing. In her section, Tetrazzini emphasizes that breath control is the foundation of singing. She describes breathing from the diaphragm rather than the chest. Correct breathing allows a singer to rely on their breath and produce notes with ease and control. She advises loose clothing to allow for proper breathing. Singers must learn to control their breath and produce a steady flow of air for singing. Developing breath control takes practice over time.
This shot list provides the timing, music, lyrics, and visuals planned for a music video. It consists of an introduction and 5 verses. Static shots, close ups, and tracking shots of the singer are planned to match the lyrics. Scenes include the singer miming lyrics while holding a cigarette and torn photo, running with his head in his hands, and dropping cigarette boxes and torn ticket pieces. The video ends with the singer reunited with a girl, hugging as the song discusses fighting and defying gravity.
Terry Adams is a pioneering keyboardist and co-founder of the band NRBQ. The article discusses Adams' lifelong dedication to performing, from touring with NRBQ while meticulously maintaining his grand piano, to his recent album paying tribute to jazz legend Thelonious Monk. Adams' album interprets Monk's compositions through his own unique arrangements, drawing on Monk's influence to remain true to his own musical vision. The album is drawn from a live recording of Adams performing Monk's music with members of NRBQ and other musicians.
1) The document discusses how Mary Shelley uses Captain Walton in Frankenstein.
2) It suggests that Walton's narrative may distract from the central narrative of Victor Frankenstein and simply serves as a page filler.
3) However, Walton could represent typical explorers of Shelley's era, helping to maintain realism in the story. His character may also allow Shelley to control the reader's response through using a frame narrative structure.
The document discusses how different authors portray war through their works. It analyzes passages from poems by Pope, Shakespeare, Sassoon, and Owen that depict war as a game, bring suffering, or strip away one's identity. Pope portrays war as a masculine game to encourage enlistment. Shakespeare initially depicts it as a game between kings but later shows the brutality through Henry's threats at Harfleur. Sassoon and Owen emphasize the terrible suffering and aim to accurately depict war to warn those at home that it will not make one a hero.
This document provides guidance and instructions for completing a timed exam with three questions. It outlines the order of the questions, estimated timing for each question, and activities to do before starting. For each question, it gives processes to follow, such as underlining key details and writing bullet points. It also provides tips, such as being precise in bullet points and connecting ideas in summaries. Sample answers are provided for questions about unicorns/yetis, a beast sighting article, and analyzing text passages. Scoring criteria are outlined to self-assess responses. The high-level purpose is to prepare and guide the exam taker through the structure and requirements of the exam.
This document provides revision materials for the Y11 English Literature mock and real exams, including past exam questions from 2014 to 2012 for both the Higher and Foundation papers. It also includes sample A* answers for analyzing unseen poetry and discussing how Sherriff presents the character of Stanhope in Journey's End.
In his poem about the tiger, Blake conveys that the tiger is a powerful yet sinister creature. He describes the tiger as "burning bright" which emphasizes its strength but also implies it is a destructive force. Blake also suggests the tiger's heart is "twisted" and corrupted, making it evil and not to be trusted. References to the tiger's "deadly terrors" further indicate it is a dangerous killer. Through these descriptions and a rhetorical question about whether God or the devil created the tiger, Blake prompts readers to question the existence of evil in the world.
This document provides guidance on analyzing poems by examining various elements such as structure, word choice, imagery, punctuation, rhyme, and literary techniques. It encourages the reader to consider how these elements create tone and meaning, and suggests focusing on what is used and why. Key areas of analysis include overall structure, form, imagery, symbolism, rhythm, and the effectiveness of the techniques employed by the writer.
Sherriff presents Stanhope as a contradictory character. Early on, others see him as a heroic and respected commander, but he is also shown drinking heavily due to war damaging his nerves. When Raleigh arrives, he sees Stanhope as a schoolboy hero, but the audience sees Stanhope's temper and vulnerability. As the play continues, Stanhope loses more control and lashes out, but at the end Sherriff reveals his caring side as he comforts the dying Raleigh, showing the human cost of war.
1. The document discusses how different authors portray war through metaphors of games and sports. It analyzes quotes from poems by Pope, Shakespeare, and Sassoon that depict war as a game, bringing suffering, or stripping away identity.
2. Shakespeare portrayed war as a tennis match in Henry V to show Henry proving himself as king, while also depicting the terrible suffering inflicted on the people of Harfleur.
3. Poets like Sassoon and Owen sought to accurately portray the dehumanizing effects of war and how it emasculated and treated soldiers as nameless objects to counteract glorified notions of war.
This document provides discussion topics and activities related to analyzing the poem "My Last Duchess". It includes prompts to:
1) Identify the key moral issues and themes of death and love in the poem.
2) Consider whether the character and tone of the poem are successful and why.
3) Engage in activities like predicting archaeological objects' links to the poem, summarizing the story and characters, and creating an online dating profile for the Duke character.
The document provides instructions for students to analyze a poem about a Duke. It instructs students to:
1) Identify the main characters and what is learned about them, drawing a picture and including quotes.
2) Identify the key events of the story told in the poem, aiming for 5-10 events.
3) Explain first impressions of the narrator/speaker (the Duke) using quotes.
It also includes a list of themes for students to score based on importance to the poem, and provides optional tasks for further analysis such as a storyboard, writing from another character's perspective, creating character sketches, or rewriting the poem in a modern or prose version.
This document provides homework assignments on Mary Shelley's Frankenstein. Students are asked to produce revision cards summarizing chapters 1-10 of the novel, focusing on context, themes, and characters. They are also assigned to read summaries of John Milton's Paradise Lost and compare its plot to chapters 1-10 of Frankenstein. Finally, students are asked questions about how the Monster demonstrates his understanding of Paradise Lost, the importance of reading and writing in Frankenstein, and how the novel examines text through its form.
The document is a mark scheme for an International General Certificate of Secondary Education exam on first language English. It provides guidance for teachers on how to award marks to exam responses. The mark scheme outlines the requirements of the exam, shows how examiners were instructed to evaluate answers, and notes that alternative correct responses must be given fair marks based on the knowledge and skills demonstrated. It does not discuss the examiners' pre-marking meeting or enter into debates about marking decisions.
This document provides guidance on revising writing through multiple rounds of editing.
Round 1 involves summarizing each paragraph in 3-5 words to check clarity and flow. Round 2 focuses on varied sentence structures such as using verbs, adjectives, adverbs, or connectives to start sentences. Round 3 examines proper comma usage when starting sentences or adding extra information. Round 4 encourages precise vocabulary and literary techniques. Round 5 suggests ways to improve structure such as engaging openings and endings, varying perspectives or timeframes.
1. Resources from an English class will be available on the school's virtual learning environment (VLE) parental area and a teacher's blog.
2. A useful blog for past exam papers is also provided.
3. Instructions are given for which classrooms students should move to for part of their lesson.
4. Details are provided about the assessments and exams for English Language and English Literature.
5. Ways that teachers can provide support for revision and ways parents can help their children revise at home are outlined.
This document discusses how different authors portray war through their writing. It analyzes passages from Shakespeare's Henry V and poems by Wilfred Owen and Siegfried Sassoon. Shakespeare portrays war as both a game and as something that brings terrible suffering. He wants to show King Henry as powerful and ruthless. Owen and Sassoon focus on empathizing with the suffering of soldiers and portraying the reality of war, in contrast to those glorifying it from afar. They experienced war firsthand, unlike Shakespeare.
1) The passage discusses two mythical creatures - the unicorn and the yeti. While unicorns were reported as far back as ancient Greece and China, thorough research has not found evidence of their existence. Yetis are said to inhabit the Himalayas, with occasional sightings, but conclusive evidence is lacking.
2) Analysis of materials claimed as evidence of yetis, like scalps and a hand, found they came from other known animals. A popular theory is that yeti legends came from sightings of apes that once lived in the region. Renowned mountaineer Reinhold Messner believes he encountered an unknown animal during an expedition to eastern Tibet.
3) In summary, the passage discusses the
This document provides guidance and instructions for completing a timed exam with three questions. It outlines the order of the questions, estimated timing for each question, and activities to do before starting. For each question, it details the process to follow, including reading instructions, understanding the question, selecting relevant evidence, and structuring a response. Tips are provided for each question to help candidates maximize their score. Scoring criteria are also outlined to assess responses for each question. The document aims to help candidates prepare and strategize their approach to answering the exam questions within the allotted time limits.
LIBERAL ARTS, COMMUNICATION & SOCIAL SCIENCES DIVISIONMUSIC DEPA.docxSHIVA101531
LIBERAL ARTS, COMMUNICATION & SOCIAL SCIENCES DIVISION
MUSIC DEPARTMENT
MUSIC 1121.101, MUSIC APPRECIATION
LIVE PERFORMANCE REVIEW PAPERS:
1. Each student will be required to write two (2) papers, each involving the description of live performances. The description should include a brief description of each (all) of the works on the program. The Elements of Music (Rhythm, Harmony, Melody, Tone Color, Pitch, Dynamics, Textures, Forms, etc.) should be used to describe the works performed on the program.
2. Papers to include:
a) typed, double spaced, 12 point font, white, regular 20# paper
b) staple all pages together
c) the printed program must be included and stapled to the paper
3. Student and faculty recitals, performing groups, visiting artists at
a) Sinclair Community College
b) University of Dayton
c) Wright State University
d) University of Cincinnati
e) other area schools and colleges
f) local amateur and professional orchestras
g) area professional engagements
4. The papers will be evaluated on proper writing style and factual content. The student is free to express opinions about the performers and musical selections.
5. The student is advised to attend live performances early in the term and to complete this assignment as early as possible.
Examples: Good and Not Good:
A. The piece opened with a chord that grew rapidly louder. It was followed by alternating notes in the timpani, which led right to the first theme in the tonic key, played in accented notes in the brasses. The flutes and clarinets then played the theme. The strings repeated this first theme. The orchestra played with accented notes that led to more rapidly moving notes which led to the second theme in the dominant key.
B. The piece was loud and fast.
C. The piece opened forcefully but eloquently with a dynamic, driving theme. It had a rigorous mood, leading to a brilliant and musically meaningful passage played by the full orchestra. The center section was absolutely gorgeous, being lyrical and passionate at the same time. It led back to the original theme and then to a stirring and vibrant conclusion.
D. Overtureto "Candide"-Leonard Bernstein: This work opens with a fanfare. The strings play an agitated melody. The melody repeats. The melody is played by different sections of the orchestra. It is first played by the horns and then by the woodwinds. The rhythm seems uneven. The harmony uses dissonance, but there is resolution to these tension areas. The mood changes to a very lyrical melody. The fanfare and opening repeat. The raucous section comes back. The lyrical melody returns. It gets soft at the end until there is one last loud chord.
CONCERT GOING: A HANDBOOK FOR STUDENTS
TO ACCOMPANY MUSIC: AN APPRECIATION
ATTENDING A CONCERT
What's special about a live concert? In a live performance, artists put themselves on the line; their training and magnetism must overcome technical difficulties to involve the ...
This document outlines the scope of activities for the Royal Scottish National Orchestra over multiple seasons, including concerts in major cities as well as smaller towns. It discusses the orchestra's programming philosophy of including something for everyone at each concert. The document also provides feedback showing that the orchestra's focus on contemporary works increased attendance and interest from both audiences and press.
CONCERT CRITIQUE GUIDELINESQuestions for a Concert What .docxdonnajames55
CONCERT CRITIQUE GUIDELINES
Questions for a Concert
What kinds of musical concerts are NOT acceptable for this paper?
High school or other children's performances/recitals, outdoor festival performances, any type of pop, rock, rap, Latin, country, or reggae, for example, are not appropriate for this paper. If you're not sure about your choice, ask me.
Print out and take with you so you can be thinking of the questions as you watch the show.
1. Program Notes - most performances have a printed program with printed notes. Read this before the performance begins and save it for reference when you write your paper.
2. Head your paper with your first and last name, the name of the show and where and when you saw it.
3. List the performers and/or the name of the group and the instruments included in the concert. List all the pieces that were played (see program notes for the concert), the name of the person who composed and/or arranged each piece, and the date each work was completed (if possible).
Example:
The Turtle Island String Quartet includes Joe Bloe, first violin; Sarah Marah, second violin; Topsy Turvy, viola; S. Popping, cello.
Their program:
Still so Cheerful by Sarah Marah, composed in 2001
Getting up Late by S. Popping, composed in 1998
Saturday Night by Berry Berry, composed in 2004
What to Write About:
1. Below are some things you can write about, but the most important is the MUSIC. You don't have to write about every piece on the program. Do write about how the sounds affected you, which voices, selections, or instruments touched you most, what you learned of interest about the composer(s), the performing group, and the compositions.
2. Ambience - Every gathering of people has a feeling tone, a mood: This is the ambience. Notice the people as they come in, find their seats, see what kinds of clothes they are wearing. Look around the theatre; notice the lighting in the room, the stage area. If you have some particular feeling about how you fit in, how you feel being a part of it you might make a comment in your paper.
3. You will understand and appreciate a concert more, and write about it best if you do a little research. It's easy to research on the Internet. Type in the name of the group and a list of web sites will pop up. The same is true for many composers. If the pieces were written in another century find out what you can about the type of composition, something about the composer.
4. Music is the most illusive art form. Like the dance, music happens in real-time: It's gone as soon as you hear it, and impressions are difficult to recall. Program notes give you information that is helpful when you think back on a performance. Program notes give you information about the composers, the music, and in voice concerts you may have translations into English of the words in a song.
5. Each composer had a concept, an idea, and chose specific instruments or voices (types of singers) because of the sounds they make. Listen to ho.
CONCERT CRITIQUE GUIDELINES
Questions for a Concert
What kinds of musical concerts are NOT acceptable for this paper?
High school or other children's performances/recitals, outdoor festival
performances, any type of pop, rock, rap, Latin, country, or reggae, for example,
are not appropriate for this paper. If you're not sure about your choice, ask me.
Print out and take with you so you can be thinking of the questions as you
watch the show.
1. Program Notes - most performances have a printed program with printed
notes. Read this before the performance begins and save it for reference
when you write your paper.
2. Head your paper with your first and last name, the name of the show and
where and when you saw it.
3. List the performers and/or the name of the group and the instruments
included in the concert. List all the pieces that were played (see program
notes for the concert), the name of the person who composed and/or
arranged each piece, and the date each work was completed (if possible).
Example:
The Turtle Island String Quartet includes Joe Bloe, first violin; Sarah Marah,
second violin; Topsy Turvy, viola; S. Popping, cello.
Their program:
Still so Cheerful by Sarah Marah, composed in 2001
Getting up Late by S. Popping, composed in 1998
Saturday Night by Berry Berry, composed in 2004
What to Write About:
1. Below are some things you can write about, but the most important is the
MUSIC. You don't have to write about every piece on the program. Do write
about how the sounds affected you, which voices, selections, or instruments
touched you most, what you learned of interest about the composer(s), the
performing group, and the compositions.
2. Ambience - Every gathering of people has a feeling tone, a mood: This is the
ambience. Notice the people as they come in, find their seats, see what kinds
of clothes they are wearing. Look around the theatre; notice the lighting in
the room, the stage area. If you have some particular feeling about how you
fit in, how you feel being a part of it you might make a comment in your
paper.
3. You will understand and appreciate a concert more, and write about it best
if you do a little research. It's easy to research on the Internet. Type in the
name of the group and a list of web sites will pop up. The same is true for
many composers. If the pieces were written in another century find out what
you can about the type of composition, something about the composer.
4. Music is the most illusive art form. Like the dance, music happens in
real-time: It's gone as soon as you hear it, and impressions are difficult to
recall. Program notes give you information that is helpful when you think
back on a performance. Program notes give you information about the
composers, the music, and in voice concerts you may have translations into
English of the words in a song.
5. Each composer had a concept, an idea, and chose specific instruments or
...
Albanian cellist Alban Gerhardt will perform with the Oregon Symphony in November. He is known for staging "pop-up" concerts around cities to bring classical music to the public in intimate settings. Gerhardt sees it as important to connect with communities and show them the value of orchestras beyond just filling concert halls. He finds Portland to be an inspiring city, particularly praising its beautiful gardens, the Wieden+Kennedy office which fosters creativity, and Powell's Books store.
1) The document discusses how Mary Shelley uses Captain Walton in Frankenstein.
2) It suggests that Walton's narrative may distract from the central narrative of Victor Frankenstein and simply serves as a page filler.
3) However, Walton could represent typical explorers of Shelley's era, helping to maintain realism in the story. His character may also allow Shelley to control the reader's response through using a frame narrative structure.
The document discusses how different authors portray war through their works. It analyzes passages from poems by Pope, Shakespeare, Sassoon, and Owen that depict war as a game, bring suffering, or strip away one's identity. Pope portrays war as a masculine game to encourage enlistment. Shakespeare initially depicts it as a game between kings but later shows the brutality through Henry's threats at Harfleur. Sassoon and Owen emphasize the terrible suffering and aim to accurately depict war to warn those at home that it will not make one a hero.
This document provides guidance and instructions for completing a timed exam with three questions. It outlines the order of the questions, estimated timing for each question, and activities to do before starting. For each question, it gives processes to follow, such as underlining key details and writing bullet points. It also provides tips, such as being precise in bullet points and connecting ideas in summaries. Sample answers are provided for questions about unicorns/yetis, a beast sighting article, and analyzing text passages. Scoring criteria are outlined to self-assess responses. The high-level purpose is to prepare and guide the exam taker through the structure and requirements of the exam.
This document provides revision materials for the Y11 English Literature mock and real exams, including past exam questions from 2014 to 2012 for both the Higher and Foundation papers. It also includes sample A* answers for analyzing unseen poetry and discussing how Sherriff presents the character of Stanhope in Journey's End.
In his poem about the tiger, Blake conveys that the tiger is a powerful yet sinister creature. He describes the tiger as "burning bright" which emphasizes its strength but also implies it is a destructive force. Blake also suggests the tiger's heart is "twisted" and corrupted, making it evil and not to be trusted. References to the tiger's "deadly terrors" further indicate it is a dangerous killer. Through these descriptions and a rhetorical question about whether God or the devil created the tiger, Blake prompts readers to question the existence of evil in the world.
This document provides guidance on analyzing poems by examining various elements such as structure, word choice, imagery, punctuation, rhyme, and literary techniques. It encourages the reader to consider how these elements create tone and meaning, and suggests focusing on what is used and why. Key areas of analysis include overall structure, form, imagery, symbolism, rhythm, and the effectiveness of the techniques employed by the writer.
Sherriff presents Stanhope as a contradictory character. Early on, others see him as a heroic and respected commander, but he is also shown drinking heavily due to war damaging his nerves. When Raleigh arrives, he sees Stanhope as a schoolboy hero, but the audience sees Stanhope's temper and vulnerability. As the play continues, Stanhope loses more control and lashes out, but at the end Sherriff reveals his caring side as he comforts the dying Raleigh, showing the human cost of war.
1. The document discusses how different authors portray war through metaphors of games and sports. It analyzes quotes from poems by Pope, Shakespeare, and Sassoon that depict war as a game, bringing suffering, or stripping away identity.
2. Shakespeare portrayed war as a tennis match in Henry V to show Henry proving himself as king, while also depicting the terrible suffering inflicted on the people of Harfleur.
3. Poets like Sassoon and Owen sought to accurately portray the dehumanizing effects of war and how it emasculated and treated soldiers as nameless objects to counteract glorified notions of war.
This document provides discussion topics and activities related to analyzing the poem "My Last Duchess". It includes prompts to:
1) Identify the key moral issues and themes of death and love in the poem.
2) Consider whether the character and tone of the poem are successful and why.
3) Engage in activities like predicting archaeological objects' links to the poem, summarizing the story and characters, and creating an online dating profile for the Duke character.
The document provides instructions for students to analyze a poem about a Duke. It instructs students to:
1) Identify the main characters and what is learned about them, drawing a picture and including quotes.
2) Identify the key events of the story told in the poem, aiming for 5-10 events.
3) Explain first impressions of the narrator/speaker (the Duke) using quotes.
It also includes a list of themes for students to score based on importance to the poem, and provides optional tasks for further analysis such as a storyboard, writing from another character's perspective, creating character sketches, or rewriting the poem in a modern or prose version.
This document provides homework assignments on Mary Shelley's Frankenstein. Students are asked to produce revision cards summarizing chapters 1-10 of the novel, focusing on context, themes, and characters. They are also assigned to read summaries of John Milton's Paradise Lost and compare its plot to chapters 1-10 of Frankenstein. Finally, students are asked questions about how the Monster demonstrates his understanding of Paradise Lost, the importance of reading and writing in Frankenstein, and how the novel examines text through its form.
The document is a mark scheme for an International General Certificate of Secondary Education exam on first language English. It provides guidance for teachers on how to award marks to exam responses. The mark scheme outlines the requirements of the exam, shows how examiners were instructed to evaluate answers, and notes that alternative correct responses must be given fair marks based on the knowledge and skills demonstrated. It does not discuss the examiners' pre-marking meeting or enter into debates about marking decisions.
This document provides guidance on revising writing through multiple rounds of editing.
Round 1 involves summarizing each paragraph in 3-5 words to check clarity and flow. Round 2 focuses on varied sentence structures such as using verbs, adjectives, adverbs, or connectives to start sentences. Round 3 examines proper comma usage when starting sentences or adding extra information. Round 4 encourages precise vocabulary and literary techniques. Round 5 suggests ways to improve structure such as engaging openings and endings, varying perspectives or timeframes.
1. Resources from an English class will be available on the school's virtual learning environment (VLE) parental area and a teacher's blog.
2. A useful blog for past exam papers is also provided.
3. Instructions are given for which classrooms students should move to for part of their lesson.
4. Details are provided about the assessments and exams for English Language and English Literature.
5. Ways that teachers can provide support for revision and ways parents can help their children revise at home are outlined.
This document discusses how different authors portray war through their writing. It analyzes passages from Shakespeare's Henry V and poems by Wilfred Owen and Siegfried Sassoon. Shakespeare portrays war as both a game and as something that brings terrible suffering. He wants to show King Henry as powerful and ruthless. Owen and Sassoon focus on empathizing with the suffering of soldiers and portraying the reality of war, in contrast to those glorifying it from afar. They experienced war firsthand, unlike Shakespeare.
1) The passage discusses two mythical creatures - the unicorn and the yeti. While unicorns were reported as far back as ancient Greece and China, thorough research has not found evidence of their existence. Yetis are said to inhabit the Himalayas, with occasional sightings, but conclusive evidence is lacking.
2) Analysis of materials claimed as evidence of yetis, like scalps and a hand, found they came from other known animals. A popular theory is that yeti legends came from sightings of apes that once lived in the region. Renowned mountaineer Reinhold Messner believes he encountered an unknown animal during an expedition to eastern Tibet.
3) In summary, the passage discusses the
This document provides guidance and instructions for completing a timed exam with three questions. It outlines the order of the questions, estimated timing for each question, and activities to do before starting. For each question, it details the process to follow, including reading instructions, understanding the question, selecting relevant evidence, and structuring a response. Tips are provided for each question to help candidates maximize their score. Scoring criteria are also outlined to assess responses for each question. The document aims to help candidates prepare and strategize their approach to answering the exam questions within the allotted time limits.
LIBERAL ARTS, COMMUNICATION & SOCIAL SCIENCES DIVISIONMUSIC DEPA.docxSHIVA101531
LIBERAL ARTS, COMMUNICATION & SOCIAL SCIENCES DIVISION
MUSIC DEPARTMENT
MUSIC 1121.101, MUSIC APPRECIATION
LIVE PERFORMANCE REVIEW PAPERS:
1. Each student will be required to write two (2) papers, each involving the description of live performances. The description should include a brief description of each (all) of the works on the program. The Elements of Music (Rhythm, Harmony, Melody, Tone Color, Pitch, Dynamics, Textures, Forms, etc.) should be used to describe the works performed on the program.
2. Papers to include:
a) typed, double spaced, 12 point font, white, regular 20# paper
b) staple all pages together
c) the printed program must be included and stapled to the paper
3. Student and faculty recitals, performing groups, visiting artists at
a) Sinclair Community College
b) University of Dayton
c) Wright State University
d) University of Cincinnati
e) other area schools and colleges
f) local amateur and professional orchestras
g) area professional engagements
4. The papers will be evaluated on proper writing style and factual content. The student is free to express opinions about the performers and musical selections.
5. The student is advised to attend live performances early in the term and to complete this assignment as early as possible.
Examples: Good and Not Good:
A. The piece opened with a chord that grew rapidly louder. It was followed by alternating notes in the timpani, which led right to the first theme in the tonic key, played in accented notes in the brasses. The flutes and clarinets then played the theme. The strings repeated this first theme. The orchestra played with accented notes that led to more rapidly moving notes which led to the second theme in the dominant key.
B. The piece was loud and fast.
C. The piece opened forcefully but eloquently with a dynamic, driving theme. It had a rigorous mood, leading to a brilliant and musically meaningful passage played by the full orchestra. The center section was absolutely gorgeous, being lyrical and passionate at the same time. It led back to the original theme and then to a stirring and vibrant conclusion.
D. Overtureto "Candide"-Leonard Bernstein: This work opens with a fanfare. The strings play an agitated melody. The melody repeats. The melody is played by different sections of the orchestra. It is first played by the horns and then by the woodwinds. The rhythm seems uneven. The harmony uses dissonance, but there is resolution to these tension areas. The mood changes to a very lyrical melody. The fanfare and opening repeat. The raucous section comes back. The lyrical melody returns. It gets soft at the end until there is one last loud chord.
CONCERT GOING: A HANDBOOK FOR STUDENTS
TO ACCOMPANY MUSIC: AN APPRECIATION
ATTENDING A CONCERT
What's special about a live concert? In a live performance, artists put themselves on the line; their training and magnetism must overcome technical difficulties to involve the ...
This document outlines the scope of activities for the Royal Scottish National Orchestra over multiple seasons, including concerts in major cities as well as smaller towns. It discusses the orchestra's programming philosophy of including something for everyone at each concert. The document also provides feedback showing that the orchestra's focus on contemporary works increased attendance and interest from both audiences and press.
CONCERT CRITIQUE GUIDELINESQuestions for a Concert What .docxdonnajames55
CONCERT CRITIQUE GUIDELINES
Questions for a Concert
What kinds of musical concerts are NOT acceptable for this paper?
High school or other children's performances/recitals, outdoor festival performances, any type of pop, rock, rap, Latin, country, or reggae, for example, are not appropriate for this paper. If you're not sure about your choice, ask me.
Print out and take with you so you can be thinking of the questions as you watch the show.
1. Program Notes - most performances have a printed program with printed notes. Read this before the performance begins and save it for reference when you write your paper.
2. Head your paper with your first and last name, the name of the show and where and when you saw it.
3. List the performers and/or the name of the group and the instruments included in the concert. List all the pieces that were played (see program notes for the concert), the name of the person who composed and/or arranged each piece, and the date each work was completed (if possible).
Example:
The Turtle Island String Quartet includes Joe Bloe, first violin; Sarah Marah, second violin; Topsy Turvy, viola; S. Popping, cello.
Their program:
Still so Cheerful by Sarah Marah, composed in 2001
Getting up Late by S. Popping, composed in 1998
Saturday Night by Berry Berry, composed in 2004
What to Write About:
1. Below are some things you can write about, but the most important is the MUSIC. You don't have to write about every piece on the program. Do write about how the sounds affected you, which voices, selections, or instruments touched you most, what you learned of interest about the composer(s), the performing group, and the compositions.
2. Ambience - Every gathering of people has a feeling tone, a mood: This is the ambience. Notice the people as they come in, find their seats, see what kinds of clothes they are wearing. Look around the theatre; notice the lighting in the room, the stage area. If you have some particular feeling about how you fit in, how you feel being a part of it you might make a comment in your paper.
3. You will understand and appreciate a concert more, and write about it best if you do a little research. It's easy to research on the Internet. Type in the name of the group and a list of web sites will pop up. The same is true for many composers. If the pieces were written in another century find out what you can about the type of composition, something about the composer.
4. Music is the most illusive art form. Like the dance, music happens in real-time: It's gone as soon as you hear it, and impressions are difficult to recall. Program notes give you information that is helpful when you think back on a performance. Program notes give you information about the composers, the music, and in voice concerts you may have translations into English of the words in a song.
5. Each composer had a concept, an idea, and chose specific instruments or voices (types of singers) because of the sounds they make. Listen to ho.
CONCERT CRITIQUE GUIDELINES
Questions for a Concert
What kinds of musical concerts are NOT acceptable for this paper?
High school or other children's performances/recitals, outdoor festival
performances, any type of pop, rock, rap, Latin, country, or reggae, for example,
are not appropriate for this paper. If you're not sure about your choice, ask me.
Print out and take with you so you can be thinking of the questions as you
watch the show.
1. Program Notes - most performances have a printed program with printed
notes. Read this before the performance begins and save it for reference
when you write your paper.
2. Head your paper with your first and last name, the name of the show and
where and when you saw it.
3. List the performers and/or the name of the group and the instruments
included in the concert. List all the pieces that were played (see program
notes for the concert), the name of the person who composed and/or
arranged each piece, and the date each work was completed (if possible).
Example:
The Turtle Island String Quartet includes Joe Bloe, first violin; Sarah Marah,
second violin; Topsy Turvy, viola; S. Popping, cello.
Their program:
Still so Cheerful by Sarah Marah, composed in 2001
Getting up Late by S. Popping, composed in 1998
Saturday Night by Berry Berry, composed in 2004
What to Write About:
1. Below are some things you can write about, but the most important is the
MUSIC. You don't have to write about every piece on the program. Do write
about how the sounds affected you, which voices, selections, or instruments
touched you most, what you learned of interest about the composer(s), the
performing group, and the compositions.
2. Ambience - Every gathering of people has a feeling tone, a mood: This is the
ambience. Notice the people as they come in, find their seats, see what kinds
of clothes they are wearing. Look around the theatre; notice the lighting in
the room, the stage area. If you have some particular feeling about how you
fit in, how you feel being a part of it you might make a comment in your
paper.
3. You will understand and appreciate a concert more, and write about it best
if you do a little research. It's easy to research on the Internet. Type in the
name of the group and a list of web sites will pop up. The same is true for
many composers. If the pieces were written in another century find out what
you can about the type of composition, something about the composer.
4. Music is the most illusive art form. Like the dance, music happens in
real-time: It's gone as soon as you hear it, and impressions are difficult to
recall. Program notes give you information that is helpful when you think
back on a performance. Program notes give you information about the
composers, the music, and in voice concerts you may have translations into
English of the words in a song.
5. Each composer had a concept, an idea, and chose specific instruments or
...
Albanian cellist Alban Gerhardt will perform with the Oregon Symphony in November. He is known for staging "pop-up" concerts around cities to bring classical music to the public in intimate settings. Gerhardt sees it as important to connect with communities and show them the value of orchestras beyond just filling concert halls. He finds Portland to be an inspiring city, particularly praising its beautiful gardens, the Wieden+Kennedy office which fosters creativity, and Powell's Books store.
1
String Quintet in C major
Name:
Professor:
May 1, 2019
Franz Schubert (1797-1828) born in Vienna is an outstanding representative of the early Romantic music of the West. His work reflects the connection between the classical music tradition of Vienna and the new romanticism of the 19th century. Schubert received a good artistic influence from an early age. When he was 5 years old, he began to learn music with his father. When she was a child, Schubert had an amazing voice and an admirable tone. In 1808 he was admitted to the boarding school of the church and became a small singer in the Children's Choir of the Palace Theatre. In the boarding school, Schubert studied many professional courses, went to the theater to listen to opera, and contacted many works by Mozart, Haydn, and many other composers. In his short life, he has produced more than 600 artistic songs, making a big contribution to the development of art songs. I will analyze String Quintet in Cmajor.
String Quintet in C major is one of his chamber music work, created in the last year of his life -1828. This quintet uses two violins, one viola, and two cellos. This arrangement makes the bass of the music enhanced. The two cells are also Dialogues can be made, and the interlacing of sounds between different instruments becomes complicated. It is the treasure in chamber music, both in terms of writing skills and spiritual. It is often commented on Schubert's greatest chamber music in his later years.
The D.956[footnoteRef:2] is compiled with a cello in addition to the string quartet. This arrangement makes the bass of the music enhanced, and there can be a dialogue between the two cellos, so the melody of the symphony in D.956The proportion has increased significantly, and the vernacular says that the sound interlacing of different instruments becomes more complicated. [2: Rick Anderson. Reviewed Work: String Quintet, D956. 2005]
The string quintet consists[footnoteRef:3]offourmovements in the usualquick-slow-scherzo-quick pattern: [3: William, Brown. Menahem Pressler: Artistry in Piano Teaching. Indiana University Press, 2009.]
1. Allegro ma non troppo
2. Adagio
3. Scherzo. Presto – Trio. Andante sostenuto
4. Allegretto
The first movement of the "C major string quintet" is composed of a sonata style. The quintet opens with an extremely expansive movement compare with other late Schubert works. The length of Allegro is over one-third of the total length of the piece around 50 minutes. The exposition lasted 154 measures and began with a wide range of C major chords. Schubert presents his unforgettable harmony, well-contoured melody and without regular rhythm pulses. This is followed by music leading to a second contrasting theme with gradually increasing motion and tension. In the E-flat accidental key, it is introduced into the duo between the two units. This part ends with a dominant (G major) chord that naturally returns to the open pitch ch.
The document discusses the history and use of trumpets in the Old Testament. It explains that the Hebrew word for trumpet, "showphar", refers to a ram's horn that was used to signal alarms, announce war, call assemblies, and during religious celebrations. It describes three different trumpet calls that were used - tekiah, shevarim, and teruah. The trumpet was an important instrument for communication and ceremony in biblical times according to the text.
The document summarizes criticisms of the talent show "Voice of Greece" in three paragraphs from different perspectives. The first paragraph provides an objective summary, noting mediocre performances by contestants and support groups, as well as unfair judging. The second changes the tone to more informal and focuses on the reactions of singers to criticism and confusing dance coaching. The third takes a critical tone, arguing the show destroyed careers and was unjust with old song choices.
Christoph König is an international conductor who holds principal positions with orchestras in Portugal and Switzerland. He travels extensively to guest conduct throughout Europe, North America, and Asia, delivering powerful performances. To keep performances fresh for both the orchestras and audiences, König makes subtle changes to his interpretations of pieces despite conducting the same works repeatedly. He is able to maintain relationships with multiple orchestras through scheduling that limits his presence to about 8-10 weeks per year with each group.
This document discusses how music affects the brain and its benefits. It explains that music can improve mood, enhance learning, and help with mood and brain disorders. Listening to music while studying or doing homework can help with memorization and reduce stress. Music exposure in the womb and early childhood is beneficial for development. Playing a musical instrument increases brain activity and benefits both children and seniors. Music therapy can help treat various mood and brain disorders. Overall, the document illustrates the positive impacts of music on brain function and development.