A presentation that encompasses the lessons one conductor learned from master teacher Jerry Jordan. This presentation is one attempt to codify all of the lessons I learned about directing choral music from my mentor.
Top 10 choir interview questions with answersanielrodd8
In this file, you can ref interview materials for choir such as, choir situational interview, choir behavioral interview, choir phone interview, choir interview thank you letter, choir interview tips …
TESOL 2013 Presentation- ESL Instruction: Developing Your Skills to Become a ...Beth Crumpler
Workshop Presentation from the TESOL 2013 International Convention & English Language Expo; Learn how to use music conducting, performance and notation techniques for teaching speaking and pronunciation for English Language Learners; You can find the accompanying handouts & future video tutorials on my website at http://adaptivelearnin.com (The handouts support the PowerPoint presentation and give more explanation for understanding & implementation of the content.)
Top 10 choir interview questions with answersanielrodd8
In this file, you can ref interview materials for choir such as, choir situational interview, choir behavioral interview, choir phone interview, choir interview thank you letter, choir interview tips …
TESOL 2013 Presentation- ESL Instruction: Developing Your Skills to Become a ...Beth Crumpler
Workshop Presentation from the TESOL 2013 International Convention & English Language Expo; Learn how to use music conducting, performance and notation techniques for teaching speaking and pronunciation for English Language Learners; You can find the accompanying handouts & future video tutorials on my website at http://adaptivelearnin.com (The handouts support the PowerPoint presentation and give more explanation for understanding & implementation of the content.)
A word from a developing artist exploring the many avenues of music business.
check out more via our blog on our website. We would love to hear from you!
https://www.ctwlibrary.com/masters-of-music-philosophy/arsenal-report/
This presentation, made by Katarina from http://tips.how2improvesinging.com, reveals nine tips to overcome your fear of singing. If you have stage fright, you are not alone. Every singer can relate to this topic. The amount of fear differs based on age, experience, personality, perceived talent and other factors. It does not matter if you are a new singer or a professional - we all experience some level of fear of singing.
There are two main reasons why we are afraid to sing. Judgement and misperception.
How to Overcome Stage Fright?
Figure out why you are afraid. When you know the whys, you can work on the hows.
Over-preparation!
Self-exploration.
Join a group of singers.
Get exposure.
Record yourself on a regular basis.
Choose easy songs to start your performance.
Let go!
Don't take yourself too seriously.
See yourself succeeding.
So be fearless and sing!
A word from a developing artist exploring the many avenues of music business.
check out more via our blog on our website. We would love to hear from you!
https://www.ctwlibrary.com/masters-of-music-philosophy/arsenal-report/
This presentation, made by Katarina from http://tips.how2improvesinging.com, reveals nine tips to overcome your fear of singing. If you have stage fright, you are not alone. Every singer can relate to this topic. The amount of fear differs based on age, experience, personality, perceived talent and other factors. It does not matter if you are a new singer or a professional - we all experience some level of fear of singing.
There are two main reasons why we are afraid to sing. Judgement and misperception.
How to Overcome Stage Fright?
Figure out why you are afraid. When you know the whys, you can work on the hows.
Over-preparation!
Self-exploration.
Join a group of singers.
Get exposure.
Record yourself on a regular basis.
Choose easy songs to start your performance.
Let go!
Don't take yourself too seriously.
See yourself succeeding.
So be fearless and sing!
Do you have the personality for teaching copyPhilip Copeland
A slightly altered version of Dr. David Snyder's presentation to music education students at Illinois State University. http://finearts.illinoisstate.edu/profiles/default.aspx?q=BM200807100027&unitAbbr=schoolofmusic
35. What is the Most Expressive Element in Music? METER
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37. From Wikipedia: Meter or metre is the measurement of a musical line into measures of stressed and unstressed "beats", indicated in Western music notation by a symbol called a time signature.
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39. Why is meter the most Expressive Element in Music?
40. Why is meter the most Expressive Element in Music? Influencesevery beat of every measure.
49. Denial of Expectations Great composers set up an expectation and then deny, or prolong, the fulfillment of that expectation. Your job as a conductor is to magnify those efforts.
51. Teaching the Notes Wrong Most people teach notes without any interpretive idea Will have to unlearn the wrong way When we “Add Interpretation” Interpretive ideas to add at the very beginning Dynamics Meter Line Sight-read musically?
53. Value of Repetition Most directors “STOP” when their musicians finally get it right “Lock it In!” Repeat the right thing at least three times to lock in the correct action-response or interpretation Responses: Great! Again! One more time – this time watch me Once more – greater dynamic contrast.
55. Fixing the Link Music is made up of parts – sections – verses Build sections into your music – rehearse groups of measures together and then build Most likely to make mistakes: At transitions between parts Variations of established patterns The unwise conductor only works the different sections – not the transitions. Once you get it right, repeat it. And then, again!
57. Modeling Importance of vocal modeling You can’t fix everything with words. Use instruments that you know well. Ask ensemble to do it “EXACTLY” the way you do it Don’t stop until they do it the way you want it. Your modeling doesn’t have to be perfect.
59. Isolating to the Individual Brings a new level of attention from your ensemble There is a certain “one of the crowd” feeling in ensembles Turning the tables on the “ensemble” brings a much higher level of concentration from your members work with the individual on a musical task Pick someone who will do well at the task Go down the line
61. Ability to Choose your Response Every action does NOT deserve a reaction from the teacher React vs. Pre-act We have the ability to choose our response in every situation. Experienced teachers don’t react – they pre-act – they know what they are going to do if a student does something wrong Catch a child doing something good. Positively reinforce good behavior