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Hello!
I am Roel P. Tabuyo
I am here because I love music.
1
Music of the 20th
Century
“
“Music gives a soul
to the universe,
wings to the mind,
flight to the
imagination, and life
to everything.” –
Plato.
3
1.
Have you seen me?
Let’s start with the first set of slides
4
5
6
7
8
9
10
How it affects the human lifestyle, music or even
perspective?
11
What significant innovations do you observe?
12
You can also split your content
https://www.youtube.com/
watch?v=r58GQYFZeLE
13
In two or three columns
What
instruments
did the
musicians
used?
How will you
differentiate the
style of music of
Debussy, Ravel
and Schoenberg
with the music of
Earth Wind and
Fire?
What significant
differences have you
noticed in term of
instrumentation ?
14
15
https://www.youtube.com/watch?v=osrmnxF9DnE
16
â–§ Lightning
designer
â–§ Sound designer
â–§ Sound manager
â–§ Stage manager
â–§ Stage crew
â–§ Property master
Casts in Music Performances
17
â–§ Producer
â–§ Director
â–§ Assistant
director
â–§ Musical director
â–§ Choreographer
â–§ Set designer
â–§ Costume
designer
â–§ Producer
â–§ The producer oversees all the business aspects of the production,
coordinating everything that does not involve the events on stage
18
â–§ Director
â–§ The director has the final say on all artistic aspects of a
production, and is in charge of everything that happens on
stage. This person must be a mixture of dictator, diplomat,
artist, mind reader and drill sergeant.
19
â–§ Assistant Director
â–§ Consider having an assistant director on your team. This takes
pressure off the director and means more than one set of
performers can rehearse at any time. While the director stages a
new scene with the ensemble, the assistant director can run the
leads through sequences that have already been blocked.
20
â–§ Musical Director
â–§ You will want someone with musical knowledge to conduct
rehearsals and performances. Your accompaniment can be a full
orchestra or one person at a piano. Some licensing firms now
provide pre-recorded "rehearsal" accompaniment for certain
shows – even if you use these recordings, your cast will benefit
from having a capable musical director to guide them through the
often terrifying prospect of singing on stage.
21
â–§ Choreographer
â–§ If your show requires serious dancing, have someone on hand who
can make those dances look good, preferably someone with
professional training. You do not want dance numbers that expose
your cast to ridicule or possible injury.
22
â–§ Set Designer
â–§ Someone will have to design and build your sets or stage
decorations. In some theatre groups, the person in charge of sets is
called "Technical Director" and coordinates all tech teams. While I
don't find this useful, see what fits your team best. Make sure
everything on stage is sturdy.
23
â–§ Costume Designer/Coordinator
â–§ If you have capable seamstresses and designers on hand, you are
blessed. When your show requires contemporary clothing, the cast
can provide its own. If you have to rent or borrow costumes, have
someone coordinate measurements, costume selection,
alterations, and costume maintenance.
24
â–§ Lighting Designer
â–§ It takes tremendous patience to get the lights set properly and
safely. Have someone with technical expertise set up and maintain
your stage lighting system. If you have a qualified volunteer, three
cheers, but note the word "qualified." There is nothing more
dangerous than the inspired amateur. A licensed electrician should
check out your system to verify everything is safe.
25
â–§ Sound Designer/manager
â–§ This technical wizard will supervise the sound levels during final
rehearsals and performances, preferably from a command post in
the auditorium. A sound crew will be needed backstage to assist
with microphones.
26
â–§ Stage Manager
â–§ The SM is the director's right hand, assisting at rehearsals, setting
up materials and keeping the script on hand to call out any
forgotten lines. The SM also makes sure everything backstage
goes smoothly during performances.
27

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music 10.pptx

  • 1. Hello! I am Roel P. Tabuyo I am here because I love music. 1
  • 2. Music of the 20th Century
  • 3. “ “Music gives a soul to the universe, wings to the mind, flight to the imagination, and life to everything.” – Plato. 3
  • 4. 1. Have you seen me? Let’s start with the first set of slides 4
  • 5. 5
  • 6. 6
  • 7. 7
  • 8. 8
  • 9. 9
  • 10. 10
  • 11. How it affects the human lifestyle, music or even perspective? 11
  • 12. What significant innovations do you observe? 12
  • 13. You can also split your content https://www.youtube.com/ watch?v=r58GQYFZeLE 13
  • 14. In two or three columns What instruments did the musicians used? How will you differentiate the style of music of Debussy, Ravel and Schoenberg with the music of Earth Wind and Fire? What significant differences have you noticed in term of instrumentation ? 14
  • 16. 16
  • 17. â–§ Lightning designer â–§ Sound designer â–§ Sound manager â–§ Stage manager â–§ Stage crew â–§ Property master Casts in Music Performances 17 â–§ Producer â–§ Director â–§ Assistant director â–§ Musical director â–§ Choreographer â–§ Set designer â–§ Costume designer
  • 18. â–§ Producer â–§ The producer oversees all the business aspects of the production, coordinating everything that does not involve the events on stage 18
  • 19. â–§ Director â–§ The director has the final say on all artistic aspects of a production, and is in charge of everything that happens on stage. This person must be a mixture of dictator, diplomat, artist, mind reader and drill sergeant. 19
  • 20. â–§ Assistant Director â–§ Consider having an assistant director on your team. This takes pressure off the director and means more than one set of performers can rehearse at any time. While the director stages a new scene with the ensemble, the assistant director can run the leads through sequences that have already been blocked. 20
  • 21. â–§ Musical Director â–§ You will want someone with musical knowledge to conduct rehearsals and performances. Your accompaniment can be a full orchestra or one person at a piano. Some licensing firms now provide pre-recorded "rehearsal" accompaniment for certain shows – even if you use these recordings, your cast will benefit from having a capable musical director to guide them through the often terrifying prospect of singing on stage. 21
  • 22. â–§ Choreographer â–§ If your show requires serious dancing, have someone on hand who can make those dances look good, preferably someone with professional training. You do not want dance numbers that expose your cast to ridicule or possible injury. 22
  • 23. â–§ Set Designer â–§ Someone will have to design and build your sets or stage decorations. In some theatre groups, the person in charge of sets is called "Technical Director" and coordinates all tech teams. While I don't find this useful, see what fits your team best. Make sure everything on stage is sturdy. 23
  • 24. â–§ Costume Designer/Coordinator â–§ If you have capable seamstresses and designers on hand, you are blessed. When your show requires contemporary clothing, the cast can provide its own. If you have to rent or borrow costumes, have someone coordinate measurements, costume selection, alterations, and costume maintenance. 24
  • 25. â–§ Lighting Designer â–§ It takes tremendous patience to get the lights set properly and safely. Have someone with technical expertise set up and maintain your stage lighting system. If you have a qualified volunteer, three cheers, but note the word "qualified." There is nothing more dangerous than the inspired amateur. A licensed electrician should check out your system to verify everything is safe. 25
  • 26. â–§ Sound Designer/manager â–§ This technical wizard will supervise the sound levels during final rehearsals and performances, preferably from a command post in the auditorium. A sound crew will be needed backstage to assist with microphones. 26
  • 27. â–§ Stage Manager â–§ The SM is the director's right hand, assisting at rehearsals, setting up materials and keeping the script on hand to call out any forgotten lines. The SM also makes sure everything backstage goes smoothly during performances. 27