GRAMMAR, LOGIC, AND RHETORIC: USING THE TRIVIUM MODEL FOR MUSICAL FLUENCY & INTERPRETATION
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1 GRAMMAR, LOGIC, AND RHETORIC: USING THE TRIVIUM MODEL FOR MUSICAL FLUENCY INTERPRETATION Utah Music Teachers Association November, 08 Dr. Kevin Olson Utah State University Artistic Learning: A st -Century Survival Skill Few of us could disagree that today s students must be taught the necessary skills to function in an increasingly complex, conceptual, and globalized st-century society and economy. Students have to acquire socalled habits of mind that will enable them to develop the skills of creativity, critical thinking, and problem-solving. In addition, they must be able to communicate effectively, collaborate with people different from themselves, exercise initiative, and be self-directed. Consider the list of skills cited above. Aren t these st-century skills, in reality, arts skills? Bruce Taylor, Director of Education, Washington National Opera or_ep.h0.html
2 Creating the Self-Sufficient Musician The student should be encouraged to think for himself as he learns to listen and consider musical decisions, but should be taught that musical and technical ideas change constantly with growth throughout a lifetime. More than likely, a student would not be able to learn all that a teacher could share with him because a student is not at the point of absorbing all of the details already accomplished by the teacher s life of striving for musical and technical perfection. The student has these years of development to look forward to in his own life and inspiration. Louise Barfield, concert pianist Interpretation Linguisitics: to make sense of a sign or word Music: to get closer to composer s intentions and artistic authenticity through: clues in the score knowledge about musical history and musical styles fluency in musical structures perceptive listening skills healthy self-critique
3 The Trivium The place where three roads meet Plato essential to a classical education Grammar mechanics of language Logic the mechanics of thought and analysis the application of language in order to instruct and persuade the listener and the reader Grammar Mastering the mechanics of language
4 Piano Made FUN for the Young is a young beginner piano curriculum, targeting ages -7! It is especially effective in a group setting, but great for private students as well.! This curriculum offers a variety of learning experiences that address various learning styles \
5 -Young children enjoy lessons that offer a variety of experiences. -A typical Piano Made FUN lesson is meant to be divided into two areas: -During Rug Time, students sit on the floor near the piano and sing songs using the Sing-Along Activity books. These same three books are meant to be used and reviewed throughout the curriculum. During Piano Time, students use the leveled piano books to learn to read and play music at a pace that is steady and comfortable. The beginning of each unit in the piano books, indicates which concepts to cover at Rug Time. There is also a printable lesson guide that can be found at PianoMadeFun.com.
6 The Theory Made FUN Sing-Along book covers concepts such as beat, tempo, dynamics, piano topography, music staff, and intervals. 6
7 -The Counting Made FUN Sing-Along book covers concepts such as note values, rest values, and metric counting. Counting practice pages are provided for consistent re-enforcement. 7
8 The Notes Made FUN Sing-Along book covers the notes on the grand staff, using corresponding animal names to make the learning process more fun and interesting. 8
9 Pre-Reading Made FUN is the Starter piano book and is designed to give students a solid foundation of early musical concepts and piano topography. The black key pieces are written as keyboard pictures, making the music intuitive and easy to read. The white keys are introduced through simple improvisation activities. Hear the Bus, Pre-Reading Made FUN, p. 8 9
10 Cuckoo Clock Rock, Pre-Reading Made FUN, p.! ThMF = Theory Made FUN Piano Made FUN for the Young Lesson Guide, Semester It is not necessary to review EVERY song EVERYDAY for Rug Time. It is a good idea to choose a few each day and rotate them throughout the week. Week Pre-Reading Made FUN S M T W Th F S Rug Time- ThMF - Rug Time- ThMF - Piano Time- Pages 6- Rug Time- ThMF - Piano Time- Review Pages 6- Rug Time- ThMF - Piano Time- Pages -7 Rug Time- ThMF - Piano Time- Review Pages -7 Rug Time- ThMF - Piano Time- Pages 8- Rug Time- ThMF - Piano Time- Review Pages 8- Rug Time- ThMF - Piano Time- Pages -9 Rug Time- ThMF - Piano Time- Review Pages -9 Rug Time- ThMF and - Piano Time- Pages 0-7 Rug Time- ThMF and - Piano Time- Review Pages 0-7 Rug Time- ThMF and - Piano Time- Pages 8-7 Rug Time- ThMF and - Piano Time- Review Pages 8-7 0
11 The Perfect Start for Note Reading The Perfect Start for Finger Exercises
12 The Perfect Start Free printables Flash Cards Note Naming Sheets Audio Files Practice Record Sheet Practice Stickers Keyboard Stickers Hand Position Guide and more! Note Reading Made FUN, Book is the second piano book. It teaches and reinforces the notes in the Middle C hand position. New notes are introduced at a steady and comfortable pace, with plenty of reinforcement. Each unit carries an animal theme such as cats, dogs, and elephants to correlate with the new note introduced.
13 Elephant Will Not Forget, Note Reading Made FUN Book, p. 9 Full color Art Posters and Flashcards The website, PianoMadeFun.com, provides teachers with printable resources. Cutouts and Worksheets Marketing and Other Classroom Materials Lesson Guides with Practice Chart
14 The Perfect Start The young beginner The busy student Any student needing extra reinforcement Students at higher levels needing to improve sight reading skills Book middle C position Book Book treble/bass C G, F, D positions positions Sight Reading Rhythm Every Day, Book A
15 Sight Reading Rhythm Every Day, Starter Book A Sight Reading Rhythm Every Day, Starter Book A
16 Logic Mastering the mechanics of thought and analysis Performance Jams, Book 6
17 Performance Jams, Book Music by Me, Books - 7
18 The application of language in order to instruct and persuade the listener f?? A bit clumsily (Ó. = ca. 60) Bumper Cars Bump!.> Kevin Olson Crash!.> Bang!.>. Not fast, keep melody louder than accompaniment p # Humming Song Album for the Young, Op.68? Robert Schumann Ed: Gilbert DeBenedetti # o o o Tone (Large-Scale Dynamic Areas; Articulation; Pedal) Motion (Phrase Shaping and Breathing; Harmonic Tension Release) Events (Surprises; Climaxes) Humming Song Album for the Young, Op.68. Not fast, keep melody louder than accompaniment p Robert Schumann Ed: Gilbert DeBenedetti? # # 8
19 o Tone (Large-Scale Dynamic Areas; Articulation; Pedal) o Motion (Phrase Shaping and Breathing; Harmonic Tension Release) o Events (Surprises; Climaxes) o Tone (Large-Scale Dynamic Areas; Articulation; Pedal) o Motion (Phrase Shaping and Breathing; Harmonic Tension Release) o Events (Surprises; Climaxes) Bumper Cars Kevin Olson A bit clumsily (Ó. = ca. 60) f? Bump! >. Crash!.>? Bang! >. 9
20 o Tone (Large-Scale Dynamic Areas; Articulation; Pedal) o Motion (Phrase Shaping and Breathing; Harmonic Tension Release) o Events (Surprises; Climaxes) 8 Creepy Crawlies P? Squirmy and gross ( = -60) Creep - y crawl - ies un - der - neath my. bb. n. bb. n. Ó? Ó bb bb. bed - room floor; creep - y crawl -.. ies bb. o o o Tone (Large-Scale Dynamic Areas; Articulation; Pedal) Motion (Phrase Shaping and Breathing; Harmonic Tension Release) Events (Surprises; Climaxes)? p? bj!! b Moderato ( = 08) J J J Rhythm of the Rain J J J J #J! n J J!! bj J J J!! Kevin Olson b nj!! J J J J 0
21 o Tone (Large-Scale Dynamic Areas; Articulation; Pedal) o Motion (Phrase Shaping and Breathing; Harmonic Tension Release) o Events (Surprises; Climaxes) Fright Night Fast and even (Ó = ca. 9) C? C p #.. P....? #..... #..... # w #.... #... o Tone (Large-Scale Dynamic Areas; Articulation; Pedal) o Motion (Phrase Shaping and Breathing; Harmonic Tension Release) o Events (Surprises; Climaxes) 8 Amber Moon Gently; not too fast ( = ca. 0). p?...!..! ped. simile? Ó....
22 o Tone (Large-Scale Dynamic Areas; Articulation; Pedal) o Motion (Phrase Shaping and Breathing; Harmonic Tension Release) o Events (Surprises; Climaxes) o Tone (Large-Scale Dynamic Areas; Articulation; Pedal) o Motion (Phrase Shaping and Breathing; Harmonic Tension Release) o Events (Surprises; Climaxes)
23 o Tone (Large-Scale Dynamic Areas; Articulation; Pedal) o Motion (Phrase Shaping and Breathing; Harmonic Tension Release) o Events (Surprises; Climaxes) 66. Alg'ro non troppo. mareato il Dasca o Tone (Large-Scale Dynamic Areas; Articulation; Pedal) o Motion (Phrase Shaping and Breathing; Harmonic Tension Release) o Events (Surprises; Climaxes) 66. Alg'ro non troppo. mareato il Dasca
24 o Tone (Large-Scale Dynamic Areas; Articulation; Pedal) o Motion (Phrase Shaping and Breathing; Harmonic Tension Release) o Events (Surprises; Climaxes) prcolp rit. 66. o Tone (Large-Scale Dynamic Areas; Articulation; Pedal) o Motion (Phrase Shaping and Breathing; Harmonic Tension Release) o Events (Surprises; Climaxes) Bonsai Tree Bonsai is a Japanese tradition of growing small, artistically shaped trees. These trees are believed to heal the body, mind, and spirit. b? b Gently; not too fast ( = ca. 9) p.! Kevin Olson b? b!! F!!!!
25 Impressions on Color Colors, like features, follow the changes of the emotions Pablo Picasso Impressions on Red Impressions on Orange Impressions on Blue Impressions on Yellow Impressions on Green Impressions on Indigo Impressions on Violet
26 The Of Music Don t give notes. Give the meaning of the notes. Pablo Casals, cellist The Musician s Way, p. kevin.olson@usu.edu 6
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