Simplicity or Complexity? Crumb and His Three Selected Works for Violin and Small Ensemble between 1966 and 1976
|
|
- Isaac Williams
- 6 years ago
- Views:
Transcription
1 DOI: /IPEDR V Simplicity or Complexity? Crumb and His Three Selected Works for Violin and Small Ensemble between 1966 and 1976 Ang-Cheng Kris Ho 1 United International College, Beijing Normal University-Hong Kong Baptist University Abstract. George Crumb is a twentieth century American experimentalism composer. During Crumb s career, he wrote a few pieces for violin and piano before Three selected chamber works of Crumb composed between 1966 and 1976 are Eleven Echoes of Autumn (Echoes I) (1966), Four Nocturnes (Night Music II) (1964) and Dream Sequence (Images II) (1976). In these pieces, Crumb utilizes both western and non-western conventional instruments including Japanese temple bells and the Thai buffalo bell. Through them, he discovers the volume of the sonority, the color of the timbre and the way of the performance. The center focus in this three selected works is the quiet mood, imagination and reflection of life. He attempts to convey the sound between reality and fantasy by the use of the instrument. In each piece, he indicates different concepts and expects individual performers to portray the shape of the music to fulfill the space. Crumb not only explores the timbre of the instrument but also extends the performance from on-stage to offstage. Although, this way of performance was unusual and strange in the 1960s or 1970s, today it sounds not too peculiar to the audience. These pieces are full of challenge for the performer, yet have not been performed as often as other pieces such as Black Angels (1970). In exploring these issues, this research will examine the challenges of performance and the historical and cultural forces that characterized these works. Keywords: George Crumb, Violin, Graphic Notation, Experimental Music. 1. Introduction The repertoire of string compositions by George Crumb has evolved greatly over the course of the century. New compositional ideas emerged in the second half of the century. These techniques were created by composers to express their musical ideas. Composers were influenced by each other and the advent of technology, particularly computer. For example, Luciano Berio ( ) is noted by his computer music. Iannis Xenakis (b. 1922) was one of pioneer composers who use architectural designs to switch conventional musical thinking with new concepts of sound composition. In 1960, Krzysztof Penderecki (b. 1933) used non-conventional notation, graphic notation in his Threnody for the Victims of Hiroshima. He is famous by his avant-garde musical techniques and complex textures of notation. These European composers had influence on the non-conventional notation of American composers. Contemporary notation is innovated and developed by different composers in the twentieth century. Crumb, Berio, Xenakis and Penderecki are examples of it. They develop, create and define their symbols to notate their music. As defined by Stone in Music Notation in the Twentieth Century: A Practical Guidebook (1980), [1] these notation types consist of symbolic notation, improvisational notation, graphic notation, metric notation and spatial notation. Crumb utilizes these designs and concepts in his writing. Particularly, Crumb uses it as a tool to draw and depict his soundscape, leads the performer and the audience into a realm that takes inspiration from the world, but which transforms it into slightly different dimensions. Among all his music, from the start, he has mesmerized and enchanted broad audiences as well as fellow musicians. Most of Crumb s music has to be prepared and rehearsed considerably as many times as possible before it is recorded in the studio or performed in public. The stage setting has to consider the application of sound and atmosphere defined by Crumb. It is normally explained and described in the first page of the score. George Crumb s music is economical and elegant from the beginning and followed by the development of the music which has mesmerized and enchanted wide audiences as well as fellow composers and musicians. [2] Crumb s music challenges audience and musicians in both two aspects: listening and performance. Listening or performing his music is like an unexpected journey or sitting in a rollercoaster, starts from gentle and moderate speed, gradually increases the speed and diversification of the timbre and Corresponding author. Tel.: ; fax: address: krisho@uic.edu.hk. 85
2 sonority completed in a surprise ending. This paper is to exemplify three pieces written between 1966 and 1976 for violin with piano or ensemble. In Crumb s music, the ideas of the music may not be found in a distinctive and discernible way. 2. Background and His Musical Characteristics Crumb s music often juxtaposes various musical styles, ranging from western art-music tradition, to hymns and folk music, or to non-western music. Many of Crumb s works include programmatic, symbolic, mystical and theatrical elements, which are often reflected in his unique and precisely notated scores. [3] One of Crumb s early musical influences was Anton Webern ( ) but Crumb does not really consider himself as a minimalist composer. In an interview with Robert Shuffett, [4] Crumb states his compositional influence also includes Béla Bartók ( ), Luciano Berio ( ) but Claude Debussy ( ) was the most profound impact on his writings. [5] These composers can be divided into two aspects: simplicity and complexity. From perspective of notation or musical styles, Webern is an example of simplicity and Berio is an example of complexity. Meanwhile, Debussy is between simplicity and complexity. The concept of simplicity and complexity can be found in every Crumb s work. For example, in the first movement of Four Nocturnes for violin and piano, Crumb uses major seventh, minor seventh and inverted intervals as harmonious basis on both instruments, and varied by glissando, passing note, Appoggiatura, or neighbor note. The sound production is simple but the notation and the musical and technical demand is complex. (See Fig. 1) Fig. 1: Contrasting of simplicity and complexity, George Crumb, Four Nocturnes for Violin and Piano C. F. Peters Corporation. All rights reserved. Used by permission. [6] 3. Three Selected Works between 1966 and 1976 George Crumb, whose music burst on the scene in the late 1960s, was for his entire career as a distinguished member of a university faculty. [7] During this time, he received an award from the American Academy of Arts and Letters and a Pulitzer Prize for his Echoes of Time and the River in Crumb taught at the University of Colorado in During this time, he composed Night Music I, a chamber work that includes Crumb s first of many settings of Spanish poet, Federico García Lorca ( ). He developed idea when he was a student and also started his Night Music I (1965) was the beginning of his exploration of sonic journey. Between 1966 and 1976, except his most significant string quartet, Black Angel (1970), Crumb composed three violin solo and ensemble works: Four Nocturnes (Night Music II) (1964), for violin and piano, Eleven Echoes of Autumn, 1965 (Echoes I) (1966), for violin, alto flute, clarinet, and piano and Dream Sequence (Images II) (1976), for violin, cello, piano, percussion (one player), and off-stage glass harmonica (two players). Even though Crumb instructs his instruments with electric, common practice is to simply 86
3 amplify the sound of the instrument though microphones. Amplified violin is not meant to be played on electric violin Crumb s Common Ideas in 1960s and 1970s Crumb is a composer who regularly reuses and extended his ideas in his works. He uses series title in his different works that were written in different times or where he extended the use of instrumentation in different works. This can be ascertained by either listening to a recording or reading the score of three of Crumb s violin compositions where his musical style does not follow the conventional format. There are five common ideas can be found in these three works: Imagination: Dream, and scenery of Autumn. Amplification: traditional instrument with amplifier. Solo and ensemble: violin with other instruments such as clarinet, cello and piano. Extended playing techniques: unusual bowing techniques, sonority and sound production. (See Fig. 1, 2 and 3) Visual art notation: use of graphic notation. (Figure 3) During these years Crumb also produced works with strong visual aspects. In addition, Crumb s scores themselves are exquisitely beautiful, handwritten works of visual art, with curving staff lines, and scores shaped into circles, such as in Dream Sequence (Images II) (1976). [8] 3.2. Crumb s Writing Style and Performance Requirement Like other twentieth century composers, Crumb has his unique voice in the writing. Crumb, one of experimental music pioneers, his music represents an extension of traditional music and innovative performance manners. The comparison of simplicity and complexity can be seen in these three pieces. In this paper, simplicity is defined as the music idea, style or performance manner used in the traditional classical music; complexity is defined as the musical idea varied and developed by Crumb in his compositions. First, the sonority (f and p) and tempo variation are commonly used in Baroque music to distinguish tutti (ensemble) and solo (solo or a section leader to play major melody). Crumb develops this simple idea in his music and explores the volume of the tone production from pppp to fff or ffz and the range of tempo between 78 semiquaver beats per minute and 30 quaver beats per minute. In the past, most of markings are indicated by composers such as Andante (at a walking pace BPM) or no markings on the score. Performers have freedom to perform the music and depict the music by their understanding. In Crumb s works, he gives precise instruction and limit freedom to performers. For example, in his Dream Sequence (Images II) for violin and cello, he indicates breathing = 60 and phrases = sec. on the score for both instruments. (See Fig. 2) Fig. 2: breathing =60 and phrases = sec. Violin and Cello, Dream Sequence (Images II) C. F. Peters Corporation. All rights reserved. Used by permission. [9] Notation 87
4 Graphic notation, a compositional skill, uses visual and innovative symbols on the musical writing, outside the realm of conventional notation. It evolved in the 1950s, and is often used in combination with traditional music notation, particularly in the experimental music. [10] Relied on the conventional notation, Crumb applies his own ideas into the music such as visual symbols and altered notation. He presents music on the score in a graphic or unconventional manner such as spirals or circles. (See Figure 3). Fig. 3: An example of graphic notation. Eleven Echoes of Autumn, 1965 (Echoes I) for violin, Alto flute, Clarinet and Piano C. F. Peters Corporation. All rights reserved. Used by permission. [11] Comparison of Indication and Markings These works has shown the dynamic indication between pp and pppp. The change is very petite challenging any of performers to portray the sound and tone colour as well as the shape of the music. These works also requires all performers to use pitch or music to draw the picture or tell the story to the audience as Crumb explains in the subtitle. Most of them would refer to his childhood or life in the rural area in United States. The imitation of the environmental sound has to be distinguished by the performer. It requires very good understanding of the instrument and the energy of the performance. Most of sound and tone colour has to be very delicate and unique. No performance will be exactly the same, even the music performed by same performers. Even though, they perform in the same venue, however, they might play the music on different days and the sound production would not be the same. [See Figure 1, 2, 3 and 4] Fig. 4: An example of timbral possibility in Echo 3 Prestissimo, Eleven Echoes of Autumn, 1965 (Echoes I) for violin, Alto flute, Clarinet and Piano C. F. Peters Corporation. All rights reserved. Used by permission. [14] 88
5 Symbolism and Timbral Possibilities Symbolism is a vehicle that Crumb indicates and uses as a power to portray particular timbre or theatrical movement who requires players to do unconventional things such as using their instruments in ways they may not have been trained as conventional performer. Performers have to explore the timbral possibilities of the instruments. For instance, in Crumb 1966 s composition Eleven Echoes of Autumn, 1965 (Echoes I), he indicates violinists to play the violin on different part of the body and produce usual sound to reflect his personal imagination. Each of the eleven pieces has its own character instructed by Crumb. For example, a delicate aura of sympathetic vibrations emerges in Echo 3. [12] Crumb indicates the violinist has to hold the violin like a mandolin. [13] The violinist has to make a very rapid tremolo on the G string with the fingernail (forefinger) or the fingernail and thumbnail (held closely together). A very rapid lateral motion of the nail should produce an effect resembling a plectrum tremolo on a mandolin. (See Figure 4) Performance Requirement: Conventional or Non-Conventional The definition of conventional and non-conventional playing skills in this research is based on the comprehension of the musical performance. I believe performers might have to adjust and re-define it while learning Crumb s music before the performance. As Crumb applied a lot of playing techniques in these three works, such as harmonics, pizzicato, rapping sounds (on the wood of the violin). They have become socalled conventional playing techniques in the twentieth century. Crumb applies these skills in his works cannot be thought in a simply way even though these skills are not too unusual. While learning Crumb s music as part of performance preparation, the performer must look at the instruction carefully and think about the timbre production, interpretation, collaboration and performance. It is not only a solo performance but also an ensemble. The performance is not as tranquil as executing Baroque or Classical music. The performer has to seek for a way to produce the sound, combing with imagination, visual exhibition and amplification. At this point, the idea of the conventional has been extended and it would become a variety of non-conventional performance. Crumb utilizes various languages in his writing, particularly Spanish. He uses this idea into notation and musical intentions with the text or pitch. Using different language in musical performance is certainly not an entire new idea. This idea has been used since Renaissance period or even earlier time. However, using an instrument, either string or keyboard, to imitate vocal sound and to interpret the image of the music can be thought as a new way to execute the music. I believe a lot of performers have to get rid of their traditional playing and explore new ways to imitate vocal-like sound or play and speak simultaneously. In addition, it would go against the hearing of the performer and the way of playing the instrument. Performers must relinquish the beauty of the sound and re-discover the possibility of the sound can be produced from the instrument itself. Can we still convince conventional and non-conventional playing techniques exactly and precisely? 4. Conclusion Since Crumb s first composition, he has composed over sixty pieces, but only few used violin as main instrument in the music. Most of them are his early works and the time he starts showing his maturity in his compositions. Crumb s contribution to violin music has challenged performers to re-think and change the way of performance practice and execution. He has raised the awareness of new manner of performing the twentieth century music. 5. Acknowledgements I am grateful to United International College, Beijing Normal University-Hong Kong Baptist University for their generous 2013 UIC research grant without which this investigation could not have been completed. 6. Reference [1] K. Stone. Music Notation in the Twentieth Century: A Practical Guidebook. New York: W.W. Norton & Company, [2] L. Botstein. George Crumb. American Symphony Orchestra, 2013, accessed on 10 March 2013, [3] Yale School of Music, Concerts: New Music New Haven Hosts Renowned Composer George Crumb Nov. 15, 89
6 November 9, 2012, accessed on 10 March 2013, [4] R. Shuffet. The Music, , of George Crumb: A Syle Analysis. D. M. A. diss., Peabody Institute, [5] D. Gillespie. Profile of a Composer: George Crumb. New York: C. F. Peters, 1986, pp [6] G. Crumb. Four Nocturnes for Violin and Piano. New York: C. F. Peters, [7] L. Botstein. George Crumb. American Symphony Orchestra, 2013, accessed on 10 March 2013, [8] Music Academy Online, 2007, George Crumb, Accessed on 10 March 2013, [9] G. Crumb. Dream Sequence (Images II). New York: C. F. Peters, [10] A. Pryer. Graphic notation. The Oxford Companion to Music. Ed. Alison Latham. Oxford Music Online. 08 March [11] G. Crumb. Eleven Echoes of Autumn, 1965 (Echoes I) for violin, Alto flute, Clarinet and Piano. New York: C. F. Peters, [12] Crumb: Vox Balaenae (Voice of the Whale). Performed by New Music Concerts Ensemble and Robert Aitken. Naxos , CD, [13] A mandolin is four strings, lute-like plucked or strummed string instrument, tuned in perfect fifths and plucked with a plectrum. [14] G. Crumb. Eleven Echoes of Autumn, 1965 (Echoes I) Alto flute, Clarinet and Piano. New York: C. F. Peters,
Transcendence and Religiosity: Compositional Elements in the Writing of George Crumb's Black Angels
DOI: 10.7763/IPEDR. 2012. V58. 16 Transcendence and Religiosity: Compositional Elements in the Writing of George Crumb's Black Angels Ang-Cheng Kris Ho 1 Beijing Normal University-Hong Kong Baptist University
More informationHaydn: Symphony No. 101 second movement, The Clock Listening Exam Section B: Study Pieces
Haydn: Symphony No. 101 second movement, The Clock Listening Exam Section B: Study Pieces AQA Specimen paper: 2 Rhinegold Listening tests book: 4 Renaissance Practice Paper 1: 6 Renaissance Practice Paper
More informationMusic Appreciation Final Exam Study Guide
Music Appreciation Final Exam Study Guide Music = Sounds that are organized in time. Four Main Properties of Musical Sounds 1.) Pitch (the highness or lowness) 2.) Dynamics (loudness or softness) 3.) Timbre
More informationBIG IDEAS. Music is a process that relies on the interplay of the senses. Learning Standards
Area of Learning: ARTS EDUCATION Music: Instrumental Music (includes Concert Band 10, Orchestra 10, Jazz Band 10, Guitar 10) Grade 10 BIG IDEAS Individual and collective expression is rooted in history,
More informationMusic Curriculum Map 2017/18
Term In School: Ways to help at home: 1 Autumn Ourselves Explore ways of using their voices expressively. Sing with actions and create an expressive story. Number Develop a sense of a steady beat through
More informationUnit 8 Practice Test
Name Date Part 1: Multiple Choice 1) In music, the early twentieth century was a time of A) the continuation of old forms B) stagnation C) revolt and change D) disinterest Unit 8 Practice Test 2) Which
More information3. Berlioz Harold in Italy: movement III (for Unit 3: Developing Musical Understanding)
3. Berlioz Harold in Italy: movement III (for Unit 3: Developing Musical Understanding) Background information Biography Berlioz was born in 1803 in La Côte Saint-André, a small town between Lyon and Grenoble
More informationGreenwich Public Schools Orchestra Curriculum PK-12
Greenwich Public Schools Orchestra Curriculum PK-12 Overview Orchestra is an elective music course that is offered to Greenwich Public School students beginning in Prekindergarten and continuing through
More informationLEVELS IN NATIONAL CURRICULUM MUSIC
LEVELS IN NATIONAL CURRICULUM MUSIC Pupils recognise and explore how sounds can be made and changed. They use their voice in different ways such as speaking, singing and chanting. They perform with awareness
More informationLEVELS IN NATIONAL CURRICULUM MUSIC
LEVELS IN NATIONAL CURRICULUM MUSIC Pupils recognise and explore how sounds can be made and changed. They use their voice in different ways such as speaking, singing and chanting. They perform with awareness
More informationNEMC COURSE CATALOGUE
MAJOR PERFORMING GROUPS Each camper is required to participate in at least one major performing group. However, because of instrumentation limits, some campers might not get their first choice. Pianists
More information29 Music CO-SG-FLD Program for Licensing Assessments for Colorado Educators
29 Music CO-SG-FLD029-02 Program for Licensing Assessments for Colorado Educators Readers should be advised that this study guide, including many of the excerpts used herein, is protected by federal copyright
More informationAdditional Orchestration Concepts
Additional Orchestration Concepts This brief, online supplement presents additional information related to instrumentation and orchestration, which are covered in Chapter 12 of the text. Here, you will
More informationYear 7 revision booklet 2017
Year 7 revision booklet 2017 Woodkirk Academy Music Department Name Form Dynamics How loud or quiet the music is Key Word Symbol Definition Pianissimo PP Very Quiet Piano P Quiet Forte F Loud Fortissimo
More informationMUSIC CURRICULM MAP: KEY STAGE THREE:
YEAR SEVEN MUSIC CURRICULM MAP: KEY STAGE THREE: 2013-2015 ONE TWO THREE FOUR FIVE Understanding the elements of music Understanding rhythm and : Performing Understanding rhythm and : Composing Understanding
More informationGCE. Music. Mark Scheme for January Advanced Subsidiary GCE Unit G353: Introduction to Historical Study in Music
GCE Music Advanced Subsidiary GCE Unit G353: Introduction to Historical Study in Music Mark Scheme for January 2013 Oxford Cambridge and RSA Examinations OCR (Oxford Cambridge and RSA) is a leading UK
More informationHigh School Music Listening Contest Championship Contest Round 1, Musical Identification. 1. Composer: Title: 2.
Championship Contest Round 1, Musical Identification You will hear 10 musical excerpts of works from the Study Guide. Each will last from 10 to 30 seconds. You will have approximately 15 seconds between
More informationMusic at Menston Primary School
Music at Menston Primary School Music is an academic subject, which involves many skills learnt over a period of time at each individual s pace. Listening and appraising, collaborative music making and
More informationTEST SUMMARY AND FRAMEWORK TEST SUMMARY
Washington Educator Skills Tests Endorsements (WEST E) TEST SUMMARY AND FRAMEWORK TEST SUMMARY MUSIC: INSTRUMENTAL Copyright 2016 by the Washington Professional Educator Standards Board 1 Washington Educator
More informationReflection on Final Project
Music Department Composition Reflection on Final Project Analysis of musical work The Mouse that ate Fingernails Greinargerð til M.Mus.-prófs í tónsmíðum Sohjung Park spring semester 2018 Table
More informationBrown Eyes, Black Magic
Florida International University FIU Digital Commons FIU Electronic Theses and Dissertations University Graduate School 3-28-2017 Brown Eyes, Black Magic Marcus Duane Norris JR marcusnorrismusic@gmail.com
More informationThe Extension Technique and Interpretation of George Crumb s Solo Piano Works
The Extension Technique and Interpretation of George Crumb s Solo Piano Works Abstract The new techniques and timbral exploration in George Crumb s Piano solo works are important in the developing of twentieth
More informationSun Music I (excerpt)
Sun Music I (excerpt) (1965) Peter Sculthorpe CD Track 15 Duration 4:10 Orchestration Brass Percussion Strings 4 Horns 3 Trumpets 3 Trombones Tuba Timpani Bass Drum Crotales Tam-tam Chime Triangle Cymbal
More informationIntroduction to Instrumental and Vocal Music
Introduction to Instrumental and Vocal Music Music is one of humanity's deepest rivers of continuity. It connects each new generation to those who have gone before. Students need music to make these connections
More informationMacro Project #1 Dr. Kinney Music /18/2013. Megan Adler
Macro Project #1 Dr. Kinney Music 4576 3/18/2013 Megan Adler TEACHERS GUIDE A Prehistoric Suite Composer: Paul Jennings Grade Level 1 A Prehistoric Suite Composer: Paul Jennings Grade Level 1 Unit Guide
More informationMusic Curriculum Glossary
Acappella AB form ABA form Accent Accompaniment Analyze Arrangement Articulation Band Bass clef Beat Body percussion Bordun (drone) Brass family Canon Chant Chart Chord Chord progression Coda Color parts
More informationGeorge Crumb. By Michael Taylor. George Crumb is an American composer who was born in Charleston, West
Taylor - 1 George Crumb By Michael Taylor George Crumb is an American composer who was born in Charleston, West Virginia on October 24, 1929. He was born into a musical family and became interested in
More information2014 Music Style and Composition GA 3: Aural and written examination
2014 Music Style and Composition GA 3: Aural and written examination GENERAL COMMENTS The 2014 Music Style and Composition examination consisted of two sections, worth a total of 100 marks. Both sections
More informationCopyright 2009 Pearson Education, Inc. or its affiliate(s). All rights reserved. NES, the NES logo, Pearson, the Pearson logo, and National
Music (504) NES, the NES logo, Pearson, the Pearson logo, and National Evaluation Series are trademarks in the U.S. and/or other countries of Pearson Education, Inc. or its affiliate(s). NES Profile: Music
More informationspecialneedsinmusic.com Goals and Objectives for Special Needs and Other Students
specialneedsinmusic.com Goals and Objectives for Special Needs and Other Students The music activities outlined here are drawn from my classroom experience and are compatible with the New York State Learning
More informationMARK SCHEME for the May/June 2008 question paper 0410 MUSIC
UNIVERSITY OF CAMBRIDGE INTERNATIONAL EXAMINATIONS International General Certificate of Secondary Education www.xtremepapers.com MARK SCHEME for the May/June 2008 question paper 0410 MUSIC 0410/01 Paper
More informationCurriculum Mapping Subject-VOCAL JAZZ (L)4184
Curriculum Mapping Subject-VOCAL JAZZ (L)4184 Unit/ Days 1 st 9 weeks Standard Number H.1.1 Sing using proper vocal technique including body alignment, breath support and control, position of tongue and
More informationNEMC COURSE CATALOGUE
NEMC COURSE CATALOGUE MAJOR PERFORMING GROUPS Each camper is required to participate in at least one major performing group. However, because of instrumentation limits, some campers might not get their
More informationA series of music lessons for implementation in the classroom F-10.
A series of music lessons for implementation in the classroom F-10. Conditions of Use These materials are freely available for download and educational use. These resources were developed by Sydney Symphony
More information3 against 2. Acciaccatura. Added 6th. Augmentation. Basso continuo
3 against 2 Acciaccatura One line of music may be playing quavers in groups of two whilst at the same time another line of music will be playing triplets. Other note values can be similarly used. An ornament
More informationMissouri Educator Gateway Assessments
Missouri Educator Gateway Assessments FIELD 043: MUSIC: INSTRUMENTAL & VOCAL June 2014 Content Domain Range of Competencies Approximate Percentage of Test Score I. Music Theory and Composition 0001 0003
More informationPower Standards and Benchmarks Orchestra 4-12
Power Benchmark 1: Singing, alone and with others, a varied repertoire of music. Begins ear training Continues ear training Continues ear training Rhythm syllables Outline triads Interval Interval names:
More informationMUSIC (MU) Music (MU) 1
Music (MU) 1 MUSIC (MU) MU 1130 Beginning Piano I (1 Credit) For students with little or no previous study. Basic knowledge and skills necessary for keyboard performance. Development of physical and mental
More information44. Jerry Goldsmith Planet of the Apes: The Hunt (opening) (for Unit 6: Further Musical Understanding)
44. Jerry Goldsmith Planet of the Apes: The Hunt (opening) (for Unit 6: Further Musical Understanding) Background information and performance circumstances Biography Jerry Goldsmith was born in 1929. Goldsmith
More informationAssessment Schedule 2017 Music: Demonstrate knowledge of conventions in a range of music scores (91276)
NCEA Level 2 Music (91276) 2017 page 1 of 8 Assessment Schedule 2017 Music: Demonstrate knowledge of conventions in a range of music scores (91276) Assessment Criteria Demonstrating knowledge of conventions
More informationMUSIC (MUS) Music (MUS) 1
Music (MUS) 1 MUSIC (MUS) MUS 2 Music Theory 3 Units (Degree Applicable, CSU, UC, C-ID #: MUS 120) Corequisite: MUS 5A Preparation for the study of harmony and form as it is practiced in Western tonal
More information0410 MUSIC. Mark schemes should be read in conjunction with the question paper and the Principal Examiner Report for Teachers.
CAMBRIDGE INTERNATIONAL EXAMINATIONS International General Certificate of Secondary Education MARK SCHEME for the May/June 2014 series 0410 MUSIC 0410/13 Paper 1 (Listening), maximum raw mark 70 This mark
More informationMusic (MUS) Courses. Music (MUS) 1
Music (MUS) 1 Music (MUS) Courses MUS-011. Basic Musicianship I. 0 Credits. Requirement for Music Majors who do not pass the Music Theory I, MUS-117, placement exam. A pre-music theory course designed
More informationVivaldi: Concerto in D minor, Op. 3 No. 11 (for component 3: Appraising)
Vivaldi: Concerto in D minor, Op. 3 No. 11 (for component 3: Appraising) Background information and performance circumstances Antonio Vivaldi (1678 1741) was a leading Italian composer of the Baroque period.
More informationTEST SUMMARY AND FRAMEWORK TEST SUMMARY
Washington Educator Skills Tests Endorsements (WEST E) TEST SUMMARY AND FRAMEWORK TEST SUMMARY MUSIC: CHORAL Copyright 2016 by the Washington Professional Educator Standards Board 1 Washington Educator
More informationThe Impressionist Period
Episode 4 The Impressionist Period Atmospheres and worlds of sound 1OVERVIEW The Impressionist period was distinctive because composers were focused on creating an impression through building atmospheres,
More informationCourtney Pine: Back in the Day Lady Day and (John Coltrane), Inner State (of Mind) and Love and Affection (for component 3: Appraising)
Courtney Pine: Back in the Day Lady Day and (John Coltrane), Inner State (of Mind) and Love and Affection (for component 3: Appraising) Background information and performance circumstances Courtney Pine
More informationJump Jam Jiggle! Gustav Holst. Arranger and Presenter, Kate Page Musicians of the West Australian Symphony Orchestra
! Jump Jam Jiggle! Featuring excerpts from The Planets Gustav Holst Arranger and Presenter, Kate Page Musicians of the West Australian Symphony Orchestra Presented as part of the 2018 Homegrown Festival
More informationMusic Learning Expectations
Music Learning Expectations Pre K 3 practice listening skills sing songs from memory experiment with rhythm and beat echo So Mi melodies incorporate movements to correspond to specific music use classroom
More informationSecond Grade Music Curriculum
Second Grade Music Curriculum 2 nd Grade Music Overview Course Description In second grade, musical skills continue to spiral from previous years with the addition of more difficult and elaboration. This
More informationGrade Level 5-12 Subject Area: Vocal and Instrumental Music
1 Grade Level 5-12 Subject Area: Vocal and Instrumental Music Standard 1 - Sings alone and with others, a varied repertoire of music The student will be able to. 1. Sings ostinatos (repetition of a short
More informationFINE ARTS Institutional (ILO), Program (PLO), and Course (SLO) Alignment
FINE ARTS Institutional (ILO), Program (PLO), and Course (SLO) Program: Music Number of Courses: 52 Date Updated: 11.19.2014 Submitted by: V. Palacios, ext. 3535 ILOs 1. Critical Thinking Students apply
More informationOKLAHOMA SUBJECT AREA TESTS (OSAT )
CERTIFICATION EXAMINATIONS FOR OKLAHOMA EDUCATORS (CEOE ) OKLAHOMA SUBJECT AREA TESTS (OSAT ) FIELD 001: INSTRUMENTAL/GENERAL MUSIC September 2010 Subarea Range of Competencies I. Listening Skills 0001
More informationThird Grade Music Curriculum
Third Grade Music Curriculum 3 rd Grade Music Overview Course Description The third-grade music course introduces students to elements of harmony, traditional music notation, and instrument families. The
More informationMusic 1. the aesthetic experience. Students are required to attend live concerts on and off-campus.
WWW.SXU.EDU 1 MUS 100 Fundamentals of Music Theory This class introduces rudiments of music theory for those with little or no musical background. The fundamentals of basic music notation of melody, rhythm
More informationILLINOIS LICENSURE TESTING SYSTEM
ILLINOIS LICENSURE TESTING SYSTEM FIELD 143: MUSIC November 2003 Illinois Licensure Testing System FIELD 143: MUSIC November 2003 Subarea Range of Objectives I. Listening Skills 01 05 II. Music Theory
More informationThe Rite of Spring Animated Graphical Score Video (Stephen Malinowski, Jay Bacal) Development Notes
The Rite of Spring Animated Graphical Score Video (Stephen Malinowski, Jay Bacal) Development Notes 1. Getting Started To achieve synchronization between an audio recording and an animated graphical score,
More informationTone for Clarinet Ensemble
Tone for Clarinet Ensemble Name Surname Yos Vaneesorn Academic Status Clarinet Lecturer Faculty Faculty of Music University Silpakorn University Country Thailand E-mail address vaneesorn@gmail.com Abstract
More informationLearners will practise and learn to perform one or more piece(s) for their instrument of an appropriate level of difficulty.
OCR GCSE 9-1 MUSIC (J536) Examination date (Listening) 4 th June 2019 This is a checklist of topics you need to know for your Music exam. Listening exam 6 th June 2018 For each topic indicate your level
More informationFoundation - MINIMUM EXPECTED STANDARDS By the end of the Foundation Year most pupils should be able to:
Foundation - MINIMUM EXPECTED STANDARDS By the end of the Foundation Year most pupils should be able to: PERFORM (Singing / Playing) Active learning Speak and chant short phases together Find their singing
More information(Thus Said) Dániel Péter Biró ( ) For Contralto, Piano, Ensemble, and Electronics. Material Press
m$ (Thus Said For Contralto, Piano, Ensemble, and Electronics Dániel Péter Biró (20082010 Material Press Copyright Dániel Péter Biró and Material Press All rights reserved Dániel Péter Biró Ko Amar Performance
More informationBLUE VALLEY DISTRICT CURRICULUM & INSTRUCTION Music 9-12/Honors Music Theory
BLUE VALLEY DISTRICT CURRICULUM & INSTRUCTION Music 9-12/Honors Music Theory ORGANIZING THEME/TOPIC FOCUS STANDARDS FOCUS SKILLS UNIT 1: MUSICIANSHIP Time Frame: 2-3 Weeks STANDARDS Share music through
More informationSkill Year 1 Year 2 Year 3 Year 4 Year 5 Year 6 Controlling sounds. Sing or play from memory with confidence. through Follow
Borough Green Primary School Skills Progression Subject area: Music Controlling sounds Take part in singing. Sing songs in ensemble following Sing songs from memory with Sing in tune, breathe well, pronounce
More informationMELODIC NOTATION UNIT TWO
MELODIC NOTATION UNIT TWO This is the equivalence between Latin and English notation: Music is written in a graph of five lines and four spaces called a staff: 2 Notes that extend above or below the staff
More informationPlaying Body Percussion Playing on Instruments. Moving Choreography Interpretive Dance. Listening Listening Skills Critique Audience Etiquette
BOE Approval MUSIC DEPARTMENT COURSE SEQUENCE: 3 rd Grade General Music TOWNSHIP OF OCEAN SCHOOLS CONCEPTS Elements of Music Rhythms Beat (Meter and Time Signatures) Music Symbols Rhythmic Notation Pitch/Melody
More informationConnecticut State Department of Education Music Standards Middle School Grades 6-8
Connecticut State Department of Education Music Standards Middle School Grades 6-8 Music Standards Vocal Students will sing, alone and with others, a varied repertoire of songs. Students will sing accurately
More informationCALIFORNIA Music Education - Content Standards
CALIFORNIA Music Education - Content Standards Kindergarten 1.0 ARTISTIC PERCEPTION Processing, Analyzing, and Responding to Sensory Information through the Language and Skills Unique to Music Students
More informationUNIVERSITY COLLEGE DUBLIN NATIONAL UNIVERSITY OF IRELAND, DUBLIN MUSIC
UNIVERSITY COLLEGE DUBLIN NATIONAL UNIVERSITY OF IRELAND, DUBLIN MUSIC SESSION 2000/2001 University College Dublin NOTE: All students intending to apply for entry to the BMus Degree at University College
More informationAssessment Schedule 2013 Making Music: Integrate aural skills into written representation (91420)
NCEA Level 3 Making Music (91420) 2013 page 1 of 6 Assessment Schedule 2013 Making Music: Integrate aural skills into written representation (91420) Evidence Statement ONE (a) (i) (iii) Shenandoah Identifies
More information5. Debussy Prélude à l'après-midi d'un faune (for Unit 3 : Developing Musical Understanding)
5. Debussy Prélude à l'après-midi d'un faune (for Unit 3 : Developing Musical Understanding) Background information Biography Debussy was born in St Germain-en-Laye, France on 22nd August 1862. His prodigious
More informationCurriculum Standard One: The student will listen to and analyze music critically, using the vocabulary and language of music.
Curriculum Standard One: The student will listen to and analyze music critically, using the vocabulary and language of music. 1. The student will analyze the uses of elements of music. A. Can the student
More informationStandard 1 PERFORMING MUSIC: Singing alone and with others
KINDERGARTEN Standard 1 PERFORMING MUSIC: Singing alone and with others Students sing melodic patterns and songs with an appropriate tone quality, matching pitch and maintaining a steady tempo. K.1.1 K.1.2
More informationThe Elements of Music. A. Gabriele
The Elements of Music A. Gabriele Rhythm Melody Harmony Texture Timbre Dynamics Form The 7 Elements Rhythm Rhythm represents the element of time in music. When you tap your foot, you are moving to the
More informationMUSIC DEPARTMENT MUSIC PERSPECTIVES: HISTORY OF POPULAR MUSIC A/B /656600
MUSIC DEPARTMENT All courses fulfill the Fine Arts Credit. All music classes must be taken for the entire academic year. Many Music Classes may be taken for repeated credit. MUSIC PERSPECTIVES: HISTORY
More informationKeyboard Foundation Level 1
Keyboard Foundation Level 1 Set a voice, style and tempo from instructions given. Read a range of notes over a fifth (C to G) without accidentals using semibreves, dotted minims, minims and crotchets.
More informationCourse Outcome Summary
Course Information: Music 5 Description: Instruction Level: Grade 5 Course Students in this course perform varied repertoire using proper singing, recorder and accompanying technique, and understanding
More informationMusic. Curriculum Glance Cards
Music Curriculum Glance Cards A fundamental principle of the curriculum is that children s current understanding and knowledge should form the basis for new learning. The curriculum is designed to follow
More informationNEW YORK STATE TEACHER CERTIFICATION EXAMINATIONS
NEW YORK STATE TEACHER CERTIFICATION EXAMINATIONS June 2003 Authorized for Distribution by the New York State Education Department "NYSTCE," "New York State Teacher Certification Examinations," and the
More informationMaster's Theses and Graduate Research
San Jose State University SJSU ScholarWorks Master's Theses Master's Theses and Graduate Research Fall 2010 String Quartet No. 1 Jeffrey Scott Perry San Jose State University Follow this and additional
More informationMusic (MUSIC) Iowa State University
Iowa State University 2013-2014 1 Music (MUSIC) Courses primarily for undergraduates: MUSIC 101. Fundamentals of Music. (1-2) Cr. 2. F.S. Prereq: Ability to read elementary musical notation Notation, recognition,
More informationElementary Strings Grade 5
The following Instrumental Music performance objectives are integrated throughout the entire course: INSTRUMENTAL MUSIC SKILLS Strand 1: Create Concept 1: Singing, alone and with others, music from various
More informationIveson Primary School Year 1 Subject - Music
Year 1 Subject - Music Singing - linked to Magical Me topic focus - character and body songs Take part in singing, accurately following the melody. Follow instructions on how and when to sing. Make and
More informationMusic Curriculum Map Year 5
Music Curriculum Map Year 5 At all times pupils will be encouraged to perform using their own instruments if they have them. Topic 1 10 weeks Topic 2 10 weeks Topics 3 10 weeks Topic 4 10 weeks Title:
More informationAfrican Music Research
Term 1 Rhythm For your homework task this term, you should complete the questionnaire task below, then choose one more of the tasks from the grid. The homework should be completed on plain or lined paper
More informationMu 101: Introduction to Music
Attendance/Reading Quiz! Mu 101: Introduction to Music Instructor: Dr. Alice Jones Queensborough Community College Fall 2018 Sections F2 (T 12:10-3) and J2 (3:10-6) Reading quiz Religion was the most important
More informationPreparatory Orchestra Performance Groups INSTRUMENTAL MUSIC SKILLS
Course #: MU 23 Grade Level: 7-9 Course Name: Preparatory Orchestra Level of Difficulty: Average Prerequisites: Teacher recommendation/audition # of Credits: 2 Sem. 1 Credit MU 23 is an orchestra class
More informationMusic Department Curriculum and Assessment Outline
Year Group: 7 Teaching, learning and assessment during the course: Timing Unit Title Key Question(s) How will we know that pupils can answer the key question(s)? Key Themes of the unit Instruments of the
More informationPoway Unified School District Instrumental Music Scope and Sequence Grades 5 through 12
Poway Unified School District Instrumental Music Scope and Sequence Grades 5 through 12 The mission of the Poway Unified School District Instrumental Music Program is to provide a quality music education
More informationA World of Possibilities
A World of Possibilities Master Lessons in Organ Improvisation Jeffrey Brillhart A World of Possibilities Master Lessons in Organ Improvisation Jeffrey Brillhart Reproduction of any part of this book is
More informationFirst Steps. Music Scope & Sequence
Performing: Singing and Playing The use of a range of instruments to perform individually and as part of an ensemble for an audience in formal and informal settings; the voice is the most immediately available
More informationAdvanced Placement Music Theory
Page 1 of 12 Unit: Composing, Analyzing, Arranging Advanced Placement Music Theory Framew Standard Learning Objectives/ Content Outcomes 2.10 Demonstrate the ability to read an instrumental or vocal score
More informationAP Music Theory Syllabus
AP Music Theory Syllabus Instructor: T h a o P h a m Class period: 8 E-Mail: tpham1@houstonisd.org Instructor s Office Hours: M/W 1:50-3:20; T/Th 12:15-1:45 Tutorial: M/W 3:30-4:30 COURSE DESCRIPTION:
More informationThis guide was created to help you make the most of your Class Notes Artists visit with the Concordia Wind Quintet.
Hello Teachers This guide was created to help you make the most of your Class Notes Artists visit with the Concordia Wind Quintet. The goal of the concert experience is to inspire, motivate, and entertain
More informationElements of Music - 2
Elements of Music - 2 A series of single tones that add up to a recognizable whole. - Steps small intervals - Leaps Larger intervals The specific order of steps and leaps, short notes and long notes, is
More informationMu 110: Introduction to Music
Reading/attendance quiz! Mu 110: Introduction to Music Instructor: Dr. Alice Jones Queensborough Community College Fall 2016 Sections C5A (Fridays 9:10-12) and F5A (Fridays 12:10-3) Recap Blending of different
More informationSUBJECT VISION AND DRIVERS
MUSIC Subject Aims Music aims to ensure that all pupils: grow musically at their own level and pace; foster musical responsiveness; develop awareness and appreciation of organised sound patterns; develop
More informationMusic Study Guide. Moore Public Schools. Definitions of Musical Terms
Music Study Guide Moore Public Schools Definitions of Musical Terms 1. Elements of Music: the basic building blocks of music 2. Rhythm: comprised of the interplay of beat, duration, and tempo 3. Beat:
More informationThe Classical Period
The Classical Period How to use this presentation Read through all the information on each page. When you see the loudspeaker icon click on it to hear a musical example of the concept described in the
More informationGrade Level Music Curriculum:
Grade Level Music Curriculum: All the grade levels will experience sing alone and with others, a diverse repertoire representing various cultures and styles (for example, folk songs, poems, play-party
More informationGRADUATE PLACEMENT EXAMINATIONS - COMPOSITION
McGILL UNIVERSITY SCHULICH SCHOOL OF MUSIC GRADUATE PLACEMENT EXAMINATIONS - COMPOSITION All students beginning graduate studies in Composition, Music Education, Music Technology and Theory are required
More information