Mobility in the Works of Alexander Calder and Earle Brown
|
|
- Stewart Lindsey
- 6 years ago
- Views:
Transcription
1 Mobility in the Works of Alexander Calder and Earle Brown Owen Meyers McGill University 2001
2 2 Mobility is one of the basic functions of man and nature. Thus it seems fitting for Alexander Calder and Earle Brown to incorporate such an element into their works. Calder brings movement to sculptures with his invention of the mobile, and Brown uses Calder s ideas of mobility to create compositions with a natural movement. The works of Calder explore aspects of simplicity, abstractness, nature and humour. Brown s influence from Calder and the visual arts prompts him to create new forms of music notation, such as graphic notation. His pieces are filled with ambiguity, spontaneity and mobility. Both artists use contrast and balance to add freedom and mobility to their works. This is apparent in Calder s standing mobile, Bayonets Menacing a Flower, and Brown s composition, Music for violin, cello and piano. Through these works and many others, Calder and Brown bring a fresh, new insight to the fine arts world with their use of mobility. Alexander Calder ( ) is a great American sculptor, also known as the inventor of the mobile. His artistic style is simple and natural, yet humourous and abstract. After a brief pursuit of mechanical engineering and painting, Calder decided to follow in the footsteps of both his father and grandfather and become a sculptor. He was able to gain popularity with avantgarde artists with his work Cirque Calder, which is an entire circus made out of little wire figures. Calder put on a performance of his circus during his 1926 visit to Paris. By this time, Calder was the first American abstract artist to receive international recognition (Farber, and the first person to make sculpture move, through the use of his motorized sculptures (Sheldon Gallery, This was his first step in incorporating movement and time into plaster art (Calder Foundation, His obsession with movement would eventually lead to the mobile, for which he is most famous. These devices are made of wire and thin sheets of metal that respond to the currents of the air,
3 3 which is a much more natural movement than his earlier motorized sculptures. After 1945, Calder begins to create mobiles that are part of a stationary sculpture, which he classifies as a stabile. These are called standing mobiles and Calder strives to organically relate the stabile and mobile as a whole (Arnason, p. 95). A good description of Calder s mobiles is that they do not move in any single way, but set up a series of passages from one position to another, in a continuous, gentle, serpentine flux (Carandente, p. 21). Calder s abstract influence comes largely from Piet Mondrian. Mondrian brings out Calder s basic love for natural and organic forms, as well as his abstractness (Sheldon Gallery, Calder's work basically combines simple and natural forms, and adds a humourous and abstract twist on things (Sweeny, p. 59). Earle Brown (1926-) is a composer who is, like Calder, an American. He is influenced by the visual arts, namely Alexander Calder s mobiles. With a background in jazz, engineering, and the U.S. Air Force, Brown is best known for his initiation of graphic notation, time-notation and open form (Nicholls, Incidentally, Alexander Calder had a desire to be in the U.S. Marines, but his application was denied. Brown has two major influences. The first is Schillinger s method of composition that is based on qualitative and quantitative analysis of the physical material of music (Kostelanetz, p. 187). This explains Brown s taste for serial compositions, as Shillinger s methods deal primarily with serialism. Though most of his music is considered to be serial, Brown does not follow these rules very strictly. Secondly is the strong influence from the visual arts in Brown s music, which comes from Piet Mondrian, Jackson Pollock and Calder. Mondrian s influence lends to the graphic nature in Brown s scores (Brindle, p. 89), Pollock adds spontaneity, and Calder provides mobility. David Nicholls states that his encounter with the work of Calder was particularly
4 4 influential to his developing musical aesthetic (Nicholls, This need for mobility and freedom of the performer causes Brown to place less emphasis on the strict methods of Schillinger and serial composition, and more on the opportunity for the performer to improvise. Brown adds that since 1952, [he has] worked with aspects of mobility in the scoring and performance of [his] work (Brown, Brown s contemporaries include John Cage, Morton Feldman, and David Tudor, though his style is much different from that of Cage (Brindle, p. 130). His music is very free like Cage s, but Brown emphasizes choice over chance. He defines parameters and material that the performer can then improvise around. For this reason, there is always some degree of creative ambiguity in Brown s compositions (Nicholls, The performer has to balance both control and noncontrol in order to portray Brown s vision for the piece. Brown s compositions have unique identities, but through the use of different scoring techniques, he adds vagueness and mobility to them. The sculpture Bayonets Menacing a Flower (1945) by Calder is a stabile mobile. This sculpture was constructed during a period of Calder s life where he had fully developed both mobiles and stabiles on their own and was now combining the two in an organic fashion. It contains contrast, simplicity, and balance: all of which are traits characteristic of Calder s work. The title of this standing mobile is strongly associated with the war, since it was constructed around the time of World War II, and the sharply pierced planes resemble bayonets (Marter, p. 214). Marla Prather describes this sculpture as having pointed, tendril-like appendages, some of which protrude through adjacent forms that have been opened up with cutout elliptical sections. This quality of piercing exacerbates the threatening aspect of the projectile bayonet shapes. Calder strung a wire through one of these openings and added mobiles to either end. At one end, two black elements, apparently the positive shapes cut from the stabile, hover just above the floor; at the other, a tiny, vulnerable cluster of white petals floats in thin air (Prather, p. 228).
5 5 Contrast in this piece exists between nature and man. While nature is delicate, simple and smooth, man is violent, sharp and piercing. The beauty of this sculpture is that Calder is able to balance these images and ideas rationally. Music for violin, cello and piano (1952) is a piece of serial music by Brown. This piece is composed early in Brown s career. He had not yet fully developed his graphic notation and time notation, though this composition leads in that direction. Though the piece is classified as a serial work, Brown argues that it is not entirely serial. It uses rows from twelve-tone writing, but the serialism ends there (Brown, liner notes to Music for Violin, Cello and Piano (1952)). Brown describes the general concept as having a kind of spontaneous pulseless energy, and he wants a flexible, floating quality in [the] performance (Brown, directions for performance of Music for Violin, Cello and Piano (1952)). This piece allows for much more improvisation on the performer s side. Kostelanetz writes that The fully notated pieces Brown wrote between 1950 and 52, such as Music for violin, cello and piano, exhibit a Calder-like mobility in that, as the units of a mobile undergo constant and virtually unpredictable but inherent change, so Brown constructed units of rhythmic groups, assembled them rather arbitrarily and accepted the fact that all possible assemblages were inherently admissible and valid (Kostelanetz, p ). Brown had just viewed the work of Pollock and Calder, and was extremely influenced by the uses of spontaneity and mobility in their works. The music is sparse and has an unsettled, moving feel that one associates with the movement mobiles. Since Brown was greatly influenced by the work of Calder, the products of these two men are very closely related. Calder and Brown are Americans who deal with fairly abstract ideas, most likely because of the great influence of the abstract artist Piet Mondrian. As well, they shared a common attraction to engineering and the military before switching to the fine arts. These common roots help to develop a connection of greater depth between the artists. The main
6 6 theme that relates the two works, Bayonets Menacing a Flower and Music for violin, cello and piano, is mobility. It is clearly documented that Brown draws his ideas of mobility from Calder s mobiles, and, as Kostelanetz mentioned, Brown uses rhythm to mimic Calder s mobiles. While rhythm creates mobility and randomness in Brown s work, the flower in Calder s standing mobile adds a sense of mobility and the bayonets appear sharp and random. The flower balances on a weak piece of wire that is not securely attached to the base of the sculpture, allowing it to move in any direction. The bayonets, like the notes in Brown s piece, are completely mobile and random. There is nothing to constrain their erratic form. Calder s mobiles bring mobility to Brown s compositions, but with mobility comes a need for stability. Another major theme is that of balance. In Calder s sculpture, there is a balance between structure and freedom. The bayonets provide stability, while the delicate flower dangles precariously out of their reach. Though the bayonets menace the vulnerable flower, they also support it. Calder s work displays a variety of contrasting, yet balanced ideas. These include man and nature, war and peace, bayonets and flowers, and ultimately structure and freedom. Similarly, Brown s composition has set music and notation, which provides stability, but the performer has the freedom to play with the time. Brown states in his performance notes that it is more important to develop a sense of the time values of the durations and figurations at the various tempi than it is to count the rhythm in the usual way (Brown, directions for performance of Music for Violin, Cello and Piano (1952)). The performer adds the element of freedom to Brown s composition as the flower adds freedom to Calder s stabile mobile, yet there is an underlying structure that is always present. Aside from being free, the flower in Bayonets Menacing a Flower has a flexible and floating manner. There are many joints and hinges with which the flower is able to move, and it
7 7 is precariously balanced on the end of a long wire simply waiting for a gust of wind to stir it into motion. Brown s piece moves in much the same way. There is no given time signature; the performers must work together in creating a flowing movement. Time remains flexible in Brown s composition while the melody floats on top. This flexible and floating nature of the works requires a degree of lightness and spontaneity. These two works are filled with a relatively limited amount of material, yet they remain without repetition. The material is lightly distributed between the three instruments in Music for violin, cello and piano. There are rarely more than two notes played simultaneously, which makes the texture of the piece is very light. Calder s sculpture has a light texture because it is full of elliptical holes and thin, pointed extremities. As well, the bayonets and white petals create images of agility and grace in the mind of the viewer. Both works are completely spontaneous. Music for violin, cello and piano is performed like a mobile in that the tempo has a starting place and a suggested form, but can go anywhere it pleases. This is rarely back to the place of origin. For this reason, the work has a unique identity, but never appears the same way twice (Revill, p. 127). Besides having a spontaneous tempo, Brown s composition contains no repetition of notes or rhythms. Likewise, the form of Calder s sculpture is completely natural and without repetition. These abstract artists have incorporated mobility into their work, thereby making it natural and flexible. Calder, with his simplicity and humour, and Brown, with his taste for ambiguity, have opened up a new dimension to the fine arts through their mobility. Bayonets Menacing a Flower by Alexander Calder and Music for violin, cello and piano by Earle Brown both use aspects of mobility, balance, flexibility, and spontaneity. The rational frameworks are transcended by Brown's improvisation for classical musicians and Calder's moving sculptures.
8 Bayonets Menacing a Flower, Alexander Calder; 45" x 58 1/4" x 19"; painted sheet metal and wire;
9 9 Bibliography Arnason, H. Harvard. Calder. Princeton, N.J.: Van Nostrand, Brindle, Reginald Smith. The New Music: The Avant-garde Since New York: Oxford University Press, Brown, Earle. Music for Violin, Cello and Piano (1952). Directions for performance by Earle Brown. New York: Universal Edition, Brown, Earle. Music for Violin, Cello and Piano (1952). Notes by Earle Brown. Time Records S/8007 B. Brown, Earle. About Cross Sections And Color Fields" And Its Origins. May Calder Foundation. Alexander Calder Carandente, Giovanni. Calder: Mobiles and Stabiles. New York: New American Library, Farber, Janet L. Alexander Calder. Kostelanetz, R. and J. Darby. Classic Essays on Twentieth-Century Music. New York: Schirmir, Marter, Joan M. Alexander Calder. New York: Cambridge University Press, Nicholls, David. " (need to access through first). Brown, Earle Grove Music Prather, Marla. Alexander Calder, New Haven: Yale University Press, Revill, David. Brown, Earle (Appleton), Jr. In Contemporary Composers, ed. B. Morton and P. Collins. Chicago: St. James Press, 1992.
10 10 Sheldon Memorial Art Gallery and Sculpture Garden. Alexander Calder Sweeny, James Johnson. Alexander Calder. New York: Museum of Modern Art, 1951.
Music is the one art form that is entirely defined by time. Once a piece of
In This Chapter Chapter 1 Thinking Like a Composer Finding freedom in restraint Joining the ranks of those who create something from nothing Getting to know a few rules of composition Some things to remember
More informationVigil (1991) for violin and piano analysis and commentary by Carson P. Cooman
Vigil (1991) for violin and piano analysis and commentary by Carson P. Cooman American composer Gwyneth Walker s Vigil (1991) for violin and piano is an extended single 10 minute movement for violin and
More informationOne Chord Only - D Minor By Jim Stinnett
One Chord Only - D Minor By Jim Stinnett One Chord Only - D Minor is the third lesson in this four-part series on walking bass. In this session, let us tackle one of the most challenging concepts to grasp.
More informationExperimental Music: Doctrine
Experimental Music: Doctrine John Cage This article, there titled Experimental Music, first appeared in The Score and I. M. A. Magazine, London, issue of June 1955. The inclusion of a dialogue between
More informationArticulation Clarity and distinct rendition in musical performance.
Maryland State Department of Education MUSIC GLOSSARY A hyperlink to Voluntary State Curricula ABA Often referenced as song form, musical structure with a beginning section, followed by a contrasting section,
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 informationBanff Sketches. for MIDI piano and interactive music system Robert Rowe
Banff Sketches for MIDI piano and interactive music system 1990-91 Robert Rowe Program Note Banff Sketches is a composition for two performers, one human, and the other a computer program written by the
More informationValmy Assam Fourth-year undergraduate, Bachelor of Science, Music Minor University of Guelph
New Music at Darmstadt: Nono, Stockhausen, Cage, and Boulez, by Martin Iddon. Cambridge: Cambridge University Press, 2013. [v, 329 p., ISBN 978110703329, $ 44.36.] Music examples, illustrations, diagrams,
More informationSculpting Stage Fright a conversation with Lisa Robertson Excerpt from Kairos Time 2015 published by the Piet Zwart Institute ISBN:
Sculpting Stage Fright a conversation with Lisa Robertson Excerpt from Kairos Time 2015 published by the Piet Zwart Institute ISBN: 978-90-813325-3-8 Kairos Time Micha Zweifel I know you hate the talk.
More informationMusic Preschool. Aesthetic Valuation of Music. Self awareness. Theory of Music. Creation of Music
Preschool listening skills feeling responses to music recognizing music s place in personal life Awareness of appropriate behaviors Individual demonstration of performance skills simple expression movement
More informationOn time: the influence of tempo, structure and style on the timing of grace notes in skilled musical performance
RHYTHM IN MUSIC PERFORMANCE AND PERCEIVED STRUCTURE 1 On time: the influence of tempo, structure and style on the timing of grace notes in skilled musical performance W. Luke Windsor, Rinus Aarts, Peter
More informationComputer Coordination With Popular Music: A New Research Agenda 1
Computer Coordination With Popular Music: A New Research Agenda 1 Roger B. Dannenberg roger.dannenberg@cs.cmu.edu http://www.cs.cmu.edu/~rbd School of Computer Science Carnegie Mellon University Pittsburgh,
More informationChords not required: Incorporating horizontal and vertical aspects independently in a computer improvisation algorithm
Georgia State University ScholarWorks @ Georgia State University Music Faculty Publications School of Music 2013 Chords not required: Incorporating horizontal and vertical aspects independently in a computer
More informationSudoku Music: Systems and Readymades
Sudoku Music: Systems and Readymades Paper Given for the First International Conference on Minimalism, University of Wales, Bangor, 31 August 2 September 2007 Christopher Hobbs, Coventry University Most
More informationBenchmarks: Perform alone on instruments (or with others) a varied repertoire Perform assigned part in an ensemble
URBANDALE COMMUNITY SCHOOL DISTRICT CURRICULUM FRAMEWORK OUTLINE SUBJECT: Music COURSE TITLE: Instrumental Music GRADE LEVEL: Grade 5 COURSE DESCRIPTION: Students in fifth grade instrumental music start
More informationClassical Music. What Is Classical Music?
Non-fiction: Classical Music What Is Classical Music? Classical Music What Is Classical Music? If we want to know what classical music is, we first have to understand some basic things about the way music
More informationMelodic Minor Scale Jazz Studies: Introduction
Melodic Minor Scale Jazz Studies: Introduction The Concept As an improvising musician, I ve always been thrilled by one thing in particular: Discovering melodies spontaneously. I love to surprise myself
More informationWESTFIELD PUBLIC SCHOOLS Westfield, New Jersey
WESTFIELD PUBLIC SCHOOLS Westfield, New Jersey Office of Instruction Course of Study MUSIC K 5 Schools... Elementary Department... Visual & Performing Arts Length of Course.Full Year (1 st -5 th = 45 Minutes
More informationInstrumental Performance Band 7. Fine Arts Curriculum Framework
Instrumental Performance Band 7 Fine Arts Curriculum Framework Content Standard 1: Skills and Techniques Students shall demonstrate and apply the essential skills and techniques to produce music. M.1.7.1
More informationDANCE GLOSSARY. Aesthetic Criteria: Standards upon which judgements are made about the artistic merit of a work of art.
DANCE GLOSSARY AB: A two-part compositional form with an A theme and a B theme; the binary form consists of two distinct, self-contained sections that share either a character or quality (such as the same
More informationScat Like That. Museum Connection: Art and Enlightenment
Museum Connection: Art and Enlightenment Scat Like That Purpose: In this lesson students will gather information about vocal improvisation by listening to Ella Fitzgerald, Louis Armstrong, and others who
More informationFINE ARTS DEPARTMENT. 705 Elements of Art Advanced
FINE ARTS DEPARTMENT Fine Arts influence the very spirit of the person. Students need opportunities to receive contact with the concepts that add meaning to life and richness to living, as well as providing
More informationDivisions on a Ground
Divisions on a Ground Introductory Exercises in Improvisation for Two Players John Mortensen, DMA Based on The Division Viol by Christopher Simpson (1664) Introduction. The division viol was a peculiar
More informationMMEA Jazz Guitar, Bass, Piano, Vibe Solo/Comp All-
MMEA Jazz Guitar, Bass, Piano, Vibe Solo/Comp All- A. COMPING - Circle ONE number in each ROW. 2 1 0 an outline of the appropriate chord functions and qualities. 2 1 0 an understanding of harmonic sequence.
More informationString Orchestra - 7th Grade
Grade Instructional Unit Advancing String Ensemble Techniques -tuning The students will be -Set-up, tune, and organize -preparation for 9.1.8ABCDGH -warm-ups that include a able to demonstrate the rehearsal
More informationKey Terms. Chapter 12. Classical Timeline. Late 18th Century. The Enlightenment. Emperor Joseph II. Prelude: Music and the Enlightenment
Chapter 12 Prelude: Music and the Enlightenment Key Terms Enlightenment Repetition Rococo Cadences Divertimento Sonata form Opera buffa Minuet Classical style Rondo Classical orchestra Theme and Classical
More informationINSTRUCTIONS TO CANDIDATES
Oxford Cambridge and RSA Friday 5 June 2015 Morning GCSE MUSIC B354/01 Listening *4843816264* Candidates answer on the Question Paper. OCR supplied materials: CD Other materials required: None Duration:
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 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 develop a technical vocabulary of music through essays
More information21M.350 Musical Analysis Spring 2008
MIT OpenCourseWare http://ocw.mit.edu 21M.350 Musical Analysis Spring 2008 For information about citing these materials or our Terms of Use, visit: http://ocw.mit.edu/terms. Simone Ovsey 21M.350 May 15,
More informationNEW YORK STATE TEACHER CERTIFICATION EXAMINATIONSä
NEW YORK STATE TEACHER CERTIFICATION EXAMINATIONSä June 2003 Authorized for Distribution by the New York State Education Department "NYSTCE," "New York State Teacher Certification Examinations," and the
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 information46. Barrington Pheloung Morse on the Case
46. Barrington Pheloung Morse on the Case (for Unit 6: Further Musical Understanding) Background information and performance circumstances Barrington Pheloung was born in Australia in 1954, but has been
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 informationAdvanced Orchestra Performance Groups
Course #: MU 26 Grade Level: 7-9 Course Name: Advanced Orchestra Level of Difficulty: Average-High Prerequisites: Teacher recommendation/audition # of Credits: 2 Sem. 1 Credit MU 26 is a performance-oriented
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 informationObjective 2: Demonstrate technical performance skills.
SECONDARY MUSIC 1.1.a 1.1.b 1.1.c 1.1.d 1.1.e 1.1.f 1.1.g 1.2.a 1.2.b 1.2.c ORCHESTRA ASSESSMENTS February 2013 I. Students will use body, voice and instruments as means of musical expression. Objective
More informationMusic Without Sound (1966) thirteen graphical scores by Meyer Kupferman ( )
Music Without Sound (1966) thirteen graphical scores by Meyer Kupferman (1926 2003) Preface Music Without Sound is an experiment in musical perception based on a diagrammatic approach to the organization
More informationEarle Brown s 25 pianos : a web interactive implementation
Earle Brown s 25 pianos : a web interactive implementation Guigue, Didier 1 & Fábio Gomes de Andrade 2 1 Departamento de Música, Universidade Federal da Paraíba, Brazil 2 Departamento de Sistemas e Computação,
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 informationDance Kindergarten-Fifth Grade
I. Students create, perform/exhibit, and respond in the Arts. 1. present their own work and works of others. 2. identify their own ideas and images based on themes, symbols, events, and personal experiences.
More informationDavid A. Roy. The Art of Noise. A unit of study for 3 50-minute class periods. Grade 12
David A. Roy The Art of Noise A unit of study for 3 50-minute class periods Grade 12 Teaching for Learning II Otis College of Art and Design Submitted to Prof. Susan Josepher 24 April 2013 Rationale This
More informationJazz in America The National Jazz Curriculum
Select the BEST answer 1. Jazz is Jazz in America The National Jazz Curriculum Test Bank 1 - What is Jazz A. early symphonic music B. music based on strictly planned notation C. a combination of a partly
More information4 Holly Zolonish. A Fine Arts Standards Guide for Families Canfield Schools Heidi Garwig Nancy Hulea Diane Leonard. Content Contributors
Content Contributors Financial Support provided by: Ohio Alliance for Arts Education The Ohio Alliance for Arts Education is supported annually by The John F. Kennedy Center for the Performing Arts and
More information2014 Music Performance GA 3: Aural and written examination
2014 Music Performance GA 3: Aural and written examination GENERAL COMMENTS The format of the 2014 Music Performance examination was consistent with examination specifications and sample material on the
More informationInstrumental Music Curriculum
Instrumental Music Curriculum Instrumental Music Course Overview Course Description Topics at a Glance The Instrumental Music Program is designed to extend the boundaries of the gifted student beyond the
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 informationPLATFORM. halsey burgund : scapes
PLATFORM halsey burgund : scapes C E D A B halsey burgund : scapes Audience participation has grown as a core component in art practice since the second-half of the twentieth century. This strategy developed,
More informationVisual and Performing Arts Standards. Dance Music Theatre Visual Arts
Visual and Performing Arts Standards Dance Music Theatre Visual Arts California Visual and Performing Arts Standards Grade Five - Dance Dance 1.0 ARTISTIC PERCEPTION Processing, Analyzing, and Responding
More informationNATIONAL SENIOR CERTIFICATE GRADE 12
NATIONAL SENIOR CERTIFICATE GRADE 12 MUSIC P2 NOVEMBER 2008 MARKS: 33 TIME: 1½ hours EXAMINATION NUMBER: This question paper consists of 11 pages and 1 rough work sheet. Music/P2 2 DoE/November 2008 INSTRUCTIONS
More informationIntroduction to Rhythm Sticks Unit Plan
Introduction to Rhythm Sticks Unit Plan The following unit plan is directly related to the music section in the curriculum document The Arts in the New Zealand Curriculum, Ministry of Education 2000. It
More information3D DESIGN PRINCIPLES VISUAL COMMUNICATION III 3D DESIGN PRINCIPLES
3D DESIGN PRINCIPLES DIMENSION 1D line 2D shape / image 3D space 4D time 5D behavior FORM & CONTENT Form is the purely visual aspect. Content implies the subject matter, story, or information the designer
More informationArtsECO Scholars Joelle Worm, ArtsECO Director. NAME OF TEACHER: Ian Jack McGibbon LESSON PLAN #1 TITLE: Structure In Sculpture NUMBER OF SESSIONS: 2
ArtsECO Scholars Joelle Worm, ArtsECO Director NAME OF TEACHER: Ian Jack McGibbon LESSON PLAN # TITLE: Structure In Sculpture NUMBER OF SESSIONS: BIG IDEA: Structure is the arrangement of and relations
More informationCOMPARISON AND ANALYSIS OF THE VIVALDI BASSOON CONCERTO IN C MAJOR, RV 477, AND THE WEBER CONCERTO IN F MAJOR, OP. 75 A CREATIVE PROJECT
COMPARISON AND ANALYSIS OF THE VIVALDI BASSOON CONCERTO IN C MAJOR, RV 477, AND THE WEBER CONCERTO IN F MAJOR, OP. 75 A CREATIVE PROJECT SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS
More information7. Components to Establish Time
7. Components to Establish Time a. Step 1 - Bass Notes Walking Bass This is the most common way solo jazz pianists use to establish time. Most people actual think, it s the only way which is a shame because
More information4 th -5 th Grade 2008 Minnesota Arts Strands & Standards Dance, Media Arts, Music, Theater, & Visual Arts
4 th -5 th Grade 2008 Minnesota Arts Strands & Standards,,,, & STRAND STANDARD 4.1 Artistic Foundations 4.2 Artistic Process: Create or Make 4.3 Artistic Process: Perform or Present 4.4 Artistic Process:
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 informationImproving Piano Sight-Reading Skills of College Student. Chian yi Ang. Penn State University
Improving Piano Sight-Reading Skill of College Student 1 Improving Piano Sight-Reading Skills of College Student Chian yi Ang Penn State University 1 I grant The Pennsylvania State University the nonexclusive
More informationFINE ARTS STANDARDS FRAMEWORK STATE GOALS 25-27
FINE ARTS STANDARDS FRAMEWORK STATE GOALS 25-27 2 STATE GOAL 25 STATE GOAL 25: Students will know the Language of the Arts Why Goal 25 is important: Through observation, discussion, interpretation, and
More informationUniversity of Miami Frost School of Music Doctor of Musical Arts Jazz Performance (Instrumental and Vocal)
1 University of Miami Frost School of Music Doctor of Musical Arts Jazz Performance (Instrumental and Vocal) Qualifying Examinations and Doctoral Candidacy Procedures Introduction In order to be accepted
More informationContent Map For Fine Arts - Music
Content Map For Fine Arts - Music Content Strand: Fundamentals 3-MU-1 3-MU-2 3-MU-3 3-MU-4 3-MU-5 3-MU-6 3-MU-7 3-MU-8 3-MU-9 Read and write rhythmic notation (dotted half note and whole note). Read and
More informationEssential Aspects of Academic Practice (EAAP)
Essential Aspects of Academic Practice (EAAP) Section 2: Ways of Acknowledging Reference Sources The EAAP guides focus on use of citations, quotations, references and bibliographies. It also includes advice
More informationReport: MN Benchmarks
Report: MN Benchmarks 4.1.1.1.1 1. Describe the elements of dance including body, action, space, time and energy. 4.1.1.1.2 2. Describe how choreographic principles such as repetition, pattern or unity
More informationConnecticut Common Arts Assessment Initiative
Music Composition and Self-Evaluation Assessment Task Grade 5 Revised Version 5/19/10 Connecticut Common Arts Assessment Initiative Connecticut State Department of Education Contacts Scott C. Shuler, Ph.D.
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 informationProgress across the Primary curriculum at Lydiate Primary School. Nursery (F1) Reception (F2) Year 1 Year 2
Performance use their voices expressively by singing songs and speaking chants and rhymes play tuned and un-tuned rehearse and perform with others (starting and finishing together, keeping a steady pulse)
More informationFeature-Based Analysis of Haydn String Quartets
Feature-Based Analysis of Haydn String Quartets Lawson Wong 5/5/2 Introduction When listening to multi-movement works, amateur listeners have almost certainly asked the following situation : Am I still
More informationTHE ELEMENTS OF MUSIC
THE ELEMENTS OF MUSIC WORKBOOK Page 1 of 23 INTRODUCTION The different kinds of music played and sung around the world are incredibly varied, and it is very difficult to define features that all music
More informationWhen it comes to seeing, objects and observers alter one another, and meaning goes in both directions.
All there is to thinking, is seeing something noticeable which makes you see something you weren t noticing which makes you see something that isn t even visible. -Norman Maclean I need to think that I
More informationLejaren Hiller. The book written by James Bohn is an extensive study on the life and work of
Lejaren Hiller Bruno Ruviaro reviewer São Paulo, September 2003 The book written by James Bohn is an extensive study on the life and work of the american composer Lejaren Hiller (1924-1994). One of the
More informationREPORT ON THE NOVEMBER 2009 EXAMINATIONS
THEORY OF MUSIC REPORT ON THE NOVEMBER 2009 EXAMINATIONS General Accuracy and neatness are crucial at all levels. In the earlier grades there were examples of notes covering more than one pitch, whilst
More information6 th Grade Instrumental Music Curriculum Essentials Document
6 th Grade Instrumental Curriculum Essentials Document Boulder Valley School District Department of Curriculum and Instruction August 2011 1 Introduction The Boulder Valley Curriculum provides the foundation
More informationSelection 3. Page(s): 52. Etude Title: 32 Etudes, 3. Key: G Major Etude Title: 32 Etudes, 6
Low Clarinets Book - Editor Title Publisher David Hite Artistic Studies, Book 1 - From the French School Southern Music Company Selection 1 Page(s): 62 Key: D Major Etude Title: 32 Etudes, 17 Tempo: Quarter
More informationChapter 117. Texas Essential Knowledge and Skills for Fine Arts Subchapter A. Elementary, Adopted 2013
Chapter 117. Texas Essential Knowledge and Skills for Fine Arts Subchapter A. Elementary, Adopted 2013 Statutory Authority: The provisions of this Subchapter A issued under the Texas Education Code, 7.102(c)(4)
More informationComputational Parsing of Melody (CPM): Interface Enhancing the Creative Process during the Production of Music
Computational Parsing of Melody (CPM): Interface Enhancing the Creative Process during the Production of Music Andrew Blake and Cathy Grundy University of Westminster Cavendish School of Computer Science
More informationVENUS MANHATTAN LOS ANGELES
In its inaugural public showing, Alexander Calder s large, late sculpture Rhombus (1972), currently on view at the Venus Over Manhattan gallery on Madison Avenue, anchors an exercise in curatorial theater.
More informationYour use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at
On December 1952 Author(s): Earle Brown Source: American Music, Vol. 26, No. 1 (Spring, 2008), pp. 1-12 Published by: University of Illinois Press Stable URL: http://www.jstor.org/stable/40071686 Accessed:
More informationAudio Structure Analysis
Advanced Course Computer Science Music Processing Summer Term 2009 Meinard Müller Saarland University and MPI Informatik meinard@mpi-inf.mpg.de Music Structure Analysis Music segmentation pitch content
More informationGRADE 11 NOVEMBER 2015 MUSIC P2
NATIONAL SENIOR CERTIFICATE GRADE 11 NOVEMBER 2015 MUSIC P2 MARKS: 30 NAME: TIME: 1½ hours GRADE: *IMUSCE* This question paper consists of 12 pages. 2 MUSIC P2 (EC/NOVEMBER 2015) INSTRUCTIONS AND INFORMATION
More informationPIANO SAFARI FOR THE OLDER STUDENT REPERTOIRE & TECHNIQUE BOOK 1
PIANO SAFARI FOR THE OLDER STUDENT REPERTOIRE & TECHNIQUE BOOK 1 TEACHER GUIDE by Dr. Julie Knerr TITLE TYPE BOOK PAGE NUMBER TEACHER GUIDE PAGE NUMBER Unit 1 Table of Contents 9 Goals and Objectives 10
More informationOCR GCSE (9-1) MUSIC TOPIC EXPLORATION PACK - THE CONCERTO THROUGH TIME
OCR GCSE (9-1) MUSIC TOPIC EXPLORATION PACK - THE CONCERTO THROUGH TIME Abstract [Draw your reader in with an engaging abstract. It is typically a short summary of the document. When you re ready to add
More informationThe 4 Step Critique. Use the vocabulary of art to analyze the artwork. Create an outline to help you organize your information.
The 4 Step Critique This method of critique is based on the formal critique methods of Edmund Burke Feldman. Below the steps are defined and an example is given. Criticism is intended to give a work of
More informationBard College Bard Digital Commons
Bard College Bard Digital Commons Senior Projects Spring 2017 Bard Undergraduate Senior Projects 2017 Ju!ce Mark Anthony Mannara Bard College Recommended Citation Mannara, Mark Anthony, "Ju!ce" (2017).
More informationFisk Street Primary School Curriculum. The Arts. Music
Fisk Street Primary School Curriculum The Arts Music 2013 Overview: Music R 7 In music, students will use the concepts and materials of music to compose, improvise, arrange, perform, conduct and respond
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 informationBenchmark A: Perform and describe dances from various cultures and historical periods with emphasis on cultures addressed in social studies.
Historical, Cultural and Social Contexts Students understand dance forms and styles from a diverse range of cultural environments of past and present society. They know the contributions of significant
More informationCurriculum Mapping Piano and Electronic Keyboard (L) Semester class (18 weeks)
Curriculum Mapping Piano and Electronic Keyboard (L) 4204 1-Semester class (18 weeks) Week Week 15 Standar d Skills Resources Vocabulary Assessments Students sing using computer-assisted instruction and
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 informationSculpture Park. Judith Shea, who completed a piece here at the ranch, introduced us.
aulson Press is proud to announce the release of two new prints by sculptor Martin Puryear. Both prints were created during his many visits to the studio beginning in 2001. Puryear uses the flexibility
More informationCOMPOSING MUSIC WITH COMPLEX NETWORKS
COMPOSING MUSIC WITH COMPLEX NETWORKS C. K. Michael Tse Hong Kong Polytechnic University Presented at IWCSN 2009, Bristol Acknowledgement Students Mr Xiaofan Liu, PhD student Miss Can Yang, MSc student
More information1. Arduino Board and Breadboard set up from Project 2 (8 LED lights) 2. Piezo Speaker
Project 3: Music with Piezo and Arduino Description: The Piezo speaker is a small metal plate enclosed in a round case that flexes and clicks when current current is passed through the plate. By quickly
More informationGreeley-Evans School District 6 High School Sculpture I Curriculum Guide
Greeley-Evans School District 6 High School Sculpture I Curriculum Guide Unit: Representational Timeline: 6 weeks total over the semester Enduring Concept: Artists use close observation to understand objective
More informationCurriculum Framework for Performing Arts
Curriculum Framework for Performing Arts School: Mapleton Charter School Curricular Tool: Teacher Created Grade: K and 1 music Although skills are targeted in specific timeframes, they will be reinforced
More informationCambridge TECHNICALS. OCR Level 3 CAMBRIDGE TECHNICAL CERTIFICATE/DIPLOMA IN PERFORMING ARTS T/600/6908. Level 3 Unit 55 GUIDED LEARNING HOURS: 60
Cambridge TECHNICALS OCR Level 3 CAMBRIDGE TECHNICAL CERTIFICATE/DIPLOMA IN PERFORMING ARTS Composing Music T/600/6908 Level 3 Unit 55 GUIDED LEARNING HOURS: 60 UNIT CREDIT VALUE: 10 Composing music ASSESSMENT
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 informationPERFORMING ARTS. Head of Music: Cinzia Cursaro. Year 7 MUSIC Core Component 1 Term
PERFORMING ARTS Head of Music: Cinzia Cursaro Year 7 MUSIC Core Component 1 Term At Year 7, Music is taught to all students for one term as part of their core program. The main objective of Music at this
More informationEnd of Key Stage Expectations - KS1
End of Key Stage Expectations - KS1 The Interrelated Dimensions of Music Pulse (duration) - steady beat Rhythm (duration) - long and short sounds over a steady beat Pitch - high and low sounds Tempo -
More informationExcerpted from click here to BUY THIS BOOK
Excerpted from 2001 by the San Francisco Symphony. All rights reserved. May not be copied or reused without express written permission of the publisher. click here to BUY THIS BOOK chapter six 2 CONTROL
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 informationMusic Appreciation: The Enjoyment of Listening
Course Syllabus Music Appreciation: The Enjoyment of Listening Course Description Music is part of everyday lives and reflects the spirit of our human condition. To know and understand music, we distinguish
More information