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COMPREHENSIVE MUSICIANSHIP I N EN SEMBLE CLASSROOMS

COMPREHENSIVE

MUSICIANSHIP

I N EN SEMBLE CLASSROOMS

WHO ELSE HAS BEEN TALKING ABOUT THIS?

WHO ELSE HAS BEEN TALKING ABOUT THIS?
WHO ELSE HAS BEEN TALKING ABOUT THIS?
WHO ELSE HAS BEEN TALKING ABOUT THIS?
WHO ELSE HAS BEEN TALKING ABOUT THIS?
WHO ELSE HAS BEEN TALKING ABOUT THIS?
WHO ELSE HAS BEEN TALKING ABOUT THIS?
WHO ELSE HAS BEEN TALKING ABOUT THIS?

THE PROBLEM

Skill development does not necessarily lead to musical insig

Difficulty in designing band curriculum:

Conflicting philosophies of education and music education

Turning program objectives into instructional objectives and evaluating them

What other issues do we see? community/admin expectations we teach how we were taught

each inventing our own approach no standardization from program to program

Developing curriculum materials and providing adequate learning environments like listening labs

Coordinating the band curriculum with other music courses

Coordinating a task force of experts to develop, test, and evaluate new curriculum designs

UNDERGRADUATE CURRICULUM ISSUES

Music Ed students need to be prepared as musically as possible:

recital

lessons with professor not grad student same requirements/goals as performance students

“The purpose of music education should be to enable our students to become engaged as lifelong
“The purpose of music education should be to enable our students to
become engaged as lifelong lovers of music either as creators, performers,
or as listeners; nurturing and stimulating their creativity, their imagination,
and their expressive spirit, qualities that have been a part of their lives long
before they arrived in our rehearsal halls or our classrooms.”

University principal conductors should be directly involved with Music Ed students’ curriculum

Reduce faculty research requirements and require more time preparing for teaching

Increases in conducting DMA’s (without public school experience)

UNDERGRADUATE CURRICULUM ISSUES Music Ed students need to be prepared as musically as possible: • recital

Principal conductors of colleges becoming increasingly less aware of the challenges their Music Ed students will find in public schools

UNDERGRADUATE CURRICULUM:

REPERTOIRE SELECTION • “The root of the (repertoire selection) problem resides in the preparation of the
REPERTOIRE SELECTION
• “The root of the (repertoire
selection) problem resides in the
preparation of the future music
educator. It has become increasingly
difficult to devote enough time in
the curriculum to enable students to
fully integrate principles of an
aesthetic music education into their
philosophical core, and to nurture
their comprehensive understanding
of how that philosophy relates to the
critical process of repertoire
selection.” - Kirchhof
Make music
an
important
part of your
daily life
In touch
with
“musical
monuments
of our time”
Attend live
concerts by
important
ensembles/
artists
To develop
musical
Expand the
depth and
Know about
depth of
music that
personal
your
does not
taste:
listening
directly
experience
impact your
(buy more
specific
CD’s….?)
teaching
Be current
Know about
• “Personal taste, musical depth, and
musical intelligence are the result of
our direct experiences with great
art, great music, and great artists.”
with
MVP
repertoire
contempora
written for
ry/historical
your
musicians/
ensemble
composers

PRIMARY LEARNING OBJECTIVES

Primary learning objectives:

Understanding structural elements: Pitch, Rhythm, Timbre, Dynamics, Texture, Form Knowledge of music as a creative art form in historical context Skills:

Aural ( ear oriented) Dexterous (hand) Translative (eye)

Attitudes (Krathwohl-Afective Domain)

Respect for other musical preferences Desire to improve

Like music Feel confident in musical potential

PRIMARY LEARNING OBJECTIVES Primary learning objectives: • Understanding structural elements: Pitch, Rhythm, Timbre, Dynamics, Texture, Form

Habits - preference for listening to quality music, performing for fun Appreciations

Respond to expressive and creative qualities Discriminate diferent styles Sensitive to skilled performances

UNDERSTANDING BY DESIGN

Backwards Design: “Beginning with the end in mind”

Essential Question Assessment Strategies http://nccscurriculum.org/2014/01/22/understandin g-by-design-a-framework-to-support-efective- teaching-and-learning/
Essential
Question
Assessment
Strategies
http://nccscurriculum.org/2014/01/22/understandin
g-by-design-a-framework-to-support-efective-
teaching-and-learning/

CMP: COMPREHENSIVE MUSICIANSHIP THROUGH PERFORMANCE

Garafalo and Teaching Music suggest a 3 or

Unit study curriculum:

Analytical and Historical Notes Glossary of musical terms List of concepts and behavioral objectives Activities and assignments Evaluation

4 year cycle of instruction

CMP: COMPREHENSIVE MUSICIANSHIP THROUGH PERFORMANCE • Garafalo and Teaching Music suggest a 3 or • Unit

Special study unit: supplementary instructional unit

Concept oriented, skill oriented, or both

Examples: conducting, transposition, intonation, sight-reading, fundamentals, musical terms, instrument care

MORE SPECIFICALLY…

Cyclical curriculum focusing on one major concept per year Suggest studying one-piece in- depth for each
Cyclical curriculum focusing on
one major concept per year
Suggest studying one-piece in-
depth for each concert season
First year: Timber and materials of
music
Second year: forms and styles
Third year: interpretation (expression
and phrasing)
This piece becomes the source in the
model for studies of tonality, rhythm,
melody, music theory, phrasing,
terms and symbols, ear training,
composition, history
If there are four years, year two is form
and year 4 is Style.
CMP
Comprehensive music
curriculum made up of three
parts:
1. Instructional units, unit study
composition, and special study unit
Each concert includes 2 works
from core repertoire and 2 works
from historical time periods
which vary each year
2. Band projects
3. Source/ reference notebook ( like a
portfolio collected over 4 year
curriculum)

THE UNIT STUDY

GENERAL INFORMATION

5 LEARNING GOALS:

Play Your Part

Play, sing, and identify by ear score-related intervals, scales, chords, and rhythms

Define score-related terms

Give background information

Complete a creative project

What do we think of these goals?

TYPES OF ASSIGNMENTS AND ASSESSMENTS:

Practice assignment: score- related technique

Suggest assessment during warm-up

Students leave room during warm-up and video record themselves

Listening assignment: Alone or as a whole class

Must be directed listening

Aaron Copland’s “What to Listen for in Music”

Checklist - based on completion

Creative projects: Related to Repertoire

2 levels: basic / optional higher level choice

More difficult to evaluate qualitatively

SELECTION

Keep a list of unfamiliar works, write notes in margins of concert programs

SELECTION • Keep a list of unfamiliar works, write notes in margins of concert programs •

Study the scores using evaluative criteria form:

Analysis procedure (Garafalo)

Melody Harmony Rhythm Orchestration Dynamics Texture Form Historical Context

More details/flow charts: p. 32-38 Blueprint for Band Ch 3

Garafalo: Blueprint for Band Ch. 3
Garafalo:
Blueprint
for Band
Ch. 3

JRME publishes analyses of band works Other resources: Repertoire Lists, Teaching Music

ANALYSIS

ANALYSIS • Title • Composer/ arranger • Publisher and date • Recordings • Historical Notes –

Title Composer/ arranger Publisher and date Recordings Historical Notes

Composition Composer Historical style

Analytical notes

Melody Harmony Rhythm

Orchestration (bandstration…)

Dynamics

Text?

Form

OUTCOMES

Select Concepts and Sub-concepts

Concepts: Melody Harmony Rhythm Orchestration Dynamics Texture Form Sub-concepts: More specific, related to concepts Ex: Rhythm/16 th note patterns; Form/ABA

Write instructional objectives: what you want the student to know and be able to do

Good objectives tell:

What the student will be able to do Under what conditions To what extent

Use clear action verbs: (arrange compose transpose explain determine compare transform describe define notate identify map out edit demonstrate)

Justification for instructional objectives:

Diferentiation Student evaluate own progress (give list of objectives to students) Basis for curriculum evaluation

Basis for Teacher accountability

OUTCOMES • Select Concepts and Sub-concepts • Concepts: Melody Harmony Rhythm Orchestration Dynamics Texture Form •

STRATEGIES

STRATEGIES • Must be related to the piece • Use/build skills necessary to perform the work-

Must be related to the piece

Use/build skills necessary to perform the work- scales, chords, intervals, rhythms, dynamics, and articulations

Aural skills relevant to the piece

Assignments with options - accommodate individual learning styles

Every unit study should have at least one simple, open-ended creative assignment

Use variety of instructional resources Distribute glossary of musical terms to students.

Students find definitions ( assign a few to each student and share with the class)

ASSESSMENT

ASSESSMENT • Assignments • Creative project • Written and oral quizzes • Unit exam - should

Assignments Creative project Written and oral quizzes

Unit exam - should include some listening

Grade weighted more heavily on assignments and projects than exams

ASSESSMENT • Assignments • Creative project • Written and oral quizzes • Unit exam - should
ASSESSMENT • Assignments • Creative project • Written and oral quizzes • Unit exam - should
ASSESSMENT • Assignments • Creative project • Written and oral quizzes • Unit exam - should
ASSESSMENT • Assignments • Creative project • Written and oral quizzes • Unit exam - should

LET’S MAKE A UNIT STUDY FOR HOLST!

( R E M E M B E R ,

G A R A FA L O

S U G G E S T S

D O I N G

T H I S

F O R

J U S T

C O N C E R T

C Y C L E … )

O N E

P I E C E

P E R

TEACHER GUIDE :  Learning Goals  Strategies and Activities  Resources  Analysis/Performance Notes

TEACHER GUIDE :

Learning Goals Strategies and Activities Resources Analysis/Performance Notes

TEACHER GUIDE:

ANALYSIS/PERFORMANCE NOTES

Listed last in the finished unit, but completed first

Form Dynamics Articulation types

Historical considerations - ornamentation? Alterations?

Technical considerations - alternate fingerings, instrument substitutions

Errata

Form: Chaconne

Dynamics:

Articulation types:

Historical considerations:

instrumentation, style

Technical considerations:

Soloists

Articulation

Dynamic control

Cornets/tpts

Instrumentation – not all solos

cued Errata – windrep.org

TEACHER GUIDE: LEARNING GOALS

Concepts:

Form – Chaconne

Melodic analysis – inversion,

transformation in other two movements Wind band history

Holst

Skills:

Key

Articulation

Intonation in extreme ranges

TEACHER GUIDE: LEARNING GOALS Concepts: • Form – Chaconne • Melodic analysis – inversion, • transformation

TEACHER GUIDE: STRATEGIES AND ACTIVITIES

Strategies

Concept teaching Skills development

Include when each takes place in process (In warm-ups, a full period, 5 minutes at a time, etc.)

Activities (Be specific)

3 national standards Bloom’s, MI Theory

Assessment - Based on student mastery of the learning goals. performance and content.

Strategies:

 

Key – Scale/chorale warm ups

Form – Discovery learning

Melodic Analysis – Locate, discover inversion

Activities:

 

Create – another variation, their own

theme Respond – listen to recording and

write down what instrument plays each statement of the theme Perform – perform their composition, perform the piece and describe to the audience

Assessment:

Composition, record themselves, ”

TEACHER GUIDE: RESOURCES

Score information

Title, composer, publisher, duration, grade level, number of measures

Instrumentation

Notes- Technical and musical elements, challenges for specific instruments, range considerations

Recordings - Ensemble, where to find it, brief description

books and articles recommended additional music

Score info:

 

Instrumentation – original/your

ensemble Notes:

 

cornet, cl range Woodwind 16 th notes

Low brass sustain

Recommended additional music:

2 nd Suite

Hammersmith

The Planets

Vaughan Williams

Elgar

STUDENT GUIDE

Learning Goals (Same as teacher) Assignments Include how they will be graded

Type: Practice, Listening, and Creative

Include optional project ideas – extra challenge for interested students

Practice Guide Scales and Arpeggios (Including rhythms and dynamics) Procedures Rhythms to count and play Glossary of Terms - Include pictures when possible Historical Notes Important information about the piece Score samples

QUESTIONS?

References:

Garafalo, Blueprint for Band Cooper: A Core Repertoire

Miles: Curricular Models Based on Literature Selection – Teaching Music

Through Performance in

Band Vol. 1

Garafalo: Instructional Designs for Middle School/High School Band

Lisk: Making the Connection: Academic, Rehearsal, Curriculum - Teaching

Music Through

Performance in Band Vol. 1

Kirchhof: Beliefs, Thoughts, and Reflections Upon Music Education and Higher Education

Repertoire Lists:

Florida Music Educator’s Association

Dvorak: Best Music for Young Band

Dvorak: Best Music for Beginning Band

Kvet: Instructional Literature for Middle-Level Band

http://www.queenwood.com/composers.html

http://mcgintymusic.com/

http://windrep.org

https://www.britannica.com/biography/Ralph-Vaughan-Williams

http://www.timothybroege.com/

http://www.michaelcolgrass.com

COMPOSERS

ANNE MCGINTY

Most prolific female concert band composer 225 works: Band, String orchestra, flute, flute ensembles.

40 commissions from US bands 1st woman commissioned by US Army Band -”Hall of Heroes”

Founded Queenwood Publications with John Edmondson in 1987.

Sold to Kjos Music in March, 2002 Both composers only write for this company now

Member of American Society of Composers, Authors, and Publishers (ASCAP)

Awards:

Golden Rose award from the women band directors National Association Outstanding Service to Music Award from Tau Beta Sigma Who's Who of American Women and the International Who' s Who in Music

Guest conductor, clinician and speaker throughout the US and Canada Regional and All-State Bands Given clinics at state conventions and universities on band performance, literature and emotions in music Speeches at state and national conventions about the performance and enjoyment of music and the values of music education.

ANNE MCGINTY • Most prolific female concert band composer • 225 works: Band, String orchestra, flute,
ANNE MCGINTY • Most prolific female concert band composer • 225 works: Band, String orchestra, flute,
ANNE MCGINTY • Most prolific female concert band composer • 225 works: Band, String orchestra, flute,
ANNE MCGINTY • Most prolific female concert band composer • 225 works: Band, String orchestra, flute,
ANNE MCGINTY • Most prolific female concert band composer • 225 works: Band, String orchestra, flute,

MCGINTY: REPERTOIRE

WIND REPERTOIRY PROJECT

Alabama Folksong Fantasy

All the Pretty Little Horses (as arranger)

American Rhapsody

Amphion

Chant Fantastique

Clouds

European Christmas II, A

Hall of Heroes

Kachina: Chant and Spirit Dance

Kokopelli

Long Way from Home

The Red Balloon

Tis a Gift

To Keep Thine Honor Bright

Twas in the Moon of Wintertime

Variations and Theme

The Wexford Carol

MCGINTY: REPERTOIRE WIND REPERTOIRY PROJECT • Alabama Folksong Fantasy • All the Pretty Little Horses (as

OTHER REPERTOIRE LISTS

FMEA Chorale and Canon 1

Chorale and Variation (Bach arr)

Canterbury Overture 2

Clouds 2

The Red Balloon 2(+)

Madrigal for Band 2

All the Prettly Little Horses ( Arr

Kvet Bist Du Bei Mir (Bach arr) 1

Fanfare and Fugue 1.5

Pavane (Faure arr) 3

RALPH VAUGHAN WILLIAMS

(1872- 1958) English composer founder of the Nationalist movement

in English music Most of life in London. Studied Viola piano and organ

Education:

 

Trinity College in Cambridge

Royal College of Music in London ( Sir Charles Stanford and Sir Hubert Parry).

Berlin: Max Bruch

Paris: Maurice Ravel

1903 began collecting folk songs

1904 - 1906 editor of “The English Hymnal”

After serving in WW 1, became professor of composition at the Royal College of Music

Compositions: Orchestral, Stage, Chamber, Vocal

 

3 Norfolk Rhapsodies

9 symphonies (popular: 2 London Symphony, 7 Sinfonia Antarctica)

Fantasia on a theme by Thomas Tallis

Stageworks: The Pilgrims Progress, Hugh the Drover

Vocal: Mass in G minor; Cantatas: “Toward the Unknown Region” “Dona Nobis Pacem”

Good friends with Gustav Holst - shared Works in progress with each other

VAUGHAN WILLIAMS: REPERTOIRE

WIND REPERTORY PROJECT

OTHER REPERTOIRE LISTS

Concerto for Bass Tuba (arr. Wick and Chambers)

Concerto in F minor for Tuba and Winds (arr. Hare)

English Folk Song Suite

Fantasia on a Theme by Thomas Tallis (arr. Bocook)

Fantasia on Greensleeves (arr. Wagner)

Flourish for Glorious John (or. Boyd)

Flourish for Wind Band

Golden Vanity, The (arr. Wagner)

Linden Lea (arr. Wagner)

Linden Lea (arr. Stout)

Norfolk Rhapsody (tr. Robert O'Brien)

Overture to "The Wasps" (tr. Frank Hudson)

Prelude: 49th Parallel (arr. Noble) Prelude: The New Commonwealth (arr. Grauer) Rhosymedre (tr. by Beeler) Running Set, The (tr. Silvester) Scherzo alla Marcia

Sea Songs

Sea Songs (arr. Longfield) Sine Nomine (arr. Reed)

Toccata Marziale

Toccata Marziale (ed Battisti)

Variations for Wind Band (trans. Hunsberger)

Vaughan Williams Christmas, A (arr. Wagner)

Wassail (arr. Smith)

Dvorak Three Dorset songs (arr by Stotter) 2 Linden Lea (arr. By Stout) 2.5 Flourish for Wind Band 3

FMEA Rhosymedre (arr by Beeler) 4

English Folk Song Suite 5 Toccata Marziale 6

VAUGHAN WILLIAMS: REPERTOIRE WIND REPERTORY PROJECT OTHER REPERTOIRE LISTS • Concerto for Bass Tuba (arr. Wick
VAUGHAN WILLIAMS: REPERTOIRE WIND REPERTORY PROJECT OTHER REPERTOIRE LISTS • Concerto for Bass Tuba (arr. Wick

TIMOTHY BROEGE

TIMOTHY BROEGE From New Jersey, 11 years Public School teaching Education: Northwestern University - composition, piano,
TIMOTHY BROEGE From New Jersey, 11 years Public School teaching Education: Northwestern University - composition, piano,

From New Jersey, 11 years Public School teaching Education: Northwestern University - composition, piano, harpsichord (Bachelor's degree) Music performed by: Monmouth Symphony Orchestra, Garden State Philharmonic Orchestra, Meadows Wind Ensemble, the US Military Academy Band, New Jersey Chamber Singers, Atlantic String quartet, Cygnus Ensemble Works:

21 Sinfonias for large ensembles

Songs Without Words for chamber ensembles

Fantasias for solo instruments

Music for voices, keyboards, guitar, recorders and school bands

Music featured at the Boston Early Music Festival, the Mid-West Band & Orchestra Clinic, and the College Band Directors National Association.

Guest composer/conductor and clinician Awards

Edwin Franko Goldman Award from the American School Band

Directors’ Association 2003 Award of Excellence from the New Jersey Education Association.

Past-president of the Composers Guild of New Jersey, Inc., a Member of the Organ Historical Society, the American Guild of Organists, and the Boston Clavichord Society and an affiliate of Broadcast Music, Inc. (BMI).

BROEGE: REPERTOIRE

WIND REPERTORY PROJECT

A Fable and a Folk Tale America Verses Bartok Variations Blue Alien Accumulation Burlesco for Band Charlotte Doyle's Voyage Climbing Eagle Mountain Concerto for Marimba Dreams and Fancies

El Jardin de Esperanza Enumeration of the Actual Forest Green

Four Breton Songs Geneva

Geography of the Dream

Green Passacaglia Grizzly Bear Rag The Headless

Mysterian Landscapes

No Sun, No Shadow, Elegy for Charles Mingus

Peace Song Pilgrim Traveler

Procession and Torch Dance

Prelude and Fughetta Rhythm Machine

Rhythm Games: The Waukesha Rondo

Sinfonia III: Hymns and Dances

Sinfonia IV: Suite for Winds and Percussion

Sinfonia V: Symphonia Sacra et Profana

Sinfonia VI: The Four Elements

Sinfonia XII: Southern Heart, Sacred Harp

Sinfonia XIII: Storm Variations

Sinfonia XVI:

Transcendental Vienna

Sinfonia XVII: The Four Winds

Sinfonia XVIII: Aurora

Sinfonia XIX: Preludes and Grounds

Slow March with

Celebration Song and Variations

Streets and Inroads

Surfboard Blues

The Tango Disappearing

Theme and Variations

Three Pieces for American Band, Set I

Three Pieces for American Band, Set II

Train Heading West and Other Outdoor Scenes

Yuletide Dances

Wicked Story

BROEGE: REPERTOIRE WIND REPERTORY PROJECT A Fable and a Folk Tale America Verses Bartok Variations Blue

OTHER REPERTOIRE LISTS

Dvorak Theme and Variations 1.5 Jody 2 Procession and Torch Dance 2 Surfboard Blues 2 Song with Variations 2.5 The Headless Horseman 2.5 America Verses 3 Kvet Rhythm Machine 2.5 Suite for Winds and Percussion 2.5 Dreams and Fancies 3.5 FMEA Sinfonia VI - The Four Elements 4

MICHAEL COLGRASS

Education:

 

University of Illinois 1954 performance, composition.

Aspen Festival: Darius Milhaud Tanglewood: Lukas Foss

Timpanist for 7th Army Symphony Orchestra in Stuttgart, Germany

11 years as a freelance percussionist in New York City while composing

Performed with:

New York Philharmonic

American Ballet Theatre

Dizzy Gillespie

The modern Jazz Quartet

The original West Side Story Orchestra on Broadway

Columbia recording orchestra’s Stravinsky conducts Stravinsky series

Commissions from: New York Philharmonic, Boston Symphony, Minnesota, Detroit, San Francisco, St. Louis, Pittsburgh, Washington, Toronto, the National Arts Centre Orchestra, Canadian Broadcast Corporation, Lincoln Center Chamber Music Society, Manhattan and Muir String Quartets, Brighton Festival in England, Fromm and Ford Foundations, Corporation for Public Broadcasting

Awards:

1978 Pulitzer Prize for Music for Déjà vu - commissioned and premiered by the New York Philharmonic

Two Guggenheim Fellowships

Rockefeller Grant

First Prize in the Barlow and Sudler International Wind Ensemble Competitions

1988 Jules Leger Prize for Chamber Music.

Created a method of teaching children—and teachers—how to write music using graphic notation

Adopted by the Nova Scotia education system for inclusion in the junior high curriculum. - wow cool!

Currently lives in Toronto composing, leading workshops about his method for teaching composition

COLGRASS: REPERTOIRE

WIND REPERTORY PROJECT

OTHER REPERTOIRE LISTS

Dvorak Apache Lullaby 2

Apache Lullaby Arctic Dreams

Arctic Dreams (ed. Ambrose)

Bali

The Beethoven Machine Déjà vu – perc quartet and orchestra Dream Dancer Gotta Make Noise Mysterious Village

Old Churches

Raag Mala

Urban Requiem Winds of Nagual

COLGRASS: REPERTOIRE WIND REPERTORY PROJECT OTHER REPERTOIRE LISTS Dvorak Apache Lullaby 2 • • • •
COLGRASS: REPERTOIRE WIND REPERTORY PROJECT OTHER REPERTOIRE LISTS Dvorak Apache Lullaby 2 • • • •

FMEA (Bandquest) Old Churches 1

From his website: other pieces for young band:

Bali - W

The Beethoven Machine - Middl

Gotta Make Noise -