DOCSLIB.ORG

Classical Music Performance Norms and How to Escape Them. PDF Copy

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Classical Music Performance Norms and How to Escape Them. PDF Copy Perf Challenging Mus Performance: e and H to E ape Classical ic ormanc Norms D owLe sc Them by aniel ech-Wilkinson version 2.04 (30.iv.21) 2 Preface This is an eBook, a PDF (the version you're reading now), a website, and a set of podcasts. It’s addressed to performers of western classical music and it’s about freeing performance from unnecessary rules and constraints and from much of the anxiety that comes with classical training and practice. The aim is to encourage performers to find many more ways (old and new) in which classical scores can make musical sense. If you’re a passionate believer in the status quo you may hate it. But it might still be worth reading because the questions it asks are reasonable ones and need much better answers. Having someone ask them may enable you (rather than me) to see what those better answers might be, enabling you to place normative performance practice on a more reasoned footing. There’s also the possibility that you’ll end up agreeing with much that’s in here, but in either case a world of new possibilities for performing your repertoire may open up. Be aware that this is a polemical piece rather than a scholarly tome. It’s expressed strongly. It may annoy and unsettle, though I hope it will also reward. I’ve written it and published it online, and it’s free to use, because I want to reach performers, especially young professionals and conservatoire students. And also because it’s good to be able to improve the text in response to reader suggestions and as better ways of thinking become clear. This PDF fixes the text in one form, but I may try to keep it updated. For the latest version I recommend you read the book online if you can. Please let me know what you think, either using the feedback boxes beneath each page of the eBook (which are moderated) or by emailing me at [email protected]. Please let others know at @ChalPerformance and anywhere that classical musicians follow. Use the Contents to find out what’s covered. Use the bullet-point Summary as an index to find exactly what you’re seeking. Continue to 1 Introduction and examples Or start with the podcast summarising Chapter 1 and then continue reading from 2 The fabulous status quoif you enjoy it. Acknowledgements (online) About the author (online) 3 To cite the book: Leech-Wilkinson, Daniel (2020). Challenging Performance: Classical Music Performance Norms and How to Escape Them. Version N.N (DATE). At https://challengingperformance.com/the-book/. Provide a more specific chapter address (e.g. https://challengingperformance.com/the- book-9-2) if you need to. Cite the version number that applied when you chose the text to cite. “Challenging Performance: Classical Music Performance Norms and How to Escape Them” by Daniel Leech-Wilkinson is licensed under CC BY-NC-SA 4.0. This is version 2.04 (30.iv.21) 4 CPrefaceontents PART 1: Performance style and what follows 1 Introduction and examples 2 The fabulous status quo 3 Performance changes over time 4 Performing identity 5 The (actual) music, the music itself, musical 6 Further Western Classical Music delusions 6.1 Introduction: naturalised beliefs 6.2 You need to know about music to appreciate it 6.3 You must play structure 6.4 Current performances offer the best solutions 6.5 Learning to perform is learning natural musicianship 6.6 Performers and performances today are very unalike 6.7 Music makes better sense performed ‘historically’ 6.8 Texts document sounds 6.9 Everything is in the score 6.10 A work is greater than any performance of it 6.11 Scores have limited interpretative possibilities 6.12 The composer knows best 6.13 Composers’ intentions are (can be) known 6.14 The performer should be inaudible 6.15 Composers are alive and listening 6.16 Composers are gods 6.17 Works 6.18 So music is…. What is it? 6.19 Conclusion: Why do we maintain these delusions? PART 2: The Policing of Performance 7 Teaching 7.1 Introduction: the place of teachers in the WCM State 7.2 Childhood lessons 7.3 Exam boards and the space for creativity 7.4 Conservatoire and creativity: Juniper Hill’s Becoming Creative 7.5 Conservatoire and conformity 7.6 Izabela Wagner on the training of virtuosi 7.7 Micro schools and their discontents 7.8 Competitions 7.9 Alternatives 8 Musicology and editions 5 9 Criticism 9.1 Introduction: u and non-u 9.2 The metaphorical language of record reviews 9.3 The value of record reviewing 9.4 Performance criticism in social media 9.5 The risk performers take in the face of criticism 9.6 The lack of intellectual debate about WCM 10 Normativities 11 Obligations to the dead 11.1 Piety and the dead composer 11.2 Philosophical obligations 11.3 Ethical obligations 12 Policing and self-policing 12.1 Policing 12.2 Seeking Utopia 12.3 Self-policing 13 Lack of agency 14 The damage to musicians’ health 14a Musical Creativity and Performance as Relational Practices: Mandy Burvill in Conversation with Monia Brizzi 15 The legal constraints on performers PART 3: Allowing Creativity 18 Creativity 18.1 Recapitulatory introduction after Juniper Hill 18.2 Comparison with theatre 19 The Ethics of Musical Performance 19.1 Ethical recapitulation 19.2 Ethical coda 20: Why and How? 20.1 Why? 20.2 How? 21 Historical examples on record 22 Making Music Work 22.1 What makes a performance work? 22.2 Musical dynamics and musical shape 6 22.3 Expression is dangerous 22.4 Music as social action 22.5 Assessing non-standard performances 23 Examples from challengingperformance.com 23.1 Exchanging the Moonlight and Erlkönig 23.2 Schubert/Gilchrist/Katz: Ave Maria 23.3 Further transgressive performances 23.4 Using Anxiety Creatively 24 Reinterpreting opera: ‘Dido & Belinda’ 24.1 Regieoper 24.2 How we made ‘Dido & Belinda’ 24.3 ‘Dido & Belinda’: what the performers thought 24.4 ‘Dido & Belinda’: what the audience thought 25 Speaking of contemporary concerns 26 Speaking of others 27 Finally: The right to be different 7 1: e e and w PART1 Performancion and styl hat follows Do an online search for performances of the Hallelujah chorus from Handel’s Messiah Introductand listen to a few (try to avoid the onesexamples you expect to like). There are performances with a semi-virtual choir of 2360; or with four soloists (accompanied by mandolins); performances by organ and brass; community choir, steel band and dancers; gospel choir; electronic organ and flash mob; and even some with small choirs and baroque orchestras that claim to be like Handel’s own. All of these, the full range (to judge by the comments added by listeners on sites like YouTube), inspire and move people intensely. And yet, in conservatoire and in the classical music business, only the tip of one end of this very broad spectrum is cultivated. For students of classical music, the only proper performance of this score is one that sounds just as Handel’s first performances are supposed to have sounded. According to this ideology, the job for which the classical musician is being prepared is to do history in sound. Anything else is wrong. How musicians, critics and other ‘gatekeepers’—and knowledgeable listeners—respond to classical music performances depends to a large extent on beliefs about their propriety. If a performance is improper, in the sense that it is wrong as judged by history or tradition, then however lively, committed, engaging, fluent or technically brilliant the performance may be, the knowledgeable tend, at best, to disapprove, more often to dislike it strongly. An aim of this book, however, is to show the danger of beliefs about what is ‘proper’ in classical music. While I do not address the huge field of current practices illustrated by this Handel example, I do want to broaden thinking around that tip of the spectrum currently occupied by respectable classical performance. I am going to suggest that there are many more possibilities there, and roundabout there, than we realise at the moment, and that musicians’ lives would be much more rewarding were they freer to explore them. At the same time, we may become more tolerant of practices that range more widely. m de d e ‘ Mo Under special circumstances, we do already allow a surprising diversity of approaches to A ore taile xample: the onlight’ certain kinds of scores. Mainly this applies where there are parallel traditions using modern and early instruments. Take the first movement of Beethoven’s ‘Moonlight’ sonata. In a typical current performance on a modern piano, the tempo is around 48 beats per minute, maybe a little slower. The music is quiet, calm, still. Alternatively, if you are an early keyboardist you play it on (a copy of) a fortepiano of Beethoven’s time. The timbres are very different: the fundamental is much weaker and the harmonics are much stronger and so the sound is brighter, more colourful, more dissonant in fact (because all those upper harmonics are very close together and clash in pitch). And the performance is usually somewhat faster, partly out of belief about Classical- and early Romantic-period speeds, partly because the sounds don’t last as long on a fortepiano and a sense of flow is easier to create if the gaps between them are shorter. 8 These two performances create different sound worlds, and to that extent different ‘Moonlight’ sonatas.
Load more

Recommended publications
  • The Cherry Orchard? 13) Touring a Show 14) Activities 15) Glossary 16) Useful Resources 17) Evaluation Form
    Blackeyed Theatre and South Hill Park Arts Centre Present Education Pack CONTENTS 1) Welcome 2) The Company – All About Blackeyed Theatre 3) The Team – Who is making the play? 4) The Cast 5) The Play – Synopsis 6) The Author- Anton Chekov 7) The Original Play 8) A statement by the Director 9) Character Breakdown 10) Themes and Context 11) The Practitioner – Constantin Stanislavski and the Moscow Art theatre 12) The Question – How do you do The Cherry Orchard? 13) Touring a show 14) Activities 15) Glossary 16) Useful Resources 17) Evaluation form WELCOME… To The Cherry Orchard Education Pack. Here at South Hill Park we’re very excited about working once again with Blackeyed Theatre, particularly on this exciting and ambitious re-imagining of one of the classic plays of the twentieth century. The following pages have been designed to support study leading up to and after your visit to see the production. The Cherry Orchard will give you a lot to talk about, so this pack aims to supply thoughts and facts that can serve as discussion starters, handouts and practical activity ideas. It provides an insight into the theatrical process of creating and touring a show and is intended to give you and your students an understanding of the creative considerations the team has undertaken throughout the rehearsal process. If you have any comments or questions regarding this pack please email me at [email protected] . I hope you will enjoy the unique experience that this show offers enormously . See you there! Jo Wright, Education and Outreach Officer, South Hill Park Arts Centre THE COMPANY Blackeyed Theatre Blackeyed Theatre Company was established in 2004 to create exciting opportunities for artists and audiences alike.
    [Show full text]
  • Fantasia for Piano
    letter from englaNd faNTaSia for piaNO Joyce Hatto’s incredible career. by MaRK SiNgER n the summer of 1989, in Royston, music labels that helped establish the England, a man named William Bar- form—known as the “super-bargain” rington-CoupeI cheerfully received a classical LP. Such recordings, which visitor from Germany: Ernst Lumpe, a retailed for roughly a dollar apiece, were high-school teacher, fervent music a wellspring of artful pseudonyms— lover, and record collector. For a couple Paul Procopolis, Giuseppe Parolini, the of years, the two men had sustained a Cincinnati Pro Arte Philharmonic, the correspondence that consisted mainly of Munich Greater State Symphony— Barrington-Coupe, a former classical- and Barry is credited with coining the music agent and a peripatetic record wittiest of all: Wilhelm Havagesse (con- producer, responding to Lumpe’s ques- ducting Rimsky-Korsakov’s “Schehe- tions about the authenticity of various razade,” as rendered by the spurious arcane LPs. Zurich Municipal Orchestra). The During the nineteen-fifties and six- small labels that Barry worked at had a ties, a number of record companies in tendency to run aground financially, England and America had a practice— but perhaps his most dependable asset questionable but nodded and winked was his resilience—a facility for dusting at—of repackaging LPs by established himself off and moving on to the next artists as the work of fictitious perform- venture. ers and selling the recordings at a deep Among Lumpe’s fifteen thousand discount. Barrington-Coupe, known LPs, many of which he bought second- to familiars as Barry, worked at several hand, were about five hundred of murky Above left: an undated photograph of Joyce Hatto.
    [Show full text]
  • Title of Creative Art Disseminating Thai Classical Music Arrangement for Symphonic Band : Siam Symphonic Band • Name –Surn
    th The 5 International Creative Disseminating 2018 Title of Creative Art Disseminating Thai Classical Music Arrangement for Symphonic Band : Siam Symphonic Band Name –Surname Yos Vaneesorn Academic Status Full-time lecturer Faculty of Music University: Silpakorn University Country: Thailand E-mail address [email protected] Tel. 086-4125248 Thesis Advisors - Abstract Siam Symphonic Band is one of the creative research projects in music funded by Thailand Research Fund and led by Natchar Pancharoen who conducted the project concentrating on Thai classical music repertoire of Rattanakosin in 2017. The Siam Symphonic Band project aims to create arrangements of Thai classical music for symphonic bands in order to promote an exquisitely elegant Thai tunes and to show how composers can transcribe Thai classical music into a standard symphonic band repertoire. The process of this project provides 3 types of musical arranging methods as of the following: 1) a traditional type, which preserves several important elements of Thai classical music such as formal structures and textures, 2) a popular type, which has been favorable among Thai arrangers and mostly consisting of homophonic texture added with some modern harmonic languages, and 3) a new original type, which applies compositional techniques of modern music and a concept of transferring the original sound of Thai music into a sonority of the symphonic band. 22 th The 5 International Creative Disseminating 2018 The album called ‘Siam Symphonic Band’ consists of 10 new music arranging pieces for symphonic bands and was published as cds with music scores and elucidation. The pieces were recorded by Feroci Philharmonic Winds and conducted by Vanich Potavanich.
    [Show full text]
  • The Classical Station, WCPE 1 Start Runs Composer Title Performerslib # Label Cat
    Tue, Jan 26, 2021 - The Classical Station, WCPE 1 Start Runs Composer Title PerformersLIb # Label Cat. # Barcode 00:01:30 10:39 Mozart Adagio in B minor, K. 540 Mitsuko Uchida 00264 Philips 412 616 028941261625 00:13:3945:17 Dvorak Cello Concerto in B minor, Op. du Pre/Swedish Radio 07040 Teldec 85340 685738534029 104 Symphony/Celibidache 01:00:2631:11 Beethoven String Quartet No. 9 in C, Op. Tokyo String Quartet 04508 Harmonia 807424 093046742362 59 No. 3 Mundi 01:32:3708:09 Mozart Adagio & Fugue in C minor for Berlin 06660 DG 0005830 028947759546 Strings K. 546 Philharmonic/Karajan 01:42:1618:09 Telemann Paris Quartet No. 11 Kuijken 04867 Sony 63115 074646311523 Bros/Leonhardt 02:01:5529:22 Mozart Sinfonia Concertante in E flat, Frang/Rysanov/Arcang 12341 Warner 08256462 825646276776 K. 364 elo/Cohen Classics 76776 02:32:1726:39 Brahms Clarinet Trio in A minor, Op. Stoltzman/Ax/Ma 02937 Sony 57499 074645749921 114 Classical 03:00:2611:52 Liszt Mephisto Waltz No. 1 Evgeny Kissin 06623 RCA 58420 828765842020 03:13:1834:42 Strauss, R. Symphony in D minor Hong Kong 03667 Marco Polo 8.220323 73009923232 Philharmonic/Scherme rhorn 03:49:0009:52 Schubert Overture to Rosamunde, D. Leipzig Gewandhaus 00217 Philips 412 432 028941243225 797 Orchestra/Masur 04:00:2215:04 Haydn Piano Sonata No. 50 in D Julia Cload 02053 Meridian 84083 N/A 04:16:2628:32 Mozart Symphony No. 29 in A, K. 201 Prague Chamber 05596 Telarc 80300 089408030024 Orch/Mackerras 04:45:58 12:20 Webern In the Summer Wind Philadelphia 10424 Sony 88725417 887254172024 Orchestra/Ormandy 202 04:59:4806:23 Lehar Merry Widow Waltz Richard Hayman 08261 Naxos 8.578041- 747313804177 Symphony 42 05:07:11 21:52 Rachmaninoff Rhapsody on a Theme of Entremont/Philadelphia 04207 Sony 46541 07464465412 Paganini, Op.
    [Show full text]
  • Pace Final 26.11.15
    Positions, Methodologies and Aesthetics in the Published Discourse about Brian Ferneyhough: A Critical Study Ian Pace1 Since Brian Ferneyhough achieved a degree of public recognition following the premiere of his Transit (1972-75) in March 1975 at the Royan Festival, a range of writings on and reviews of his work have appeared on a relatively regular basis. The nature, scope, style, and associated methodologies of these have expanded or changed quite considerably over the course of Ferneyhough's career––in part in line with changes in the music and its realization in performance––but nonetheless one can discern common features and wider boundaries. In this article, I will present a critical analysis of the large body of scholarly or extended journalistic reception of Ferneyhough's work, identifying key thematic concerns in such writing, and contextualizing it within wider discourses concerning new music. Several key methodological issues will be considered, in particular relating to intentionality and sketch study, from which I will draw a variety of conclusions that apply not only to Ferneyhough, but to wider contemporary musical study as well. Early Writings on Ferneyhough The first extended piece of writing about Ferneyhough's work was an early 1973 article by Elke Schaaf2 (who would become Ferneyhough's second wife),3 which deals with Epicycle (1968), Missa Brevis (1969), Cassandra's Dream Song (1970), Sieben Sterne (1970), Firecyle Beta (1969-71), and the then not-yet-complete Transit. Schaaf’s piece already exhibits one of the most
    [Show full text]
  • Interpreting Tempo and Rubato in Chopin's Music
    Interpreting tempo and rubato in Chopin’s music: A matter of tradition or individual style? Li-San Ting A thesis in fulfilment of the requirements for the degree of Doctor of Philosophy University of New South Wales School of the Arts and Media Faculty of Arts and Social Sciences June 2013 ABSTRACT The main goal of this thesis is to gain a greater understanding of Chopin performance and interpretation, particularly in relation to tempo and rubato. This thesis is a comparative study between pianists who are associated with the Chopin tradition, primarily the Polish pianists of the early twentieth century, along with French pianists who are connected to Chopin via pedagogical lineage, and several modern pianists playing on period instruments. Through a detailed analysis of tempo and rubato in selected recordings, this thesis will explore the notions of tradition and individuality in Chopin playing, based on principles of pianism and pedagogy that emerge in Chopin’s writings, his composition, and his students’ accounts. Many pianists and teachers assume that a tradition in playing Chopin exists but the basis for this notion is often not made clear. Certain pianists are considered part of the Chopin tradition because of their indirect pedagogical connection to Chopin. I will investigate claims about tradition in Chopin playing in relation to tempo and rubato and highlight similarities and differences in the playing of pianists of the same or different nationality, pedagogical line or era. I will reveal how the literature on Chopin’s principles regarding tempo and rubato relates to any common or unique traits found in selected recordings.
    [Show full text]
  • Eloquence Releases: Summer 2017 by Brian Wilson
    Some Recent Eloquence Releases: Summer 2017 by Brian Wilson The original European Universal Eloquence label replaced budget releases on DG (Privilege or Resonance), Decca (Weekend Classics) and Philips (Classical Favourites). Like them it originally sold for around £5 and offered some splendid bargains such as Telemann’s ‘Water Music’ and excerpts from Tafelmusik (Musica Antiqua Köln/Reinhard Goebel 4696642) and Mahler’s Das Lied von der Erde (Janet Baker, James King, Concertgebouw/Bernard Haitink 4681822). Later most of the original batch were deleted – luckily the Mahler remains available – and production switched to Universal Australia but the price remained around the same. More recently changes in the value of the £ mean that single CDs now sell for around £7.75 but the high quality of much of the repertoire means that they remain well worth keeping an eye on. Many, but not all, of the albums are available to stream or download and I have reviewed some in that form and others on CD. Be aware, however, that the downloads often cost more than the CDs and invariably come without notes – which is a shame because the Eloquence booklets are better than those of many budget labels. THE TUDORS Lo, Country Sports Anonymous Almain Thomas TOMKINS Adieu, Ye City-Prisoning Towers Thomas WEELKES Lo, Country Sports that Seldom Fades Nicholas BRETON Shepherd and Shepherdess Michael EAST Sweet Muses, Nymphs and Shepherds Sporting Bar YOUNG The Shepherd, Arsilius’s, Reply John FARMER O Stay, Sweet Love Giles FARNABY Pearce did love fair Petronel Michael
    [Show full text]
  • The-Piano-Teaching-Legacy-Of-Solomon-Mikowsky.Pdf
    ! " #$ % $%& $ '()*) & + & ! ! ' ,'* - .& " ' + ! / 0 # 1 2 3 0 ! 1 2 45 3 678 9 , :$, /; !! < <4 $ ! !! 6=>= < # * - / $ ? ?; ! " # $ !% ! & $ ' ' ($ ' # % %) %* % ' $ ' + " % & ' !# $, ( $ - . ! "- ( % . % % % % $ $ $ - - - - // $$$ 0 1"1"#23." 4& )*5/ +) * !6 !& 7!8%779:9& % ) - 2 ; ! * & < "-$=/-%# & # % %:>9? /- @:>9A4& )*5/ +) "3 " & :>9A 1 The Piano Teaching Legacy of Solomon Mikowsky by Kookhee Hong New York City, NY 2013 2 TABLE OF CONTENTS Preface by Koohe Hong .......................................................3 Endorsements .......................................................................3 Comments ............................................................................5 Part I: Biography ................................................................12 Part II: Pedagogy................................................................71 Part III: Appendices .........................................................148 1. Student Tributes ....................................................149 2. Student Statements ................................................176
    [Show full text]
  • TRAINING the YOUNG ACTOR: a PHYSICAL APPROACH a Thesis
    TRAINING THE YOUNG ACTOR: A PHYSICAL APPROACH A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Arts Anthony Lewis Johnson December, 2009 TRAINING THE YOUNG ACTOR: A PHYSICAL APPROACH Anthony Lewis Johnson Thesis Approved: Accepted: __________________________ __________________________ Advisor Dean of the College Mr. James Slowiak Dr. Dudley Turner __________________________ __________________________ Faculty Reader Dean of the Graduate School Mr. Durand Pope Dr. George R. Newkome __________________________ __________________________ School Director Date Mr. Neil Sapienza ii TABLE OF CONTENTS Page CHAPTER I. INTRODUCTION TO TRAINING THE YOUNG ACTOR: A PHYSICAL APPROACH...............................................................................1 II. AMERICAN INTERPRETATIONS OF STANISLAVSKI’S EARLY WORK .......5 Lee Strasberg .............................................................................................7 Stella Adler..................................................................................................8 Robert Lewis...............................................................................................9 Sanford Meisner .......................................................................................10 Uta Hagen.................................................................................................11 III. STANISLAVSKI’S LATER WORK .................................................................13 Tension
    [Show full text]
  • Dayton C. Miller Flute Collection
    Guides to Special Collections in the Music Division at the Library of Congress Dayton C. Miller Flute Collection LIBRARY OF CONGRESS WASHINGTON 2004 Table of Contents Introduction...........................................................................................................................................................iii Biographical Sketch...............................................................................................................................................vi Scope and Content Note......................................................................................................................................viii Description of Series..............................................................................................................................................xi Container List..........................................................................................................................................................1 FLUTES OF DAYTON C. MILLER................................................................................................................1 ii Introduction Thomas Jefferson's library is the foundation of the collections of the Library of Congress. Congress purchased it to replace the books that had been destroyed in 1814, when the Capitol was burned during the War of 1812. Reflecting Jefferson's universal interests and knowledge, the acquisition established the broad scope of the Library's future collections, which, over the years, were enriched by copyright
    [Show full text]
  • Challenging Performance: Classical Music Performance Norms and How to Escape Them
    King’s Research Portal Link to publication record in King's Research Portal Citation for published version (APA): Leech-Wilkinson, D. (2020). Challenging Performance: Classical Music Performance Norms and How to Escape Them. https://challengingperformance.com/the-book/ Citing this paper Please note that where the full-text provided on King's Research Portal is the Author Accepted Manuscript or Post-Print version this may differ from the final Published version. If citing, it is advised that you check and use the publisher's definitive version for pagination, volume/issue, and date of publication details. And where the final published version is provided on the Research Portal, if citing you are again advised to check the publisher's website for any subsequent corrections. General rights Copyright and moral rights for the publications made accessible in the Research Portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognize and abide by the legal requirements associated with these rights. •Users may download and print one copy of any publication from the Research Portal for the purpose of private study or research. •You may not further distribute the material or use it for any profit-making activity or commercial gain •You may freely distribute the URL identifying the publication in the Research Portal Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 23. Sep. 2021 Perf Challenging Mus Performance: e and H to E ape Classical ic ormanc Norms D owLe sc Them by aniel ech-Wilkinson version 2.04 (30.iv.21) 2 Preface This is an eBook, a PDF (the version you're reading now), a website, and a set of podcasts.
    [Show full text]
  • 6Th Grade Supply List Cove Creek Middle School 2019-2020 Math
    6th Grade Supply List Cove Creek Middle School 2019-2020 Math ELA ● 1 2-inch inch binder ● 1 ½ binder ● Spiral notebook ● 5 tab dividers ● Pencil pouch for calculator ● Three-pronged, two-pocket plastic folder ● Pencil pouch with pencils, pens, ● Post-it notes highlighters ● Pencil pouch with pencils, pens, highlighters Science/Social Studies General Supplies (will be needed for all classes) ● 1 1-inch binder ● Earbuds (no Airpods or Bluetooth) ● 5 tab dividers ● Pencils ● Highlighters ● Loose leaf paper ● Post-it notes ● Homeroom folder/sleeve for take-home ● Homework folder information ● Spiral Notebook ● Pencil pouch with pencils, pens, highlighters Communal Supplies (to be used by all middle school teachers as needed) ● Clorox wipes ● Kleenex ● Hand sanitizer ● Extra pencils ● Extra pens ● Extra loose leaf paper ● Extra ear buds ● Baggies (sandwich size) Exploratory classes McAulay - Art Spiral bound sketch book (8 ½” x 11” or 8” x 10” or 9” x 10”) Pencils, Erasers, Hand held pencil sharpener Vannoy - PE Physicals are required for all middle school sports Oxentine - Wireless mouse (optional) Technology/Comput ers Rash - ORCHESTRA BAND Band/Orchestra ● Instrument (choose from violin, ● Instrument (choose from viola, cello or upright bass)* flute, clarinet, saxophone, ● Accessories trumpet, french horn, ● Rosin trombone/baritone or ● Shoulder Rest (violin/viola only) percussion)* ● Cello endpin anchor (cello only) ● Accessories ● Extra set of strings (if feasible) ● cleaning swab or other ● Microfiber cloth to periodically cleaning accessories wipe down instrument ● A box of reeds (clarinet, ● Method Book saxophone) ● Essential Elements Book 1 for ● Cork grease (clarinet, specific instrument saxophone) ● Black, 1” or ½” 3 Ring Binder ● valve oil (trumpet); rotary ● Pencil valve oil (french horn only) ● Slide oil (trombone) ● Drumsticks + practice pad (percussion only) ● Method Book ● Essential Elements Book 1 for specific instrument ● Black, 1” or ½” 3 Ring Binder ● Pencil - not pen .
    [Show full text]