Syringa Mountain School Curriculum 2015-16

Total Page:16

File Type:pdf, Size:1020Kb

Syringa Mountain School Curriculum 2015-16 Syringa Mountain School Curriculum 2015-16 Introduction The following curriculum was created for Syringa Mountain School (SMS) based on the curriculum taught in traditional Waldorf schools. A few changes have been made to the traditional private Waldorf school curriculum in order to stay true to the mission and vision of SMS. Other differences are minor and have been included in order to meet the Common Core Standards. The curriculum is presented by grade level and by block or unit of study. Each grade begins with a listing of the blocks to be taught that year and is followed by an overview of what children are like at that particular age and gives the reader a short introduction to that phase of child development. A brief summary of the block follows. Next the Common Core Standards and/or the Idaho State Standards are listed. These are the standards that will be met during the unit of study. Then the blocks are broken down by weeks. Suggestions for how and what to teach each week are given. Finally, a list of teacher resources round out the block. The curriculum by no means is meant to be followed exactly. It is a guide and a resource. Should the teacher wish to bring the unit of study to her class in a different way, it would be perfectly fine as long as the standards were met and the teaching methodology was developmentally appropriate. It should also be noted that the curriculum is a working document and it is expected that it will evolve over time. Thank you to Dr. Mary Goral and Tomorrow River Community Charter School for their work creating this curriculum and for allowing us to use this resource. 1 Syringa Mountain School Curriculum 2015-16 First Grade First Grade Block Rotation 1st Grade (Blocks are 4 weeks long) Form Drawing Reading, Phonics and Writing through Fairy tales Quality of Numbers/Number Sense Reading, Phonics and Writing through Fairy Tales 4 Processes Class Play (Drama) Reading, Phonics, and Writing through Fairy Tales Basic Facts to 100 (all 4 processes) Overview of First Grade Curriculum The first grade child is quite ready to undertake the tasks of literacy development and mathematical reasoning. As the child enters first grade, literacy development comes more clearly into focus through the language arts curriculum. Instruction centers around storytelling, particularly the archetypal fairy tales, which will develop the child’s growing capacity for writing and reading. Listening and speaking is deepened by daily circle activities, as well as through the recall and retelling of stories. Children also practice balance, handedness, directionality and precision in the gross motor movements while reciting poems, rhymes, and songs during the morning circle. Writing arises from drawing and from the practice of the alphabet as a combination of the straight and curved lines. Much care is taken in the initial stage of writing to prepare the children for success. Penmanship, recognition and distinction of letters, words, and sentences, are all emphasized. Games that encourage concepts of print, visual tracking, matching oral and printed words and phonemic awareness are introduced and assessed formatively to help guide instruction. Students become increasingly capable of writing and reading high frequency words as the first grade year progresses. The teacher presents the study of these words in the context of compelling and age-appropriate stories. This work is done during the main lesson as well as practice periods. Mathematics is taught from the whole to the part and is brought to the students through imaginative storytelling. Students also use art, movement, music, mental games, and manipulatives to help create a learning context for the understanding of numeric concepts. The four processes are taught by the personification of each sign (i.e. Perceival Plus, Moira Minus, Tamara Times, and Duke Demi Divide). By adding feeling and emotion to the mathematical processes, children can better relate to these abstract concepts. Science concepts are taught through nature studies and by immersing the children in the outdoors. First grade is a time for children to explore in all aspects of the curriculum. 2 Syringa Mountain School Curriculum 2015-16 First Grade – Form Drawing The first block of first grade traditionally focuses on form drawing – the straight line and the curved line. Now that students are in the first grade, they should have developed a “coordination of the balance and movement senses” (Embrey-Stine & Schuberth, 1999, p. 1). The straight line actually has a connection with the uprightness of the child and the child’s ego where as the curved line has a softer feeling and is more connected with the environment. All things learned in school, from reading letters and numbers to writing algorithms and essays stem from the straight and curved line. Although it may seem like a simple concept, it is actually quite profound and students will take this first block seriously, as they will sense the innate importance of it. In addition to practicing the straight and curved line, students will hear stories, sing songs, be introduced to their pentatonic flute, learn the routine and rules of the classroom, and generally begin to get used to being a student in the first grade and building a community. Learning the pentatonic flute in the first grade supports the child’s growth in many ways. Holding the instrument at the vertical midline while right and left hands function independently, strengthens neural pathways leading to dominance. Children practice balance, handedness, directionality, and precision in the gross motor movements while reciting poems, rhymes, songs, and stories. Many of the activities in the first grade and in this first block set the tone for building a community of learners – from playing flutes together to moving in tandem in the circle, this first block sets the tone for the year and it is imperative that teachers establish a strong routine from the very beginning. First graders are eager to learn new things and take on new responsibilities, so giving them jobs is also key to their feeling “grown-up”. Common Core Standards: Reading Literature Key Ideas and Details 1. Ask and answer questions about key details in a text. * 2. Retell stories, including key details and demonstrate understanding of their central message or lesson. 3. Describe characters, settings, and major events in a story, using key details. *These standards will apply to stories that the teacher tells the children. Craft and Structure 4. Identify words and phrases in stories or poems that suggest feelings or appeal to the senses. 5. Explain major differences between books that tell stories and books that give information, drawing on a wide reading of a range of text types. ** 6. Identify who is telling the story at various points in a text. **This standard will be met in grade 2 Integration of Knowledge and Ideas 7. Use illustrations and details in a story to describe its characters, setting, or events. 8. Compare and Contrast the adventures and experiences of characters in stories. Speaking and Listening Standards Comprehension and Collaboration 3 Syringa Mountain School Curriculum 2015-16 1. Participate in collaborative conversations with diverse partners about grade 1 topics and texts with peers and adults in small and larger groups. a. Follow agreed-upon rules for discussions (e.g., listening to others with care, speaking one at a time about the topics and texts under discussion). b. Build on others’ talk in conversations by responding to the comments of others through multiple exchanges. c. Ask questions to clear up any confusion about the topics and texts under discussion. 2. Ask and answer questions about key details in a text read aloud or information presented orally or through other media. 3. Ask and answer questions about what a speaker says in order to gather additional information or clarify something that is not understood. Presentation of Knowledge and Ideas 4. Describe people, places, things and events with relevant details, expressing ideas and feelings clearly. 5. Add drawings or other visual displays to descriptions when appropriate to clarify ideas, thoughts, and feelings. 6. Produce complete sentences when appropriate to task and situation. (See grade 1 Language standards 1 and 3 for specific expectations.) Language Standards Conventions of Standard English 1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking. a. Print all upper- and lowercase letters. b. Use common, proper, and possessive nouns. c. Use singular and plural nouns with matching verbs in basic sentences (e.g., He hops; We hop). d. Use personal, possessive, and indefinite pronouns (e.g., I, me, my; they, them, their; anyone, everything). e. Use verbs to convey a sense of past, present, and future (e.g., Yesterday I walked home; Today I walk home; Tomorrow I will walk home). f. Use frequently occurring adjectives. g. Use frequently occurring conjunctions (e.g., and, but, or, so, because). h. Use determiners (e.g., articles, demonstratives). i. Use frequently occurring prepositions (e.g., during, beyond, toward). Week One: Begin the morning lesson with a well-crafted circle (following the greeting, morning verse, attendance) that has a lovely balance of songs, poems, movement, all of which contain feelings that span the range of happy and sad, serious and silly. Even in the morning circle, there is a breathing in and breathing out, a certain rhythm, that appeals to the child’s sense of well-being. The teacher can then introduce the pentatonic flute This is a very important exercise and if the teacher wants to wait on this, that is understandable. Following the circle, begin with a story that contains something that will portray the straight line and the curved line.
Recommended publications
  • Statement on Intermedia
    the Collaborative Reader: Part 3 Statement on Intermedia Dick Higgins Synaesthesia and Intersenses Dick Higgins Paragraphs on Conceptual Art/ Sentences on Conceptual Art Sol Lewitt The Serial Attitude Mel Bochner The Serial Attitude – Mel Bochner Tim Rupert Introduction to the Music of John Cage James Pritchett In the Logician's Voice David Berlinski But Is It Composing? Randall Neal The Database As a Genre of New Media Lev Manovich STATEMENT ON INTERMEDIA Art is one of the ways that people communicate. It is difficult for me to imagine a serious person attacking any means of communication per se. Our real enemies are the ones who send us to die in pointless wars or to live lives which are reduced to drudgery, not the people who use other means of communication from those which we find most appropriate to the present situation. When these are attacked, a diversion has been established which only serves the interests of our real enemies. However, due to the spread of mass literacy, to television and the transistor radio, our sensitivities have changed. The very complexity of this impact gives us a taste for simplicity, for an art which is based on the underlying images that an artist has always used to make his point. As with the cubists, we are asking for a new way of looking at things, but more totally, since we are more impatient and more anxious to go to the basic images. This explains the impact of Happenings, event pieces, mixed media films. We do not ask any more to speak magnificently of taking arms against a sea of troubles, we want to see it done.
    [Show full text]
  • University of Huddersfield Repository
    University of Huddersfield Repository Saunders, James Developing a modular approach to music Original Citation Saunders, James (2003) Developing a modular approach to music. Doctoral thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/5942/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ CONTENTS Table Figures of ............................................................................................................................iv Acknowledgements ........................................................................................................................vi Abstract ......................................................................................................................................
    [Show full text]
  • A.Pe.Ri.Od.Ic Presents a JOHN CAGE FESTIVAL April 13-15, 2012 CHICAGO 5 Concerts Celebrating the Centennial of John Cage’S Birth
    a.pe.ri.od.ic presents A JOHN CAGE FESTIVAL April 13-15, 2012 CHICAGO 5 concerts celebrating the centennial of John Cage’s birth (1) (2) April 13, 7:30 PM April 14, 1:30 PM PianoForte Chicago Chicago History Museum Rubloff Auditorium 410 S. Michigan Ave 1601 N. Clark St (3) (5) April 14, 7:00 PM Collaboraction April 15, 4:00 PM (4) Curtiss Hall April 14, 9:00 PM 410 S. Michigan Ave Collaboraction 1579 N. Milwaukee Ave Room 300 a.pe.ri.od.ic presents: A John Cage Festival April 13-15, 2012 Chicago 2012 marking the centennial of John Cage's birth will host hundreds of Cage festivals, memorial concerts, conferences, exhibits and lectures, held all over the world demonstrating not only Cage’s contributions to music, art, poetry, politics and aesthetics, but also his relevance and influence on the development of each of these fields. Wanting to appropriately celebrate and honor his life's work a.pe.ri.od.ic presents a three-day festival featuring repertoire spanning over 50 years of the composer’s output. The festival includes five concerts of John Cage’s repertoire for toy piano, percussion ensemble, vocal ensemble, string quartet, piano, duos, and multimedia arts. These works exhibit Cage’s micro-macroscopic rhythmic structure, a smattering of indeterminacy, his collaborative endeavors, three of his late Number Pieces, and a lecture on the John Cage Collection examining pieces presented on the festival. John Cage lived in Chicago early on in his career, teaching at the Chicago Institute of Design and accompanying dance classes at the University of Chicago.
    [Show full text]
  • Produce Outcomes That Were Markedly Differebtoi Outcomes
    1 DOCUMENT RESUME ED 110'164 PS 007 937' ... AUTHOR. Lippman,. Marcia Z.; Grote, Barbara H. TITLE Social-Emotional EffectS-ef Day Care. Final Project Peport. _ SPONS AGENCY Office of Child Development (DHEW),'Washington," DC. ,(--- PUB DATE Jun 14 _ NOTE 380p. , -- _- EDRS PRICE MF-$0:16 HC- $19 ;67 PLUS, POSTAGE DESCRIPTORS Child Care Centers; Child Rearing ;. *Comparative Analysis; Curiosity; *DayCare Servicgs; *Emotional Adjustment; Family Day,Care; Interviews; Motivatiorii,.. Parent Attitudes; Parent Child Relationship; Parent-- Influence; Preschool ,Chieldren;-*Preschool*Education; Self Concept; Sex ROle; *Social 'Adjustment; Women IDENTIFIERS *WashingtOn 1Seaitle) ABSTRACT 1 This study compared the effects of group day care, family day care, and full parental care on such aspects of children's social - emotional adjustment as curiosity, attachment, self-concept, sex rolet-achievementmotivation, impulse control, cooperation, and sharing Initial differences between groups were controll4d by matct..ingcm-race, sex; number of parents in the home, number of siblings,- and.Mother"-s education. Data on the 282 4 -year-olds .pa?ticipating were gathered in three ways: (1) interviews_with the mothers concerning their attitudes toward their child and their child rearing priCtices,(2) observational behavior ratings of the child bf the primary caretaker and (3) games and tasks designed to elicit samples of particular types of behavior in a laboratory setting. Some of the trends observed in the data, were:(1) family day-care may tend to foster curiosity, independence, and delay of gratification; (2) hme---rediing may allow girls more freedom to express interest in _-- opposite sex toys and activities; (3) late entry into acenter may lead to increased parent orientation; and (4)day care-*F-perience may dedrease-the tendency for children to overestimate their abilitie's in -selecting both physical and academic tasks.
    [Show full text]
  • Downloaded for Personal Non-Commercial Research Or Study, Without Prior Permission Or Charge
    ^ UNIVERSITUI^IYLIXOII Y! OF Southampton University of Southampton Research Repository ePrints Soton Copyright Notice Copyright and Moral Rights for this chapter are retained by the copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This chapter cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. the content must not be changed in any way or sold commercially in any format or medium without the formal permission of the rights holder. When referring to this work state full bibliographic details including the author of the chapter, title of the chapter, editor of the book , title of the book, publisher, place of publication, year of publication, page numbers of the chapter Author of the chapter David Nicholls Title of the chapter Avant-garde and experimental music Editor/s David Nicholls Title of the book The Cambridge History of American Music ISBN 0521454298 Publisher Cambridge University Press Place of publication Cambridge, UK Year of publication 1998 Chapter/Page numbers 517-534 ig. Avant-garde and experimental music DAVID NICHOLLS Although the terms "avant-garde" and "experimental" are often used to categorize radical composers and their works, it has been noted that "'avant garde' remains more a slogan than a definition" (Griffiths 1980, p. 743) and that "'experimental music' is ill-defined and the concept it is used to describe is vague" (Rockwell 1986, p. 91). (In fairness to Rockwell, he does also stress the "bolder, more individualistic [and] eccentric" aspects of experimentalism, which suggest an "untrammeled willingness to probe the very limits of music" [p.
    [Show full text]
  • The Choral Music of John Cage Emily John
    THE CHORAL MUSIC OF JOHN CAGE EMILY JOHN EEmilym i l y JJohno h n ddirectsi r e c t s ttheh e VVoxo x NNovao v a CChoirsh o i r s ((gradesg r a d e s 55-8)- 8 ) ooff ttheh e SSpecialp e c i a l MMusicu s i c SSchoolc h o o l aatt KKaufmana u f m a n CCenter,e n t e r, aandn d iiss aassistants s i s t a n t cconductoro n d u c t o r fforo r FFacea c e ttheh e MMusic,u s i c , ttheh e KKaufmana u f m a n CCenter'se n t e r ' s tteene e n nnewe w mmusicu s i c eensemble.n s e m b l e . SSheh e iiss aalsol s o aann aadjunctd j u n c t ffacultya c u l t y mmembere m b e r aatt QQueensu e e n s CCollege-CUNY,o l l e g e - C U N Y, AAarona r o n CCoplando p l a n d SSchoolc h o o l ooff MMusic,u s i c , aandn d a ffreelancer e e l a n c e hharpista r p i s t iinn ttheh e NNYCY C aarear e a <[email protected]>. lthough most musicians know the name John Cage, few have Afully explored the musical output of Cage’s innovations. Most often acknowl- edged regarding his composition, 4’33”, Cage’s other works (including pieces for prepared piano, traditional piano, percus- sion ensemble, solo instruments, toy piano, gamelan, found objects, electronics and voices) and his lectures and philosophical writings deserve performance and a more thorough examination by all artists.
    [Show full text]
  • John Cage in Buffalo, NY, 1987
    John Cage in Buffalo, NY, 1987 26 May / June 2012 Jimmy Heath outside the Dorie Miller apartments, 2005 JOHN CAGE AND THE ENSEMBLE The composer’s output both embraces and deconstructs the very notion of chamber music togetherness. His centenary offers us an opportunity for an overview. J OH N AT s it heresy to canonize the compositions of John Cage, or to hope that they Cmight someday attain the AGstatus of E standard repertoire? Maybe so, if one Iadheres strictly to the composer’s artistic philosophy. Cage wanted to free music—and ultimately all the arts—from routine, pre- dictability, and hierarchy. This aesthetic was shared by his life partner, the choreographer Merce Cunningham, who died in 2009 and whose dance company (for whom Cage served as music director for nearly half a century) was disbanded soon thereafter, according to Cunningham’s wishes. Yet the music of John Cage (1912-1992) deserves to be admired and enjoyed by today’s performers and audiences, especially IBY Frank OO J. Oteri 27 “Cage composed tons of works Of course, viewing Cage’s entire output as chamber music is a bit whimsical—and impractical. Since I hope to for unconventional, one-of-a-kind encourage performances by today’s ensembles, let’s combinations, ranging from an abide by Chamber Music America’s definition of its realm—i.e., music for 2 to 10 players, scored one to a array of non-Western instruments part, and generally not requiring a conductor. Even when Cage’s oeuvre is pared down to fit within these to rocks and even cacti.” boundaries, we are left with 279 works to consider.
    [Show full text]
  • Cage in Retrospect:A Review Essay Here Comes Everybody: the Music, Poetry and Art of John Cage Mills College, November 15-19, 1995 CHRISTOPHER SHULTIS
    Conference Report Cage in Retrospect:A Review Essay Here Comes Everybody: The Music, Poetry and Art of John Cage Mills College, November 15-19, 1995 CHRISTOPHER SHULTIS My mEmory of whaT Happened is nOt what happeneD 400 -John Cage (1988)1 Late in his life, John Cage became interested in the making of history. He frequently mentioned his question of the historian Arragon: " 'How does one make history?' He said, 'You have to invent it.' "2 Cage was once asked "What have you invented?" to which he replied "Music, not composition,"3 and it was during that period that Cage eventually removed the frame around his most fa- mous piece 4'33" (1952)- However, that was only true of a very short period in Cage's career. Most of the time, Cage was busy inventing a variety of com- frames from the root form in the and positional square pieces 3os 40os to the time bracket or "number pieces" (as Mark Swed and others have called them)4 written right up to the very end of his life. His poetic and visual work show even more obvious evidence of such framing devices, from the use of stones in his visual art to his inven- tion of the "mesostic" in his texts, an example of which, "Composition in Retrospect," began this essay. I John Cage, Compositionin Retrospect(Cambridge, MA, 1993), 5- 2 Private correspondence dated April 29, 1991. 3 John Cage with Daniel Charles, For the Birds (London, 1981), 15- 4 Mark Swed, "Cage and Counting: The Number Pieces" in Rolywholyover:A Circus (New York, 1993)- SHULTIS Scholars in the discipline of music are only recently beginning to assess how to accomplish this same task with Cage's life and work.
    [Show full text]
  • Experimental Practices of Music and Philosophy in John Cage and Gilles Deleuze
    Experimental Practices of Music and Philosophy in John Cage and Gilles Deleuze Iain CAMPBELL This thesis is being submitted in partial fulfilment of the requirements of Kingston University for the award of the degree of Doctor of Philosophy in the Centre for Research in Modern European Philosophy. October 2015 Abstract In this thesis we construct a critical encounter between the composer John Cage and the philosopher Gilles Deleuze. This encounter circulates through a constellation of problems found across and between mid-twentieth century musical, artistic, and philosophical practices, the central focus for our line of enquiry being the concept of experimentation. We emphasize the production of a method of experimentation through a practice historically situated with regards to the traditions of the respective fields of music and philosophy. However, we argue that these experimental practices are not reducible to their historical traditions, but rather, by adopting what we term a problematic reading, or transcendental critique, with regards to historical givens, they take their historical situation as the site of an experimental departure. We follow Cage through his relation to the history of Western classical music, his contemporaries in the musical avant-garde, and artistic movements surrounding and in some respects stemming from Cage’s work, and Deleuze through his relation to Kant, phenomenology, and structuralism, in order to map the production of a practice of experimentation spanning music, art, and philosophy. Some specific figures we engage with in these respective traditions include Jean-Phillipe Rameau, Pierre Schaeffer, Marcel Duchamp, Pierre Boulez, Robert Morris, Yoko Ono, La Monte Young, Edmund Husserl, Maurice- Merleau-Ponty, Alain Badiou, and Félix Guattari.
    [Show full text]
  • The Ashgate Research Companion to Experimental Music Writing, Music
    This article was downloaded by: 10.3.98.104 On: 28 Sep 2021 Access details: subscription number Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: 5 Howick Place, London SW1P 1WG, UK The Ashgate Research Companion to Experimental Music James Saunders Writing, Music Publication details https://www.routledgehandbooks.com/doi/10.4324/9781315172347.ch2 Michael Pisaro Published online on: 16 Sep 2009 How to cite :- Michael Pisaro. 16 Sep 2009, Writing, Music from: The Ashgate Research Companion to Experimental Music Routledge Accessed on: 28 Sep 2021 https://www.routledgehandbooks.com/doi/10.4324/9781315172347.ch2 PLEASE SCROLL DOWN FOR DOCUMENT Full terms and conditions of use: https://www.routledgehandbooks.com/legal-notices/terms This Document PDF may be used for research, teaching and private study purposes. Any substantial or systematic reproductions, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The publisher shall not be liable for an loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. ASHGATE RESEARCH 2 COMPANION Writing, Music Michael Pisaro Encountering Cage My first contact with experimental music began, as it does for many, with the music of John Cage. seeing his published scores for the first time, I encountered the work of a hand, and only later, because of the curiosity this created, that of a mind and ear.
    [Show full text]
  • JOHN CAGE Works for Two Keyboards • 3 Winter Music • Two2 • Experiences No
    AMERICAN CLASSICS JOHN CAGE Works for Two Keyboards • 3 Winter Music • Two2 • Experiences No. 1 Pestova/Meyer Piano Duo John Cage (1912-1992) Cage operate all sorts of domestic devices to produce of the Japanese poetic form, renga, which consists of 36 Winter Music • Two2 • Experiences I sounds while moving around between them, all the while tankas. In this piece, a tanka is five bars with a fixed intently focused on his stopwatch. number of sounds in them (5-7-5-7-7). The sounds are At the core of John Cageʼs musical interests lies the eccentric indeterminate aspect is the pitch: the notation However, throughout the eighties, Cage started finding simply chords on either piano, and either part may freely structuring of time. This had come to replace harmony for consists of what appear to be big, at times enormous new, more flexible ways of using the stopwatch in time them within a bar. The next bar can only start when him as the driving issue in composition. His book Silence chords with clefs attached. Often the performer has to performance. This started with Thirty Pieces for Five both pianos have played all the material in the present contains a famous anecdote dating back to his days as a choose a number of notes to be played in treble clef and Orchestras (1981) and proceeded through the Music For bar, thus creating an interdependency between the student of Arnold Schoenberg, in which the student said some in bass clef, yielding many possible interpretations of ___ series (1984-1987), culminating in his series of Number performers.
    [Show full text]
  • Beverly Emmons: Composing Light for Merce
    Volume 15, Winter 2018 Managing Editor Rena Roussin Editorial Board Michael Dias Arkadi Futerman Julio Lopezhiler Emily Sabados Faculty Advisors Dr. Michelle Fillion Dr. Elissa Poole Graduate Secretary Linda Sheldon Published by the Graduate Students in Music, University of Victoria, British Columbia Musicological Explorations provides a forum for scholarly work in musicology, performance practice, ethnomusicology, and interdisciplinary studies. The journal seeks to emphasize new work from today’s graduate student community. Published through the University of Victoria. Typeset in Garamond at SpicaBookDesign (www.spicabookdesign.com). Printed in Canada by Island Blue Book Printing, Victoria BC. Cover Design by J. Olson Email: [email protected] © 2018 by the Graduate Students in Music, University of Victoria. ISSN 1711-9235 Table of Contents Foreword...............................................1 Michelle Fillion Beverly Emmons: Composing Light for Merce ..................5 Claire Carolan Understanding Wolff through Music: Problems with Reading Politics into His Early Work (1950–1976).....................23 Dave Riedstra Hearing and Seeing (Beyond) Finnegans Wake: Roaratorio and the Revitalization of Cage’s and Cunningham’s Experiential Aesthetic ..45 Rena Roussin Anarchic Practices in the Merce Cunningham Dance Company’s Ocean .......................................69 Janet Sit Biographies ............................................94 Index to Back Issues .....................................96 For Gordon Mumma From the Editor On behalf of the Editorial Board, it is my pleasure to present Volume Fifteen of Musicological Explorations, an academic jour- nal published by the graduate students of the School of Music at the University of Victoria. Originally published as Fermata in 1995, 1996, 2001, and 2002, the journal was re-launched in 2004 under the new title, with the mandate of enriching musicologi- cal discourse and research by providing a platform for scholarly work by graduate students and faculty.
    [Show full text]