Foundations for the Development of a High-School Course in Music Literature Based on the Principles of General Education, with Implications for Teacher Education
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Library Congress
The Music Division of the Library Congress HAROLD SPIVACKE THE COLLECTION OF MUSIC in the Library of Congress antedates by many years the founding of the Music Divi- sion in 1897. There was a small but interesting section of books on music in Jefferson's library when it was acquired by Congress to re- place its library destroyed in the War of 1812. By the time the pres- ent main building was opened in 1897, there had accumulated in the Capitol a great number of pieces of music which had to be moved into the new building. During the subsequent six decades, this number increased almost tenfold and there are now over three million items in the custody of the Music Division. The services which developed as a result of this phenomenal growth are both complex and varied. This study, however, will be limited to a discussion of those special services and activities of the Music Division which are unusual in the library world, some of them the result of the special position of the Library of Congress and others the result of what might be called historical accident. There is an apparent reciprocity between the constituency which a library serves and its collections and services. The accumulation of a large quantity of a certain type of material will in itself frequently attract a new type of library user. The reverse is often true in that the growth of a certain type of musical activity in a community will lead a library to acquire the materials and develop the services neces- sary to support this activity. -
Music of the Classical Period
2019/2020 Music of the Classical Period Code: 100641 ECTS Credits: 6 Degree Type Year Semester 2500240 Musicology OB 2 2 Contact Use of Languages Name: Jordi Rifé Santaló Principal working language: catalan (cat) Email: [email protected] Some groups entirely in English: No Some groups entirely in Catalan: Yes Some groups entirely in Spanish: No Prerequisites 1.Have a general knowledge of the History of Music, Art and Philosophy. 2.Have consolidated the bases of Harmony, Contrpunto and Musical Forms. Objectives and Contextualisation The course seeks to describe and explain the development of music and the musical phenomenon from the end of the last Baroque until the early decades of the XIX century. Therefore, it will be a contextualized journey through the most important composers, forms, genres, instruments and theories that make up the musical style of the music of the classical and musical classicism. Competences Critically analyse musical works from any of the points of view of the discipline of musicology. Developing critical thinking and reasoning and communicating them effectively both in your own and other languages. Identify and compare the different channels of reception and consumption of music in society and in culture in each period. Know and understand the historical evolution of music, its technical, stylistic, aesthetic and interpretative characteristics from a diachronic perspective. Relate concepts and information from different humanistic, scientific and social disciplines, especially the interactions which are established between music and philosophy, history, art, literature and anthropology. Relate knowledge acquired to musical praxis, working with musicians through the analysis and contextualisation of different repertoires, both related to historical music and to the different manifestations of contemporary music. -
The Classical Period (1720-1815), Music: 5635.793
DOCUMENT RESUME ED 096 203 SO 007 735 AUTHOR Pearl, Jesse; Carter, Raymond TITLE Music Listening--The Classical Period (1720-1815), Music: 5635.793. INSTITUTION Dade County Public Schools, Miami, Fla. PUB DATE 72 NOTE 42p.; An Authorized Course of Instruction for the Quinmester Program; SO 007 734-737 are related documents PS PRICE MP-$0.75 HC-$1.85 PLUS POSTAGE DESCRIPTORS *Aesthetic Education; Course Content; Course Objectives; Curriculum Guides; *Listening Habits; *Music Appreciation; *Music Education; Mucic Techniques; Opera; Secondary Grades; Teaching Techniques; *Vocal Music IDENTIFIERS Classical Period; Instrumental Music; *Quinmester Program ABSTRACT This 9-week, Quinmester course of study is designed to teach the principal types of vocal, instrumental, and operatic compositions of the classical period through listening to the styles of different composers and acquiring recognition of their works, as well as through developing fastidious listening habits. The course is intended for those interested in music history or those who have participated in the performing arts. Course objectives in listening and musicianship are listed. Course content is delineated for use by the instructor according to historical background, musical characteristics, instrumental music, 18th century opera, and contributions of the great masters of the period. Seven units are provided with suggested music for class singing. resources for student and teacher, and suggestions for assessment. (JH) US DEPARTMENT OP HEALTH EDUCATION I MIME NATIONAL INSTITUTE -
Fall 2012 Curriculum Table of Contents
Fall 2012 Curriculum Table of Contents Center for the Advancement of Public Action…………………………………………………………………………… 1 Advancement of Public Action............................................................................................................................... 1 Design Labs ............................................................................................................................................................... 5 Conflict Resolution................................................................................................................................................... 6 Modules: Transferable Approaches....................................................................................................................... 6 Center for Creative Teaching………………………………………………………………………………………………. 9 Dance………………………………………………………………………………………………………………………... 11 Drama……………………………………………………………………………………………………………………….. 19 The Environment………………………………………………………………………………………………………….. 29 Foreign Languages………………………………………………………………………………………………………… 31 Chinese..................................................................................................................................................................... 31 Foreign Language Education................................................................................................................................32 French...................................................................................................................................................................... -
Karel Ančerl Mannheim School
czech music quarterly 4 | 2 0 0 7 Jan Talich Festivals in the Czech Republic Karel Ančerl Mannheim School 2 0 7 Dear Readers, | 4 with this last issue for 2007, Czech Music Quarterly crowns its first year of existence in a new format and with a new graphic design. We think the magazine’s new look has been a success and we hope we are not alone in thinking so. In any case we welcome any feedback from readers. And of course not only on matters of design but on the content too – your comments, suggestions and criticisms are very important for us. I would like to draw your attention to the fact that for several months now full-text back numbers of all out issues from 2004 to 2006 have been accessible on our web pages, www.czech-music.net, and other issues will be added progressively (always a year after original publication). Please note that as far as older numbers are concerned, we shall always be happy to send you a copy of any article that interests you on request (you will find a list of contents of individual back numbers on our web archive). Our prime concern is that anyone anywhere who wants information about Czech music should have no difficulty getting it. Please don’t hesitate to contact us. With the next issue we shall once again be providing a CD, this time offering recordings of music by composers who came on the scene in the 1960s. As with the last CD, all the pieces (with one exception) have never previously been recorded. -
William Schuman: the Witch of Endor William Schuman (1910-1992)
WILLIAM SCHUMAN: THE WITCH OF ENDOR WILLIAM SCHUMAN (1910-1992) JUDITH, CHOREOGRAPHIC POEM [1] JUDITH, CHOREOGRAPHIC POEM (1949) 21:20 [2] NIGHT JOURNEY (1947) 20:34 NIGHT JOURNEY THE WITCH OF ENDOR (1965) THE WITCH OF ENDOR [3] Part I 6:39 [4] Part II 8:09 [5] Part III 8:00 BOSTON MODERN ORCHESTRA PROJECT [6] Part IV 8:21 Gil Rose, conductor [7] Part V 8:35 TOTAL 81:41 COMMENT William Schuman to Fanny Brandeis November 30, 1949 About three years ago I had the privilege of collaborating with Miss Graham on the work known as Night Journey which was commissioned by the Elizabeth Sprague Coolidge Foundation in the Library of Congress, and was first performed on May3 , 1947 at the Harvard Symposium on Music Criticism. Working with Martha Graham was for me a most rewarding artistic venture and is directly responsible for the current collaboration. When I received a telephone call last spring from Miss Graham informing me that the Louisville Orchestra would commission a composer of her choice for her engagement, I had no inten- tion of adding to my already heavy commitments. However, as the telephone conversation progressed and as the better part of an hour was consumed, my resistance grew weaker and suddenly I found myself discussing the possible form the work could take. Actually, my reason for wanting to do the work was not only the welcome opportunity of writing another piece for Miss Graham, but also the opportunity of employing the full OGRAPHY BY MARTHA GRAHAM. MARTHA BY OGRAPHY resources of the modern symphony orchestra for a choreographic composition. -
Juilliard Orchestra Student Composers Monday, February 25, 2013 at 8 PM the Peter Jay Sharp Theater Printed on Recycled Paper the Juilliard School Presents The
Juilliard Orchestra student cOmpOsers Monday, February 25, 2013 at 8 PM The Peter Jay Sharp Theater PrinTed on recycled PaPer The Juilliard School presents the Juilliard Orchestra featuring fOur wOrld premieres by Juilliard cOmpOsers Jeffrey milarsky, Conductor Monday, February 25, 2013 at 8 PM The Peter Jay Sharp Theater paul frucht Relic* yuri bOguinia Margarita at the Ball Maxwell FoSTer , piano inTerMiSSion stefan cwik The Illusionist The Nectar, Suite no. 1 (from the Two-act Ballet) peng-peng gOng City Scenes Dance of the Boy The Blue-Eyed Awakening Pas de Deux Dance of the Killers *winner, 2013 arthur Friedman composition Prize this performance is supported in part by the muriel gluck production fund. Please make certain that the electronic signal on your watch, pager, or cell phone is turned off during the concert. The taking of photographs and the use of recording equipment are not permitted in this theater. aBouT The PrograM Relic That being said, this is not a re-working paul frucht of anyone’s music in particular nor is this piece paying homage to any particular com - at the same time as i was beginning to con - poser. instead, this piece pays homage to ceive this piece, i was studying harmony and sonority, a relic and cornerstone of harmony, counterpoint fairly rigorously. i began to filtered through my own contemporary find myself fascinated with the triad as one voice. of the most, if not the most, important har - monic formation in western music since the —Paul Frucht 16th century. as i learned how the triad came to be —out of contrapuntal rules relat - aBouT Paul FruchT ing to consonances and dissonances —i Paul Frucht is a composer and percussionist found it astonishing how far the triad had dedicated to creating and performing music come and how it has survived through all of with a vibrant, unique sound that engages a the periods of harmonic innovation through - wide spectrum of audiences. -
Pittsburgh Symphony Orchestra LORIN MAAZEL, Music Director-Designate
THE UNIVERSITY MUSICAL SOCIETY OF THE UNIVERSITY OF MICHIGAN Pittsburgh Symphony Orchestra LORIN MAAZEL, Music Director-Designate MICHAEL TILSON THOMAS Conductor VLADIMIR FELTSMAN, Pianist WEDNESDAY EVENING, APRIL 27, 1988, AT 8:00 HILL AUDITORIUM, ANN ARBOR, MICHIGAN PROGRAM Symphony No. 6 in F major, Op. 68 ("Pastoral") ............... BEETHOVEN Allegro ma non troppo (Awakening of Joyful Feelings Upon Arriving in the Country) Andante molto mosso (Scene by the Brook) Allegro (Merry Gathering of Country Folk) Allegro (Tempest, Storm) Allegretto (Shepherds' Hymn: Glad and Thankful Feelings After the Storm) INTERMISSION Concerto No. 3 in D minor for Piano and Orchestra, Op. 30 . RACHMANINOFF Allegro ma non tanto Intermezzo: adagio Finale: alia breve VLADIMIR FELTSMAN Bravo to May Festival Underwriters In the spirit of honoring the past and ensuring the future, these families and individuals have demonstrated their support by underwriting the artist fees and major production costs of this 95th Annual May Festival. Representing both long-time Ann Arbor arts patrons and a new generation of leadership in the cultural life of this community, these donors are committed to maintaining the Musical Society's tradition of excellence through their public-spirited generosity. We gratefully recognize the following: Dennis A. Dahlmann Mrs. Theophile Raphael Mr. and Mrs. Peter N. Heydon Eileen and Ron Weiser with Elizabeth E. Kennedy McKinley Associates, Inc. Bill and Sally Martin An anonymous family The Power Foundation Forty-second Concert of the 109th Season Ninety-fifth Annual May Festival PROGRAM NOTES by Dr. FREDERICK DORIAN in collaboration with Dr. JUDITH MEIBACH Symphony No. 6 in F major, Op. 68 ("Pastoral") . -
Harold Spivacke Collection [Finding Aid]. Library Of
Harold Spivacke Collection Guides to Special Collections in the Music Division of the Library of Congress Music Division, Library of Congress Washington, D.C. 1995 Contact information: http://hdl.loc.gov/loc.music/perform.contact Additional search options available at: http://hdl.loc.gov/loc.music/eadmus.mu011011 LC Online Catalog record: http://lccn.loc.gov/2006572324 Processed by the Music Division of the Library of Congress Collection Summary Title: Harold Spivacke Collection Span Dates: 1923-1984 Bulk Dates: (bulk 1930-1978) Call No.: ML31.S69 Creator: Spivacke, Harold, 1904-1977 Extent: around 3,900 items ; 33 containers ; 13 linear feet Language: Collection material primarily in English with some items in German Location: Music Division, Library of Congress, Washington, D.C. Summary: Harold Spivacke was a music librarian, administrator, musicologist, and musician. He was chief of the Library of Congress Music Division for thirty-five years, from 1937 until 1972. The collection contains materials relating to his life and career, including correspondence, student notebooks, speeches, his dissertation, photographs, clippings, programs, manuscript and printed music, artwork, awards and honorary degrees, and business papers. Selected Search Terms The following terms have been used to index the description of this collection in the Library's online catalog. They are grouped by name of person or organization, by subject or location, and by occupation and listed alphabetically therein. People Albert, Eugen d', 1864-1932--Photographs. Angell, Richard--Correspondence. Anglès, Higini, 1888-1969--Correspondence. Bernstein, Leonard, 1918-1990--Correspondence. Coolidge, Elizabeth Sprague, 1864-1953--Correspondence. Copland, Aaron, 1900-1990--Correspondence. Dallapiccola, Luigi, 1904-1975--Correspondence. -
Music in the Classical Period (A
Teaching notes Western Music History Music in the Classical Period (a. 1730 - a. 1800) © 2013 by Helen Wong Kin Hoi Alberti Bass - breaking each of the underlying chords into a simple pattern of short notes that is repeated to produce a discreet chordal background. - Broken-chord accompaniment common in the second half of the eighteenth century and named after Domenico Alberti, who used the figuration frequently. - A type of accompaniment pattern (first extensively used by the Italian composer, Domenico Alberti) often found in piano music by Classical composers such as Haydn and Mozart. It consists of chords broken up into patterns played by the left hand, keeping the music moving while outlining harmonies to support a melody in the right hand. Opera in the early Classical Period: Opera buffa: comic opera Opera Seria: serious opera Gluck's reform background - to serve the poetry and advance the plot, not the outworn conventions of the da capo arias or the singers to show off their skill in ornamental variation. Instrumental Music: - Keyboard sonata - Domenico Scarlatti (1685-1757) - C. P. E. Bach (1714-1788) Scarlatti: Sonata in D major, K. 119 Sonata form Since the nineteenth century, the form has been viewed as a three-part structure, but eighteenth century writers understood it as a binary form (see Figure 14.10). Exposition (usually repeated) - First theme or group of themes in the tonic (P) - Transitional or bridge passage (T) 1 - Second, often more lyrical, theme or group (S) in the dominant or relative major - Closing theme or cadential reinforcement (K) - An introduction often precedes the exposition. -
Performing Arts Annual 1987. INSTITUTION Library of Congress, Washington, D.C
DOCUMENT RESUME ED 301 906 C3 506 492 AUTHOR Newsom, Iris, Ed. TITLE Performing Arts Annual 1987. INSTITUTION Library of Congress, Washington, D.C. REPORT NO ISBN-0-8444-0570-1; ISBN-0887-8234 PUB DATE 87 NOTE 189p. AVAILABLE FROMSuperintendent of Documents, U.S. Government Printing Office, Washington, DC 20402 (Ztock No. 030-001-00120-2, $21.00). PUB TYPE Collected Works - General (020) EDRS PRICE MF01/PC08 Plus Postage. DESCRIPTORS Cultural Activities; *Dance; *Film Industry; *Films; Music; *Television; *Theater Arts IDENTIFIERS *Library of Congress; *Screenwriters ABSTRACT Liberally illustrated with photographs and drawings, this book is comprised of articles on the history of the performing arts at the Library of Congress. The articles, listed with their authors, are (1) "Stranger in Paradise: The Writer in Hollywood" (Virginia M. Clark); (2) "Live Television Is Alive and Well at the Library of Congress" (Robert Saudek); (3) "Color and Music and Movement: The Federal Theatre Project Lives on in the Pages of Its Production Bulletins" (Ruth B. Kerns);(4) "A Gift of Love through Music: The Legacy of Elizabeth Sprague Coolidge" (Elise K. Kirk); (5) "Ballet for Martha: The Commissioning of 'Appalachian Spring" (Wayne D. Shirley); (6) "With Villa North of the Border--On Location" (Aurelio de los Reyes); and (7) "All the Presidents' Movies" (Karen Jaehne). Performances at the library during the 1986-87season, research facilities, and performing arts publications of the library are also covered. (MS) * Reproductions supplied by EDRS are the best that can be made * from the original document. 1 U $ DEPARTMENT OP EDUCATION Office of Educational Research and Improvement 411.111.... -
UNIVERSITY of CALIFORNIA RIVERSIDE the 1964 Festival Of
UNIVERSITY OF CALIFORNIA RIVERSIDE The 1964 Festival of Music of the Americas and Spain: A Critical Examination of Ibero- American Musical Relations in the Context of Cold War Politics A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music by Alyson Marie Payne September 2012 Dissertation Committee: Dr. Leonora Saavedra, Chairperson Dr. Walter Clark Dr. Rogerio Budasz Copyright by Alyson Marie Payne 2012 The Dissertation of Alyson Marie Payne is approved: ______________________________________________________________ ______________________________________________________________ _______________________________________________________________ Committee Chairperson University of California, Riverside Acknowledgments I would like to acknowledge the tremendous help of my dissertation committee, Dr. Leonora Saavedra, Dr. Walter Clark, and Dr. Rogerio Budasz. I am also grateful for those that took time to share their first-hand knowledge with me, such as Aurelio de la Vega, Juan Orrego Salas, Pozzi Escot, and Manuel Halffter. I could not have completed this project with the support of my friends and colleagues, especially Dr. Jacky Avila. I am thankful to my husband, Daniel McDonough, who always lent a ready ear. Lastly, I am thankful to my parents, Richard and Phyllis Payne for their unwavering belief in me. iv ABSTRACT OF THE DISSERTATION The 1964 Festival of Music of the Americas and Spain: A Critical Examination of Ibero- American Musical Relations in the Context of Cold War Politics by Alyson Marie Payne Doctor of Philosophy, Graduate Program in Music University of California, Riverside, September 2012 Dr. Leonora Saavedra, Chairperson In 1964, the Organization of American States (OAS) and the Institute for Hispanic Culture (ICH) sponsored a lavish music festival in Madrid that showcased the latest avant-garde compositions from the United States, Latin America, and Spain.