DOCSLIB.ORG

K-12 Music: Unpacked Content

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
K-12 Music: Unpacked Content This document is designed to help North Carolina educators teach the Essential Standards (Standard Course of Study). NCDPI staff are continually updating and improving these tools to better serve teachers. K-12 Music ● Unpacked Content For the new Essential Standards that will be effective in all North Carolina schools in 2012-13 school year. What is the purpose of this document? To increase student achievement by ensuring educators understand specifically what the new standards mean a student must know, understand and be able to do. What is in the document? Descriptions of what each standard means a student will know, understand and be able to do. The “unpacking” of the standards done in this document is an effort to answer a simple question “What does this standard mean that a student must know and be able to do?” and to ensure the description is helpful, specific and comprehensive for educators. How do I send Feedback? We intend the explanations and examples in this document to be helpful and specific. That said, we believe that as this document is used, teachers and educators will find ways in which the unpacking can be improved and made ever more useful. Please send feedback to us at [email protected] and we will use your input to refine our unpacking of the standards. Thank You! Just want the standards alone? You can find the standards alone at: http://www.ncpublicschools.org/acre/standards/phase2/. Note on Numbering: K-8 - Grade Level B-Beginning High School Standards I - Intermediate High School Standards P - Proficient High School Standards A-Advanced High School Standards Note on Strands: ML – Musical Literacy, MR – Musical Response, CR – Contextual Relevancy Note: The study of music is cumulative and sequential to include learning from previous levels. Students at the high school level will have the option of studying an individual arts discipline as an area of interest or specializing or completing a concentration in studies to prepare them for further education and/or a career in the arts. A student’s entry into a specific high school proficiency level will be based upon his/her student profile or prior experiences in music. Students who have received a complete K-8 sequence, or following completion of Beginning level standards, will enter the Intermediate level standards. MUSIC 2 K-2 Musical Literacy Essential st nd Standard Kindergarten 1 Grade 2 Grade K.ML.1.1: Exemplify proper 1.ML.1.1: Use proper technique when 2.ML.1.1: Apply problem solving strategies technique when singing and playing a singing and playing a variety of music. to improve musical technique when singing variety of music. and playing instruments. 1.ML.1.2: Use accurate pitch to imitate K.ML.1.2: Use accurate pitch to three-pitch melodic patterns. 2.ML.1.2: Use accurate pitch to sing three- imitate two-pitch melodic patterns. pitch patterns. 1.ML.1.3: Execute rhythmic patterns using K.ML.1.3: Execute simple rhythms body, instruments, or voice. 2.ML.1.3: Execute extended rhythmic using body, instruments, or voice. patterns using body, instruments, or voice. 1.ML.1.4: Apply changes in dynamics and K.ML.1.4: Recognize how music tempo when singing and playing music. 2.ML.1.4: Apply changes in music to the changes (such as dynamics and elements of dynamics, tempo, melody, and tempo). form. K.ML.1.5: Illustrate a steady beat. ML.1 Apply the elements of music and of music the elements ML.1 Apply and sing to in order techniques musical expression. and accuracy with music play K.ML.2.1: Interpret iconic symbols 1.ML.2.1: Interpret rhythm patterns that use 2.ML.2.1: Interpret rhythm patterns using for rhythms. iconic or standard notation for quarter notes, standard notation for half and quarter notes, quarter rests and beamed eighth notes. half and quarter rests, and beamed eighth K.ML.2.2: Recognize iconic symbols notes. for at least two different pitches. 1.ML.2.2: Execute three-pitch songs with voice and/or instruments. 2.ML.2.2: Interpret three-pitch songs that K.ML.2.3: Recognize by sound use traditional music notation with voice quarter notes and quarter rest 1.ML.2.3: Use iconic symbols to notate and/or by playing pitched instruments. durations. quarter notes and quarter rests. 2.ML.2.3: Use standard notation to notate half and quarter notes, half and quarter rests, and beamed eighth notes. ML.2 Interpret the sound and symbol symbol and the sound ML.2 Interpret music. of systems MUSIC 3 K.ML.3.1: Use improvisation to 1.ML.3.1: Use improvisation to create two- 2.ML.3.1: Use improvisation to create produce one-phrase responses using phrase melodies using three pitches. simple rhythmic and melodic variations on two different pitches. familiar melodies. 1.ML.3.2: Select a variety of traditional and K.ML.3.2: Select vocal and/or non-traditional sound sources to accompany 2.ML.3.2: Create extended rhythmic instrumental sounds to accompany readings, stories, or dramatizations. patterns over a steady beat. readings, stories or dramatizations. 1.ML.3.3: Use iconic notation to compose 2.ML.3.3: Create rhythm patterns using half K.ML.3.3: Create patterns that simple rhythm patterns consisting of quarter and quarter notes, half and quarter rests, and illustrate a steady beat. notes, beamed eighth notes, and quarter rest beamed eighth notes in duple and triple durations. meter. ML.3 Create music using a variety of a variety using music ML.3 Create sources. notational sound and Note: Clarifying objective numbers do not necessarily articulate across grade levels. MUSIC 4 Grades K – 2 Unpacking (What does this mean a child will know and be able to do?) The Musical Literacy Strand The Musical Literacy Strand incorporates all aspects of music that lead to development of literacy, that is, the ability to read, write, interpret, create, and perform music. Musical literacy includes the ability to sing and play instruments, to read and notate music, and to improvise, compose, and arrange music. Essential Standards There are three Essential Standards (ML.1, ML.2, and ML.3) in the Musical Literacy Strand for Music: ML.1 requires students to apply the elements of music and musical techniques in order to sing and play music with accuracy and expression. At the early elementary level, students should be able to match two- to three-pitch melodies and imitate what the teacher sings or plays. For example, students may imitate teacher-modeled examples of three-pitch melodic patterns using solfege (sol - mi – la) syllables and hand signs, pitch numbers with body levels, or melody bells or other pitched instruments. Students are able to maintain a steady beat and execute extended rhythmic patterns using body, instruments, or voice. Students understand changes in music, such as soft- loud, high-low, fast-slow and are able to apply changes in music to the elements of dynamics, tempo, melody, and form. For example, students may sing and play rhythmic patterns with varying dynamic levels and at varying tempi. Students use correct position and technique to sing and play instruments. For example, students may use strategies, such as improving posture, to produce a more well- supported vocal sound, holding mallets correctly when playing barred instruments or wood blocks, or patting a drum lightly or with more force to change the dynamic level. ML.2 requires students to interpret the sound and symbol systems of music. At the early elementary level, students interpret rhythm patterns using standard notation for half and quarter notes, half and quarter rests, and beamed eighth notes. For example, students may read 4-beat rhythm patterns from iconic or standard notation and perform through clapping or playing unpitched percussion instruments such as drums, sticks, etc. Students use the voice and/or a melodic instrument (melody bells, glockenspiel, etc.) to interpret three-pitch songs from traditional notation. Students move from simple identification of quarter notes and quarter rest durations when they are clapped, chanted, or played on unpitched instruments by the teacher to using iconic notation (popsicle sticks, pictures, symbols, etc.) and traditional music notation to notate simple rhythmic patterns using half and quarter notes, half and quarter rests, and beamed eighth notes. ML.3 focuses on the creation of music using a variety of sound and notational sources. At the early elementary level, students improvise to create simple rhythmic and melodic variations on a known tune, such as, “Twinkle, Twinkle, Little Star.” Students select a variety of traditional and non-traditional sound sources to accompany readings, stories, or dramatizations. For example, students select various sounds (instruments, vocal, environmental) to represent words, phrases, characters, or sounds in literary works. Students create rhythm patterns, for example, using iconic note cards, pictures, or manipulatives to create rhythmic patterns using half and quarter notes, half and quarter MUSIC 5 rests, and beamed eighth notes in duple and triple meter. Note: The K-2 music program is designed to encourage children's natural enthusiasm for music. For many children, this is their first experience with any type of structured music class. Through singing, playing instruments, creating, moving, guided listening, and other experiential involvement, young children discover and develop their musical abilities. Many young children are creatively uninhibited, and tend to be eager to perform their accomplishments in front of a willing audience. The creative process motivates students to share, analyze, and evaluate their own work and the work of others. Opportunities for informal sharing are developmentally appropriate at the K-2 level.
Load more

Recommended publications
  • Oregon Crusaders 2019 Brass Manual
    The Oregon Crusaders Brass Manual 2019 Table of Contents Contact Information ........................................................................................................................................................... 3 Audition Guidelines and Recommendations .................................................................................................................. 4 Brass Video Audition Process .......................................................................................................................................... 6 Camp Checklist ................................................................................................................................................................... 7 Equipment............................................................................................................................................................................ 9 Hornline Etiquette ............................................................................................................................................................ 11 Visual Responsibilities ...................................................................................................................................................... 13 Fundamentals of Musicianship ....................................................................................................................................... 19 Chord Adjustments in Just Intonation .........................................................................................................................
    [Show full text]
  • F. Chopin Op. 10 Etudes “Milestone of the Piano Technic”
    Arts and Design Studies www.iiste.org ISSN 2224-6061 (Paper) ISSN 2225-059X (Online) DOI: 10.7176/ADS Vol.71, 2019 F. Chopin Op. 10 Etudes “Milestone of the Piano Technic” Fahrettin Eren Yahşi State Conservatory, Department of Music, Anadolu University, PO box 26050, Eskisehir, Turkey Abstract F. Chopin has a significant place in piano music as well as the development of piano technique. Op. 10 Etudes which were first published in 1833 represented the first examples of musical technique apprehension which were desired to be done until that period. In this study, the development of early piano technique was presented through the examples from the composers who had studied in this field and the process up to Op. 10 Etudes was analyzed. In the last pat of the study, the innovations introduced by the Op. 10 Etudes and its milestone characteristics in the development of piano technique were mentioned. Keywords: Chopin, Op. 10 Etudes, Early Period Piano Technique, Technical Development, Analysis DOI : 10.7176/ADS/71-03 Publication date :March 31 st 2019 1. Introduction As it is known, pianists who want to maximize their techniques need to perform various exercises. These technical exercises have been formed by the studies which were foreseen by the composers to overcome existing technical problems; many of the composed etudes were added to the piano repertoire with this purpose. Therefore, etudes are essential parts of occupational lives of pianists as necessary works to gain technical proficiency. When technical development is considered as a whole that includes concepts like musicality, finger agility, virtuosity; there are etudes of different composers which have contributed to the development of all these concepts in today’s piano repertoire.
    [Show full text]
  • How to Play the Piano Mark Hambourg
    HOW TO PLAY THE PIANO MARK HAMBOURG HOW TO PLAY THE PIANO BY MARK HAMBOURG WITH PRACTICAL ILLUSTRATIONS AND DIAGRAMS AND AN ABRIDGED COMPEN- DIUM OF FIVE-FINGER EXERCISES, SCALES, THIRDS, ARPEGGI, OCTAVES AS PRACTISED BY HIM PHILADELPHIA, PA. THEODORE PRESSER COMPANY FACULTY OF MUSIC 10, lit UNIVERSITY OF TORONTO COPYRIGHT, 1922, BY GEORGE H. DORAN COMPANY 16 1S53 850827, HOW TO PLAY THE PIANO. I PRINTED IN THE UNITED STATES OF AMERICA DEDICATED TO MY FRIEND D. MUIR FOREWORD MARK HAMBOURG was born in Bogutchar in the province of Voronesh, South Russia, on May 3Oth, 1879, and showed promise of great musical talent at such an early age that his father, himself a professor of advanced piano-playing, personally took his musical education in hand, and brought him out at Moscow as a juvenile prodigy in 1889, afterwards taking him to tour in England. In 1891 he left London, whither his family had migrated, and went to study under Leschctitzky in Vienna, where he remained three years. After winning the Liszt Scholarship during that period, he made his debut as a full-grown pianist in 1894 at a Philharmonic Concert in Vienna under the conductorship of Dr. Richter, and a year later made his bow to the London public at a concert of the Philharmonic Society, following this up by giving four recitals of his own as well as fulfilling a number of important engagements in the principal cities of Europe. In 1895 came Mark Hambourg's first Australian tour, which was a sensational success. During the following year he played at many important concerts in England before leaving for a second tour in Australia in 1897.
    [Show full text]
  • Emotion and Vocal Emulation in Trumpet Performance and Pedagogy
    Sounding the Inner Voice: Emotion and Vocal Emulation in Trumpet Performance and Pedagogy by Geoffrey Tiller A thesis submitted in conformity with the requirements for the degree of Doctor of Musical Arts Faculty of Music University of Toronto © Copyright by Geoffrey Tiller 2015 Sounding the Inner Voice: Emotion and Vocal Emulation in Trumpet Performance and Pedagogy Geoffrey Tiller Doctor of Musical Arts Faculty of Music University of Toronto 2015 Abstract This dissertation examines the aesthetics of trumpet performance with a focus on the relationship between a vocal approach and expressiveness in trumpet playing. It aims to improve current trumpet pedagogy by presenting different strategies for developing a theory of a vocal approach. Many of the concepts and anecdotes used in respected pedagogical publications and by trumpet teachers themselves are heavily influenced by the premise that emulating the voice is a desired outcome for the serious trumpet performer. Despite the abundance of references to the importance of playing trumpet with a vocal approach, there has been little formal inquiry into this subject and there is a need for more informed teaching strategies aimed at clarifying the concepts of vocal emulation. The study begins with an examination of vocal performance and pedagogy in order to provide an understanding of how emulating the voice came to be so central to contemporary notions of trumpet performance aesthetics in Western concert music. ii Chapter Two explores how emotion has been theorized in Western art music and the role that the human voice is thought to play in conveying such emotion. I then build on these ideas to theorize how music and emotion might be better understood from the performer’s perspective.
    [Show full text]
  • Unwrap the Music Concerts with Commentary
    UNWRAP THE MUSIC CONCERTS WITH COMMENTARY UNWRAP VIVALDI’S FOUR SEASONS – SUMMER AND WINTER Eugenie Middleton and Peter Thomas UNWRAP THE MUSIC VIVALDI’S FOUR SEASONS SUMMER AND WINTER INTRODUCTION & INDEX This unit aims to provide teachers with an easily usable interactive resource which supports the APO Film “Unwrap the Music: Vivaldi’s Four Seasons – Summer and Winter”. There are a range of activities which will see students gain understanding of the music of Vivaldi, orchestral music and how music is composed. It provides activities suitable for primary, intermediate and secondary school-aged students. BACKGROUND INFORMATION CREATIVE TASKS 2. Vivaldi – The Composer 40. Art Tasks 3. The Baroque Era 45. Creating Music and Movement Inspired by the Sonnets 5. Sonnets – Music Inspired by Words 47. 'Cuckoo' from Summer Xylophone Arrangement 48. 'Largo' from Winter Xylophone Arrangement ACTIVITIES 10. Vivaldi Listening Guide ASSESSMENTS 21. Transcript of Film 50. Level One Musical Knowledge Recall Assessment 25. Baroque Concerto 57. Level Two Musical Knowledge Motif Task 28. Programme Music 59. Level Three Musical Knowledge Class Research Task 31. Basso Continuo 64. Level Three Musical Knowledge Class Research Task – 32. Improvisation Examples of Student Answers 33. Contrasts 69. Level Three Musical Knowledge Analysis Task 34. Circle of Fifths 71. Level Three Context Questions 35. Ritornello Form 36. Relationship of Rhythm 37. Wordfind 38. Terminology Task 1 ANTONIO VIVALDI The Composer Antonio Vivaldi was born and lived in Italy a musical education and the most talented stayed from 1678 – 1741. and became members of the institution’s renowned He was a Baroque composer and violinist.
    [Show full text]
  • The Role of the Alexander Technique in Musical Training and Performing
    International Symposium on Performance Science © The Author 2007, Published by the AEC ISBN 978-90-9022484-8 All rights reserved The role of the Alexander technique in musical training and performing Malcolm Williamson 1, Neil Roberts 2, and Andy Moorhouse 3 1 Royal Northern College of Music, UK 2 Magnetic Resonance and Image Analysis Research Centre (MARIARC), University of Liverpool, UK 3 Acoustics Research Centre, University of Salford, UK Most students enter music conservatoires with long-standing inappropriate habits in their manner of using themselves in activity. These habits hamper the smooth operation of postural support systems, which are fundamental to all skilled movements. By learning and applying the Alexander technique (AT) individuals are able to avoid unwanted reactions. Performance improves and activities are seemingly effortless. The first scientific study uses a whole body Magnetic Resonance Imaging system (MRI and fMRI) to investigate reorganizations of the structure and function of the human body and, in particular, the brain during Alexander “directing.” The second study is of student pianists playing scales. Key velocity and timing data are collected and analyzed to show a significant difference in touch before and after the AT lesson. Keywords: Alexander technique; musical performance; MRI scanning During twenty-two years of teaching the Alexander technique (AT) to music students, the first author has observed that most enter music conservatoires with long-standing inappropriate habits in the way they use themselves in daily activities. Maladapted tension patterns hamper the self-regulating neuro-muscular systems for postural support, balance, and coordination. This lowers the individual’s ability to perform optimally in whatever he or she is doing.
    [Show full text]
  • 4 Classical Music's Coarse Caress
    The End of Early Music This page intentionally left blank The End of Early Music A Period Performer’s History of Music for the Twenty-First Century Bruce Haynes 1 2007 3 Oxford University Press, Inc., publishes works that further Oxford University’s objective of excellence in research, scholarship, and education. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Copyright © 2007 by Bruce Haynes Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data Haynes, Bruce, 1942– The end of early music: a period performer’s history of music for the 21st century / Bruce Haynes. p. cm. Includes bibliographical references and index. ISBN 978-0-19-518987-2 1. Performance practice (Music)—History. 2. Music—Interpretation (Phrasing, dynamics, etc.)—Philosophy and aesthetics. I. Title. ML457.H38 2007 781.4′309—dc22 2006023594 135798642 Printed in the United States of America on acid-free paper This book is dedicated to Erato, muse of lyric and love poetry, Euterpe, muse of music, and Joni M., Honored and Honorary Doctor of broken-hearted harmony, whom I humbly invite to be its patronesses We’re captive on the carousel of time, We can’t return, we can only look behind from where we came.
    [Show full text]
  • Music Ensemble 2
    Florida Performing Fine Arts Assessment Item Specifications for Benchmarks in Course: 1305410 Music Ensemble 2 Course Title: Music Ensemble 2 Course Number: 1305410 Abbreviated Title: MUSIC ENS 2 Number of Credits: 1 Course Length: Year Course Level: 2 Graduation Requirements: PF PERFORMING Benchmarks Course Description: Students with previous vocal or instrumental ensemble experience continue building musicianship and performance skills through the study of high-quality music in diverse styles. Student musicians learn to self-assess and collaborate as they rehearse, perform, and study relevant musical styles and time periods. Public performances may serve as a culmination of specific instructional goals. Students may be required to attend and/or participate in rehearsals and performances outside the school day to support, extend, and assess learning in the classroom. This course, if used for an instrumental ensemble, may also require students to obtain a musical instrument (e.g., borrow, rent, purchase) from an outside source. Task Type Item P1 MU.912.O.3.2 Interpret and perform expressive elements indicated by the musical score and/or conductor. MU.912.S.2.1 Apply the ability to memorize and internalize musical structure, accurate and expressive details, and processing skills to the P1 A creation or performance of music literature. MU.912.S.3.1 Synthesize a broad range of musical skills by performing a varied repertoire with expression, appropriate stylistic P1 interpretation, technical accuracy, and kinesthetic energy. B O1 MU.912.S.3.2 Sight-read music accurately and expressively to show synthesis of skills. C CP1 MU.912.S.1.3 Arrange a musical work by manipulating two or more aspects of the composition.
    [Show full text]
  • The Schillinger System of Musical Composition and Contemporary Computer Music
    Sheridan College SOURCE: Sheridan Scholarly Output, Research, and Creative Excellence Publications and Scholarship Faculty of Animation, Arts & Design (FAAD) 1988 The chiS llinger System of Musical Composition and Contemporary Computer Music Bruno Degazio Sheridan College, [email protected] Follow this and additional works at: https://source.sheridancollege.ca/faad_publications Part of the Composition Commons, and the Software Engineering Commons SOURCE Citation Degazio, Bruno, "The chiS llinger System of Musical Composition and Contemporary Computer Music" (1988). Publications and Scholarship. 12. https://source.sheridancollege.ca/faad_publications/12 This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This Article is brought to you for free and open access by the Faculty of Animation, Arts & Design (FAAD) at SOURCE: Sheridan Scholarly Output, Research, and Creative Excellence. It has been accepted for inclusion in Publications and Scholarship by an authorized administrator of SOURCE: Sheridan Scholarly Output, Research, and Creative Excellence. For more information, please contact [email protected]. The Schillinger System of Musical Composition and Contemporary Co1nputerMusic by Bruno Degazio, MMus Department of Photo/Electric Arts Ontario College of Art Toronto, Ontario © Bruno Degazio, 1988 • Bruno Degazio est compositeur a la pige a Toronto pour le cinema et la television. Ses ceuvres ont etc jouees au Canada, aux Etats-Unis et en Autriche. 11 poursuit des recherches sur la geometrie fractale. 11 enseigne au Ontario College of Arts. • Bruno Degazio was born in 1958. He has received a BMus and MM us from the University of Toronto (1981) and has received awards from the Canada Council (1987), the Ontario Arts Council (1987), and an award for the film score to "Resurrected Fields" at the Baltimore Film Festival (1986).
    [Show full text]
  • Lissajous Figures, Musical Intervals, and the Just Diatonic Scale," the Physics Teacher 56 424 (October 2018)
    Michael J. Ruiz, "Lissajous Figures, Musical Intervals, and the Just Diatonic Scale," The Physics Teacher 56 424 (October 2018). Lissajous Figures, Musical Intervals, and the Just Diatonic Scale Michael J. Ruiz University of North Carolina at Asheville, Asheville, NC The frequency ratios for the just diatonic scale are obtained by identifying musical intervals corresponding to Lissajous figures. The demonstration integrates the engineering physics of Lissajous patterns with the recognition of musical intervals through simple ear training. A free HTML5 app has been developed for this class activity and the program can be run online or downloaded to the desktop. A video1 is provided illustrating the use of the software. Background Discussion of musical scales can be found in an early issue (1934) of The American Physics Teacher2 and a recent issue (2015) of its successor journal, the American Journal of Physics.3 Both references include discussion of the equal-tempered tuning we use today as well as tunings based on the perfect integer ratios described in this paper. These tunings are listed in Table 1, where the first note in the major scale has been set to 240 Hz. For years I have used 240 Hz for the first degree of the major major since all the frequencies with integer ratios work out easily as whole-number frequencies without a calculator. Reference 2 lists the relative frequencies as whole numbers where 24 is assigned to Do (the note C), a procedure that was made by the legendary Helmholtz as far back as 1895 in his masterpiece On the Sensations of Tone as a Physiological Basis for the Theory of Music.4 Table I.
    [Show full text]
  • Tradition As Muse Schoenberg's Musical Morphology and Nascent
    Tradition as Muse Schoenberg's Musical Morphology and Nascent Dodecaphony by Áine Heneghan A dissertation submitted in candidacy for the degree of Doctor of Philosophy to The University of Dublin Trinity College March 2006 DECLARATION I, Áine Heneghan, declare that this thesis has not been submitted as an exercise for a degree at this or any other University and that it consists entirely of my own work. I agree that the Library may lend or copy the thesis upon request, this permission covering only single copies made for study purposes, subject to normal conditions of acknowledgement. Signed __________________ Áine Heneghan March 2006 Summary of the Dissertation Tradition as Muse: Schoenberg's Musical Morphology and Nascent Dodecaphony by Áine Heneghan The University of Dublin Trinity College March 2006 This study reappraises the evolution of Arnold Schoenberg's method of composing with twelve tones by examining the interrelationship of his theoretical writings and compositional practice. Premised on the idea that theory and practice were interdependent for Schoenberg, I argue, on the one hand, that the richness and diversity of his nascent dodecaphony can be fully appreciated only in the context of the development of his musical thought and, on the other hand, that his terminological concepts—for example, Grundgestalt, 'unfolding' [Abwicklung], the distinction between Satz and Periode (sentence and period), and the differentiation of 'stable' and 'loose' construction—came about precisely because of his compositional experiments during the early 1920s. The discussion and musical analyses of selected movements from the Klavierstücke, Op. 23, the Serenade, Op. 24, and the Suite für Klavier, Op.
    [Show full text]
  • Playing on the Red” (Larsson, 2012)
    AN EXAMINATION OF THE ANATOMICAL AND TECHNICAL ARGUMENTS AGAINST PLACING THE MOUTHPIECE ON VERMILLION: WHY PLACING ON THE RED IS FINE BY DR. DAVID M. WILKEN WESTERN CAROLINA UNIVERSITY CULLOWHEE, NORTH CAROLINA NOVEMBER 2012 AN EXAMINATION OF THE ANATOMICAL AND TECHNICAL ARGUMENTS AGAINST PLACING THE MOUTHPIECE ON VERMILLION 2 Method Background of the Problem While there is a general consensus regarding the importance and mechanics of technique issues such as proper breathing when playing a brass instrument, there remains a great deal of controversy regarding proper use of the brass player’s embouchure, specifically regarding the best position of the mouthpiece upon the lips. Many popular texts disagree on mouthpiece placement. One of the earliest and still widely used texts for the development of brass technique is J.B. Arban’s Complete Conservatory Method for Cornet (1982). In the original text from 1894 Arban wrote, “The mouthpiece should be placed in the middle of the lips, two-thirds on the lower lip, and one-third on the upper lip” (1982, p. 7). Philip Farkas (1962) recommended that most horn players should place the mouthpiece so that two-thirds be placed on the upper lip and one-third on the lower lip. He stated, “I have never met a really accomplished French horn player who used more lower lip than upper.” (p. 32). Eight years after publishing this statement in The Art of Brass Playing Farkas published A Photographic Study of 40 Virtuosi Horn Player’s Embouchures showing one horn player with a mouthpiece placement using more lower lip than upper (1970).
    [Show full text]