DOCSLIB.ORG

ED055093.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

DOCUMENT RESUME TE 499 818 ED 055 093 in Music TITLE International Seminar on Teacher Education (August 8-19, 1966). INSTITUTION Michigan Univ., Ann Arbor. Scl-ool ofMusic. SPONS AGENCY Office of Education (DHEW) ,Washington, D.C. BUREAU NO BR-6-1783 PUB DATE 67 NOTE 431p. EDRS PRICE MR-$0.65 HC-$16.45 DESCRIPTORS *International Programs; *MusicTeachers; *Seminars; *Teacher Education ABSTRACT The purposes of the InternationalSeminar in Teacher Education in Music included thefollowing: (1) to make it possible for leaders in the field of teachereducation in music to meet their counterparts from many parts of theworld and exchange ideas; (2) to facilitate attendance at theInternational Society for Music Education conference at Interlochen,Michigan; and (3)to develop international understanding andfoster international friendship by encouraging continuing contactsbetween persons in many different parts of the world. This seminarreport contains 11 chapters,which are concerned with thefollowing topics: The Purposes of theSeminar; A Survey of the CurrentSituation in Music Education; Basic Musicianship for the Music Educator; ALiberal Education for tne Music Educator; Performance and theMusic Educator; Preparing the Music Educator to Use the Musicof His Own and Other Cultures;The Professional Education of the MusicEducator: The Techniques of Teaching; Special Aids for MusicTeachers; Research and Teacher Education; Music Education for theClassroom Teacher; and Evaluation, Interpretation and Recommendations. AnAppendix contains Special Recommendations of Small Groups, and Programof the International Seminar on Teacher Education in Music. (DB) ,cs,,e 6-/--7 F,3 U.S. DEPARTMENT OF HAWEDUCATION & WELFARE OFFICE Of EDUCATION 1 F-7 REPRODUCED EXACTLY AS RECEIVEDFROM THE THIS DOCUMENT HAS BEEN ORIGINATING IT POINTS OF VIEW OR OPINIONS PERSON OR ORGANIZATION REPRESENT OffICIAT. OFFICE OfEDUCATION STATED DO NOT NECESSARILY POSITION OR POLICY INTERNATIONAL SEMINAR re*, cr ON TEACHER EDUCATION IN MUSIC Le% tr% 4:=0 iztt Lai Amgrest 8-1s, Mei the limiversity of Alithigam Akar Arbor,A41chioao Sponsored by the United States Office of Education and the School of Music The University of Michigan INTERNATIONAL SEMINAR ON TEACHER EDUCAT ON IN MUSIC August s-ls, 1966 Vhe University Michtgan Ann Arbor, Michigan Copyright 1967 The University of Michigan Sponsored by the United States Office of Education and the School of Music of The University of Michigan INTERNATIONAL SEMINAR SPONSORING AGENCIES UNITED STATES OFFICE OFEDUCATION Harold Howe II, Commissioner Ralph C. M. Flynt, Assoc;ateCommissioner for International Education R. Louis Bright, AssociateComr..,..sioner for Research Kathryn Bloom, Director, Arts andHumanities Program Harold W. Arberg, Music EducationSpecialist SCHOOL OF MUSK THE UNIVERSITY OF MICHIGAN James B. Wallace, Dean Allen P. Britton, Associate Dean Clyde H. Thompson, Assistant Dean Eugene W. Troth, Assistant Dean ADMINISTRATIVE AND PLANNINGCOMMITTEE Project Director: Allen P. Britton,Associate Dean, School of Music, The UniversRy of Michigan Administrative Director: Marguerite V.Hood, Professor, School of Musk, The University ofMichigan Harold W. Arberg, Musk EducationSpecialist, United States Office of Education Edmund A. Cykler, Professor, Schoolof Music, UniversRy of Oregon Karl D. Ernst, Head, Division ofCreative Arts, Lalifornia State College at Hayward, andPresident, International Society for Music Education Guillermo Espinosa, Chief, Music Division,Paa-American Union Vanett Lawler, ExecuHve Secretary,Music Educaton- National Conference, and Treasurer, InternationalSociety for Music Education Alexander L. Ringer, Professor,School of Music, University of Illinois, Urbana, Illinois STAFF Administrative Assistant: Andrew W.Smith Secretary: Marilyn K. Slater INTERNATIONAL SEMINAR ON TEACHER EDUCATION IN MUSIC ROSTER OF PARTICIPANTS Anna Queiroz de Almeida e Silva Professor of Music Sao Paulo, Brazil Emanuel Amiran-Pougatchov Directing Supervisor of Music Education Ministry of Education and Culture Tel Aviv, Israel Harold Arberg Music Education Specialist Arts and Humanities Program United States Office of Education Washington, D.C. Grant Beglarian Director, Contemporary Music Project for Creativity in Music Education Music Educators National Conference Washington, D.C. Oleta A. Benn Chairman of Music Education Carnegie Institute of Technology Pittsburgh, 13,-nnsyl-. Arnold Bentley Senior Lecturer in Music Education UmiverEAty of Reading R-,:din&e, England B:rnhard Binkawski ProfesE.Jr, Conservatory of Music Sti..:ttgazt, Germany Johanna Blum Professor, Conservatory of Music Monteverdf" Bolzano, AlIan P. Brittc:n AssDciate Dean, School of Music The University of Michigan Ann Arbor, Millf.gat ii4 Philip J. Britton Music Organiser, NatalEducation Department Pietermaritzburg, Natal South Africa Frank Callaway Head, Department of Music The University of WesternAustralia NedlandsWestern Australia Brunilda Cartes Morales Head, Department of MusicEducation University of Chile Santiago, Chile Janice A. Clark Professor, School of Music The University of Michigan Ann Arbor, Michigan Ruth Dean Clark Professor, School of Music The University of Michigar. Ann Arbor, Michigan Edmund A. Cykler Professor, School of Music University of Oregon Eugene, Oregon John Daniskas State Inspector for MusicEducation Rotterdam, Holland Karl D. Ernst President, ISME Head, Division of CreativeArts California State College atHayward Hayward, California Guillermo Espinosa Chief, Music Division Pan American Union Washington, D.C. Bengt Franzen Head, Royal UniversityCollege of Music Stockholm, Sweden Naohiro Fukui Director, Masashino College of Music Tokyo, Japan Elisabeth A. H. Green Professor, School of Music The University of Michigan Ann Arbor, Michigan Rose Marie Grentzer Chairman, Music Education University of Maryland College Park, Maryland Karl Haas Director of Fine Arts, Station WJR Chairman, Michigan Council of dhe Arts Detroit, Michigan Margoth Arango dc Henao Director, Conservatory of the University of Antioquia Medellin, Columbia Thomas Hilbish Professor, School of Music ThP University of Michigan Ann Arbor, Michigan Emil A. Holz Professors School of Music The University of Michigan Arm:Arbor, Michigan Marguerite V. Hood Professor, School of Music The University of Michigan Ann Arbor, Michigan Wiley L. Housewright President-elect, Music Educators National Conference Professor, School of Music Florida State University Tallahassee, Florida Antonio Iglesias Director, Conservatory of Orense Madrid, Spain Roger E. Jacobi Professor, School of Music The University of Michigan Ann Arbor, Michigan Lucrecia R. Kasilag Dean, College of Music and Fine Arts The Philippine Women's University Manila, The Phill.ppines Egon Kraus Secretary-General, ISME Vice-President, Iaternational Music CouncU Oldenburg, Germany Vanett Lawler Executive Secretary, Music Educators National Conference Treasurer, ISME Washington, D.C. Charles Leonhard Professor, School of MUsic University of Illinois Urbana, Illinois Salah El Mahdi Director, National Conservatory of Music and Dance Tunis, Tunisia Carlos Sanchez Malaga Director, National Conservatory of Music Lima, Peru William P. Malm Professor, School of Music The University of Michigan Ann Arbor, Michigan Elizabeth May Specialist in Children's Music Santa Monica Unified School District Santa Monica, California David P. McAllester Professor of Anthropology Wesleyan University Middletown, Connecticut Maria Luisa MuTioz Professor, Department of Music University of Puerto Rico San Juan, Puerto Rico Geneva C. Nelson Professor, School of Music The University of Michigan Ann Arbor, Mi_chigan J. H. Nketia Director, Institute for African Studies University of Ghana Legon, Ghana Nester Olmos Molina National Director of Music Education La Paz, Bolivia Aline Peneleton-Pelliot Professor of Experimental Classes, Boulogne Conservatory Paris, France Olavi Pesonen Inspector-in-Chief, Music Education National Board of Schools 11?.lsinki, Finland Ivan Polednak Association of Czech Composers Prague, Czechoslovakia Henning Bro Rasmussen Assistant Manager, Conservatory of Music President, Danish Music Educators Association Copenhagen, Denmark Alexander L. Ringer Chairman, Musicology Division School of Music University of Illinois Urbana, Illinois Luis Sandi Meneses President of the Mexican National Committee of the Inter- national Music Council Mexico City, Mexico Donald J. Shetler Associate Chairman, Mu;;ic Education Eastman School of Music Rochester, New York Cora Bindhoff de Sigren Director, Inter-American Institute of Music Education Santiago, Chile Eric Simon Director, Municipal Choir School Montevideo, Uruguay vii8 Hans Sittner President, Vienna State Academy of Music and Dramatic Art Vienna, Austria Pavel Sivic Professor, Allademy of Music Ljubljana, Jugoslavia Lloyd H. Slind Professor of Music Education University of British Columbia Vancouver, B.C. Canada Andrew W. Smith, Jr. School of Music The University of Michigan Ann Arbor, Michigan Bessie R. Swanson Menlo Park, California Elisabeth Szbnyi Professor, Academie Liszt Budapest, Hungary James B. Wallace Dean, School cf Music The University of Michigan Ann Arbor, Michigan Louis G. Wersen President, Music Educators National Conference Director, Division of Music Philadelphia Public Schools Philadelphia, Pennsylvania Rodolfo A. Zubrisky Professor, National University of La Plata President, Argentine Society of Music Education Buenos Aires, Argentina vi; 1.9 FOREWORD The initial impetus for the
Recommended publications
  • Intraoral Pressure in Ethnic Wind Instruments

    Intraoral Pressure in Ethnic Wind Instruments

    Intraoral Pressure in Ethnic Wind Instruments Clinton F. Goss Westport, CT, USA. Email: [email protected] ARTICLE INFORMATION ABSTRACT Initially published online: High intraoral pressure generated when playing some wind instruments has been December 20, 2012 linked to a variety of health issues. Prior research has focused on Western Revised: August 21, 2013 classical instruments, but no work has been published on ethnic wind instruments. This study measured intraoral pressure when playing six classes of This work is licensed under the ethnic wind instruments (N = 149): Native American flutes (n = 71) and smaller Creative Commons Attribution- samples of ethnic duct flutes, reed instruments, reedpipes, overtone whistles, and Noncommercial 3.0 license. overtone flutes. Results are presented in the context of a survey of prior studies, This work has not been peer providing a composite view of the intraoral pressure requirements of a broad reviewed. range of wind instruments. Mean intraoral pressure was 8.37 mBar across all ethnic wind instruments and 5.21 ± 2.16 mBar for Native American flutes. The range of pressure in Native American flutes closely matches pressure reported in Keywords: Intraoral pressure; Native other studies for normal speech, and the maximum intraoral pressure, 20.55 American flute; mBar, is below the highest subglottal pressure reported in other studies during Wind instruments; singing. Results show that ethnic wind instruments, with the exception of ethnic Velopharyngeal incompetency reed instruments, have generally lower intraoral pressure requirements than (VPI); Intraocular pressure (IOP) Western classical wind instruments. This implies a lower risk of the health issues related to high intraoral pressure.
  • Fantasy Creatures

    Fantasy Creatures

    FOREST KINGDOM 3 .................................................................................... 2 What is new? ............................................................................................ 2 FOREST KINGDOM 3 SOUNDS ................................................................... 3 Percussion ............................................................................................. 3 Plucked .................................................................................................. 4 Wind ...................................................................................................... 4 Voices .................................................................................................... 6 Fantasy Creatures ................................................................................. 6 Soundscapes ......................................................................................... 6 Performance Grooves .................................................................................. 7 CUBASE .................................................................................................... 9 STUDIO ONE ........................................................................................... 10 LOGIC PRO ............................................................................................. 11 CREDITS .................................................................................................... 13 1 FOREST KINGDOM 3 Welcome to Forest Kingdom 3, the sequel to the award
  • Moving Away from Silence: Music of the Peruvian Altiplano and the Experiment of Urban Migration / Thomas Turino

    Moving Away from Silence: Music of the Peruvian Altiplano and the Experiment of Urban Migration / Thomas Turino

    MOVING AWAY FROM SILENCE CHICAGO STUDIES IN ETHNOMUSICOLOGY edited by Philip V. Bohlman and Bruno Nettl EDITORIAL BOARD Margaret J. Kartomi Hiromi Lorraine Sakata Anthony Seeger Kay Kaufman Shelemay Bonnie c. Wade Thomas Turino MOVING AWAY FROM SILENCE Music of the Peruvian Altiplano and the Experience of Urban Migration THE UNIVERSITY OF CHICAGO PRESS Chicago & London THOMAS TURlNo is associate professor of music at the University of Ulinois, Urbana. The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 1993 by The University of Chicago All rights reserved. Published 1993 Printed in the United States ofAmerica 02 01 00 99 98 97 96 95 94 93 1 2 3 4 5 6 ISBN (cloth): 0-226-81699-0 ISBN (paper): 0-226-81700-8 Library of Congress Cataloging-in-Publication Data Turino, Thomas. Moving away from silence: music of the Peruvian Altiplano and the experiment of urban migration / Thomas Turino. p. cm. - (Chicago studies in ethnomusicology) Discography: p. Includes bibliographical references and index. I. Folk music-Peru-Conirna (District)-History and criticism. 2. Folk music-Peru-Lirna-History and criticism. 3. Rural-urban migration-Peru. I. Title. II. Series. ML3575.P4T87 1993 761.62'688508536 dc20 92-26935 CIP MN @) The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences-Permanence of Paper for Printed Library Materials, ANSI 239.48-1984. For Elisabeth CONTENTS List of Illustrations ix Acknowledgments xi Introduction: From Conima to Lima
  • Department of Music About the Department

    Department of Music About the Department

    Module options for visiting students Department of Music About the department The internationally-renowned Department of Music is one of the largest and most distinguished in the United Kingdom and in the 2008 government-led Research Assessment Exercise, the department was rated top in the country. The modules listed below are available to all Study Abroad, International Exchange and Erasmus Students, provided that sufficient prior knowledge and experience of the subject can be shown where required. The Music Department reserves the right to review each application to assess the suitability of the applicant and his/her chosen module(s). Entry requirements The modules listed below are open to all Study Abroad, International and Erasmus students, subject to any required previous knowledge or qualifications, as stated in the module outlines below. Each module is either 15 or 30 UK credits and starts in either the Autumn Term (September) or the Spring Term (January). Level One Modules: There are no formal pre-requisites, but a background in music and music theory is seen as very beneficial to students. Students without A Level Music or Grade 8 ABRSM Theory (or equivalent) will be required to take MU1111 Fundamentals of Music Theory in their first term. Level Two Modules: A solid foundation in the rudiments of Western music (an ability to read music fluently, identify key signatures, rhythms, etc.) plus an understanding of Western harmony (an ability to write and/or identify harmonic progressions) is required for Intermediate modules, as well as completion of any first year modules at undergraduate level in music theory.
  • (EN) SYNONYMS, ALTERNATIVE TR Percussion Bells Abanangbweli

    (EN) SYNONYMS, ALTERNATIVE TR Percussion Bells Abanangbweli

    FAMILY (EN) GROUP (EN) KEYWORD (EN) SYNONYMS, ALTERNATIVE TR Percussion Bells Abanangbweli Wind Accordions Accordion Strings Zithers Accord‐zither Percussion Drums Adufe Strings Musical bows Adungu Strings Zithers Aeolian harp Keyboard Organs Aeolian organ Wind Others Aerophone Percussion Bells Agogo Ogebe ; Ugebe Percussion Drums Agual Agwal Wind Trumpets Agwara Wind Oboes Alboka Albogon ; Albogue Wind Oboes Algaita Wind Flutes Algoja Algoza Wind Trumpets Alphorn Alpenhorn Wind Saxhorns Althorn Wind Saxhorns Alto bugle Wind Clarinets Alto clarinet Wind Oboes Alto crumhorn Wind Bassoons Alto dulcian Wind Bassoons Alto fagotto Wind Flugelhorns Alto flugelhorn Tenor horn Wind Flutes Alto flute Wind Saxhorns Alto horn Wind Bugles Alto keyed bugle Wind Ophicleides Alto ophicleide Wind Oboes Alto rothophone Wind Saxhorns Alto saxhorn Wind Saxophones Alto saxophone Wind Tubas Alto saxotromba Wind Oboes Alto shawm Wind Trombones Alto trombone Wind Trumpets Amakondere Percussion Bells Ambassa Wind Flutes Anata Tarca ; Tarka ; Taruma ; Turum Strings Lutes Angel lute Angelica Percussion Rattles Angklung Mechanical Mechanical Antiphonel Wind Saxhorns Antoniophone Percussion Metallophones / Steeldrums Anvil Percussion Rattles Anzona Percussion Bells Aporo Strings Zithers Appalchian dulcimer Strings Citterns Arch harp‐lute Strings Harps Arched harp Strings Citterns Archcittern Strings Lutes Archlute Strings Harps Ardin Wind Clarinets Arghul Argul ; Arghoul Strings Zithers Armandine Strings Zithers Arpanetta Strings Violoncellos Arpeggione Keyboard
  • Medium of Performance Thesaurus for Music

    Medium of Performance Thesaurus for Music

    A clarinet (soprano) albogue tubes in a frame. USE clarinet BT double reed instrument UF kechruk a-jaeng alghōzā BT xylophone USE ajaeng USE algōjā anklung (rattle) accordeon alg̲hozah USE angklung (rattle) USE accordion USE algōjā antara accordion algōjā USE panpipes UF accordeon A pair of end-blown flutes played simultaneously, anzad garmon widespread in the Indian subcontinent. USE imzad piano accordion UF alghōzā anzhad BT free reed instrument alg̲hozah USE imzad NT button-key accordion algōzā Appalachian dulcimer lõõtspill bīnõn UF American dulcimer accordion band do nally Appalachian mountain dulcimer An ensemble consisting of two or more accordions, jorhi dulcimer, American with or without percussion and other instruments. jorī dulcimer, Appalachian UF accordion orchestra ngoze dulcimer, Kentucky BT instrumental ensemble pāvā dulcimer, lap accordion orchestra pāwā dulcimer, mountain USE accordion band satāra dulcimer, plucked acoustic bass guitar BT duct flute Kentucky dulcimer UF bass guitar, acoustic algōzā mountain dulcimer folk bass guitar USE algōjā lap dulcimer BT guitar Almglocke plucked dulcimer acoustic guitar USE cowbell BT plucked string instrument USE guitar alpenhorn zither acoustic guitar, electric USE alphorn Appalachian mountain dulcimer USE electric guitar alphorn USE Appalachian dulcimer actor UF alpenhorn arame, viola da An actor in a non-singing role who is explicitly alpine horn USE viola d'arame required for the performance of a musical BT natural horn composition that is not in a traditionally dramatic arará form. alpine horn A drum constructed by the Arará people of Cuba. BT performer USE alphorn BT drum adufo alto (singer) arched-top guitar USE tambourine USE alto voice USE guitar aenas alto clarinet archicembalo An alto member of the clarinet family that is USE arcicembalo USE launeddas associated with Western art music and is normally aeolian harp pitched in E♭.
  • Detailed Instrument List & Descriptions

    Detailed Instrument List & Descriptions

    DIRECTORY OF INSTRUMENTS IN GARRITAN WORLD INSTRUMENTS 66 THE WIND INSTRUMENTS ARIA name: Description: Controls: Africa Arghul The Arghul is a reed woodwind instrument that Vel (attack), MW consists of two asymmetrical pipes. One pipe, (vol/eq), Porta, a chanter with between five and seven finger Lgth, VAR1, holes, is dedicated to the melody. The second VAR2, FiltLv, pipe, longer than the first, produces a drone. FiltFq, VibSpd, Arghuls come in different sizes and are played in Vib Amt, AirNs, Egypt and surrounding regions. Fluttr, Auto- • Range: C3- C6 Legato, BndSpd, Keyswitches Mijwiz 1 The Mijwiz is a traditional instrument of Egypt Vel (attack), MW and is one of the oldest wind instruments. Its (vol/eq), Porta, name means “dual” as it consists of two short Lgth, VAR1, bamboo reed pipes tied together. Instead of hav- VAR2, FiltLv, ing a separate reed attached to a mouthpiece, FiltFq, VibSpd, the reed in the Mijwiz is a vibrating tongue Vib Amt, AirNs, made from a slit cut into the wall of the instru- Fluttr, Auto- ment itself. Legato, BndSpd, • Range: C3 - C6 Keyswitches Mijwiz 2 Another Mijwiz instrument with a different Vel (attack), MW range and character. (vol/eq), Porta, • Range: C4 - C6 Lgth, VAR1, VAR2, FiltLv, FiltFq, VibSpd, Vib Amt, AirNs, Fluttr, Auto- Legato, BndSpd, Keyswitches A User’s Guide to Garritan World Instruments THE WIND INSTRUMENTS ARIA name: Description: Controls: China Bawu The Bawu is a side-blown wind instrument Vel (attack), MW found throughout China. Although it re- (vol/eq), Porta, Lgth, sembles a flute, it is actually a reed instrument.
  • Garritan World Instruments Complete Instrument List

    Garritan World Instruments Complete Instrument List

    Garritan World Instruments Complete Instrument List Garritan: World Instruments Complete Instrument List Africa: Sakara India: Sangban Arghul Bansuri 1 Sanza Mijwiz 1 Bansuri 2 Sistrum Mijwiz 2 Pungi Snake Charmer Tama (Talking Drum) Adodo Shenai Televi African Log Drum Shiva Whistle Tonetang (Stir Drum) Apentima Basic Indian Percussion Udu Drums Ashiko Chenda Begena Balafon Chimta Bolon Basic African Percussion Chippli Domu Bougarabou Dafli Kora Dawuro Damroo Ngoni Djembe Dhol Dondo China: Dholak Doun Ba Bawu Ghatam Atoke Di-Zi Ghungroo Axatse Guanzi Gong (Stinging Gong) Gankokwe Hulusi Hatheli Kagan Sheng Kanjeera Kpanlogo 1 Large Suona Khartal Kpanlogo 2 Medium Xiao Khol Kpanlogo 3 Combo Basic Chinese Percussion Manjeera Sogo Bianzhong Murchang Fontomfrom Bo Mridangam Gome Chinese Cymbals Naal Gyil Chinese Gongs Nagara Ibo Datangu Lion Drum Pakhawaj Kalimbas Pan Clappers Stir Drum Kenkeni Temple Bells Tablas Kpoko Kpoko Temple Blocks Tamte Krin Slit Drum Choazhou Guzheng Tasha Likembe Erhu Tavil Mbira Guzheng Udaku Morocco Drum Pipa Electric Sitar Nigerian Log Drum Yueqin Sarangi Sarangi Drone Thai Gong Uilleann Pipes Sitar Tibetan Cymbals Bone Flute 1 Tambura Tibetan Singing Bowls Bone Flute 2 Japan: Tibetan Bells Irish Flute Tingsha Shepherds Folk Pipe 1 Hichiriki Dan Tranh Shepherds Folk Pipe 2 Knotweed Flute Dan Ty Ba Bodhran Shakuhachi Gopichand Hang Drum Chanchiki Jaw Harps Chu-daiko Europe: Rattle Cog Daibyoshi Double Flute Hira-Daiko Dvojnice Double Flute Latin America: Hyoushigi Double Flute Drone Andean Panpipes Ko-Daiko
  • AOSA Teacher Education Curriculum Standards Recorder Standards: Level II

    AOSA Teacher Education Curriculum Standards Recorder Standards: Level II

    Section 17: AOSA Teacher Education Curriculum Standards Recorder Standards: Level II V 1.1 F / March 29, 2013 Edited by Laurie C. Sain TABLE OF CONTENTS Introduction .............................................................................................................................................................................................................................2 Teacher Education Curriculum Standards Recorder Level I: Learning Objectives ................................................................................................................3 Teacher Education Curriculum Standards Recorder Level II: Learning Outcomes ................................................................................................................7 Learning Outcomes Summary .................................................................................................................................................................... 7 Learning Outcomes Detail ........................................................................................................................................................................... 7 AOSA: NBT-Draft Curriculum Standards Recorder Level II Page 17-1 Copyright © 2013 by the American Orff-Schulwerk Association v 1.1 F / March 29, 2013 Introduction This document outlines the learning outcomes and learning objectives for Recorder: Level II of Orff Schulwerk teacher education. The outcomes and objectives have been separated into two sets of matrices: learning outcomes and learning objectives.
  • Library of Congress Medium of Performance Terms for Music

    Library of Congress Medium of Performance Terms for Music

    A clarinet (soprano) albogue anzhad USE clarinet BT double reed instrument USE imzad a-jaeng alghōzā Appalachian dulcimer USE ajaeng USE algōjā UF American dulcimer accordeon alg̲hozah Appalachian mountain dulcimer USE accordion USE algōjā dulcimer, American accordion algōjā dulcimer, Appalachian UF accordeon A pair of end-blown flutes played simultaneously, dulcimer, Kentucky garmon widespread in the Indian subcontinent. dulcimer, lap piano accordion UF alghōzā dulcimer, mountain BT free reed instrument alg̲hozah dulcimer, plucked NT button-key accordion algōzā Kentucky dulcimer lõõtspill bīnõn mountain dulcimer accordion band do nally lap dulcimer An ensemble consisting of two or more accordions, jorhi plucked dulcimer with or without percussion and other instruments. jorī BT plucked string instrument UF accordion orchestra ngoze zither BT instrumental ensemble pāvā Appalachian mountain dulcimer accordion orchestra pāwā USE Appalachian dulcimer USE accordion band satāra arame, viola da acoustic bass guitar BT duct flute USE viola d'arame UF bass guitar, acoustic algōzā arará folk bass guitar USE algōjā A drum constructed by the Arará people of Cuba. BT guitar alpenhorn BT drum acoustic guitar USE alphorn arched-top guitar USE guitar alphorn USE guitar acoustic guitar, electric UF alpenhorn archicembalo USE electric guitar alpine horn USE arcicembalo actor BT natural horn archiluth An actor in a non-singing role who is explicitly alpine horn USE archlute required for the performance of a musical USE alphorn composition that is not in a traditionally dramatic archiphone form. alto (singer) A microtonal electronic organ first built in 1970 in the Netherlands. BT performer USE alto voice adufo alto clarinet BT electronic organ An alto member of the clarinet family that is USE tambourine archlute associated with Western art music and is normally An extended-neck lute with two peg boxes that aenas pitched in E♭.
  • Flute Playing Physiology a Collection of Papers on the Physiological Effects of the Native American Flute

    Flute Playing Physiology a Collection of Papers on the Physiological Effects of the Native American Flute

    Flute Playing Physiology A Collection of Papers on the Physiological Effects of the Native American Flute Clint Goss Eric B. Miller Published on Flutopedia.com June 16, 2014 Copyright © 2014 by Clint Goss and Eric B. Miller. All Rights Reserved. 2 This collection of five papers reflects various aspects of research done on the physiological effects of the Native American flute. Versions of each of these papers have been published elsewhere. This table of Contents provides the citations of the five papers, as published, and a brief description of their intent and contents. Table of Contents [Goss 2014] Clint Goss and Eric B. Miller. “Your Brain on Flute”, Overtones, May 2014, published by the World Flute Society, pages 10–14. An article is intended to be accessible to a general audience. This article was edited by Kathleen Joyce- Grendahl. [Miller 2014] Eric B. Miller and Clinton F. Goss. “An Exploration of Physiological Responses to the Native American Flute”, ISQRMM 2013, Athens, Georgia, January 24, 2014, http://arxiv.org/abs/1401.6004. Also available in the Second Biennial Conference of the Interdisciplinary Society for Quantitative Research in Music and Medicine, Steve Jackowicz (editor), pages 95–143, ISBN 978-1-62266-036-7. This contains the full version of the results of our study, intended for the scientific community. [Miller 2014a] Eric B. Miller and Clinton F. Goss. “Trends in Physiological Metrics during Native American Flute Playing”, Nordic Journal of Music Therapy. April 29, 2014, http://dx.doi.org/10.1080/08098131.2014.908944 This is a pre-publication version of the article that appears in the Nordic Journal of Music Therapy.
  • D'instruments

    D'instruments

    Rah-mon Roma 93 7274672 —————————————————————————————————————————— www.rah-mon.com material contes pedagògic d’instruments de suport del món Els instruments que apareixen en aquest espectacle són representatius de cadascun dels continents del planeta. Tanmateix, no són massa conegudes ni les seves qualitats sonores, ni els principis sonadors, ni l’aparença, ni l’origen. Per això, he elaborat unes fitxes amb un esbós històric de cadascun dels instruments, una il·lustració i un retall descriptiu de com és i com es fa sonar l’instrument en qüestió. Aquestes fitxes pretenen ser un material de suport que permeti, o bé introduir les sonoritats dels instruments de l’espectacle, o bé recordar aquests estris posteriorment a la posada en escena. No és un material imprescindible, evidentment; és més aviat complementari. Els contes ens expliquen l’origen mític o llegendari, amb unes històries recollides de tradicions orals o bé de nova creació, però els instruments són reals i les històries fan referència directa a la sonoritat i a les circumstàncies en les quals són utilitzats. A més de les fitxes dels cinc instruments “estrella”, hi afegeixo també les fitxes dels altres instruments que intervindran durant l’espectacle, on tenen la finalitat d’ambientació sonora. Pel que fa a la ximbomba, cal una aclaració: he cregut interessant incloure dos formats de fitxes, amb continguts un xic diferenciats, ja que potser hi hauria dificultats a l’hora de donar-ne explicacions en certes edats de la mainada. Tanmateix, al final del dossier hi incloc algunes adreces de webs referents als instruments tractats a l’espectacle. Contes d’instruments del món ——————————————————————————————— Material Pedagògic de Suport — 1 Rah-mon Roma 93 7274672 —————————————————————————————————————————— www.rah-mon.com charango Bolívia El charango és un instrument de corda utilitzat tant a l’Altipà com a les valls bolivianes, tot i que s’ha extès a s’altres països sud-americans.