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Lesson Plans
Core Knowledge - Lesson Plans March 13-15, 1997 Families of Instruments Grade Level: Second Grade Music Presented by: Pamela Griffith, Serna Elementary School, San Antonio, Texas Length of Unit: 8 days I. ABSTRACT Music is an essential part of a well-rounded education. The arts add joy to children's lives and enlivens their imaginations. This unit will help children recognize, visually and aurally the instruments of the orchestra and the electronic age. The students will be actively involved with the instruments through manipulative, movement, listening, and singing. The unit begins with an inductive lesson, then each family of instruments will be explored through a storybook, a listening selection, and extension activities. The unit culminates with a live experience with an orchestra. II. OVERVIEW Content: 1. Expression: Recognize timbre or tone color Appreciation: Introduction to the orchestra Review families of instruments Strings c. Percussion Keyboards Skills Taught: inductive thinking 2. singing listening 4. movement and dance steady beat 6. instrument playing Goals and Concepts: To encourage the love of music file:///D|/Best of the Best Copy/Best Complete CD/be.../lesson2/Art & Music/1997/2FamiliesofInstruments.htm (1 of 19) [2/2/2001 4:11:20 PM] Core Knowledge - Lesson Plans To encourage self-expression through the genre of music 3. To encourage a realization of the aesthetic value of music To encourage discovery of the instruments of the orchestra and the electronic age 5. To encourage aural recognition of the families and individual instruments To encourage visual recognition of the families and individual instruments III. BACKGROUND KNOWLEDGE Ardley, Neil. -
Carl Nielsen's Quintet for Winds, Op. 43: a Critical Edition
CARL NIELSEN'S QUINTET FOR WINDS, OP. 43: A CRITICAL EDITION, A LECTURE RECITAL, TOGETHER WITH THREE RECITALS OF SELECTED WORKS FOR HORN BY ATTERBERG, RIES, MOZART, ROSETTI, MUSGRAVE, LARSSON, AND OTHERS Marcia L. Spence, B.M., M.M., M.B.A. APPROVED: Major Professor Minor rofessor Committee eiber Committee Member Dean of the College of Music Dean of the Robert B. Toulouse School of Graduate Studies ONA1If CARL NIELSEN'S QUINTET FOR WINDS, OP. 43: A CRITICAL EDITION, A LECTURE RECITAL, TOGETHER WITH THREE RECITALS OF SELECTED WORKS FOR HORN BY ATTERBERG, RIES, MOZART, ROSETTI, MUSGRAVE, LARSSON, AND OTHERS DISSERTATION Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS By Marcia L. Spence, B.M., M.M., M.B.A. Denton, Texas December, 1995 Spence, Marcia Louise, Carl Nielsen's Quintet for Winds, Op. 43: A Critical Edition, A Lecture Recital, Together with Three Recitals of Selected Works for Horn by Atterberg, Ries, Mozart, Rosetti, Musgrave, Larsson, and Others. Doctor of Musical Arts (Performance), December, 1995, 143 pp., 14 examples, 3 appendices, bibliography, 29 titles. The purpose of this dissertation is to prepare and present a critical edition of Carl Nielsen's Quintet fbr Winds, Op. 43, a major work in the woodwind quintet repertoire. Written for the Copenhagen Wind Quintet in 1922, it is also considered a pivotal composition in Nielsen's artistic output. The only published edition of this piece, by Edition Wilhelm Hansen, is rife with errors, a consistent problem with many of Nielsen's compositions. -
Track 1 Juke Box Jury
CD1: 1959-1965 CD4: 1971-1977 Track 1 Juke Box Jury Tracks 1-6 Mary, Queen Of Scots Track 2 Beat Girl Track 7 The Persuaders Track 3 Never Let Go Track 8 They Might Be Giants Track 4 Beat for Beatniks Track 9 Alice’s Adventures In Wonderland Track 5 The Girl With The Sun In Her Hair Tracks 10-11 The Man With The Golden Gun Track 6 Dr. No Track 12 The Dove Track 7 From Russia With Love Track 13 The Tamarind Seed Tracks 8-9 Goldfinger Track 14 Love Among The Ruins Tracks 10-17 Zulu Tracks 15-19 Robin And Marian Track 18 Séance On A Wet Afternoon Track 20 King Kong Tracks 19-20 Thunderball Track 21 Eleanor And Franklin Track 21 The Ipcress File Track 22 The Deep Track 22 The Knack... And How To Get It CD5: 1978-1983 CD2: 1965-1969 Track 1 The Betsy Track 1 King Rat Tracks 2-3 Moonraker Track 2 Mister Moses Track 4 The Black Hole Track 3 Born Free Track 5 Hanover Street Track 4 The Wrong Box Track 6 The Corn Is Green Track 5 The Chase Tracks 7-12 Raise The Titanic Track 6 The Quiller Memorandum Track 13 Somewhere In Time Track 7-8 You Only Live Twice Track 14 Body Heat Tracks 9-14 The Lion In Winter Track 15 Frances Track 15 Deadfall Track 16 Hammett Tracks 16-17 On Her Majesty’s Secret Service Tracks 17-18 Octopussy CD3: 1969-1971 CD6: 1983-2001 Track 1 Midnight Cowboy Track 1 High Road To China Track 2 The Appointment Track 2 The Cotton Club Tracks 3-9 The Last Valley Track 3 Until September Track 10 Monte Walsh Track 4 A View To A Kill Tracks 11-12 Diamonds Are Forever Track 5 Out Of Africa Tracks 13-21 Walkabout Track 6 My Sister’s Keeper -
Most Requested Songs of 2019
Top 200 Most Requested Songs Based on millions of requests made through the DJ Intelligence music request system at weddings & parties in 2019 RANK ARTIST SONG 1 Whitney Houston I Wanna Dance With Somebody (Who Loves Me) 2 Mark Ronson Feat. Bruno Mars Uptown Funk 3 Journey Don't Stop Believin' 4 Cupid Cupid Shuffle 5 Neil Diamond Sweet Caroline (Good Times Never Seemed So Good) 6 Walk The Moon Shut Up And Dance 7 Justin Timberlake Can't Stop The Feeling! 8 Earth, Wind & Fire September 9 Usher Feat. Ludacris & Lil' Jon Yeah 10 V.I.C. Wobble 11 DJ Casper Cha Cha Slide 12 Outkast Hey Ya! 13 Black Eyed Peas I Gotta Feeling 14 Bon Jovi Livin' On A Prayer 15 ABBA Dancing Queen 16 Bruno Mars 24k Magic 17 Garth Brooks Friends In Low Places 18 Spice Girls Wannabe 19 AC/DC You Shook Me All Night Long 20 Kenny Loggins Footloose 21 Backstreet Boys Everybody (Backstreet's Back) 22 Isley Brothers Shout 23 B-52's Love Shack 24 Van Morrison Brown Eyed Girl 25 Bruno Mars Marry You 26 Miley Cyrus Party In The U.S.A. 27 Taylor Swift Shake It Off 28 Luis Fonsi & Daddy Yankee Feat. Justin Bieber Despacito 29 Montell Jordan This Is How We Do It 30 Beatles Twist And Shout 31 Ed Sheeran Thinking Out Loud 32 Sir Mix-A-Lot Baby Got Back 33 Maroon 5 Sugar 34 Ed Sheeran Perfect 35 Def Leppard Pour Some Sugar On Me 36 Killers Mr. Brightside 37 Pharrell Williams Happy 38 Toto Africa 39 Chris Stapleton Tennessee Whiskey 40 Flo Rida Feat. -
Arkansas Symphony Presents Music of Star Wars with Costumes, Trivia, and Music Attendees Are Invited to Attend in Costume for a Chance to Win a Prize
PRESS RELEASE: FOR IMMEDIATE RELEASE Press Contact: Brandon Dorris Office: (501)666-1761, ext. 118 Mobile: (501)650-2260 Fax: (501)666-3193 Email: [email protected] Arkansas Symphony Presents Music of Star Wars with Costumes, Trivia, and Music Attendees are invited to attend in costume for a chance to win a prize. Little Rock, ARK, September 27, 2018 - The Arkansas Symphony Orchestra, Philip Mann, Music Director and Conductor, announces a presentation of The Music of Star Wars, 7:30 p.m. Saturday, October 20th and 3:00 p.m. Sunday, October 21st at the Robinson Center. The concert will feature music selected from the entire series of 10 feature films, an animated film, three TV films, and six animated series spanning more than 40 years. The celebrated film composer John Williams (Star Wars, Jaws, Indiana Jones, Harry Potter), composed all music from the eight saga films (Williams is also slated to score the ninth and final film), with award-winners Michael Giacchino and John Powell composing the music for the spin-off films. The program will feature costumes, trivia, and decoration of the Robinson Center to create a multi- sensory experience. Audiences are invited attend this family-friendly event in costume as their favorite character. A random Star Wars-themed prize winner will be selected from costumed attendees at each performance. Tickets are on sale now and prices are $16, $36, $57, and $68 and can be purchased online at www.ArkansasSymphony.org/starwars; at the Robinson Center street-level box office beginning 90 minutes prior to a concert; or by phone at 501-666-1761, ext. -
Film Music Music Theory Film Music Composers Treble Clef Erith John Williams - Star Wars Jaws Harry Potter Indiana Jones Superman, E.T
King Henry School Year 9 Spring 1: Film Music Music Theory Film music composers Treble Clef Erith John Williams - Star Wars Jaws Harry Potter Indiana Jones Superman, E.T. James Horner - Titanic Apollo 13 Braveheart Star Trek II Aliens Danny Elfman - Mission Impossible Batman Returns Men in Black Spider Man Rachel Portman - Manchurian Candidate, Never Let Me Go, Chocolat History of Film Music Early films had no soundtrack (“SILENT CINEMA”) and music was provided live, usually IMPROVISED by a pianist or organist. Bass Clef The first SOUNDTRACKS appeared in the 1920’s and used existing music (BORROWED MUSIC – music composed for other (non-film) purposes) from composers such as Wagner and Verdi’s operas and ballets. In the 1930’s and 1940’s Hollywood hired composers to write huge Romantic-style soundtracks. JAZZ and EXPERIEMENTAL MUSIC was sometimes used in the 1960’s and 1970’s. Today, film music often blends POPULAR, ELECTRONIC and CLASSICAL music together in a flexible way that suits The structure of the Major scale the needs of a particular film. R – T – T – S – T – T – T – S The Purpose of Film Music R=Root(whichever note we start from). Film Music is a type of DESCRIPTIVE MUSIC that represents a MOOD, STORY, SCENE or CHARACTER through T=Tone. (2 Steps) music, it is designed to SUPPORT THE ACTION AND EMOTIONS OF THE FILM ON SCREEN. S=Semitone. (1 step) Film Music can be used to: • Create or enhance a mood Key words • Function as a LEITMOTIF • To emphasise a gesture (MICKEY-MOUSING – when the music fits precisely with a specific part of the action in a LEITMOTIF – A frequently recurring short melodic or harmonic idea film e.g. -
Contemporary Film Music
Edited by LINDSAY COLEMAN & JOAKIM TILLMAN CONTEMPORARY FILM MUSIC INVESTIGATING CINEMA NARRATIVES AND COMPOSITION Contemporary Film Music Lindsay Coleman • Joakim Tillman Editors Contemporary Film Music Investigating Cinema Narratives and Composition Editors Lindsay Coleman Joakim Tillman Melbourne, Australia Stockholm, Sweden ISBN 978-1-137-57374-2 ISBN 978-1-137-57375-9 (eBook) DOI 10.1057/978-1-137-57375-9 Library of Congress Control Number: 2017931555 © The Editor(s) (if applicable) and The Author(s) 2017 The author(s) has/have asserted their right(s) to be identified as the author(s) of this work in accordance with the Copyright, Designs and Patents Act 1988. This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. -
Halloween Concert
Music Department Calendar of Events Central Washington University Department of Music presents: Halloween Concert Dr. Elioac Salokin, Director of Orchestra Dr. Raanediew Yrag, Director of Choir Asomrehalliv Nayr, Assistant Conductor Renierhcs Leinad, Assistant Conductor Jerilyn S. McIntyre Music BuildingDr. Wayne S. Hertz Concert Hall Wednesday, October 30th, 2019 7:00 PM Personnel Program FARMING FOR TREBLE CANDY HORNS SNOWWHITE AND THE March of the Goblins Adam Glaser Cow Doctor* SEVEN DWARVES SoBEEa Goodenbuzz+ Jeffrey Snow White* Chicken Leighton Dopey Jerry Snedeker Doc Lydia BoPeep Sleepy Batalip+ THE POWERPUFF GIRLS Sneezy Old McDonald / Spider Pig arr. Mike Scott Tom Blossom* Grumpy Scarecrow Buttercup^ Bashful ed. Daniel Schreiner Bubbles Happy INNER VOICES, TRULY HEROIC SCRUFFY LOOKING NERF CELLO THERE Disgruntled Food Employee HERDERS Rey*^ Choir - Ecce Vicit Leo (Double) Peter Phillips Jack and Jill Payton Luke Skywalker* Palermo Charlotte Web Leia Organa Lucy Zoboomafoo Sheev Palpatine* Ricky Spooky Stuckey+ Han Solo* Pizza Ash Ketchum Poor College Student Savurkey Gobbler+ HYDROFLASKS Lilith Star Wars - Main Title John Williams Black Hydroflask* Princess Leia FARMERS ONLY Grey Hydroflask Greg Universe Erik Green Hydroflask The Rock Kornel Blue Hydroflask Something Wicked “High Ground”+ Red Hydroflask Renaissance Lady Gus Rrr’Donnell Mystery Man Eight Laughing Voices Hyo-won Woo Earl BLACK AND WHITE ALL Musical Superhero Old McDonald OVER Carina Kanter Farmer Mike BoJack Horseman Chip ROCK BOTTOM VIOLENT Mary Poppins* THE FLOCK SHOULDER HARPS Professor Utonium The Typewriter Leroy Anderson David Baa-allard Mrs. Elizabeth Peacock*^ One Ring to Rule Them All Elambjah Bergevin Andrés de Fonollosa Medical Officer Phipps Luke Baa-cheverria Captain Long John Silver Science Officer Hoffman Tommy Marsheep Mognarktharol, the Djent Electric Blue #7 Tyler Mathewes Zombie Arwen. -
Or Contact One of the ASBOF Advisory Panel Members
THE AUSTRALIAN SCHOOL BAND & ORCHESTRA FESTIVAL MUSIC PREVIOUSLY PLAYED HELD ANNUALLY THROUGH JULY, AUGUST & SEPTEMBER A non-competitive, inspirational and educational event Primary School Concert and Big Bands WARNING: Music Directors are advised that this is a guide only. You should consult the Festival conditions of entry for more specific information as to the level of music required in each event. These information on these lists was entered by participating bands and may contain errors. Some of the music listed here may be regarded as too easy or too difficult for the section in which it is listed. Playing music which is not suitable for the section you have entered may result in you being awarded a lower rating or potentially ineligible for an award. For any further advice, please feel free to contact the General Manager of the Festival at [email protected], visit our website at www.asbof.org.au or contact one of the ASBOF Advisory Panel Members. www.asbof.org.au www.asbof.org.au I [email protected] I PO Box 833 Kensington 1465 I M 0417 664 472 Lithgow Music Previously Played Title Composer Arranger Aust A L'Eglise Gabriel Pierne Kenneth Henderson A Night On Bald Mountain Modest Moussorgsky John Higgins Above the World Rob GRICE Abracadabra Frank Tichelli Accolade William Himes William Himes Aerostar Eric Osterling Air for Band Frank Erickson Air for Band Frank Erickson Amazing Grace Trad L. Conley Ancient Dialogue Patrick J. Burns Ancient Voices Michael Sweeney Ancient Voices Aussie Hoedown Ralph Hultgren Baby Elephant Walk Henry Mancini Johnnie Vinson Best Foot Forward Ronald Hanmer Boogie Woogie Bugle Boy Michael Sweeney Born This Way Michael Brown Bryce Canyon Overture Jerry WILLIAMS Bugs (4 Movements) David Shaffer Calypso Time! Ed Wilson Celebration and Song Robert Sheldon Chase At Midnight Tim Fisher Children's March Percy Grainger Chronicles of Narnia Harry Gregson-Williams Michael Sweeney Clark County Celebration James Swearingen Colonial Song Percy Grainger Douglas E. -
To Rock Or Not Torock?
v7n3cov 4/21/02 10:12 AM Page c1 ORIGINAL MUSIC SOUNDTRACKS FOR MOTION PICTURES AND TV V OLUME 7, NUMBER 3 Exclusive interview with Tom Conti! TOTO ROCK ROCK OROR NOTNOT TOROCK?TOROCK? CanCan youyou smellsmell whatwhat JohnJohn DebneyDebney isis cooking?cooking? JOHNWILLIAMSJOHNWILLIAMS’’ HOOKHOOK ReturnReturn toto NeverlandNeverland DIALECTDIALECT OFOF DESIREDESIRE TheThe eroticerotic voicevoice ofof ItalianItalian cinemacinema THETHE MANWHO CAN-CAN-CANCAN-CAN-CAN MeetMeet thethe maestromaestro ofof MoulinMoulin Rouge!Rouge! PLUSPLUS HowardHoward ShoreShore && RandyRandy NewmanNewman getget theirs!theirs! 03> 7225274 93704 $4.95 U.S. • $5.95 Canada v7n3cov 4 /19/02 4 :29 PM P age c2 composers musicians record labels music publishers equipment manufacturers software manufacturers music editors music supervisors music clear- Score with ance arrangers soundtrack our readers. labels contractors scoring stages orchestrators copyists recording studios dubbing prep dubbing rescoring music prep scoring mixers Film & TV Music Series 2002 If you contribute in any way to the film music process, our four Film & TV Music Special Issues provide a unique marketing opportunity for your talent, product or service throughout the year. Film & TV Music Summer Edition: August 20, 2002 Space Deadline: August 1 | Materials Deadline: August 7 Film & TV Music Fall Edition: November 5, 2002 Space Deadline: October 18 | Materials Deadline: October 24 LA Judi Pulver (323) 525-2026, NY John Troyan (646) 654-5624, UK John Kania +(44-208) 694-0104 www.hollywoodreporter.com v7n03 issue 4/19/02 3:09 PM Page 1 CONTENTS MARCH/APRIL 2002 cover story departments 14 To Rock or Not to Rock? 2 Editorial Like it or hate it (okay, hate it), the rock score is Happy 70th, Maestro! here to stay. -
The Musical Contexts GCSE Music Study and Revision Guide For
GCSE MUSIC – FILM MUSIC S T U D Y A N D REVISION GUIDE The Musical Contexts GCSE Music Study and Revision Guide for Film Music Designed to support: Eduqas GCSE Music – Area of Study 3: Film Music OCR GCSE Music – Area of Study 4: Film Music Pearson Edexcel GCSE Music – Area of Study: Music for Stage and Screen P a g e 1 o f 32 © WWW.MUSICALCONTEXTS.CO.UK GCSE MUSIC – FILM MUSIC S T U D Y A N D REVISION GUIDE The Purpose of Film Music Film Music is a type of DESCRIPTIVE MUSIC that represents a mood, story, scene or character through music; it is designed to support the action and emotions of the film on screen. Film music serves many different purposes including: 1. To create or enhance a mood 2. To function as a LEITMOTIF 3. To link one scene to another providing continuity 4. To emphasise a gesture (known as MICKEY-MOUSING) 5. To give added commercial impetus 6. To provide unexpected juxtaposition or to provide irony 7. To illustrate geographic location or historical period 8. To influence the pacing of a scene 1. To create or enhance a mood Music aids (and is sometimes essential to effect) the suspension of our disbelief: film attempts to convince us that what we are seeing is really happening and music can help break down any resistance we might have. It can also comment directly on the film, telling us how to respond to the action. Music can also enhance a dramatic effect: the appearance of a monster in a horror film, for example, rarely occurs without a thunderous chord! Sound effects (like explosions and gunfire) can be incorporated into the film soundtrack to create a feeling of action and emotion, particularly in war films. -
The Film Music Label Partners with the Golden State Pops Orchestra for Another 'Music of the 'Star Wars' Universe' Concert
7:20 PM PDT 6/19/2013 by Austin Siegemund-Broka The Golden State Pops Orchestra The film music label partners with the Golden State Pops Orchestra for another 'Music of the 'Star Wars' Universe' concert. Film music label Varèse Sarabande Records is celebrating its 35th anniversary at home and abroad. The Golden State Pops Orchestra’s June 15 concert Music of the 'Star Wars' Universe commemorated the milestone with a performance of Joel McNeely’s score, released on Varèse, for the 1996 multimedia project Star Wars: Shadows of the Empire, alongside pieces from John Williams’ iconic Star Wars film scores -- not released on Varèse, though the label has distributed other orchestras’ renditions of Williams’ Star Wars compositions. Hans Zimmer, Danny Elfman, Michael Giacchino, John Powell and other guest composers came out for the GSPO’s previous concert, a Varèse Sarabande 35th anniversary revue on May 11. Varèse executive producer Robert Townson, who hosted the revue, says he opted to work with the GSPO to bring Varèse’s anniversary festivities back to the label’s Los Angeles roots. “I sent an email to the conductor and said, ‘we’d like to do something locally. To be honest, your orchestra came to mind because of the attitude and the degree to which you’re making a point of celebrating the aspects of film music I really appreciate, the artistry,’” Townson says. Two more concerts will partner the GSPO with Varèse: the orchestra’s annual Halloween and winter holiday performances, held October 19 and December 21. Plans for a single revue concert grew into a yearlong Varèse celebration when GSPO conductor Steven Allen Fox realized how much Varèse-released music was already on the GSPO season’s programs.