A Cappella Ear Training: Bringing Theory and Aural Skills Together Via
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Ronnie Scott's Jazz C
GIVE SOMEONE THE GIFT OF JAZZ THIS CHRISTMAS b u l C 7 z 1 0 z 2 a r J MEMBERSHIP TO e b s ’ m t t e c o e c D / S r e e i GO TO: WWW.RONNIESCOTTS.CO.UK b n OR CALL: 020 74390747 m e n v o Europe’s Premier Jazz Club in the heart of Soho, London o N R Cover artist: Roberto Fonseca (Mon 27th - Wed 29th Nov) Page 36 Page 01 Artists at a Glance Wed 1st - Thurs 2nd: The Yellowjackets N LD OUT Wed 1st: Late Late Show Special - Too Many Zooz SO o Fri 3rd: Jeff Lorber Fusion v Sat 4th: Ben Sidran e m Sun 5th Lunch Jazz: Jitter Kings b Sun 5th: Dean Brown Band e Mon 6th - Tues 7th: Joe Lovano Classic Quartet r Wed 8th: Ronnie Scott’s Gala Charity Night feat. Curtis Stigers + Special Guests Thurs 9th: Marius Neset Quintet Fri 10th - Sat 11th: Manu Dibango & The Soul Makossa Gang Sun 12th Lunch Jazz: Salena Jones “Jazz Doyenne” Sun 12th: Matthew Stevens Preverbal November and December are the busiest times Mon 13th - Tues 14th: Mark Guiliana Jazz Quartet of the year here at the club, although it has to be Wed 15th - Thurs 16th: Becca Stevens Fri 17th - Sat 18th: Mike Stern / Dave Weckl Band feat. Tom Kennedy & Bob Malach UT said there is no time when we seem to slow down. Sun 19th Lunch Jazz: Jivin’ Miss Daisy feat. Liz Fletcher SOLD O November this year brings our Fundraising night Sun 19th: Jazzmeia Horn Sun 19th: Ezra Collective + Kokoroko + Thris Tian (Venue: Islington Assembly Hall) for the Ronnie Scott’s Charitable Foundation on Mon 20th - Tues 21st: Simon Phillips with Protocol IV November 8th featuring the Curtis Stigers Sinatra Wed 22nd: An Evening of Gershwin feat. -
Vocal Jazz Ensemble and 11 O'clock Jazz Orchestra
Vocal Jazz Ensemble and 11 O’Clock Jazz Orchestra Christine Duncan and Jim Lewis, directors Wednesday, November 28, 2018 at 7:30 pm Walter Hall, 80 Queen’s Park PROGRAM But Not For Me G. and I. Gershwin Instrumental Precious E. Spalding arranged by: K. Marsh Still Travelling K. Marsh Pleasant J. Welchner Not For Human Beings Hobson’s Choice arranged by: L. Swankey Madeleine Ertel, trumpet I Want To Be Happy V. Youmans/I. Caesar arranged by: K. Marsh Vocal Jazz Ensemble Christine Duncan, director Events II and IV for Jazz Orchestra and Improvising Choir J. Lewis/C. Duncan When You Are Here H. Barstow Combined Vocal Jazz Ensemble and 11 O’Clock Jazz Orchestra Christine Duncan and Jim Lewis, directors Spectrum B. Mintzer Lately M. Schneider Energy Generation D. McCaslin Body and Soul Comp Green arranged by: R. McConnell Brandon’s First Day P. Ashwell 11 O’Clock Jazz Orchestra Jim Lewis, director Vocal Jazz Ensemble Vocalists Rhythm Section Avery Cantello Alyssa Giammaria Piano: William Hunt Kathleen O’Keefe Mairead Keogh Guitar: Dawson Chamberlain Brooklyn Bohach Emma Gilman Acoustic/Electric Bass: Anne Elgie Vannessa Gadoutsis Max Simpson Dominique Lalama Alyssa Datu Drums: Miles Fuller Isabella Hay Jenna Pinard Raquel Skilich David Bruce Abigail Mathew 11 O’Clock Jazz Orchestra Alto Saxophone Trumpet Guitar Brenon Parmar Shannon McDougall Wes White Garret Hildebrandt Lucas Udvarnoky Evan Garner Piano Tenor Saxophone Madeleine Ertel Max Donaldson Sam Demets Christian Antonacci Dermot O’Halloran Bass Trombone Leighton Harrell Baritone Saxophone Blair Scanling Thomas Steele Andrew Gormley Drums Ray Sun Evan Ng Bien Carandang For more information on U of T Jazz, visit uoftjazz.ca and follow @UofTJazz on social media. -
Vocal Jazz in the Choral Classroom: a Pedagogical Study
University of Northern Colorado Scholarship & Creative Works @ Digital UNC Dissertations Student Research 5-2019 Vocal Jazz in the Choral Classroom: A Pedagogical Study Lara Marie Moline Follow this and additional works at: https://digscholarship.unco.edu/dissertations Recommended Citation Moline, Lara Marie, "Vocal Jazz in the Choral Classroom: A Pedagogical Study" (2019). Dissertations. 576. https://digscholarship.unco.edu/dissertations/576 This Text is brought to you for free and open access by the Student Research at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Dissertations by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. © 2019 LARA MARIE MOLINE ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School VOCAL JAZZ IN THE CHORAL CLASSROOM: A PEDAGOGICAL STUDY A DIssertatIon SubMItted In PartIal FulfIllment Of the RequIrements for the Degree of Doctor of Arts Lara Marie MolIne College of Visual and Performing Arts School of Music May 2019 ThIs DIssertatIon by: Lara Marie MolIne EntItled: Vocal Jazz in the Choral Classroom: A Pedagogical Study has been approved as meetIng the requIrement for the Degree of Doctor of Arts in College of VIsual and Performing Arts In School of Music, Program of Choral ConductIng Accepted by the Doctoral CoMMIttee _________________________________________________ Galen Darrough D.M.A., ChaIr _________________________________________________ Jill Burgett D.A., CoMMIttee Member _________________________________________________ Michael Oravitz Ph.D., CoMMIttee Member _________________________________________________ Michael Welsh Ph.D., Faculty RepresentatIve Date of DIssertatIon Defense________________________________________ Accepted by the Graduate School ________________________________________________________ LInda L. Black, Ed.D. Associate Provost and Dean Graduate School and InternatIonal AdMIssions Research and Sponsored Projects ABSTRACT MolIne, Lara Marie. -
Cantate (Fall 2006)
Published by the California Chapter of the American Choral Directors Association - Volume Nineteen, Number One - Fall 2006 Dr. Howard S. Swan, “Dean of American Choral Directors,” died in 1995 at the age of 89. He was professionally active well 2006 Howard S. Swan Award Winner into his eighties, not only as a conductor, but also as a speaker and writer. His integrity, high view of the artistic/human role of the choral director, and compelling ability to challenge and Shirley Nute inspire students and colleagues to greater vision Shirley B. Nute is one of Association including secretary, and higher standards awakened the collective California’s most honored choral senior high vice president, and conscience of the choral world. It is for this rea- music professionals. She received a president. Additionally she was son that the book containing his writings and bachelor’s degree, with majors in vice president of the southern speeches is entitled Conscience of a Profession: Howard Swan, Choral Director and Teacher choral conducting and voice, from section of the California Music (Hinshaw, 1987). Robert Shaw, in his introduc- Occidental College where she stud- Educators Association. She has tion to this invaluable collection, writes, “There ied with Howard Swan. She was been a vice president of the Los isn’t a choral conductor alive who doesn’t have awarded a master’s degree received Angeles Master Chorale something to learn from Howard Swan.” from Columbia University where Associates Executive Board and Swan’s career at Occidental College in Los she sang in the New York served as co-chairperson of the Angeles spanned nearly four decades (1934- Collegiate Chorale under the direc- Associate's educational out- 1971), after which he went on to teach at tion of Robert Shaw. -
Downbeat.Com April 2011 U.K. £3.50
£3.50 £3.50 U.K. PRIL 2011 DOWNBEAT.COM A D OW N B E AT MARSALIS FAMILY // WOMEN IN JAZZ // KURT ELLING // BENNY GREEN // BRASS SCHOOL APRIL 2011 APRIL 2011 VOLume 78 – NumbeR 4 President Kevin Maher Publisher Frank Alkyer Editor Ed Enright Associate Editor Aaron Cohen Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Associate Maureen Flaherty ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Classified Advertising Sales Sue Mahal 630-941-2030 [email protected] OFFICES 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, John McDonough, Howard Mandel Atlanta: Jon Ross; Austin: Michael Point, Kevin Whitehead; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Robert Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, -
Testimonials
MATSUE-NEW ORLEANS TOMODACHI EXCHANGE Matsue Exchange Participants Matsue-New Orleans TOMODACHI EXCHANGE Ms. Yuka Ikejiri I love the music of New Orleans. I'm very happy to create more opportunities in Matsue to listen to New Orleans music and to spread awareness about our Friendship City relationship. I'd like to work towards attracting more visitors to Matsue based on this relationship. Mr. Hitoshi Kashiwai I like talking about travels and cuisine, and being physically active, so I like taking a proactive role in conversation. I cannot speak much English, but I hope things will go well. Mr. Hiroyuki Katayama Throughout college and graduate school, I played bass in a jazz band. Although I am not currently involved in band activities, I still love listening to jazz, funk, soul, and other kinds of African-American music. Ever since I was a student I felt that I wanted to have ties all around the world, and during graduate school I took part in a JICA internship program, during which time I lived in Bolivia for half a year. In addition, I have had shorter stays in places like China, Cambodia, and Morocco. Through my work, I have planned and reviewed projects geared towards interregional exchange with people who live in all areas of Shimane. I think this experience will be a great strength in planning and overseeing exchange activities following this program. Matsue-New Orleans TOMODACHI EXCHANGE Ms. Mika Miyamoto My specialty is playing the saxophone. I'd be very pleased to interact with the locals by performing together. I am cheerful and personable, so I hope to make a lot of friends in New Orleans. -
FREDONIA JAZZ STUDIES PROGRAM Fall 2020 Instrumental Audition Information
FREDONIA JAZZ STUDIES PROGRAM Fall 2020 Instrumental Audition Information In place of in-person instrumental auditions, students must submit audio recordings no later than Sunday, August 23, 2020 by 12:00 pm. NO EXCEPTIONS. • EVERYONE must prepare the appropriate JAZZ AUDITION MUSIC prior to their audition. • EVERYONE must submit recordings using the ONLINE AUDITION FORM. • REGISTER for the ensemble you think you might be placed in, or the ensemble that best fits your schedule at this point. You can correct your registration during the add/drop period if you are placed in a different ensemble. BIG BANDS Fredonia Jazz Orchestra (MUS 052-01) Nick Weiser, director; W 6:10 PM - 8:00 PM Fredonia New Jazz Ensemble (MUS 051-01) Nick Weiser, director; M 6:10 PM - 8:00 PM COMBOS Fredonia Instrumental Jazz Combos (MUS 050-01) Nick Weiser & Elliot Scozarro, directors; MW 3:00 PM - 3:50 PM or TBA Fredonia Vocal Jazz Combo (MUS 049-01) Nick Weiser, director; MW 3:00 PM - 3:50 PM or TBA • AUDITION RESULTS will be emailed Monday, August 24, by 10:00 AM. • REHEARSALS for all ensembles begin on or after Monday, August 24. Rehearsal for the Fredonia New Jazz Ensemble is scheduled to begin Monday, August 24 at 6:10 PM. The Fredonia Jazz Orchestra and Fredonia New Jazz Ensemble will have rooms, dates, and times posted on the roster sheets; combos will meet based on individual schedules as determined by the combo director, who will then notify you via email of rehearsal details. • Any audition questions (after you’ve read everything here!) should be referred to Dr. -
Effective Practising: a Research Perspective
a u s t r a l i a n s os c i e t y f o r mm u s i c e d u c a t i oe n i n c o r p o r a t e d Effective practising: A research perspective Katie Zhukov The University of Queensland Abstract This paper reviews latest research findings on practising in an attempt to encourage studio music teachers to trial new approaches. Literature shows that expert performers begin learning an instrument at an early age, and sustain and increase their deliberate practice over at least 10 years. A certain amount of practice hours is needed to achieve professional level. Both formal and informal practice are important in the development of skills. Structured practice based on clear teacher instructions gives better results than unstructured practice. Technical work in practice should be directed to solving repertoire problems to initiate transfer of learning. Effective practising strategies include chunking, modelling, mental rehearsal, and hand reversal. Developing metacognitive skills in students will lead to greater self- regulation and effectiveness in practice. Selection of interesting repertoire is vital for maintaining students’ motivation. Parental support plays an important role in the early stages of learning, while in the teen years participation in extra- curricular musical activities has significant educational and motivational value. Research findings reviewed in this paper have implications for the teaching profession and deserve consideration and trial. Keywords: Instrumental practice, expert performance, parental influences, structured practice, practising strategies, self- regulation, motivation. Australian Journal of Music Education 2009:1, 3-12 Introduction four stages of practising were identified by Chaffin, Imreh, and Crawford (2002): the ‘big The question of practising has been a perennial picture’ overview of the work; technical practice topic of discussion between instrumental music that includes overcoming problems, achieving teachers and their students. -
1 PLAYING by EAR in the SUZUKI METHOD: SUPPORTING EVIDENCE and CONCERNS in the CONTEXT of PIANO PLAYING in the 1930S, the Violin
PLAYING BY EAR IN THE SUZUKI METHOD: SUPPORTING EVIDENCE AND CONCERNS IN THE CONTEXT OF PIANO PLAYING Gilles Comeau University of Ottawa Abstract The Suzuki method is based on the assumption that the most natural way to learn music is through repetitive listening and ear-playing. It is through playing by ear that a child is introduced to the instrument and no printed music is used in the early stages. A review of existing theoretical and empirical literature will show strong evidence supporting the importance of ear playing. This paper will also demonstrate that there are reasons to be concerned about the development of aural skills, but no reason to associate ear playing with poor reading skills. In the 1930s, the violinist Shinichi Suzuki experimented with a new method of teaching music to very young children and he became convinced that the best way to learn to play a musical instrument was to follow a process similar to the learning of one‘s own native language (Suzuki, 1969, 1981, 1986, 1989). Later known as the mother-tongue approach, the method is based on the principle that by immersing young children in music, mainly by having them listen repeatedly to the pieces they will learn to play on their instrument, their musical abilities would unfold in the most natural way. The idea that in the initial stage a child should learn to play by ear instead of relying on note reading was in sharp contrast to the more common practice of the time (Landers, 1984). But when Suzuki‘s young Japanese students were heard, first in a film presented in the United States in 1958, then during a tour in 1964, the quality of their performance was for many a testimony of the success of this method (Herman, 1981). -
Codification of Terminology and Procedure in Mental Practice with Applications to Piano Pedagogy Anna Beth Rucker
University of South Carolina Scholar Commons Theses and Dissertations Spring 2019 Codification of Terminology and Procedure in Mental Practice with Applications to Piano Pedagogy Anna Beth Rucker Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Commons Recommended Citation Rucker, A. B.(2019). Codification of Terminology and Procedure in Mental Practice with Applications to Piano Pedagogy. (Master's thesis). Retrieved from https://scholarcommons.sc.edu/etd/5303 This Open Access Thesis is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. CODIFICATION OF TERMINOLOGY AND PROCEDURE IN MENTAL PRACTICE WITH APPLICATIONS TO PIANO PEDAGOGY by Anna Beth Rucker Bachelor of Music East Carolina University, 2015 Submitted in Partial Fulfillment of the Requirements For the Degree of Master of Music in Music School of Music University of South Carolina 2019 Accepted by: Scott Price, Director of Thesis Sara Ernst, Reader Charles Fugo, Reader Cheryl L. Addy, Vice Provost and Dean of the Graduate School © Copyright by Anna Beth Rucker, 2019 All Rights Reserved. ii DEDICATION For Clive, and everything he represents. iii ACKNOWLEDGEMENTS I would like to thank the members of my committee, Drs. Scott Price, Sara Ernst, and Charles Fugo, all of whom have invested greatly in me during my graduate studies. I am sincerely grateful to Dr. Price, my academic advisor and thesis committee chair, for his continued support and encouragement, detailed writing suggestions, and mentorship about both thesis development and my academic career. -
Playing by Ear for Dummies
Playing by Ear for Dummies How one musician does it. © 2005 By John Edelmann. All Rights Reserved Table of Contents Introduction .......................................................................................................... 3 Chapter 1 the raw mechanics .......................................................................... 5 Chapter 2 learning vs. ability: science or art? .................................................. 9 Chapter 3 from dabbler to director .................................................................. 13 Chapter 4 playing by ear: the ugly, the bad, the good................................... 15 Chapter 5 learning to play by ear .................................................................... 19 Chapter 6 composition: “Did you just make that up?” ................................... 22 the wrap up ........................................................................................................ 24 2 Playing by Ear for Dummies How one musician does it. Introduction This is not your typical “how to” for dummies book. I’m not sure if many dummies can play by ear, if they aren’t already. The ensuing pages will simply attempt to explain how I, John Edelmann, play the piano by ear. No stones left unturned, no dark secrets unrevealed. If, in the end, I have produced nothing more than a few pages of enlightened gibber gabber to clarify a sometimes mysterious ability, I’ll assume I have been successful. As such, this is not intended to be a real “how to” treatise. It is highly unlikely you’ll be playing the first song you hear on the radio after reading this. [You may, in fact, never ever play any song no matter how many times you hear it.] But, perhaps in the end, you’ll understand one person’s strange gift (and sometimes burden) a bit better than you do now. I honestly do wonder why I’ve not started this effort before now. It may simply be that I’ve thought about it long enough, that, like so many melodies that cohabitate in my mind, I’m ready to write some of it down. -
Cantate (Winter 2013)
Standing Tall & Proud 2 • Cantate • Vol. 25, no. 2 • Winter 2013 CALIFORNIA ACDA Contents Articles 5 The President’s Pen: The Beginner’s Performance by Jonathan Talberg, President 6 Open Your Hearts, Heal Your Minds by Lori Marie Rios, President-Elect 8 Why Jazz Choir? by Christine Guter, Jazz Choir R&S Chair 10 Getting It All In: Teaching “The Other” While Preparing “The Performance” by Christopher Borges, Central Region Representative 12 Embracing Change, Lessons Learned by Steven Kronauer, Male Choirs R&S Chair 16 Losing Elijah, Finding Ourselves by Anna Hamre, Community Choirs R&S Chair WHEREAS, the human spirit is elevated to a broader understanding of itself through study and performance in Of Note... the aesthetic arts, and 4 Calendar, Advertisers Index WHEREAS, 18 Regional Conference Reports serious cutbacks in funding and support have steadily eroded state 20-21 Top Five for Your Choir institutions and their programs p. 20 - Children and Community Youth throughout our country, p. 21 - Women’s Choirs 23 California ACDA Directory BE IT RESOLVED that all citizens of the United States actively voice their affirmative and collective support for necessary funding at the local, state, and national levels of education and government, to ensure the survival of arts programs for this and future generations. “We are the music makers, and CALIFORNIA ACDA MEMBERS ARE we are the dreamers of dreams.” ENCOURAGED TO PRINT THIS ACDA ADVOCACY RESOLUTION IN ALL PROGRAMS. - Arthur O’Shaughnessy LEADING THE WAY Cantate • Vol. 25, no. 2 • Winter 2013 • 3 Official Publication of the California Chapter American Choral Directors Association Calendar CANTATE Volume 25, Number 2 2013 ACDA National Conference ............................Mar.