DOCSLIB.ORG

Orchestra & Honors Program

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Orchestra & Honors Program Randolph Township Schools Department of Visual and Performing Arts INSTRUMENTAL MUSIC (STRINGS) Grades 9 - 12 Curriculum Department of Visual and Performing Arts Frank Perrone, Supervisor Curriculum Committee Kim Chiesa Sherry Griggs Eric Schaberg Curriculum Developed: Summer 2014 Curriculum Revised: Summer 2016 Date of Board Approval: October 18, 2016 1 Randolph Township Schools Music Department Instrumental Music: Grade 9 - 12 Strings Table of Contents Mission Statement and Education Goals – District 3 Affirmative Action Compliance Statement 3 Educational Goals – District 4 Introduction 5 Pacing 6 Tone Production 7 Rhythm 12 Music Theory 14 Music Expression 17 Knowledge and Maintenance of Instruments 19 Listening and Analysis 22 Advanced Solo Literature 24 Research and Writing 27 Appendix A - Smartmusic 30 Appendix B – Honors Booklet 31 2 Randolph Township Schools Mission Statement We commit to inspiring and empowering all students in Randolph schools to reach their full potential as unique, responsible and educated members of a global society. Randolph Township Schools Affirmative Action Statement Equality and Equity in Curriculum The Randolph Township School district ensures that the district’s curriculum and instruction are aligned to the state’s standards. The curriculum provides equity in instruction, educational programs and provides all students the opportunity to interact positively with others regardless of race, creed, color, national origin, ancestry, age, marital status, affectional or sexual orientation, gender, religion, disability or socioeconomic status. N.J.A.C. 6A:7-1.7(b): Section 504, Rehabilitation Act of 1973; N.J.S.A. 10:5; Title IX, Education Amendments of 1972 3 Randolph Township Board Of Education Educational Goals Values in Education The statements represent the beliefs and values regarding our educational system. Education is the key to self-actualization, which is realized through achievement and self-respect. We believe our entire system must not only represent these values, but also demonstrate them in all that we do as a school system. We believe: ● The needs of the child come first ● Mutual respect and trust are the cornerstones of a learning community ● The learning community consists of students, educators, parents, administrators, educational support personnel, the community and Board of Education members ● A successful learning community communicates honestly and openly in a non-threatening environment ● Members of our learning community have different needs at different times. There is openness to the challenge of meeting those needs in professional and supportive ways ● Assessment of professionals (i.e., educators, administrators and educational support personnel) is a dynamic process that requires review and revision based on evolving research, practices and experiences ● Development of desired capabilities comes in stages and is achieved through hard work, reflection and ongoing growth 4 Randolph Township Schools Music Department Introduction The Strings/Orchestra program in the Randolph School District grades 4 through 12 is designed to allow each student to progress as a musician and achieve musical independence at an extremely high level. Students build upon previously learned musical concepts and knowledge regarding note reading, pitch, melody and rhythm, and other aspects of instrumental music performance. Group lessons are the backbone of this successful program, teaching the orchestra members of Randolph the necessary skills on their individual instruments and creating a meaningful orchestral ensemble experience. At RMS and RHS, the “string orchestras” are the centerpiece of the program with the following ensembles serving as extensions of the orchestra program: Con Brio, Arietta, Symphonic Orchestra and various trios, quartets and other chamber ensembles. It is the common goal of each orchestra director in the Randolph Township School District to help develop life-long learners who will have a love and appreciation for music. Through the use of the NJCCCS for Music, careful lesson and rehearsal planning, meaningful daily or weekly rehearsals and a multitude of performance opportunities on and off campus (concerts and festivals/competitions), students are given experiences that will allow them to be productive members of society and supporters of the arts. *The Honors program is available for grades 10-12. The program is inclusive of all string skills as indicated in this curriculum. Students who are enrolled in the Honors program will go above and beyond the string curriculum as indicated by two additional concepts and noted in the listening and analysis section. The Honors program booklet can be found in Appendix B to provide clear expectations 5 Randolph Township Schools Music Department Instrumental Music: 9th – 12th Grade Strings Pacing The concepts set forth in this curriculum – tone production, rhythm, music theory, musical expression, knowledge and maintenance of instruments, and listening and analysis – are designed to be taught simultaneously throughout the school year. The depth and complexity of those concepts builds throughout the middle school string experience and continues into high school. By the end of twelfth grade, students are expected to be evaluating and creating with these concepts as they perform music in a wide range of styles. Extensive performance opportunities are provided to students as they progress through the 4 – 12 string program. The concepts are taught simultaneously because of the way they are intertwined in order to create music. In a musical setting, each concept is dependent on the others. For example, tone production, musical expression, and listening are related to each other when performing, as are rhythm, theory, and listening and analysis. Varied repertoire provides students with the opportunity to work with many different types and styles of music, thus allowing them to be exposed to different expressive qualities, technical demands, etc. Students also must maintain their instrument in proper playing condition in order to properly execute these skills. Concepts Tone Production – Strings Rhythm – Strings Music Theory - Strings Music Expression - Strings Knowledge and Maintenance of Instruments – Strings Listening and Analysis – Strings Advanced Solo Literature – Honor Strings Research and Writing – Honor Strings 6 RANDOLPH TOWNSHIP SCHOOL DISTRICT Instrumental Music – Strings Grades 9-12 Concept: Tone Production ENDURING UNDERSTANDINGS ESSENTIAL QUESTIONS There are several specific bow holds that are acceptable for performance. Why do professional string players use different types of bow holds? Tone quality of a string instrument is largely dependent on bow speed, bow pressure (weight), How do we determine the amount of bow hair used and bow contact area between the bow hair and the strings. in contact with the string in relation to bow pressure and bow speed to make a quality sound on a string instrument? Why is this knowledge important? High School string literature requires understandings of left hand positions up to 5th position. Why is it important to learn shifting above third position? Good tone quality for a High School string player is achieved through left hand finger tip How can different finger positioning affect tone positioning and vibrato control in conjunction with right hand bow control. quality? Variations in vibrato speed in the left hand help shapes musical phrasing as well as tone What constitutes “good tone quality”? production. Why do different professional string players have different vibrato and vibrato speeds? 7 KNOWLEDGE SKILLS CCCS Students will know: Students will be able to: 1.1, 1.4 Where to properly place the right hand fingers/wrist/thumb on the Analyze the function of each finger and thumb while fingerboard of their string instrument for maximum bow control. adjusting each appendage for the maximum effectiveness for proper bow control when performing string literature: Index finger: control pressure with the index finger and play spiccato bow stroke. Middle and ring fingers: play string literature with proper bow balance and weight distribution. Pinky finger: control finger for proper balance. Thumb: stabilize the bow hand using the thumb as a counterweight under the fingers of bow hand. The correct distribution of arm weight/pressure, bow speed, & bow Analyze, comprehend, and adjust the bow distribution point on string needed to produce a “good quality sound” speed/pressure/point of distribution in the bow hand in with various levels of volume. The student will also comprehend the order to achieve the maximum tone quality while right hand bow angle and how the bow hair affects tone production and performing string literature. volume. Increase/decrease level of bow speed needed to create the best tone quality based on tempo of music being played. Right bow hand tilt is adjusted for level of tone clarity 8 and volume depending upon dynamic level of the string literature being performed. The musical vocabulary associated with specific right hand bow control Adjust weight/speed/point of contact of bow to perform needs. advanced spiccato, martele, staccato, and ricochete, & detache bowings in string literature. Perform string literature with an understanding of specific bow marking vocabulary and how the right bow hand executes the bow strokes such as: Spiccato – short and off the string bow stroke Staccato – short and on the string bow stroke. Detache – smooth separate bow stroke on
Load more

Recommended publications
  • 1 Making the Clarinet Sing
    Making the Clarinet Sing: Enhancing Clarinet Tone, Breathing, and Phrase Nuance through Voice Pedagogy D.M.A Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Alyssa Rose Powell, M.M. Graduate Program in Music The Ohio State University 2020 D.M.A. Document Committee Dr. Caroline A. Hartig, Advisor Dr. Scott McCoy Dr. Eugenia Costa-Giomi Professor Katherine Borst Jones 1 Copyrighted by Alyssa Rose Powell 2020 2 Abstract The clarinet has been favorably compared to the human singing voice since its invention and continues to be sought after for its expressive, singing qualities. How is the clarinet like the human singing voice? What facets of singing do clarinetists strive to imitate? Can voice pedagogy inform clarinet playing to improve technique and artistry? This study begins with a brief historical investigation into the origins of modern voice technique, bel canto, and highlights the way it influenced the development of the clarinet. Bel canto set the standards for tone, expression, and pedagogy in classical western singing which was reflected in the clarinet tradition a hundred years later. Present day clarinetists still use bel canto principles, implying the potential relevance of other facets of modern voice pedagogy. Singing techniques for breathing, tone conceptualization, registration, and timbral nuance are explored along with their possible relevance to clarinet performance. The singer ‘in action’ is presented through an analysis of the phrasing used by Maria Callas in a portion of ‘Donde lieta’ from Puccini’s La Bohème. This demonstrates the influence of text on interpretation for singers.
    [Show full text]
  • The Application of Contemporary Double Bass Left Hand Techniques Applied in the Orchestra Repertoire
    The University of Southern Mississippi The Aquila Digital Community Dissertations Spring 5-2014 The Application of Contemporary Double Bass Left Hand Techniques Applied in the Orchestra Repertoire Eric Hilgenstieler University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Music Education Commons, Music Pedagogy Commons, Music Performance Commons, and the Other Music Commons Recommended Citation Hilgenstieler, Eric, "The Application of Contemporary Double Bass Left Hand Techniques Applied in the Orchestra Repertoire" (2014). Dissertations. 269. https://aquila.usm.edu/dissertations/269 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. The University of Southern Mississippi THE APPLICATION OF CONTEMPORARY DOUBLE BASS LEFT HAND TECHNIQUES APPLIED IN THE ORCHESTRA REPERTOIRE by Eric Hilgenstieler Abstract of a Dissertation Submitted to the Graduate School of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts May 2014 ABSTRACT THE APLICATION OF CONTEMPORARY DOUBLE BASS LEFT-HAND TECHNIQUES APPLIED IN THE ORCHESTRA REPERTOIRE by Eric Hilgenstieler May 2014 The uses of contemporary left hand techniques are related to solo playing in many ways. In fact, most of these techniques were arguably developed for this kind of repertoire. Generally the original solo repertoire is idiomatic for the double bass. The same cannot be said for the orchestral repertoire, which presents many technical problems too difficult to solve using the traditional technique.
    [Show full text]
  • Written and Recorded Preparation Guides: Selected Repertoire from the University Interscholastic League Prescribed List for Flute and Piano
    Written and Recorded Preparation Guides: Selected Repertoire from the University Interscholastic League Prescribed List for Flute and Piano by Maria Payan, M.M., B.M. A Thesis In Music Performance Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved Dr. Lisa Garner Santa Chair of Committee Dr. Keith Dye Dr. David Shea Dominick Casadonte Interim Dean of the Graduate School May 2013 Copyright 2013, Maria Payan Texas Tech University, Maria Payan, May 2013 ACKNOWLEDGEMENTS This project could not have started without the extraordinary help and encouragement of Dr. Lisa Garner Santa. The education, time, and support she gave me during my studies at Texas Tech University convey her devotion to her job. I have no words to express my gratitude towards her. In addition, this project could not have been finished without the immense help and patience of Dr. Keith Dye. For his generosity in helping me organize and edit this project, I thank him greatly. Finally, I would like to give my dearest gratitude to Donna Hogan. Without her endless advice and editing, this project would not have been at the level it is today. ii Texas Tech University, Maria Payan, May 2013 TABLE OF CONTENTS ACKNOWLEDGEMENTS .................................................................................. ii LIST OF FIGURES .............................................................................................. v 1. INTRODUCTION ............................................................................................
    [Show full text]
  • 8Th Grade Orchestra Curriculum Map
    8th Grade Orchestra Curriculum Map Music Reading: Student will be able to read and perform one octave major and melodic minor scales in the keys of EbM/cm; BbM/gm; FM/dm; CM/am; GM/em; DM/bm; AM/f#m Student will be able to read and perform key changes. Student will be able to read and correctly perform accidentals and understand their duration. Student will be able to read and perform simple tenor clef selections in cello/bass; treble clef in viola Violin Students will be able to read and perform music written on upper ledger lines. Rhythm: Students will review basic time signature concepts Students will read, write and perform compound dotted rhythms, 32nd notes Students will learn and perform basic concepts of asymmetrical meter Students will review/reinforce elements of successful time signature changes Students will be able to perform with internal subdivision Students will be able to count and perform passages successfully with correct rhythms, using professional counting system. Students will be able to synchronize performance of rhythmic motives within the section. Students will be able to synchronize performance of the sections’ rhythm to the other sections of the orchestra. Pitch: Student is proficient in turning his/her own instrument with the fine tuners. Student is able to hear bottom open string of octave ring when top note is played. Students will review and reinforce tuning to perfect 5ths using the following methods: o tuning across the orchestra o listening and tuning to the 5ths on personal instrument. Student performs with good intonation within the section.
    [Show full text]
  • Recorder Performance Rubric
    Basics Recorder Recorder Performance Rubric 2 Skill 4 3 Practice, Practice, 1 Standing Ovation Stage Ready Practice Try Again Demonstrates correct Demonstrates some posture with neck and Demonstrates mostly aspects of proper posture Does not demonstrate Posture shoulders relaxed, back proper posture but with but with significant need correct posture straight, chest open, and some inconsistencies for refinement feet flat on the floor Has difficulty Demonstrates low Demonstrates ability Demonstrates demonstrating and deep breath that to breathe deeply and inconsistent air appropriate breathing Breath supports even and control air flow, but stream, occasionally for successful Control appropriate flow of steady air is sometimes overblowing, with some playing—large shoulder air, with no shoulder Technique inconsistent shoulder movement movement, loud breath movement sounds, and overblowing Demonstrates Does not demonstrate Consistently fingers Demonstrates adequate basic knowledge of proper instrumental the notes correctly and Hand dexterity with mostly fingerings but with technique (e.g., incorrect shows ease of dexterity; Position consistent hand position limited dexterity and hand on top, holes displays correct and fingerings inconsistent hand not covered, limited hand position position dexterity) Performs with a steady Performs with Performs all rhythms Does not consistently tempo and the majority occasionally correctly, with correct perform with steady Rhythm of rhythms with accuracy steady tempo but duration, and with a tempo or but
    [Show full text]
  • Bachâ•Žs Fifth Cello Suite, Double Bass and Scordatura: Practical and Historical Solutions
    Southern Illinois University Carbondale OpenSIUC Graduate Student Work School of Music 3-2021 BACH’S FIFTH CELLO SUITE, DOUBLE BASS AND SCORDATURA: PRACTICAL AND HISTORICAL SOLUTIONS Thomas Willhoit Southern Illinois University Carbondale Follow this and additional works at: https://opensiuc.lib.siu.edu/music_gradworks Recommended Citation Willhoit, Thomas. "BACH’S FIFTH CELLO SUITE, DOUBLE BASS AND SCORDATURA: PRACTICAL AND HISTORICAL SOLUTIONS." (Mar 2021). This Article is brought to you for free and open access by the School of Music at OpenSIUC. It has been accepted for inclusion in Graduate Student Work by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. BACH’S FIFTH CELLO SUITE, DOUBLE BASS AND SCORDATURA: PRACTICAL AND HISTORICAL SOLUTIONS by Thomas Willhoit B.A., Fort Lewis College, 2019 A Thesis Submitted in Partial Fulfillment of the Requirements for the Master of Music Degree Department of Music in the Graduate School Southern Illinois University Carbondale March 2021 Copyright by Tom Willhoit, 2021 All Rights Reserved THESIS APPROVAL BACH’S FIFTH CELLO SUITE, DOUBLE BASS AND SCORDATURA: PRACTICAL AND HISTORICAL SOLUTIONS by Thomas Willhoit A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music in the field of Music Theory and Composition Approved by: Dr. Walczak, Chair Graduate School Southern Illinois University Carbondale March 20, 2021 AN ABSTRACT OF THE THESIS OF Thomas Willhoit, for the Master of Music degree in Music Theory and Composition, presented on March 20, 2021, at Southern Illinois University Carbondale. TITLE: BACH’S FIFTH CELLO SUITE, DOUBLE BASS AND SCORDATURA: PRACTICAL AND HISTORICAL SOLUTIONS MAJOR PROFESSOR: Dr.
    [Show full text]
  • Seth Gamba Elkins Pointe Middle School Orchestra, Fulton County
    Seth Gamba Elkins Pointe Middle School Orchestra, Fulton County, Georgia ASTA Conference 2018, Thursday 3/8 9:45am www.gambamusic.com [email protected] or [email protected] Sitting/standing o Advantages of Standing . Better initial posture . More expressive playing due to freedom of motion o Common problems with standing . Bow can torque instrument if not properly supported . Students support instrument with thumb if not properly balanced o Advantages of Sitting . Instrument is held securely . Feet don’t get tired o Common problems with sitting . Slouching . Having a stool that is the proper height . Carrying a stool everywhere you go How to approach instrument sitting & standing o Standing . Height should be set so that eye level is between the nut and the 1st finger Height is sometimes a compromise between having to reach up with left hand vs. having to reach down with bow arm. Bass should be balanced – players should be able to support the instrument comfortably with no hands . Bass should be tilted slightly in towards the player . Bass should make a slightly obtuse angle against the players body . The left knee should make contact with the back edge of the lower bout to keep the instrument from twisting due to bow friction . When playing, the bass should be tilted forward to create equilibrium between the forces applied by the bow and the fingers This gives a little gravity assistance for holding the strings down and creates bow weight o Sitting . Height should be set so that eye level is between the nut and the 1st finger when seated .
    [Show full text]
  • A History of Rhythm, Metronomes, and the Mechanization of Musicality
    THE METRONOMIC PERFORMANCE PRACTICE: A HISTORY OF RHYTHM, METRONOMES, AND THE MECHANIZATION OF MUSICALITY by ALEXANDER EVAN BONUS A DISSERTATION Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Department of Music CASE WESTERN RESERVE UNIVERSITY May, 2010 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of _____________________________________________________Alexander Evan Bonus candidate for the ______________________Doctor of Philosophy degree *. Dr. Mary Davis (signed)_______________________________________________ (chair of the committee) Dr. Daniel Goldmark ________________________________________________ Dr. Peter Bennett ________________________________________________ Dr. Martha Woodmansee ________________________________________________ ________________________________________________ ________________________________________________ (date) _______________________2/25/2010 *We also certify that written approval has been obtained for any proprietary material contained therein. Copyright © 2010 by Alexander Evan Bonus All rights reserved CONTENTS LIST OF FIGURES . ii LIST OF TABLES . v Preface . vi ABSTRACT . xviii Chapter I. THE HUMANITY OF MUSICAL TIME, THE INSUFFICIENCIES OF RHYTHMICAL NOTATION, AND THE FAILURE OF CLOCKWORK METRONOMES, CIRCA 1600-1900 . 1 II. MAELZEL’S MACHINES: A RECEPTION HISTORY OF MAELZEL, HIS MECHANICAL CULTURE, AND THE METRONOME . .112 III. THE SCIENTIFIC METRONOME . 180 IV. METRONOMIC RHYTHM, THE CHRONOGRAPHIC
    [Show full text]
  • Musical Piano Performance by the ACT Hand
    2011 IEEE International Conference on Robotics and Automation Shanghai International Conference Center May 9-13, 2011, Shanghai, China Musical Piano Performance by the ACT Hand Ada Zhang1;2, Mark Malhotra3, Yoky Matsuoka3 Department of Bioengineering1, Department of Music2, Department of Computer Science and Engineering3 University of Washington, Seattle, WA, USA Abstract— In the past, the music community conducted research on what makes music more musical or expressive. Much of this work has focused on the manipulation of phras- ing, articulation and rubato to make music more expressive. However, it has been difficult to study neuromuscular control used by experts to create such musical music. This paper took a first step toward this effort by using the Anatomically Correct Testbed (ACT) Robotic Hand to mimic the way expert humans play when they are instructed to perform “musically” or “robotically.” Results from 22 human subjects showed that musical expression contained a larger range of dynamics and different articulation than robotic expression, while there was no difference in the use of rubato. The ACT Hand was controlled to the level of precision that allowed the replication of expert expressive performance. Its performance was then rated by 17 human listeners against music played by a human expert to show that the ACT Hand could play as musically as an expert human. Furthermore, articulation, phrasing, and Fig. 1. The Anatomically Correct Testbed Hand rubato were tested in isolation to determine the importance of articulation over phrasing and rubato. This type of study will lead to understanding how to implement future robots to and legs to depress the pedals.
    [Show full text]
  • The Issue of Size: a Glimpse Into the History of the Violoncello Piccolo
    Page 1 The Issue of Size: A Glimpse into the History of the Violoncello Piccolo by Johanna Randvere Early Music Department University of the Arts, Sibelius Academy April 2020 Page 2 Abstract The aim of this research is to find out whether, how and why the size, tuning and the number of strings of the cello in the 17th and 18th centuries varied. There are multiple reasons to believe that the instrument we now recognize as a cello has not always been as clearly defined as now. There are written theoretical sources, original survived instruments, iconographical sources and cello music that support the hypothesis that smaller-sized cellos – violoncelli piccoli – were commonly used among string players of Europe in the Baroque era. The musical examples in this paper are based on my own experience as a cellist and viol player. The research is historically informed (HIP) and theoretically based on treatises concerning instruments from the 17th and the 18th centuries as well as articles by colleagues around the world. In the first part of this paper I will concentrate on the history of the cello, possible reasons for its varying dimensions and how the size of the cello affects playing it. Because this article is quite cello-specific, I have included a chapter concerning technical vocabulary in order to make my text more understandable also for those who are not acquainted with string instruments. In applying these findings to the music written for the piccolo, the second part of the article focuses on the music of Johann Sebastian Bach, namely cantatas with obbligato piccolo part, Cello Suite No.
    [Show full text]
  • Musicians Column—Aspects of Musicality
    Musicians Column—Aspects of Musicality by Martha Edwards In this article, I’m going to talk about a simple thing that you can do to make you, your band mates, and your dance community fall in love with the music that you make. It’s called phrasing. Yup, phrasing. Musical phrasing is a lot like verbal phrasing. Sentences start somewhere and end somewhere, just like music. Sometimes they start soft, and grow and grow until they END! SOMETIMES they start big and taper off at the end. Sometimes they grow and get BIG and then taper off at the end. But a lot of people never notice that music does the same thing, that it comes from somewhere and goes somewhere. When you help it do that, you’re really sending a musical experience to your audience. Otherwise, you’re just typing. What do I mean by typing? I mean that, if all you do is play the notes, one after another, at the same intensity from beginning to end, you could play the notes perfectly, but your playing would be boring. You wouldn’t be shaping the phrase, you would just be sending out a kind of telegraph message with no emotion attached. I think it happens because playing music is hard, and it’s a big challenge just to be able to play the notes of a tune at all. When you finally get the notes of a tune, one after another, it’s a kind of victory. But don’t stop with just the notes. Learn to play musically! photo of Miranda Arana, Jonathan Jensen and Martha Edwards (courtesy Childgrove Country Dancers, St.
    [Show full text]
  • Teaching Phrase and Musical Artistry Through a Laban Based Pedagogy a Laban Based Pedagogy
    Workshop In Teaching Musicianship and Artistry Through Movement and Kinesthetic Workshop In TeachingA Mwaurseincieasns sohfi pH aonwd S Aourntids tMryo Tvehsr Fouogrhw aMrdo vement and Kinesthetic Awareness of How So und Moves Forward Teaching Phrase and Musical Artistry through Teaching Phrase and Musical Artistry through A Laban Based Pedagogy A Laban Based Pedagogy James Jordan, Ph.D. D.Mus James Jordan, Ph.D. D.Mus Professor and Senior Conductor, Westminster Choir College Conductor and Artistic Director of The Same Stream (Thesamestreamchoir.com) Professor and Senior Conductor, Westminster Choir College Choral Consultant-We-music.com Conductor and Artistic Director of The Same Stream (Thesamestreamchoir.com) Co-Director-The Choral Institute at Oxford (rider.edu/oxford) ChoralGiamusic.com/Jordan Consultant-We-music.com Co-Director-The ChoralTwitter@Jevoke Institute at Ox ford (rider.edu/oxford) Giamusic.com/Jordan Twitter@Jevoke The Principles of Artistry Through the Door of Kinesthetic Learning This space-memory-combined with our continuous process of anticipation, is the source of our sensing time as time, and ourselves as ourselves (p.164) Carlo Rovelli In The Order of Time Few people will realize that a page of musical notes is to a great extent a description or prescription of bodilly motivations or of the way how to move your muscles, limbs and breathing organs…in order to produce certain effects (p.39). Rudolf Laban In Karen K. Bradley Rudolf Laban Musicians who do not audiate shifting weight perform with displaced energy (p.190) Edwin Gordon In Learning Sequences in Music (2012) The rhythm texture of music…In its total effect on the listener, the rhythm of music derives from two main sources, melodic and harmonic (p.123) It is assumed that the conceptions meter and rhythm are understood.
    [Show full text]