DOCSLIB.ORG

Connections T H E N E W S L E T T E R O F M U S I C F O R P E O P L E: Fall 2016

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

CoNNeCTioNS T h e N e w s l e t t e r o f M u s i c f o r P e o p l e: Fall 2016 30th Anniversary, October, 2016 CELEBRATING 30 YEARS OF MUSIC MAKING!! IN THIS ISSUE: • Page 2: David Darling - Gratitude • Page 2 : 30 for 30 Fundraising Campaign • Page 3-7: Jan Hittle - MFP Celebrates 30 Years: Interviews with Participants at the 30th Anniversary Celebration • Page 8-10 : David Rudge - Mindfulness Through Music • Page 11: Mary Knysh- Letter from the MLP Chair: The Art of Imrpovisation 2016 • Page 12-14: Jan Hittle - We Turned 30! Highlights from the 30th Anniversary Workshop Weekend • Page 15-16: Jim Oshinsky - Kudos to David Darling • Page 16: Carol Purdy - Book Review: Steal Like and Artist by Austin Kleon • Page 17: Congratulations to our MLP Graduates- Alison Weiner and Alina Plourde • Page 18-19: MUSICAL Advertisements • Page 20: Jane Buttars - Improvised Music Harvest Workshop, 2016 • Page 21: Lynn Saltiel - News from Lynn Saltiel and the MFP Improv Orchestra • Page 22: Mary Knysh - Book Reveiw: The Fear of Singing Breakthrough Program: Learn to Sing Even if You Can’t Carry a Tune, by Nancy Salwen • Page 23: Calendar of Events and Who We Are; Advertise! Page 1 Gratitude From David Darling Dear MFP Community, I wanted to send all of you my love and gratitude. Your support is a blessing. I felt so overjoyed and grateful to celebrate our community at our 30th Anniversary Celebration this past October. Thank You to the staff and the breakout and elective leaders for their tremendous skills in organizing and presenting at our anniversary event. Thank You to the graduating duo of Alison Weiner and Alina Plourde for their “Standing Ovation Performances” – what a treat to witness! Thank You to those of you who contributed to our 30 for 30 fundraising campaign. Thank You and congratulation’s to those of you who have published your music and art. I was so grateful to receive these special cd’s and books given as gift’s to me at the anniversary. One gift I received was Nancy Salwen’s beautiful book which is reviewed on page 22 of this newsletter- check it out! Thank You for celebrating with me! It was rejuvenating to my spirit to spend the weekend making music with you. It was amazing to appreciate together the past evolution of this organization. I’m so proud of it and all the people involved with it over the past THIRTY years! WOW! I’m very excited about this new way of summarizing the Music for People mission with “Mindfulness through Music” and if it can help bring our message to a new public. Please see David Rudge’s article in this newsletter which is so thoughtful on this idea. With Love and Gratitude to you all. David Darling Music for People Celebrates 30 Years! Dear MFP Supporter: Those of us who had the opportunity to attend the recent MFP 30th Anniversary celebration at Stony Point are still riding high from the outpouring of music, love, and connection we experienced. The weekend was truly uplifting and included several inspirational sessions led by David Darling. It was also a chance to mark the beginning of our efforts to implement a new, sustainable course for MFP programming that will lead us into the next 30 years. We have designated an Action Team to work with the board to chart new directions for MFP leading to a model which expands our ability to bring the work of Da- vid Darling into the world. During this time of transition, your support is needed to build a financial bridge to this future vision. You can help by being part of our Give 30 for 30 campaign. We have determined that in order for us to reach our new place of financial sustainability we need to raise $20,000 by the end of 2016. This will help meet our expenses for the upcoming year as well as support the development of new programming. Thanks to the en- thusiastic support of MFP’ers who attended the Stony Point weekend, we have already raised about $7,000 towards our goal. Why $20,000? By our calculations we will need $10,000 to support our basic operations, $5,000 to support our promotional/marketing efforts, and $5,000 to support program development costs. Ambitious? Yes, but this effort is worth it. We all know how much this work means to our world and by giving now as part of this effort you become a founder of the “new MFP.” You can be a part of this historic effort by giving at these levels and receiving the following discounts in recognition of your contribution. • Player: $30-$99 * If everyone on our mailing list donated at the Player level giving “30 for 30” we would reach our goal. • Improviser: $100-$299 * Enjoy 15% off tuition at a Music for People workshop! If two hundred of us donated at the Improviser Level, we would reach our goal. • Mentor: $300-$499 * Enjoy 25% off tuition at a Music for People workshop! • Creator: $500 or more * Enjoy 50% off tuition at a Music for People workshop! Please join your fellow MFP’ers in building a bridge to the next 30 years of mindful, joyous music-making. Thank You, Music for People Board of Directors Neil Tatar, Jane Buttars, Ron Kravitz, David Rudge, Andy Smith, Todd Rogers Page 2 Music for People Celebrates 30 Years! How Is This Work Alive in You? Interviews with Participants at the 30th Anniversary Celebration Some participants at the 30th Anniversary Celebration were asked how the work of Music for People was alive in them. Here’s a condensed version of their responses. For links to the full interviews, visit: http://musicforpeople.org/wp/videos-30th-anniversary-celebration/ A special thanks to Ingrid Bredenberg and Sharon Little for recording the interviews. Interview with Betsy Bevan: I’ve been with Music for People since about 1990. Music for People has helped lift me to the point where I could do more my life purpose. Which for me is sharing the beauty and the joy of my creative life — which is through painting and through composing and improvising, and now I can share it out. I’m a long time Zen meditator so to blend the meditation with spiritual words — poetry — and original music and world music is part of my life purpose. People after they see my paintings and after they hear the music the musicians created together, they feel joyful and lifted up like I do. I couldn’t have done that without Music for People. Interview with Eric Edberg: So I discovered Music for People about 1995 or so. I had just started improvising on my own and I found a recording of David Darling in a record store. I came to what was then called Improvising Chamber Music (now Art of improvisation). It really changed my life. Having a way of relating to people and making music with other people in an atmosphere of unconditional positive regard. And then I took it back to the university where I teach, DePauw University in Indiana. Freshman when they come in, I introduce them to Release that I learned from David: “This is one of the most valuable things that you’re going to learn in college.” Now alumni come back and they say “I teach this to all my students.” It’s so fantastic.” Interview with Ingrid Bredenberg: I first participated in Music for People back in 1984 at Omega Institute. Well, first of all what really came alive to me in the work not only was the courage to improvise and to make music, but I got my dancer back. I was a mover, but I had figured that since I wasn’t dancing professionally, or I didn’t even take a lot of classes, that I wasn’t a dancer. And just like I’ve now learned that we’re all musicians, I reclaimed my dancer. How that shows up in my life — the music making, the movement, the whole presence — is in my work with leaders. I’ve realized how important it is for leaders to understand the importance of silence…. And to give them permission as a technique to make room for things to occur, to arise. We do that through a variety of activities. Some of them from Music for People. The work is alive. And it’s getting to leaders, and I’m excited about that. Page 3 Interview with Jan Hittle: To me Music for People was such an important part of a musical journey. When I heard Bobby McFerrin’s Medicine Man album, it opened my eyes and so I went looking for an improvisation teacher. Finally I got to experi- ence David Darling. And one of the first things he said was “your music is import- ant…your music is really important to the world…you need to record it.” And it was one of the few people who gave those wonderful musical messages to me. You know, a lot of my teachers in music were like “Oh, you need to do this better… oh, you need to work on this.” Whereas David was just “Ahh, Wow! Your music is great.” And this music journey still continues because I was so scared to make music, to make music in an improvisational way without notes on a page. And I am finally learning to let that fear release a little bit. And I have a feeling that’s going to be a life-long process — learning to be more present in this music, in this moment in this music, and therefore be more present for myself in all areas of my life.
Recommended publications
  • Read Liner Notes

    Read Liner Notes

    Cover Photo: Paul Winter Consort, 1975 Somewhere in America (Clockwise from left: Ben Carriel, Tigger Benford, David Darling, Paul Winter, Robert Chappell) CONSORTING WITH DAVID A Tribute to David Darling Notes on the Music A Message from Paul: You might consider first listening to this musical journey before you even read the titles of the pieces, or any of these notes. I think it could be interesting to experience how the music alone might con- vey the essence of David’s artistry. It would be ideal if you could find a quiet hour, and avail yourself of your fa- vorite deep-listening mode. For me, it’s flat on the floor, in total darkness. In any case, your listening itself will be a tribute to David. For living music, With gratitude, Paul 2 1. Icarus Ralph Towner (Distant Hills Music, ASCAP) Paul Winter / alto sax Paul McCandless / oboe David Darling / cello Ralph Towner / 12-string guitar Glen Moore / bass Collin Walcott / percussion From the album Road Produced by Phil Ramone Recorded live on summer tour, 1970 This was our first recording of “Icarus” 2. Ode to a Fillmore Dressing Room David Darling (Tasker Music, ASCAP) Paul Winter / soprano sax Paul McCandless / English horn, contrabass sarrusophone David Darling / cello Herb Bushler / Fender bass Collin Walcott / sitar From the album Icarus Produced by George Martin Recorded at Seaweed Studio, Marblehead, Massachusetts, August, 1971 3 In the spring of 1971, the Consort was booked to play at the Fillmore East in New York, opening for Procol Harum. (50 years ago this April.) The dressing rooms in this old theatre were upstairs, and we were warming up our instruments there before the afternoon sound check.
  • The Cathedral Gives Back

    The Cathedral Gives Back

    Winter 2017–18 1047 Amsterdam Avenue Volume 16 Number 75 at 112th Street New York, NY 10025 (212) 316-7540 stjohndivine.org 2017 Winter –18 at the Cathedral The Cathedral Gives Back or where your treasure is, there your the Cathedral. I want to be able to do more than just talk In addition to our own programs, the Cathedral has also long heart will be also.” The Right Reverend about the things we believe in here, but also show our beliefs partnered with other mission-aligned community organizations Dan Daniel quoted Jesus’s Sermon on in action. We do this through our programs—Cathedral to support their work, something Dean Daniel wants to continue the Mount when asked about the Community Cares, Adults and Children in Trust, and the myriad to emphasize in our public programs. Longtime readers of this Cathedral’s commitment to tithing. of events that help underserved populations, but also through newsletter will recall the Cathedral’s collaboration with Broadway Typically seen as a way for people of donating to causes that we believe in.” Cares/Equity Fights AIDS to produce staged readings of Joan faith to give back to the church, Dean Didion’s haunting A Year of Magical Thinking and Blue Nights, The Cathedral has a long tradition of social outreach and Daniel takes the tradition a step further, the proceeds from which benefited UNICEF and The United commitment to community. Cathedral Community Cares (CCC) viewing it as a sacred obligation for the Nations Relief and Works Agency for Palestine Refugees in the works to combat and alleviate poverty through preventive F Cathedral to give back to the community.
  • Pat Metheny: in Tune with the Big Picture

    Pat Metheny: in Tune with the Big Picture

    THE AUSTRALIAN ___________________________________________________________________________ Pat Metheny: In tune with the big picture Jazz guitarist and composer Pat Metheny performing in Rome, Italy, in July 2018. PICTURE GETTY IMAGES ERIC MYERS at Metheny, a youthful 65-year-old, began playing professional gigs as a teenage prodigy in the 1970s. Extraordinarily successful over 50 years, P the American guitarist has won so many polls, released so many gold albums, and been awarded so many Grammys (more than 20) that his fans have lost count, not to mention the honorary doctorates. Metheny is unique in that, as much as any jazz musician alive — along with pianist Keith Jarrett — he combines artistic acceptance (by hardcore jazz fans) and popularity (with music lovers otherwise uninterested in jazz). In a recent interview, Metheny dismisses what he describes as “all the subsets of the way music often gets talked about”. That is to say, the words often used to describe music don’t particularly interest him. “I am interested in the spirit and 1 sound of music itself,” he says. Accordingly, his thoughts are deeply philosophical. “To me, music is one big universal thing,” he tells The Australian. “The musicians I have admired the most are the ones who have a deep reservoir of knowledge and insight, not just about music, but about life in general, and are able to illuminate the things that they love in sound. “When it is a musician who can do that on the spot, as an improviser, that is usually my favourite kind of player.” So it is with the members of Metheny’s quartet, touring in Australia this week.
  • 20 May 2020 HOW ARTISTS TEACH LEADERSHIP: EIGHT PORTRAITS

    20 May 2020 HOW ARTISTS TEACH LEADERSHIP: EIGHT PORTRAITS

    HOW ARTISTS TEACH LEADERSHIP: EIGHT PORTRAITS OF ARTIST-EDUCATORS by April Hyoeun Bang Dissertation Committee: Professor Victoria Marsick, Sponsor Professor Lyle Yorks Approved by the Committee on the Degree of Doctor of Education Date ___________________________________20 May 2020 Submitted in partial fulfillment of the requirements for the Degree of Doctor of Education in Teachers College, Columbia University 2020 ABSTRACT HOW ARTISTS TEACH LEADERSHIP: EIGHT PORTRAITS OF ARTIST-EDUCATORS April Hyoeun Bang This dissertation explored how eight artists who are also faculty in academic institutions and adult professional development programs teach leadership. As such, the purpose of this study was to understand to what extent and how these self-defined artists who also teach leadership in academic and professional development settings draw from and integrate their roles, skills, experiences, learning, and ways of making meaning as artists to facilitate leadership learning among adults. By doing so, this research sought to move beyond existing technical and conceptual knowledge of arts-based methods in leadership teaching to learning more about specific artists who have inspired or used such methods. Using the method of portraiture embedded in a qualitative exploratory interview study with narrative inquiry, this study reveals an aesthetic approach to research and presents narratives of eight artist-educators in the form of portraits. Portraits were analyzed thematically using a procedure of cross-portrait analysis. Four conclusions emerged from the analysis. These include evidence of participants’ greater integration or interdependence of artist-educator identities and roles in later stages of one’s teaching career, experience of some degree or form of transformation in personal learning journeys with art, emphasis on experiential learning as an essential aspect of teaching, and advice to emerging artist-educators to embrace their artistic ways of being and knowing and integrate art into their teaching.
  • Downbeat.Com December 2020 U.K. £6.99

    Downbeat.Com December 2020 U.K. £6.99

    DECEMBER 2020 U.K. £6.99 DOWNBEAT.COM DECEMBER 2020 VOLUME 87 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [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, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow.
  • Concert Booklet April 22, 2017

    Concert Booklet April 22, 2017

    North Shore Choral Society ©Virginia O. Roeder Missa Gaia-Earth Mass April 22, 2017 Unitarian Church of Evanston Evanston, Illinois Julia Davids, Music Director with Evanston Children’s Choir Thomas R. Jefferson, piano Felicia Patton, soprano Guabina Chiquinquirena ....................... Daniel Bayona Posada, arr. D.Wallenberg A Red, Red Rose ........ Robert Burns, text; James Mulholland, music; arr. G.Geiger Some Nights ........................ J.Bhasker, A.Dost, J.Antonoff, N.Ruess, arr.Mac Huff Amani (Peace) ..................................................................................... Jim Papoulis Evanston Children’s Choir Gary Geiger, director Hyejin Joo, accompanist ~ Intermission ~ Missa Gaia – Earth Mass Paul Winter, Jim Scott, Paul Halley, Oscar Castro-Neves, Kim Oler Canticle of Brother Sun (Audience joins chorus; music in Text and Translation) Kyrie The Beatitudes Sound Over All Waters .......................................................................... Paul Halley Sanctus and Benedictus His Eye Is on the Sparrow ........................................................ Traditional Spiritual Agnus Dei Ubi Caritas ............................................................................................. Paul Halley The Blue Green Hills of Earth (Audience joins chorus; music in Text and Translation) Let Us Depart in Peace (Audience joins chorus; music in Text and Translation) TEXT AND TRANSLATION CANTICLE OF BROTHER SUN “Having decided to dedicate the Earth Mass to St. Francis … I wanted to create a piece based on his ‘Canticle of Brother Sun.’” Paul Winter All praise be yours through Brother Sun. All praise be yours through Sister Moon. By Mother Earth my Lord be praised, by Brother Mountain, Sister Sea. Through Brother Wind and Brother Air, through Sister Water, Brother Fire; The stars above give thanks to thee; all praise to those who live in peace. All praise be yours through Brother Wolf, all praise be yours through Sister Whale.
  • August 31, 2020 Jazz Album Chart

    August 31, 2020 Jazz Album Chart

    Jazz Album Chart August 31, 2020 TW LW 2W Peak Artist Title Label TW LW Move Weeks Reports Adds 1 1 1 1 Antonio Adolfo 4 weeks at No. 1 BruMa: Celebrating Milton Nascimento AAM Music 303 298 5 8 47 0 The Funk Garage / Mascot 2 4 2 2 Maceo Parker Soul Food - Cooking With Maceo Label Group 286 260 26 7 45 0 3 3 13 3 Bobby Watson Most Reports Keepin’ It Real Smoke Sessions 279 278 1 4 53 7 3 7 4 3 Jeff Hamilton Trio Catch Me If You Can Capri 279 238 41 7 48 4 5 2 7 2 Black Art Jazz Collective Ascension HighNote 274 296 -22 5 52 3 6 6 18 6 Ray Mantilla Rebirth Savant 272 251 21 4 46 2 7 9 9 7 Art Blakey & The Jazz Messengers Just Coolin’ Blue Note 269 230 39 4 49 4 Dave Stryker w/ Bob Mintzer and the WDR 7 5 5 1 Big Band Blue Soul Strikezone 269 258 11 9 46 0 9 7 3 3 Christian Sands Be Water Mack Avenue 245 238 7 9 44 1 10 11 14 10 Various Ella 100 - Live At The Apollo Concord Jazz 224 192 32 8 26 1 11 13 10 9 John Fedchock NY Sextet Into The Shadows Summit 214 187 27 6 44 3 12 10 6 1 Larry Willis I Fall in Love Too Easily The Final Session at HighNote 202 201 1 10 37 0 Rudy Van Gelder’s Eddie Daniels w/ Dave Grusin and Bob 13 28 49 13 James Night Kisses a Tribute to Ivan Lins Resonance 192 149 43 3 37 5 14 31 37 14 Derrick Gardner & the Big dig! Band Still I Rise Impact Jazz 190 145 45 6 37 2 15 14 15 11 La Lucha Everybody Wants To Rule The World Arbors 184 186 -2 8 32 0 16 12 11 3 Kandace Springs The Women Who Raised Me Blue Note 182 190 -8 19 35 1 17 19 17 17 Steve Fidyk Battle Lines Blue Canteen Music 181 167 14 8 36 0 18 22 15 9 Alexa
  • Wilderness & Land Ethic Curriculum

    Wilderness & Land Ethic Curriculum

    the WILDERNESS & LAND ETHIC CURRICULUM KINDERGARTEN THROUGH 8TH GRADE SECOND EDITION Arthur Carhart National Wilderness Training Center ACKNOWLEDGMENTS Contributor: PrimarycreditforinformationfoundinthispublicationgoestoMaryBethHennessy,PikeSan IsabelNationalForest;DavidCockrell,UniversityofSouthernColorado;LindaMarr,Vashon PublicSchools;andKariGunderson,Gunderson/FloodWildernessPartnerships.Othercon- tributorsincludeMicheleVanHare,ArapahoeRooseveltNationalForest;SharonKyhl,Pike SanIsabelNationalForest;SallyBlevinsandRebeccaCothran,BitterrootNationalForest;Joy JolsonandLisaTherill,WenatcheeNationalForest;JeanneMoeandKellyLetts,Bureauof LandManagement;andCliffordKnapp,NorthernIllinoisUniversity.MaryBethHennessy deservesspecialrecognitionfordevelopingcurriculum,conductingteacherworkshopsandfor herenthusiasmanddedicationtowildernesseducation.DavidCockrellandKariGunderson arelikewiseacknowledgedfortheirdedicationtothisproject.LindaMarrcontributedher expertiseasanelementaryteacherandspentcountlesshoursonthisproject.Manyteachersin Colorado,ForestServicewildernessmanagersandinterestedorganizationshavebeeninvolved inpilottestingthiscurriculum,revisions,andteacherworkshops.MarshaKearneyandLance TylerofthePikeSanIsabelNationalForestdeservespecialrecognitionfortheirsupportand enthusiasmforthisproject.ContributingrepresentativesfromTheWildernessEducation CouncilofColorado,WildernessEducationAssociation,ColoradoOutwardBoundSchool, WetlandsandWildlifeAlaskaCurriculum,NationalWildlifeFederation,ProjectWild,Project LearningTree,NaturalResourceConservationEducationandtheWildernessEducationWork-
  • WMRA Holiday Broadcast Schedule 2004

    WMRA Holiday Broadcast Schedule 2004

    WMRA Holiday Broadcast Schedule 2004 Winter Solstice Celebration, this year with a decidedly Russian flavor: The Dmitri Pokrovsky Ensemble-Russian village dancers Tuesday, Dec. 7th and singers-- joins African mbira master Chris Berry and the famous Paul Winter Consort. They'll lead our "Journey Through 7pm A Taste of Chanukah the Longest Night" with new works and old favorites including "Dancing Day," the West African "Minuit" and Paul Winter's This celebration of Chanukah features over 150 musicians from "Icarus." Wolves, whales and the audience in New York's the New England Conservatory, the Boston Community Choir Cathedral of St. John the Divine join in with holiday glee. 2 and other ensembles. The show is recorded live at the New hours. England Conservatory’s Jordan Hall in Boston. 1 hour. 10pm The Christmas Revels: A Celebration of the Winter Solstice Wednesday, Dec. 8th The Christmas Revels: A Celebration of the Winter Solstice 2004 7pm Chanukah in Story and Song is an all-new compilation of carols, rounds, drinking songs, music-hall numbers, madrigals and motets, children's singing A Chanukah celebration featuring The Western Wind and games, wassails, and traditional, social, and ritual dance tunes, narrated by Leonard Nimoy. They will present many eclectic selected from the nine live Christmas Revels performances that selections, from the Ladino songs of the Spanish Jews and took place around the country last year. 2 hours. Yiddish melodies of Eastern Europe to modern Israeli tunes. 1 hour. st Tuesday, Dec. 21 Thursday, Dec. 9th 7pm Christmas at El Pardo 7pm Chanukah Lights Christmas at El Pardo presents a magnificent hour-long concert of Father Antonio Soler's Christmas villancicos (songs) with brief A collection of readings that explore Chanukah traditions in interludes of plain chant.
  • Adventuring with Books: a Booklist for Pre-K-Grade 6. the NCTE Booklist

    Adventuring with Books: a Booklist for Pre-K-Grade 6. the NCTE Booklist

    DOCUMENT RESUME ED 311 453 CS 212 097 AUTHOR Jett-Simpson, Mary, Ed. TITLE Adventuring with Books: A Booklist for Pre-K-Grade 6. Ninth Edition. The NCTE Booklist Series. INSTITUTION National Council of Teachers of English, Urbana, Ill. REPORT NO ISBN-0-8141-0078-3 PUB DATE 89 NOTE 570p.; Prepared by the Committee on the Elementary School Booklist of the National Council of Teachers of English. For earlier edition, see ED 264 588. AVAILABLE FROMNational Council of Teachers of English, 1111 Kenyon Rd., Urbana, IL 61801 (Stock No. 00783-3020; $12.95 member, $16.50 nonmember). PUB TYPE Books (010) -- Reference Materials - Bibliographies (131) EDRS PRICE MF02/PC23 Plus Postage. DESCRIPTORS Annotated Bibliographies; Art; Athletics; Biographies; *Books; *Childress Literature; Elementary Education; Fantasy; Fiction; Nonfiction; Poetry; Preschool Education; *Reading Materials; Recreational Reading; Sciences; Social Studies IDENTIFIERS Historical Fiction; *Trade Books ABSTRACT Intended to provide teachers with a list of recently published books recommended for children, this annotated booklist cites titles of children's trade books selected for their literary and artistic quality. The annotations in the booklist include a critical statement about each book as well as a brief description of the content, and--where appropriate--information about quality and composition of illustrations. Some 1,800 titles are included in this publication; they were selected from approximately 8,000 children's books published in the United States between 1985 and 1989 and are divided into the following categories: (1) books for babies and toddlers, (2) basic concept books, (3) wordless picture books, (4) language and reading, (5) poetry. (6) classics, (7) traditional literature, (8) fantasy,(9) science fiction, (10) contemporary realistic fiction, (11) historical fiction, (12) biography, (13) social studies, (14) science and mathematics, (15) fine arts, (16) crafts and hobbies, (17) sports and games, and (18) holidays.
  • THE COLLECTED POEMS of HENRIK IBSEN Translated by John Northam

    THE COLLECTED POEMS of HENRIK IBSEN Translated by John Northam

    1 THE COLLECTED POEMS OF HENRIK IBSEN Translated by John Northam 2 PREFACE With the exception of a relatively small number of pieces, Ibsen’s copious output as a poet has been little regarded, even in Norway. The English-reading public has been denied access to the whole corpus. That is regrettable, because in it can be traced interesting developments, in style, material and ideas related to the later prose works, and there are several poems, witty, moving, thought provoking, that are attractive in their own right. The earliest poems, written in Grimstad, where Ibsen worked as an assistant to the local apothecary, are what one would expect of a novice. Resignation, Doubt and Hope, Moonlight Voyage on the Sea are, as their titles suggest, exercises in the conventional, introverted melancholy of the unrecognised young poet. Moonlight Mood, To the Star express a yearning for the typically ethereal, unattainable beloved. In The Giant Oak and To Hungary Ibsen exhorts Norway and Hungary to resist the actual and immediate threat of Prussian aggression, but does so in the entirely conventional imagery of the heroic Viking past. From early on, however, signs begin to appear of a more personal and immediate engagement with real life. There is, for instance, a telling juxtaposition of two poems, each of them inspired by a female visitation. It is Over is undeviatingly an exercise in romantic glamour: the poet, wandering by moonlight mid the ruins of a great palace, is visited by the wraith of the noble lady once its occupant; whereupon the ruins are restored to their old splendour.
  • Exemplar Texts for Grades

    Exemplar Texts for Grades

    COMMON CORE STATE STANDARDS FOR English Language Arts & Literacy in History/Social Studies, Science, and Technical Subjects _____ Appendix B: Text Exemplars and Sample Performance Tasks OREGON COMMON CORE STATE STANDARDS FOR English Language Arts & Literacy in History/Social Studies, Science, and Technical Subjects Exemplars of Reading Text Complexity, Quality, and Range & Sample Performance Tasks Related to Core Standards Selecting Text Exemplars The following text samples primarily serve to exemplify the level of complexity and quality that the Standards require all students in a given grade band to engage with. Additionally, they are suggestive of the breadth of texts that students should encounter in the text types required by the Standards. The choices should serve as useful guideposts in helping educators select texts of similar complexity, quality, and range for their own classrooms. They expressly do not represent a partial or complete reading list. The process of text selection was guided by the following criteria: Complexity. Appendix A describes in detail a three-part model of measuring text complexity based on qualitative and quantitative indices of inherent text difficulty balanced with educators’ professional judgment in matching readers and texts in light of particular tasks. In selecting texts to serve as exemplars, the work group began by soliciting contributions from teachers, educational leaders, and researchers who have experience working with students in the grades for which the texts have been selected. These contributors were asked to recommend texts that they or their colleagues have used successfully with students in a given grade band. The work group made final selections based in part on whether qualitative and quantitative measures indicated that the recommended texts were of sufficient complexity for the grade band.