A Folk Song Approach to Music Reading for Upper Elementary Levels Based on the Kodaly Method
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Medicine Health
Medicine Health RHODEI SLAND VOL. 85 NO. 1 JANUARY 2002 Cancer Update A CME Issue UNDER THE JOINT VOLUME 85, NO. 1 JANUARY, 2002 EDITORIAL SPONSORSHIP OF: Medicine Health Brown University School of Medicine Donald Marsh, MD, Dean of Medicine HODE SLAND & Biological Sciences R I Rhode Island Department of Health PUBLICATION OF THE RHODE ISLAND MEDICAL SOCIETY Patricia Nolan, MD, MPH, Director Rhode Island Quality Partners Edward Westrick, MD, PhD, Chief Medical Officer Rhode Island Chapter, American College of COMMENTARIES Physicians-American Society of Internal Medicine Fred J. Schiffman, MD, FACP, Governor 2 Demented Politicians Rhode Island Medical Society Joseph H. Friedman, MD Yul D. Ejnes, MD, President 3 Some Comments On a Possible Ancestor EDITORIAL STAFF Stanley M. Aronson, MD, MPH Joseph H. Friedman, MD Editor-in-Chief Joan M. Retsinas, PhD CONTRIBUTIONS Managing Editor CANCER UPDATE: A CME ISSUE Hugo Taussig, MD Guest Editor: Paul Calabresi, MD, MACP Betty E. Aronson, MD Book Review Editors 4 Cancer in the New Millennium Stanley M. Aronson, MD, MPH Paul Calabresi, MD, MACP Editor Emeritus 7 Update in Non-Small Cell Lung Cancer EDITORIAL BOARD Betty E. Aronson, MD Todd Moore, MD, and Neal Ready, MD, PhD Stanley M. Aronson, MD 10 Breast Cancer Update Edward M. Beiser, PhD, JD Mary Anne Fenton, MD Jay S. Buechner, PhD John J. Cronan, MD 14 Screening for Colorectal Cancer in Rhode Island James P. Crowley, MD Arvin S. Glicksman, MD John P. Fulton, PhD Peter A. Hollmann, MD 17 Childhood Cancer: Past Successes, Future Directions Anthony Mega, MD William S. Ferguson, MD, and Edwin N. -
Simple Gifts
Excerpts from . DEVELOPING MUSICIANSHIP THROUGH IMPROVISATION Simple Gifts Christopher D. Azzara Eastman School of Music of the University of Rochester Richard F. Grunow Eastman School of Music of the University of Rochester GIA Publications, Inc. Chicago Developing Musicianship through Improvisation Christopher D. Azzara Richard F. Grunow Layout and music engravings: Paul Burrucker Copy editor: Elizabeth Bentley Copyright © 2006 GIA Publications, Inc. 7404 S. Mason Ave., Chicago 60638 www.giamusic.com All rights reserved. Printed in the United States of America 2 INTRODUCTION Do you know someone who can improvise? Chances are he or she knows a lot of tunes and learns new tunes with relative ease. It seems that improvisers can sing and/or play anything that comes to mind. Improvisers interact in the moment to create one-of-a-kind experiences. Many accomplished musicians do not think of themselves as improvisers, yet if they have something unique to say in their performance, they are improvisers. In that sense, we are all improvisers, and it is important to have opportunities throughout our lives to express ourselves creatively through improvisation. Improvisation in music is the spontaneous expression of meaningful musical ideas—it is analogous to conversation in language. As presented here, key elements of improvisation include personalization, spontaneity, anticipation, prediction, interaction, and being in the moment. Interestingly, we are born improvisers, as evidenced by our behavior in early childhood. This state of mind is clearly demonstrated in children’s play. When not encouraged to improvise as a part of our formal music education, the very thought of improvisation invokes fear. If we let go of that fear, we find that we are improvisers. -
S Y N C O P a T I
SYNCOPATION ENGLISH MUSIC 1530 - 1630 'gentle daintie sweet accentings1 and 'unreasonable odd Cratchets' David McGuinness Ph.D. University of Glasgow Faculty of Arts April 1994 © David McGuinness 1994 ProQuest Number: 11007892 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 11007892 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 10/ 0 1 0 C * p I GLASGOW UNIVERSITY LIBRARY ERRATA page/line 9/8 'prescriptive' for 'proscriptive' 29/29 'in mind' inserted after 'his own part' 38/17 'the first singing primer': Bathe's work was preceded by the short primers attached to some metrical psalters. 46/1 superfluous 'the' deleted 47/3,5 'he' inserted before 'had'; 'a' inserted before 'crotchet' 62/15-6 correction of number in translation of Calvisius 63/32-64/2 correction of sense of 'potestatis' and case of 'tactus' in translation of Calvisius 69/2 'signify' sp. 71/2 'hierarchy' sp. 71/41 'thesis' for 'arsis' as translation of 'depressio' 75/13ff. Calvisius' misprint noted: explanation of his alterations to original text clarified 77/18 superfluous 'themselves' deleted 80/15 'thesis' and 'arsis' reversed 81/11 'necessary' sp. -
Glossary of Musical Terms
GLOSSARY OF MUSICAL TERMS A absolute music: instrumental music with no intended story (non-programmatic music) a cappella: choral music with no instrumental accompaniment accelerando: gradually speeding up the speed of the rhythmic beat accent: momentarily emphasizing a note with a dynamic attack accessible: music that is easy to listen to and understand adagio: a slow tempo alla breve / cut time: a meter with two half-note beats per measure. It’s often symbolized by the cut-time symbol allegro: a fast tempo; music should be played cheerfully / upbeat brisk alto: a low-ranged female voice; the second highest instrumental range alto instrument examples: alto flute, viola, French horn, natural horn, alto horn, alto saxophone, English horn andante: moderate tempo (a walking speed; "Andare" means to walk) aria: a beautiful manner of solo singing, accompanied by orchestra, with a steady metrical beat articulation marks: Normal: 100% Staccato: 50% > Accent: 75% ^ Marcato: 50% with more weight on the front - Tenuto: 100% art-music: a general term used to describe the "formal concert music" traditions of the West, as opposed to "popular" and "commercial music" styles art song: a musical setting of artistic poetry for solo voice accompanied by piano (or orchestra) atonal: music that is written and performed without regard to any specific key atonality: modern harmony that intentionally avoids a tonal center (has no apparent home key) augmentation: lengthening the rhythmic values of a fugal subject avant-garde: ("at the forefront") a French term that describes highly experimental modern musical styles B ballad: a work in dance form imitative of a folk song, with a narrative structure ballet: a programmatic theatrical work for dancers and orchestra bar: a common term for a musical measure barcarolle: a boating song, generally describing the songs sung by gondoliers in Venice. -
Radio Essentials 2012
Artist Song Series Issue Track 44 When Your Heart Stops BeatingHitz Radio Issue 81 14 112 Dance With Me Hitz Radio Issue 19 12 112 Peaches & Cream Hitz Radio Issue 13 11 311 Don't Tread On Me Hitz Radio Issue 64 8 311 Love Song Hitz Radio Issue 48 5 - Happy Birthday To You Radio Essential IssueSeries 40 Disc 40 21 - Wedding Processional Radio Essential IssueSeries 40 Disc 40 22 - Wedding Recessional Radio Essential IssueSeries 40 Disc 40 23 10 Years Beautiful Hitz Radio Issue 99 6 10 Years Burnout Modern Rock RadioJul-18 10 10 Years Wasteland Hitz Radio Issue 68 4 10,000 Maniacs Because The Night Radio Essential IssueSeries 44 Disc 44 4 1975, The Chocolate Modern Rock RadioDec-13 12 1975, The Girls Mainstream RadioNov-14 8 1975, The Give Yourself A Try Modern Rock RadioSep-18 20 1975, The Love It If We Made It Modern Rock RadioJan-19 16 1975, The Love Me Modern Rock RadioJan-16 10 1975, The Sex Modern Rock RadioMar-14 18 1975, The Somebody Else Modern Rock RadioOct-16 21 1975, The The City Modern Rock RadioFeb-14 12 1975, The The Sound Modern Rock RadioJun-16 10 2 Pac Feat. Dr. Dre California Love Radio Essential IssueSeries 22 Disc 22 4 2 Pistols She Got It Hitz Radio Issue 96 16 2 Unlimited Get Ready For This Radio Essential IssueSeries 23 Disc 23 3 2 Unlimited Twilight Zone Radio Essential IssueSeries 22 Disc 22 16 21 Savage Feat. J. Cole a lot Mainstream RadioMay-19 11 3 Deep Can't Get Over You Hitz Radio Issue 16 6 3 Doors Down Away From The Sun Hitz Radio Issue 46 6 3 Doors Down Be Like That Hitz Radio Issue 16 2 3 Doors Down Behind Those Eyes Hitz Radio Issue 62 16 3 Doors Down Duck And Run Hitz Radio Issue 12 15 3 Doors Down Here Without You Hitz Radio Issue 41 14 3 Doors Down In The Dark Modern Rock RadioMar-16 10 3 Doors Down It's Not My Time Hitz Radio Issue 95 3 3 Doors Down Kryptonite Hitz Radio Issue 3 9 3 Doors Down Let Me Go Hitz Radio Issue 57 15 3 Doors Down One Light Modern Rock RadioJan-13 6 3 Doors Down When I'm Gone Hitz Radio Issue 31 2 3 Doors Down Feat. -
A Study of Compositional Elements in Ciclo Brasileiro by Heitor Villa- Lobos
A STUDY OF COMPOSITIONAL ELEMENTS IN CICLO BRASILEIRO BY HEITOR VILLA- LOBOS Maria Eduarda Lucena Vieira A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2017 Committee: Gene Trantham, Advisor Yu-Lien The ii ABSTRACT Gene Trantham, Advisor Heitor Villa-Lobos, a well-known Brazilian composer, was born in the city of Rio de Janeiro, in 1887, the same place where he died, in 1959. He was influenced by many composers not only from Brazil, but also from around the world, such as Debussy, Igor Stravinsky and Darius Milhaud. Even though Villa-Lobos spent most of his life traveling to Europe and the United States, his works always had a Brazilian musical flavor. This thesis will focus on the Ciclo Brasileiro (Brazilian Cycle) written for piano in 1936. The premiere of this set was initially presented in 1938 as individual pieces including “Impressões Seresteiras” (The Impressions of a Serenade) and “Dança do Indio Branco” (Dance of the White Indian). The other pieces of the set, “Plantio do Caboclo” (The Peasant’s Sowing) and “Festa no Sertão” (The Fete in the Desert) were premiered in 1939. Both performances occurred in Rio de Janeiro. Also in 1936 he wrote two other pieces, “Bazzum”, for men’s voices and Modinhas e canções (Folk Songs and Songs), album 1. My thesis will explore Heitor Villa-Lobos’ Ciclo Brasileiro and hopefully will find direct or indirect elements of the Brazilian culture. In chapter 1, I will present an introduction including Villa-Lobos’ background about his life and music, and how classical and folk influences affected his compositional process in the Ciclo Brasileiro. -
Melodic Pattern Segmentation of Polyphonic Music As a Set Partitioning Problem Tsubasa Tanaka, Koichi Fujii
Melodic Pattern Segmentation of Polyphonic Music as a Set Partitioning Problem Tsubasa Tanaka, Koichi Fujii To cite this version: Tsubasa Tanaka, Koichi Fujii. Melodic Pattern Segmentation of Polyphonic Music as a Set Partitioning Problem. International Congress on Music and Mathematics, Nov 2014, Puerto Vallarta, Mexico. hal- 01467889 HAL Id: hal-01467889 https://hal.archives-ouvertes.fr/hal-01467889 Submitted on 14 Feb 2017 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Melodic Pattern Segmentation of Polyphonic Music as a Set Partitioning Problem Tsubasa Tanaka and Koichi Fujii Abstract In polyphonic music, melodic patterns (motifs) are frequently imitated or repeated, and transformed versions of motifs such as inversion, retrograde, augmen- tations, diminutions often appear. Assuming that economical efficiency of reusing motifs is a fundamental principle of polyphonic music, we propose a new method of analyzing a polyphonic piece that economically divides it into a small number of types of motif. To realize this, we take an integer programming-based approach and formalize this problem as a set partitioning problem, a well-known optimiza- tion problem. This analysis is helpful for understanding the roles of motifs and the global structure of a polyphonic piece. -
Chapter 3.2.1 That Non-Tonal Improvisation Is a Very Relative Term Because Any Configuration of Notes Can Be Identified by Root Oriented Chord Symbols
Cover Page The handle http://hdl.handle.net/1887/57415 holds various files of this Leiden University dissertation Author: Graaf, Dirk Pieter de Title: Beyond borders : broadening the artistic palette of (composing) improvisers in jazz Date: 2017-11-21 3. IMPROVISING WITH JAZZ MODELS 3.1 Introduction 3.1.1 The chord-scale technique Through the years, a large number of educational methods on how to improvise in jazz have been published (for instance Oliver Nelson 1966; Jerry Coker, Jimmy Casale, Gary Campbell and Jerry Greene 1970; Bunky Green 1985; David Baker 1988; Hal Crook 1991; Jamey Aebershold 2010). The instructions and examples in these publications are basically meant to develop the musician’s skills in chord-scale improvisation, which is generally considered as the basis of linear improvisation in functional and modal harmonies. In section 1.4.1, I have already discussed my endeavors to broaden my potential to play “outside” the stated chord changes, as one of the ingredients that would lead to a personal sound. Although few of the authors mentioned above have discussed comprehensive techniques of creating “alternative” jazz languages beyond functional harmony, countless jazz artists have developed their individual theories and strategies of “playing outside”, as an alternative to or an extension of their conventional linear improvisational languages. Although in the present study the melodic patterns often sound “pretty far out”, I agree with David Liebman’s thinking pointed out in section 2.2.1, that improvised lines are generally related to existing or imaginary underlying chords. Unsurprisingly, throughout this study the chord-scale technique as a potential way to address melodic improvisation will occasionally emerge. -
Aalborg Universitet Song Creations by Children with Cancer Process And
Aalborg Universitet Song Creations by Children with Cancer Process and Meaning Aasgaard, Trygve Publication date: 2002 Document Version Early version, also known as pre-print Link to publication from Aalborg University Citation for published version (APA): Aasgaard, T. (2002). Song Creations by Children with Cancer: Process and Meaning. AIChE Journal General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. ? Users may download and print one copy of any publication from the public portal for the purpose of private study or research. ? You may not further distribute the material or use it for any profit-making activity or commercial gain ? You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us at [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Downloaded from vbn.aau.dk on: December 26, 2020 SONG CREATIONS BY CHILDREN WITH CANCER PROCESS AND MEANING Abstract Trygve Aasgaard Acknowledgements and Dedication Table of Contents Thesis submitted for the degree of Doctor of Philosophy JUNE 2002 Institute of Music and Music Therapy AALBORG UNIVERSITY Abstract This project was conducted in order to learn more about the "lives" of songs created in music therapy practice and possible relationships between song creations and health aspects in the lives of young patients with malignant diseases. -
Songs by Title
16,341 (11-2020) (Title-Artist) Songs by Title 16,341 (11-2020) (Title-Artist) Title Artist Title Artist (I Wanna Be) Your Adams, Bryan (Medley) Little Ole Cuddy, Shawn Underwear Wine Drinker Me & (Medley) 70's Estefan, Gloria Welcome Home & 'Moment' (Part 3) Walk Right Back (Medley) Abba 2017 De Toppers, The (Medley) Maggie May Stewart, Rod (Medley) Are You Jackson, Alan & Hot Legs & Da Ya Washed In The Blood Think I'm Sexy & I'll Fly Away (Medley) Pure Love De Toppers, The (Medley) Beatles Darin, Bobby (Medley) Queen (Part De Toppers, The (Live Remix) 2) (Medley) Bohemian Queen (Medley) Rhythm Is Estefan, Gloria & Rhapsody & Killer Gonna Get You & 1- Miami Sound Queen & The March 2-3 Machine Of The Black Queen (Medley) Rick Astley De Toppers, The (Live) (Medley) Secrets Mud (Medley) Burning Survivor That You Keep & Cat Heart & Eye Of The Crept In & Tiger Feet Tiger (Down 3 (Medley) Stand By Wynette, Tammy Semitones) Your Man & D-I-V-O- (Medley) Charley English, Michael R-C-E Pride (Medley) Stars Stars On 45 (Medley) Elton John De Toppers, The Sisters (Andrews (Medley) Full Monty (Duets) Williams, Sisters) Robbie & Tom Jones (Medley) Tainted Pussycat Dolls (Medley) Generation Dalida Love + Where Did 78 (French) Our Love Go (Medley) George De Toppers, The (Medley) Teddy Bear Richard, Cliff Michael, Wham (Live) & Too Much (Medley) Give Me Benson, George (Medley) Trini Lopez De Toppers, The The Night & Never (Live) Give Up On A Good (Medley) We Love De Toppers, The Thing The 90 S (Medley) Gold & Only Spandau Ballet (Medley) Y.M.C.A. -
SINGING SYLLABUS Qualification Specifications for Graded Exams 2018–2022
BRITTEN GERSHWIN POULENC SINGING FAURÉ SYLLABUS QUILTER THIMAN Qualification specifications for graded exams 2018–2022 MENKEN PURCELL SKEMPTON BOULANGER MENDELSSOHN BERNSTEIN CRAWLEY SCHUBERT SONDHEIM WARLOCK ROREM DRING BART ROE KEEP UP TO DATE Please check trinitycollege.com/singing to make sure you are using the current version of the syllabus and for the latest information about our Singing exams. DIGITAL ASSESSMENT: DIGITAL GRADES AND DIPLOMAS To provide even more choice and flexibility in how Trinity’s regulated qualifications can be achieved, digital assessment is available for all our classical, jazz and Rock & Pop graded exams, as well as for ATCL and LTCL music performance diplomas. This enables candidates to record their exam at a place and time of their choice and then submit the video recording via our online platform to be assessed by our expert examiners. The exams have the same academic rigour as our face-to-face exams, and candidates gain full recognition for their achievements, with the same certificate and UCAS points awarded as for the face-to-face exams. Find out more at trinitycollege.com/dgd SINGING SYLLABUS Qualification specifications for graded exams 2018–2022 Charity number England & Wales: 1014792 Charity number Scotland: SC049143 Patron: HRH The Duke of Kent KG trinitycollege.com Copyright © 2017 Trinity College London Published by Trinity College London Online edition, June 2021 1 Header Left Contents 3 / Welcome 4 / Introduction to Trinity’s graded music exams 7 / Learning outcomes and assessment criteria 8 / About the exam 10 / Exam guidance: Songs 12 / Exam guidance: Technical work 13 / Exam guidance: Supporting tests 19 / Exam guidance: Marking 24 / Initial 27 / Grade 1 31 / Grade 2 35 / Grade 3 40 / Grade 4 45 / Grade 5 51 / Grade 6 60 / Grade 7 68 / Grade 8 78 / Policies 79 / Publishers 80 / Trinity publications 80 / Join us online… Trinity accepts entries for its exams on the condition that candidates conform to the requirements of the appropriate syllabus. -
Glossary Alphabetical List of Terms with Short Definitions and Cross-References
137 Pure Counterpoint Glossary Alphabetical list of terms with short definitions and cross-references A cappella. Literally, the chapel style of choral Authentic cadence. The modal *clausula vera (true performance. By the 19th century, it had come to close) cadence that is articulated harmonically by mean unaccompanied choral music such as the a *leading tone. See Dominant function. sacred Renaissance style, but historically instru- ments were often used to accompany and double Authentic mode. A modal scale beginning and vocal parts. ending on its final. See Mode; Plagal mode. Accidental. A sharp or flat appended to alter a Baroque era or period. In music history, 1600- note. See Musica ficta; Signature. 1750. Adjacent voices. Different voices with the closest Boundary interval. The intervallic distance be- ranges. For example, Alto and Tenor, but not So- tween the lowest and highest notes of a melodic prano and Tenor. See Voice types. passage. Alternatim. Textural alternation between chant Breve. See Duration. and polyphony, a technique derived from 1*antiphonal *psalmody. Cadence (cadenza, clausula). The musical gesture of a point of arrival and often, repose. It occurs at Ambitus (Ambit). The overall range of a voice or a the end of a phrase or larger section, marking clo- mode, typically an octave. sure. In polyphony, most cadences are preceded by a *suspension. A cadence pattern could be as Answer. The restatement of a *subject in another short as two notes or quite elongated. See Har- voice or voices, confirming *imitation. In strict monic Cadence. imitation between *equal voices, an answer would come at a unison or octave.