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Radnor Middle School Course Overview Music Technology I. Course Description Music Technology is offered as an eighth grade music elective, meeting three times a cycle. Students will be introduced to the study of music technology and music fundamentals. Areas of instruction will include instrument and equipment care, beginning level music literacy (reading and writing music), keyboard performance skills, music technology related history, concepts, terminology and experience with a variety of applications. II. Resources, Materials , Equipment • iMacs • GarageBand • Korg K61p MIDI Studio Contoller Keyboards • Student Journals III. Course Goals, Objectives (Essential Questions, Enduring Understandings) Students will be able to: 1. Accurately perform melody, harmony and rhythm parts of a composition and record the parts separately into the sequencer of the keyboard. 2. Accurately perform melody, harmony and rhythm parts of their own composition and record the parts separately into the sequencer of the keyboard. 3. Record multiple parts to an electronic “sound piece” using non-traditional instrument timbres and effects. 4. Orchestrate and perform three- and four-part synthesizer ensemble pieces within expected performance parameters for their individual levels of expertise. 5. Transfer sequenced MIDI files from the keyboard disk into the computer and, using appropriate software, edit needed corrections, format, and print out the composition. 6. Change instrumentation using an existing music composition stored as MIDI data; and alter tempo, range, and dynamics during the course of the piece, while still maintaining the original integrity of the composition. 7. Compose a four-part electronic sound piece using varied timbre (tone), texture, and dynamics of at least three minute length. Students may incorporate digitally recorded audio sounds into this piece. 8. Based on established criteria, develop a music evaluation template with which to evaluate recorded and live performances, using musical elements including timbre, form, melody, harmony, rhythm, texture, and style. 9. Using the music evaluation template, listen to and analyze the compositions of important composers of the electronic medium, and discuss musical aspects, similarities, and differences found in each example. 10. Listen to, and provide constructive comments and discussion on, musical arrangements Modified: 10/10/2008 and compositions created by others in the class. 11. Using the computer and voice editing software, edit an existing synthesizer sound using controls for pitch, waveform, attack and decay, and digital effects. 12. Using the computer and voice editing software, create a new synthesizer sound using all available parameters in software, and then save the sound in computer memory. 13. Develop basic knowledge of how developments during the 20th Century in history, music, and technology affected and defined the growth of electronic music and music technology. 14. Compile a portfolio of their work to include: audio recordings of performances and compositions, printed music of compositions, completed music analysis and evaluation sheets. IV. Units of Study (Summary Outline) 1. Keyboard performance/recording of printed music (individually and in small groups); manipulation of existing music data a. Each student is assigned one part of a keyboard ensemble piece, or a piece rearranged for keyboard ensemble, to perform and record into the keyboard sequencer. Each student performs and records his/her respective part to complete the ensemble piece. b. Using MIDI music files, students will experiment with changing instrumentation, tempo, range, transposition, and other expressive parameters. c. Performances and sequences are listened to and analyzed by class 2. Music Composition & MIDI sequencing, music printing a. Students compose and record music entered part-by-part using keyboard sequencer. b. Compositions are analyzed and edited on computer with suggestions from students and teacher. c. Final playback and recording of completed assignment for listening d. Student compositions printed out in music notation. 3. The Science of Sound: sound synthesis and editing; creating an electronic sound piece; recording student performance ensembles a. Editing existing sound files: Student loads sound file from synthesizer into computer sound editing software, then manipulates specific parameters of sound (range, waveform, envelope attack & decay, amplitude, etc.); edited sound saved to disk and “auditioned” by class for evaluation. b. Creating new synthesizer sound files: starting with blank slate of parameters in software, student will create a new sound using available software parameters. New sound is saved in synthesizer memory and on disk, and will be “auditioned” by class for evaluation. c. Students create electronic sound pieces using a minimum of four sequencer tracks, of two to three minute length; record sound piece and describe, then playback for class d. Students record a performance or rehearsal of student music ensemble (band, chorus, orchestra, jazz band), experimenting with microphone placement, Modified: 10/10/2008 recording levels, 4. Student portfolio: compositions, recordings, printed music; music listening evaluations; history of electronic music project (print or electronic form) During the course, each student will compile and maintain a portfolio of his/her work in class. To be included are: a. audio recordings of compositions b. printed music of compositions (where applicable) c. music listening evaluation sheets V. Assessments Rubrics for unit assessments including: • Performance skills • Technical skill • Manipulation of music data • Understanding, analyzing and describing music • Compositional skill Class discussions Written responses to listening examples Modified: 10/10/2008 .
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  • Music for the Piano Session Five

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  • African-American Bassoonists and Their Representation Within the Classical Music Environment

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  • The Use of Music Technologies in Field Education Courses and Daily Lives of Music Education Department Students (Sample of Atatürk University)∗

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  • CMA Youth Orchestra Learning Goals and Audition Requirements Beginning Orchestra ​Requirements for Entry

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  • How to Effectively Listen and Enjoy a Classical Music Concert

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  • FOOTBALL CROWD BEHAVIORAL RESPONSES to a UNIVERSITY MARCHING BAND's MUSICAL PROMPTS by AMANDA L. SMITH a THESIS Presented To

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  • Classical Music Consumer Segmentation Study How Americans Relate to Classical Music and Their Local Orchestras Commissioned by 15 American Orchestras and the John S

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  • Paul Mccartney, 1980-1999

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  • Doctoral of Musical Arts Degree Band Conducting

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  • Introduction to Music Technology

    Introduction to Music Technology

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  • The Classical Period

    The Classical Period

    The Classical Period 1750-1820 (1825) 1 Historical Themes Industrial Revolution Age of Enlightenment Violent political and social upheaval Culture 2 Industrial Revolution Steam engine changed the nature of European life Move to a more urban society Time of great growth and economic prosperity 3 Age of Enlightenment Emphasis on the natural rights of people Ability of humans to shape their own environment All established ideas were being reexamined, including the existence of God. 4 Violent political & social upheaval Seven Years’ War American Revolution French Revolution Napoleonic Wars Power shifted from aristocracy and church to the middle class Social mobility increased 5 Culture France was the leading cultural center of the continent (esp. fashion-Paris) Austria (Vienna) & Germany were the centers of musical growth Improved economic conditions led to more people seeking “luxury” Music was viewed as “an innocent luxury” Demand for new compositions was great 6 The Classical Style 7 Characteristics Contrast of Mood Rhythm Simpler textures Simpler melodies Dynamics 8 Contrast of Mood Large thematic and tonal contrasts unlike the single-mood compositions of the Baroque Dramatic, turbulent might lead to carefree, dance-like Change could be sudden or gradual 9 Rhythm Flexibility of rhythm adds variety Many rhythmic patterns unlike repetitive rhythms of the Baroque Unexpected pauses, syncopations, frequent changes from long notes to shorter notes Change could be sudden or gradual 10 Simpler textures Homophonic unlike the polyphony of the late Baroque Change from one texture to the next could be sudden or gradual 11 Simpler melodies Tuneful, easy to remember unlike the complex, ornamented melodies of the Baroque Mozart-“Twinkle, Twinkle, Little Star” Melodies were balanced and symmetrical (2 phrases of same length) like “Mary Had a Little Lamb” 12 Dynamics Expressing shades of emotions led to gradual dynamic changes Crescendo and decrescendo vs.