DOCSLIB.ORG

Music: a Parent's Guide to the Curriculum

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Music: A Parent’s Guide to the Curriculum District Mission The South Brunswick School District will prepare students to be lifelong learners, critical thinkers, effective communicators and wise decision makers. This will be accomplished through the use of the New Jersey Core Curriculum Content Standards (NJCCCS) and/or the Common Core State Standards (CCSS) at all grade levels. The schools will maintain an environment that promotes intellectual challenge, creativity, social and emotional growth and the healthy physical development of each student. ~Adopted 8.22.11 Curriculum Aligned to NJ Core Curriculum Content Standards (NJCCCS) Board Approval of Music Curriculum August 2016 This curriculum is approved for all regular education programs as specified and for adoption or adaptation by all programs including those for Special Education, English Language Learners, At-Risk Students and Gifted and Talented Students in accordance with Board of Education Policy. Note to Parents The curriculum guide you are about to enter is just that, a guide. Teachers use this document to steer their instruction and to ensure continuity between classes and across levels. It provides guidance to the teachers on what students need to know and able to do with regard to the learning of a particular content area. The curriculum is intentionally written with some “spaces” in it so that teachers can add their own ideas and activities so that the world language classroom is personalized to the students. How to Read the Curriculum Document Curriculum Area of content (e.g. Science) Topic Course or Unit of Study (e.g. Biology) Grade Level Grade Level Cluster (e.g. High School) or specific grade level (e.g. Kindergarten) Summary A brief overview of the course or unit of study. Rationale A statement as to why we are teaching this course or unit. Interdisciplinary Which other areas of content to which there is major linkage. For example, a health education Connections unit might link to science, language arts, social studies, art, physical education, etc. 21st Century Connections How this course or unit is preparing students to be college and career ready. Referred to as S.A.L.T., each course or unit indicates which of the following it is building: • Skills such as critical or creative thinking, collaboration, communication, or core values • Awareness such as global, cross-cultural or career. • Literacy such as information, media, technology, etc. • Traits necessary for success in life and careers such as productivity. Terminology Key vocabulary and terms Standards Here you will find the standards that this course or unit of study is addressing. Our curriculum is standards-based. The standards are the foundation of the unit. You can get more information on state standards by going to the NJ Department of Education at www.state.nj.us/education/cccs Enduring The big ideas, concepts or life lessons that students walk away with at the end of a unit of study. Understandings Essential Questions Open ended questions that are considered throughout the unit of study. These are big, “worthy of wonder” questions often with multiple responses. Objectives The discrete skills and knowledge that students will gain during the unit of study. Assessments Assessments (tests, quizzes, projects, activities) that tell us if the students grasped the enduring understandings of the unit. Lesson Plans & Pacing Scope and sequence of lessons: how many, how long & approximately in what order. Resources Major resources associated with the course or unit. Acknowledgment We are appreciative of the leadership provided by the music teachers who served on the curriculum writing teams. In most cases, our lessons and units are “home-grown.” While aligning with state standards, they are designed with the needs of the South Brunswick student population in mind. Articulation At the K-8 level, teachers meet in job-alike settings bi-monthly. At the high school, music teachers meet according to the school’s monthly meeting schedule. As a K-12 group, a group of music teachers come together at least once annually for the purpose of planning their collaborative project, “The South Brunswick Music Festival.” Music expresses that which cannot be said and on which it is impossible to be silent. ~Victor Hugo TABLE OF CONTENTS OVERVIEW OF THE K-12 MUSIC CURRICULUM CONTENT MISSION PROGRAM DELIVERY VISUAL AND PERFORMING ARTS CURRICULUM CONTENT STANDARDS ASSESSMENT BENCHMARK ASSESSMENTS IN MUSIC K-5 GENERAL MUSIC PROGRAM OVERVIEW K-5 GENERAL MUSIC SCOPE AND SEQUENCE K-2 ENDURING UNDERSTANDINGS AND ESSENTIAL QUESTIONS KINDERGARTEN CURRICULUM MAP FIRST GRADE CURRICULUM MAP SECOND GRADE CURRICULUM MAP 3-5 ENDURING UNDERSTANDINGS AND ESSENTIAL QUESTIONS THIRD GRADE CURRICULUM MAP FOURTH GRADE CURRICULUM MAP FIFTH GRADE CURRICULUM MAP K-5 MATERIALS AND RESOURCES K-5 SONG LIST 6-8 GENERAL MUSIC PROGRAM OVERVIEW 6-8 GRADE ENDURING UNDERSTANDINGS AND ESSENTIAL QUESTIONS 6-8 SCOPE AND SEQUENCE 6TH GRADE CURRICULUM MAP 7-8TH GRADE CURRICULUM MAP 6-8TH GRADE MATERIALS CHORAL MUSIC PROGRAM OVERVIEW ELEMENTARY VOCAL MUSIC CONCEPT MAP MIDDLE SCHOOL VOCAL MUSIC CONCEPT MAP HIGH SCHOOL VOCAL MUSIC CONCEPT MAP ENDURING UNDERSTANDINGS AND ESSENTIAL QUESTIONS ELEMENTARY COURSE DESCRIPTIONS AND CURRICULUM MAPS MIDDLE SCHOOL COURSE DESCRIPTIONS AND CURRICULUM MAPS HIGH SCHOOL COURSE DESCRIPTIONS AND CURRICULUM MAPS INSTRUMENTAL MUSIC PROGRAM OVERVIEW ENDURING UNDERSTANDINGS AND ESSENTIAL QUESTIONS SCOPE AND SEQUENCE ELEMENTARY BAND COURSE DESCRIPTIONS AND CURRICULUM MAPS MIDDLE SCHOOL BAND COURSE DESCRIPTIONS AND CURRICULUM MAPS HIGH SCHOOL BAND COURSE DESCRIPTIONS AND CURRICULUM MAPS ORCHESTRA PROGRAM PROGRAM OVERVIEW ENDURING UNDERSTANDINGS AND ESSENTIAL QUESTIONS ORCHESTRA SCOPE AND SEQUENCE ELEMENTARY ORCHESTRA COURSE DESCRIPTIONS AND CURRICULUM MAPS MIDDLE SCHOOL ORCHESTRA COURSE DESCRIPTIONS AND CURRICULUM MAPS HIGH SCHOOL ORCHESTRA COURSE DESCRIPTIONS AND CURRICULUM MAPS HIGH SCHOOL MUSIC THEORY COURSE OVERVIEW MUSIC THEORY I CURRICULUM MAP AP MUSIC THEORY APPENDIX A: K-5 GENERAL MUSIC UNIT PLANS K-5 RHYTHM UNIT PLANS K-5 PITCH MATCHING UNIT PLANS K-5 NOTATION UNIT PLANS K-5 LISTENING UNIT PLANS APPENDIX B: MIDDLE SCHOOL GENERAL MUSIC UNIT PLANS ST APPENDIX C: HIGH SCHOOL MUSIC THEORY AND MUSIC IN THE 21 CENTURY UNIT PLANS APPENDIX D: CHORAL MUSIC UNIT PLANS ELEMENTARY CHORAL UNIT PLANS MIDDLE SCHOOL CHORAL UNIT PLANS HIGH SCHOOL CHORAL UNIT PLANS APPENDIX E: BAND UNIT PLANS ELEMENTARY BAND UNIT PLANS MIDDLE SCHOOL BAND UNIT PLANS HIGH SCHOOL BAND UNIT PLANS APPENDIX F: ORCHESTRA UNIT PLANS ELEMENTARY ORCHESTRA UNIT PLANS MIDDLE SCHOOL ORCHESTRA UNIT PLANS HIGH SCHOOL ORCHESTRA UNIT PLANS GLOSSARY ENRICHMENT MUSIC: MIDDLE SCHOOL OVERVIEW OF K-12 MUSIC CURRICULUM I. Content The arts bring an important dimension to the educational program of the schools. Arts education draws upon personal feelings and experience as well as on logical and intellectual thought and should be an integral part of every child’s total education. The South Brunswick arts program ensures the development of the whole person, expanding the world of ideas and self-expression for children. The diverse activities in the music program are designed to engage students of various cultures, races, ability levels and interests. Emphasis is placed on assisting the individual child fulfill personal needs, goals and potential. Music aptitude is an intelligence that is unique to the human race and all children possess this aptitude. Cultivating this music aptitude in our students also cultivates their humanity. The South Brunswick arts program provides for quality music education. This program includes the study of music fundamentals and appreciation, performance, instrumental and vocal instruction and ensemble experiences for students in all grades and for all levels of ability. This program helps to create lifelong learners of music. In addition to the curricular opportunities, our schools provide co-curricular opportunities in a variety of forms such as vocal ensembles, orchestras, marching band, jazz ensembles, visual ensembles, pit orchestra, musical theatre productions, handbell choirs, adjudicated festivals, select small ensembles – all of which allow for the deeper study for those students who choose to work in greater depth. II. Mission We believe that, as a result of experiencing the South Brunswick Music Curriculum, our students will be able to: o Respond to music in subjective, aesthetic, analytic and evaluative ways. o Imagine, create and think abstractly through music. o Interpret music as a reflection of the life, values and ideas of this and other cultures. o Increase awareness, respect and appreciation for the musical heritage of America and that of other countries. o Interpret ideas, attitudes and feelings effectively through musical involvement. o Acquire a sense of ensemble and successfully participate in a variety of vocal, string and instrumental music ensembles. o Demonstrate growth in auditory perception, music literacy and as members of an audience through purposeful and critical observation and listening. o Become life-long learners and lovers of music as either consumers, performers, creators or teachers. III. Program Delivery The delivery of music differs by level. o Students in Pre-K receive 30 minutes of music instruction on weekly as part of their Special Subject schedule. o Students in grades K-2 receive music instruction on one day per week as part of their Special Subject schedule. o Students in grades 3-5 receive music instruction
Recommended publications
  • 2010 AMTA Conference Promises to Bring You Many Opportunities to Network, Learn, Think, Play, and Re-Energize

    2010 AMTA Conference Promises to Bring You Many Opportunities to Network, Learn, Think, Play, and Re-Energize

    Celebrating years Celebrating years ofof musicmusic therapytherapy the past... t of k ou oc R re utu e F th to in with ll nd o Music a R Therapy official conference program RENAISSANCE CLEVELAND HOTEL Program Sponsored by: CLEVELAND, OHIO welcome ...from the Conference Chair elcome and thank you for joining us in Cleveland to celebrate sixty years of music Wtherapy. And there is much to celebrate! Review the past with the historical posters, informative presentations and the inaugural Bitcon Lecture combining history, music and audience involvement. Enjoy the present by taking advantage of networking, making music with friends, new and old, and exploring some of the many exciting opportunities available just a short distance from the hotel. The conference offers an extensive array of opportunities for learning with institutes, continuing education, and concurrent sessions. Take advantage of the exceptional opportunities to prepare yourself for the future as you attend innovative sessions, and talk with colleagues at the clinical practice forum or the poster research session. After being energized and inspired the challenge is to leave Cleveland with both plans and dreams for what we can accomplish individually and together for music therapy as Amy Furman, MM, MT-BC; we roll into the next sixty years. AMTA Vice President and Conference Chair ...from the AMTA President n behalf of the AMTA Board of Directors, as well as local friends, family and colleagues, Oit is my distinct privilege and pleasure to welcome you to Cleveland to “rock out of the past and roll into the future with music therapy”! In my opinion, there is no better time or place to celebrate 60 years of the music therapy profession.
  • New International Manual of Braille Music Notation by the Braille Music Subcommittee World Blind Union

    New International Manual of Braille Music Notation by the Braille Music Subcommittee World Blind Union

    1 New International Manual Of Braille Music Notation by The Braille Music Subcommittee World Blind Union Compiled by Bettye Krolick ISBN 90 9009269 2 1996 2 Contents Preface................................................................................ 6 Official Delegates to the Saanen Conference: February 23-29, 1992 .................................................... 8 Compiler’s Notes ............................................................... 9 Part One: General Signs .......................................... 11 Purpose and General Principles ..................................... 11 I. Basic Signs ................................................................... 13 A. Notes and Rests ........................................................ 13 B. Octave Marks ............................................................. 16 II. Clefs .............................................................................. 19 III. Accidentals, Key & Time Signatures ......................... 22 A. Accidentals ................................................................ 22 B. Key & Time Signatures .............................................. 22 IV. Rhythmic Groups ....................................................... 25 V. Chords .......................................................................... 30 A. Intervals ..................................................................... 30 B. In-accords .................................................................. 34 C. Moving-notes ............................................................
  • Dictionary of Braille Music Signs by Bettye Krolick

    Dictionary of Braille Music Signs by Bettye Krolick

    JBN 0-8444-0 9 C D E F G Digitized by the Internet Archive in 2012 with funding from National Federation of the Blind (NFB) http://archive.org/details/dictionaryofbraiOObett LIBRARY IOWA DEPARTMENT FOR THE BLIND 524 Fourth Street Des Moines, Iowa 50309-2364 Dictionary of Braille Music Signs by Bettye Krolick National Library Service for the Blind and Physically Handicapped Library of Congress Washington, D.C. 20542 1979 MT. PLEASANT HIGH SCHOOL LIBRARY Library of Congress Cataloging in Publication Data Krolick, Bettye. Dictionary of braille music signs. At head of title: National Library Service for the Blind and Physically Handicapped, Library of Congress. Bibliography: p. 182-188 Includes index. 1. Braille music-notation. I. National Library Service for the Blind and Physically Handicapped. II. Title. MT38.K76 78L.24 78-21301 ISBN 0-8444-0277-X . TABLE OF CONTENTS FOREWORD vii PREFACE ix HISTORY OF THE BRAILLE MUSIC CODE ... xi HOW TO LOCATE A DEFINITION xviii DICTIONARY OF SIGNS (A sign that contains two or more cells is listed under its first character.) . 1 •* 1 •• 16 • • •• 3 •• 17 •> 6 •• 17 •• •• 7 •• 17 •• 7 •• 17 •• •• 7 •• 17 •• •• 8 •• 18 •• •• 8 •• 18 •• •• 9 •• 19 •• •• 9 •• 19 • • •• 10 •• 20 • • •• 12 •• 20 •• 14 •• 20 •• •• 14 •• 22 • • •• •• 15 • • 27 •• •• •« •• 15 • • 29 •• • • •« 16 30 •• •• 16 • • 30 30 i: 46 ?: 31 11 47 r. 31 ;: 48 •: 31 i? 58 ?: 31 i; 78 ::' 34 :: 79 a 34 ;: si 35 ;? 86 37 ;: 90 39 ':• 96 40 ;: 102 43 i: 105 45 ;: 113 46 FORMATS FOR BRAILLE MUSIC 122 Format Identification Chart 125 Music in Parallels
  • Ringer Socialisation & Interaction Activities Fun Non-Ringing Team

    Ringer Socialisation & Interaction Activities Fun Non-Ringing Team

    Ringer Socialisation & Interaction Activities Fun non-ringing team-building activities for a handbell group Permission granted for reprinting by: Malcolm C Wilson, Dunblane www.ringinpraise.org.uk Continued from Part 1 posted May 2010 in ringEr-Notes Introduction Are you looking for a fun activity that has a handbell theme? Perhaps for a short break from regular ringing rehearsals or at a gathering of many ringer groups, or a ringer party. The idea of a handbell group being a team, working together as one unit and every ringer getting to know each other better can be nurtured by activities such as those that follow. Each of the games below can incorporate further interaction as part of the game e.g. by making it part of the game for each ringer to introduce themselves to the others in their team or perhaps to say something about themselves. And the accent is on fun! Many more familiar games can be given a handbell "twist" - have a "brainstorming" session with other ringers once they've seen the games and your imagination is the only limit! Have fun! Looking for more quick and easy ideas for your choir? Check out Tips & Tools each month in Overtones! Members you can log in now at our website www.agehr.org to see digital archived copies of Overtones. Benefits of Membership Local, Area and National opportunities rolled-up into 1 AGEHR Membership “AGHER is a great organization and provides us with LOTS of continuing information. The handbell world is changing and we need to know what is new out there.
  • SAVED by the BELL ! the RESURRECTION of the WHITECHAPEL BELL FOUNDRY a Proposal by Factum Foundation & the United Kingdom Historic Building Preservation Trust

    SAVED by the BELL ! the RESURRECTION of the WHITECHAPEL BELL FOUNDRY a Proposal by Factum Foundation & the United Kingdom Historic Building Preservation Trust

    SAVED BY THE BELL ! THE RESURRECTION OF THE WHITECHAPEL BELL FOUNDRY a proposal by Factum Foundation & The United Kingdom Historic Building Preservation Trust Prepared by Skene Catling de la Peña June 2018 Robeson House, 10a Newton Road, London W2 5LS Plaques on the wall above the old blacksmith’s shop, honouring the lives of foundry workers over the centuries. Their bells still ring out through London. A final board now reads, “Whitechapel Bell Foundry, 1570-2017”. Memorial plaques in the Bell Foundry workshop honouring former workers. Cover: Whitechapel Bell Foundry Courtyard, 2016. Photograph by John Claridge. Back Cover: Chains in the Whitechapel Bell Foundry, 2016. Photograph by John Claridge. CONTENTS Overview – Executive Summary 5 Introduction 7 1 A Brief History of the Bell Foundry in Whitechapel 9 2 The Whitechapel Bell Foundry – Summary of the Situation 11 3 The Partners: UKHBPT and Factum Foundation 12 3 . 1 The United Kingdom Historic Building Preservation Trust (UKHBPT) 12 3 . 2 Factum Foundation 13 4 A 21st Century Bell Foundry 15 4 .1 Scanning and Input Methods 19 4 . 2 Output Methods 19 4 . 3 Statements by Participating Foundrymen 21 4 . 3 . 1 Nigel Taylor of WBF – The Future of the Whitechapel Bell Foundry 21 4 . 3 . 2 . Andrew Lacey – Centre for the Study of Historical Casting Techniques 23 4 . 4 Digital Restoration 25 4 . 5 Archive for Campanology 25 4 . 6 Projects for the Whitechapel Bell Foundry 27 5 Architectural Approach 28 5 .1 Architectural Approach to the Resurrection of the Bell Foundry in Whitechapel – Introduction 28 5 . 2 Architects – Practice Profiles: 29 Skene Catling de la Peña 29 Purcell Architects 30 5 .
  • Music Braille Code, 2015

    Music Braille Code, 2015

    MUSIC BRAILLE CODE, 2015 Developed Under the Sponsorship of the BRAILLE AUTHORITY OF NORTH AMERICA Published by The Braille Authority of North America ©2016 by the Braille Authority of North America All rights reserved. This material may be duplicated but not altered or sold. ISBN: 978-0-9859473-6-1 (Print) ISBN: 978-0-9859473-7-8 (Braille) Printed by the American Printing House for the Blind. Copies may be purchased from: American Printing House for the Blind 1839 Frankfort Avenue Louisville, Kentucky 40206-3148 502-895-2405 • 800-223-1839 www.aph.org [email protected] Catalog Number: 7-09651-01 The mission and purpose of The Braille Authority of North America are to assure literacy for tactile readers through the standardization of braille and/or tactile graphics. BANA promotes and facilitates the use, teaching, and production of braille. It publishes rules, interprets, and renders opinions pertaining to braille in all existing codes. It deals with codes now in existence or to be developed in the future, in collaboration with other countries using English braille. In exercising its function and authority, BANA considers the effects of its decisions on other existing braille codes and formats, the ease of production by various methods, and acceptability to readers. For more information and resources, visit www.brailleauthority.org. ii BANA Music Technical Committee, 2015 Lawrence R. Smith, Chairman Karin Auckenthaler Gilbert Busch Karen Gearreald Dan Geminder Beverly McKenney Harvey Miller Tom Ridgeway Other Contributors Christina Davidson, BANA Music Technical Committee Consultant Richard Taesch, BANA Music Technical Committee Consultant Roger Firman, International Consultant Ruth Rozen, BANA Board Liaison iii TABLE OF CONTENTS ACKNOWLEDGMENTS ..............................................................
  • The Importance of Music in Different Religions

    The Importance of Music in Different Religions

    The Importance of Music in Different Religions By Ruth Parrott July 2009 Silverdale Community Primary School, Newcastle-under-Lyme. Key Words Spirituality Greetings Calls to Worship Blessings Dance in Hindu Worship Celebrations 2 Contents Introduction p4 The Teaching of RE in Staffordshire Primary Schools p6 Music and Spirituality p7 Assembly – ‘Coping with Fear’ p11 Suggestions for Listening and Response p14 Responses to Music and Spirituality p16 Worksheet – ‘Listening to Music’ KS2 p18 Worksheet – ‘Listening to Music’ KS1 p19 Judaism p20 Christianity p24 Islam p26 Sikhism p30 Hinduism p34 Welcomes, Greetings and Calls to Prayer/Worship p36 Lesson Plan – ‘Bell Ringing’ p38 Judaism – ‘The Shofar p42 Islam – ‘The Adhan’ p44 Lesson Plan – ‘The Islamic Call to Prayer’ p45 Celebrations p47 Lesson Plan – Hindu Dance ‘Prahlad and the Demon’ p50 Lesson Plan – Hindu Dance ‘Rama and Sita’ (Diwali) p53 Song: ‘At Harvest Time’ p55 Song: ‘Lights of Christmas’ p57 Blessings p61 Blessings from different religions p65 Lesson Plan – ‘Blessings’ p71 Conclusion p74 Song: ‘The Silverdale Miners’ p75 Song: ‘The Window Song’ p78 Acknowledgements, Bibliography p80 Websites p81 3 Introduction I teach a Y3 class at Silverdale Community Primary School, and am also the RE, Music and Art Co-ordinator. The school is situated in the ex- mining village of Silverdale in the borough of Newcastle- under-Lyme on the outskirts of Stoke-on-Trent and is recognised as a deprived area. The school is a one class entry school with a Nursery, wrap-around care and a breakfast and after school club. There are approximately 200 children in the school: 95% of pupils are white and 5% are a variety of mixed ethnic minorities.
  • Standard Music Font Layout

    Standard Music Font Layout

    SMuFL Standard Music Font Layout Version 0.5 (2013-07-12) Copyright © 2013 Steinberg Media Technologies GmbH Acknowledgements This document reproduces glyphs from the Bravura font, copyright © Steinberg Media Technologies GmbH. Bravura is released under the SIL Open Font License and can be downloaded from http://www.smufl.org/fonts This document also reproduces glyphs from the Sagittal font, copyright © George Secor and David Keenan. Sagittal is released under the SIL Open Font License and can be downloaded from http://sagittal.org This document also currently reproduces some glyphs from the Unicode 6.2 code chart for the Musical Symbols range (http://www.unicode.org/charts/PDF/U1D100.pdf). These glyphs are the copyright of their respective copyright holders, listed on the Unicode Consortium web site here: http://www.unicode.org/charts/fonts.html 2 Version history Version 0.1 (2013-01-31) § Initial version. Version 0.2 (2013-02-08) § Added Tick barline (U+E036). § Changed names of time signature, tuplet and figured bass digit glyphs to ensure that they are unique. § Add upside-down and reversed G, F and C clefs for canzicrans and inverted canons (U+E074–U+E078). § Added Time signature + (U+E08C) and Time signature fraction slash (U+E08D) glyphs. § Added Black diamond notehead (U+E0BC), White diamond notehead (U+E0BD), Half-filled diamond notehead (U+E0BE), Black circled notehead (U+E0BF), White circled notehead (U+E0C0) glyphs. § Added 256th and 512th note glyphs (U+E110–U+E113). § All symbols shown on combining stems now also exist as separate symbols. § Added reversed sharp, natural, double flat and inverted flat and double flat glyphs (U+E172–U+E176) for canzicrans and inverted canons.
  • Church Bells Vol 31

    Church Bells Vol 31

    Church Bells and Illustrated Church Sews. \D ecerr.bir The Heavitree Society of Change-ringers. Bells anfc Bell**ringtrtg> A t S t. Michael’s, Heavitree, Exeter, on November 22nd, HollisG Five-part peal of G r a n d s ir e T r i p l e s , 5040 changes, in 3 hrs. 18 mins. Meetings for Practice. Tenor, 26 cwt. The Moyal Cumberland Society : at the Chapel-of-Ease, Holloway, on John Ford. , .. 1 Frank Murphy . , . 5 December 12th, and St. Martin’s-in-the-Fields, on December 14th. Thomas Laver* .. .. 2 John R. Sandover .. 6 The St. James’s Society: at St. Clement Danes, Strand, on December Ferris Shepherd .. .. 3 William Mogridge , . 7 10th. William Shepherd .. 4 William Lowton* .. 8 The Ancient Society of College Youths: at St. Michael’s, Cornhill, and Conducted by Ferris Shepherd. Rung for the occasion of the St. Mary Abbot's, Kensington, on December 11th; Christ Church, welcome home of General Sir Redvers Bufier, K.C.B., from the South Spitalfields, December 12th; St. Matthew’s, Upper Claptor, on African war. [* First peal.] December 13th; St. Stephen’s, Westminster, on December 14th. The Waterloo Society. The Waterloo Society: at St. John’s, Waterloo Road, on December 12th. A t St. George’s, Camberwell, on December 1st, Holt's Original peal The St. Margaret’s Society: at St. Margaret’s, Westminster, on of G r a n d s ir e T r i p l e s , 5040 changes, in 2 hrs. 50 mine. December 13th. Ernest H. Oxenham William Weatherstone .
  • Instructions for Caroling Safely

    Instructions for Caroling Safely

    Why Should We Sing? Greetings and thank you for downloading this resource. We hope that it will give you ideas, guidelines, and an easy jumpstart to “fill the night with music and light.” Your presence in the world will help others see the light of hope and the music of good will for all people in this challenging time. This is why we sing. Whether you are worshiping online or in adapted in-person gatherings, singing in enclosed spaces is still not advised. So what do we do when it isn’t safe to sing inside? We take it outside! Let us reclaim and amplify this beloved tradition of caroling, bringing more hope, love, joy, and peace to the world. Who Should Sing? Everyone! This could be an endeavor led by members of your choir and musical ensembles. Perhaps they are leaders of small groupings of people from your church, ensuring that everyone gets a chance to participate and have solid, confident leadership. If you have a larger choir, perhaps smaller groupings of singers from the choir are sent out to different parts of your community or member’s homes (especially those that will not be able to get out themselves). You may have already-established groups of people who meet for small group fellowship and study and they could form a caroling group. The booklets and recordings are set up in such a way that even households with no prior caroling experience could engage in singing together for their own enjoyment. www.worshipdesignstudio.com/carol2020 1 How Shall We Sing? Safety Guidelines While we all continue to yearn for a sense of normalcy and to be able to celebrate this important part of the Christian Year, we also take our responsibility to “love thy neighbor” very seriously.
  • Handbell Association of Hong Kong Co-Organizer: Hong Kong Handbell Academy Consultant: Ms

    Handbell Association of Hong Kong Co-Organizer: Hong Kong Handbell Academy Consultant: Ms

    2018 Hong Kong Handbell Festival The 13th School Handbell Competition Application Regulations Organizer: Handbell Association of Hong Kong Co-organizer: Hong Kong Handbell Academy Consultant: Ms. Susan Berry (USA), Ms. Wong Wai Ching Zerlina (EdUHK) Mission: - To promote Hong Kong handbell music and enhance local ringers performance level through competitions - To strengthen co-operations and teams spirit within each handbell group - To develop student ringers’ musicianship Events / Classes Dates Venues Semi-Final 18 & 19 April 2018 Christian Family Service Centre (Kwun Tong) Final 3 & 4 May 2018 PHC Wing Kwong College Creative Ringing (Open Group) 8 May 2018 Christian Family Service Centre Colorbells (Kindergarten & Junior (Kwun Tong) Primary) Online application period: 11 December 2017 to 20 January 2018 Deadline for application: 20 January 2018 Deadline for score order: 20 January 2018 Deadline for submission of participant list: 31 March 2018 P. 1 Group Competition 1.1. Entry Requirements (a) All Whole-day and Half-day Primary, Secondary schools and Kindergartens in Hong Kong are eligible to apply. (b) Only 2018 Handbell Association of Hong Kong (the Association) group member can enroll. Please visit the Association website (www.hahk.org) for membership enrollment. Membership of 2017 or before has to be renewed before submission. 1.2. Competition Classes All teams in different classes should perform one set piece and one own choice piece within the given time limit. Level, time limitation and fee for each class are shown below. Level
  • November 2.0 EN.Pages

    November 2.0 EN.Pages

    Over 1000 Symbols More Beautiful than Ever SMuFL Compliant Advanced Support in Finale, Sibelius & LilyPond DocumentationAn Introduction © Robert Piéchaud 2015 v. 2.0.1 published by www.klemm-music.de — November 2.0 Documentation — Summary Foreword .........................................................................................................................3 November 2.0 Character Map .........................................................................................4 Clefs ............................................................................................................................5 Noteheads & Individual Notes ...................................................................................13 Noteflags ...................................................................................................................42 Rests ..........................................................................................................................47 Accidentals (Standard) ...............................................................................................51 Microtonal & Non-Standard Accidentals ....................................................................56 Articulations ..............................................................................................................72 Instrument Techniques ...............................................................................................83 Fermatas & Breath Marks .........................................................................................121