DOCSLIB.ORG

History-Listening-Guide-13Th-Edition.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
History-Listening-Guide-13Th-Edition.Pdf History 5 Medieval The Enjoyment of Music (13th edition): Prelude 2, and Chapters 14 – 16 Musical Type/Genre Terms/Forms/Styles Representative Required Listening Composers General Polyphony Organum Troubadours Trouvères Medieval chant Plainchant Hildegard of Bingen Hildegard of Bingen: Liturgy Alleluia, O virgo Gregorian Chant mediatri Chant melodies Neumes Modes Mass proper Mass ordinary Polyphony Notre Dame Notre Dame School: Polyphony Gaude Maria virgo Organum Rhythmic mode Ars Nova Ars Nova Guillaume de Machaut Ars antiqua Chanson Rondeau, ballade, Virelai Renaissance The Enjoyment of Music (13th edition): Chapters 17 ‐ 20 Musical Type/Genre Terms/Forms/Styles Representative Required Listening Composers Madrigal Italian madrigal Claudio Monteverdi Monteverdi: Si ch’io English madrigal vorrei morire French chanson Word‐painting John Farmer Farmer: Fair Phyllis Part book Motet A cappella Josquin des Prez Josquin: Ave Cantus firmus Maria…virgo serena Motet Humanism Imitation Homorhythm Mass Mass ordinary Giovanni Pierluigi da Mass proper Palestrina Reformation Counter‐Reformation Council of Trent Dance music Bas instruments Tielman Susato Susato: Three Dances Haut instruments Dance types (pavane, saltarello, ronde) Embellishments Baroque The Enjoyment of Music (13th edition): Prelude 3, and Chapters 22 – 28 Musical Type/Genre Terms/Forms/Styles Representative Required Listening Composers General Virtuosity Florentine Camerata Opera Basso continuo Major‐minor tonality Equal temperament Castrato Improvisation Early opera Overture Henry Purcell Purcell: Dido and Aria Aeneas, Act III, Recitative Opening and Lament Libretto Sinfonia Masque Hornpipe Scotch snap Ground bass Lutheran Cantata Chorales Johann Sebastian Bach J.S. Bach: Cantata No. Lutheran cantatas 140, Wachet auf, Nos. Bar form 1, 4, and 7 English Oratorio Oratorio George Frideric Handel Handel: Messiah, Nos. Da capo aria 18 and 44 Baroque dance suite Suite George Frideric Handel Handel: Water Music, Dance types Suite in D Major, Alla Binary & ternary forms hornpipe Hornpipe Baroque concerto Concerto Antonio Vivaldi Vivaldi: Spring, from Ritornello form The Four Seasons, I Program music Fugue Organ and harpsichord Johann Sebastian Bach J.S. Bach: Prelude and toccata Contrapunctus 1, from Fugue The Art of Fugue Subject and answer Countersubject Exposition Episodes Contrapunctal devices Classical The Enjoyment of Music (13th edition): Prelude 4, and Chapters 29 – 36 Musical Type/Genre Terms/Forms/Styles Representative Required Listening Composers General Enlightenment Patronage Chamber music Theme Joseph Haydn Haydn: String Quartet Thematic development in E‐flat Major, Op. 33, Motive and sequence No. 2 (Joke), IV Absolute music Multimovement cycle Wolfgang Amadeus Mozart: Eine kleine Chamber music Mozart Nachtmusik, K. 525, I String quartet and III Sonata‐allegro form Minuet and trio form Symphony Symphony Joseph Haydn Haydn: Symphony No. Overture 94 in G Major Theme and variation (Surprise), II Cyclical form Ludwig van Beethoven Beethoven: Symphony No. 5 in C Minor, Op. 67 Concerto Concerto Wolfgang Amadeus Mozart: Piano Cadenza Mozart Concerto in G Major, K. First‐movement 453, I concerto form Sonata Sonata Ludwig van Beethoven Beethoven: Piano Scherzo Sonata in C‐sharp Minor, Op. 27, No. 2 (Moonlight), I Opera Opera seria Wolfgang Amadeus Mozart: Don Giovanni Opera buffa Mozart (excerpts) Singspiel Opéra comique Mozart: Dies irae, from Requiem Requiem History 6 The Nineteenth Century The Enjoyment of Music (13th edition): Prelude 5, and Chapters 37, 39, 41‐47, 49, 51 Musical Type/Genre Terms/Forms/Styles Representative Required Listening Composers General Orchestration Romantic harmony Romantic form Vocal music Lied Franz Schubert Schubert: Elfking Art song Song cycle Robert Schumann Song structure Piano music Character piece Frédéric Chopin Chopin: Polonaise in A Polonaise Major, Op. 40, No. 1 Rubato (Military) Orchestral music Program music Hector Berlioz Berlioz: Symphonie Absolute music fantastique, IV and V Idée fixe Thematic Felix Mendelssohn transformation Program overture Incidental music Symphonic poem Tone poem Edvard Grieg Grieg: Peer Gynt, Suite Nationalism No. 1 (op. 46), excerpts Johannes Brahms Brahms: Symphony No. 3 in F Major, III Opera Opera seria Giuseppe Verdi Verdi: Rigoletto, Act III Opera buffa (excerpts) Bel canto Singspiel Richard Wagner Wagner: Die Walküre, Melodrama Act III, Opening and Total artwork Finale Music drama Leitmotifs Ballet Ballet Peter Ilyich Tchaikovsky Tchaikovsky: The Intermedio Nutcracker, Two Masque Dances Ballet de cour Pas de deux Music at the turn of Post‐Romanticism Giacomo Puccini the century Verismo Exoticism Claude Debussy Debussy: Prelude to Impressionism “The Afternoon of a Ninth chord Faun” American vernacular Ragtime Scott Joplin Joplin: Maple Leaf Rag Strains Piano roll Player piano Twentieth‐Century Modernism The Enjoyment of Music (13th edition): Prelude 6, and Chapters 52‐53, 55‐56, 59, 61 Musical Type/Genre Terms/Forms/Styles Representative Required Listening Composers General Futurism Dadaism Surrealism Cubism Expressionism Avant‐garde Vaudeville Tin Pam Alley Polyrhythm Polyharmony Atonality Serialism Twelve‐tone composition Early 20th century Expressionism Arnold Schoenberg Schoenberg: Pierrot Atonality lunaire, Part III, No. 18 Sprechstimme Klangfarbenmelodie Igor Stravinsky Stravinsky: The Rite of Second Viennese Spring, Part I (excerpts) School Serialism Tone row Alban Berg Twelve‐tone composition Jazz and blues Jazz Billie Holiday Blues Work songs Edward Kennedy Stayhorn: Take the A Ring shouts (“Duke”) Ellington Train, by the Duke Spirituals Ellington Orchestra Blue notes New Orleans jazz Scat singing Swing Big band era Shakes Bebop Cool jazz West Coast jazz American modernism Polytonality Charles Ives Ives: Country Band Polyrhythms March Aaron Copland Copland: Appalachian Spring Neo‐classicism Neo‐classical Béla Barók Barók: Interrupted Ethnomusicologist Intermezzo from Concerto for Orchestra Postmodernism The Enjoyment of Music (13th edition): Prelude 7, and Chapters 62‐64, 67, 70 Musical Type/Genre Terms/Forms/Styles Representative Required Listening Composers General Postmodernism Abstract expressionism New classicism Minimalism Earthworks Chance music Aleatoric music American Tone clusters John Cage Cage: Sonata V, from experimentalism Microtones Sonatas and Interludes Prepared piano Flutter‐tonguing George Crumb Musical Theater Musical Leonard Bernstein Bernstein: West Side Story (excerpts) Minimalism Process music Steve Reich Reich: Electric Phase music Counterpoint, III Polyrhythm Neo‐romanticism Neo‐romanticism Jennifer Higdon Higdon: blue cathedral Contemporary Opera Post‐minimalism John Adams Adams: Doctor Atomic (excerpts) .
Load more

Recommended publications
  • Baroque Ensemble Program 12-6-18.Pdf
    Our ensemble uses a set of baroque bows patterned after existing historic examples BYU – IDAHO DEPARTMENT OF MUSIC PRESENTS from the early 18th century. These bows are lighter, shorter, and have a slight outward curve resulting in characteristic baroque articulation -- a strong, quick down bow and a light, softer up bow, meant to emphasize the inequalities of strong and weak beats. Basso continuo refers to the preferred harmonic accompaniment used during the baroque era. From a printed bass line with a few harmonic clues indicated as numerical “figures,” musicians improvised chordal accompaniments which best fit the unique qualities of their instruments and supported the upper solo lines -- similar to the way a modern jazz rhythm section will “comp” behind a vocal or saxophone solo. This single bass line might include a colorful variety of both melodic and chord playing instruments. Tonight’s basso continuo section includes: • Harpsichord, featuring plucked brass strings across a light wood frame, resulting in a delicate, transparent tone which contrasts with the strong iron frame and hammered tone of the modern piano • Baroque style organ, using a mechanical “tracker” mechanism instead of electronics to route air to each pipe This evening’s performance features suites, sinfonia and concerti by prominent composers from the 17th and early 18th century: § The prolific Antonio Vivaldi is known for his development of three- movement concerto form. An extravagant violinist, he carried the nickname “il prete roso” (the red priest) because of his red hair. § Johann Heinrich Schmelzer was recognized in his day as Vienna's foremost violin virtuoso and a leading composer.
    [Show full text]
  • Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected]
    Marshall University Marshall Digital Scholar Theses, Dissertations and Capstones 2016 Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected] Follow this and additional works at: http://mds.marshall.edu/etd Part of the European History Commons, History of Religion Commons, and the Music Commons Recommended Citation Van Oort, Danielle, "Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal" (2016). Theses, Dissertations and Capstones. Paper 1016. This Thesis is brought to you for free and open access by Marshall Digital Scholar. It has been accepted for inclusion in Theses, Dissertations and Capstones by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. REST, SWEET NYMPHS: PASTORAL ORIGINS OF THE ENGLISH MADRIGAL A thesis submitted to the Graduate College of Marshall University In partial fulfillment of the requirements for the degree of Master of Arts in Music Music History and Literature by Danielle Van Oort Approved by Dr. Vicki Stroeher, Committee Chairperson Dr. Ann Bingham Dr. Terry Dean, Indiana State University Marshall University May 2016 APPROVAL OF THESIS We, the faculty supervising the work of Danielle Van Oort, affirm that the thesis, Rest Sweet Nymphs: Pastoral Origins of the English Madrigal, meets the high academic standards for original scholarship and creative work established by the School of Music and Theatre and the College of Arts and Media. This work also conforms to the editorial standards of our discipline and the Graduate College of Marshall University. With our signatures, we approve the manuscript for publication. ii ACKNOWLEDGEMENTS The author would like to express appreciation and gratitude to the faculty and staff of Marshall University’s School of Music and Theatre for their continued support.
    [Show full text]
  • APPENDIX 1 Inventories of Sources of English Solo Lute Music
    408/2 APPENDIX 1 Inventories of sources of English solo lute music Editorial Policy................................................................279 408/2.............................................................................282 2764(2) ..........................................................................290 4900..............................................................................294 6402..............................................................................296 31392 ............................................................................298 41498 ............................................................................305 60577 ............................................................................306 Andrea............................................................................308 Ballet.............................................................................310 Barley 1596.....................................................................318 Board .............................................................................321 Brogyntyn.......................................................................337 Cosens...........................................................................342 Dallis.............................................................................349 Danyel 1606....................................................................364 Dd.2.11..........................................................................365 Dd.3.18..........................................................................385
    [Show full text]
  • Danu Study Guide 11.12.Indd
    SchoolTime Study Guide Danú Friday, March 9, 2012 at 11 a.m. Zellerbach Hall, University of California, Berkeley Welcome to SchoolTime! On Friday, March 9, 2012 at 11 am, your class will a end a performance by Danú the award- winning Irish band. Hailing from historic County Waterford, Danú celebrates Irish music at its fi nest. The group’s energe c concerts feature a lively mix of both ancient music and original repertoire. For over a decade, these virtuosos on fl ute, n whistle, fi ddle, bu on accordion, bouzouki, and vocals have thrilled audiences, winning numerous interna onal awards and recording seven acclaimed albums. Using This Study Guide You can prepare your students for their Cal Performances fi eld trip with the materials in this study guide. Prior to the performance, we encourage you to: • Copy the student resource sheet on pages 2 & 3 and hand it out to your students several days before the performance. • Discuss the informa on About the Performance & Ar sts and Danú’s Instruments on pages 4-5 with your students. • Read to your students from About the Art Form on page 6-8 and About Ireland on pages 9-11. • Engage your students in two or more of the ac vi es on pages 13-14. • Refl ect with your students by asking them guiding ques ons, found on pages 2,4,6 & 9. • Immerse students further into the art form by using the glossary and resource sec ons on pages 12 &15. At the performance: Students can ac vely par cipate during the performance by: • LISTENING CAREFULLY to the melodies, harmonies and rhythms • OBSERVING how the musicians and singers work together, some mes playing in solos, duets, trios and as an ensemble • THINKING ABOUT the culture, history, ideas and emo ons expressed through the music • MARVELING at the skill of the musicians • REFLECTING on the sounds and sights experienced at the theater.
    [Show full text]
  • Universiv Micrmlms Internationcil
    INFORMATION TO USERS This reproduction was made from a copy o f a document sent to us for microHlming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify m " '<ings or notations which may appear on this reproduction. 1. The sign or “ target” for pages apparently lacking from the document photographed is “ Missing Page(s)” . I f it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting througli an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyriglited materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part o f the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin film ing at the upper le ft hand comer o f a large sheet and to continue from left to right in equal sections w ith small overlaps. I f necessary, sectioning is continued again—beginning below the first row and continuing on until complete.
    [Show full text]
  • Opera Origins
    OPERA ORIGINS l)y ERt^^A LOUISE BOLAN B. A. , Ottawa University, 1952 A MASTER'S REPORT submitted in partial fulfillment of the requirements for the degree MASTER OF SCIENCE Departirient of Kusic KANSAS STATE UNIVERSITY Manhattan, Kansas 1968 _o Approved l^:. ih*-^ .-_-c^ LiacZ Major I^ofesst^ ii /^^ - . BG^' table of contents Page ^^^ INTRODUCTIOII • Chapter I. THE FOK^'S OF MUSICAL DRM^A BEFORE 1594 1 LITURGICAL DRill^^A 1 MYSTERIES 3 SECUL.AR DR/U'lATIC MUSIC 5 6 Masche):ata , Masque , and Ballet Intei-ir.edio " Madrigal Forras H Pastoral e Drama • 12 II. THE EMERGENCE OF OPERA THROUGH THE ZiWM^k 15 - 17 . MONODY THE GREEK WAY DAFNE 25 EURIDICE 27 MOKTETORDI AND ORFEO 31 ACKT>IOV.?LEDGl'ni;NT 33 BIBLICGRAPHI 34 INTRODUCTION In trying to reconstruct and assess the main features of any historical event, it is difficiilt to find the starting point. The history of opera is no exception. We find varying degrees of impor- tance given certain events by different v/riters. We find va-iters who see the music and drama combination of the Middle Ages and the Renais- sance as seeds of opera, and others feeling there is no significant connection. Ho\rever, in the inindo of the members of the "Florentine Caraerata," long since recognized as the originators of opera, there v;as no doubt as to the origin of their idea. Creek trsigedy, as they under- stood it, was the sole basis of their experiments. And yet, little is knovm of the part music really played in Greek drama, the one extant example being a very short mutilated fragment of imison melody from a chorus of Euripides' Orestes (^^08 b.c), and even this was not knovm to the early opera composers.
    [Show full text]
  • Chapter 7: Humanism and the Emergence of Opera in Italy: 1590–1640
    Chapter 7: Humanism and the Emergence of Opera in Italy: 1590–1640 I. Introduction A. Groups of humanists flourished in Italy during the Baroque period. 1. New ideas included stile rappresentativo (representational style), monody, and recitative. 2. Early plays featuring music in this new manner included intermedia (singular: intermedio). Musical plays called favola in musica (fable in music) are now considered the first operas. B. An important figure was Claudio Monteverdi, who explored the seconda pratica (second practice), claiming, “the words are the master of the music.” II. The Baroque era A. The word Baroque is used to cover music from 1600 to 1750. It was applied to music later and used to describe the music as overly decorated and ornate. 1. It could be referred to as the Italian age because most of the musical innovations during the time took place in Italy. It could be called the Galilean period, because of Galileo Galilei’s work, along with other developments in science, or the Cartesian period after Descartes. 2. Theatrical age, instrumental age, and continuo age could also apply because of developments. III. Humanism and the Greek past A. During the sixteenth century, academies formed in Italy, modeled loosely on the academies of ancient Greece. B. The most important academy was in Florence. 1. This group considered the performance of Greek drama and poetry a musical event. 2. These ideas were adopted by a group of humanists known as the Camerata. IV. Monody and the representational style A. Galilei thought that music should represent the meaning or emotion. 1.
    [Show full text]
  • The Choral Cycle
    THE CHORAL CYCLE: A CONDUCTOR‟S GUIDE TO FOUR REPRESENTATIVE WORKS A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE DOCTOR OF ARTS BY RUSSELL THORNGATE DISSERTATION ADVISORS: DR. LINDA POHLY AND DR. ANDREW CROW BALL STATE UNIVERSITY MUNCIE, INDIANA MAY 2011 Contents Permissions ……………………………………………………………………… v Introduction What Is a Choral Cycle? .............................................................................1 Statement of Purpose and Need for the Study ............................................4 Definition of Terms and Methodology .......................................................6 Chapter 1: Choral Cycles in Historical Context The Emergence of the Choral Cycle .......................................................... 8 Early Predecessors of the Choral Cycle ....................................................11 Romantic-Era Song Cycles ..................................................................... 15 Choral-like Genres: Vocal Chamber Music ..............................................17 Sacred Cyclical Choral Works of the Romantic Era ................................20 Secular Cyclical Choral Works of the Romantic Era .............................. 22 The Choral Cycle in the Twentieth Century ............................................ 25 Early Twentieth-Century American Cycles ............................................. 25 Twentieth-Century European Cycles ....................................................... 27 Later Twentieth-Century American
    [Show full text]
  • Guidance Notes
    Sound Bites Video Five Music to sing along with How to use these Brought to you by: Diane Clark (flute), Louise Braithwaite notes with our (oboe), Sally Harrop (clarinet), Oliver Galletta (bassoon), Sound Bites videos: the boys and Mrs Debbie Madden, Director of Music, of King Edward VI School, Stratford-upon-Avon. These notes will provide a brief background to each piece and a Our Choice of Pieces: suggested conversation starter to Those Magnificent Men in their Sailor’s Hornpipe use if you wish after you have Flying Machines Handel’s Largo heard the piece. If our music sparks Chanson de Matin Ode to Joy a memory or conversation, why not Bare Necessities Oh I do like to be beside the pause the video at this point to Do-Re-Mi seaside continue your sharing, or continue What shall we do with the onto the next piece, pausing when Drunken Sailor? you feel the time is right to do so. Greensleeves Those Magnificent Men in their Flying Machines arranged by Ted Watson Or, How I Flew from London to Paris in 25 Hours 11 Minutes is a 1965 period comedy film set in the year 1910. The film focuses on the excitement of the early days of aviation. Have you flown in an aeroplane? ? I have flown to Germany, Italy and France, where have you flown to? Our next piece is rather gentler. Relax and listen or join in with some gentle movements. www.orchestraoftheswan.org Charity number 1068570 • Orchestra of the Swan is a member of the ABO Chanson de Matin Edward Elgar Or Morning Song was composed by Elgar for violin and piano and published in 1899.
    [Show full text]
  • Western Culture Has Roots in Ancient
    24 11. Statement: These musical/theatrical genres needed an interest in ancient Greek drama in order for opera to Chapter 14 come to life. The Invention of Opera 12. What were the two views of music in ancient Greek tragedy? 1. [307] What is the etymology of the word opera? Give a Only the choruses were sung (Andrea Gabrieli, 1585, Oedipus definition. Rex); the play was sung throughout (Girolamo Mei) Italian for work; a drama with continuous, or nearly continuous, music that is staged with scenery, costumes, 13. (310) What were Mei's conclusions? and action Single melody sung by a soloist or chorus with or without accompaniment. The melody (register, rhythms, tempo) 2. Do the same for libretto. could have a powerful effect on the listener Italian for little book; usually a play in rhymed or unrhymed verse 14. What was the Florentine camerata? Who were its members? 3. What are the two viewpoints of opera's origin? Circle or association (an academy); Bardi, Galilei, Caccini, 1. Recreate ancient Greek tragedy (a drama, sung throughout, (Peri) in which music conveys the emotional effects) 2. Blend of existing genres (plays, theatrical spectacles, dance, 15. What was Galilei's published work? madrigals, and solo song) Dialogo della musica antica et della moderna, 1581. Polyphony can't accurately represent the emotional 4. List briefly the distant precedents. meaning of text; word painting and such were childish Choruses and principal lyric speeches in the plays of Euripides and Sophocles were sung; liturgical plays; Renaissance 16. What genre resulted? Definition, please. plays often had songs or offstage music Monody; accompanied solo singing 5.
    [Show full text]
  • The Devolution of the Shepherd Trumpet and Its Seminal
    Special Supplement to the International Trumpet Guild ® Journal to promote communications among trumpet players around the world and to improve the artistic level of performance, teaching, and literature associated with the trumpet ADDEN DUM TO “THE DEVOLUTI ON OF THE SHEPHERD TRUMPET AND ITS SEMINAL IMP ORTANCE IN MUSIC HISTORY” BY AINDRIAS HIRT January 2015 • Revision 2 The International Trumpet Guild ® (ITG) is the copyright owner of all data contained in this file. ITG gives the individual end-user the right to: • Download and retain an electronic copy of this file on a single workstation that you own • Transmit an unaltered copy of this file to any single individual end-user, so long as no fee, whether direct or indirect is charged • Print a single copy of pages of this file • Quote fair use passages of this file in not-for-profit research papers as long as the ITGJ, date, and page number are cited as the source. The International Trumpet Guild ® prohibits the following without prior writ ten permission: • Duplication or distribution of this file, the data contained herein, or printed copies made from this file for profit or for a charge, whether direct or indirect • Transmission of this file or the data contained herein to more than one individual end-user • Distribution of this file or the data contained herein in any form to more than one end user (as in the form of a chain letter) • Printing or distribution of more than a single copy of the pages of this file • Alteration of this file or the data contained herein • Placement of this file on any web site, server, or any other database or device that allows for the accessing or copying of this file or the data contained herein by any third party, including such a device intended to be used wholly within an institution.
    [Show full text]
  • Musical Journey Study Guide for Teachers
    Lorinda Jones ! Education Support Materials ! Teacher/Student Study Guide ! “A Musical Journey of Kentucky” ! Program Goal: ! Students will identify how immigration, lifestyle, and significant events in history, developed into the folk music of Kentucky and the Appalachian region of the United States specifically through the evolution of instruments and song. ! ! Program Description: ! An energetic performance on the state instrument of Kentucky, the mountain dulcimer, captures the focus of the students from the beginning and continues through to the end with songs, stories, and instruments that delight the audience. Students are challenged to think about the origin and roots of the mountain music that is important to Kentucky’s heritage. Taking a trip through time, students begin to understand that music has evolved due to immigration and significant historical events and periods of history. The unique instruments that capture the student’s attention may include: gourd banjo, modern banjo, fiddle, harp, Irish whistle, autoharp, psaltery, Scheitholt, guitar, and mountain dulcimers. Song selections are age appropriate and include sing alongs for audience participation. A powerpoint slideshow can accompany the performance (if slide and projector available) and enhances the program with additional historical information and song lyrics. ! ! ! ! ! Art Form: Music ! Students are exposed to a variety of folk instruments, primarily stringed, as well as songs and musical terms. ! Students are challenged to make connections between history, culture, immigration and the effect on folk music. ! Students are given the opportunity to see a number of rare instruments performed in a concert-like “live performance” setting, rather than through pictures or video. ! ! Curriculum Standards ! This program is designed to meet the core content standards in the area of arts and humanities, specifically, American folk music, historical significance and origin.
    [Show full text]