Core Music Standards Glossary AB: Musical Form Consisting of Two
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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. -
The Meshuggah Quartet
The Meshuggah Quartet Applying Meshuggah's composition techniques to a quartet. Charley Rose jazz saxophone, MA Conservatorium van Amsterdam, 2013 Advisor: Derek Johnson Research coordinator: Walter van de Leur NON-PLAGIARISM STATEMENT I declare 1. that I understand that plagiarism refers to representing somebody else’s words or ideas as one’s own; 2. that apart from properly referenced quotations, the enclosed text and transcriptions are fully my own work and contain no plagiarism; 3. that I have used no other sources or resources than those clearly referenced in my text; 4. that I have not submitted my text previously for any other degree or course. Name: Rose Charley Place: Amsterdam Date: 25/02/2013 Signature: Acknowledgment I would like to thank Derek Johnson for his enriching lessons and all the incredibly precise material he provided to help this project forward. I would like to thank Matis Cudars, Pat Cleaver and Andris Buikis for their talent, their patience and enthusiasm throughout the elaboration of the quartet. Of course I would like to thank the family and particularly my mother and the group of the “Four” for their support. And last but not least, Iwould like to thank Walter van de Leur and the Conservatorium van Amsterdam for accepting this project as a master research and Open Office, open source productivity software suite available on line at http://www.openoffice.org/, with which has been conceived this research. Introduction . 1 1 Objectives and methodology . .2 2 Analysis of the transcriptions . .3 2.1 Complete analysis of Stengah . .3 2.1.1 Riffs . -
Class Piano Handbook
CLASS PIANO HANDBOOK THE UNIVERSITY OF TENNESSEE, KNOXVILLE COLLEGE OF ARTS & SCIENCES SCHOOL OF MUSIC DR. EUNSUK JUNG LECTURER OF PIANO COORDINATOR OF CLASS PIANO TABLE OF CONTENTS GENERAL INFORMATION 3 CONTACT INFORMATION 4 COURSE OBJECTIVES CLASS PIANO I & II 5 CLASS PIANO III & IV 6 ACTIVITIES AND SKILLS INCLUDED IN CLASS PIANO 7 PIANO LAB POLICIES 8 GUIDELINES FOR EFFECTIVE PRACTICE 9 TESTING OUT OF CLASS PIANO 11 KEYBOARD PROFICIENCY TEST REQUIREMENTS CLASS PIANO I (MUKB 110) 12 CLASS PIANO II (MUKB 120) 13 CLASS PIANO III (MUKB 210) 14 CLASS PIANO IV (MUKB 220) 15 FAQs 16 UTK CLASS PIANO HANDBOOK | 2 GENERAL INFORMATION Class Piano is a four-semester course program designed to help undergraduate non- keyboard music majors to develop the following functional skills for keyboard: technique (scales, arpeggios, & chord progressions), sight-reading, harmonization, transposition, improvisation, solo & ensemble playing, accompaniment, and score reading (choral & instrumental). UTK offers four levels of Class Piano in eight different sections. Each class meets twice a week for 50 minutes and is worth one credit hour. REQUIRED COURSES FOR MAJORS Music Education with Instrumental MUKB 110 & 120 Emphasis (Class Piano I & II) Music Performance, Theory/Composition, MUKB 110, 120, 210, & 220 Music Education with Vocal Emphasis (Class Piano I, II, III, & IV) CLASS PIANO PROFICIENCY EXAM Proficiency in Keyboard skills is usually acquired in the four-semester series of Class Piano (MUKB 110, 120, 210, & 220). To receive credit for Class Piano, students must register for, take, and pass each class. Students who are enrolled in Class Piano will be prepared to meet the proficiency requirement throughout the course of study. -
GRAMMAR of SOLRESOL Or the Universal Language of François SUDRE
GRAMMAR OF SOLRESOL or the Universal Language of François SUDRE by BOLESLAS GAJEWSKI, Professor [M. Vincent GAJEWSKI, professor, d. Paris in 1881, is the father of the author of this Grammar. He was for thirty years the president of the Central committee for the study and advancement of Solresol, a committee founded in Paris in 1869 by Madame SUDRE, widow of the Inventor.] [This edition from taken from: Copyright © 1997, Stephen L. Rice, Last update: Nov. 19, 1997 URL: http://www2.polarnet.com/~srice/solresol/sorsoeng.htm Edits in [brackets], as well as chapter headings and formatting by Doug Bigham, 2005, for LIN 312.] I. Introduction II. General concepts of solresol III. Words of one [and two] syllable[s] IV. Suppression of synonyms V. Reversed meanings VI. Important note VII. Word groups VIII. Classification of ideas: 1º simple notes IX. Classification of ideas: 2º repeated notes X. Genders XI. Numbers XII. Parts of speech XIII. Number of words XIV. Separation of homonyms XV. Verbs XVI. Subjunctive XVII. Passive verbs XVIII. Reflexive verbs XIX. Impersonal verbs XX. Interrogation and negation XXI. Syntax XXII. Fasi, sifa XXIII. Partitive XXIV. Different kinds of writing XXV. Different ways of communicating XXVI. Brief extract from the dictionary I. Introduction In all the business of life, people must understand one another. But how is it possible to understand foreigners, when there are around three thousand different languages spoken on earth? For everyone's sake, to facilitate travel and international relations, and to promote the progress of beneficial science, a language is needed that is easy, shared by all peoples, and capable of serving as a means of interpretation in all countries. -
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. -
10 - Pathways to Harmony, Chapter 1
Pathways to Harmony, Chapter 1. The Keyboard and Treble Clef Chapter 2. Bass Clef In this chapter you will: 1.Write bass clefs 2. Write some low notes 3. Match low notes on the keyboard with notes on the staff 4. Write eighth notes 5. Identify notes on ledger lines 6. Identify sharps and flats on the keyboard 7.Write sharps and flats on the staff 8. Write enharmonic equivalents date: 2.1 Write bass clefs • The symbol at the beginning of the above staff, , is an F or bass clef. • The F or bass clef says that the fourth line of the staff is the F below the piano’s middle C. This clef is used to write low notes. DRAW five bass clefs. After each clef, which itself includes two dots, put another dot on the F line. © Gilbert DeBenedetti - 10 - www.gmajormusictheory.org Pathways to Harmony, Chapter 1. The Keyboard and Treble Clef 2.2 Write some low notes •The notes on the spaces of a staff with bass clef starting from the bottom space are: A, C, E and G as in All Cows Eat Grass. •The notes on the lines of a staff with bass clef starting from the bottom line are: G, B, D, F and A as in Good Boys Do Fine Always. 1. IDENTIFY the notes in the song “This Old Man.” PLAY it. 2. WRITE the notes and bass clefs for the song, “Go Tell Aunt Rhodie” Q = quarter note H = half note W = whole note © Gilbert DeBenedetti - 11 - www.gmajormusictheory.org Pathways to Harmony, Chapter 1. -
Introduction to Music Theory
Introduction to Music Theory This pdf is a good starting point for those who are unfamiliar with some of the key concepts of music theory. Reading musical notation Musical notation (also called a score) is a visual representation of the pitched notes heard in a piece of music represented by dots over a set of horizontal staves. In the top example the symbol to the left of the notes is called a treble clef and in the bottom example is called a bass clef. People often like to use a mnemonic to help remember the order of notes on each clef, here is an example. Intervals An interval is the difference in pitch between two notes as defined by the distance between the two notes. The easiest way to visualise this distance is by thinking of the notes on a piano keyboard. For example, on a C major scale, the interval from C to E is a 3rd and the interval from C to G is a 5th. Click here for some more interval examples. It is also common for an increase by one interval to be called a halfstep, or semitone, and an increase by two intervals to be called a whole step, or tone. Joe ReesJones, University of York, Department of Electronics 19/08/2016 Major and minor scales A scale is a set of notes from which melodies and harmonies are constructed. There are two main subgroups of scales: Major and minor. The type of scale is dependant on the intervals between the notes: Major scale Tone, Tone, Semitone, Tone, Tone, Tone, Semitone Minor scale Tone, Semitone, Tone, Tone, Semitone, Tone, Tone For example (by visualising a keyboard) the notes in C Major are: CDEFGAB, and C Minor are: CDE♭FGA♭B♭. -
Guitar/Keyboard/Harmonizing Instruments Harmonizing a Melody Proficient for Creating
Guitar/Keyboard/Harmonizing Instruments Harmonizing a Melody Proficient for Creating Intent of the Model Cornerstone Assessments Description of the MCA Model Cornerstone Assessments (MCAs) in music assessment Students will harmonize a recorded frameworks to be used by music teachers within their school’s major (do-based) pentatonic folk curriculum to measure student attainment of process song by analyzing the melody components defined by performance standards in the National aurally and from written notation. Core Music Standards. They focus on one or more Artistic Using previously learned chords, Process (i.e., Creating, Performing, or Responding) and students will individually plan a designed as a series of curriculum-embedded assessment tasks, harmonic accompaniment that each of which measures students’ ability to carry out one or best fits the melody, notate their more process components. The MCAs can be used as formative harmonization using an analysis and summative indications of learning, but do not indicate system (e.g., chord letter names, quality of teaching or effectiveness of a school’s music program. functional harmony), and rhythmic accompanying patterns (e.g. Although each MCA is designed so that it can be administered strumming patterns, block chords, within an instructional sequence or unit, teachers may choose and arpeggios). Finally, students to spread the component parts of one MCA across multiple will present their harmonization to units or projects. Student work produced by the national pilot is a peer or group of peers, and available on the NAfME website that illustrates the level of thoughtfully respond to a achievement envisioned in the National Core Music Standards. -
Andrián Pertout
Andrián Pertout Three Microtonal Compositions: The Utilization of Tuning Systems in Modern Composition Volume 1 Submitted in partial fulfilment of the requirements of the degree of Doctor of Philosophy Produced on acid-free paper Faculty of Music The University of Melbourne March, 2007 Abstract Three Microtonal Compositions: The Utilization of Tuning Systems in Modern Composition encompasses the work undertaken by Lou Harrison (widely regarded as one of America’s most influential and original composers) with regards to just intonation, and tuning and scale systems from around the globe – also taking into account the influential work of Alain Daniélou (Introduction to the Study of Musical Scales), Harry Partch (Genesis of a Music), and Ben Johnston (Scalar Order as a Compositional Resource). The essence of the project being to reveal the compositional applications of a selection of Persian, Indonesian, and Japanese musical scales utilized in three very distinct systems: theory versus performance practice and the ‘Scale of Fifths’, or cyclic division of the octave; the equally-tempered division of the octave; and the ‘Scale of Proportions’, or harmonic division of the octave championed by Harrison, among others – outlining their theoretical and aesthetic rationale, as well as their historical foundations. The project begins with the creation of three new microtonal works tailored to address some of the compositional issues of each system, and ending with an articulated exposition; obtained via the investigation of written sources, disclosure -
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. -
Music Is Made up of Many Different Things Called Elements. They Are the “I Feel Like My Kind Building Bricks of Music
SECONDARY/KEY STAGE 3 MUSIC – BUILDING BRICKS 5 MINUTES READING #1 Music is made up of many different things called elements. They are the “I feel like my kind building bricks of music. When you compose a piece of music, you use the of music is a big pot elements of music to build it, just like a builder uses bricks to build a house. If of different spices. the piece of music is to sound right, then you have to use the elements of It’s a soup with all kinds of ingredients music correctly. in it.” - Abigail Washburn What are the Elements of Music? PITCH means the highness or lowness of the sound. Some pieces need high sounds and some need low, deep sounds. Some have sounds that are in the middle. Most pieces use a mixture of pitches. TEMPO means the fastness or slowness of the music. Sometimes this is called the speed or pace of the music. A piece might be at a moderate tempo, or even change its tempo part-way through. DYNAMICS means the loudness or softness of the music. Sometimes this is called the volume. Music often changes volume gradually, and goes from loud to soft or soft to loud. Questions to think about: 1. Think about your DURATION means the length of each sound. Some sounds or notes are long, favourite piece of some are short. Sometimes composers combine long sounds with short music – it could be a song or a piece of sounds to get a good effect. instrumental music. How have the TEXTURE – if all the instruments are playing at once, the texture is thick.