Fine Arts – Draft Music Kindergarten to Grade 6 Curriculum
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Ancient Roman Lyre
This album is the third in a series, the sequel to Echoes of Ancient Rome and Ode to Ancient Rome. Like the first two albums in the series, The Ancient Roman Lyre features original compositions evoking the lost music of ancient Rome. Most fittingly, they are arranged for a modern evocation of ancient lyres dating from the Hellenistic period and are set to authentic ancient modes. We have precious little indeed of the music of ancient Greece, which was ancient Rome’s teacher in so many things. Of the sixty-one sets of manuscripts, fragments and inscriptions listed by Martin L. West in his Documents of Ancient Greek Music (Oxford, 2001), numbers 23-61 in his list date from the Roman period but are classified and studied as Greek music. Of specifically Roman written music beyond these, vocal or instrumental, we have nothing. This distinction between Greek and Roman music for the Roman time period may be artificial but it does have precedent. Years ago I heard the merest fragment of a musical-verbal phrase ascribed to a composer named Flaccus, a phrase featured in the play Hecyra by Terence: TERENCIO, HECYRA 861 (Terence). Versus 861. Hecyra of Terence. Codex Victorianus Laurentianus XXXVIII-24, saec. X This piece may be heard on track 19 of the recording Musique de la Grece Antique by Atrium Musicae de Madrid (Harmonia Mundi France). The liner notes of the original LP version (all but entirely missing in the CD version but thankfully available as a reprint booklet from John Wheeler) have this to say about the fragment: We have added the only surviving musical fragment of Imperial Rome: four mutilated measures from a work by Terence. -
Music and the Animal World in Hellenic and Roman Antiquity
Under the auspices of the Ministries of Education and Culture Conference on Ancient Hellenic & Roman Music Music and the animal world in Hellenic and Roman antiquity 11-15 July 2016 moisa2016-athens.eu Scientific Committee: • Andrew Barker (University of Birmingham) • Angelo Meriani (University of Salerno) • Joan Silva-Barris (Institut Antoni Pous i Argila, Barcelona) • Daniela Castaldo (University of Salento) • Pauline LeVen (University of Yale) • John Franklin (University of Vermont) • Stefan Hagel (Austrian Academy of Sciences) • David Creese (University of Newcastle) • The members of the Organizing Committee Organizing Committee: • Stelios Psaroudakēs (University of Athens) • Sylvain Perrot (École Française d’Athènes) • Anastasia Georgaki (University of Athens) • Chrestos Terzēs (University of Athens) • Fotis Moschos (University of Athens) MONDAY, 11th University of Athens – Hall of Ceremonies 19:00 Opening of conference • Address and opening: Professor Konstantinos Bouraselis Vice Rector of the National & Kapodistrian University of Athens • Greetings: Professor Eleni Karamalengou The Dean of the School of Philosophy Professor Achilleas Chaldaiakis The Head of the Department of Music Studies Professeur Axexandre Farnoux The Director of L’École Française d’Athènes • Keynote Speaker: François-Bernard Mâche Philology and Zoomusicology • Performance: Athēnaios (218 BC) Paian and hyporchēma to Apollōn Limēnios son of Thoinos (218 BC) Paian and prosodion to Apollōn The choir of the Department of Music Studies under the direction of Professor Nikolaos Maliaras École Française d’Athènes 20:30 Reception • Buffet dinner in the gardens of the French School at Athens • Performance of lyric songs inspired by the cool grove of the Muses, the sweet-voiced nightingale and the waters of the Aegean Hymn to the Muse Mesomedes, cover by Aliki Markantonatou Spring’s angel poetry by Sappho, music by Aliki Markantonatou Damn the culprit! traditional of Lesbos Leda and the Swan improvisation for lyre & double bass My Sea.. -
Le Nozze Di Figaro' Author(S): John Platoff Source: Music & Letters, Vol
Tonal Organization in 'Buffo' Finales and the Act II Finale of 'Le nozze di Figaro' Author(s): John Platoff Source: Music & Letters, Vol. 72, No. 3 (Aug., 1991), pp. 387-403 Published by: Oxford University Press Stable URL: https://www.jstor.org/stable/736215 Accessed: 26-02-2019 18:45 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms Oxford University Press is collaborating with JSTOR to digitize, preserve and extend access to Music & Letters This content downloaded from 132.174.255.206 on Tue, 26 Feb 2019 18:45:02 UTC All use subject to https://about.jstor.org/terms TONAL ORGANIZATION IN 'BUFFO' FINALES AND THE ACT II FINALE OF 'LE NOZZE DI FIGARO' BY JOHN PLATOFF THE TONAL PLAN of the finale to Act II of Mozart and Da Ponte's Le nozze di Fzgaro is an admirably clear structure, and one that has drawn nearly as much ap- proving comment from analysts as the opera itself has received from audiences.' The reasons for this favourable view of the finale's tonal scheme are not hard to find: its eight sections or movements move from the tonic of E flat to the dominant and then by a descending third to G, from which point the return to the tonic occurs through a regular series of falling fifths (see Table I). -
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. -
The Concise Oxford Dictionary of Literary Terms
The Concise Oxford Dictionary of Literary Terms CHRIS BALDICK OXFORD UNIVERSITY PRESS OXFORD PAPERBACK REFERENCE The Concise Oxford Dictionary of Literary Terms Chris Baldick is Professor of English at Goldsmiths' College, University of London. He edited The Oxford Book of Gothic Tales (1992), and is the author of In Frankenstein's Shadow (1987), Criticism and Literary Theory 1890 to the Present (1996), and other works of literary history. He has edited, with Rob Morrison, Tales of Terror from Blackwood's Magazine, and The Vampyre and Other Tales of the Macabre, and has written an introduction to Charles Maturin's Melmoth the Wanderer (all available in the Oxford World's Classics series). The most authoritative and up-to-date reference books for both students and the general reader. Abbreviations Literary Terms Oxford ABC of Music Local and Family History Paperback Accounting London Place Names* Archaeology* Mathematics Reference Architecture Medical Art and Artists Medicines Art Terms* Modern Design* Astronomy Modern Quotations Better Wordpower Modern Slang Bible Music Biology Nursing Buddhism* Opera Business Paperback Encyclopedia Card Games Philosophy Chemistry Physics Christian Church Plant-Lore Classical Literature Plant Sciences Classical Mythology* Political Biography Colour Medical Political Quotations Computing Politics Dance* Popes Dates Proverbs Earth Sciences Psychology* Ecology Quotations Economics Sailing Terms Engineering* Saints English Etymology Science English Folklore* Scientists English Grammar Shakespeare English -
Course Outline
MUSICIANSHIP - Course Outline General information about the approach Audiation - the ability to think in sound - is at the core of musicianship training. Musical elements and concepts are sequentially introduced, from the simple to the complex, and are practiced in ways that actively develop understandings in pitch, tonality, rhythm and harmony. These understandings are reinforced through engagement in a variety of modes of learning: aural (critical listening, the linking of sound to syllable using tonic solfa, absolute pitch names and rhythm duration syllables), kinaesthetic (use of the Curwen hand sign system, conducting patterns and other physical indications for beat, rhythm, phrase), and visual (linking sound to a variety of notational systems). Thorough musicianship practise involves using musical elements and concepts in known contexts (such as in performing, part work and memorisation), and unknown contexts (such as in sight reading, dictation, improvisation and composition). True musicianship is achieved not only when known elements can be successfully reproduced in these many contexts, but when they are applied with sensitivity to genre and culture, and then imbued with appropriate personal expression. Artistic training must equally involve active engagement and reflection. This is the key to developing the musical imagination in both intellectual and emotional realms. Overview: Musicianship involves the study of sight singing, score reading, aural perception, musical dictation and analysis using the tools of the Kodály philosophy (tonic solfa, rhythm duration syllables and hand signs). This class will study core repertoire as decided by the course lecturer. All participants will complete a 1.5hr class of Musicianship each day. These classes provide intensive skill development in aural musicianship as well as theoretical components of music. -
A Natural Pulse Man-Made Pulses Beats
SECONDARY/KEY STAGE 3 MUSIC – I ’ V E G O T R H Y THM Pulse 5 MINUTES READING #1 “Rhythm is sound in Have you ever been driven crazy by someone hammering just outside your motion. It is related room – someone fixing some shelves or workmen digging up the road? Did you to the pulse, the put your headphones or earphones on and sigh with relief as some of your heartbeat, the way music replaced the unwanted noise? Why was one set of sounds so much we breathe. It rises and falls. It takes more pleasant than the other? An important part of the answer lies in the us into ourselves; it effect of what musicians call pulse. takes us out of Many annoying sounds, like hammering or roadworks are not regular. There ourselves.” - Edward Hirsch may be a bang when you’re not expecting it, then silence, then more sudden noises. Music is different. Once it has started you can sense when the next sound is going to happen. And with most types of music you can move or tap your foot in time to a clear and regular pulse. A natural pulse It is not surprising that we find a regular pulse satisfying. Even before we are born, we become aware of the beating of our mother’s heart so it is something that is natural to all of us from a very early age. The heart circulates blood around our bodies with a regular pumping action. Questions to think about: The speed with which these pumping movements follow each other is called our pulse-rate. -
Rhythm and Metre Definition of Key Terms
Area of Study One Rhythm and Metre Definition of Key Terms Key Word Definition Pulse The beat in a piece of music Metre The number of beats in a bar Tempo The speed of the music – measured in BPM and also uses metronome markings Simple Time Time signatures where the beat is divided into two: typically, a crotchet beat divided into two quavers Compound Time Time signatures based on a dotted crotchet beat, divided into three quavers, for example 6/8 Regular Time Music which keeps to a single time signature Irregular Time Music where the time signature changes (usually a lot), or where the accents frequently shift Free Time Where the rhythm of the music is not set by regular bar lines but determined by the performer Hemiola Where two bars of 3/4 are played as three bars of 2/4 or one bar of 3/2 Cross rhythm When two different rhythms of usually different metres are played together at the same time Dotted rhythm The effect produced when two conflicting rhythms are heard together Triplet Three notes being played in the time of two Syncopation When the notes are played off the beat Rubato Literally ‘robbed time’, where rhythms are played freely for expressive effect Polyrhythm When two or more rhythms are played at the same time. (Often with different pulses) Drum fill Usually heard at the end of a phrase, this is where the drummer plays a free rhythmic pattern Italian Tempo Markings Italian Term Meaning Largo Slowly and broadly Adagio ‘At ease’ (play slowly) Andante At a walking pace Moderato At moderate speed Allegro Fast Vivace Lively Presto Very quick Accelerando Gradually speeding up Rallentando Gradually slowing down Ritenuto Immediately slower Allargando Getting slower and broadening Time Signatures ! " Time signatures contain two numbers ! " The top number indicates the number of beats in each bar ! " The bottom number indications the length of each beat. -
Note Value Recognition for Piano Transcription Using Markov Random Fields Eita Nakamura, Member, IEEE, Kazuyoshi Yoshii, Member, IEEE, Simon Dixon
JOURNAL OF LATEX CLASS FILES, VOL. XX, NO. YY, ZZZZ 1 Note Value Recognition for Piano Transcription Using Markov Random Fields Eita Nakamura, Member, IEEE, Kazuyoshi Yoshii, Member, IEEE, Simon Dixon Abstract—This paper presents a statistical method for use Performed MIDI signal 15 (sec) 16 1717 1818 199 20 2121 2222 23 in music transcription that can estimate score times of note # # # # b # # onsets and offsets from polyphonic MIDI performance signals. & # # # Because performed note durations can deviate largely from score- ? Pedal indicated values, previous methods had the problem of not being able to accurately estimate offset score times (or note values) Hidden Markov model (HMM) etc. and thus could only output incomplete musical scores. Based on Incomplete musical score by conventional methods observations that the pitch context and onset score times are nœ œ œ œ #œ œ œ œ œ œ œ influential on the configuration of note values, we construct a # 6 œ œ œ œ nœ & # 8 œ œ œ œ œ œ bœ nœ #œ œ context-tree model that provides prior distributions of note values œ œ #œ nœ œ œ œ œ œ nœ œ œ œ œ ? # 6 œ n œ œ œ œ œ œ œ # 8 œ using these features and combine it with a performance model in (Rhythms are scaled by 2) the framework of Markov random fields. Evaluation results show Markov random field (MRF) model that our method reduces the average error rate by around 40 percent compared to existing/simple methods. We also confirmed Complete musical score by the proposed method that, in our model, the score model plays a more important role # œ nœ œ œ œ œ œ œ #œ œ œ œ ˙. -
Music Early Years Year Group Learning Objective Knowledge
Kentmere Academy and Nursery- Knowledge and Skills- Music Early Years Year Learning Objective Knowledge Skills Group Early To join in singing favourite songs. I know some popular nursery rhymes. I can identify my favourite songs. Years To create sounds by banging, shaking, tapping or I know that sounds can be created in many ways. I can join in with my favourite songs. blowing. I know that there are many different musical I can create sounds by banging, shaking, tapping instruments. To shows an interest in the way musical or blowing. I know that music has a beat. instruments sound. I can name some musical instruments. I know that a series of beats is called a rhythm. I am interested in the different sounds you can To sing a few familiar songs. I know that sounds can be changed. make with musical instruments. To beginning to move rhythmically. I know a variety of different songs. To imitate movement in response to music. I can sing some familiar songs. To taps out simple repeated rhythms. I can move to the beat of a piece of music. To explore and learn how sounds can be changed. I can repeat a rhythm. To begin to build a repertoire of songs and I can clap out a repeated rhythm. dances. I can explore sound and learn how to change it. To explore the different sounds of instruments. I can explore how instruments sound different to each other. I can sing a variety of songs. Cycle A- Year 1/2 Year Group Topic Week Learning Objective Knowledge Skills Year 1/2 Dinosaur Autumn 1 To learn and perform a song. -
(91420) 2013 Assessment Schedule
NCEA Level 3 Making Music (91420) 2013 — page 1 of 6 Assessment Schedule – 2013 Making Music: Integrate aural skills into written representation (91420) Evidence Statement Question Achievement Achievement with Merit Achievement with Excellence ONE “Shenandoah” (a) (i) Identifies the Italian words describing the instrumentation, AND gives the English meaning: Style: a capella • (the choir is) unaccompanied. (ii) Identifies AND explains the texture: Texture: homophonic • the melody in the soprano / upper part is accompanied by chords in the other parts. (iii) Identifies an appropriate Italian term for a tempo of 40–44 bpm. AND gives the English meaning, eg: • Largo – slow, broadly, dignified • Lento – slow • Adagio – slow • Andante – at a walking pace. (b) (i) Identifies the tonality AND gives ONE piece of evidence in support, eg: Tonality: major • the first chord is major • the third note of the scale is raised in the melody (eg the note on “’Tis seven long years since last…”) • the last chord is major. (ii) Identifies the articulation used AND gives the English meaning: • Legato – smoothly. (c) (i) Identifies the compositional Identifies the compositional device used in the last two bars: device used in the last two bars Device: imitation AND explains its use, eg: • the tenors and basses echo the melody sung on (“the wide Missouri”) by the sopranos and altos. (ii) Explains how the rhythm is varied in the last two bars, eg: • for the women, the notes of “wide Mis-” are the same length, but the men hold “wide” for longer (1½ beats). NCEA Level 3 Making Music (91420) 2013 — page 2 of 6 Question One (cont’d) Question Achievement Achievement with Merit Achievement with Excellence (d) Identifies the device used AND explains its use, eg: Device: augmentation • the same motif (“O Shenando’”) is repeated in notes of longer duration. -
History Culture and Built Environment – I– Sara 1101
SCHOOL OF BUILDING AND ENVIRONMENT DEPARTMENT OF ARCHITECTURE UNIT – I - HISTORY CULTURE AND BUILT ENVIRONMENT – I– SARA 1101 UNIT 1 CULTURE AND ARTS Role of art, art reality, perception, representation categories of art in terms of media and technique, paintings, sculpture, film- basic characteristics and development of each field, aspects of literature, performing arts - theatre, dance, music with examples from different cultural contexts. Objective: To introduce the various art forms both stabile and mobile and to understand the relationship between arts and culture. Methodology: Role of art, art reality, perception, Visual presentation and Discussion Representation categories of art in terms of media and technique, paintings, sculpture, film Development of each field, Aspects of Power point presentation literature, performing arts theatre, dance, music Examples from different cultural contexts. Group assignment, discussion Art and culture Culture is everything that human beings create in the world, in the physical space. Every single thing that we create is a culture. Art is one of the aspects of culture. It is a much defined creative approach to making objects or making concepts. It is defined as a physical thing that we create be it a painting or a movie or whatever. So it is almost like creating. It is a craft or a skill by which we create an object. It is a defined activity and it is a much defined product. Whereas the culture is everything, what we are surrounded by. Art represents people, cultures, values, and perspectives on living, but it does much more. While bringing us pleasure, art teaches us. While reading or contemplating a painting our minds go elsewhere.