Music Appreciation Curriculum
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University Microiilms, a XERQ\Company, Ann Arbor, Michigan
71-18,075 RINEHART, John McLain, 1937- IVES' COMPOSITIONAL IDIOMS: AN INVESTIGATION OF SELECTED SHORT COMPOSITIONS AS MICROCOSMS' OF HIS MUSICAL LANGUAGE. The Ohio State University, Ph.D., 1970 Music University Microiilms, A XERQ\Company, Ann Arbor, Michigan © Copyright by John McLain Rinehart 1971 tutc nTccrSTATmil HAS fiEEM MICROFILMED EXACTLY AS RECEIVED IVES' COMPOSITIONAL IDIOMS: AM IMVESTIOAT10M OF SELECTED SHORT COMPOSITIONS AS MICROCOSMS OF HIS MUSICAL LANGUAGE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy 3n the Graduate School of The Ohio State University £ JohnfRinehart, A.B., M«M. # # * -k * * # The Ohio State University 1970 Approved by .s* ' ( y ^MrrXfOor School of Music ACm.WTji.D0F,:4ENTS Grateful acknov/ledgement is made to the library of the Yale School of Music for permission to make use of manuscript materials from the Ives Collection, I further vrish to express gratitude to Professor IJoman Phelps, whose wise counsel and keen awareness of music theory have guided me in thi3 project. Finally, I wish to acknowledge my wife, Jennifer, without whose patience and expertise this project would never have come to fruition. it VITA March 17, 1937 • ••••• Dorn - Pittsburgh, Pennsylvania 1959 • • • • • .......... A#B#, Kent State University, Kent, Ohio 1960-1963 . * ........... Instructor, Cleveland Institute of Music, Cleveland, Ohio 1 9 6 1 ................ • • • M.M., Cleveland Institute of ITu3ic, Cleveland, Ohio 1963-1970 .......... • • • Associate Professor of Music, Heidelberg College, Tiffin, Ohio PUBLICATIONS Credo, for unaccompanied chorus# New York: Plymouth Music Company, 1969. FIELDS OF STUDY Major Field: Theory and Composition Studies in Theory# Professor Norman Phelps Studies in Musicology# Professors Richard Hoppin and Lee Rigsby ill TAPLE OF CC NTEKTS A C KI JO WLE DGEME MT S ............................................... -
Music Studies (MUS) 1
Music Studies (MUS) 1 MUS 135 Musicology Research 3 MUSIC STUDIES (MUS) Introduction to the basic tools of musicological inquiry, including music vocabulary, reading in the discipline, basic library research, and MUS 100 Fundamentals of Western European Music Theory 2 expository writing; cultural awareness; attentive listening to Western and Fundamentals of the notation and underlying concepts of Western global music. European art music and related traditions, including staves, clefs & MAC: MAC CritThink Hum and Fine Art pitches, rhythm & meter, major & minor scales, key signatures, intervals, Notes: Open to all University students. and triads. MUS 201 Analysis of Western European Music and Related Traditions III MUS 101 Analysis of Western European Music and Related Traditions I 3 3 Elements of Western European art music and related traditions, including Advanced study of Western European art music and related traditions, rhythm & meter, species counterpoint, figured bass, triads, and seventh including modulation, modal mixture, Neapolitan, and augmented-sixth chords; introduction to part writing, diatonic harmonic progression, chords; introduction to small forms, including binary, ternary, variations, phrases, and cadences. Intended to be taken with MUS 105. and vocal forms. Intended to be taken with MUS 205. Prerequisites: Passing score on the music fundamentals exam or Prerequisites: MUS 102 and MUS 106 or permission of instructor. successful completion of MUS 100. Music major or music minor. MUS 202 Analysis of Western European Music -
Music Appreciation April 23, 2020
Music Virtual Learning Music Appreciation April 23, 2020 Music Appreciation Lesson: April 23, 2020 Objective/Learning Target: Students will learn about the romantic era composers and their contributions to classical music. Bell Work Painting by Casper David Friedrich, Wanderer above the Sea of Fog. Take a look at this painting & think about what you have learned about the romantic era: Write about two emotions you see expressed in this famous painting? In what ways has the artist expressed those emotions? ● Romanticism encouraged artists to seek individual paths of expressing emotions. ● Romantics valued nature, the supernatural, myths, realm beyond the everyday, and national pride. ● Political and economic events impacted the way composers wrote music and artists expressed their emotions. Lesson Franz Lizst Franz Liszt ● Born: 1811 ● Hungarian composer ● Virtuoso at playing and composing ● Credited with the creation of the symphonic poem- an extended single movement work for orchestra inspired by paintings, plays, poems or other literary or visual works expressed through music. ● Famous works: Rhapsody no. 2 & La Campanella Feliz Mendelossohn Felix Mendelossohn ● Born in Germany: 1809 ● Child prodigy ● Composed the incidental music for Shakespeare’s play “A Midsummer Night’s Dream.” ● Was also inspired to compose through his travels. ● Notable pieces: Scherzo from “A Midsummer Night’s Dream” and the Fingal’s Cave Overture, also known as the Hebrides, in reference to the rocky coast and ancient caverns of Scotland. Robert Schumann Robert Schumann ● Born: 1810 ● Focused on one genre of composing at a time. Piano was his first and most prolific. ● Married Clara Wieck, daughter of his first music teacher ● Promoted the music of Chopin, Berlioz and Brahms-all were close friends. -
Superimposed Subdivisions (Polyrhythm Hell) [Sallan Tarkistama]
HEIKKI MALMBERG Superimposed Subdivisions (Polyrhythm Hell) Polyrhythms or Polymeters? Usually when musicians talk about polyrhythms, they refer to rhythmic structures that are made of two or more simultaneous time signatures, in which the secondary (superimposed) time signature basically revolves around the dominant time signature. I suggest that we use the term polymeter in such cases, and use the term polyrhythm solely in situations where there are two or more subdivisions happening in the same time interval (e.g. eight note triplets over sixteenth notes). Here’s a simple example of a polymeter where the bass drum plays in 5/16 while the hands keep common (4/4) time. 3 3 3 3 5 5 5 5 5 5 3 5 5 5 5 And here’s a not so simple example of polyrhythms using eight notes, eight/quarter note triplets and sixteenth note quintuplets. So What Should I Do? In order to learn to play any two subdivisions against each other, or rather superimpose them if you will, you should get a reference of how they sound played simultaneously on one instrument (A good teacher and a sequencer are of paramount help here), and learn to phonetically mimic the result. You can make up halfwitted sentences or just blabber away with any foolish sounds that you come up with. as long as you’re mimicking the rhythm, it doesn’t matter. 3 3 3 3 or cold cup of tea blah bla da blah Here’s two subdivisions Here they have Here’s their daily dialog after waiting to get married. -
Musical Conception, Para-Musical Events and Stage Performance in Jani Christou’S Strychnine Lady (1967)
Musical conception, para-musical events and stage performance in Jani Christou’s Strychnine Lady (1967) Giorgos Sakallieros Department of Music Studies, Aristotle University of Thessaloniki, Greece [email protected] Konstantinos Kyriakos Department of Theatre Studies, University of Patras, Greece [email protected] Proceedings of the fourth Conference on Interdisciplinary Musicology (CIM08) Thessaloniki, Greece, 3-6 July 2008, http://web.auth.gr/cim08/ Background in music analysis. Jani Christou (1926-1970) was a eminent Greek avant-garde composer who expanded the traditional aesthetics of musical conception, as well as of concert and stage performance, to a whole new art-form that involved music, philosophy, psychology, mythical archetypes, and dramatic setting. His ideals and envisagements, constantly evolving from the late 1950s, are profoundly denoted in his late works, created between 1965-1968 (Mysterion, Anaparastasis I – III, Epicycle, Strychnine Lady). These works, originally conceived as ‘stage rituals’, include instrumental performance, singing, acting, dance, tape and visual effects, and thus combine musical and para-musical events and gestures. Background in theatre studies. From the early 1960s music theatre comprised a major field of avant-garde composition in which spectacle and dramatic impact were emphasized over purely musical factors. Avant-garde performance trends and media, such as Fluxus or happenings, had a significant impact on several post-war composers both in Europe and North America (i.e. Cage, Ligeti, Berio, Nono, Kagel, Henze, Stockhausen, Birtwistle and Maxwell Davies), which led to the establishment and flourish of the experimental music theatre during the 1960s and 1970s. The use of new dramatic and musical means combined elements of song, dance, mimic, acting, tape, video and visual effects which could be tailored to a wide range of performing spaces. -
Study Guide for State Certification for Sdmta
STUDY GUIDE FOR STATE CERTIFICATION FOR SDMTA Be able to define the following terms: rit, accelerando, molto, poco, fermata, dolce, la melodia, simile, chromatic, cantabile, misterioso, leggiero, presto, adagio, subito, scherzando, vivace, tenuto, senza, con brio, semplice, alla marcia, submediant, leading tone, super tonic, tritone, dominant, bouree, ecossaise, musette, quadrille, rondo, giocoso, clavichord, harpsichord, primo, secondo, etc. Be able to identify perfect, major, minor, augmented, and dimished intervals. Be able to identify the following chords: major, minor, diminished, augmented, dominant 7 th , minor 7 th , half diminished, neopolitan 6 th , tone cluster Be able to write the following scales: major, minor (3 forms), pentatonic, whole tone, chromatic Be able to write the following modes: dorian, phrygian, lydian, mixolydian, locrian Be able to identify key signatures and analyze bass chords Have an understanding of the following: orchestral music, symphony music, sonata, opus, number, oratorio, opera Describe the following cadences: authentic, plagal, half, deceptive Describe 3 methods of modulation List the 4 main periods of music history and give their dates; give characteristics of each style; be able to name 3 composers in each Know which period the following forms and styles were prominent: dance suite, waltz, fugue, mazurka, sonata allegro form, polytonality, canon, etude, modal, tone clusters, inventions, rondo, polyphonic, tone row, dissonance, whole tone scales, describing nature, alberti bass, homophonic, jazz -
Comprehensive Course Syllabus Music Appreciation
Comprehensive Course Syllabus Music Appreciation Course Description: In Music Appreciation, students will recognize the development of music from a historical and cultural perspective. Students will study the fundamentals of music and discover basic music terminology, instrument families, tempo, rhythm, form and meter. These elements will then be used throughout the course as a foundation for discussion of music throughout history. Eras covered will include Medieval, Renaissance, Baroque, Classical, Romantic and a variety of 20th century genres. Students will gain an understanding of the context in which music was created by recognizing and aurally identifying style characteristics, genres, and representative masterworks from various periods. INSTRUCTOR: Lara Brink OFFICE: D105 OFFICE HOURS: C: 10:00am-11:00am I: 2:00pm-3:00pm Also available by Appointment CONTACT INFORMATION: Office Phone: 630-907-5915 E-mail: [email protected] MEETING TIMES: A-B, D (3) MEETING ROOM: D110 TEXTS/MATERIALS: • Katherine Charlton, Experience Music, 5th Edition (textbook) • Laptop/Tablet • Notebook • Pencil • Headphones (when needed) Essential Content: Through listening and analysis along with researching the historical and cultural contexts of music from different eras in Music Appreciation, students will develop their aesthetic awareness and skills. Through interpreting the reason for creation of various masterworks and analyzing various interpretations (different versions and performances of works) they will develop musical proficiency. The essential content in this course will include aspects of each of the five overarching Fine Arts Learning Standards: Creation and Creativity 1. Aesthetics Through Critical Listening and Analysis, students will come to appreciate the different building blocks that create music. They will recognize trends throughout the history of music. -
Nationalism, Primitivism, & Neoclassicism
Nationalism, Primitivism, & Neoclassicism" Igor Stravinsky (1882-1971)! Biographical sketch:! §" Born in St. Petersburg, Russia.! §" Studied composition with “Mighty Russian Five” composer Nicolai Rimsky-Korsakov.! §" Emigrated to Switzerland (1910) and France (1920) before settling in the United States during WW II (1939). ! §" Along with Arnold Schönberg, generally considered the most important composer of the first half or the 20th century.! §" Works generally divided into three style periods:! •" “Russian” Period (c.1907-1918), including “primitivist” works! •" Neoclassical Period (c.1922-1952)! •" Serialist Period (c.1952-1971)! §" Died in New York City in 1971.! Pablo Picasso: Portrait of Igor Stravinsky (1920)! Ballets Russes" History:! §" Founded in 1909 by impresario Serge Diaghilev.! §" The original company was active until Diaghilev’s death in 1929.! §" In addition to choreographing works by established composers (Tschaikowsky, Rimsky- Korsakov, Borodin, Schumann), commissioned important new works by Debussy, Satie, Ravel, Prokofiev, Poulenc, and Stravinsky.! §" Stravinsky composed three of his most famous and important works for the Ballets Russes: L’Oiseau de Feu (Firebird, 1910), Petrouchka (1911), and Le Sacre du Printemps (The Rite of Spring, 1913).! §" Flamboyant dancer/choreographer Vaclav Nijinsky was an important collaborator during the early years of the troupe.! ! Serge Diaghilev (1872-1929) ! Ballets Russes" Serge Diaghilev and Igor Stravinsky.! Stravinsky with Vaclav Nijinsky as Petrouchka (Paris, 1911).! Ballets -
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Teresa de Lauretis Futurism: A Postmodern View* The importance of Modernism and of the artistic movements of the first twenty or so years of this century need not be stressed. It is now widely acknowledged that the "historical avant-garde" was the crucible for most of the art forms and theories of art that made up the contemporary esthetic climate. This is evidenced, more than by the recently coined academic terms "neoavanguardia" and "postmodernism," 1 by objective trends in the culture of the last two decades: the demand for closer ties between artistic perfor- mance and real-life interaction, which presupposes a view of art as social communicative behavior; the antitraditionalist thrust toward interdisciplinary or even non-disciplinary academic curri- cula; the experimental character of all artistic production; the increased awareness of the material qualities of art and its depen- dence on physical and technological possibilities, on the one hand; on the other, its dependence on social conventions or semiotic codes that can be exposed, broken, rearranged, transformed. I think we can agree that the multi-directional thrust of the arts and their expansion to the social and the pragmatic domain, the attempts to break down distinctions between highbrow and popular art, the widening of the esthetic sphere to encompass an unprecedented range of phenomena, the sense of fast, continual movement in the culture, of rapid obsolescence and a potential transformability of forms are issues characteristic of our time. Many were already implicit, often explicit, in the project of the historical avant-garde. But whereas this connection has been established and pursued for Surrealism and Dada, for example, Italian Futurism has remained rather peripheral in the current reassessment; indeed one could say that it has been marginalized and effectively ignored. -
INFORMATION to USERS This Manuscript Has Been Reproduced
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 313/761-4700 800/521-0600 THE COMPLETED SYMPHONIC COMPOSITIONS OF ALEXANDER ZEMLINSKY DISSERTATION Volume I Presented in Partial Fulfillment of the Requirement for the Degree Doctor of Philosophy In the Graduate School of The Ohio State University By Robert L. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Performing Percussion in an Electronic World: An Exploration of Electroacoustic Music with a Focus on Stockhausen's Mikrophonie I and Saariaho's Six Japanese Gardens Permalink https://escholarship.org/uc/item/9b10838z Author Keelaghan, Nikolaus Adrian Publication Date 2016 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Performing Percussion in an Electronic World: An Exploration of Electroacoustic Music with a Focus on Stockhausen‘s Mikrophonie I and Saariaho‘s Six Japanese Gardens A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Musical Arts by Nikolaus Adrian Keelaghan 2016 © Copyright by Nikolaus Adrian Keelaghan 2016 ABSTRACT OF THE DISSERTATION Performing Percussion in an Electronic World: An Exploration of Electroacoustic Music with a Focus on Stockhausen‘s Mikrophonie I and Saariaho‘s Six Japanese Gardens by Nikolaus Adrian Keelaghan Doctor of Musical Arts University of California, Los Angeles, 2016 Professor Robert Winter, Chair The origins of electroacoustic music are rooted in a long-standing tradition of non-human music making, dating back centuries to the inventions of automaton creators. The technological boom during and following the Second World War provided composers with a new wave of electronic devices that put a wealth of new, truly twentieth-century sounds at their disposal. Percussionists, by virtue of their longstanding relationship to new sounds and their ability to decipher complex parts for a bewildering variety of instruments, have been a favored recipient of what has become known as electroacoustic music. -
Topics in Mathematics: Math and Music CD #1: Rhythm
Topics in Mathematics: Math and Music CD #1: Rhythm This CD illustrates the importance of rhythm in music by featuring many different styles of music (classical, rock, jazz, merengue, Cuban, Indian, African) as well as many different time signatures (e.g., 2 3 4 5 7 6 4; 4; 4; 4; 4; 8; cut time). In addition, some polyrhythmic music (multiple rhythms played simultane- ously) is included along with music featuring the clave timeline discussed in class. This CD is designed to accompany Chapter 1 of From Music to Mathematics: Exploring the Connections. As you listen to each piece, try to hear the different time signatures in the music. It is particularly 3 6 useful to distinguish between similar meters such as 4 versus 8. Excerpts from many of the pieces below are included in Chapter 1. Try and follow the music as you listen. This helps solidify your understanding and is an excellent way to learn to read music. 1. John Philip Sousa, The Stars and Stripes Forever, 1896. Track 58 on a CD compiled by Wynton Marsalis titled Music Examples to Accompany Marsalis on Music, Sony Classical. This piece is in 2 cut time (C with a vertical slash through the middle), which is equivalent to a 2 meter. Incidentally, this is the official march of the USA. 2. Pyotr Ilyich Tchaikovsky, The Nutcracker Suite: Russian Dance, Op. 71A, 1892. Track 6 from 2 the Fantasia Motion Picture Soundtrack, the Walt Disney Company. This lively dance in 4 time accelerates to a climactic finish. Notice Tchaikovsky's use of the tambourine.