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TITLE Integrating Technology Jnto the K-12 Music Curriculum. INSTITUTION Washington Office of the State Superintendent of Public Instruction, Olympia
DOCUMENT RESUME SO 022 027 ED 343 837 the K-12 Music TITLE Integrating Technology Jnto Curriculum. State Superintendent of INSTITUTION Washington Office of the Public Instruction, Olympia. PUB DATE Jun 90 NOTE 247p. PUB TYPE Guides - Non-Classroom Use(055) EDRS PRICE MF01/PC10 Plus Postage. *Computer Software; DESCRIPTORS Computer Assisted Instruction; Computer Uses in Education;Curriculum Development; Educational Resources;*Educational Technology; Elementary Secondary Education;*Music Education; *State Curriculum Guides;Student Educational Objectives Interface; *Washington IDENTIFIERS *Musical Instrument Digital ABSTRACT This guide is intended toprovide resources for The focus of integrating technologyinto the K-12 music curriculum. (Musical the guide is on computersoftware and the use of MIDI The guide gives Instrument DigitalInterface) in the music classroom. that integrate two examples ofcommercially available curricula on the technology as well as lessonplans that incorporate technology and music subjects of music fundamentals,aural literacy composition, concerning history. The guide providesERIC listings and literature containing information computer assistedinstruction. Ten appendices including lists of on music-relatedtechnology are provided, MIDI equipment software, softwarepublishers, books and videos, manufacturers, and book andperiodical pu'lishers. (DB) *********************************************************************** Reproductions supplied by EDRS arethe best that can be made from the original document. *************************,.********************************************* -
Tools for Digital Audio Recording in Qualitative Research
Sociology at Surrey University of Surrey social researchUPDATE • The technology needed to make digital recordings of interviews and meetings for the purpose of qualitative research is described. • The advantages of using digital audio technology are outlined. • The technical background needed to make an informed choice of technology is summarised. • The Update concludes with brief evaluations of the types of audio recorder currently available. Tools for Digital Audio Recording in Qualitative Research Alan Stockdale In a recent book Michael Patton writes, “As a naïveté, can heighten the sense of “being Dr. Stockdaleʼs training is in good hammer is essential to fine carpentry, there”. For discussion of the naturalization cultural anthropology. He is a a good tape recorder is indispensable to of audio recordings in qualitative research, senior research associate at fine fieldwork” (Patton 2002: 380). He see Ashmore and Reed (2000). Education Development Center goes on to cite an example of transcribers in Boston, Massachusetts, at one university who estimated that 20% Why digital? of the tapes given to them “were so badly where he currently serves Audio Quality as an investigator on several recorded as to be impossible to transcribe The recording process used to make genetics education research accurately – or at all.” Surprisingly there analogue recordings using cassette tape is remarkably little discussion of tools and introduces noise, particularly tape hiss. projects funded by the U.S. techniques for recording interviews in the Noise can drown out softly spoken words National Institutes of Health. qualitative research literature (but see, for and makes transcription of normal speech example, Modaff and Modaff 2000). -
Zur Au Ührungspraxis Von Karlheinz Stockhausens Instrumentalem
Kunstuniversität Graz Institut 1 für Komposition, Dirigieren und Musiktheorie Künstlerische Masterarbeit Zur Auührungspraxis von Karlheinz Stockhausens instrumentalem Musiktheater dargestellt am Beispiel von HALT aus DONNERSTAG aus LICHT von Margarethe Maierhofer-Lischka künstlerische Betreuung: Uli Fussenegger wissenschaftliche Betreuung: Prof. Dr. Christian Utz Matrikelnr.: 1073168 Graz 17. Dezember 2012 Zahlreiche zeitgenössische Instrumentalwerke überschreiten die Grenzen zwischen In- strumentalmusik und Musiktheater und stellen damit die Interpret/innen vor neue An- forderungen. Das Werk Karlheinz Stockhausens, insbesondere sein Musiktheaterzyklus LICHT, stellt dafür im Musikschaen des 20. Jahrhunderts ein herausragendes Beispiel dar. Diese Arbeit dokumentiert die auührungspraktische Auseinandersetzung mit die- sem Werkkomplex. Anhand der Szene HALT aus DONNERSTAG aus LICHT, die letz- tes Jahr im Rahmen eines künstlerischen Forschungsprojekts einstudiert und aufgeführt wurde, wird ein Einblick in Stockhausens ästhetische und musiktheatralische Konzepte vermittelt. Inhaltliche Kriterien für die Entwicklung einer werktreuen Neuinterpretati- on werden genauso vorgestellt wie performative Aufgaben, denen Musiker/innen für die Arbeit an musikalisch-szenischen Werken gewachsen sein müssen. Many contemporary instrumental works are crossing the borders between instrumental music and music theatre, thus imposing new challenges to their interpreters. One import- ant example for such an interdisciplinary body of works contained in the 20th -
How to Tape-Record Primate Vocalisations Version June 2001
How To Tape-Record Primate Vocalisations Version June 2001 Thomas Geissmann Institute of Zoology, Tierärztliche Hochschule Hannover, D-30559 Hannover, Germany E-mail: [email protected] Key Words: Sound, vocalisation, song, call, tape-recorder, microphone Clarence R. Carpenter at Doi Dao (north of Chiengmai, Thailand) in 1937, with the parabolic reflector which was used for making the first sound- recordings of wild gibbons (from Carpenter, 1940, p. 26). Introduction Ornithologists have been exploring the possibilities and the methodology of tape- recording and archiving animal sounds for many decades. Primatologists, however, have only recently become aware that tape-recordings of primate sound may be just as valuable as traditional scientific specimens such as skins or skeletons, and should be preserved for posterity. Audio recordings should be fully documented, archived and curated to ensure proper care and accessibility. As natural populations disappear, sound archives will become increasingly important. This is an introductory text on how to tape-record primate vocalisations. It provides some information on the advantages and disadvantages of various types of equipment, and gives some tips for better recordings of primate vocalizations, both in the field and in the zoo. Ornithologists studying bird sound have to deal with very similar problems, and their introductory texts are recommended for further study (e.g. Budney & Grotke 1997; © Thomas Geissmann Geissmann: How to Tape-Record Primate Vocalisations 2 Kroodsman et al. 1996). For further information see also the websites listed at the end of this article. As a rule, prices for sound equipment go up over the years. Prices for equipment discussed below are in US$ and should only be used as very rough estimates. -
Report to the Friends of Music
Summer, 2020 Dear Friends of the Music Department, The 2019-20 academic year has been like no other. After a vibrant fall semester featur- ing two concerts by the Parker Quartet, the opening of the innovative Harvard ArtLab featuring performances by our faculty and students, an exciting array of courses and our inaugural department-wide throwdown–an informal sharing of performance projects by students and faculty–we began the second semester with great optimism. Meredith Monk arrived for her Fromm Professorship, Pedro Memelsdorff came to work with the Univer- sity Choir as the Christoph Wolff Scholar, Esperanza Spalding and Carolyn Abbate began co-teaching an opera development workshop about Wayne Shorter’s Iphigenia, and Vijay Iyer planned a spectacular set of Fromm Players concerts and a symposium called Black Speculative Musicalities. And then the world changed. Harvard announced on March 10, 2020 that due to COVID-19, virtual teaching would begin after spring break and the undergraduates were being sent home. We had to can- cel all subsequent spring events and radically revise our teaching by learning to conduct classes over Zoom. Our faculty, staff, and students pulled together admirably to address the changed landscape. The opera workshop (Music 187r) continued virtually; students in Vijay Iyer’s Advanced Ensemble Workshop (Music 171) created an album of original mu- sic, “Mixtape,” that is available on Bandcamp; Meredith Monk created a video of students in her choral class performing her work in progress, Fields/Clouds, and Andy Clark created an incredible performance of the Harvard Choruses for virtual graduation that involved a complicated process of additive recording over Zoom. -
Klsp2018iema Broschuere.Indd
KLANGSPUREN SCHWAZ INTERNATIONAL ENSEMBLE MODERN ACADEMY IN TIROL. REBECCA SAUNDERS COMPOSER IN RESIDENCE. 15TH EDITION 29.08. – 09.09.2018 KLANGSPUREN INTERNATIONAL ENSEMBLE MODERN ACADEMY 2018 KLANGSPUREN SCHWAZ is celebrating its 25th anniversary in 2018. The annual Tyrolean festival of contemporary music provides a stage for performances, encounters, and for the exploration and exchange of new musical ideas. With a different thematic focus each year, KLANGSPUREN aims to present a survey of the fascinating, diverse panorama that the music of our time boasts. KLANGSPUREN values open discourse, participation, and partnership and actively seeks encounters with locals as well as visitors from abroad. The entire beautiful region of Tyrol unfolds as the festival’s playground, where the most cutting-edge and modern forms of music as well as many young composers and musicians are presented. On the occasion of its own milestone anniversary – among other anniversaries that KLANGSPUREN SCHWAZ 2018 will be celebrating this year – the 25th edition of the festival has chosen the motto „Festivities. Places.“ (in German: „Feste. Orte.“). The program emphasizes projects and works that focus on aspects of celebrations, festivities, rituals, and events and have a specific reference to place and situation. KLANGSPUREN INTERNATIONAL ENSEMBLE MODERN ACADEMY is celebrating its 15th anniversary. The Academy is an offshoot of the renowned International Ensemble Modern Academy (IEMA) in Frankfurt and was founded in the same year as IEMA, in 2003. The Academy is central to KLANGSPUREN and has developed into one of the most successful projects of the Tyrolean festival for new music. The high standards of the Academy are vouched for by prominent figures who have acted as Composers in Residence: György Kurtág, Helmut Lachenmann, Steve Reich, Benedict Mason, Michael Gielen, Wolfgang Rihm, Martin Matalon, Johannes Maria Staud, Heinz Holliger, George Benjamin, Unsuk Chin, Hans Zender, Hans Abrahamsen, Wolfgang Mitterer, Beat Furrer, Enno Poppe, and most recently in 2017, Sofia Gubaidulina. -
Marvin Gaye As Vocal Composer 63 Andrew Flory
Sounding Out Pop Analytical Essays in Popular Music Edited by Mark Spicer and John Covach The University of Michigan Press • Ann Arbor Copyright © by the University of Michigan 2010 All rights reserved Published in the United States of America by The University of Michigan Press Manufactured in the United States of America c Printed on acid-free paper 2013 2012 2011 2010 4321 No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, or otherwise, without the written permission of the publisher. A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data Sounding out pop : analytical essays in popular music / edited by Mark Spicer and John Covach. p. cm. — (Tracking pop) Includes index. ISBN 978-0-472-11505-1 (cloth : alk. paper) — ISBN 978-0-472-03400-0 (pbk. : alk. paper) 1. Popular music—History and criticism. 2. Popular music— Analysis, appreciation. I. Spicer, Mark Stuart. II. Covach, John Rudolph. ML3470.S635 2010 781.64—dc22 2009050341 Contents Preface vii Acknowledgments xi 1 Leiber and Stoller, the Coasters, and the “Dramatic AABA” Form 1 john covach 2 “Only the Lonely” Roy Orbison’s Sweet West Texas Style 18 albin zak 3 Ego and Alter Ego Artistic Interaction between Bob Dylan and Roger McGuinn 42 james grier 4 Marvin Gaye as Vocal Composer 63 andrew flory 5 A Study of Maximally Smooth Voice Leading in the Mid-1970s Music of Genesis 99 kevin holm-hudson 6 “Reggatta de Blanc” Analyzing -
Musical Intelligences and Human Instruments in Science Fiction and Film
SINGING MACHINES: MUSICAL INTELLIGENCES AND HUMAN INSTRUMENTS IN SCIENCE FICTION AND FILM by Nicholas Christian Laudadio October 8, 2004 A dissertation submitted to the Faculty of the Graduate School of The State University of New York at Buffalo in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of English Copyright by Nicholas Christian Laudadio 2004 ii Sincerely felt and appropriately formatted thanks to: My committee members: Joseph Conte (director), James Bono, James Bunn (with tremendous help along the way from Charles Bernstein and Chip Delaney) My outside reader: Bernadette Wegenstein My parents And most certainly to Meghan Sweeney, without whom all goes poof, &c. iii TABLE OF CONTENTS INTRODUCTION Setting the Mood Organ: An Introduction 1 CHAPTER ONE The Song of Last Words: Kubrick’s 2001 and the Acoustic Moment of Disconnection 13 CHAPTER TWO Just Like So But Isn’t: Listening AIs, Recursive Disconnection, and Richard Powers’s Galatea 2.2 56 CHAPTER THREE Instrumentes of Musyk: An Organological Approach to Lloyd Biggle Jr.’s “The Tunesmith” 93 CHAPTER FOUR What Dreams Sound Like: Forbidden Planet and a Material History of the Electronic Musical Instrument 135 WORKS CITED 179 iv ILLUSTRATIONS Figure 1: Frank Poole Jogging in the Ship from Stanley Kubrick’s 2001: A Space Odyssey 22 Figure 2: Frank and Dave Discuss HAL’s Fate from Stanley Kubrick’s 2001: A Space Odyssey 41 Figure 3: HAL Disconnected from Stanley Kubrick’s 2001: A Space Odyssey 47 Figure 4: “The Organist and His Wife” by Israel Van Meckenem 94 Figure 5: The Telharmonium from “120 Years of Electronic Musical Instruments” 145 Figure 6: Clara Rockmore 151 Figure 7: Raymond Scott and his Family from Gert-Jan Blom’s Manhattan Research, Inc. -
Transpopular Spaces: Gypsy Imagineries in the Work of Van
Fecha de recepción: 1 septiembre 2019 Fecha de aceptación: 4 octubre 2019 Fecha de publicación: 9 febrero 2020 URL: https://oceanide.es/index.php/012020/article/view/39/182 Oceánide número 13, ISSN 1989-6328 DOI: https://doi.org/10.37668/oceanide.v13i.39 Dr. Eduardo Barros Grela Universidade da Coruña, España ORCID: https://orcid.org/0000-0002-7533-5580 Dra. María Bobadilla Pérez Universidade da Coruña, España ORCID: https://orcid.org/ 0000-0002-4972-5980 Transpopular Spaces: Gypsy Imageries in the Work of Van Morrison Resumen La obra del autor norirlandés Van Morrison ha pasado relativamente desapercibida por la crítica a pesar de los numerosos elementos sociales, literarios y artísticos que presenta. Entre ellos se encuentra la representación de la figura del gitano como modelo de actuación para unas generaciones de oyentes a quienes les preocupaba el aspecto cultural a la contra, así como los modelos de vida alternativos a los legitimados por la clase media de la época. El objetivo de este estudio es analizar el componente romantizado que se presenta en la obra de Morrison alrededor de su representación del gitanismo, así como observar cómo esos elementos generan primero una función deontologizante y después una resignificación de los espacios en tránsito ocupados por la(s) imaginación(es) de esta comunidad como pueblo nómada. Para llevar a cabo el análisis se atenderá a varias canciones de la primera época del autor norirlandés, y se explicarán las funciones de representación del gitano en el entorno del espacio y de una epistemología contracultural. Palabras clave: Van Morrison; espacio; gitanos; contracultura; música Abstract The work of Northern Irish singer-songwriter Van Morrison has gone relatively unnoticed by critics despite the numerous social, literary and artistic elements included in his songs. -
The Trumpet As a Voice of Americana in the Americanist Music of Gershwin, Copland, and Bernstein
THE TRUMPET AS A VOICE OF AMERICANA IN THE AMERICANIST MUSIC OF GERSHWIN, COPLAND, AND BERNSTEIN DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Amanda Kriska Bekeny, M.M. * * * * * The Ohio State University 2005 Dissertation Committee: Approved by Professor Timothy Leasure, Adviser Professor Charles Waddell _________________________ Dr. Margarita Ophee-Mazo Adviser School of Music ABSTRACT The turn of the century in American music was marked by a surge of composers writing music depicting an “American” character, via illustration of American scenes and reflections on Americans’ activities. In an effort to set American music apart from the mature and established European styles, American composers of the twentieth century wrote distinctive music reflecting the unique culture of their country. In particular, the trumpet is a prominent voice in this music. The purpose of this study is to identify the significance of the trumpet in the music of three renowned twentieth-century American composers. This document examines the “compositional” and “conceptual” Americanisms present in the music of George Gershwin, Aaron Copland, and Leonard Bernstein, focusing on the use of the trumpet as a voice depicting the compositional Americanisms of each composer. The versatility of its timbre allows the trumpet to stand out in a variety of contexts: it is heroic during lyrical, expressive passages; brilliant during festive, celebratory sections; and rhythmic during percussive statements. In addition, it is a lead jazz voice in much of this music. As a dominant voice in a variety of instances, the trumpet expresses the American character of each composer’s music. -
Technical Essays for Electronic Music Peter Elsea Fall 2002 Introduction
Technical Essays For Electronic Music Peter Elsea Fall 2002 Introduction....................................................................................................................... 2 The Propagation Of Sound .............................................................................................. 3 Acoustics For Music...................................................................................................... 10 The Numbers (and Initials) of Acoustics ...................................................................... 16 Hearing And Perception................................................................................................. 23 Taking The Waveform Apart ........................................................................................ 29 Some Basic Electronics................................................................................................. 34 Decibels And Dynamic Range ................................................................................... 39 Analog Sound Processors ............................................................................................... 43 The Analog Synthesizer............................................................................................... 50 Sampled Sound Processors............................................................................................. 56 An Overview of Computer Music.................................................................................. 62 The Mathematics Of Electronic Music ........................................................................ -
FOR IMMEDIATE RELEASE June 23, 2016 CONTACT: Ren Mitchell 832-314-9994 [email protected]
FOR IMMEDIATE RELEASE June 23, 2016 CONTACT: Ren Mitchell 832-314-9994 [email protected] Karen Stokes Dance presents DEEP: Seaspace at Zilkha Hall, Hobby Center for Performing Arts HOUSTON, TX: Karen Stokes Dance presents “DEEP: Seaspace” October 20-22, 2016 at 8:00pm at the Hobby Center for Performing Arts, Zilkha Hall. “DEEP: Seaspace” is the culminating performance of a multi-year initiative inspired by the history and landmarks of the City of Houston. With an original score by composer Bill Ryan played live by nationally recognized musicians, the evening length live performance will explore Houston for two if its defining industries: sea and space. “DEEP: Seaspace” fuses history, landscape, dance, and music through the lens of two iconic Houston enterprises: The Houston Ship Channel and NASA. While Sea speaks to the pioneering spirit of the founding of Houston along the banks of Buffalo Bayou and the formation of the Houston Ship Channel, Space is inspired by Houston’s stronghold in space exploration and human achievement. Celebrating Houston's unique heritage and Texas’ pioneering spirit, “DEEP: Seaspace” investigates the core of human progress, the fundamental spirit of Houston, and the desire to understand the unknown to forge a better tomorrow. In “DEEP: Seaspace,” Stokes explores “launching” and “landing” through a unique blend of quirky and innovative choreographic styles that has become the trademark of her 20 years of work in contemporary dance. Stokes has received regional and national acclaim for her choreography including being name “Best Choreographer in Houston” in both 2014 and 2015 by the Houston Press. Nancy Wozny, of Texas Arts & Culture, wrote: “In Houston, it’s Karen Stokes who comes to mind as an artist tightly tied to Texas.