DOCSLIB.ORG

Percussion Syllabus

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Percussion Syllabus Table of Contents Message from the President . .4 RCM Examinations at Preface . .5 www.rcmexaminations.org . .5 SECTION 1 — GENERAL INFORMATION Application Forms . .6 ARCT Examinations . .9 Application Procedure and Deadlines . .6 Credits for Musicianship . .10 Examination Schedules . .6 Certificates and Diplomas . .10 Examination Centres . .7 Secondary School Music Credits . .11 Fee Extensions and Refunds . .7 Registered Education Savings Plan (RESP) Examination Results . .8 Eligibility . .11 The Examiner’s Evaluation . .8 Gold and Silver Medals . .12 Theory Examinations: Prerequisites and Co-requisites . .8 SECTION 2 — EXAMINATION REQUIREMENTS Examination Repertoire . .13 Examination Procedures . .15 Da capo Signs and Repeats . .13 Instruments, Sticks, and Mallets . .15 Memory . .13 Music . .15 Syllabus Repertoire Lists . .13 Accompanists . .16 Editions . .13 Candidates with Special Needs . .16 Availability . .14 Table of Marks . .16 Anthologies and Collections . .14 Classification of Marks . .17 Orchestral Excerpts . .14 Supplemental Examinations . .17 Copyright and Photocopying . .14 Abbreviations . .19 Repertoire Substitutions . .14 Names of Publishers . .19 Substitutions from the Percussion Syllabus . .14 Other Abbreviations and Symbols . .20 Substitutions Requiring Approval . .15 Own Choice Substitutions . .15 SECTION 3 — PRACTICAL EXAMINATIONS Technical Requirements . .21 Grade 6 . .38 Rudiments . .22 Grade 8 . .43 Table of Rudiments by Grade . .25 Grade 9 . .49 Grade 1 . .26 Grade 10 . .55 Grade 2 . .29 Performer’s ARCT . .61 Grade 4 . .34 Teacher’s ARCT . .65 SECTION 4 — THEORY EXAMINATIONS Rudiments . .69 Music History . .70 Harmony, Keyboard Harmony, Musicianship . .70 Counterpoint, and Analysis . .69 Classification of Theory Marks . .70 SECTION 5 — BIBLIOGRAPHY General Resources . .71 Orchestral Excerpts . .74 Sight Reading and Ear Training . .71 Rudiments and Rhythm Dictionaries . .74 Official Examination Papers . .71 Reference and Pedagogy . .74 Reference Works . .71 Associations and Websites . .75 Percussion Resources . .72 Sources of Percussion Music . .75 Snare Drum . .72 Drum Set . .73 Mallet Instruments . .73 Timpani . .73 THE SECOND CENTURY . .76 Message from the President The Royal Conservatory of Music was founded in 1886 with the idea that a single institution could bind the people of a nation together with the common thread of shared musical experience. More than a century later, The Royal Conservatory of Music has achieved this dream. The Royal Conservatory of Music is recognized in communities throughout North America for outstanding service to students, teachers, and parents, as well as a strict adherence to high academic standards through a variety of activities—teaching, examining, publishing, research, and community outreach. Students and teachers benefit from a curriculum based on more than a hundred years of commitment to the highest pedagogical objectives. The strength of the curriculum is reinforced by the distinguished College of Examiners—a group of fine musicians and teachers carefully selected from across Canada, the United States, and abroad for their demonstrated skill and professionalism. A rigorous examiner apprenticeship program combined with regular evaluation procedures ensures consistency and an examination experience of the highest quality for candidates. As you pursue your studies or teach others, you become not only an important partner with The Royal Conservatory of Music in the development of creativity, discipline, and goal setting, but also an active participant, experiencing the transcendent qualities of music itself. In a society where our day-to-day lives can become rote and routine, the human need to find self-fulfilment and to engage in creative activity has never been more necessary. Dr. Peter C. Simon President 4 Message from the President The Royal Conservatory of Music Preface The 2005 edition of the Percussion Syllabus represents the work of dedicated teachers, performers, and examiners whose assistance is here gratefully acknowledged. This Syllabus replaces all previous percussion syllabi, and forms the official requirements of The Royal Conservatory of Music for percussion examinations conducted by RCM Examinations. The RCM Examinations Certificate Program for percussion consists of eight levels: seven graded levels (Grades 1, 2, 4, 6, 8, 9, 10), and an Associate of The Royal Conservatory of Music (ARCT) diploma. Each level represents a stepping-stone established as a logical assessment point for a developing musician. Five levels of theory examinations described in the current RCM Theory Syllabus are designed to complement practical studies and to ensure a comprehensive knowledge and understanding of various aspects of theory. Required theory examinations begin at the Grade 6 practical level and include the following subjects: rudiments, harmony, history, counterpoint, and analysis. RCM Examinations welcomes examination applications from all interested individuals. Applications are accepted by RCM Examinations on the understanding that candidates comply with the procedures and requirements outlined in this Syllabus . For more information, please visit our website at www.rcmexaminations.org or contact: RCM Examinations 5865 McLaughlin Road, Unit 4 Mississauga, Ontario Canada L5R 1B8 RCM Examinations at www.rcmexaminations.org Visit the RCM Examinations website for up-to-date information on the following topics: fees and dates for practical and theory examinations examination centres secondary school credit for music examinations RCM-authored publications the members of the RCM Examinations College of Examiners, with biographies the Music Matters newsletter for teachers A number of services are also available on-line, allowing candidates to: complete and submit Examination Application Forms verify the receipt of examination applications verify the time, date, and location of examinations look up current examination session results review scans of examiner’s comments for current examinations In addition, teachers can monitor key information about their studios, including: daily updates on students’ examination registrations exact dates and times of students’ examinations convenient one-page summaries of students’ results scanned copies of students’ practical examination marking forms unofficial transcripts of students’ complete examination histories Percussion Syllabus Preface 5 Section 1 – General Information APPLICATION FORMS Examination Application Forms are available at Examination fees are listed on the application form. www.rcmexaminations.org, at music retailers across Payment is accepted by cheque, money order, Canada, from the RCM Examinations Centre MasterCard, or VISA. Representative in your area, and from RCM • There are provisions for candidates with special Examinations. needs. For details, please contact RCM • A new examination application form is issued for Examinations. Inquiries must be received before the each academic year. Please use an application dated application deadline. for the current academic year (i.e., September 1 to • Candidates wishing to include a substitute selection August 31). on their examination should complete an • Complete a separate application for each practical Examination Substitute Piece Request Form and and theory examination. submit it before the application deadline. (For more • Each examination application must be information about substitute selections, see accompanied by the correct examination fee. “Repertoire Substitutions” on pp. 14–15.) Please note that an application may not be withdrawn after it has been received by RCM Examinations. APPLICATION PROCEDURE AND DEADLINES • Application deadlines are printed on the • Mailed applications postmarked after the deadline examination application form and are also available will not be accepted. at www.rcmexaminations.org. Deadlines generally • Please apply early to ensure a smooth registration . fall in early November for the winter session, in RCM Examinations cannot be responsible for delays early March for the spring session, and in early June in mail delivery. Incomplete or incorrect for the summer session. applications will be delayed and subject to a • Application forms may be completed and submitted processing fee. at www.rcmexaminations.org. Payment for on-line applications must be made on-line by MasterCard Please address written inquiries and application or VISA. forms to: • Application forms may also be submitted by fax. RCM Examinations Payment for faxed applications must be made by 5865 McLaughlin Road, Unit 4 MasterCard or VISA. Current RCM Examinations Mississauga, Ontario fax numbers are printed on the examination Canada L5R 1B8 application form. EXAMINATION SCHEDULES Examinations are typically held according to the Theory Examinations following approximate schedule: Winter: the second Friday and following Saturday in December Practical Examinations Spring: the second Friday and following Winter: two weeks mid-January Saturday in May Spring: first three weeks of June Summer: a Friday and following Saturday Summer: two weeks mid-August in mid -August 6 General Information The Royal Conservatory of Music EXAMINATION SCHEDULES continued Examination Timetables • If you know that you will be unable to attend your Individual examination schedules are available at examination, please contact your RCM www.rcmexaminations.org. Examinations Centre Representative immediately. • Check the information on your examination (The name of the RCM
Load more

Recommended publications
  • Dance Audition
    Bak Middle School of the Arts Basic Guidelines for Virtual Audition SY21-22 All auditions will be held using a Google Meet and may include the use of a Google Classroom. If you are not a public-school student, please create a Gmail account (Gmail email) for the audition. “Bak Middle School of the Arts will not be recording and does not provide consent to being recorded.” No person, including parent/guardian, is permitted in the room or in the Google Meet during the audition process. No professional studios may be used. If connection is lost during the audition, re-join the Google Meet and wait for further instructions. Communication Arts Audition The Bak MSOA Communication curriculum includes: creative writing, journalism, newspaper and yearbook publications, radio and television broadcasting, video production, marketing/advertising/public relations, digital media, and speech & debate. At the Virtual Audition, on Google Meet, students will complete the following tasks: 1. Writing- Students will have fifteen minutes to compose a front-page article, in the style of a newspaper, based on the content of a photo that will be provided during the audition. Paper and pencil(s) will be needed. Note: Adjudicators will assess the Writing Prompt based on creativity, fiction writing techniques, narrative content, focus, organization, vivid vocabulary, and supporting details. 2. Public Speaking- Students will verbally present a memorized one-minute, original speech, using the topic, “Describe a time when you learned a valuable lesson.” Note: Adjudicators will assess the prepared speech/public speaking based on organization; vocal expression- including speech clarity, volume and well-defined delivery style; gestures; facial expression; body language; enthusiasm; and recovery.
    [Show full text]
  • Journal of Primary Education Music Ensemble Learning in Extra
    Journal of Primary Education 8 (1) (2019) : 24 – 29 https://journal.unnes.ac.id/sju/index.php/jpe/article/view/24953 Music Ensemble Learning in Extra-Curricular Activities by Using Counting Methods Hendy Mahardhika1 , Hartono2 & Udi Utomo3 1 Public Elementary School 4 Godong, Grobogan, Jawa Tengah, Indonesia 2 Universitas Negeri Semarang, Indonesia Article Info Abstract ________________ ___________________________________________________________________ History Articles The objectives of the study is to explain the functions of counting methods used Received: in music ensemble lessons as extracurricular activities in an elementary school. July 2018 Accepted: This study applied a qualitative approach. This study took place in SDN 4 August 2018 (Public Elementary School 4) Godong, Grobogan, Central Java. The data of Published: study was collected using observations, interviews, and documentation April 2019 techniques. The data of the study was validated using triangulation points of ________________ resource and technique. The data was analyzed using data collection, reduction, Keywords: counting method, presentation and conclusion techniques. The result of the study shows that extracurricular, counting method is a method that a teacher can use to make ensemble music learning, easier for pupils to learn. In this method, the teacher uses counting symbols to music ensemble make it easier for pupils to learn the materials. The steps used are determining ____________________ songs, which will be played to know the bars of the song, to write the counting DOI and the symbols, to explain the meaning of each symbol, and to play the https://doi.org/10.15294 instruments while counting individually or in a band. The evaluation of /jpe.v8i1.24953 ensemble music learning was taken in a simple performance of the pupils.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 27,1907-1908, Trip
    NEW NATIONAL THEATRE, WASHINGTON Twenty-seventh Season, J907-J908 DR. KARL MUCK, Conductor Programme at % FOURTH MATINEE WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE TUESDAY AFTERNOON, FEBRUARY 18 AT 430 PRECISELY PUBLISHED BY C. A. ELLIS, MANAGER : ^^ Piano. Used and indorsed by Reisenauer, Neitzel, Burmeister, Gabrilowitsch, Nordica, Campanari, Bispham, and many other noted artists, will be used by TERESA CARRENO during her tour of the United States this season. The Everett piano has been played recently under the baton of the following famous conductors Theodore Thomas Franz Kneisel Dr. Karl Muck Fritz Scheel Walter Damrosch Frank Damrosch Frederick Stock F. Van Der Stucken Wassily Safonoff Emil Oberhoffer Wilhelm Gericke Emil Paur Felix Weingartner REPRESENTED BY THE JOHN CHURCH COMPANY, New York, Cincinnati, Chicago Boston Symphony Orchestra PERSONNEL TWENTY-SEVENTH SEASON, 1907-1908 Dr. KARL MUCK, Conductor First Violins. Wendling, Carl, Roth, O. Hoffmann, J. Krafft, W. Concert-master. Kuntz, D. Fiedler, E. Theodorowicz, J. Czerwonky, R. Mahn, F. Eichheim, H. Bak, A. Mullaly, J. Strabe, G. Rissland, K. Ribarsch, A. Traupe, W. i second Violins. Barleben, K. Akeroyd, J. Fiedler, B. Berger, H. Fiumara, P. Currier, F. Rennert, B. Eichler, J. Tischer-Zeitz, H Kuntz, A. Swornsbourne, W. Goldstein, S. Kurth, R. Goldstein, H. Violas. Fenr, E. Heindl, H. Zahn, F. Kolster, A. Krauss, H. Scheurer, K. Hoyer, H. Kluge, M. Sauer, G. Gietzen, A. Violoncellos. Warnke, H. Nagel, R. Barth, C. Loeffler, E. Heberlein, H. Keller, J. Kautzenbach, A. Nast, L. Hadley, A. Smalley, R. Basses. Keller, K. Agnesy, K. Seydel, T. Elkind, S. Gerhardt, G. Kunze, M.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 26,1906-1907, Trip
    INFANTRY HALL . PROVIDENCE Twenty-sixth Season, J906-J907 DR. KARL MUCK, Conductor fljrmjramm? nf % Third and Last Concert WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE THURSDAY EVENING, MARCH 7 AT 8.15 PRECISELY PUBLISHED BY C. A. ELLIS, MANAGER 1 \ OSSIP WITSGH the Russian Pianist will play in America this season with the Principal Orchestras, the Kneisel Quartet, the Boston Symphony Quartet, Leading Musical Organizations throughout the country, and in Recital CABRILOWITSCH will play only the PIANO Conrad Building, Westminster Street For particulars, terms, and dates of Gabrilowitsch, address HENRY L. MASON 492 Boylston Street, Boston 1 Boston Symphony Orchestra PERSONNEL TWENTY-SIXTH SEASON, 1906-1907 Dr. KARL MUCK, Conductor Willy Hess, Concertmeister, and the Members of the Orchestra in alphabetical order. Adamowski, J. Hampe, C. Moldauer, A. Adamowski, T. Heberlein, H. Mullaly, J. Akeroyd, J. Heindl, A. Muller, F. Heindl, H. Bak, A. Helleberg, J. Nagel, R. Bareither, G. Hess, M. Nast, L. Barleben, C. Hoffmann, J. Barth, C. Hoyer, H. Phair, J. Berger, H. Bower, H. Keller, J. Regestein, E. Brenton, H. Keller, K. Rettberg, A. Brooke, A. Kenfield, L. Rissland, K. Burkhardt, H. Kloepfel, L. Roth, O. Butler, H. Kluge, M. Kolster, A. Sadoni, P. Currier, F. Krafft, W. Sauer, G. Debuchy, A. Krauss, H. Sauerquell, J. Kuntz, A. Sautet, A. Dworak, J. Kuntz, D. Schuchmann, F. Eichheim, H. Kunze, M. Schuecker, H. Eichler, J. Kurth, R. Schumann, C. Elkind, S. Schurig, R. Lenom, C. Senia, T. Ferir, E. Loeffler, E. Seydel, T. Fiedler, B. Longy, G. Sokoloff, N. Fiedler, E. Lorbeer, H. Strube, G.
    [Show full text]
  • Conference Program Book
    B 1 Contents The Florida Music Educators’ Association 2012 Annual In-Service Clinic-Conference and All-State Concerts …a continuation of the association’s longstanding tradition of providing music education excellence. Outstanding clinicians, conductors, technical experts and industry vendors are instrumental to making this event Florida’s premier music education experi- ence for teachers, administrators, superb music students—from elementary school through post-secondary levels—and the parents, family members and boosters who chaperon and mentor our all-state students. Participants have a variety of opportunities to observe master conductors and teachers, to interact with renowned musicians and industry experts, to gather materials specific to classroom applications and to learn about those topics and issues foremost in the music excellence arena. All educational clinics and the general sessions include presenters and musical ensemble performances that are in keeping with the con- ference theme, “Uniting Music Education: Building Relationships.” Welcome......................................................................................................................... 1 Mini-Concerts.................................................................................................................28 President’s.Message.........................................................................................................2 All-State.Conductors.......................................................................................................32
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 25,1905-1906, Trip
    BAPTIST TEMPLE, BROOKLYN. BostonSumpIioiiy OicIiBstra WILHELM GERICKE, Conductor. Twenty-fifth Season, J905-W06. PROGRAMME OF THE SECOND CONCERT FRIDAY EVENING, DECEMBER 8, AT 8. J 5 PRECISELY. With Historical and Descriptive Notes by Philip Hale* Published by C. A. ELLIS, Manager* l HAROLD BAUER Now playing in America in all prominent cities, in recital and with important musical organizations, writes as follows of the ifeim&lfamlm PIANO Messrs. Mason & Hamlin, Boston. Gentlemen : In a former letter to you I expressed my delight and satisfaction with your magnifi- cent pianofortes, and I have once more to thank you and to admire your untiring efforts to attain an artistic ideal. Your latest model, equipped with the centripetal tension bars, has developed and intensified the qualities of its precursors and has surpassed my highest expectations. As you know, I have used these instruments under many different conditions, in recital, with orchestra, in small and in large halls, and their adaptability to all require- ments has equally astonished and delighted me. The tone is, as always, one of never- failing beauty, the action is wonderful in its delicacy and responsiveness, and I consider that, as an instrument for bringing into prominence the individual qualities of tone and touch of the player, the Mason & Hamlin piano stands absolutely pre-eminent. The vertical grand (style O) is the only instrument of its kind, as far as I am aware, capable of giving complete satisfaction to any one accustomed to play upon a grand, and I have no hesitation in saying that it is without exception the finest upright piano I have ever met with.
    [Show full text]
  • (EN) SYNONYMS, ALTERNATIVE TR Percussion Bells Abanangbweli
    FAMILY (EN) GROUP (EN) KEYWORD (EN) SYNONYMS, ALTERNATIVE TR Percussion Bells Abanangbweli Wind Accordions Accordion Strings Zithers Accord‐zither Percussion Drums Adufe Strings Musical bows Adungu Strings Zithers Aeolian harp Keyboard Organs Aeolian organ Wind Others Aerophone Percussion Bells Agogo Ogebe ; Ugebe Percussion Drums Agual Agwal Wind Trumpets Agwara Wind Oboes Alboka Albogon ; Albogue Wind Oboes Algaita Wind Flutes Algoja Algoza Wind Trumpets Alphorn Alpenhorn Wind Saxhorns Althorn Wind Saxhorns Alto bugle Wind Clarinets Alto clarinet Wind Oboes Alto crumhorn Wind Bassoons Alto dulcian Wind Bassoons Alto fagotto Wind Flugelhorns Alto flugelhorn Tenor horn Wind Flutes Alto flute Wind Saxhorns Alto horn Wind Bugles Alto keyed bugle Wind Ophicleides Alto ophicleide Wind Oboes Alto rothophone Wind Saxhorns Alto saxhorn Wind Saxophones Alto saxophone Wind Tubas Alto saxotromba Wind Oboes Alto shawm Wind Trombones Alto trombone Wind Trumpets Amakondere Percussion Bells Ambassa Wind Flutes Anata Tarca ; Tarka ; Taruma ; Turum Strings Lutes Angel lute Angelica Percussion Rattles Angklung Mechanical Mechanical Antiphonel Wind Saxhorns Antoniophone Percussion Metallophones / Steeldrums Anvil Percussion Rattles Anzona Percussion Bells Aporo Strings Zithers Appalchian dulcimer Strings Citterns Arch harp‐lute Strings Harps Arched harp Strings Citterns Archcittern Strings Lutes Archlute Strings Harps Ardin Wind Clarinets Arghul Argul ; Arghoul Strings Zithers Armandine Strings Zithers Arpanetta Strings Violoncellos Arpeggione Keyboard
    [Show full text]
  • Gendered Practices and Conceptions in Korean Drumming: on the Negotiation of "Femininity" and "Masculinity" by Korean Female Drummers
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 10-2014 Gendered Practices and Conceptions in Korean Drumming: On the Negotiation of "Femininity" and "Masculinity" by Korean Female Drummers Yoonjah Choi Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/413 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Gendered Practices and Conceptions in Korean Drumming: On the Negotiation of “Femininity” and “Masculinity” by Korean Female Drummers by Yoonjah Choi A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2014 2014 Yoonjah Choi All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Date Emily Wilbourne, Chair of Examining Committee Date Norman Carey, Executive Officer Professor Jane Sugarman Professor Peter Manuel Professor Anderson Sutton Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract Gendered Practices and Conceptions in Korean Drumming: On the Negotiation of “Femininity” and “Masculinity” by Korean Female Drummers by Yoonjah Choi Ph.D. in Ethnomusicology Advisor: Professor Jane Sugarman Korean drumming, one of the most popular musical practices in South Korea, currently exists in a state of contradiction as drumming, historically performed by men, is increasingly practiced by women.
    [Show full text]
  • Pengembangan Seni Musik Anak Usia Dini Melalui Kegiatan Drum Band Dan Angklung Di Tk Nakita Insan Mulia Purwokerto
    PENGEMBANGAN SENI MUSIK ANAK USIA DINI MELALUI KEGIATAN DRUM BAND DAN ANGKLUNG DI TK NAKITA INSAN MULIA PURWOKERTO SKRIPSI Diajukan Kepada Fakultas Tarbiyah dan Ilmu Keguruan IAIN Purwokerto untuk Memenuhi Salah Satu Syarat Guna Memperoleh Gelar Sarjana Pendidikan (S.Pd.) Oleh : Yuni Krisdayanti NIM. 1617406046 PROGRAM STUDI PENDIDIKAN ISLAM ANAK USIA DINI FAKULTAS TARBIYAH DAN ILMU KEGURUAN IAIN PURWOKERTO 2020 PERNYATAAN KEASLIAN Yang bertannda tangan dibawah ini : Nama : Yuni Krisdayanti NIM : 1617406046 Jenjang : S-1 Fakultas : Tarbiyah dan Ilmu Keguruan Jurusan : PIAUD Menyatakan bahwa naskah skripsi berjudul “Pengembangan Seni Musik Anak Usia Dini Melalui Kegiatan Drum Band dan Angklung di TK Nakita Insan Mulia Purwokerto ini secara keseluruhan adalah hasil/karya saya sendiri. Hal-hal bukan karya saya, dalam skripsi ini, diberi tanda citasi dan ditunjukkan dalam daftar pustaka. Apabila kemudian hari terbukti pernyataan saya tidak benar, maka saya bersedia menerima sanksi. Purwokerto, 25 Juni 2020 Menyatakan, Yuni Krisdayanti ii iii NOTA DINAS PEMBIMBING Hal : Pengajuan Naskah Skipsi Purwokerto, 25 Juni 2020 Sdr. Yuni Krisdayanti Kepada: Dekan FTIK Purwokerto Di Purwokerto Assalamu’alaikum Wr Wb Setelah melakukan bimbingan, telaah, koreksi, arahan, perbaikan- perbaikan seperlunya, maka saya sampaikan naskah skripsi saudara : Nama : Yuni Krisdayanti NIM : 1617406046 Jenjang : S1 Fakultas : Tarbiyah dan Ilmu Keguruan Jurusan : PIAUD Program Studi : PIAUD Judul skripsi : Pengembangan Seni Musik Anak Usia Dini Melalui Kegiatan Drum band dan Angklung di TK Nakita Insan Mulia. Saya berpendapat bahwa skripsi tersebut sudah dapat diajukan kepada Fakultas Tarbiyah dan Ilmu Keguruan IAIN Purwokerto untuk diajukan dalam rangka memperoleh gelar sarjana dalam Pendidikan Islam Anak Usia Dini (S.Pd). Demikian atas perhatiannya kami ucapkan terima kasih.
    [Show full text]
  • Mhsaa High School Band Information Manual Table
    MHSAA HIGH SCHOOL BAND INFORMATION MANUAL TABLE OF CONTENTS Application for Approval of Marching Invitational 8 Band Advisory Committee 3 Band Bulletin III – Band Regions for Marching Evaluation 32 Band Chaperone Policy 7 Band Regions for Concert Evaluation 36 Bordering State Events Form 12 Criteria for Sight Reading Music 26 Criteria for High School Second Bands 10 Dates to Remember 3 Decency Clause 7 Directions/Instructions to Concert Sites 14 Fall Marching Information 11 Foreword 2 Football Game Halftime Performance Etiquette 8 General Eligibility Rules 20 Hazing/Harassment Policy 6 Invitational Band Report Form 9 Marching Band Championships 42 MBA To-Do List for Directors 4 MHSAA / MBA Adjudicators Score Sheets 57 Regional Marching Coordinator’s Check List 48 Non Bordering State Events Form 13 Organization/Administration/Rules/Regulations 23 Participants in Marching Band Evaluation 51 Philosophy Statement for Marching Adjudication 54 Proposal to Host MHSAA Regional Marching Evaluation 87 Regional Marching Evaluations, Info for Site Coordinators 52 State Marching Evaluation Report Form 55 Tips to Keep Marching Bands Healthy and Hydrated on the Field 39 Forward This manual is an extension of the MHSAA Handbook. Included in this manual, you will find the general eligibility rules for band and other pertinent information. This is an effort to consolidate information to make it more convenient for you. Please review your region assignment and abide accordingly. All the information contained in this manual will assist in preparing you for various events during the school year. Please familiarize yourself with its contents so that you will know in advance what is expected during the year.
    [Show full text]
  • WAVEDRUM Global Edition Quick Start Guide
    ENGLISH Quick Start Guide Precautions ................................................................ 2 Editing ................................................... 8 Cautions for use ......................................................... 3 Basic editing procedure ..............................................8 About the documentation ......................................... 3 Saving your edited settings ........................................9 Important editing parameters ....................................9 Introduction ...........................................4 Main features ............................................................ 4 Appendix ............................................. 11 Parts of the WAVEDRUM ............................................ 5 Restoring the factory settings ..................................11 Troubleshooting .......................................................11 Preparations ..........................................6 Specifications ...........................................................11 Connecting audio devices .......................................... 6 Turning the power on ................................................ 6 Voice Name List ....................................... i Attaching the WAVEDRUM to a stand ........................ 6 Programs .....................................................................i Live mode ...................................................................ii Performing ............................................7 Algorithms ................................................................iii
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season
    ACADEMY OF MUSIC, PHILADELPHIA Thirty-second Season in Philadelphia Thirty-sixth Season, 1916-1917 Dr. KARL MUCK, Conductor itji> WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE MONDAY EVENING, JANUARY 1 AT 8.15 COPYRIGHT, 1917, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS. MANAGER The ideal of the Steinway Piano is a beautiful voice. The work of the Steinway family is to create a sensitive but permanent vehicle for its expression. "The Steinway realization means the eleva- tion and furtherance of the great art of music. Their field is the world and mankind is the beneficiary. Rarely have men had such in- spiration and more rarely have they risen to the heights or possessed such unobscured and prophetic vision of the intellectual needs.'* STEINWAY HALL 107-109 East 14th Street, New York Subway Express Station at the Door Represented by the Foremost Dealers Everywhere Thirty-sixth Season, 1916-1917 Dr. KARL MUCK, Conductor )T7 Violins. Witek, A. Roth, 0. Rissland, K. Theodorowicz, J. Concert-master. Hoffmann, J. Schmidt, E. Bak, A. Noack, S. >» Mahn, F. Ribarsch, A. Goldstein, H. Sauvlet, H. Tak, E. Traupe, W. Baraniecki, A. Griinberg, M. Habenicht, W. Fiedler, B. Berger, H. Goldstein, S. Fiumara, P. Spoor, S. Siilzen, H. Fiedler, A. Gerardi, A. Pinfield, C. Gewirtz, J. Kurth, R. Gunderson, E Rosen, S. Violas. Ferir, E. Werner, H. Gietzen, A. v.Veen, H. Wittraann, F. Schwerley, P. Berlin, W. Kautzenbach, W. Van Wynbergen, C. Blumenau, W. Violoncellos. Warnke, H. Keller, J. Barth, C. Belinski, M. Steinke, B Malkin, J. Nagel, R. Nast, L. Folgmann, E.
    [Show full text]