79115461.Pdf
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
100+ of the Best Resources for Learning Music Apps, Games, Courses & More!
100+ of the Best Resources for Learning Music Apps, Games, Courses & More! 1 Making Music Matter Seemingly every day, dedicated musicians are leveraging technology to create AMAZING new tools for students of all levels. We put together this e-book to inspire you to try new ideas, hone your skills, make new music and have fun while doing it. There are THOUSANDS of apps & websites out there that promise to help you learn music, which is really exciting, but can also be pretty intimidating. We spent way too much time combing through the Apple App & Google Play stores, various blogs, and asking our professional colleagues, so you could have these high-quality recommendations. If you have any feedback, we’d love to hear it! App you’d like us to consider for the next edition? Good or bad experience you had with a website we recommended? Difficulty getting an app working with the gear you bought from us? Cool song that you wrote using one of these tools? Just email [email protected] – he’ll be glad to hear from you and help however he can, if warranted. 2 Here’s how we’ve organized this book: • We have 4 main units, with 4-5 segments in each unit, with 8-15 resources for each segment. • Many of the resources could be in multiple segments, but to reduce duplication, we simply put it in the segment we thought it best fit. We have a “See Also” blurb to recommend other segments you might want to check out for related apps. -
Kurikulumski Pristup Oblikovanju Profesionalnoga Osnovnoga Glazbenog Obrazovanja
FILOZOFSKI FAKULTET Nikolina Matoš, mag. mus. KURIKULUMSKI PRISTUP OBLIKOVANJU PROFESIONALNOGA OSNOVNOGA GLAZBENOG OBRAZOVANJA DOKTORSKI RAD Mentorica: izv. prof. dr. sc. Snježana Dobrota Zagreb, 2018. FACULTY OF HUMANITIES AND SOCIAL SCIENCES Nikolina Matoš, mag. mus. CURRICULAR APPROACH TO PROFESSIONAL ELEMENTARY MUSIC EDUCATION DESIGN DOCTORAL THESIS Supervisor: associate professor Snježana Dobrota, Ph. D. Zagreb, 2018. SADRŽAJ …………………………….……………………………………………………… I Zahvale ………………………………..………………………………………..…………… XI Životopis mentorice ………………….……………………………………………..……… XII Sažetak ……………………………………...……………………………………..……… XIV Summary …………………………………..……………………………………………… XVI 1. UVOD ……………………………………………………………………………..………. 1 2. PROFESIONALNO GLAZBENO OBRAZOVANJE ………………………….…… 13 2.1. Povijesno-komparativni pristup profesionalnom glazbenom obrazovanju …..… 14 2.2. Ključna obilježja suvremenih glazbenoobrazovnih sustava …………………… 29 2.2.1. Glazbenoobrazovni sustavi u Europi ………………………………… 42 2.2.2. Kraći pregled glazbenoga obrazovanja u SAD-u …………….……… 60 2.2.3. Glazbeno obrazovanje u Hrvatskoj ………………………..………… 61 2.2.3.1. Djelatnost glazbenih škola kao dio umjetničkoga obrazovanja ……………………………………………………………………….. 62 2.2.3.2. Organizacija glazbenoga odgojno-obrazovnoga procesa …... 67 2.2.3.3. Stjecanje stručnih kvalifikacija i kompetencije učitelja/nastavnika ……………………………………...…………… 76 2.2.3.4. Zakonska regulativa glazbenoga obrazovanja u Hrvatskoj .....79 2.3. Usporedba hrvatskog glazbenoobrazovnog sustava sa sustavima u Europi i SAD-u ……………………………………………………………………………………..… -
Trevor De Clercq Curriculum Vitae
Trevor de Clercq curriculum vitae 1301 East Main Street, Box 21 office: (615) 898-5821 Murfreesboro, TN 37132 [email protected] ACADEMIC APPOINTMENTS 2019–present Middle Tennessee State University, Murfreesboro, TN. Associate Professor, Department of Recording Industry. 2013–2019 Middle Tennessee State University, Murfreesboro, TN. Assistant Professor, Department of Recording Industry. 2012–2013 Ithaca College, Ithaca, NY. Visiting Assistant Professor, Music Theory. 2011–2012 Hofstra University, Hempstead, NY. Adjunct Assistant Professor, Music. 2011 Adelphi University, Garden City, NY. Adjunct Faculty Member, Music. 2008–2010 Eastman School of Music, Rochester, NY. Instructor, Music Theory. 2009 University of Rochester, Rochester, NY. Instructor, Electrical and Computer Engineering. EDUCATION 2020 Middle Tennessee State University, Murfreesboro, TN. Completion of calculus-based coursework in statistics equivalent to an undergraduate Minor in Mathematics. 2012 Eastman School of Music, Rochester, NY. Ph.D., Music Theory. Dissertation: “Sections and Successions in Successful Songs: A Prototype Approach to Form in Rock Music.” Primary Advisor: David Temperley. 2008 Eastman School of Music, Rochester, NY. M.A., Music Theory. Theory with Matthew Brown, John Covach, Dave Headlam, Steven Laitz, William Marvin, Marie Rolf, David Temperley, Dariusz Terefenko, and Robert Wason. Composition with Robert Morris. 2004 Cleveland Institute of Electronics. Cleveland, OH. A.A.S., Electronics Engineering Technology. 2000 New York University, New York, NY. M.M., Music Technology. Stephen F. Temmer Tonmeister Honors sequence. Thesis: “A More Realistic View of Mid/Side Stereophony.” 1996 Cornell University, Ithaca, NY. B. A., Music Theory and Composition. Cum Laude in Music Composition, Distinction in All Subjects (top 10% of class). Music theory with Kofi Agawu, Edward Murray, and James Webster. -
Sight Reading
Sight Reading Is sight-reading an innate ability or a skill that can be developed? Experts in the field of Sight-Reading all agree that the following aspects play a role in the development of sight-reading as a skill: • Music Study (years of experience) • Music Knowledge: theory, style, pattern recognition • IQ…. • Ear Training development • Perception (Where is Wally?) • Psychomotor skill (reaction time) • Personality • Practicing habits • Technical ability • Attitude • Memorisation ability (working memory) • Creative skills: improvisation and arrangement The GOOD NEWS is that most of the above aspects are skills that can be developed! Sight-reading is part of the Art of Interpretation. Therefore instant comprehension is necessary of what you see on the score to have meaningful ‘communication’ with the listener. There is strong link between music theory, ear training, keyboard proficiency and sight reading. MUSIC KNOWLEDGE In order to read music with comprehension, one has to have a thorough knowledge of music theory. Here is a comprehensive list of concepts. A. NOTATION • Pitch: staff, clefs, space and line notes, stem direction, leger lines, sharps, flats, natural signs, key signatures, enharmonic ‘spelling’ • Time: note lengths, rests, time signatures, pulse/beat, counting methods, anacrusis, dots, ties, irregular note groups, grouping rules, syncopation, rhythm patterns • Style: dynamics, accents, articulation B. DEFINITIONS • Rhythm: beat/pulse, bar, syncopation, rhythm patterns, time signatures • Timbre: tone quality • Melody: ornaments, -
Musicality: a Game to Improve Musical Perception
Delft University of Technology Musicality A Game to Improve Musical Perception Khalass, Nouri; Zarnomitrou, Georgia; Haque, Kazi Injamamul; Salmi, Salim; Maulini, Simon; Linkermann, Tanja; Salamon, Nestor Z.; Timothy Balint, J.; Bidarra, Rafael DOI 10.1007/978-3-030-11548-7_4 Publication date 2019 Document Version Final published version Published in Games and Learning Alliance - 7th International Conference, GALA 2018, Proceedings Citation (APA) Khalass, N., Zarnomitrou, G., Haque, K. I., Salmi, S., Maulini, S., Linkermann, T., Salamon, N. Z., Timothy Balint, J., & Bidarra, R. (2019). Musicality: A Game to Improve Musical Perception. In H. Söbke, M. Gentile, & M. Allegra (Eds.), Games and Learning Alliance - 7th International Conference, GALA 2018, Proceedings: Proceedings (Vol. 11385, pp. 39-48). (Lecture Notes in Computer Science (including subseries Lecture Notes in Artificial Intelligence and Lecture Notes in Bioinformatics); Vol. 11385 LNCS). Springer. https://doi.org/10.1007/978-3-030-11548-7_4 Important note To cite this publication, please use the final published version (if applicable). Please check the document version above. Copyright Other than for strictly personal use, it is not permitted to download, forward or distribute the text or part of it, without the consent of the author(s) and/or copyright holder(s), unless the work is under an open content license such as Creative Commons. Takedown policy Please contact us and provide details if you believe this document breaches copyrights. We will remove access to the work immediately and investigate your claim. This work is downloaded from Delft University of Technology. For technical reasons the number of authors shown on this cover page is limited to a maximum of 10. -
The Ensemble 4 | 2019
the ensemble 4 | 2019 A NEWSLETTER FOR THE U.S. & CANADIAN EL SISTEMA MOVEMENT The Archipelago Project FROM THE EDITOR by Armand Hall, Director of Education, Archipelago Project & Executive/Artistic Director, ROCmusic Here’s a challenge for you: define “excellence.” Collaborative; Daniel Trahey, Executive Director, Archipelago Project & Artistic Director,OrchKids How did that go? Did the perfectly satisfying The Archipelago Project’s objective is to empower Symphony OrchKids program, Peabody’s Tuned In definition pop right up? Or are you doing some student creativity and ownership by supplying Program, Sistema Ravinia, YOURS Project, Project Music backing and filling? musical knowledge, performance opportunities, and Stamford, and Bravo Waterbury. These students joined If you are, I think you’re in good company. This professional models to inspire the next generation of 25 local music students for a ten-day music camp, is a time when longstanding assumptions about engaged musicians. For the past 15 years, Archipelago to create original compositions and Jazz/Pop/Folk/ excellence in music, and in all the arts, are being Project’s iterative process in curriculum design has Hip Hop arrangements. The fellowship and creative unsettled. Last week, at a meeting of the El resulted in our Musical Leadership Academy, a summer process exploded. We heard reports that camp Sistema New Jersey Alliance, leaders of the state’s music camp focused on providing a diverse population participants were developing into leaders at home in Sistema-inspired programs were discussing how of students and teaching artists with opportunities to their ensembles. To deepen these results, we added an to articulate the fundamental values our pro- create music together, learn when to lead and to listen, intentional musical leadership focus for students and grams share.