meeting the standards with your concert programming
TRANSCRIPT
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Meeting the Standards with Your
Concert Programming
Today’s Objectives
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The National Standards
“The role that music will play in students’ lives depends on large
measure on the level of skills they achieve in creating, performing, and
listening to music.” National Standards for Arts
Education 1994 (p. 42)
Context and Issues for
ALL of the Standards
Purpose of the Arts Standards
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The National Standards for Music Education
6. Listening to, analyzing, and describing music.
7. Evaluating music and music performances.
8. Understanding relationships between music, the other arts, and disciplines outside the arts.
9. Understanding music in relation to history and culture.
1. Singing, alone and with others, a varied repertoire of music.
2. Performing on instruments, alone and with others, a varied repertoire of music. 3. Improvising melodies, variations, and accompaniments.
4. Composing and arranging music within specified guidelines.
5. Reading and notating music.
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What students should know and be able to do in the arts? Other Important Points
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Using the Standards in Rehearsal
“If one does not know to which port one is sailing, no wind is favorable.”
Seneca the Younger (4 BC-65 AD)
“Repertoire is the Curriculum” “A well-planned repertoire creates the framework for an excellent music curriculum that fosters the musical growth of the students.”
H. Robert Reynolds, author
MEJ, July 2000
“Core” Repertoire
Significant Works for Wind Band
Qualities of Core Music
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Using Questions to Teach the Standards “Asking the right question during rehearsal can help students improve performance as well as develop musicianship.”
Kevin Tutt, author
MEJ, May 2007
Connect to Standard 6 Listening to, analyzing, and describing music
Analyze Describe What other instruments are
playing the melody?
Which sections create the pulse or energy?
Listen to the trumpets and tell which note is not in tune.
What other selection should the style of these notes be like?
How is the melody scored differently at m. 25 then m. 89?
What is the form of this work or section?
Explain what is happening in this section that helps build the musical peak.
What did you do to improve the the intonation during that performance?
Connect to Standard 7
Evaluating music and music performances
Evaluate music
How did the composer create tension in this selection?
Describe how the composer created musical interest in his work.
What selection did you enjoy as a listener to our performance?
What about the composer’s creation of music do you enjoy most?
Evaluate performance Describe the selection you felt we
performed best last night/today? Why?
Tell what selection you enjoyed performing in our program. Why?
Evaluate what you feel the adjudicators might tell the performers about the group’s performance. "
Programming the Literature
“You’ve got to be careful if you don’t know where you’re going,
because you might not get there.” Yogi Berra
Using Standards 8 & 9
8. Understanding relationships between music, the other arts, and disciplines outside the arts.
9. Understanding music in relation to history and culture
A Young Band Concert Sequence
Ammerland Grade 2 Jacob de Haan (b. 1956)
Katsista—Iroquois Campfire
Grade 2 Michael Grady (b. 1966)
Echoes from a Russian Cathedral
Tchaikovsky/Singleton Grade 2
Variations on a Sailing Song Carl Strommen (b. 1940)
Grade 2
Fantasy on Sakura, Sakura Ray E. Cramer
Grade 3
“Folk Music”
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A Developing Band Concert Sequence
Legends in the Mist (1996)
Michael Sweeney (b. 1952)
Grade 3.5
On the Hawkeye Patrol
Grade 3 Stephen Bulla
Apache Lullaby (2003)
Michael Colgrass (b. 1932)
Grade 1.5
Garden of the Gods
Grade 3 Rick Kirby
“America’s First People”
An Advanced Band Concert Sequence
Dance of the Jesters (1873) P. I. Tchaikovsky (1840-1893)
Grade 5 Arr. Ray E. Cramer
Selections from The Nutcracker (1892)
P. I. Tchaikovsky (1840-1893) Grade 4 Arr. James Curnow
A Slavonic Farewell (1912) Vasilij Agapkin (1884-1964)
Grade 4 Ed. John R. Bourgeois
Salvation is Created Pavel Tschesnokoff (1877-1944) Grade 3 Arr. Bruce Houseknecht
“Finale” from Symphony No. 1 in G Minor (1894-1895)
Grade 4.5 Vasily Kalinnikov (1866-1901) Arr. Glenn Cliffe Bainum
“White Nights”
“Goin’ Baroque” Young or Developing Bands
TMTPB, Volume 7, Appendix B
Air and March Purcell/Gordon Grade 2
Fanfare Ode and Festival (1982) Gervaise/Margolis Grade 2
Courtly Airs and Dances (1995) Ron Nelson (b. 1929) Grade 3-4
Largo and Bourrée Handel/Lynd Grade 2
Telemann Suite Telemann/Schaeffer Grade 2
“From the British Isles” A Developing Bands Concert Sequence
Eire (2007) (i•re) Melanie Donahue Grade 3
Three Scottish Vistas (2007) William Owens (born 1963) Grade 3
Selections from Holst’s Suite in E-flat? Grainger’s Lincolnshire Posy?
Grade 3-4-5
Three Ayes from Gloucester Hugh M. Stuart (1917-2006) Grade 2.5 Teaching Music through Performance in Band, Vol. 1
Dragoon’s Farewell (1998) Brant Karrick Grade 2.5 (born 1960)
“Coming to America” Advanced Band
American Fanfare (2009) Grade 3.5 Rick Kirby
Star Spangled Banner (2002) Grade 3 arr. Jack Stamp (b. 1954)
An American Elegy (2000) Grade 4 Frank Ticheli (b. 1958)
Metroplex (2005) Grade 4-4.5 Robert Sheldon (b. 1954)
George Washington Bridge (1950) W. Schuman (1910-1992) Grade 4.5
American Faces (1994) Grade 4 David Holsinger (b. 1945)
“Your Ticket Around the World!”
An Advanced Band Concert Sequence
Suite Provençale (1998) Jan van der Roost (b. 1956) Grade 3
Suite Française, Opus 248 (1945) Grade 4-5 Darius Milhaud (1892-1974)
La Procession du Roico Joaquin Turina Grade 4.5 arr. Alfred Reed
Kilimanjaro-An African Portrait Grade 5 Robert Washburn
Köningsmarsch Richard Strauss (1864-1949) Grade 4 ed. Roger Barrett
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“Dialogues and Entertainments” University of Michigan Symphony Band, Michael Haithcock, Conductor
Dialogues and Entertainments (1980)
William Kraft (b. 1923)
Bells for Stokowski (2002) Michael Daugherty (b. 1954)
Toccata and Fugue in D Minor, BWV 565 (c. 1703) J. S. Bach (1685-1750), Trans. Erik Leidzen
Selections from Sacrae Symphoniae (1597) Giovanni Gabrieli (c.1554-1612)
“Heroes and Icons”
Developing Band
Nathan Hale Trilogy Grade 3 James Curnow (b. 1953)
Sempre Fi Grade 3 J.P.Sousa (1854-1932)
Advanced Band
George Washington Bridge Grade 4.5 William Schuman
(1910-1992)
A Movement for Rosa (2005)
Grade 4 Mark Camphouse (b. 1954)
“Dancing with the Stars”
Courtly Airs and Dances (1982) Grade 3 Ron Nelson (b. 1929)
The Washington Post (1889) Grade 3 John Philip Sousa (1854-1932)
Symphonic Dance No. 3 “Fiesta” (1965) Grade 4 Clifton Williams (1923-1976)
Selections from Suite of Old American Dances (1950) Grade 4-5 Robert Russell Bennett (1894-1981)
Solitary Dancer (1970) Grade 5 Warren Benson (1924-2005)
“An Artist’s Palette”
The Red Balloon Grade 2 Anne McGinty (b. 1945)
The Sunken Cathedral or Claire de Lune Claude Debussy (1862-1918)/
Various
Resting in the Peace of His Hands (1995) Grade 3.5 John Gibson (b. 1950)
Selections from Color (1984) Grade 4 Bob Margolis (b. 1949)
Selections from Scenes from the Louvre (1964) Grade 4-5 Norman Dello Joio (1913-2008)
Selections from Paris Sketches (1994) Grade 5 Martin Ellerby (b. 1957)
“The man who does not read good books (or music) has no advantage over the man who cannot read them (or play good music).” —Mark Twain (1835-1910)
Conclusion
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“So long as the human spirit thrives on this planet, music in some living form will accompany and sustain it and give it expressive meaning.”
—Aaron Copland