An introduction to the analysis of musical presentations

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An introduction to the analysis of musical presentations

OVERVIEW Here is a list of 23 presentations that I have given for piano teachers at various state music teacher conferences and chapter meetings over the past twelve years.

Most can squeeze into a minute time slot, though more time is preferable in most cases. The following presentations fit into six groups. The first group explores the Four Arts of Music model and the principles of a creativity-based music education.

The next four groups explore each of the Four Arts in more depth. The final group explores how to integrate the Four Arts into a weekly music lesson with music theory and technique.

A good acoustic piano, preferably a grand. If the room is large, a wireless microphone. A New Paradigm for Music Education Someone with command of a language can talk, tell stories, read, and write.

The presentations will be done in a similar format to what I modeled; we will listen to the song as a class and read along with the lyrics (which will be projected on the Smartboard—while I could find them on-line, I will use the document camera instead so we can view the lyrics with highlights the groups made as part of their analysis; I. Presentations for Piano Teachers OVERVIEW Here is a list of 23 presentations that I have given for piano teachers at various state music teacher conferences and . The Speech Analysis Series is a series of articles examining different aspects of presentation analysis. You will learn how to study a speech and how to deliver an effective speech evaluation. You will learn how to study a speech and how to deliver an effective speech evaluation.

Likewise, a whole musician can improvise speak spontaneouslyarrange restate traditional themes in a personal wayread and interpret the compositions of others, and compose write musical essays. Modern music pedagogy is focused on the art of interpreting, usually to the exclusion of the other three arts.

To become fully expressive in music, we need all four arts.

An introduction to the analysis of musical presentations

In this presentation, I give an overview of the Four Arts of Music and how to teach them. I also suggest ways to include all the arts in the weekly piano lesson and encourage piano teachers to become music educators capable of producing musicians who can practice all these arts.

All these have to do with sensitivity and responsiveness. How can these essential qualities be cultivated from the very first lesson onward? By learning the Four Arts of Music in a way similar to the way that Clara Schumann was taught at the age of five.

In the matter of a few years, she was practicing all the arts of music with artistry: Forrest will present approaches that can be added to the approaches teachers already use, approaches that can develop the ability to listen deeply and respond to tones.

While it is clear that Beethoven was highly creative, are we being creative when we play his notes? How can we invite more creativity back into lessons? In this presentation, I outline various principles, approaches, and understandings that will make lessons more creative for both students and teachers.

Teaching Improvisation Through Duets All of us improvise freely each day—with words. We learned to do this because others talked with us each and every day, drawing out our latent ability to speak. In this presentation, I demonstrate how a teacher can create a safe, supportive environment for the student, and then improvise duets with the student using the Pattern Play approach.

I then show how the teacher can gently and successfully move the student from the duet experience into a solo experience. They want to make music with other human beings so they join a band or orchestra.

How can piano teachers give their students an immediate social and creative experience? Group improvisations is one excellent way.

The presenter will demonstrate various ways to set up group improvisations using students and volunteers from the audience. Yet, these three abilities are the very foundation of musicianship! What can teachers do to help these students move from random responses to rhythmic and creative responses?

I will explore a number of proven and effective techniques. I will work with students who either wish to begin improvising or take their abilities in new directions. The topics explored will depend upon each student. Some students may learn to step outside popular idioms and improvise in classical or world-music styles, or play with more rhythmic integrity, or play with greater sensitivity to tone color or the play of consonance and dissonance.

An introduction to the analysis of musical presentations

With all students, an emphasis will be placed on playing less from the brain and more from intuition and feeling. We improvise duets and trios together, and I usually conclude each session by improvising a piece for each of the participants based on notes they supply me.

This is social, fun, and an excellent way for students to be introduced to the joys of improvisation. A variation on the above idea: One of my colleagues recently invited me to improvise a duet with each of her 20 students in the fall recital.

I also improvised with some parents at the same event. A memorable experience for us all! There are three main techniques that arrangers use in endless variations and combinations: I will demonstrate what these techniques are, and show how they function at both beginning and advanced levels.Visualization is an invaluable companion to symbolic computation in understanding the complex plane and complex-valued functions of a complex variable.

The Presentations application, an add-on to Mathematica, provides a rich set of tools for assisting such visualization. This article demonstrates. The presentations will be done in a similar format to what I modeled; we will listen to the song as a class and read along with the lyrics (which will be projected on the Smartboard—while I could find them on-line, I will use the document camera instead so we can view the lyrics with highlights the groups made as part of their analysis; I.

1 An Introduction to Instrumental Methods of Analysis Instrumental methods of chemical analysis have become the principal means of obtaining information in diverse areas of science and technology. x a written analysis of the sound design in King Kong x a written reception history of Fantasia x a presentation on a jazz, rock, or pop score from the s and 60s.

Writing about Music: A Guide to Writing in A & I page 1 Introduction: Writing about Music The chief purpose of First Nights is to show you how music can enrich your life.

In First Nights, you will examine several major musical works, including Handel’s Mes-siah and Beethoven’s Symphony No. 9. You will also read accounts of those who.

Writing about Music: A Guide to Writing in A & I page 1 Introduction: Writing about Music The chief purpose of First Nights is to show you how music can enrich your life. In First Nights, you will examine several major musical works, including Handel’s Mes-siah and Beethoven’s Symphony No. 9. You will also read accounts of those who. Intro to Musical Theatre. We use your LinkedIn profile and activity data to personalize ads and to show you more relevant ads. Introduction to Musical Theatre Musical theatre is a form of theatre that combines songs, spoken dialogue, acting, and dance. The story and emotional content of the piece – humor, love, anger – are communicated through the words, music, movement and technical aspects of the entertainment as an integrated whole.

Introduction to Musical Theatre Musical theatre is a form of theatre that combines songs, spoken dialogue, acting, and dance. The story and emotional content of the piece – humor, love, anger – are communicated through the words, music, movement and technical aspects of the entertainment as an integrated whole.

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