update from sparkleup
This commit is contained in:
parent
79d1b62749
commit
98d794daf4
|
|
@ -166,6 +166,125 @@
|
|||
</li>
|
||||
</ul>
|
||||
<h2 id="notes">Notes</h2>
|
||||
<ul>
|
||||
<li>Rehearsal Techniques</li>
|
||||
<li>concert - work is done - this is payoff</li>
|
||||
<li>knowing how to work</li>
|
||||
<li>teachers primarily (what do we teach every day)</li>
|
||||
<li>help students become independent musicians (better)</li>
|
||||
<li>pitfalls - try to do everything for student - don't give students any space - CD least effective way of teaching (may get product)</li>
|
||||
<li>benevolent dictator!</li>
|
||||
<li>choose appropriate repertoire for each ensemble<ul>
|
||||
<li>Choir rebels: almost always about person, not about music - build trust, make students know that this is good</li>
|
||||
<li>New Teacher w/ new music, students rebel because treat as group, not soloists</li>
|
||||
<li>prev teachers picked rep to highlight soli, thus more about person, new style teaching for group</li>
|
||||
</ul>
|
||||
</li>
|
||||
<li>music = tool <ul>
|
||||
<li>get good tools (good music subjective)</li>
|
||||
<li>language - latin easiest, good for teaching vowels, phrasing, articulation</li>
|
||||
<li>mainstream - palastrina to '50s, proven, give whats good for students</li>
|
||||
<li>research - what does music teach? too hard? research to fit ensemble (transcription, transposition)</li>
|
||||
<li>back-up plan rep, but.. not about sudents, about self b/c students will never learn more than teacher knows</li>
|
||||
<li>Have high expectations</li>
|
||||
</ul>
|
||||
</li>
|
||||
<li>rehearsal<ul>
|
||||
<li>sight read ALL THE TIME</li>
|
||||
<li>"listen", not "watch me": focus on one, lose the other, stop conducting sometimes internalize</li>
|
||||
<li>interact - ask questions</li>
|
||||
<li>always conduct best students ~ 10% ~ create leaders, not boredom</li>
|
||||
<li>give them reason to watch you: never stop MAKING MUSIC</li>
|
||||
<li>be respectful: "ladies", "gentlemen", etc: treat them that way and they will act that way "Let us", "could we", not "let me" Be inclusive of rest of choir</li>
|
||||
<li>Involve as many parts as possible, no boredom, no singling out, stay focused</li>
|
||||
<li>always give reasons for work "lets go back and fix.."</li>
|
||||
<li>always give feedback, but be honest "that was the idea but if __ it would be better"</li>
|
||||
<li>use vague terms, often works because students think, "beautiful", "musical", "expressive" sometimes: "that was not good" make them think about why</li>
|
||||
<li>no hipocrisy! always do it yourself first</li>
|
||||
<li>admit mistakes and fault or at least don't blame students if not their fault</li>
|
||||
<li>dont talk too much - as much music as possible</li>
|
||||
<li>dont leave others behind (ie some work on notes some on phrasing), but always give everyone work</li>
|
||||
<li>always do everything - phrasing and articulation while learning notes</li>
|
||||
<li>ensemble - everyone should be complimentary - creative seating and paring of abilities</li>
|
||||
<li>plan for productive rehearsal - macro: battle plan -> micro: attack plan<ul>
|
||||
<li>in general: early: big picture, mid: small details, end: put it together (milestones!)</li>
|
||||
<li>plan times (milestones!)</li>
|
||||
<li>dont eschew explanation: change concept of macro based on a piece (ie epitaph for moonlight)</li>
|
||||
</ul>
|
||||
</li>
|
||||
</ul>
|
||||
</li>
|
||||
<li>overperfection<ul>
|
||||
<li>process vs product</li>
|
||||
<li>humanity + emotion vs being polished</li>
|
||||
<li>no overrehearsing<ul>
|
||||
<li>overpolished</li>
|
||||
<li>getting stuck/bored</li>
|
||||
<li>music loses warmth</li>
|
||||
<li>lost expressivity</li>
|
||||
<li>cold, straight tone</li>
|
||||
<li>from conductors wishes<ul>
|
||||
<li>sound vs music</li>
|
||||
<li>sound has to fit music and text, not the choir</li>
|
||||
<li>people dont listen to sound, but music</li>
|
||||
<li>conducting follows music, after all</li>
|
||||
</ul>
|
||||
</li>
|
||||
</ul>
|
||||
</li>
|
||||
</ul>
|
||||
</li>
|
||||
<li>conductor<ul>
|
||||
<li>breathing</li>
|
||||
<li>text + nuances - speak it</li>
|
||||
<li>know difficulties and why<ul>
|
||||
<li>voice difficulties (passagio)</li>
|
||||
<li>keys (flats better, more flats more betteR)</li>
|
||||
</ul>
|
||||
</li>
|
||||
</ul>
|
||||
</li>
|
||||
<li>lack of trust shown in focusing on direction instead of rebound</li>
|
||||
<li>rehearsal techs:<ul>
|
||||
<li>fine tuning vowels (english is difficult) when ascending, think down; when descending, think up</li>
|
||||
<li>phrasing and breathing - breathiness</li>
|
||||
<li>purpose of rehearsal: diagnose problem (isolate), provide remedy<ul>
|
||||
<li>demonstrate (more)/explain (less)</li>
|
||||
<li>then feedback</li>
|
||||
</ul>
|
||||
</li>
|
||||
<li>teach students EVERYTHING at the same time (because practice makes permanent)</li>
|
||||
</ul>
|
||||
</li>
|
||||
<li>doing too much/wrong things - easier to ask forgiveness than permission</li>
|
||||
<li>what goes up must come down and vice versa - natural cycles in conducting and music</li>
|
||||
<li>no choral conducting, no instrumental conducting, just conducting</li>
|
||||
<li>paint a picture with conducting<ul>
|
||||
<li>Britten<ul>
|
||||
<li>dry ice</li>
|
||||
<li>phantom: setting up mood before, phantom appears at "thou art the king.."</li>
|
||||
</ul>
|
||||
</li>
|
||||
<li>adjectives to go with every section, every note</li>
|
||||
</ul>
|
||||
</li>
|
||||
<li>problem directors<ul>
|
||||
<li>self control</li>
|
||||
<li>admitting mistakes</li>
|
||||
<li>self confidence and respect -> respect others</li>
|
||||
<li>no apologies: dictatorship</li>
|
||||
<li>ensemble never knows more than conductor: always know more</li>
|
||||
<li>own the piece</li>
|
||||
<li>self deprecation to make a point</li>
|
||||
<li>line between student and conductor</li>
|
||||
<li>give reasons/justification</li>
|
||||
<li>dont get used to choir</li>
|
||||
<li>empathy with singers - lots of work for them</li>
|
||||
</ul>
|
||||
</li>
|
||||
<li>q: why aren't you singing what I want? a: why aren't you showing what you want?</li>
|
||||
<li>preachers on the pulpit in our influence (???)</li>
|
||||
</ul>
|
||||
<h2 id="essay">Essay</h2>
|
||||
<h3 id="introduction">Introduction</h3>
|
||||
<p>Music is organized sound. Music is audible art. Music is a transfer of information and emotions across a distance, occurring over time, and taking place between minds. (...)</p>
|
||||
|
|
@ -174,7 +293,6 @@
|
|||
<p>I think there is an analogous flow in music. From some source flows the art and the composer commits it to paper. The conductor takes the paper and brings the music to life through the ensemble in rehearsals. The ensemble performs the piece and the music travels through some medium like the air of the concert hall or onto a recording (or both) before reaching the audience. The audience consumes the music and it fills up some sort of sink. From source to sink, music travels these highways and airwaves and acts out a role over and over again.</p>
|
||||
<p>Maybe that's the purpose of music, of art.</p>
|
||||
<p>There's always some sort of overflowing source of emotion and ideas and some sort of sink, a land in drought ready to be quenched by aesthetics, interesting things, order and chaos, the stuff of art. The trick, the reason for the toil of artists, the purpose of having accredited institutions teaching toil, is getting the art there. Composers, painters, writers, directors: these are the shepherds; curators, conductors, performers, editors: these are, for lack of a better term, the butchers; museums, theaters, bookstores: these are the delis and markets; the audience members are the hungry ones.</p>
|
||||
<p>\mainmatter</p>
|
||||
<h3 id="sound-and-music">Sound and Music</h3>
|
||||
<p>If music is organized sound, then I can see why a class on the psychology and physiology of music would be taught for music majors. What was surprising, though, was that it wasn't taught to every music major at school. Dr. Thaut talked to us about the physiology of music and Dr. Davis about the psychology of music, splitting the semester into two sections. The information presented in both sections of the course was so bland on the surface, seemingly so targetted at the music therapy majors, that I could see why most performance majors stayed away, why education majors grumbled, and why composition majors were baffled as to the purpose of the class.</p>
|
||||
<p>I liked it, though. Therapy majors would need it, yes; but performance majors would find interest in learning about their concept of pitch and how their ears work. Education majors would find out why their careers are pertinent, and why their methods are structured in the way they are. Composition majors like myself would find their art laid out plain: a basic knowledge of the physiology of music would help them to compose more effectively for both performers and audience, and the knowledge of the psychology behind music would help them to understand themselves and the reactions to their music.</p>
|
||||
|
|
|
|||
Loading…
Reference in New Issue