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6 Cards in this Set
- Front
- Back
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Singing |
o Musicians should have the ability to sing to communicate ideaso The musical selection directly allows students to sing in performance.o Teaching can focus on proper pitch, diction, and vocal production o Even in selections that do not include singing as part of the composition, melodic lines and chorale sections can be sungo Many instrumental selections are based on folk tunes which may not be explicitly stated |
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Relating Music to History and Culture |
o The quotes are from Melville (in this repertoire example) Moby Dick, which many high school students experience in their American Literature classeso Engage the students with a plot summary followed by a discussion of some of the programmatic and descriptive musical features that the composer uses to highlight elements of the storyo Use a discussion or writing assignment that allows students to connect knowledge about life in 19th century New England, the whaling trade, and cultural issues about revenge and obsession, while relating these concepts back to their portrayal in the foundation selection
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Improvising |
o Aleatoric sections that give a general setting of the sound, but allow performers play it the way they interpret it.o The aleatoric techniques in this movement provide opportunities to improvise within a “safe” set of boundaries.o Start by expanding this exercise to all students even those who do not have that selection in their parts (write out the aleatoric section in appropriate keys and clefso Bridge to other sections of the foundation selection and low the students to improvise rhythms to a set melody, melodies to a set rhythm, etc., and gradually move the boundaries outward.
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Composing |
o Composition activities can be built on instrumentation and arrangement: students could practice setting melodies and harmonies from the piece into their own instrumentation.o Extensions of this activity could involve setting melodies from the piece with the students’ own composed accompaniments, or composing a new melody within a chord progression from the foundation selection.o Composition activities can also extend from improvisation activities that generate deas for compositiono Once students are comfortable, more freedom can be granted, such as the following prompt: Compose your own interpretation of Queequeg based on the epigraph given by the composer. Think about how the composer chose to illustrate the conflict of transition between ‘refined’ and ‘savage.’
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Reading and Notating Music |
o This standard is usually inextricably linked to playing instruments, but more depth is possibleo Movement V introduced aleatoric notation conceptso Students can explore ways of notating music traditionally and non-traditionally as a group and individuallyo Connect notation to composition activities
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Listening to, analyzing, and describing music |
o Lead students in listening to a recording of this movement and discuss the composer’s use of major and minor modes to elicit the character’s attributeso Have students journal about the different highlighted use of instruments in each movement and how the composer uses these textures to portray the characters
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