| When is it more appropriate to use whole-song instead of a phrase-by-phrase approach? |
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| When the song includes lots of repetition and is easy to learn altogether |
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| Name some of the advantages and disadvantages of fixed and moveable do |
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Fixed- Reliable, easy to teach to young students
students also have to learn irregular solfege from the beginning
Moveable- First note of any scale is always do (easy to learn scales)
Difficult to teach songs in different keys immediately after one another |
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| Experiences in the Suzuki Method |
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beginning at young age
ear training over notation
memorization of repertoire
no formal plan for learning theory
regular playing in groups |
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| Differences between Chinese opera and Japanese Noh |
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Beijing Opera—(also known as the Peking Opera) is a popular form of Chinese theater
that combines acting, spoken dialogue, singing, dancing, athletics, and acrobatics. The
action is accompanied by a traditional Chinese orchestra, which consists mainly of loud
percussion instruments and two-string fiddles. Wooden clappers are used to highlight the
actions on stage. Actors use very few props and convey the meaning of their words and
songs through gestures, mime, movement, and facial expression. The actions of opening a
door, going up stairs, rowing a boat, or threading a needle are done purely through the
actor’s mime-like gestures. The stories of the Beijing Opera were taken from plays
performed in China at an earlier time as well as from traditional stories and novels, which
are often based on actual events in Chinese history.
Kabuki—developed in the late 16th century as an offshoot of dance and puppet shows. Its
beginnings are obscure, but it seems to have developed from open-air performances of
dancing and singing whose themes were taken from epics and myths. Legend has it that
in the early 1600s a Shinto shrine dancer named Okuni “frolicked” (kabuku) on the banks
of the River Kamo in Kyoto. Okuni and her all female troupe created such a lively
performance, mixing dancing with comedy skits, that it became a great success. The
government grew concerned with the possible spread of immorality engendered by the
performances, and in 1629 the shogun, the military ruler of Japan, decreed that women
were no longer allowed to perform in public. At first, female roles were played by young
men, but this, too, led to problems so that by the end of the 16th century only adult males
were allowed to perform in Kabuki. |
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| Social uses of Seneca rabbit song |
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One of first few dances where men could choose a woman partner
occurs twice during a social |
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| Sections of a traditional march |
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Intro
First strain
Second strain
trio
dogfight |
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| How to fix improper stick grip |
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| How to fix improper woodwind embouchure |
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eurhythmics
locomotion (body is original instrument)
solfege
improvisation |
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Experience, then notate
Rhythm syllables
moveable do solfege
hand signs |
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music learned like language (suzuki)
all students are equal
comfortable, supportive learning enviroment
learn by doing
NOT A METHOD- just a philosophy |
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Edwin E. Gordon
“audiation is foundation of musicanship”
sequencind involving audiation |
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| movement is the base for music learning |
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| Common Jazz ornamentations |
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glissando
portamento
bend
fall
scoop |
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Susanne Langer
Leonard Meyer
Bennett Reimer
David Elliot |
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symbolism
musical expectations to create emotion
music develops self-knowledge, only good music should be taught |
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| A- music shapes character, should be taught to people while young |
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