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Music
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General
"…educating young people in music is not just an adornment, but a necessity to the art of living…music brings the community together. The greatest wealth this country has is not a free market, it's free kids. This is our real wealth, it is our future. And we should know how to invest in it wisely". - Isaac Stern
MUSIC is a universal language. Learning to communicate in this language we
have the potential to recognize and express the human emotions of normal
living. As in the Wooster School Mission
Statement we are to maintain a school for the intellectual, spiritual, ethical,
physical, and AESTHETIC development of the students. Understanding music provides an awareness of aesthetic beauty. Music must be considered a vital part of our
total educational process. Music is an integral part of human history, the
ability to listen with understanding is necessary if students are to gain a
broad cultural and historical perspective.
Music can be enjoyed both emotionally and intellectually. The music program at
GOALS:
To foster sensitivity to the beauty of music.
To educate students about music so the appreciation of music will be part of their lives forever.
To guide students in various musical experiences, which may include singing, body movement, playing instruments, listening, reading music, ensemble opportunities, individual lessons, and creating, which addresses the student's individual needs and capabilities.
Music is based on folk material collected from our rich American heritage. The Orff-Schulwerk music curriculum is tied to the thematic units in the larger curriculum, enhancing the oral program. Students begin to play the recorder in third grade and continue through the fifth grade. They learn to read music and are expected to practice their instruments and do written homework regularly.
Chorus is offered to third, fourth, and fifth grade students as an optional early morning activity. In addition, private instrumental lessons in flute, piano, percussion, trumpet, violin, and voice are available for an extra fee. Private lessons take place before or after school. All students involved in the instrumental program participate in a spring recital for parents, peers, and friends.
GOALS (taken from the National Standards of Music Education)
Sing, alone and with others, a varied repertoire of music
Perform on instruments, alone and with others, a varied repertoire of music
Improvise melodies, variations, and accompaniments
Compose and arrange music within specified guidelines
Read and notate music
Listen to, analyze, and describe music
Evaluate music and music performers
Understand the relationship between music, the other arts, and disciplines outside the arts
Understand music in relation to history and culture
KINDERGARTEN MUISC
Singing
Sing within the range of middle C to G1
Sing with a clear and pleasing tone quality
Match high and low pitches
Sing independently in question and answer form
Sing a varied song repertoire:
relating to the
general
relating to special seasons and events
Rhythm
Demonstrate an awareness of the beat in instrumental and vocal music
Distinguish between fast and slow tempi
Repeat short rhythmic patterns by clapping and/or playing on hand percussion instruments.
Recognize the staff and treble clef (G clef)
Recognize high and low pitches by following hand movements
Listening
Listen attentively to various compositions
Identify instrumental colors of strings, percussion, and piano
Recognize concepts of loud and soft dynamic levels
Discriminate between high and low pitches
Movement
Demonstrate the ability to walk, run, hop, jump, gallop, and skip
Walk to a steady beat
Move freely with spatial awareness
Participate in action songs and singing games
Dramatize situations in stories and songs
FIRST GRADE MUISC
Singing
Sing within the range of C to C2
Sing with a clear and pleasing vocal quality
Reproduce two and three-note melodic patterns
Be aware of his/her own vocal intonation within a singing group
Sing a varied song repertoire
relating
to the general
relating to special seasons and events
Rhythm
Keep the beat to the music he/she hears and sings
Distinguish between and execute varied tempi
Perform beat (speak, pat, clap, play, and step)
Recognize the staff and treble clef (G clef)
Associate high and low pitch with the rise and fall of a written free form line
Recognize and use the symbols: (taa, Ta-te, Taa rest)
Listening
Listen attentively to various compositions
Identify the instrumental colors of strings, percussion, brass, and piano
Identify melodic and rhythmic patterns as same or different
Distinguish between high and low, fast and slow, even and uneven rhythms, and loud and soft
Movement
Walk to a steady external beat
Move to even and uneven rhythms
Move freely with spatial awareness
Participate in action songs
Dramatize situations in story and song
Respond in an expressive way to music he/she hears, sings, or plays
Instrument Playing
Play beat accompaniments on barred instruments and unpitched percussion
SECOND GRADE MUISC
Singing
Sing accurately within the range of middle C to C2
Sing with a clear and pleasing vocal quality
Reproduce short melodic patterns
Be aware of his/her own vocal intonation, alone or in a group
Sing a varied song repertoire
relating to the
general
relating to special seasons and events
Sing two part rounds
Rhythm
Keep the beat to the music he/she hears and sings
Demonstrate an understanding of rhythm
Distinguish between and execute varied tempi
Clap rhythm of songs and rhymes while walking the beat
Define 2/4 meter
Understand the function of the staff and treble clef (G clef)
Distinguish between line and space notes
Associate high and low pitch with the position of notes written on the staff
Distinguish between verse and refrain (chorus)
Recognize the symbols
Listening
Listen attentively to various compositions
Identify the instrumental colors of strings, brass, percussion, flute and piano
Identify melodic and rhythmic patterns as same or different
Recognize AB and
Movement
Use body percussion to keep macro and micro beats to external music
Move freely with spatial awareness
Follow directions in moving to specific patterns (rhythmic an melodic)
Instrumental Playing
Play ostinato accompaniments on barred instruments and unpitched percussion
Use the barred instruments to play melodies
Participate in ensembles of more than one instrumental color
THIRD GRADE MUISC
Singing
Sing accurately within the range of middle C to C2
Sing with a clear and pleasing vocal quality
Reproduce longer melodic patterns
Become increasingly aware of his/her own vocal intonation, alone or in a group
Sing a varied song repertoire
relating to the
general
relating to special seasons and events
Sing two and three-part rounds and "Partner Songs" (two different melodies sung simultaneously).
Rhythm
Demonstrate and understanding of in 2/4, 3/4 and 4/4 meters
Begin counting rhythm numerically
Conduct duple and triple meter
Play ostinato patterns in duple and triple meter
Understand the function of the staff, treble clef, measures, bar lines, double bar lines, meter signature, sharp, flat and repeat sign
Interpret the dynamic markings: f, mf, mp, p
Name the lines and space notes from middle C through F2
Name the symbols
Follow multiple verses under the music notation
Listening
Listen attentively to an expanded range of music of different styles and periods, with an emphasis on Asian music
Identify the instrumental colors of strings, brass, percussion, flute, piano, and folk instruments
Discriminate between duple and triple meter and conduct triple meter
Recognize AB and
Movement
Move freely with spatial awareness
Follow directions in moving to specific patterns
Conduct in duple and triple meter using gross motor movement
FOURTH GRADE MUISC
Singing
Sing accurately within the range of B flat to E2 while striving for proper breathing, diction, phrasing, and posture
Sing with a clear and pleasing vocal quality
Reproduce an entire melodic phrase
Become increasingly aware of his/her own intonation, alone and in a group
Sing a varied song repertoire
relating to the general
relating to special seasons and events
Sing rounds, descants, canons in three and four parts, and two-part songs
Rhythm
Demonstrate an understanding of: in 2/4, 3/4, 4/4, 6/8, 3/8 meters
Count rhythm numerically
Reading Notation
Understand the function of the staff, treble clef, measure bar lines, double bar lines, meter signature, sharp, flat, repeat sign, first and second ending and fermata
Interpret the dynamic markings: ff, f, mf, mp, p, pp
Name the line and space notes from A through A2
Name the symbols
Follow multiple verses under the music notation
Follow his/her vocal line in two-part music
Listening
Listen to an expanded repertoire of orchestral and choral literature
Identify the instrumental colors of strings, brass, woodwinds, percussion, keyboard and folk instruments
Discriminate between duple and triple meters
Recognize AB,
Differentiate between major and minor
Movement
Move freely with spatial awareness
Follow directions in moving to specific patterns
Conduct in 2/4, 3/4, and 4/4 meters
FIFTH GRADE MUSIC
Singing
Sing accurately within the range of B flat to E2 while striving for proper breathing, diction, phrasing, and posture
Sing with a clear and pleasing vocal quality
Reproduce a melody of four phrases
Become increasingly aware of his/her own vocal intonation alone and in a group
Sing a varied song repertoire
relating to the
general
relating to special seasons and events
Sing rounds, descants, canons, and more difficult two-part songs.
Rhythm
Demonstrate an understanding of: 2/4, 3/4, 4/4, 5/4, 6/8, and 3/8 meters
Count rhythm patterns numerically
Understand the function of the staff, ledger lines, treble clef, measure, bar lines, double bar lines, meter signature, key signature, accidentals, repeat sign, first and second ending and "D.C. al Fine".
Interpret the dynamic marking, ff, f, mf, mp, p, pp
Name the symbols
Follow multiple verses under the music notation
Follow his/her vocal line in two-part music
Listening
Listen to an expanded repertoire of orchestral and choral literature
Identify the instrumental colors of strings, brass, woodwinds, percussion, keyboard, folk instruments, and contemporary electronic instruments
Discriminate between duple, and triple meters
Recognize AB,
Differentiate between major and minor
Movement
Move freely with spatial awareness
Follow directions in moving to specific patterns
Conduct in 2/4, 3/4, 4/4 and 6/8 meters
"…educating young people in
music is not just an adornment, but a necessity to the art of living…music
brings the community together. The
greatest wealth this country has is not a free market, it's free kids. This is our real wealth, it is our future. And we should know how to invest in it
wisely." - Isaac
Stern
Music offers unique possibilities for
establishing an atmosphere in which students can feel empowered. Music students learn styles, music
fundamentals, performance technique, harmonies, history, and listening
concepts. Students in performing groups
learn to set high standards and to be cooperative and supportive of each
other. The primary purpose of our program
is to give all students the opportunity to explore diverse musical experiences. All middle school students take at least one
music course each year.
The Wooster Applied Music Program is
a highly individualized, one-on-one instructional program in vocal and instrumental
music. Students work with highly qualified musicians over the course of the
school year and are guided in both the mechanics of performing on voice or an
instrument and in the aesthetics of music.
Music history and music theory may figure prominently in this study, but
the primary concern is developing the skills necessary to be an effective and
accomplished musician. These may
include, but not limited to:
Developing
pitch discrimination
Learning
to decipher and count rhythmic patterns
Learning
scales and arpeggios
Studying
etudes
Studying
repertoire
The nature of this instruction varies
from student to student and from instructor to instructor and is very much
determined by the student's inherent talent and their commitment to home
practice and improvement. The voice and
each musical instrument pose different problems to the developing musician, and
these are addressed by each instructor in a personal, focused and sequential
manner.
Grading and evaluation is necessarily
a subjective matter and is dependent on the instructor's perspective of the
student's potential coupled with realistic expectations and evidence of effort
to improve. Encouragement and motivation
are always important aspects to the student-teacher relationship in this type
of instruction and in many cases may
outweigh the desire to produce a polished musician.
SIXTH GRADE MUSIC
The 6th grade music class will receive a hands-on opportunity to learn to read and compose music as well as learn intricate rhythms from around the world. Each student will have a semester of percussion and a semester of handbells/choir chimes.
The percussion class will use hand-drums, tambourines, triangles and other percussive instruments. The purpose of this class is to teach the students rhythms, and how to read, play, and write them. They will learn to decipher and count rhythms, play and compare rhythms of other countries, and write and play rhythmic patterns in different cultural styles.
The second semester will introduce handbells and choir chimes. The students will learn to read music and be exposed to different technical aspects of playing handbells, while learning the importance of working as a team. Counting out rhythms and playing different positions in the bell class will give the student an opportunity to learn new notes and the rhythms that go with that individual part.
Both experiences will help the student with private lessons or group ensembles. Experiencing and learning choir chimes or bells in the 6th grade will enable a student to pass comfortably into the Jr. Handbell choir and further to Sr. Handbells if they so choose.
MIDDLE SCHOOL CHORUS (6-8)
The Middle School Chorus is open to all Middle School
students. During the class time they
will be instructed on proper vocal techniques, vocalizing and how to breathe
correctly. They will sing in
A Middle School Chorus experience will help the student
transition to Wooster Singers and possibly, with a successful audition, to
Madrigals in the
MIDDLE SCHOOL ENSEMBLE (6-8)
This group is open to students interested in playing chamber music in a group. A minimum of two years of experience with an ensemble instrument is required. Students must be able to read music well, play their instruments confidently, and have a strong sense of rhythm. The students will play in various groupings and give several concerts during the year. It is necessary that members of this group must be taking lessons in their ensemble instrument. A great deal can be learned by playing in an ensemble.
As a member of this ensemble they will receive the experience that will enable them to pass an audition to be part of the Upper School Chamber Consort.
RECORDER ENSEMBLE (6-8)
This group is for students who have been playing the soprano or alto recorder for at least two years. Students must be able to read music, play confidently, and have a good sense of rhythm. Three-and-four part harmony (with tenor and bass recorders added) will be employed.
MIDDLE SCHOOL CONTEMPORARY IMPROVISATION ENSEMBLE (CIE)
This ensemble is new to the Middle School. This class will accommodate students who have studied their instruments for at least one year. Improvisation, chord chart interpretation, and rhythm section techniques will be taught. The group will also be prepared to perform throughout the year. Students must pass an audition to be admitted into this group.
This group will give the student the experience and foundation to audition for and participate in the Upper School CIE group.
A new music offering for Middle and
MIDDLE SCHOOL CHORUS (6-8)
The Middle School Chorus is open to all Middle School
students. During the class time they
will be instructed on proper vocal techniques, vocalizing and how to breathe
correctly. They will sing in
A Middle School Chorus experience will help the student
transition to Wooster Singers and possibly, with a successful audition, to
Madrigals in the
MIDDLE SCHOOL ENGLISH HANDBELLS (7-8)
This course introduces the student to the enjoyable art of playing English Handbells and choir chimes, and enhances students' appreciation of music. The course teaches commitment and team playing. It is necessary for all participants to be present at every rehearsal. The members will learn to count, identify notes and key signatures, and share their knowledge with other members of the group. Those students who are more knowledgeable about music and have played bells before will also become teachers of novices. A variety of music from classical to contemporary will be played.
The skills the student learns in the Middle School Handbells will give them a good foundation to learn more advanced techniques in the Upper School Handbell Choir.
MIDDLE SCHOOL ENSEMBLE (6-8)
This group is open to students interested in playing chamber music in a group. A minimum of two years of experience with an ensemble instrument is required. Students must be able to read music well, play their instruments confidently, and have a strong sense of rhythm. The students will play in various groupings and give several concerts during the year. It is necessary that members of this group must be taking lessons in their ensemble instrument. A great deal can be learned by playing in an ensemble.
As a member of this ensemble they will receive the experience that will enable them to pass an audition to be part of the Upper School Chamber Consort.
RECORDER ENSEMBLE (6-8)
This group is for students who have been playing the soprano or alto recorder for at least two years. Students must be able to read music, play confidently, and have a good sense of rhythm. Three-and-four part harmony (with tenor and bass recorders added) will be employed.
MIDDLE SCHOOL CONTEMPORARY IMPROVISATION ENSEMBLE (CIE)
This ensemble is new to the Middle School. This class will accommodate students who have studied their instruments for at least one year. Improvisation, chord chart interpretation, and rhythm section techniques will be taught. The group will also be prepared to perform throughout the year. Students must pass an audition to be admitted into this group.
This group will give the student the experience and foundation to audition for and participate in the Upper School CIE group.
INSTRUMENTAL CLASSES (7-8)
Students who have never played an instrument but would like to try one are encouraged to take a semester or two of instrumental classes. These classes give students the opportunity to experience an instrument for the first time and determine if it is something they would like to pursue. For 7th and 8th grade students' instruction in guitar, drums, drum set, woodwind instruments (flute, clarinet, saxophone) and string instruments (violin, cello) are available. Certain instruments will need to be rented. In order for instruction to be effective, the number of students enrolled in the class will be limited. Instrumental classes will be scheduled during the class day.
WOOSTER JAZZ ENSEMBLE (Middle and Upper School)
A new music offering for Middle and Upper School students is the Wooster Jazz Ensemble. This course will introduce students to the art of jazz improvisation and how to develop and perform jazz repertoire. Students who have studied an instrument for two years or more, and know the basic fundamentals of music, such as major scales and the ability to read music are encouraged to audition for the group. The ensemble will use the Jamey Abersold Jazz series as well as published jazz ensemble arrangements. This course will meet for a full hour 1 day a week
MIDDLE SCHOOL CHORUS (6-8)
The Middle School Chorus is open to all Middle School students. During the class time they will be instructed on proper vocal techniques, vocalizing and how to breathe correctly. They will sing in 2 to 3 part harmonies, and learn to read their individual parts. Identifying notes and key signatures will also help them acquire basic musical knowledge. Another important factor in belonging to a chorus is the self-confidence and poise they will gain through performances given throughout the year. Proper concert etiquette is discussed and expected to be followed. They rehearse once a week for 40 minutes. Attendance and cooperation during rehearsals is stressed.
A Middle School Chorus experience will help the student transition to Wooster Singers and possibly, with a successful audition, to Madrigals in the Upper School.
MIDDLE SCHOOL ENGLISH HANDBELLS (7-8)
This course introduces the student to the enjoyable art of playing English Handbells and choir chimes, and enhances students' appreciation of music. The course teaches commitment and team playing. It is necessary for all participants to be present at every rehearsal. The members will learn to count, identify notes and key signatures, and share their knowledge with other members of the group. Those students who are more knowledgeable about music and have played bells before will also become teachers of novices. A variety of music from classical to contemporary will be played.
The skills the student learns in the Middle School Handbells will give them a good foundation to learn more advanced techniques in the Upper School Handbell Choir.
MIDDLE SCHOOL ENSEMBLE (6-8)
This group is open to students interested in playing chamber music in a group. A minimum of two years of experience with an ensemble instrument is required. Students must be able to read music well, play their instruments confidently, and have a strong sense of rhythm. The students will play in various groupings and give several concerts during the year. It is necessary that members of this group must be taking lessons in their ensemble instrument. A great deal can be learned by playing in an ensemble.
As a member of this ensemble they will receive the experience that will enable them to pass an audition to be part of the Upper School Chamber Consort.
RECORDER ENSEMBLE (6-8)
This group is for students who have been playing the soprano or alto recorder for at least two years. Students must be able to read music, play confidently, and have a good sense of rhythm. Three-and-four part harmony (with tenor and bass recorders added) will be employed.
MIDDLE SCHOOL CONTEMPORARY IMPROVISATION ENSEMBLE (CIE)
This ensemble is new to the Middle School. This class will accommodate students who have studied their instruments for at least one year. Improvisation, chord chart interpretation, and rhythm section techniques will be taught. The group will also be prepared to perform throughout the year. Students must pass an audition to be admitted into this group.
This group will give the student the experience and foundation to audition for and participate in the Upper School CIE group.
INSTRUMENTAL CLASSES (7-8)
Students who have never played an instrument but would like to try one are encouraged to take a semester or two of instrumental classes. These classes give students the opportunity to experience an instrument for the first time and determine if it is something they would like to pursue. For 7th and 8th grade students' instruction in guitar, drums, drum set, woodwind instruments (flute, clarinet, saxophone) and string instruments (violin, cello) are available. Certain instruments will need to be rented. In order for instruction to be effective, the number of students enrolled in the class will be limited. Instrumental classes will be scheduled during the class day.
WOOSTER JAZZ ENSEMBLE (Middle and Upper School)
A new music offering for Middle and Upper School students is the Wooster Jazz Ensemble. This course will introduce students to the art of jazz improvisation and how to develop and perform jazz repertoire. Students who have studied an instrument for two years or more, and know the basic fundamentals of music, such as major scales and the ability to read music are encouraged to audition for the group. The ensemble will use the Jamey Abersold Jazz series as well as published jazz ensemble arrangements. This course will meet for a full hour 1 day a week
"Music expresses that which cannot be put into words and that which cannot remain silent.” Victor Hugo
Music offers unique possibilities for establishing an atmosphere in which students can feel empowered. Music students learn styles, music fundamentals, performance technique, harmonies, history, and listening concepts. Students in performing groups learn to set high standards and to be cooperative and supportive of each other.
Requirements
Because Wooster considers music an essential part of a liberal arts education, a total of at least 2 years of music classes are required for graduation for students graduating in 2008 and beyond. This requirement may be fulfilled through a combination of A History and Appreciation of Music, The History of Rock 'n' Roll, Wooster Singers, Wooster Chamber Consort, English Handbell Choir, or Applied Music. In addition, there are several electives which are also offered. These include Madrigals, Contemporary Improvisation Ensemble, and Music Theory.
Since rehearsal time is limited for Chorus and Ensembles, attendance is critical. Grading will be based on attendance, punctuality, attentiveness, and participation. Effort grades are given based on behavior, attitude, and willingness to seek extra help.
The Wooster Applied Music Program is a highly individualized, one-on-one instructional program in vocal and instrumental music. Students work with highly qualified musicians over the course of the school year and are guided in both the mechanics of performing on voice or an instrument and in the aesthetics of music. Music history and music theory may figure prominently in this study, but the primary concern is developing the skills necessary to be an effective and accomplished musician. These may include, but not limited to:
Reading standard music notation
Developing pitch discrimination
Learning to decipher and count rhythmic patterns
Learning scales and arpeggios
Studying etudes
Studying repertoire
The nature of this instruction varies from student to student and from instructor to instructor and is very much determined by the student's inherent talent and their commitment to home practice and improvement. The voice and each musical instrument pose different problems to the developing musician, and these are addressed by each instructor in a personal, focused and sequential manner.
Grading and evaluation is necessarily a subjective matter and is dependent on the instructor's perspective of the student's potential coupled with realistic expectations and evidence of effort to improve. Encouragement and motivation are always important aspects to the student-teacher relationship in this type of instruction and in many cases may actually outweigh the desire to produce polished musicians.
WOOSTER SINGERS
Students study repertoire and perform pieces of different periods and styles of music. The music they perform is written in SAB and SATB form, and students will be tested in order to be placed in the correct vocal range. Skills, including tonal production, note accuracy, phrasing/breath control, good posture, articulation, pronunciation, intonation, and well balanced ensemble singing, are emphasized. The rehearsal time frame is basically ½ hour a week. Due to the limited rehearsal time attendance is stressed, as is cooperation during the rehearsal. Upper School students who participate in Wooster Singers must demonstrate:
An enjoyment in singing
A commitment to singing well
A respect for quality of music
A respect for the skilled performance of music
A commitment to their ensemble
A personal aesthetic response to the music performed and heard
Good concert etiquette.
Wooster Singers give concerts during the year as well as performing for chapel services, and in the community.
MADRIGALS
Madrigals is a small group of select singers. In order to be in this ensemble they must be a member of the Wooster Singers, and pass an audition.
The audition is comprised of the following tests:
Tonality (intonation - singing in tune)
Pitch accuracy
Rhythmic accuracy
Tone quality
Pronunciation
Diction
Breath control.
Sight reading
Most importantly a positive attitude, cooperation, commitment to the group, and good attendance both in Wooster Singers and Madrigals is essential.
While in Madrigals students must:
demonstrate good posture and breath control
sing with accurate pitch throughout his/her ranges
sing with correct phrasing and appropriate expression
interpret correctly pitches, rhythms, and other notational symbols through singing
sing with good diction
sing accurately an appropriate part in an ensemble, with our without accompaniment
watch and respond to the directions of the conductor
demonstrate improved skill at reading music and growth in musicianship
Music of the traditional English madrigals to music of the contemporary period is performed. The skills learned in Wooster Singers are also stressed during the Madrigal rehearsals. The Madrigals perform in concerts during the year, and periodically sing for chapel services. On occasion the ensemble has been invited to sing in the Danbury community. In 2002, the group auditioned and was selected to sing at Carnegie Hall with the National Youth Choir. In 2005 the ensemble returned to Carnegie Hall and was again part of the National Youth Choir. Other auditions for special events are being planned. The ensemble rehearses one day a week for 40 minutes.
ENGLISH HANDBELL CHOIR
It is very important to know that playing in a bell choir is a true team effort. Each individual has their own part to play and when that part is not there the whole group is affected by the absence.
This course introduces the student to the enjoyable art of English Handbell playing and can enhance a student's appreciation of music. Music varying from classical to contemporary will be played. The ability to read music is an advantage, but during the course of the year they will learn to identify notes and thus learn to read music. They will learn to count rhythmic structures and to identify key signatures. Music varying from classical to contemporary will be played.
To be part of this group a student must:
be a dedicated team player/commitment to the ensemble
have a positive attitude
listen and follow directions
respect and care for the instrument
Most importantly good attendance to all rehearsals and concerts is essential.
Space is limited to approximately 12-14 students. The group rehearses once a week for 40 minutes, but plays for at least 2 concerts a year.
HISTORY AND APPRECIATION OF MUSIC
This course explores the development of Western music from Medieval times up to the Twentieth Century. Utilizing a text, lectures, videotapes and audio recordings, the major stylistic periods and representative composers and their works are studied. Basic elements of music are introduced and compositional forms are explored. Sociological, societal and economic influences on the art form are also discussed. History and Appreciation of Music is a prerequisite for the History of Rock and Roll and will prepare the student for the true American music of the 20th Century. Students are encouraged to continue with the History of Rock and Roll to receive the total history of music.
ELEMENTS
In order to more fully understand an art form based on organized sound, some comprehension of the basic elements of music is necessary. These include:
Pitch - the relative highness or lowness of sound determined by the speed of vibrations.
Dynamics - the relative loudness or softness of sound in music
Tone Color - the quality that distinguishes the sound of a flute from a violin
Rhythm - beat, meter, accent and syncopation, tempo
Melody
Harmony - consonance and dissonance, triads, arpeggios
Tonality/Key - scales, modulation
Musical texture - monophonic, homophonic, polyphonic
Music form - repetition, contrast, variation, binary and ternary song forms
PERFORMING MEDIA: VOICES AND INSTRUMENTS
An introduction to the various classifications of voice ranges and the primary musical instruments utilized in Western music. This includes:
Voice range
Women: Soprano, Mezzo-soprano, Alto (or Contralto)
Men: Tenor, Baritone, Bass
Musical Instruments:
Strings -violin, viola, cello, bass (bowed), harp, guitar (plucked)
Woodwinds - flute, oboe, clarinet, bassoon, saxophone
Brass - trumpet, French horn, trombone, tuba
Percussion - snare drum, bass drum, timpani, cymbals, mallets (xylophone, marimba, vibraphone, orchestra bells) tambourine, triangle, gong (or tam-tam), celesta, chimes
Keyboards - piano, harpsichord, organ, accordion
Electronic - Synthesizers,
THE MIDDLE AGES AND RENAISSANCE (450-1600)
The Influence of the Church
Gregorian chant
Secular music
Organum
Origins of measured rhythm
The Madrigal
THE BAROQUE PERIOD (1600-1750)
Characteristics
Unity of mood - Ritornello form
Basso Continuo and figured bass
Terraced dynamics
The Baroque orchestra
Concerto grosso
Trio sonata
Origins of Baroque Opera
Cantata
Baroque Suite
Oratorio
Composers: Bach, Handel, Vivaldi, Monteverdi
THE CLASSICAL PERIOD (1750-1820)
Characteristics of style
Contrast of mood
Dynamics and the piano
The end of the basso continuo
The Classical orchestra
Composers, Patrons, the Public; Social trends
Forms: Sonata-Allegro (Expositon, Development, Recapitulation)
Theme and Variations
Minuet and Trio
Rondo
Classical Symphony
Classical Concerto
Classical Chamber Music - the String Quartet
Composers: Haydn, Mozart, Beethoven
THE ROMANTIC PERIOD (1820-1900)
Characteristics of Romanticism
Individuality of style
Expressive aims and subjects
Nationalism and Exoticism
Program music
Expressive tone color
Harmony in Romantic music
Expanded range of pitch, dynamics and tempo
Forms: miniature and monumental
The Art Song
Opera
The Romantic Symphony
The Tone Poem - Symphonic Overture
The Symphony Orchestra, the Conductor
Composers: Schubert, Chopin, Liszt, Mendelssohn, Tchaikovsky, Brahms, Verdi, Puccini, Wagner
THE TWENTIETH CENTURY/CONTEMPORARY MUSIC (1900 and beyond)
Characteristics - Diversity
Alternatives to the traditional tonal system
Contemporary Composers in society
Impressionism
Neoclassicism
Expressionism
Serialism
Minimalism
The influence of Jazz
Mixed media: Film scores, Dance scores, Performance Art
Composers:
Debussy, Stravinsky, Schoenberg, Bartok, Ives, Gershwin, Copland, Shostakovich,
Glass, Reich, John
INTRODUCTION TO JAZZ (time permitting)
Characteristics - Improvisation
Roots - Ragtime, Blues, Gospel
Origins: The social contrast of the beginnings of Jazz to the development of "Classical" European music
Basic styles:
Swing
Bebop
Cool Jazz
Free Jazz
Jazz Fusion
Composers/Performers: Louis Armstrong, Charlie Parker, Miles Davis
A new music offering for Middle and
HISTORY OF ROCK AND ROLL
This is a course examining the multi-cultural birth, the controversial growth, and the ever-questionable maturity of the music we call Rock and Roll.
In the class we discuss the vast historical influences of
the music, especially here in the
The text used is Rock Music Styles, A History, fourth edition, written by Katherine Charlton, and published by McGraw-Hill.
The sequence of study is chronological in concept, beginning
with popular music in
MUSIC THEORY
Music Theory, a one-semester course, is designed for high school musicians who want to have a better general understanding of the language of music. Ideally it is intended for students who are currently taking private instrumental or voice lessons. The goal of Music Theory is to develop skills in the basic rudiments of music: melody, harmony and rhythm. The student will be trained in the following areas: music vocabulary, music reading, construction and recognition of all intervals and in ear training in the recognition of melodic and rhythmic patterns. The student must successfully complete this course to be eligible to study AP Theory.
TEXTS
Essentials of Music Theory, Books I, II and III by Surmani, Surmani and Manus,
Music For Sight Singing by Robert Ottman.
TOPICS
The Staff, Notes and Pitches
Treble Clef and Staff
Bass Clef and Staff
The Grand Staff and Ledger Lines (the middle notes)
Ledger Lines (low and high notes)
Note Values
Measure, Bar Line and Double Bar
4/4 Time Signature and Note Values
Whole, Half and Quarter Rests
2/4 Time Signature
¾ Time Signature
Dotted Half Note
Ties and Slurs
Repeat Sign, 1st and 2nd Endings
Eighth Notes
Eighth Rests
Dotted Quarter Note
Dynamic Signs
Tempo Marks
Articulation
D.C, D.S., Coda and Fine
Flats
Sharps
Naturals
Whole Steps, Half Steps and Enharmonic Notes
Tetrachords and Major Scales
The Sharp Scales - G and D Major
The Flat Scales - F and Bb Major
Key Signatures - The Sharp Keys
Key Signatures - The Flat Keys
The Remaining Major Scales with Key Signatures
Chromatic Scale
Intervals
Circle of Fifths
Perfect and Major Intervals
Minor Intervals
Augmented and Diminished Intervals
Solfege and Transposition
Sixteenth Notes
Sixteenth Rests
Dotted Eighth Notes
Common Time and Cut Time (Alla Breve)
3/8 and 6/8 Time Signatures
3/8 and 6/8 Time Signatures at Fast Tempos
Eighth Note Triplets
Incomplete Measures (Pick-up Notes) and Syncopation
Triads
Primary and Major Triads
Scale Degree Names
The V7 (Dominant 7th) Chord
Triad - 1st Inversion
Triads - 2nd Inversion
V7 Chord - 1st, 2nd and 3rd Inversions
Figured Bass
Major Chord Progressions
Minor Scales
Natural, Harmonic and Melodic Minor Scales
Minor Triads
Augmented and Diminished Triads
The Primary Triads in Minor Keys
Minor Chord Progressions
Modes Related to the Major Scale: Ionian, Mixolydian and Lydian
Modes Related to the Minor Scale: Aeolian, Dorian, Phrygian, Locrian
Harmonizing a Melody in a Major Key
Broken Chords and Arpeggiated Accompaniments
Passing and Neighboring Tones
Composing a Melody in a Major Key
Harmonizing a Melody in a Minor Key
Composing a Melody in a Minor Key
12-Bar Blues Chord Progression
The Blues Scale
Basic Forms of Music - Motive and Phrase
AB (Binary) Form
Rondo Form
AP MUSIC THEORY
This yearlong course is designed for the serious musician. The ability to read music and play an instrument is assumed and the successful completion of Music Theory is necessary. This course does not address itself specifically to performance, however, it provides ample opportunity for the developing musician to improve performance skills while gaining analytical, historical, and compositional perspective. Skills in analysis and evaluation are important because they enable students to recognize and pursue excellences in their musical experiences.
At the completion of this course, all students are required to take the AP test.
GOALS:
Understand the fundamentals of music.
Explore two-part and four-part voice leading and harmonization.
Study thoroughly melody, rhythm and texture
Learn to sight sing. This involves the ability to sing, spell and write all major and minor scales; the ability to write all major and minor key signatures, and the ability to recognize the key from the given signature.
Examine music from the Renaissance to the contemporary period.
Study specific compositions.
Foster in class composition and performance of music.
Promote student interest in developing compositional skills.
TEXTS:
AP Theory, Music In Theory and Practice, Vol. 1, by Bruce Benward and Gary White,
Music for Sight Singing, Robert Ottman.
TOPICS
THE FUNDAMENTALS OF MUSIC
Notation
Notation of pitch - the staff
Letter names
The clefs
Octave identification
Accidentals
Intervals
Enharmonic equivalents
Notation of duration
The tie
The dot
Irregular division of notes
Meter signatures
Dynamic markings
History
Neumatic notation
Mensural notation
Present notation
Applications
Some directions for notation in manuscript
Scales, Tonality, Key, Modes
Important concepts
Scale
Diatonic scales
Solfeggio syllables
Major scale
Transposition
Minor scale
Scale relationships
Tonality
Key
Other scales
History
Medieval and renaissance periods (800-1600)
Baroque period (1600-1750)
Classical period (1750-1825)
Romantic period (1825-1900)
Post-romantic and impressionistic period (1875-1920)
Contemporary period (1920-present)
Jazz and popular music (1900-present)
Intervals and Transposition
Important concepts
Intervals and interval numbers
Perfect, major and minor intervals
Consonance and dissonance
Augmented and diminished intervals
Enharmonic intervals
Inversion of intervals
Compound intervals and simple intervals
History
Tuning systems
Applications
Fluency with intervals
Transposition
Methods of transposition
Chords
Important concepts
Harmony
Chord
Triad
Major triad
Minor triad
Diminished triad
Augmented triad
Scale degree names
Primary triads
Seventh chords
History
The development of harmony
Applications
Triads on scale tones
Triad inversion
Root position
First inversion
Second inversion
Triad analysis symbols
Seventh chord analysis symbols
Figured bass
Figured bass symbols
Popular music symbols
Summary
THE STRUCTURAL ELEMENTS OF MUSIC
Cadences and Nonharmonic Tones
Important concepts
Phrase
Harmonic cadence
Rhythmic cadence
Nonharmonic tones
Unaccented nonharmonic tones
Accented nonharmonic tones
Accented versus unaccented nonharmonic tones
Nonharmonic tones involving more than three pitches
Summary
History
Prior to baroque period (1300-1600)
Baroque period (1600-1750)
Classical period (1750-1825)
Romantic period (1825-1900)
Post-romantic and impressionistic period (1875-1920)
Contemporary period (1920-present)
Jazz and popular music (1900-present)
Melodic Organization
Important concepts
The motive
Sequence
Phrase
Period
Modification of the phrase
Other melodic organization
Melodic structure
History
Renaissance period (1450-1600)
Baroque period (1600-1750)
Classical period (1750-1825)
Romantic period (1825-1900_
Post-romantic and impressionistic period (1875-1920)
Contemporary period (1920-present)
Jazz and popular music (1900-present)
Texture and Textural Reduction
Important concepts
Texture
Texture types
History
Renaissance period (1450-1600)
Baroque period (1600-1750)
Classical period (1750-1825)
Romantic period (1825-1900)
Post-romantic and impressionistic period (1875-1920)
Contemporary period (1920-present)
Jazz and popular music (1900-present)
Applications
Analysis of texture
Textural reduction
Voice Leading In Two Voices
Important concepts
Voice leading
Species counterpoint
The cantus firmus
The counterpoint
Motion between voices
History
Applications
Characteristics of a good melody
Writing first species counterpoint
Principles for voice leading
Summary of the principles of species counterpoint
Voice Leading in Four Voices
Important concepts
Four-voice texture
Voice leading in four-voice texture
First-inversion triads
Second-inversion triads
History
Applications
Writing a soprano line above a bass line
Four-voice writing
Common chord progressions
Common errors
Summary
Harmonic Progression and Harmonic Rhythm
Important concepts
Harmonic progression
The relationship of chords
Chord progressions
Harmonic rhythm
History
Renaissance period (1450-1600)
Baroque period (1600-1750)
Classical period (1750-1825)
Romantic period (1825-1900)
Post-romantic and impressionistic period (1875-1920)
Contemporary period (1920-present)
Jazz and popular music (1900-present)
Applications
How to harmonize a tonal melody
The Dominant Seventh Chord
Important concepts
Dominant seventh chord
History
Renaissance period (1450-1600)
Baroque period (1600-1750)
Classical period (1750-1825)
Romantic period (1825-1900)
Post-romantic and impressionistic period (1875-1920)
Contemporary period (1920-present)
Jazz and popular music (1900-present)
Applications
Resolution of the dominant seventh chord
Circle progression
Noncircle progressions with resolution
Nonresolution of seventh factor
The Leading-Tone Seventh Chords
Important concepts
Leading-tone seventh chord
Progressions from vii 7 and viio7
Resolution of tritone and seventh factors
History
Renaissance period (1450-1600)
Baroque period (1600-1750)
Classical period (1750-1825)
Romantic period (1825-1900)
Post-romantic and impressionistic period (1875-1920)
Contemporary period (1920-present
Jazz and popular music (1900-present)
Applications
Voice leading and the vil 7 and viio 7
Some pitfalls to avoid
Nondominant Seventh Chords
Important concepts
Analysis symbols
Nondominant seventh chords in major and minor keys
History
Renaissance period (1450-1600)
Baroque period (1600-1750)
Classical period (1750-1825)
Romantic period (1825-1900)
Post-romantic and impressionistic period (1875-1920)
Contemporary period (1920-present)
Jazz and popular music (1900-present)
Applications
Nondominant seventh chords in circle progressions
Noncircle treatment
Resolution of seventh factor
Summary
Modulation
Important concepts
Modulation
Closely related keys
Common chord modulation
Phrase modulation
Chromatic modulation
Other modulation types
Modulations in period construction
Analytical symbols for modulations
History
Renaissance period (1450-1600)
Baroque period (1600-1750)
Classical period (1750-1825)
Romantic period (1825-1900)
Post-romantic and impressionistic period (1875-1920)
Contemporary period (1920-present)
Jazz and popular music (1900-present)
Applications
Harmonizing melodies that modulate
Secondary Dominants and Leading-Tone Chords
Important concepts
Secondary dominants
Secondary leading-tone chords
History
Renaissance period (1450-1600)
Baroque period (1600-1750)
Classical period (1750-1825)
Romantic period (1825-1900)
Post-romantic period and impressionistic period (1875-1920)
Contemporary period (1920-present)
Jazz and popular music (1900-present)
Assignments
Two-Part (Binary) Form
Important concepts
Formal divisions
Open versus closed formal divisions
Simple versus compound forms
Two-part form
History
Medieval period (500-1450)
Renaissance period (1450-1600)
Baroque period (1600-1750)
Classical period (1750-1825)
Romantic period (1825-1900)
Post-romantic and impressionistic period (1875-1920)
Contemporary period (1920-present)
Jazz and popular music (1900-present)
Three-Part (Ternary) Form
Important concepts
Three-part form
Expanded ternary form
Rounded binary form
History
Medieval period (500-1450)
Renaissance period (1450-1600)
Baroque period (1600-1750)
Classical period (1750-1825)
Romantic, post-romantic, impressionistic and contemporary periods (1875-present)
Jazz and popular music (1900-present)
CHAMBER CONSORT
The Chamber Consort is an
Because the type of ensemble is impacted by the talent and ability of the participants as well as the instruments in the group, every year is different. The fundamental focus of the ensemble is the artistic process of rehearsing and refining a musical composition for performance. This involves the basics of playing correct pitches and rhythms, matters of articulation, dynamic contrast, phrasing, stylistic components, and ensemble balance.
Teamwork and cooperation with peers is emphasized as is respect for a director. Various aspects of chamber music, including working without the aid of a conductor are often addressed. Individual responsibility - bringing instrument and music to class, being properly prepared, being on time - is also stressed.
While the primary focus is on "classical" music, improvisation and contemporary music are sometimes addressed, as are various types of folk music. The overall intent is to produce competent, sensitive musicians who can effectively function in a small ensemble situation.
Sometimes composing, arranging, and orchestrating are addressed, depending on the timing of performance obligations and the abilities of the participants.
Because individual practice at home is a requirement for being properly prepared for rehearsal, and because the ongoing pursuit of technical improvement is a part of the serious study of music, private instrumental instruction for each participant is absolutely necessary.
CONTEMPORARY IMPROVISATION ENSEMBLE (CIE)
This all year course is an instrumental rock/jazz group. The scope and sequence is fairly basic. The students start by examining the instrumentation. The number of players and their instruments of choice can have a tremendous influence on repertoire. Once a tune has been chosen, the process of putting together an arrangement begins. This always includes learning specific rhythms, chord voicings and extensions, and scales and/or modes that work over the various chords. Learning to be a team player is extremely important. Realizing that each part, be it a supporting part or a featured roll, all have equal importance in completing the bigger picture.
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Copyright Wooster School 2005