Doing the Write Thing: Supporting Literacy in the Performance Classroom Brian N. Weidner-Fine Arts Coordinator, McHenry High School Illinois Music Education Conference-January 28, 2012 [email protected] Key components of literacy Reading Writing Speaking Listening Organizational development Audience/Purpose Vocabulary/Concept development Critical thinking skills Key standards for literacy College Readiness Standards Serve as the core standards for the EPAS tests (EXPLORE, PLAN, ACT and by extension, the PSAE test) Focused on reading, English, mathematics, science, and writing Common Core State Standards Adopted by 48 out of 50 states Replace Illinois State Standards in 2014 Include English-language arts (reading, writing, and speaking) and mathematics Common concepts in standards Thesis Supporting details Summary Vocabulary Internal relationship Structure Transition Literary comparison Process of creation Similarities between music and literacy Require both creativity and structure Have presence of small and large form Present a large quantity of unfamiliar vocabulary Possess stratified content Rely upon editing and self-critique to develop mastery Direct steps for incorporating traditional literacy Utilize the vocabulary of literacy Find authentic opportunities to bring in literacy which enhance your music classroom Become familiar with curriculum in other courses, especially English and social studies, that allow for interdisciplinary relationships Develop a personal library of formal and informal writing and prompts on a range of subjects within music Opportunities for developing reading skills Article reviews as guided reading In class readings and discussions of program notes and authentic documents from composers, performers, and critics Standardized test prep readings related to performance pieces Literary comparisons Methods for developing reading skills Guide reading forms which: Highlight main ideas and supporting details Focus on purpose, voice, and audience in readings Look for unfamiliar words and contextual meanings of them Present opportunities to apply or engage with materials within an article or argument Ask for generalizations/summarizations of primary arguments Opportunities for developing writing skills Concert program notes Performance critiques Self-evaluations Electronic forum discussions Literary comparison Methods for developing writing skills Focus on scaffolded organization with main ideas and supporting details Expectation for not only fact telling but opinion making with supporting rationale Emphasis on proper language usage, both in terms of standard and technical grammar and vocabulary Interdisciplinary skills Numerous skills are shared between music and literacy Organization Familiarity with organizational structures is common to fluency between music and literature Example: Structured sight-reading Many similarities to textbook pre-reading strategies Focus on key elements which provide insight Structure-rehearsal marks, double bars, significant events Key components-key and time signature, style markings, articulations Background knowledge activation-composer, title, genre Creativity Creativity needs to be combined with criteria to ensure maintenance of structure and conventions Example: Structured compositions which outline specific criteria for inclusion in creative endeavors Provide room for both creative expression and adherence to fixed expectations Create focus within composition while at the same time creating contrast and interest Vocabulary Importance of key vocabulary in both music and literature Focus needs to be placed not only on the meaning of words but also the methods by which vocabulary is developed Example: Unfamiliar vocabulary studies Draws on context in music just as might happen with literature Emphasizes multiple contributing elements in developing vocabulary Critical thought The ability to not only perform or read but also to process the material which is encountered Can be used in considering how and why music is written and performed Example: Forum discussions Provide opportunities for formal discourse between students Allows for focus on specific requested elements within music Programs available include Blackboard, Moodle, Yahoo!Groups, and many others Causality/Process Processes of creation as well as comprehension of cause and effect are important in fiction and non-fiction reading and music Focus upon not only process but reflection upon experiences Example: 3 minute clinics Allow for comprehension in not only product but process Requires reflection for the purpose of growth Message/Program Music and writing require an understanding of purpose, audience, and voice Consideration of what the overarching program is contributes to understanding the work as a whole Example: Peer critique Emphasize the effectiveness of performance to the purpose of the performance and intent of the music Place specific guidelines to ensure support for opinions Resources x ACT College Readiness Standards- http://www.act.org/standard/ x Common Core State Standards- http://www.corestandards.org/ x Digital copies of all materials for this presentation can be found at o www.dist156.orgĺActivities ĺActivity information-East ĺEast Activity Webpages ĺMCHS Bands o Go to the link under “Contents” for “IMEA Presentation-Doing the Write Thing” College Readiness Standards — Reading Main Ideas and Author's Approach Supporting Details 13–15 Recognize a clear intent of an author or narrator in uncomplicated literary narratives Locate basic facts (e.g., names, dates, events) clearly stated in a passage 16–19 Identify a clear main idea or purpose of straightforward paragraphs in uncomplicated literary narratives Locate simple details at the sentence and paragraph level in uncomplicated passages Recognize a clear function of a part of an uncomplicated passage 20–23 Infer the main idea or purpose of straightforward paragraphs in uncomplicated literary narratives Understand the overall approach taken by an author or narrator (e.g., point of view, kinds of evidence used) in uncomplicated passages Locate important details in uncomplicated passages Make simple inferences about how details are used in passages 24–27 Identify a clear main idea or purpose of any paragraph or Locate important details in more challenging passages paragraphs in uncomplicated passages Locate and interpret minor or subtly stated details in Infer the main idea or purpose of straightforward uncomplicated passages paragraphs in more challenging passages Discern which details, though they may appear in Summarize basic events and ideas in more challenging passages different sections throughout a passage, support important points in more challenging passages Understand the overall approach taken by an author or narrator (e.g., point of view, kinds of evidence used) in more challenging passages 28–32 * Infer the main idea or purpose of more challenging passages or their paragraphs Summarize events and ideas in virtually any passage Understand the overall approach taken by an author or narrator (e.g., point of view, kinds of evidence used) in virtually any passage 33–36 † Identify clear main ideas or purposes of complex passages or their paragraphs Locate and interpret minor or subtly stated details in more challenging passages Use details from different sections of some complex informational passages to support a specific point or argument Locate and interpret details in complex passages Understand the function of a part of a passage when the function is subtle or complex Descriptions of the EPAS (EXPLORE, PLAN, and ACT) Reading Passages Uncomplicated Literary Narratives refers to excerpts from essays, short stories, and novels that tend to use simple language and structure, have a clear purpose and a familiar style, present straightforward interactions between characters, and employ only a limited number of literary devices such as metaphor, simile, or hyperbole. * Statements apply to PLAN & ACT only More Challenging Literary Narratives refers to excerpts from essays, short stories, and novels that tend to make moderate use of figurative language, have a more intricate structure and messages conveyed with some subtlety, and may feature somewhat complex interactions between characters. Complex Literary Narratives refers to excerpts from essays, short stories, and novels that tend to make generous use of ambiguous language and literary devices, feature complex and subtle interactions between characters, often contain challenging context-dependent vocabulary, and typically contain messages and/or meanings that are not explicit but are embedded in the passage. † Statements apply to the ACT only College Readiness Standards — Reading (continued) Sequential, Comparative, and Cause-Effect Relationships 13–15 Determine when (e.g., first, last, before, after) or if an event occurred in uncomplicated passages Recognize clear cause-effect relationships described within a single sentence in a passage 16–19 Identify relationships between main characters in uncomplicated literary narratives Meanings of Words Generalizations and Conclusions Understand the implication of a familiar word or phrase and of simple descriptive language Draw simple generalizations and conclusions about the main characters in uncomplicated literary narratives Use context to understand basic figurative language Draw simple generalizations and conclusions about people, ideas, and so on in uncomplicated passages Use context to determine the appropriate meaning of some figurative and nonfigurative words, phrases, and statements in uncomplicated passages Draw generalizations and conclusions about people, ideas, and so on in uncomplicated passages Use context to determine the appropriate meaning of virtually any word, phrase, or statement in uncomplicated passages Draw subtle generalizations and conclusions about characters, ideas, and so on in uncomplicated literary narratives Recognize clear cause-effect relationships within a single paragraph in uncomplicated literary narratives 20–23 Order simple sequences of events in uncomplicated literary narratives Identify clear relationships between people, ideas, and so on in uncomplicated passages Identify clear cause-effect relationships in uncomplicated passages 24–27 Order sequences of events in uncomplicated passages Understand relationships between people, ideas, and so on in uncomplicated passages Identify clear relationships between characters, ideas, and so on in more challenging literary narratives Understand implied or subtly stated cause-effect relationships in uncomplicated passages Identify clear cause-effect relationships in more challenging passages 28–32 * Order sequences of events in more challenging passages Understand the dynamics between people, ideas, and so on in more challenging passages Use context to determine the appropriate meaning of some figurative and nonfigurative words, phrases, and statements in more challenging passages Draw simple generalizations and conclusions using details that support the main points of more challenging passages Draw generalizations and conclusions about people, ideas, and so on in more challenging passages Determine the appropriate meaning of words, phrases, or statements from figurative or somewhat technical contexts Use information from one or more sections of a more challenging passage to draw generalizations and conclusions about people, ideas, and so on Determine, even when the language is richly figurative and the vocabulary is difficult, the appropriate meaning of context-dependent words, phrases, or statements in virtually any passage Draw complex or subtle generalizations and conclusions about people, ideas, and so on, often by synthesizing information from different portions of the passage Understand implied or subtly stated cause-effect relationships in more challenging passages 33–36 † Order sequences of events in complex passages Understand the subtleties in relationships between people, ideas, and so on in virtually any passage Understand implied, subtle, or complex cause-effect relationships in virtually any passage Uncomplicated Informational Passages refers to materials that tend to contain a limited amount of data, address basic concepts using familiar language and conventional organizational patterns, have a clear purpose, and are written to be accessible. * Statements apply to PLAN & ACT only More Challenging Informational Passages refers to materials that tend to present concepts that are not always stated explicitly and that are accompanied or illustrated by more—and more detailed—supporting data, include some difficult context-dependent words, and are written in a somewhat more demanding and less accessible style. Understand and generalize about portions of a complex literary narrative Complex Informational Passages refers to materials that tend to include a sizable amount of data, present difficult concepts that are embedded (not explicit) in the text, use demanding words and phrases whose meaning must be determined from context, and are likely to include intricate explanations of processes or events. † Statements apply to the ACT only College Readiness Standards — ACT Assessment Writing Test 3–4 Expressing Judgments Focusing on the Topic Developing a Position Show a little understanding of the persuasive purpose of the task but neglect to take or to maintain a position on the issue in the prompt Maintain a focus on the general topic in the prompt through most of the essay Offer a little development, with one or two ideas; if examples are given, they are general and may not be clearly relevant; resort often to merely repeating ideas Show limited recognition of the complexity of the issue in the prompt 5–6 Show a basic understanding of the persuasive purpose of the task by taking a position on the issue in the prompt but may not maintain that position Show little or no movement between general and specific ideas and examples Maintain a focus on the general topic in the prompt throughout the essay Show little movement between general and specific ideas and examples Show a little recognition of the complexity of the issue in the prompt by acknowledging, but only briefly describing, a counterargument to the writer’s position 7–8 Offer limited development of ideas using a few general examples; resort sometimes to merely repeating ideas Show understanding of the persuasive purpose of the task by taking a position on the issue in the prompt Maintain a focus on the general topic in the prompt throughout the essay and attempt a focus on the specific issue in the prompt Show some recognition of the complexity of the issue in the prompt by Present a thesis that establishes focus on the topic Develop ideas by using some specific reasons, details, and examples Show some movement between general and specific ideas and examples • acknowledging counterarguments to the writer’s position • providing some response to counterarguments to the writer’s position 09–10 Show clear understanding of the persuasive purpose of the task by taking a position on the specific issue in the prompt and offering a broad context for discussion Show recognition of the complexity of the issue in the prompt by Maintain a focus on discussion of the specific topic and issue in the prompt throughout the essay Present a thesis that establishes a focus on the writer’s position on the issue Develop most ideas fully, using some specific and relevant reasons, details, and examples Show clear movement between general and specific ideas and examples • partially evaluating implications and/or complications of the issue, and/or • posing and partially responding to counterarguments to the writer’s position 11–12 Show clear understanding of the persuasive purpose of the task by taking a position on the specific issue in the prompt and offering a critical context for discussion Show understanding of the complexity of the issue in the prompt by • examining different perspectives, and/or • evaluating implications or complications of the issue, and/or • posing and fully discussing counterarguments to the writer’s position Maintain a clear focus on discussion of the specific topic and issue in the prompt throughout the essay Present a critical thesis that clearly establishes the focus on the writer’s position on the issue Develop several ideas fully, using specific and relevant reasons, details, and examples Show effective movement between general and specific ideas and examples College Readiness Standards — ACT Writing Test (continued) 3–4 Organizing Ideas Using Language Provide a discernible organization with some logical grouping of ideas in parts of the essay Show limited control of language by Use a few simple and obvious transitions Present a discernible, though minimally developed, introduction and conclusion • correctly employing some of the conventions of standard English grammar, usage, and mechanics, but with distracting errors that sometimes significantly impede understanding • using simple vocabulary • using simple sentence structure 5–6 Provide a simple organization with logical grouping of ideas in parts of the essay Use some simple and obvious transitional words, though they may at times be inappropriate or misleading Present a discernible, though underdeveloped, introduction and conclusion 7–8 Provide an adequate but simple organization with logical grouping of ideas in parts of the essay but with little evidence of logical progression of ideas Use some simple and obvious, but appropriate, transitional words and phrases Present a discernible introduction and conclusion with a little development 09–10 Provide unity and coherence throughout the essay, sometimes with a logical progression of ideas Use relevant, though at times simple and obvious, transitional words and phrases to convey logical relationships between ideas Present a somewhat developed introduction and conclusion 11–12 Provide unity and coherence throughout the essay, often with a logical progression of ideas Use relevant transitional words, phrases, and sentences to convey logical relationships between ideas Present a well-developed introduction and conclusion Show a basic control of language by • correctly employing some of the conventions of standard English grammar, usage, and mechanics, but with distracting errors that sometimes impede understanding • using simple but appropriate vocabulary • using a little sentence variety, though most sentences are simple in structure Show adequate use of language to communicate by • correctly employing many of the conventions of standard English grammar, usage, and mechanics, but with some distracting errors that may occasionally impede understanding • using appropriate vocabulary • using some varied kinds of sentence structures to vary pace Show competent use of language to communicate ideas by • correctly employing most conventions of standard English grammar, usage, and mechanics, with a few distracting errors but none that impede understanding • using some precise and varied vocabulary • using several kinds of sentence structures to vary pace and to support meaning Show effective use of language to clearly communicate ideas by • correctly employing most conventions of standard English grammar, usage, and mechanics, with just a few, if any, errors • using precise and varied vocabulary • using a variety of kinds of sentence structures to vary pace and to support meaning COMMON CORE STATE STANDARDS FOR ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS Students Who are College and Career Ready in Reading, Writing, Speaking, Listening, and Language The descriptions that follow are not standards themselves but instead offer a portrait of students who meet the standards set out in this document. As students advance through the grades and master the standards in reading, writing, speaking, listening, and language, they are able to exhibit with increasing fullness and regularity these capacities of the literate individual. They demonstrate independence. They comprehend as well as critique. Students can, without significant scaffolding, comprehend and evaluate complex texts across a range of types and disciplines, and they can construct effective arguments and convey intricate or multifaceted information. Likewise, students are able independently to discern a speaker’s key points, request clarification, and ask relevant questions. They build on others’ ideas, articulate their own ideas, and confirm they have been understood. Without prompting, they demonstrate command of standard English and acquire and use a wide-ranging vocabulary. More broadly, they become self-directed learners, effectively seeking out and using resources to assist them, including teachers, peers, and print and digital reference materials. Students are engaged and open-minded—but discerning—readers and listeners. They work diligently to understand precisely what an author or speaker is saying, but they also question an author’s or speaker’s assumptions and premises and assess the veracity of claims and the soundness of reasoning. They build strong content knowledge. Students establish a base of knowledge across a wide range of subject matter by engaging with works of quality and substance. They become proficient in new areas through research and study. They read purposefully and listen attentively to gain both general knowledge and discipline-specific expertise. They refine and share their knowledge through writing and speaking. They respond to the varying demands of audience, task, purpose, and discipline. 7 | INTRODUCTION Students adapt their communication in relation to audience, task, purpose, and discipline. They set and adjust purpose for reading, writing, speaking, listening, and language use as warranted by the task. They appreciate nuances, such as how the composition of an audience should affect tone when speaking and how the connotations of words affect meaning. They also know that different disciplines call for different types of evidence (e.g., documentary evidence in history, experimental evidence in science). They value evidence. Students cite specific evidence when offering an oral or written interpretation of a text. They use relevant evidence when supporting their own points in writing and speaking, making their reasoning clear to the reader or listener, and they constructively evaluate others’ use of evidence. They use technology and digital media strategically and capably. Students employ technology thoughtfully to enhance their reading, writing, speaking, listening, and language use. They tailor their searches online to acquire useful information efficiently, and they integrate what they learn using technology with what they learn offline. They are familiar with the strengths and limitations of various technological tools and mediums and can select and use those best suited to their communication goals. They come to understand other perspectives and cultures. Students appreciate that the twenty-first-century classroom and workplace are settings in which people from often widely divergent cultures and who represent diverse experiences and perspectives must learn and work together. Students actively seek to understand other perspectives and cultures through reading and listening, and they are able to communicate effectively with people of varied backgrounds. They evaluate other points of view critically and constructively. Through reading great classic and contemporary works of literature representative of a variety of periods, cultures, and worldviews, students can vicariously inhabit worlds and have experiences much different than their own. COMMON CORE STATE STANDARDS FOR ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS College and Career Readiness Anchor Standards for Language The grades 6–12 standards on the following pages define what students should understand and be able to do by the end of each grade. They correspond to the College and Career Readiness (CCR) anchor standards below by number. The CCR and grade-specific standards are necessary complements—the former providing broad standards, the latter providing additional specificity—that together define the skills and understandings that all students must demonstrate. Conventions of Standard English 1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking. 2. Demonstrate command of the conventions of standard English capitalization, punctuation, and spelling when writing. Knowledge of Language 3. Apply knowledge of language to understand how language functions in different contexts, to make effective choices for meaning or style, and to comprehend more fully when reading or listening. 51 | 6-12 | ENGLISH LANGUAGE ARTS | LANGUAGE Vocabulary Acquisition and Use 4. Determine or clarify the meaning of unknown and multiple-meaning words and phrases by using context clues, analyzing meaningful word parts, and consulting general and specialized reference materials, as appropriate. 5. Demonstrate understanding of figurative language, word relationships, and nuances in word meanings. 6. Acquire and use accurately a range of general academic and domain-specific words and phrases sufficient for reading, writing, speaking, and listening at the college and career readiness level; demonstrate independence in gathering vocabulary knowledge when considering a word or phrase important to comprehension or expression. Note on range and content of student language use To be college and career ready in language, students must have firm control over the conventions of standard English. At the same time, they must come to appreciate that language is as at least as much a matter of craft as of rules and be able to choose words, syntax, and punctuation to express themselves and achieve particular functions and rhetorical effects. They must also have extensive vocabularies, built through reading and study, enabling them to comprehend complex texts and engage in purposeful writing about and conversations around content. They need to become skilled in determining or clarifying the meaning of words and phrases they encounter, choosing flexibly from an array of strategies to aid them. They must learn to see an individual word as part of a network of other words—words, for example, that have similar denotations but different connotations. The inclusion of Language standards in their own strand should not be taken as an indication that skills related to conventions, effective language use, and vocabulary are unimportant to reading, writing, speaking, and listening; indeed, they are inseparable from such contexts. COMMON CORE STATE STANDARDS FOR ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS College and Career Readiness Anchor Standards for Reading The grades 6–12 standards on the following pages define what students should understand and be able to do by the end of each grade. They correspond to the College and Career Readiness (CCR) anchor standards below by number. The CCR and grade-specific standards are necessary complements—the former providing broad standards, the latter providing additional specificity—that together define the skills and understandings that all students must demonstrate. Key Ideas and Details 1. Read closely to determine what the text says explicitly and to make logical inferences from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text. 2. Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and ideas. 3. Analyze how and why individuals, events, and ideas develop and interact over the course of a text. Craft and Structure 4. Interpret words and phrases as they are used in a text, including determining technical, connotative, and figurative meanings, and analyze how specific word choices shape meaning or tone. 5. Analyze the structure of texts, including how specific sentences, paragraphs, and larger portions of the text (e.g., a section, chapter, scene, or stanza) relate to each other and the whole. 6. Assess how point of view or purpose shapes the content and style of a text. 35 | 6-12 | ENGLISH LANGUAGE ARTS | READING Integration of Knowledge and Ideas 7. Integrate and evaluate content presented in diverse formats and media, including visually and quantitatively, as well as in words.* 8. Delineate and evaluate the argument and specific claims in a text, including the validity of the reasoning as well as the relevance and sufficiency of the evidence. 9. Analyze how two or more texts address similar themes or topics in order to build knowledge or to compare the approaches the authors take. Range of Reading and Level of Text Complexity 10. Read and comprehend complex literary and informational texts independently and proficiently. * Please see “Research to Build Knowledge” in Writing and “Comprehension and Collaboration” in Speaking and Listening for additional standards relevant to gathering, assessing, and applying information from print and digital sources. Note on range and content of student reading To become college and career ready, students must grapple with works of exceptional craft and thought whose range extends across genres, cultures, and centuries. Such works offer profound insights into the human condition and serve as models for students’ own thinking and writing. Along with high-quality contemporary works, these texts should be chosen from among seminal U.S. documents, the classics of American literature, and the timeless dramas of Shakespeare. Through wide and deep reading of literature and literary nonfiction of steadily increasing sophistication, students gain a reservoir of literary and cultural knowledge, references, and images; the ability to evaluate intricate arguments; and the capacity to surmount the challenges posed by complex texts. COMMON CORE STATE STANDARDS FOR ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS College and Career Readiness Anchor Standards for Writing The grades 6–12 standards on the following pages define what students should understand and be able to do by the end of each grade. They correspond to the College and Career Readiness (CCR) anchor standards below by number. The CCR and grade-specific standards are necessary complements—the former providing broad standards, the latter providing additional specificity—that together define the skills and understandings that all students must demonstrate. Text Types and Purposes* 1. Write arguments to support claims in an analysis of substantive topics or texts, using valid reasoning and relevant and sufficient evidence. 2. Write informative/explanatory texts to examine and convey complex ideas and information clearly and accurately through the effective selection, organization, and analysis of content. 3. Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and well-structured event sequences. Production and Distribution of Writing 4. Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience. 5. Develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach. 6. Use technology, including the Internet, to produce and publish writing and to interact and collaborate with others. 41 | 6-12 | ENGLISH LANGUAGE ARTS | WRITING Research to Build and Present Knowledge 7. Conduct short as well as more sustained research projects based on focused questions, demonstrating understanding of the subject under investigation. 8. Gather relevant information from multiple print and digital sources, assess the credibility and accuracy of each source, and integrate the information while avoiding plagiarism. 9. Draw evidence from literary or informational texts to support analysis, reflection, and research. Range of Writing 10. Write routinely over extended time frames (time for research, reflection, and revision) and shorter time frames (a single sitting or a day or two) for a range of tasks, purposes, and audiences. These broad types of writing include many subgenres. See Appendix A for definitions of key writing types. * Note on range and content of student writing For students, writing is a key means of asserting and defending claims, showing what they know about a subject, and conveying what they have experienced, imagined, thought, and felt. To be college- and careerready writers, students must take task, purpose, and audience into careful consideration, choosing words, information, structures, and formats deliberately. They need to know how to combine elements of different kinds of writing—for example, to use narrative strategies within argument and explanation within narrative— to produce complex and nuanced writing. They need to be able to use technology strategically when creating, refining, and collaborating on writing. They have to become adept at gathering information, evaluating sources, and citing material accurately, reporting findings from their research and analysis of sources in a clear and cogent manner. They must have the flexibility, concentration, and fluency to produce high-quality firstdraft text under a tight deadline as well as the capacity to revisit and make improvements to a piece of writing over multiple drafts when circumstances encourage or require it. Article Review Reviewer’s Name ___________________________________ Date _____________________ Article Title __________________________________________________________________ Author(s) ____________________________________________________________________ Magazine/Journal/Source________________________________________________________ Page(s) _____________________ Date _______________________________ Complete the following in complete sentences. Thesis-What was the focus of the article? Supporting details What are the key points supporting the central thesis? (List no less than 5) Analysis What further questions do you have for the author of this article regarding this topic? (Identify at least one) Relevance How does this article relate to either your personal performance or the ensemble experience in our class? Application How can you personally use the information from this article to alter your own performance or to enhance our ensemble’s work? Sharing What would you share with others in your section or ensemble from this article that could assist them in improving their music understanding or performance? Read the following excerpt and answer the questions which follow: Grainger’s compositions and arrangements are, it is true, generally recognized for their technical innovations and eccentricities, but they also commonly arouse critical comment concerning their apparent mawkishness, levity, and exultation of kitsch; witness Paul Griffiths’ summation for The Times (UK) of the value of Grainger’s music by way of marking the centenary of his birth: Grainger ...was not a composer but a state of mind. He had few ideas of his own but the ability to make 5 anything exposed to him instantly commonplace: folksongs he denatured with dance hall harmonies and inevitable counter-melodies, Bach he reduced to a picture postcard. His much vaunted freedom is not revolution but escape. His emotional range is bounded by schoolboy stereotypes of jollity, fun and earnestness. The appeal of his music is as dated as that of mountain walking and youth hostels. Grainger himself had been acutely aware of the precariousness of his critical reputation as a composer; he 10 once said of his teacher, Ferruccio Busoni, that he ‘impressed people immensely, but pleased few. I was able to please almost everybody including Busoni, but impressed nobody.’ Later in life he would write, painfully, of ‘my wretched tone-life’, a phrase he considered as the title for a projected autobiography, no less. The subsequent lack of a sustained corpus of reflective work on his music suggests that it continues to represent something of both an enigma and embarrassment. Professing to admire, even love, Grainger’s music, in the 15 presence of at least some of one’s professional colleagues, can feel like admitting to a rather guilty pleasure. from Tregear, P. (2011). Exploring the kitsch in Grainger’s music. Grainger studies: An interdisciplinary journal. 1.1. p. 99. 1. The author’s use of the word “kitsch” in line 3 most closely means something which is: A. ornate and aristocratic B. commonplace and folksy C. jolly and fun D. enigmatic and embarrassing (MW-16-19) 2. The author’s main argument is best summarized by which of the following statements: A. Grainger was a master composer who wrote harmonies and counter-melodies like Bach. B. Grainger failed to impress anyone with his musical compositions. C. Grainger composed in a style which is difficult to identify as having lasting significance or momentary interest. D. Grainger showed no concern for what others thought of his music and pursued his musical interests without care for critics’ comments. (MI 16-19) 3. According to the author, critics of Grainger believe that: A. his music lacks the appeal to make it lasting music. B. he satisfied no one with his music compositional style. C. is limited in its expression and depth in composition. D. his music continues today due to its exultation of kitsch. (SD 20-23) 4. Grainger is “an enigma and an embarrassment” because: A. he writes composition which imitates folk tunes and dance hall music. B. his music both engages the listener and repels the professional. C. he was unhappy with the music he composed. D. his music was innovative and utilized counter-melodies. (G/C 16-19) 5. Strong opposition to Grainger’s compositional style is due to A. his tendency to exaggerate low-brow musical concepts. B. his offensive behavior which led critics to be overly harsh. C. his own self-loathing as a composer and artist. D. his unique application of technique and innovation. (CE 20-23) Snow ee cummings cru is ingw Hi sperf ul lydesc BYS FLUTTERFULLY IF (endbegi ndesignb ecend)tang lesp ang le s ofC omego CRINGE WITHS lilt( -inglyful of)! (s r BIRDS BECAUSE AGAINS emarkable s)h? y&a (from n o(into whe)re f ind) nd ArE GLIB SCARCELYEST AMONGS FLOWERING JABBERWOCKY Lewis Carroll (from Through the Looking-Glass and What Alice Found There) `Twas brillig, and the slithy toves Did gyre and gimble in the wabe: All mimsy were the borogoves, And the mome raths outgrabe. Sonnet 130 William Shakespeare My mistress' eyes are nothing like the sun; Coral is far more red than her lips' red: If snow be white, why then her breasts are dun; If hairs be wires, black wires grow on her head. I have seen roses damask'd, red and white, But no such roses see I in her cheeks; And in some perfumes is there more delight Than in the breath that from my mistress reeks. I love to hear her speak,--yet well I know That music hath a far more pleasing sound; I grant I never saw a goddess go, My mistress when she walks, treads on the ground; And yet, by heaven, I think my love as rare As any she belied with false compare. The Road Not Taken Robert Frost Two roads diverged in a yellow wood, And sorry I could not travel both And be one traveler, long I stood And looked down one as far as I could To where it bent in the undergrowth. Then took the other, as just as fair, And having perhaps the better claim, Because it was grassy and wanted wear; Though as for that the passing there Had worn them really about the same. And both that morning equally lay In leaves no step had trodden black. Oh, I kept the first for another day! Yet knowing how way leads on to way, I doubted if I should ever come back. I shall be telling this with a sigh Somewhere ages and ages hence: Two roads diverged in a wood, and I-I took the one less traveled by, And that has made all the difference. Program notes prompt This concert takes on the holidays from a variety of different perspectives. Your concert notes should address two different things: 1. The culture from which this piece is derived and 2. How the music reflects this culture. Your program notes should be succinct and able to be used as written for our upcoming concert as vocally read notes, able to be understood by a non-musician but intelligent adult. The best notes for each piece will be used on our concert. Symphonic Band Farandole Tonight’s concert takes you through a variety of musical cultures for an image of how the holidays incorporate music into their celebration practices. Farandole began its life as part of a suite of incidental music to accompany the French play L’Arlessienne meaning “the Girl from Arles.” The story of this play is similar to a Shakespearean comedy of mistaken identities, including a shepherd who masquerades as a king so to win the love of the Girl from Arles. The term farandole refers to a French country dance and this one is based off a traditional hymn “The March of the Kings.” It has come to symbolize a bold statement of the holiday season since its writing in 1872. Russian Christmas Music Russian Christmas Music was written in 1944 as a tribute to the friendship between the Russian and American people during World War II. It utilizes liturgical music and the style of Russian Orthodox music, most notably the ancient Russian carol “Carol of the Little Russian Children.” Bear in mind that Orthodox liturgy dictates that no instruments be used in worship, so the ensemble has strived to imitate vocal phrasing and techniques through a moving presentation of themes and sounds of this rich musical heritage including dense chord structures, extensive dynamic contrast, running ostinato lines, and complicated interplay between all voices. Shalom! Shalom! is based off of Israeli folk music, which is a blend of Middle Eastern, Orthodox, eastern European, and Germanic music traditions. This piece includes elements of Israeli music that are both liturgical and secular in nature and represent music for both Sabbath and Hanukkah worship and celebration. Elements of Russian Christmas Music can be heard in this music, particularly in the slower sections. At the same time, much of the non-liturgical music has a dancelike feel associated with Eastern European and Germanic folk music. Name _______________________________ Concert Review Date of performance __________________________________________________________ Ensemble(s) ________________________________________________________________ Performance venue ___________________________________________________________ Program (List pieces performed) 1. _________________________________________________________________________ 2. _________________________________________________________________________ 3. _________________________________________________________________________ 4. _________________________________________________________________________ 5. _________________________________________________________________________ 6. _________________________________________________________________________ 7. _________________________________________________________________________ 8. _________________________________________________________________________ 9. _________________________________________________________________________ 10. ________________________________________________________________________ Environment (Describe the venue in which you heard this concert in full sentences.) Name _______________________________ Critique-Assess this concert performance in full sentences-you may attach an additional page or type this review. What did you enjoy or dislike about it? What could have improved the concert experience? What would you like to have seen be different in this concert? Name _______________________________ Recording Review #1 Name of recording ______________________________________________________________ Recording artist(s) ______________________________________________________________ Length of recording _____________________________________________________________ List of tracks __________________________________________________________________ Critique this recording on the basis of the following criteria: 1. Quality of performance, 2. Quality of recording quality, and 3. Possible considerations for improvement. Use full sentences-you may attach an additional page or type this review. Name _______________________________ Recording Review #2 Name of recording ______________________________________________________________ Recording artist(s) ______________________________________________________________ Length of recording _____________________________________________________________ List of tracks __________________________________________________________________ Critique this recording on the basis of the following criteria: 1. Quality of performance, 2. Quality of recording quality, and 3. Possible considerations for improvement. Use full sentences-you may attach an additional page or type this review. Semester 2 Self-Evaluation 2011 Brain-storming questions Use the following questions to focus your final self-evaluation response. 1. List achievements that you have made this past semester as a musician on your primary instrument in school ensembles. List at least 5. 2. Identify the most significant achievement you have listed above by underlining it. This may be due to the development you needed to go through for this achievement or due to the importance of that achievement in advancing yourself as a musician. 3 . List what makes this achievement the most significant. Consider both the effort put into its development as well as the musical advantage of its development. 4. List what efforts you needed to go through in order to make this achievement. Consider work done in rehearsal, in private practice, and in observation of your performance. In a well written paragraph, address the following points: x x x x x What is the most significant achievement that you have had this past semester? What has made this achievement so significant? Where did you start in terms of this achievement at the beginning of the year? What steps and practices did you go through to achieve this development? How could you apply strategies that brought you improvement toward this achievement to other areas requiring development? Make sure to read through the rubric on the reverse of this page as you will be assessed based on it. Please turn in this rubric with your final self-evaluation. Your selfevaluation should be typed or clearly hand-written. Three points will be deducted if the rubric is not included. Self-Evaluation Writing Rubric Absent Developing 0-1 Thesis absent and/or topic sentences absent 0-2 Main idea not supported by specific and accurate evidence Thesis not 2-3 clear and/or not related to subject, topic sentences not related to thesis Main idea 3-7 supported by one specific and accurate piece of evidence per paragraph Organization and Effectiveness 0-1 No organization is evident, conclusion absent Writing moves 2-3 from point to point with difficulty & barely addresses the assignment, conclusion not effective Effective Communication Errors 0-1 completely interfere with effective communication Student 0-11 demonstrates minimal understanding of essential material Fails to meet any 0-5 requirements of assignment Fails to make 0-5 observations of selfperformance Errors significantly 2-3 interfere with effective communication Fails to use 0-5 specific musical terminology Inappropriate use 6-7 of musical terminology Main Idea / Thesis Support / Evidence Content Thoroughness Accuracy of observations Musically appropriate language Student 12-14 demonstrates a basic understanding of essential material Fails to discuss one 6-7 of the following required topics. Limited scope of 6-7 recognition of selfperformance Somewhat Developed Thesis stated 4-5 but not totally clear, topic sentences not always related to thesis Main idea 8-10 supported by two specific and accurate pieces of evidence per paragraph Writing moves 4-5 from point to point with little difficulty & mostly addresses the assignment, conclusion adequately summarizes main points Paper contains 4-5 several errors but still clearly communicates the writer’s ideas Student 15-17 demonstrates a good understanding of essential material Discusses all topics 8-9 with unspecific or limited support Minor inaccuracies 8-9 in properly identifying concepts in selfperformance Minor errors in 8-9 proper use of musical terminology Fully Developed Thesis clear 6 and relates to subject, topic sentences clear & relate to thesis Main idea 11-12 supported by three or more specific and accurate pieces of evidence per paragraph Writing 6 moves from point to point with ease & directly addresses the assignment, conclusion restates thesis, is clear and effective Paper 6 is virtually error free and very clearly communicates the writer’s ideas Student 18-20 demonstrates mastery of essential material Discusses all topics 10 with specific support from rehearsal Consistent accuracy 10 in identifying concepts in self-performance Consistent proper use 10 of musical terminology Total: _________________/80 A=80-73 B=72-65 C=64-57 D=65-49 F=48-0 Sight Reading Walkthrough Title of piece ______________________________________________ Composer _________________________________________________ Subtitles/Dedications_________________________________________ Does any of the information above provide you with a hint of how to approach this piece? In the beginning… Key signature _______________ Time signature __________________ Tempo ____________________ Style ___________________________ What characteristics does the music have in the opening measures (consider articulation, dynamics, melodic shape, etc.)? Significant changes # Measure # 1 2 3 4 5 6 7 8 9 10 Type Details (key/time/tempo/style) Form What repetition do you see within this piece? What measure numbers demonstrate similar material or style? Create a pattern of structure, with a letter representing each new idea. What are the characteristics of each section you labeled above? A B C D E Concert Band Pentatonic composition Stage 1: Introduce the major pentatonic scale, starting on F. Each student must create a melody which: 1. is comprised entirely of the pentatonic scale 2. is structured in 2 or 3 balanced phrases 3. fits the register of their own instrument Stage 2: Have students work in partners. Each pair must choose one of their melodies to continue to develop. They may also merge the two melodies together into a single 2-4 balanced phrase melody which meets the requirements above. Stage 3: Each pair of students should merge with 3 other groups of different instruments. These groups should create a single composition in rondo form which utilizes each group’s melody. These melodies may be utilized independently or as countermelodies to one another. Each group should create a composition which: 1. maintains penatonicity 2. possesses an accompaniment which changes with each section of the rondo form. These may include standard accompaniments like block chords and arpeggiations or more inventive processes 3. provides at least 3 different parts throughout 4. transposes all 3 parts for C, Bb, Eb, and F instruments Term Term Term Piece/Location Piece/Location Piece/Location Notation clues Notation clues Notation clues Articulation clues Articulation clues Articulation clues Phrasing clues Phrasing clues Phrasing clues Style clues Style clues Style clues Other clues Other clues Other clues 3 minute clinics Prompts for students Day 1. Select a segment of the music (4-16 measures) which we need to provide attention to, along with what specifically we need to address. Write it on the chart paper. Day 2. Write a plan as a clinician of how you will work on this process. Include in your plan: x Exactly what measures you will be working on x Exactly which band members you will be working with x Exactly what the issue is which you will be addressing x Exactly what approach you will use to work on the issue x Exactly what your goal is for your clinic Day 3. Conduct the clinic. You will have 3 minutes with the ensemble Day 4. Evaluate your clinic. In your evaluation, include the following in a formal write up: x Did your clinic effectively address the issue which you identified? How could you have altered your plan to more effectively meet your target? x Did the ensemble respond well to your approach? How could you have altered your plan to better address the ensemble? x What work still needs to be done to master this section and concept of music? Final Composition (Composition ___/10) For your final composition, you will be creating a composition of 16 measures that will meet the requirements of functional harmony. Instrumentation is your choice, but it should include between 2 to 5 parts (a piano piece is also acceptable). It should meet the following criteria: x 4 balanced phrases x Use of the following cadence pattern: half, authentic, half, authentic x Adherence to functional categories x Initial start on tonic pitch x Melody primarily built of steps with properly approached and resolved leaps with adherence to created chord progression x Considerations of range for desired instrumentation x Use of properly approached and resolved non-harmonic tones x Use of chord inversions x Adherence to Common Practice notation x Identification of key, chords by Roman numeral and chord inversion Final Composition-Peer Review Music critique-____/10 Composer ______________________________ Reviewer _______________________________ I. Composition requirements Did this composition: x Have 4 4-measure balanced phrases? If not, what is keeping it from meeting this structure? x Use a cadence pattern of half, authentic, half, and authentic? If not, where are the errors? x Follow standard functional progression? If not, where are the errors in the structure of progression? x Have a melody which starts on tonic and is constructed mostly of steps or properly resolved leaps? What issues are there which interrupt the flow of the composition? x Demonstrate proper treatment of non-harmonic tones and chord inversions? What notes are inappropriately treated? x Show clear legibility and adherence to Common practice notation? What are the issues which interrupt with the clear ability to communicate? II. Aesthetic considerations 1. Is this piece musically engaging? As you study it, does it demonstrate clarity and connection while at the same time possessing interest and contrast? What could be done to improve the balance between stability and contrast? 2. Provide at least three suggestions for improving this piece in terms of technical execution or aesthetic expression.
© Copyright 2026 Paperzz