Skip to main content

Home/ Digital Musicking/ Group items tagged performances

Rss Feed Group items tagged

lemason

Performance: Low Brass - SBO - 0 views

  • It’s important to step back and think about how educators have influenced you, because your teaching philosophy depends on it
  • in the first stage, everyone teaches exactly as they had been taught. In the second stage, instructors adjust their style based on other expert teachers they’ve borrowed ideas from
  • I realized the students’ ability to read music or not read music was ultimately the teacher’s fault
  • ...11 more annotations...
  • the students’ enthusiasm fuels two purposes: bravado and attention-seeking behavior.
  • Left uncorrected, this rowdy behavior can be a pain in a band director’s side.
  • One example of the use of fear would be my weekly summer camp challenges
  • The challenge could occur in any section of any piece and this was a very effective tool at getting me to practice
  • Over experience and time, after attending numerous workshops, reading about this subject, and conducting research, I’ve come to the conclusion that students can be pushed to learn out of desire rather than fear
  • calm classroom rather than a happy classroom
  • A calm classroom has a lot of structure in place: the procedures are practiced and understood, there are rules and consequences for inappropriate behavior, and students are aware that learning is often a messy business.
  • The secret to developing a mature attitude comes from a love of sharing music and teaching patience.
  • Students need to be reminded why they’re doing what they’re doing.
  • When we develop our procedures and rules for the year, I make it a deliberate point to explain why the items were deemed important.
  • Treat your students as young adults. Another way to think of it would be to treat them as you’d like to be treated
  •  
    This articles contains thoughts on developing rules and procedures in the beginning band classroom. It discusses possible tactics to get the most out of your beginning band students.
  •  
    This articles contains thoughts on developing rules and procedures in the beginning band classroom. It discusses possible tactics to get the most out of your beginning band students.
lemason

Playing Both Sides of the Horn: Approaching the Saxophone As a Classical and Jazz Instr... - 0 views

  • The saxophone is usually viewed by the wider public as a “jazz instrument,” thanks to nearly one hundred years of iconography associated with that art form
  • most in the music community now recognize that the instrument is capable of performing in any musical style, from contemporary classical to jazz to rock to pop to salsa, and so much more.
  • Instead of solely nurturing one style of saxophone playing, students should be encouraged to make use of all of the wonderful potentialities of the instrument, so that they can enjoy any possible form of music making throughout their lives.
  • ...10 more annotations...
  • A different mouthpiece and reed combination. The classical and commercial genres require different sounds, approaches to articulation, etc. While the performer mostly accomplishes this, a purpose-built, high-quality mouthpiece will make their lives easier
  • Many charlatans are lurking in the world, touting their instruments as “perfect for jazz” or “great for classical playing!” In truth, a quality saxophone is a quality saxophone, and all reputable brands are manufactured to allow for absolutely any type of playing. The student should simply be on the highest-quality instrument possible
  • two “pants pockets.” In one, a saxophonist keeps their classical skills, and in the other they keep their jazz skills. The two different styles shouldn’t mix, but they should both be handy for any given musical situation.
  • classical alto performance include the Selmer S-80 C*, the Selmer S-90 190, the Selmer Concept, or the Vandoren Optimum AL3. For jazz alto, the Meyer 5M, Vandoren V16 5M, Jody Jazz HR 5M, and the D’Addario Select 5M are all great choices.
  • As far as reeds go, it’s really up to the preference of the student. Some players use “classical” reeds and “jazz” reeds, while others use the same make on both setups. However, since classical and jazz mouthpieces are designed differently, the student will normally need to play reeds that are slightly lower in strength on their jazz mouthpiece.
  • teachers advocate different embouchures for jazz and classical playing, I am of the opinion that one can serve both purposes
  • One of the biggest differences between the performance of commercial and classical styles is articulation
  • Classical and jazz saxophone sounds are vastly different
  • how are students supposed to know what a great classical or jazz sound is? How are they supposed to learn about style? As always, the musician’s greatest tool is a busy set of ears.
  • Young saxophonists, from the first day, should have quality recordings available to them. With online video-sharing and streaming services, it is incredibly easy to give a student a list of names and let them start exploring for themselves
  •  
    This articles discusses myths of the saxophone being a jazz instrument rather than a classical instrument. It offers suggestions on instrument selection, mouthpieces, embouchure development and reed selection.
  •  
    This articles discusses myths of the saxophone being a jazz instrument rather than a classical instrument. It offers suggestions on instrument selection, mouthpieces, embouchure development and reed selection.
lalario

(28) How to practice effectively...for just about anything - Annie Bosler and Don Green... - 0 views

  •  
    This short video explains how the brain reacts to practice and repetition of activities. It reviews the neural pathways and the process that the brain goes through when something is being learned. An interesting fact mentioned in this video is that a study proved that the performance level of mentally envisioning practicing an activity and actually performing the activity produces similar results.
veanda

Technology Strategies for the Performing Ensemble Classroom - NAfME - 0 views

  • Google Drive™ allows you to store files and share them (without having to send files via email). The Google Apps that complement Google Drive™ such as Google Docs™ or Google Forms™ allow you to send information in a format that can be changed by the reader and sent back, or simply filled out and returned (as in the case of Google Forms).
  • n musical performance, we see this with Computer-Assisted Instruction (CAI) applications such as: SmartMusic, Music Prodigy, and Practice First. Depending on the software, these programs allow students to practice with an accompaniment (SmartMusic has an Intelligent Accompaniment System that can speed up or slow down with the performer). All the programs provide instant feedback to the user (typically regarding pitch and rhythmic accuracy).
  •  
    This article provides several ways to integrate technology in the music classroom. To aid in administrating, the article suggests Google Drive using Google Docs and Google Forms. I personally am a huge fan of Google Classroom. The article also provides software such as SmartMusic for instructional use.
dyhouck

Gustavo Dudamel : Dvorak - Symphony no. 9 - 4th movement - Allegro con fuoco - YouTube - 0 views

  •  
    I know this isn't a "website", per se, but I need to share Dudamel conducting the fourth movement of Dvorak's "New World Symphony" since I just bookmarked the listening map. This is such a wonderful performance, and it demonstrates how crucial the conductor is in coercing a certain sound from the performers!
knettesheim

Careers In Music | Music Schools & Colleges - 0 views

  •  
    A great resource for teaching music careers. Students can research all sorts of information on a wide variety of careers in music including performing and non-performing pathways.
Chris Grifa

The Music Parents' Guide - 0 views

  •  
    The Music Parents Guide is a blog centered website that focuses on educating the parents of performing arts students. The purpose of this website is to help parents with ideas of how to support their performing arts child when the parents may have very little personal music experience. This website advocates for the importance of arts in the schools and connects parents to various resources pertaining to music education.
anonymous

"An A Is Not Enough" and "Chester" - YouTube - 0 views

  •  
    Why is an "A" not enough when performing music? This YouTube band video demonstrates how a piece of music sounds when it is played with only 90% or even 98% accuracy and how vitally important it is to strive for 100% when performing. This video may be a very useful tool for any music educator to teach students about the importance of always striving for the highest degree of excellence in music...and in life.
amandas65

Kidsplaybook.com | Street games by children all over the world - 0 views

  •  
    Children all around the world engage in musical play. This website contains authentic video performances of singing games from around the world. Jules Oosterwegel was inspired to capture and gather these musical performances during his travels, believing in the importance of sharing these songs and games with others.
Amber Watkins

Music Learning Today: Digital Pedagogy for Creating, Performing, and Responding to Music - 1 views

    • hollyconnell
       
      music technology garage band
  •  
    After using this website for a graduate level course in American Vernacular Music History, I was really impressed with it's use for educators. Organize music history in a timeline view to allow students to click and learn more on their own.
  • ...3 more comments...
  •  
    This is the companion website for the textbook. It is a storehouse of website links for various topics regarding Technology in Music Education.
  •  
    This is the companion website for the textbook. It is a storehouse of website links for various topics regarding Technology in Music Education.
  •  
    This is the companion website link for the textbook Music Learning Today; Digital Pedagogy for Creating, Performing, and Responding to Music written by William I. Bauer, a professor at the University of Florida. The text and website is a useful resource for Music Educators to learn how to integrate Technology into their music curriculum.
  •  
    This is the companion website to textbook for the Technology Assisted Music Learning class. It includes information about current online resources, lesson plans and many other ways to use technology in the music classroom.
  •  
    The purpose of this site is to provide a companion website for use with the book "Music Learning Today: Digital Pedagogy for Creating, Performing, and Responding to Music." This bookmark is useful as a quick access to reference material pertinent to our use of technology in the classroom as well as in the MUE6696 course.
novenaphil

Night at the Symphony | Local Programs | Nine Network of Public Media - 0 views

  •  
    The Saint Louis Symphony Orchestra, in cooperation with Saint Louis-based PBS TV affiliate Nine Network (KETC-Channel 9), has put together a tremendous website that will be a great resource for students. This website features video of concerts that the Saint Louis Symphony has performed that are programmed with the Nine Network. This is a great site for students to watch a world-class orchestra perform!
kristineyang3

Free Sound Clips | SoundBible.com - 0 views

  •  
    This is a database for free downloadable sound effects. This would be another good resource to have in a music technology classroom. Students can use downloadable clips for sampling projects and sound effects in compositions. Teachers can also use sound effects if needed for both music theater performances and ensemble performances. 
marshallb85

North Carolina Music Educators Association - 0 views

shared by marshallb85 on 29 May 17 - Cached
  •  
    North Carolina Music Educators Association. MISSION:  To advance music education by promoting the understanding and making of music by all. VISION:  Leading North Carolina in music education, empowering generations to create, perform and respond to music. VALUES: INCLUSION and EQUITY - Building strength and promoting diversity in a profession representing a wide and changing spectrum of people and culture, abilities, economic backgrounds and gender identities while continuing to carry out the association's letter of intent. COMMUNITY - Collaborating with our members and partners to carry out our mission STEWARDSHIP - Empowering volunteerism and strategically developing leadership, fostering a spirit of accountability and a culture of giving of our time, talents, and resources COMPREHENSIVENESS - Uplifting the human spirit and providing opportunities for all students to create, perform, respond, and connect to all styles of music INNOVATION - Enhancing music teaching through combining effective and dynamic new practices with proven strategies in the context of a changing global community.
lucymos

Kevin Olusola - YouTube - 0 views

  •  
    Kevin Olusola is a cellist who also beatboxes while playing. He is also in the a capella group Pentatonix. His videos are entertaining and musically stimulating. He not only performs his own compositions, but he also creates mash-ups of pop tunes...often performed in a classical style. He bridges the gap between classical and pop music, demonstrating incredible instrumental technique and culturally relevant material...all while beatboxing!
Paul Rosen

Performing Arts Encyclopedia: Explore music, theater, and dance at the Library of Congress - 0 views

  •  
    The Library of Congress maintains an encyclopedia of all performing arts collections they curate. This website can be used to access content from some of these collections and find information about most collections.
Jenna Lake

U.S. Army Music - 0 views

  •  
    The Army Band Program's website offers free recordings of traditional music that is performed by the many army bands throughout the world. This can be utilized for listening exercises in music classrooms.
  •  
    The Army Band Program's website offers free recordings of traditional music that is performed by the many army bands throughout the world. This can be utilized for listening exercises in music classrooms.
I Soliz

The Other 80% Music Home | Music Creativity Through Technology (www.musicCreativity.org) - 0 views

  •  
    This website focuses on music creativity through technology and those teachers who work with students who are not involved with traditional performing ensembles and music classes. Great articles and resources
  •  
    This website focuses on music creativity through technology and those teachers who work with students who are not involved with traditional performing ensembles and music classes. Great articles and resources
Clint Weinberg

Plank Road Publishing's Music K-8 Magazine and Music Teaching Resources - 0 views

  •  
    Music K-8 is a popular site among elementary/middle school classroom music teachers. The popular magazine is full of great ideas, music, games, articles, and musical performance programs. A very useful aspect of the website is the "Idea Bank" which is located in the Resources tab. Subscribing to the idea bank list allows music teachers to instantly interact, discuss, and share with colleagues across the nation. The diverse wealth of resources available here are sure to be helpful in every kindergarten through 8th grade music class.
Stephen Hull

When Repetition Isn't the Best Practice Strategy: Effects of Blocked and Ra...: EBSCOhost - 0 views

  • There were no performance differences between groups at the end of three practice sessions. However, 24 hours after completing practice, random group participants were able to play significantly faster than blocked group participants without sacrificing accuracy.
  • The contextual interference hypothesis predicted that the blocked group would perform better at acquisition but that the random group would perform better at retention. Results of this study provide partial support for the second half of this hypothesis
  • Structured practice, which involves using a planned sequence of practice activities, has been found to be beneficial for students of all ages
  • ...2 more annotations...
  • Results of this study demonstrate that repetitive practice may not always be the most effective strategy for beginning musicians. Teachers could structure class instruction using random orders, rather than relying exclusively on repetitive drill, and teach students how to structure their home practice in this way
  • Many descriptive studies have shown that beginners make very limited use of self-regulated practice strategies (Austin & Berg, 2006; Hallam, 2001; McPherson & Renwick, 2001; Pitts, Davidson, & McPherson, 2000). Therefore, it would be critical for teachers to help students make this application at home.
  •  
    Is it better to practice the same small section until perfected before moving on to the next? Or is it better to vary the order of items practiced?
Stephen Hull

Decisions Made in the Practice Room: A Qualitative Study of Middle School S...: EBSCOhost - 0 views

  • The quality and quantity with which one approaches practicing are key factors in the development of expert instrumental performance skill (Ericsson, Krampe, & Tesch-Romer, 1993). Miksza (2007), Frost and Hamann (2000), and McPherson (2000) have all found that instrumental performance is related to the quality as well as the quantity of practice.
  • McPherson and Zimmerman (2002) described self-regulation as a form of self-teaching in which students set goals, self-monitor, and self-reflect.
  • Self-efficacy, defined as the confidence one has in his or her ability to plan and execute a given task, is considered to be a key factor predicting self-regulation success
  • ...14 more annotations...
  • Other researchers have found that novice adolescent musicians tend to exhibit inconsistent practice habits. Rohwer and Polk (2006) categorized the practice tendencies of students as holistic/noncorrective, holistic/corrective, analytic/reactive, or analytic/proactive. They described analytic practicers as those who were prone to remediate sections of their music both proactively and reactively, and they found that these students made significantly more gains than did the holistic practicers. Barry (1990, 1992) focused on the use of structured practice time and supervision in middle school instrumental students and found that the students were significantly more able to prepare a musical etude when practice was carefully structured and supervised. Like McPherson and Renwick (2001), Barry found that students who engaged in unstructured practice tended to play their music faster, use a metronome less, use fewer mental practice strategies, and self-assessed less than those who engaged in structured and supervised practice.
  • Barry and Hallam (2002) argue that this is because novices who have not yet developed strong aural schemata are often unaware of their own errors, whereas more capable musicians are more aware of their strengths and weaknesses.
  • The ability to self-regulate, or self-teach, is a learned skill requiring individuals to make a number of decisions related to goal setting, self-efficacy, attention, strategy use, and assessment.
  • In order for teachers to improve the way in which they teach their students to practice, it seems apparent that they must first understand the ways in which their students think during practice.
  • retrospective think aloud protocol. Ericsson and Simon (1993) describe this method of data collection as a process in which subjects are asked to describe their thoughts immediately after performing a given task.
  • Though they stated that they knew which pieces needed work, they did not have a specific idea of what aspects of the music needed work.
  • When students encountered difficulty, they reacted in one of three ways. First, although each student exhibited different levels of tolerance for frustration, at some point they each demonstrated the tendency to move on to a new activity when something began to cause frustration.
  • Second, students would retreat to easier passages when things became too difficult.
  • Finally, student ability to maintain focus over the span of the practice period also affected motivation.
  • Although the ability to maintain attention and self-efficacy may be beyond a teacher's realm of direct influence because of the unique personalities of the children, it appears that teachers can improve student motivation by providing students goals for improvement rather than simply recording practice time.
  • The ability to clearly define goals that are specific, proximal (short term), and moderately challenging is a major component of effective practice (
  • The factors influencing the use of practice strategies can be broken down into three categories: strategy repertoire, appropriate use, and motivation. Using the metaphor of having a "practice toolbox," students need to have a number of tools from which to draw on, but they also need the knowledge and skill to use them appropriately and the motivation and self-discipline to make the effort to take the tools out of the box.
  • Educational leaders commonly emphasize the importance of teaching students how to critically think and learn on their own. Musical practice is an important way in which music teachers can provide their students with these opportunities.
  • It seems to follow that helping instrumental music students develop self-regulation would result in improved ensembles and more efficient rehearsals. Methods for teaching practice skills to middle school and high school students must be developed through continued research and best practice in order to develop independent musicians.
  •  
    Teaching middle school students HOW to practice
‹ Previous 21 - 40 of 236 Next › Last »
Showing 20 items per page