Instrumental Methods
ME 345 : 01
Professor: Dr.
Gail B. Levinsky
Office: 109,
Heilman Hall
Class Meeting: Monday,
Wednesday, Friday 1:45 - 2:50 P.M.
Location; Heilman
Rehearsal Hall
Texts:
• The Teaching of Instrumental Music, Second Edition by Richard J. Colwell & Thomas
Goolsby.
• Band Rehearsal Techniques: A Handbook
for New Directors by Max F. Dalby
Course Goals:
This course is designed to
help prepare students to teach instrumental music in the public schools. Each
student will be able to discuss and/or demonstrate appropriate teaching
techniques, strategies and materials (including representative wind
repertoire), and develop an understanding of the administrative
responsibilities needed to initiate and maintain a successful instrumental music
program.
Objectives:
Attendance and
Participation:
In short, registration for
this course suggests your desire to prepare yourself to teach at the elementary
and secondary levels. Participation in class discussion and demonstrations is a
vital part of this class. Regular attendance is assumed and expected. Each
absence past the second will result in the final grade being lowered by
one-third.
The class meetings will
follow the University Calendar.
There will be several classes
that I will be out of town. These classes will meet and will be taught by guest
instructors. I will inform you as soon as possible.
INSTRUMENTAL METHODS, page
2
Grading:
Grades
will be determined by the following activities-
Four listening exams - 100 points-(25 points each)
Band Program Handbook - 100 points
Class Notebook / Resource File - 100 points
Independent Project - 75 points
Four
classroom observations- 100 points, (25 points each)
Class
Participation/Small Presentations - 50 points
Other--outlines, smaller class assignments and
activities - 100 points
Description of Activities:
Listening Exams - In order to familiarize each student with the
standard wind repertoire, a listening list will be provided. The examinations
will cover aural identification, score recognition, and basic knowledge of
composers and the band medium.
Exam
I - February 15
Exam
II - March 15
Exam
III - April 19
Exam
IV- May 10 (final examination…I
will double check on this)
Band
Program Handbook - The foundation to
any instrumental program is to have a program handbook. Your assignment is to
create such a document that informs students, parents, and interested parties
about your rules, courses, and overall providing information about your
program. Should include the following information: If you would like some guidance go to:
http://www.google.com/search?q=band+handbook
DO NOT COPY…USE AS A RESOURES!!!!!!
Band Program Handbook due date - Friday, April 12, 2002
Class
Notebook - This is a notebook or
resource file consisting of typed class notes, assignments, as well as
materials collected in class, at conferences, or through your own investigation
of instrumental music. The file should be categorized and indexed (including a
Table of Contents, with page numbers) and the articles must be accompanied by a
brief content summery. As this notebook will serve as a future resource,
neatness and thoroughness are VERY important. Each student is advised to compile his or her notebook over
the course of the entire semester rather than waiting until the end.
Class notebook due date - last day of class
Independent
Project - You will select a topic
from the provided list and prepare a brief presentation (10 minutes minimum).
Each presentation should include a class handout of resources concerning you
topic. Your presentation may exceed 10 minutes by permission of this
instructor.
Independent
Project presentations will begin on Monday, April 22 and continue until
completed.
Special
Activities:
We
will have several Monday night dinners/discussions with invited
INSTRUMENTAL
METHODS, page 3
Rehearsal
Observation summaries - Four
rehearsal observation summaries must be submitted during the semester. Each
student may determine where or when, he or she observes an elementary or
secondary instrumental rehearsal. However, every student must use as one of his
or her observations the SU Honor Band Clinic to be held on campus Friday -
Sunday, February 16-18. Summaries are no longer than 2 pages in length and are
reflective in nature.
Rehearsal Observation summaries may be handed in
throughout the
semester,
but no later than the last day of classes.
Class
Participation/Small Presentations - Class
discussion will be based on primarily textbook readings and outside
articles. Each student will
present articles and lead class discussions during the semester. Topics will
cover every aspect of an instrumental program, including administration, symphonic
bands, jazz bands, marching bands, orchestral programs, and the instrumental
program at the beginning, intermediate, and advanced levels.
Required
Concert Attendance:
Students
enrolled in this class are required to attend ALL instrumental concerts. This
includes SU Honor Band activities Symphonic Band, SU Symphonic Orchestra, and
SU Jazz Ensemble performances, Jazz Honor Band Day…more details to
follow.
INSTRUMENTAL
METHODS, page 4
Topics
To Be Covered:
a.
The growth of Public
School Music
b.
Can We Escape History
c.
Competition
d.
Finding a Home for the
Marching Band
a.
Philosophy
b. Objectives
c.
Evaluation
d.
Motivation
e.
Grading
a. History and Literature of the Wind Band
b. Music Grading and Selection
c. Prescribed Music List
d. The Top 100 in Band Literature
e. Suggested Marches
a. Efficient Rehearsal Procedures
b. Rehearsal Routine Outline
c. Rehearsal Planning Form
a. Administration, Organization and Planning
b. Charting
c. Arranging
d. Marching fundamentals
e. Instrumental needs
Jazz
Improvisation/Pedagogy
Jazz
Anyone?
Abersold
Jazz Aids
Essenfield
Charts
INSTRUMENTAL
METHODS, page 5
Leading
a Jazz Band continued
The
Jazz Ensemble Director's Manual
Jazz
Improvisation for Keyboard Players
Beginning
Big Band Repertoire
a. Looking for a New Job
b. Mock interviews
c. Questions YOU Should Ask the Interviewer
d. Music/Band Interview
Suggestion
Student Activities:
Writing
assignments
Reading
assignments
Listening
assignments
Score
analysis and preparation
Class
presentations
Group
discussions and projects
Observations
of local instrumental programs
INSTRUMENTAL
METHODS, page 6
BIBLIOGRAPHY
*=Highly
recommended for personal library
√=Book
is on reserved at the Blough-Weis Library
BOOKS-
*New
Director's Handbook: Practice Answers for Beginning Teachers,
Instrumentalist, 1996.
*Teaching
Wind & Percussion Instruments: A Course of Study, NEMC, 1991.
*University
Interscholastic League's Prescribed Music List, UIL, Austin, Texas, 2001.
√ Abeles, Hoofer, & Klotman, Foundations
of Music Education, NY; Schirmer, 1994.
Berry, J. The Jazz
Ensemble Direcot's Handbook, Jenson Publications, n.d.
√ Birge, B. History of Public School
Music in the United States, Reston, VA: MENC, 1988.
Bailey, W. and
Caneva, T., Complete Marching Band Resource Manual
: Techniques and Materials for Teaching, Drill Design, and Music Arranging,
Univ of Pennsylvania Press: 1994.
√
Campbell, P., Lessons from the World: A cross-cultural guide to music
teaching and learning, NY; Schirmer, 1991.
Carder,
P., The Eclectic Curriculum in American Music Education, Reston,
VA: MENC, 1990.
√ Elliot, D., Music Matters: A new
philosophy of music education, Cherry-Hill, NJ: Prentice-Hall, 1996.
Garofalo,
R. Blueprint for Band, Ft. Lauderdale, FL:, Meredith Music Publications,
1976.
Handy,
D., Black Conductors, Lanham, MD: Scarecrow Press, 1995.
√* Hoffer, C. Teaching Music in
the Secondary Schools, Belmont, CA: Wadsworth, 1991.
* Holston, Kim, Marching Band Handbook
: Competitions, Instruments, Clinics, Fundraising, Publicity, Uniforms,
Accessories, Trophies, Drum Corps, Twirling, Color. McFarland & Co,
n.d.
√
Kohut, D., Instrumental Music Pedagogy: teaching techniques for
school band & orchestra directors, Cherry Hill, NY: Prentice-Hall,
1992.
√* Kohut, D. and Joe W. Grant, Learning
to Conduct and Rehearse,
Cherry Hill, NY: Prentice-Hall, 1990.
* Lautzenheiser, T. The Art of Successful Teaching:
A Blend of Content & Context, Chicago, Il: GIA Publications, 1992.
INSTRUMENTAL METHODS, page 7.
Bibliography continued
Lawn, R. The Jazz Ensemble Dorector's Manuel: A
Handbook of Practical Methods and Materials for the Educator, Oskaloosa,
IA: C.L. Barnhouse,1986.
Lisk,
E., The Creative Director: Alternative Rehearsal Techniques, Syracuse,
NY: Onondaga Music, 1989.
√
Mark, M., Contemporary Music Education, NY: Schirmer, 1986.
* MENC
Task Force for National Standards in the Arts, The School Music Program: A
New Vision, Reston, VA: Music Educators National Conference, 1994.
Moss Rehabilitation Hospital Settement Music School
Therapeutic Music Program, Guide to the Selection of Musical Instruments
with Respect ot Physical Ability and Disability, St. Louis. MO: Magnamusic-
Baton, 1982.
√
National Commission on Music Education. Growing Up Complete: The
imperative for music education, Reston, VA: Music Educators National
Conference, 1991.
√* Reimer, B. A Philosophy of Music
Education, Cherry Hill, NJ: Prentice-Hall, 1988.
√ Smith, N. and Stoutamire, A., Band
Music Notes, San Diego, CA: Kjos, 1979.
Thomas, W. Jazz Anyone? : Play and Learn : Warner
Bros. Publications, n.d.
√ Wells, J. The Marching Band in
Contemporary Music Education, NY: Inteland Publications, 1976.
JOURNALS-
Director's
Guide to Better Bands
The
Instrumentalist
International
Musician
Music
Educator's Journal
INSTRUMENTAL
METHODS, page 8
*Independent
Project Topics
1. Computer
software (may be split by 2 students).
*
The number of projects that are available are too many to name. The instructor
must first approve any topic not listed above.
INSTRUMENTAL
METHODS, page 9
Band
Transcription Project
Guidelines:
1. Select an original piece that lends itself to winds/percussion.
Example: An orchestral work that contains heavy wind and percussion presence
rather than predominantly strings.
2. Transcribe
for full symphonic band (including string bass and complete percussion). You
may use color instruments, e.g. English Horn, contrabass/contra alto clarinet
as you wish.
3. You must
transcribe one of the following amounts:
48 measures of duple meter (2/2, 2/4, 6/8
32 measures of triple meter (3/4, 9/8)
24 measures of quadruple meter (4/4, 12/8)
4. Gain approval for you selected original piece from Dr.
Levinsky no later than,
Friday, February 23.
5.
For your project, submit
both the transcription and a copy of the original score.
6.
If class appropriate, you transcription may be selected to be
rehearsed in Dr. Wiley's Instrumental Lab class.
TIPS:
·
Think in terms of
families when making your transcription decisions. For example, you have a
clarinet family, a saxophone family, a brass family - try to work within these
voicings when selecting instruments for each part.
·
Although you are not
being graded solely on the quality of your voicing, those choices will be a
factor into your grade.
·
Decide whether you want
your wind parts from the original to transfer exactly into the band
transcription. Often times, this will not be the case. Make these decisions
based on the colors you want to hear as well as balancing factors (number of
players, tessitura, etc.)
·
Voice the percussion as
a family. Are there instruments that can be added to enhance the texture of the
piece?
Instrumental
Methods, page 10
Band
Handbook Project
The
foundation to any instrumental program is to have a program handbook. Your
assignment is to create such a document that informs students, parents, and
interested parties about your rules, courses, and overall providing information
about your program. Should include the following information:
Identify
School, telephone, e-mail address
Table
of Contents
Biography
/ Experience
Ensemles/Performing
Groups
Appearances/Concert
Dates
Rehearsals
(expectations)
Public
Appearances (expectations/rules)
Auditions
Chair
Challenges
Available
Contests and Honor Groups
Helpful
Hints
Equipment
Uniforms
/ Concert Attire
Private
Muisic Lessons
Summer
Music Camp (marching / concert)
Grading
Practice
Facilities
Officers
Letter
to Students
REPERTOIRE
LIST - Instrumental Methods
(S)
denotes available score
in Blough-Weis library
Listening
Exam I February 15
Marches-
TAPE 1 Barber,
Commando March (Concert) (S) (780.81/B233K/C735)
TAPE 1 Fillmore,
His Honor --standard (S)
(780.8173/F485K/F925)
TAPE 1 Fucik,
Florentiner March, Op 214 (Concert)
TAPE 1 Goldman,
On the Mall (Standard)
(780.8173/G569K/On1)
TAPE 1 Heed,
In Storm and Sunshine (Circus)
TAPE 1 Ives,
Country Band March (Concert)
TAPE 1 King,
Barnum and Bailey's Favorite
(Circus)
TAPE 1 Leemans,
March of the Belgian Paratroopers
(Concert) (S)
TAPE 1 Sousa,
El Capitan (Standard)
(780.8173/So85K/E11)
Symphonies-
TAPE 1 Dahl,
Symfonietta
TAPE 1 Giannini,
Symphony No. 3 for Band (S)
TAPE 1 Gould,
Symphony No 4 "West Point"
TAPE 2 Hindemith,
Symphony in Bb (780.8173/H584K/Sy68C)
TAPE 2 Persichetti,
Symphony No. 6 for Band, Op 69 (S) (780.8173/P431K/Op.69)
Listening
Exam II - March 15
Contemporary
TAPE 2 Colgrass,
Winds of Nagual
TAPE 2 Corigliano,
Gazebo Dances
TAPE 3 Gillingham,
Heros, Lost and Fallen: A Vietnam Memorial (780.8173/G415K/H432)
TAPE 3 Husa,
Music for Prague (S)
(780.8173/H95K/M973)
TAPE 3 Schwantner,
From a Dark Millennium
TAPE 3 Wilson,
Piece of Mind
Transcriptions
TAPE 3 Adams,
Short Ride on a Fast Machine
TAPE 4 Mussorgsky,
Pictures at an Enhibition (S)
TAPE 4 Ravel,
Pavane pour une infante defunte
TAPE 3 Shostakovich,
Festive Overture, Op 96 (780.8147/Sh82K/Op.
26)
TAPE 4 Wagner,
Elsa's Procession to the Cathedral
(S)
Folk/Ethnic
TAPE 4 Bennett,
Suite of Old American Dances (S)
(780.8173/b439K/Su39ol)
TAPE 4 Channce,
Variations on a Korean Folksong (S)
(780.8173/C36K/V426)
TAPE 5 Reed,
A., Armenian Dances, Part I & II (S)
TAPE 5 Reed,
H., La Fiesta Mexicana (S)
TAPE 4 Rogers,
Three Japanese Dances
Listening
continued
Listening
Exam III - April 19
British
TAPE 5 Arnold,
Four Scottish Dances
TAPE 6 Grainger,
Irish Tune from County Derry (S)
TAPE 5 Grainger,
Lincolnshire Posy (S)
(780.8173/G761K/L638)
TAPE 5 Holst,
First Suite in E-Flat, Op 28, No1
(S)
TAPE 6 Holst,
Second Suite in F, Op 28, No 2 (S)
TAPE 6 Jacob,
William Byrd Suite (S)
TAPE 6 Vaughan
Williams, English Fold Song Suite (S)
Chamber
TAPE 6 Dvorak,
Seranade for Winds, Op 44
TAPE 6 Goundod,
Petite Symphonie (S)
TAPE 7 Kurka,
Good Soldier Schweik Suite
TAPE 7 Mozart,
Serenade No 10, K 361 "Gran Partita"
TAPE 7 Strauss,
Serenade in E-Flat, Op 7(780.81436/St82K/Op7)
TAPE 7 Stravinsky,
Symphonies of Wind Instruments
Listening
Exam IV, Friday, May 4 (final examination) 11:30 - 1:30 P.M.
Standards
TAPE 9 Carter,
Symphonic Dances
TAPE 8 Copeland,
Emblems (S)
TAPE 8 Creston,
Celebration Overture (S)
TAPE 9 Dello
Joio, From Every Horizon (S)
(780.8173/D381K/F925)
TAPE 8 Hanson,
Chorale and Alleluia (S) (780.8173/H198K/C456)
TAPE 9 Jager,
Third Suite (S)
TAPE 9 McBeth,
Masque
TAPE 8 Mendelssohn,
Overture for Band, Op. 24 (S)
(780.8143/M522K/Op.24)
TAPE 8 Milhaud,
Suite Francaise (S)
(780.8144/M599K/Su39fr)
TAPE 9 Nelhybel,
Festivo (S)
TAPE 9 Nelson,
Rocky Point Holiday
(780.8173/N336K/R598)
TAPE 8 Nixon,
Fiesta del Pacifico (S)
(780.8173N654K/F465)
TAPE 8 Persichetti,
Diverimento for Band, Op 42 (780.8173/P431K/Op.42)
TAPE 9 Piston,
Tunbridge Fair (S)
(780.8173/P678K/T834)
TAPE 8 Schoenberg,
Theme and Variations, Op 43a
TAPE 8 Schuman,
Chester Overture (S)
TAPE 9 Smith,
Emperata Overture
TAPE 9 Williams,
Fanfare and Allegro (780.8173/W67K/F213)
TAPE 9 Zdechlik,
Chorale and Shaker Dance (S)