music 10 lesson plan

Music Lesson Plans for Kindergarten, #1-10

Do you need fun, engaging, and easy to prep music lessons for Kindergarten? My music lessons for Kindergarten include detailed processes, with songs, games, and activities your students will love! This comprehensive set includes 10 Kindergarten music lesson plans that prepare high/low, steady beat, and fast/slow, and prepare, present, and practice loud/quiet.

$ 23.50

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These music lesson plans for Kindergarten will have your students moving, singing and falling in love with music class!

**All of my lesson plans are National Core arts standards aligned and EDITABLE!

What’s included in each editable lesson:

🎵 Lesson Objectives & I Can Statements 🎵 Explanation of current lesson to previous & future lessons 🎵 Transitions, activities, procedures, and assessments 🎵 Approximate time needed for each song or activity 🎵 Up to 250 minutes of instructional time (10 lessons of 25 minutes each)

The set also includes:

🎵 National Core Arts Standards Handbook for Kindergarten 🎵 EDITABLE Google Slides for projecting the lesson agenda 🎵 Distance & and/or blended learning suggestions 🎵 Materials for each lesson (Note: most are included with each lesson, but some, like recordings or picture books, would have to be purchased) 🎵 An overview of each lesson, including concepts, skills, etc. 🎵 Suggestions for additional activities, if you meet with students for more than 25 minutes

**These music lessons for Kindergarten could also easily be adapted for use with first grade students.

Visit my 🖥 blog 🖥 to find tips and tricks for implementing technology, centers, and long range planning into your music classroom!

Please 📧 email 📧 me at [email protected] with any questions or concerns.

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Music Class Lesson Plan Ideas Using an AI Chatbot

In ChatGPT or your favorite AI chatbot, cut and paste the following prompt to help you create music lesson plans for your students. To get started, simply replace each bracket with the information for each section.

Music Class Lesson Plans Prompt

You are an expert music teacher and curriculum designer. Create [number] lesson plan ideas, ranging from [number range] minutes each, for [grade level] students learning about [topic]. Lesson plans should be engaging and age appropriate. Include songs with movement, singing games, and movement to a steady beat. Activities may include the use of [teacher accessible instrument(s)] for the teacher, or the use of [student accessible instrument(s)] for students.

Example Prompt

You are an expert music teacher and curriculum designer. Create 10 lesson plan ideas, ranging from 10-25 minutes each, for my kindergarten students learning about patterns in music. Lesson plans should be engaging and age appropriate. Include songs with movement, singing games, and movement to a steady beat. Activities may include the use of a piano or guitar for the teacher, or the use of castanets, egg shakers, or musical triangles for students.

Make the Prompt Work for You

Have ChatGPT expand on the lessons in myriad ways - ask for more activity ideas, ways to assess learning, specific standards, differentiated lessons. If needed, ask for direct instruction: "Idea 3 mentions 'percussion.' Provide age appropriate background for this lesson, including how I can explain percussion."

Enlist the help of ChatGPT to plan units as well as lessons. In addition to activity ideas, use the chatbot to map out a month long unit, or your curriculum for the year. 

Ask ChatGPT for ideas to relate the music lessons to the rest of your students' curriculum. In this example, patterning can be incorporated into virtually all subjects: counting and sequencing patterns, language and alliteration patterns, patterns in nature, color patterns, movement and dance patterns, etc.

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Bloom’s Taxonomy

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by Norman Abalos

Free Related PDFs

Seceyleah Jassy Kah


Marcel Pasaoa

HORIZONS Grade 10 Learner's Materials Music and Arts Appreciation for Young Filipinos GOVERNMENT PROPERTY NOT FOR SALE Department of Education Republic of the Philippines

Yannis Patoukas

This thesis tries to elucidate and exemplify possible intersections between experimental rock of the late 60s and early 70s and the field of electroacoustic music, focusing mostly on production/compositional techniques and aesthetic approaches. A historical overview of the context which experimental rock emerged from is attempted, exploring why and how certain production techniques were used at that period in rock music and investigating into whether the aesthetic outcome of these techniques relates to experiments in the field of electroacoustic music. Musical examples from the field of classical, jazz and rock styles (including artists like Glenn Gould, Lennie Tristano, Miles Davis, the Beatles, Pink Floyd, Fred Frith (Henry Cow) and Frank Zappa) are addressed for the sake of exploring different experimental studio practices. Moreover, a part of this research deals with the creative exploration of the production techniques discussed in order to develop my personal compositional work and eventually to create a framework where a discussion about composing electroacoustic music from the perspective of rock production (and vice-versa!) could emerge.

Studio Manoeuvres: Exploring historical, technological and aesthetic crossovers between electroacoustic music and experimental rock music of the late 1960s and early 1970s

Wing In Crystal Chu-Sharp

Over the last century, there has been a dramatic increase in the amount of music repertoire that utilizes other art forms to contribute to its effectiveness. We now routinely see musicians work alongside poets, visual or multimedia artists, dancers and/or other artists, or even incorporate theatrical elements into their own performances. Due to this increase, the advent of personal and large-scale technology, and other variables, there is a greater demand among audiences that a live music performance incorporate other art forms in some way. This paper gives a brief survey of the history of these developments, going back to Futurism in the early 20th century, through the contemporary composers. A central point of this lecture-document is that education in this historical background is not available widely enough to music students, who increasingly are attempting interdisciplinary repertoire, new and old, without being properly informed of the context from which it comes. To remedy this, I have designed a course specifically designed to assist music students to tackle this repertoire in a more informed way. The course draws on more than a century of history and my own collaborative experience, and invites guest artists from other disciplines to create a well-rounded and informative experience for the next generation of interdisciplinary collaborative artists.

Approaching 21st-Century Interdisciplinary Repertoire: A Course Designed to Equip Students to Engage in Creative Performance Practice by Wing In Crystal Chu-Sharp

Within this portfolio are three pieces which explore the use of video, improvisation and noise in the performance and production of electronic music. The pieces are presented as both fixed media and videos of performances. Also included is preliminary research in the form of two smaller research projects. Video has been used in various forms either as a stimulus to improvisation and composition, as an input for sound control, or more traditionally, as an accompaniment to a composition. The use of improvisation both in the composition and performance of the pieces was also investigated. Noise was used in the composition of the pieces, recorded from field recordings, performed by live instrumentalists or generated by synthesisers. Noise is an important theme in the work and is used to bind sounds together, to create tension and release and to provide a contrast to the more traditional melodic and rhythmic structures. This research endeavors to expand the idea of electronic music performance and explore different approaches to presenting electronic music in a live context. The aim being to break out of the paradigm of the laptop musician staring at a screen and doing little else whilst performing. For each piece I have explored a different mode of performance. For example in the piece Aberfan (2013) the traditional three piece band line up of guitar, percussion and bass, was mutated, creating instruments from springs, heavily distorting conventional instruments such as double bass and using improvising musicians to accompany a film.

Multimodal Performance Approaches in Electronic Music

Mich Cervantes

David Toop Ocean of Sound Aether Talk Ambient Sound and Imaginary Worlds20190522 2770 1wgckw5

Simon Waters

2000, Music, electronic media and culture

Beyond the acousmatic: hybrid tendencies in electroacoustic music

Andra McCartney

Sounding Places: Situated Conversations Through the Soundscape Compositions of Hildegard Westerkamp

Francisco Monteiro

2001, PhD – Music Performance 2001. University of Sheffield - Department of Music.

This research has as its main focus a group of Portuguese composers who were very active between 1960 and 1980, which is commonly regarded as the Portuguese musical avant-garde. The composers that are studied (particularly) through their solo piano works are: Filipe de Sousa (b. 1927); Maria de Lurdes Martins (b. 1928); Clotilde Rosa (b. 1930); Armando Santiago (b. 1932); Filipe Pires (b. 1934); Constança Capdeville (1937 - 1992); Álvaro Salazar (b. 1938); Cândido Lima (b. 1938); Alvaro Cassuto (b. 1938); Jorge Peixinho (1940 - 1995); Emanuel Nunes (b. 1941). The first chapter defines the historical and aesthetic context: Culture in Portugal in the Estado Novo and the European musical avant-garde in he fifties and sixties, which is of paramount importance towards the understanding of this generation, their careers and works. Secondly, it shows how modern and avant-garde music were received in Portugal, in concerts, courses, public discussions, reviews, and through the policies of the institutions. After this historic and aesthetic research, a second chapter deals principally with a group of solo piano pieces (at least one by each composer), which are considered the most relevant in 20 years of composition (1960 – 1980). Each piece is fully analysed using different technical devices and proposing a personal hermeneutic approach. The analysis aims to provide not only a thorough understanding of the piece but also a guide to its possible performance. The third chapter proposes an insight into each composer’s career and work, taking into account their aesthetic and technical options. It includes also, as a conclusion, an overview of the whole generation and their context, having as a background the preoccupations of composers and theorists of the fifties and sixties and the later productions and generations that are now shaping Portuguese music.

The Portuguese Darmstadt Generation: The Piano Music of the Portuguese Avant-Garde


Mark Ballora

2006, College Music Symposium

Expanding Frames of Reference: Teaching the History of Electro-Acoustic Music

Július Fujak

2015, Acta Semiotica Fennica XLVII (Semiotic Society of Finland, Helsinki)

The publication Various Comprovisations. Texts on Music (and) Semiotics consists of studies, articles and essays written by – a music semiotician and composer/comproviser of contemporary un-conventional music divided the textual volume in two sections – theoretical and essayistic. In the first part he deals with the following topics: Alternative models of the musical sign and music semiosis, Topicality of Peter Faltin’s music semiotics, Vladimír Godár’ s book on the birth of the opera from rhetoric, Correla(c)tivity of liquid music. The second one is focused on artistic intermediality, aesthetics and semioitcs of (post)modern and contemporary music.

Various Comprovisations. Texts on Music (and) Semioitcs.

Aleksey Nikolsky

This is an extensive overview of the performance practice, with the purpose to demonstrate that canonization characterizes not only Western composition, but the performance standards as well. As such, canonization should be viewed as an organic property of organization of any market. The moment when a music product is offered for public trading, the canonic hierarchy of products starts forming, based on the supply / demand interaction. The very same factors that affect compositional “Hall of Fame” apply to the performance “Hall of Fame”. The repertories of violin, piano and vocal music are analyzed. The trend of “non-communicative” avant-garde performance, rejecting historicity and conventions, is identified in the 20th century performance practice. The “recording canon” is defined in relation to the established practice of studio recording and increase of record consumption by the general public. The influence of “recording” canon on performance canon is discussed, with special attention to the issue of “period performance” practices.

Performance Canon in Western Music: conventional, avant-garde, and "authentic" ideologies

Gascia Ouzounian

2008, University of California, San Diego

Sound Art and Spatial Practices: Situating Sound Installation Art Since 1958

This paper touches upon the very sensitive issue of “experimental music,” with its absence of conventions, as it is usually defined in relation to the 20th century music. The history of such music is traced. Afterwards, the focus shifts to its non-communicative design that seems to unite all the different techniques it implements, as well as ways to tell it apart from music that is conventional and communicative. The ramifications of such non-communicative music for performers and musicologists are examined, which then raises the question of how necessary it actually is to study such works.

Non-communicative Music Grammars of the 20th Century

Merinisa Daniels

Logs MUSIC.doc

Jason Zagami

2009, democracy environment


Dennis Bathory-Kitsz

“Whaaaaaaaaat!? I Don’t Get Classical Music: A Self-Help Desperation Guide” is a tonic for the perplexed, and a companion guide for those who feel classical music is forbidding, complex and grandiose. It is a concise and helpful book with humor and insight written by a composer and performer with a lifetime of experience. Beginning with patterns, pitches and instruments, author Dennis Bathory-Kitsz covers topics from performers to shrieking singers to the mysterious classical codes, from Beethoven (“the great hulk of a man”) through space music, tone poems, nationalism, and even composers insulting each other. Written in response to a student’s plea for help (“I’m desperate! I don’t get classical music!”), the book is not stuck in the distant past. Instead, “Whaaaaaaaaat!?” includes classical music—which the composer prefers to call “nonpop”—from ancient times right up to the present day, from Gregorian chant through electrons and gongs to nonpop fused with pop. Writes one of his students, “it accomplishes what a textbook does without being a textbook.” Another says, “It gets right into the dirty details of Western music and does so in a way that makes even the most novice listener feel like a professional.” Explored and critiqued by more than two dozen readers from complete amateurs to working professionals, “Whaaaaaaaaat!?” is insightful, exuberant, funny and, according to one music professor, “terrifically valuable as a corrective to bad thinking and its offspring, bad teaching.” In a short, readable 100 pages, Bathory-Kitsz shares the madness and mystery of classical music. Note: This book is available in printed form here. Your purchase will help support the second edition.

Whaaaaaaaaat!? I Don't Get Classical Music: A Self-Help Desperation Guide

Christoph Cox

"Abstract Concrete: Francisco Lopez and the Ontology of Sound"

1 - Explaining the appearance of new music in the 20th century - 5 paradigms; 2 - Darmstadt: a school of music understanding? Part of a PhD thesis of 2003

New Music, Darmstadt and Avant-garde

Ainsley Klug

An examination of the history of sound leading up to contemporary artists working with sound as a medium for installation works. This paper was submitted in partial fulfillment of the requirements for the degree of Masters of Arts in Art History at Studio Art Centers International - Florence, Italy.

The Sonic Quality of Art: When Does Sound Art Create Effective Experiences in Space

John Habron

Proceedings: The First International Conference of Dalcroze Studies

Masha Kolenkina

[Joanna Demers] Listening through the Noise The A(

Annabelle Richmond

This research branches from the study of silence in sound studies and musicology. It contributes by theorising ‘sonic subtlety’, a new category of sound positioned between silence and sound, where the sound is more restrained, but also not completely silent. Sonic subtlety appears in four aspects of sound: amplitude, spectrum, space and time. This study observes how sonic subtlety performs in 20th-century classical music and contemporary film music and answers the following: • What does sonic subtlety do and in which ways can it perform effects to a listener? • How does sonic subtlety function in 20th-century classical music and contemporary film music? • How does sonic subtlety change the act of listening? In Chapter 1, I explain ‘sonic performativity’, the ability of a sound to perform an effect to an audience. This thesis considers sonic subtlety in terms of its sonic performativity. Most 20th-century classical music has no external, extra-musical functions such as illustrating a narrative or accompanying a visual. Sonic subtlety performs effects for the listener’s enjoyment only. In Chapter 2, sonic subtlety has four modalities of performativity: sonic clarity, sonic environment, sonic preparation and thematic subtlety. Film music has a more functional nature than 20th-century classical music with the addition of three cinematic factors: intermediality, narrative and emotion. In Chapter 3, the modalities of sonic subtlety function in film music to enhance these factors. Sonic subtlety in film music also often encourages ubiquitous, inattentive listening. Sonic subtlety performs effects to the listener on a partially-conscious level; I call this ‘subtly conscious performativity’. Sonic subtlety in film music can create a ubiquitous listening experience which can involve a new mode of listening between attentive and inattentive; I term this ‘subtly attentive musicking’. Sonic subtlety encompasses both the construction of sonic parameters and the ways of understanding musicking and performativity. This thesis breaks previously opposed categories: silence and sound, conscious and unconscious, attentive and inattentive. It contributes new perceptive and analytical categories for composers, sound designers and musicologists that can now be explored further.

Sonic Subtlety: Attentiveness, Consciousness, Ubiquity

Science Museum Group Journal

‘Organising Sound’: how a research network might help structure an exhibition

Marcin Borchardt , Wydawnictwo Podwórku

2014, The Avant-Garde Music at the End of the 20th Century. The Beginners' Guide. Volume 1.

Written in a form of a popularising guide, Marcin Borchadt's book certifies revolutionary changes in thinking about music; changes that took place after WWII. In the first part, written in three monograph sections, the author focuses on four subjects: inventiveness and John Cage's experiments, musique concrète and Pierre Schaeffer's struggles with the do-re-me canon and the history of the early electronic music, especially the matter of mechanisation, electrification, mathematisation of music from Pythagoras to the beginnings of the 70's of the XX century, as well as presentation of the profiles of four minimalists (La Mote Young, Terry Riley, Steve Reich, Philip Glass) whose compositions conquered the American music at the end of the last century. Every chapter is accompanied by a consolidated "Guide" through the most important compositions and recordings of particular artists. The book aims to promote new music and to fill the gap in literature regarding publications popularising modern avant-garde in music both in its philharmonic and underground editions.

The Avant-Garde Music at the End of the 20th Century. The Beginners' Guide. Volume 1 (extracts).

Charles Martin

This thesis traces the development of a number of mobile computer music systems and their use in ensemble percussion performances. The research is motivated by the challenges of working with laptop based computer music systems in ensemble situations. The aims were to develop elegant, portable, and flexible computer music tools, to make these tools accessible to other percussionists, and to discover the opportunities that they enable in performance practice. These aims have been explored through three musical projects for percussion and Apple's iOS devices: Nordlig Vinter, a suite of duo compositions; and two collaborative works, 3p3p and Snow Music developed together with two other percussionists. Articulated from a performer's perspective, this artistic research examines a number of software frameworks for developing mobile computer music applications. The development, rehearsal process and performances of the musical projects have been documented with video and audio recordings. An ethnographic investigation of this data has given insight into the limitations and affordances of mobile computer music devices in a variety of performance contexts. All of the projects implemented elegant computer music setups and the limited visual interfaces of the mobile devices demanded simple but clear interface design. In Snow Music in particular, "percussive" interaction with the mobile devices along with an improvised performance practice contributed to a collaborative development cycle. This process revealed some of the limits of expression with the computer sounds used and led to a very successful series of performance outcomes.

Mobile Computer Music for Percussionists

Cesar Villavicencio

2008, PhD Thesis. Norwich

The Discourse of Free Improvisation; A Rhetorical Perspective on Free Improvised Music

Gautam Pemmaraju thing that can certainly be extrapolated with some degree of certitude here, is that sound/music is profoundly linked to human experience and as we extend our artistic and intellectual traditions, drawing from what we know and what has been, it must include the investigation of our sonic worlds, primordial as they are, and futuristic as they often appear.

Sue Gregory

2009, CreateWorld 2009

How can you use a virtual world such as Second Life if you don’t have a specific class to teach? This paper examines an original method of using Second Life to educate students. It explores an innovative tutorial model incorporating worldwide expertise by inviting national and international guest educators to weekly discussions. Students from two university technology education units used Second Life as part of their unit of study. The model and the student’s experiences will be discussed.

Innovative Tutorial Model Using Second Life through Weekly Tutorials With National and International Guests

Kalyne Valente

2001, Leonardo Music Journal

Gentle Fire: an early approach to live electronic music

Klara Hrvatin

The article gives first insights into the correspondence of the Sōgetsu Art Center with the artist Henry Jacobs and the composer Edgard Vare`se, as well as – for the first time – into letters referring to the above-mentioned correspondence. At the same time, it reveals the Center’s responsible figures for the international exposure, notably Toshirō Mazuyumi, Hiroshi Teshigahara and Tōru Takemitsu.

Sōgetsu Art Center’s Invitation Letters to International Composers

Raymond Deane

Propagandists for "downtown" music tend to work within a facile Europe vs USA template entailing both a distortion of musical history and an oversimplified image of contemporary musical life in the two continents. Often proclaiming their pluralism, their aim is in fact the hegemony of a one-dimensional musical language premised on excluding the "event", defined as an "effect that seems to exceed its causes" (Zizek). This ideology is consonant with neo-liberalism's dogma of the end of history.

Uneventful Music in Eventful Times

Paulo de Assis

Sound and Score brings together artistic-research expertise from prominent international voices exploring the intimate relations between sound and score, and the artistic possibilities that this relationship yields for performers, composers and listeners. Considering " notation " as the totality of words, signs and symbols encountered on the road to a concrete performance of music, this book aims at embracing different styles and periods in a comprehensive understanding of the complex relations between invisible sound and mute notation, between aural perception and visual representation, between the con-creteness of sound and the iconic essence of notation. Three main perspectives structure this volume: a conceptual approach that offers contributions from different fields of enquiry (history, musicology, semiotics), a practical one that takes the skilled body as its point of departure (written by performers), and finally an experimental perspective that challenges state-of-the-art practices, including transdiscipli-nary approaches in the crossroads to visual arts and dance.

Sound & Score. Essays on Sound, Score, and Notation

Thom Holmes

The history of jazz is one of cascading events and styles that continually inform and influence what follows. This transformation is an accumulation over time of styles, methods, and techniques. During the 1950s and 1960s, electronic music gradually left the confines of the institution and migrated into the hands of independent musicians. Among the early explorers were jazz musicians who laid a foundation of experiment for later musicians to model and emulate. This article discusses two types of such experiments: (1) Jazz incorporating prerecorded electronic music on tape (1960–1970) and (2) Jazz using live electronics other than synthesizers (early years from 1965–1970). A discography is provided.

The Roots of Electronic Jazz, 1950–1970

Evan Williams

While Western Art (or Classical) Music faces a steep decline in popularity, many contemporary composers are finding success reaching out to audiences through an appropriation and assimilation of American popular music genres. While such appropriation is not new, and has been a common element in music since Mozart and Brahms, such appropriation has seemed like a revolution in the wake of the Modernist Period. The Modernist music of composers after 1945 rejected melodic and harmonious content in favor of an atonal “serialist” approach to music. This compositional approach also had the effect of alienating mainstream audiences, a consequence welcomed by some with exclamations of “Who cares if you listen?” and favoring an art form by and for “composer-specialists.” Given this revolutionary new thinking about music that many composers were compelled to follow, including popular melodious composers such as Aaron Copland, the return to popular music appropriation by many of today’s Minimalist/Post-Minimalist and Post-Modernist composers seems equally revolutionary. This paper analyzes the works of some of these composers and their influences from genres such as Rock, Jazz, Hip Hop, and Electronic Dance Music, along with non-Western influences such as African drumming, Indonesian Gamelan, and Hindustani and Carnatic music. Through appropriation of these styles, composers are creating new and innovative music that has the potential to connect to a new generation of listeners and knock down the wall between “art” and “popular” genres. Through their appropriation, they acknowledge the interconnectivity between musics that points toward an egalitarian view where genres once seen as “high” and “low” become equally valid.

Crumbling Boundaries:  Popular Music Appropriation and Assimilation Since the Modernist Period

Louise Devenish

Over the past forty-five years, contemporary percussion has taken up an increasingly prominent role in Australian music performance and composition. Since it first emerged in Australia in the early 1970s, a relatively rapid period of development has seen percussion become established as a stylistically diverse and continually evolving discipline. Percussion music, once existing at the fringes of Australian contemporary music, now occupies a place at the forefront of Australian contemporary music activity. Very limited research into this percussion activity has been undertaken during this time, thus this study fills a gap in Australian musical history by exploring how and why percussion activity emerged during the 1970s. The historical contexts that encouraged the formation of professional percussion ensembles will be the focus of this thesis, with an emphasis on significant performers, percussion ensembles, educators and events in the field that affected change. Documentation of the activities of a number of professional percussion ensembles active in Australia between 1970 and 2000, including the Australian Percussion Ensemble, Synergy Percussion, Adelaide Percussions and Nova Ensemble, is supported with repertoire lists of Australian commissions for these ensembles. The thesis concludes with an examination of various influences present in Australian contemporary percussion music. It is hoped that this study will go some way towards an understanding of the genre’s origin and identity in Australia and will consequently inform the platform from which new Australian contemporary percussion work is created. Full thesis available at:

...And now for the noise: contemporary percussion in Australia, 1970-2000

Arnold Medina Flores

1994, Journal of Neurology

Fourth metting of the European Neurological Society 25–29 June 1994 Barcelona, Spain

Andrew S Blackburn

Ever since the Bremen Radio Broadcast Performance – 20 May 1962 – a broadcast that included Gyorgy Ligeti's 'Volumina', Mauricio Kagel's “Improvisation Ajoutee” and Bengt Hambreaus' 'Interference' – all compositions that exposed a whole new world of texture, timbre and musical possibility, the pipe organ has been reclaiming a position of prominence in contemporary art music. The timbral, technical and musical possibilities exhibited in these compositions and the more recent advent of accessible and portable real time dsp (Digital Signal Processing) has encouraged an ever widening range of composers/ performers to write for the instrument, extending both its timbral potential and inherent spatial possibilities. These developments have changed our expectations and perceptions of what a pipe organ musically can be and do. In this paper I shall provide a brief background to this development, focussing on four significant and recently composed works for pipe o...

Computer use in music for the pipe organ and real time dsp - or the music of Janus

Juan Maria Solare

Entrevista realizada por Yew Choong Cheong a Juan María Solare por correo electrónico en abril y julio de 2008

Gerry Stahl

1976, boundary 2

The hopes and frustrations of technology are revealed in the most advanced works of art. This implication of the Heideggerian standpoint contradicts the popular notion that art steers clear of science. These days, however, where art skirts the realm of industrial technique, it falls prey to the same commercial interests which rule there and which it may have hoped to slip by. Despite itself, the hapless work functions as a commodity to meet the demand for a holiday from commodities. Unfortunately, it necessarily fails to satisfy this real need for ...

Attuned to being: Heideggerian music in technological society

Luiz Henrique Mello

This paper aims to explain how music can be used as way to instill certain values in society, encouraging some desirable behavior and discouraging what is considered unacceptable. It takes as an example the denazification of Western German society in the American-occupied area, through music summer courses and festivals, as well as the less planned but no less important impact of jazz and blues . In order to put this theme in perspective, this paper will also approach how traditional German composers were used to reinforce the sentiment of Aryan supremacy by the Nazi propaganda.

How music was used as a tool for denazification of West Germany

Rebecca Lloyd-Jones

2019, Transplanted Roots Conference Paper

A Space for Women as Women: Exploring a Gendered Feminine  Percussion Practice through the work of Lucia Dlugoszewski.

Panagiotis A Kanellopoulos

2011, In J. O’Flynn (Ed.), Proceedings of the 6th International Symposium on the Sociology of Music Education, held at Mary Immaculate College, University of Limerick, Ireland (5th - 9th July 2009).

The purpose of this paper is to examine some aspects of the cultural, ideological and aesthetic underpinnings of a music education movement whose prime feature has been the use of experimental music and music-making practices within classrooms. The paper explores a number of questions: What are the educational and aesthetic tenets of the endeavours to bring experimental music into the classroom? In what sense could music education be thought of as experimental? What is the relationship of this movement to advances in the realm of contemporary music and to conceptions of human creativity developed in the realm of psychology? How has experimental music education understood childhood, its nature and development? The paper is organized around seven themes which might be seen as describing the basic tenets of experimental music education movement. (1) Experimental-ism vs. avant-garde-ism, (2) Within and without history: Universalism, (3) Piercing vs. opening: experiments and the experimental, (4) Resisting commodification, (5) Locality and the neglect of the local, (6) Learning as disclosing vs. learning as contextual (7) Creativity on demand: openness and predictability. The paper emphasizes that it is important that we revisit such radical efforts today, at a time when a performativity-driven educational ideology dominates, at a time when an unashamed preference for educational technology that successfully produces instant results leads to an increasing exclusion of experimental practices.

Cage’s short visit to the classroom: Experimental music in music education – A sociological view on a radical move.

Kaylie Dunstan

Percussion theatre is a relatively new term that can be effectively used to discuss a body of musical repertoire for percussion that employ theatrical techniques. A generic approach of percussion theatre may include the specialised use of lighting, props, costume, space, and in some cases multimedia. At the focal point of this thesis are the techniques of acting, vocalisation and gesture. It discusses how the skill set of the percussionist can be expanded to better suit the broader performance demands required by compositions. Percussionists who perform percussion theatre repertoire would greatly benefit from interdisciplinary study to develop the theatrical skills specific to this genre. Stylistic trends in European, American and Australian compositions of this genre are explored in detail. Furthermore, this thesis includes a discussion of a series of written interviews with key exponents of this body of musical work in Australia. Central to this discussion are both, the technical demands of the performer, and the factors that need to be considered when composers engage with the above theatrical techniques. Finally, significant factors leading to the success of the compositions on the performing circuit are also considered with a view to discover how to promote and further develop this nascent form of performance art.

Percussion and Theatrical Techniques: An Investigation into Percussion Theatre Repertoire and its Presence in Australian Classical Music Culture

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