mmed740/pmed740 orff level iii, summer 2017 instructor...
TRANSCRIPT
TheUniversityoftheArts320S.BroadStreetPhiladelphia,PA19102uarts.educs.uarts.edu/sms
MMED740/PMED740OrffLevelIII,Summer2017InstructorMichelleFellaPrzybylowskiContactPhone:[email protected]/MaterialsMusicForChildren,MargaretMurrayEd. Volume I;SCHOTTMusicForChildren,MargaretMurrayEd. Volume II;SCHOTTMusicForChildren,MargaretMurrayEd. Volume III;SCHOTTMusicForChildren,MargaretMurrayEd. VolumeIV;SCHOTTMusicForChildren,MargaretMurrayEd. VolumeV;SCHOTTVolumeIII&VarenewtostudentsthathavetakenLevelI&IIatanAOSAapprovedcourse*Theabovematerialsareprovidedtostudentsonthefirstdayofclass.SuplementalMaterial:SpielbuchFurXylophonI,SCHOTTSpielbuchFurXylophonII,SCHOTTRhythmischeUbung,SCHOTTPiecesandProcesses-Calantropio,Steven,NewYork:Schott,2005.StückefürFloteundTrommel-Keetman,Gunild.Mainz:Schott,1984.RECORDERSandBOOKSRecorderConsort1(SteveRosenberg)-Boosey&Hawkes,ISMNM-060-02279-1ProgramObjectivesStudentscompletinggraduatemusiceducationcourseworkthroughTheUniversityoftheArts…
• Demonstratetheapplicationofpedagogicalandmethodologicalmeanstoteachmusicandemployeffectiveteachingmethods
• Utilizetechnologyindiversewaysasateacherandinsupportofstudentlearning• Communicateandcollaboratewithpeersindiversemusicalenvironmentsandschoolcommunities• Arecreativeandinnovativemusicianswhosharethesemusicalstrengthswiththeirlearnersthroughteaching• Understandthediversecultural,communal,andlearningneedsof21stcenturystudents
PedagogyWhilethedevelopmentoftheteacher’sownmusicianshipandcreativepotentialisattheheartoftheOrffapproach,theultimategoalofthispersonalgrowthistomaketheindividualabetterteacherofchildren.Theroleofpedagogymustgobeyondtheteachingofapieceintheelementalstyle—thepieceisnotanendinitselfbutameanstomusicalunderstandingforthechild.ThelessonsdevelopedbyLevelIIIstudentsshouldbedesignedtobringchildrentoconceptualunderstandingofmusicalelementsanddeveloptheirmusicalskillsintheactiveandcreativeatmospherethatcharacterizestheOrffapproach.Inthisprocess,theteachermustalwaysbeamodelofartisticmusicianship,guidingchildrentowardmusicalunderstanding.Thestudentwill:
• teachrhythminanaccuratemanner,cueinglearnerswithaninvitingphysicalgesture• teachvocalandinstrumentalmelodiesusingavarietyoftechniques,includingvocalmodeling,gesture,and
bodypercussion• teachinstrumentaltechniqueandpartsinanartisticfashion
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• usereferencestoformasanaidinteaching• teachawarenessofinstrumentalandvocalcolorsmodelexpressivesingingandplaying
LevelIIIstudentsshoulddemonstratepedagogicalskillby: •developingatleastonelessonplanthatoutlinestheteachingaconceptinpitch/melodyorrhythm •teachingthelesson(s)totheclassusingavarietyofOrffmedia.CourseDescriptionOrffLevelIIIwillfocusonpedagogyofmorecomplexmusicfromMusicforChildrenVolumesI,II,III,IV&Vaswellaseclecticfolkmusicandmorecomplexmusicalelements,includingsyncopation,meter,permutationsofl6thnotes,melody,themeandvariation,chaconne,irregularspeech/poetryandiconicnotation,withanemphasisonimprovisationanddrama.Recorderstudieswillexploreawiderangeofmusic,includingSchulwerksourcematerials,traditionalfolkmusic,andhistoricalandmodernrepertoire.MovementclasseswillincludeamoredetailedstudyofLaban'smovementefforts,folkdancesincomplexmeter,andmorecomplexchoreographysynthesizingalldanceelementsstudiedthusfar.Speech SpeechmaterialsusedinLevelIIIshouldincludevarietyinformandliterarymood,withamplepotentialforcreativeexperimentation.Morecomplexformsmaybeintroducedforbroaderanddeeperpoeticexplorationandexperimentation.Thestudentwill: •speakin2/4,3/4,4/4,6/8,5/8,7/8meters •Performlayeredspeechpiecesatasophisticatedlevel •Useavarietyofvocaltimbresinspeaking •Speakwithvaryingdynamicsandvocalinflection •PerformaleatoricexplorationsandimprovisationsusingvaryingvocaltimbresSinging IntheOrffapproach,singingisrecognizedasfundamental—aninvaluablemeansforindividualandgroupmusicalexpression.Singingrequiresanddevelopsthehighestdegreeofpitchsensitivityandsecurity,andisessentialinthedevelopmentoftotalmusicality.Songsshouldbecarefullychosentoexpandmusicalrepertoireandvocabulary.Theyshouldbepedagogicallyusefulandofexemplarymusicalquality.Theinstructorshouldmodelappropriatevocalrangeandquality,healthyposture,andbreathingnecessaryforwell-supportedsinging.Thestudentwill: •singmelodiesin2/4,3/4,4/4,6/8,5/8,and7/8meters •singinalldiatonicmodes •explorerecitativeusingaselectedtext •singchordrootaccompanimentsforamelodyrequiringaI-Vchordchange •singchordrootaccompanimentsforamelodyrequiringharmonychanges(I-V,I-IV-V,i-v,i-V,I-vii,i-VII) •singvariationstoagivenmelody •modelaclearvocaltonewithoutexcessivevibrato •modelananimatedaffectwhensinging •improvisevocallyinalldiatonicmodes •Improvisevocallyoverchordchanges(I-V,i-v,I-IV-V,I-VII,i-VII)LevelIIIstudentsshoulddemonstratetheabilitytosingmelodiesandimprovisevocallyinalldiatonicmodes: MAJOR•Ionian•Lydian•Mixolydian MINOR•Dorian•Phrygian•Aeolian
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Melodicenrichmentwillalsoincludesingingcountermelodiesbasedontheprinciplesofdiaphony(contrarymotion)andparaphony(parallelmotion).InstrumentsTheOrffApproachspecificallyintegratesinstrumentalplayintothelearningprocess,usingbodypercussion,non-pitchedandpitchedpercussioninstrumentsandrecorder.Otherinstruments,includingauthenticinstrumentsfromworldculturesarealsosometimesusedalongwiththestandardOrffinstrumentarium.1. PerformingBodyPercussion&PlayingUnpitchedPercussionInstruments
StudentsinLevelIIIshoulddemonstratecompetenceinperformingpartslearnedthroughimitationaswellfromnotationandimprovisingrhythmsinbodypercussionandonnon-pitchedpercussioninstruments.Theabilitytousemanydifferentinstrumentsoffersteachersvarietyinchoicesofteachingtoolsfortheclassroom.Performingbodypercussionandplayingnon-pitchedpercussioninstrumentsreinforcesrhythmicandmelodicconceptsandskillsanddevelopssensitiveensemblemusicianship.Thestudentwill: •performrhythmsin2/4,3/4,4/4,6/8,5/8,7/8metersandirregularandchangingcombinations •combinerhythmicpatternsinpolymetriclayering •performrhythmicallyfreestructures •demonstrateeffectiveaccompanimenttechniquesinbodypercussionanduntunedpercussionplaying. •emphasizemusicalformthroughuseofrhythmicallycontrastingostinati,shiftsinrange,changesintimbre,texture,and/ordynamiclevel •Increasetimbrepossibilitiesinbodypercussionthroughmoreadvancedtechniques. •Createmusicusingfoundsoundsandbyplayinginstrumentsinnon-conventionalways.
StudentsinLevelIIIshoulddemonstrate: •Correcttechniquewhenperformingthelayersofbodypercussion(stamp,pat,clapsnap)andotherbodysoundgestures. •correctplayingtechniqueonmembranophones,includingthecorrectholdingandstrikingtechniquesforthehanddrum,tambourine,bongos,conga,snaredrumbassdrumandtimpani. •correctholdingandplayingtechniquefornon-pitchedidiophones(METALS:triangle,fingercymbals,suspendedcymbal,cowbell,gong,belltree,chimetreejinglebells,flexi-tone)(WOODS:claves,woodblocks,castanets,templeblocks,slitdrum,maracas,rattles,cabasa,sandblocks,guiro,vibra-slap).2. PlayingPitchedBarredInstruments Thebarredpitched-percussioninstrumentsprovidealightaccompanimentforchildren’ssingingvoicesandare
excellentteachingtoolsformelodicconcepts. Thestudentwill: •playandimprovisein2/4,3/4,4/4,6/8,5/8,7/8,andirregularandchangingcombinations •combinerhythmicpatternsinpolymetriclayering •playrhythmicallyfreestructures •playmelodiesandimprovisationsinalldiatonicmodes •combinepatternsinpolymetriclayering •playmelodiesandimprovisationsincorporatingmajorandminorharmonychanges:(I-V,I-IV-V,i-v,i-V,I-vii,i-VII) •playaccompanimentpatternsformelodiesrequiringchordchanges:I-V,i-v,i-V,I-VII,i-VII,I-ii,I-IV,I-IV-V •playusing3-mallettechnique •exploreformbymakinginstrumentalperformancedecisions •Playthemeandvariations •Increasetimbrepossibilitiesthroughmoreadvancedtechniques •MakeartisticchoicesinsoloandensembleinstrumentplayingLevelIIIstudentsshoulddemonstrate: •correctpostureandmallettechniquesforplayingthevarioussizesofxylophones,metallophonesandglockenspiels •multiplemallettechnique
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•tremolo •abilitytoimproviseinalldiatonicmodes •abilitytoimproviseinamajorscaleoveraI-VorI-IV-VaccompanimentRecorderTechniqueTherecorderservesseveralfunctionsinOrffclassrooms.Firstandmostimportant,itservesasateachingtool,Thestudentshouldplaybothsopranoandaltorecorderswithproficiencyandhaveexperienceswithtenorandbassrecorders.StudentsshouldbeabletoimproviseonsopranoandaltorecordersoveraI-Vchordprogression.Improvisation,Composition,OrchestrationImprovisationpermeatesallskillareasintheOrffSchulwerkteachereducationcurriculum.AsMargaretMurrayhasstated,“youarehelpingteacherstodiscoverandpracticetheirownmelodicandrhythmiccreativepotentialsothattheycanhelpthechildrentheyteachtodiscovertheirs.”Melodicimprovisationistheprecursorofcomposition,whichcanthenleadtoorchestrationofthemelodiesinvented.Compositionandarrangementofsimpleformsis,thus,anecessarycomponentintheOrffSchulwerkteacher-educationcurriculum.InthedevelopmentofOrffandKeetman’sprototypematerials,theelementalconceptresultedinmusicconstructedsimplyfrombasicmaterials.Acquaintancewiththesematerialsprovidesanessentialbasisforindividualandgroupeffortsincomposingandarranging.Certain“rules”andguidelinesareusefulindefiningtheextendedstyle.EssentialtotheOrffSchulwerkapproach,however,isthefreedomtoexperimentandexplorevariousoptions.Studentsshoulddemonstrateincompositionandarrangementassignmentsthattheyunderstandandhavecontrolofthemusicalmaterial. Thestudentwill: •performaleatoricexplorationsandimprovisationsusingvaryingvocaltimbres[SeeSPEECH] •composeamodalmelodyandaccompanywithbordun/droneandostinato •arrangeamajormelodyrequiringI-Vchordchangeaccompaniment •improvisevocallyandinstrumentallyinalldiatonicmodes[SeeSINGING] •improvisevocallyandinstrumentallyoverchordchanges(I-V,I-IV-V,i-v,i-V,I-vii,i-VII)[SeeSINGING] •composeamodalmelodyandaccompanywithbordun/droneandostinato •arrangeamajormelodyrequiringI-Vchordaccompaniment •composeacountermelodyforadiatonicmelodyorfolksong(paraphonyordiaphony) •arrangeamelodyrequiringharmonicchordchanges(i-v,I-V,I-vii,i-VII) •arrangeamelodyrequiringI-IV-Vchordaccompaniment •makeartisticchoicesofinstrumentationinarrangements •importanceofbeingabletoHEARthecompositiononinstrumentsandREVISEinstrumentationchoicesPedagogyWhilethedevelopmentoftheteacher’sownmusicianshipandcreativepotentialisattheheartoftheOrffapproach,theultimategoalofthispersonalgrowthistomaketheindividualabetterteacherofchildren.Theroleofpedagogymustgobeyondtheteachingofapieceintheelementalstyle—thepieceisnotanendinitselfbutameanstomusicalunderstandingforthechild.ThelessonsdevelopedbyLevelIIIstudentsshouldbedesignedtobringchildrentoconceptualunderstandingofmusicalelementsanddeveloptheirmusicalskillsintheactiveandcreativeatmospherethatcharacterizestheOrffapproach.Inthisprocess,theteachermustalwaysbeamodelofartisticmusicianship,guidingchildrentowardmusicalunderstanding. Thestudentwill: •teachrhythminanaccuratemanner,cueinglearnerswithaninvitingphysicalgesture •teachvocalandinstrumentalmelodiesusingavarietyoftechniques,includingvocalmodeling,gesture,andbodypercussion •teachinstrumentaltechniqueandpartsinanartisticfashion •usereferencestoformasanaidinteaching •teachawarenessofinstrumentalandvocalcolors •modelexpressivesingingandplaying
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LevelIIIstudentsshoulddemonstratepedagogicalskillby: •developingatleastonelessonplanthatoutlinestheteachingaconceptinpitch/melodyorrhythm •teachingthelesson(s)totheclassusingavarietyofOrffmedia.
StudentLearningOutcomesAttheconclusionofthisgraduatemusiceducationcourse,studentswill:
- DeepencontentandcomplexityofthefoundationaltenetsofOrffSchulwerkthroughthevariousmedia.- Understand,planandactivelyusecomplexmusicalelements,improvisationanddramatocreateanactivemusic
curriculumintheschoolsetting- DeepenandbroadenmovementfoundationsthroughadetailedstudyofLaban- Deepenandbroadenrecorderproficiencyskillsthroughtraditionalfolkmusic,Schulwerksourcematerials,
historicalandmodernrepertoireGradingCriteriaandAssessmentMethodsCourseassessment,evaluationandgradingisbaseduponthreefactors:(1)thecompletionofthepre-assignment,(2)activeengagementindailycoursestudiesand(3)inthecompletionofthefinalassignment/post-assignment.Belowistherubricthatwillbeutilizedbyfacultytoassessandevaluatestudentsinthesethreecategoriesoflearningandunderstanding.
Basic Average SuperiorPre-assignment
Providesbasic/unsatisfactorycontentandconceptsinpreparationforthiscourse.
Accuratelyidentifiescontentandconceptsrelevanttothiscourse.
Demonstratesadeepunderstandingandpreparationofcontentandconceptsrelevanttothiscourse.
Duringclassformativeassessments
Failstoactivelyengageincoursecontent,application,andengagementofdailycoursework.
Engagesactivelyincoursecontentandapplicationofconceptsindailycoursework.
Demonstratesathoroughanddeepengagementincoursecontent,applicationandunderstandingofdailycoursework.
Final/Post-assignment
Doesnotadequatelycompletethefinalassignment.Assignmentmayhavebeensubmittedlate.Poororganizationandlackofdepthofknowledgeevidenced.
Finalassignment/post-assignmentevidencesappropriatestructureandorganization,understandingofcoursegoalsandoutcomes.Itissubmittedontime.
Finalassignment/post-assignmentisfluidandengaging.Itisorganized,wellstructuredandclear,andevidencesadeepunderstandingandapplicationofcoursegoals.Itissubmittedontime.
TheGradingPolicycanbefoundintheCourseCatalogue.
AcademicIntegrityPolicyAprimarytenetofthiscourseistopreparestudentsforprofessionalresponsibilitiesasteachers.Thetimelyarrivaltoclassaswellasthedailypreparationandengagementincoursestudiesisessential.
UniversitypolicyonAcademicIntegritymaybefoundintheUArtscatalog.
Ifstudentsarenotclearaboutwhatconstitutesplagiarism,youmightrecommendIntroductiontoResearchandDocumentationavailableontheUniversityLibrarieswebsite.
AbsencesDuetothecompressednatureofthefive-dayintensivecoursestructure,absencesfromclasswillnotbeaccepted.Studentswhoarrivelatetoclassorleaveearlywillbeheldaccountableformissedtimethroughadditionalassignmentstobecompletedoutsideofcoursehours.TechnologyPoliciesonTechnologymaybefoundintheCourseCatalogue.
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ClassFormatAllsummermusicstudiescoursesthatmeetin-personarefive-dayintensivecoursestypicallyrunningfor8hoursperday.Studentsareresponsibleforpreparationofmaterials,forengagingincoursecontentasperthecoursedescription,andinbeingresponsivetocompletionofpreandpostcourseworkasdetailedinthecourseoutline.Coursesofferedonlinemaybeinadifferentformatandmayrunforalongeramountoftime,specifictotheneedsandintentsofthecoursecontent.
EducationalAccessibilityStudentswhobelievetheyareeligibleforcourseaccommodationsundertheADAorSection504orhavehadaccommodationsormodificationsinthepast,shouldcontacttheOfficeofEducationalAccessibilityat215-717-6616oraccess@uarts.edutoarrangeforappropriateaccommodationsandtoobtainanaccommodationsletter,ifapplicable.Facultycanprovidecourseaccommodations/modificationsonlyafterreceiptofanapprovedaccommodationsletterfromtheOfficeofEducationalAccessibility.Accommodationletterscanbeprovidedtoqualifiedstudentsatanytimeduringthesemester,butgradesearnedbeforetheletterisreceivedbythefacultycannotbechanged.NoticeofNondiscrimination
TheUniversityoftheArtsisasupportivecommunitycommittedtoindividualandartisticintegrityandinclusion.Wepromoteandrespectself-expression,awiderangeofideas,anddiversityinallofitsforms.WearecommittedtocreatinganinclusiveenvironmentinwhichUniversitycommunitymembersareabletoaccessacademic,social,recreationalprogramsandservices,aswellasopportunitiesforadmissionsandemploymentonanequitableandnondiscriminatorybasis.
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Note:AllfacultyandprofessionalstaffattheUniversitymustreportanyincidentsofsexualmisconducttotheUniversity’sTitleIXCoordinator.Tomakeareport,e-mailtitleix@uarts.eduorfileareportthroughtheTitleIXResourcePage:www.uarts.edu/titleix.
MOVEMENT SPEECH SINGING BODY
PERCUSSION
UNPITCHEDPERCUSSION
PLAYING
RECORDER
PITCHEDPERCUSSION
IMPROVISATION
COMPOSITION
ORCHESTRATION
PEDAGOGY
RHYTHM&METER
TIMENOTBOUNDBYRHYTHM
•Performmetricstructuresincluding2/4,3/4,4/4,6/8,5/8,7/8,andirregularandchangingcombinations
•Speakin2/4,3/4,4/4,6/8,5/8,7/8meters
•Singmelodiesin2/4,3/4,4/4,6/8,5/8,and7/8
meters
•Recitative
•Performrhythmsin2/4,3/4,4/4,6/8,5/8,7/8metersandirregularandchangingcombinations
•Combinerhythmicpatternsinpolymetriclayering
•Performrhythmicallyfreestructures
•bodymusic
•Playandimprovisein2/4,3/4,4/4,6/8,5/8,7/8,andirregularandchangingcombinations
•Combinepatternsinpolymetriclayering
•Rhythmicallyfreestructures
•Performexplorationsandimprovisationsinvariousmeters
•performnon-metricimprovisations
•Teachrhythminanaccuratemanner,cueinglearnerswithphysicalgesture
•Developalessonplanthatteachesaconceptinrhythm,usingavarietyofOrffmedia.
MELODY
•Movementthemesasmelodicmovementmaterial
•Physicalresponsetomodal,majorandminormaterial
•Singinalldiatonicmodes
•explorerecitativeusingaselectedtext
•Explorebodypercussionsoundsandtechniquesbeyondthefourstandardlevels
•Playmelodiesandimprovisationsinalldiatonicmodes
•Combinepatternsinpolymetriclayering
•Playmelodiesandimprovisationsincorporatingmajorandminorharmonychanges:(I-V,I-IV-V,i-v,i-V,I-vii,i-VII)
•improvisevocallyinalldiatonicmodes
•Improvisevocallyoverchordchanges
(I-V,i-v,I-IV-V,I-VII,i-VII)
•Composeamodalmelodysuitableforbordun/droneandostinatoaccompaniment
•ComposeamajormelodyrequiringI-Vchordchangeaccompaniment
•Teachvocalandinstrumentalmelodiesusingvocalmodeling,gesture,andbodypercussion
•Developalessonthatteachesaconceptinpitch/melodyandteachthelessonusingavarietyofOrffmedia.
ACCOMPANI- •Solo/smallgroup •Performcomplexlayeredspeech
•Singchordrootaccompaniments
•Demonstrateeffective
•Playaccompanimentpatternsformelodies
•Composeamodalmelodyandaccompany
•Teachinstrumentalparts
MENTAND
TEXTURE
/largegroup
movementformations
•Movementostinati
•Moveeffectivemovementaccompaniment
•Choreographystrategies
pieces
•Performchoralspeech,poemsforseveralvoices,Greekdramaforms
foramelodiesrequiringaI-V,I-IV-V,i-v,i-V,I-vii,andi-VIIchordchanges
accompanimenttechniquesforbodypercussionandplayinguntunedpercussion
requiringchordchanges:I-V,i-v,i-V,I-VII,i-VII,I-ii,I-IV,I-IV-V
•Playusing3-mallettechnique
withbordun/droneandostinato
•ArrangeamajormelodyrequiringI-Vchordchange
Accompaniment
•Composeacountermelodyforadiatonicmelodyorfolksong(paraphonyordiaphony)
•Arrangeamelodyrequiringharmonicchordchanges(i-v,I-V,I-vii,i-VII)
•ArrangeamelodyrequiringI-IV-Vchordaccompaniment
andtechnique
artistically
•Modeleffectiveensembleleadingfromwithin
Developarecorderimprovisationlesson
FORM •Phrase,elementalforms,AA,AB,ABA,echo,question/answer,antiphonal,canon,rondo,verse/chorusfolkdance
•themeandvariations
•Rhythmicallyfreestructures
•Singvariationstoagivenmelody
•Reviewofknownforms
•Emphasizemusicalformthroughuseofrhythmicallycontrastingostinati,shiftsinrange,changesintimbre,texture,and/ordynamiclevel
•Emphasizeformbymakinginstrumentalperformancedecisions
•Playthemeandvariations
*Usereferencestoformasanaidinteaching
TIMBRE •Bodyresponsetotimbrestimuli
•Useavarietyofvocaltimbresinspeaking
•Modelaclearvocaltonewithoutexcessivevibrato
•Increasetimbrepossibilitiesinbodypercussionthroughmoreadvancedtechniques.
•Createmusicusingfoundsoundsandbyplayinginstrumentsin
•Increasetimbrepossibilitiesthroughmoreadvancedtechniques.
•Makeartisticchoicesofinstrumentationinarrangements
*Teachawarenessofinstrumentalandvocalcolors
non-conventionalways.
EXPRESSION •Shapemovementforperformance
•Thebodyasavisual,musicalinstrument
•Speakwithvaryingdynamicsandvocalinflection
•Modelananimatedaffectwhensinging
•Thebodyasmusicalinstrument
•Makeartisticchoicesinsoloandensembleinstrumentplaying
•Makeartisticchoicesininstrumentationandarrangement
•Modelexpressivesingingandplaying
IMPROVISATION explorationswithtime,polymetric/polyrhythmicpiecesprevalentinsomeAfricanmusics,