portfolio proposal€¦ · 1. measure numbers - black 2. solfege - black 3. text a. translations -...
TRANSCRIPT
PORTFOLIO PROPOSALIDEAS FOR UTILIZING THE PORTFOLIO TO ENHANCE MUSICAL
INSTRUCTION, LITERACY, AND GROWTH MEASUREMENT
#thestruggleisreal
TYPESOF PORTFOLIOS
PROCESS VERSUS PORTFOLIOPORTFOLIOS
FORMATSOF PORTFOLIOS
HARDCOPY VERSUS DIGITALPORTFOLIOS
my classroom
Process = Product
(Hardcopy + Digital ) Process = Product
(Hardcopy + Digital ) Process = Product
Hardcopy Process Examples
Digital Process Example
Product Example
Hardcopy
Hardcopy
Song SheetsAnnotations
WHAT ARE THE MOST PRIMARY ELEMENTS I WANT STUDENTS TO IDENTIFY ABOUT A SCORE?
WHAT ARE THE SECONDARY ELEMENTS I WANT STUDENTS TO IDENTIFY ABOUT A SCORE?
WHAT ARE THE ICING ELEMENTS I WANT STUDENTS TO IDENTIFY ABOUT A SCORE?
Song Sheets
Song Sheets
WHAT ARE THE MOST BASIC ELEMENTS I
WANT STUDENTS TO IDENTIFY ABOUT A
SCORE?
Song Sheets
Student Work Samples
Turn in Music, Keep a Song Sheet
Great memento or for the future teacher or the life-long singer, a great way to remember what you
sang, what you worked on, without keeping the music
Grading Song Sheets
Grading Song SheetsPre-Test
Completion Accuracy
A way to check , what am I teaching
Make it DigitalTaking pictures/ phone scanning to a folder
AnnotationsAid us in writing ABOUT our music with how we
place markings IN our music
What’s the value of annotating in music?
Before we ask our singers to write in our music...
We have to put the score study time in ourselves
What are current ways we as teacher/conductors annotate in our
music?
Do we really think about teaching students how to annotate their music?
What’s the value of teaching how to annotate in music?
How are we teaching our students to annotate in their music?
What’s important for your students to annotate in their music?
Music Annotations
Measure Numbers
Music Annotations
Measure Numbers
What are other key components to music annotations?
Margaret Hillis
Margaret Hillis
Margaret Hillis1991 February Choral Journal
Dennis Shrock interview with Hillis on score study
1991 February Choral Journal Margaret Hillis
“After the barline analysis, which is done with a black pencil and using a transparent ruler, I use a color-coding system to mark dynamics and other principal material. I use red for anything that's strong-forte, fortissimo, triple forte-and I put a series of red arrows above the score for an accelerando. I use blue for the opposite-for piano or mezzo piano. Usually I use a squiggly line for ritard; a slower tempo will be a line through the score. I reserve green for pianissimo. Otherwise, I use brown variety of colors is used to indicate tempi. I use blue for anything up to 80. For instance, I put J = 63 above the first bar. From 80-100 I use a brown pencil; . it might beJ ·=84-or-- something. For 100 and above I use the red, because that's the strongest tempo. “
Archival example of a Hillis score. Excerpt from Walton's Belshazzar's Feast.
Images courtesy of the Margaret Hillis Collection,
Rosenthal Archives of the Chicago Symphony Orchestra.
“All music starts from score study.”
-Margaret Hillis
What parts of the score do I find most important for my students to identify?
What parts of the score do I find most important for my students to identify?
1. Measure Numbers2. Solfege3. Text
a. Translations - word for word and poeticb. Pronunciation
4. Tempo/ Key/ Meter Changes5. Phrasing6. Vowels/ Consonants7. Dynamics
What parts of the score do I find most important for my students to identify?
1. Measure Numbers - Black2. Solfege - Black3. Text
a. Translations - word for word and poetic - Blackb. Pronunciation - Purple
4. Tempo/ Key/ Meter Changes - Green5. Phrasing - Black6. Vowels/ Consonants - Black7. Dynamics - Blue/ Red8. Articulations - Orange
Student Work Samples
Balleilakka A.R. Rahman
arr. Ethan SperryEarthsongs
Balleilakka A.R. Rahman
arr. Ethan SperryEarthsongs
Balleilakka A.R. Rahman
arr. Ethan SperryEarthsongs
Balleilakka A.R. Rahman
arr. Ethan SperryEarthsongs
Balleilakka A.R. Rahman
arr. Ethan SperryEarthsongs
Yver, vous n'êtes qu'un villain
from Trois ChansonsClaude Debussy
CPDL
Yver, vous n'êtes qu'un villain
from Trois ChansonsClaude Debussy
CPDL
Yver, vous n'êtes qu'un villain
from Trois ChansonsClaude Debussy
CPDL
Yver, vous n'êtes qu'un villain
from Trois ChansonsClaude Debussy
CPDL
Grading AnnotationsAccuracyNeatness
Completeness
Digital
Digital
Video Portfolio
Video Portfolio
Video PortfolioWhat are concerns for students recording personal
or group videos?
Video PortfolioBenefits
Digital Literacy
Check in individually without having to individualize class time
Provide immediate feedback for the students
Provide a baseline to show student growth
Video PortfolioWays to Execute
Google connects with YouTube
Offer for a student to use your phone, iPad to post, etc.
Submit to YouTube - encourage students to choose “unlisted”
Encourage students to “practice” via Snapchat, Insta
Video PortfolioAssignment Ideas
ScalesDiatonicChromaticMinorAdditiveEtc.
Speaking the text in rhythm
Singing parts/ small quartets
Video PortfolioAssignment Ideas
EXAMPLEAdditionally and Chromatic
Video PortfolioWays to Submit
Google Doc HERE
Google Form HERE
TinyUrl.com
Website LinkTime stamped!Easier to grade
EXAMPLE
Grading VideosMusicalityExpressionHand Signs
Professionalism
PORTFOLIO COMPILATION
Google DocsEXAMPLE
Folder
Song Sheets
Annotation Checklists
Videos or Recordings
