THE BROMFIELD SCHOOL
14 Massachusetts
Avenue
Harvard, Massachusetts 01451
2000-2001
MUSIC PERFORMANCE HANDBOOK
THE BROMFIELD SCHOOL
14 Massachusetts Avenue
Harvard, Massachusetts 01451
2000-2001
MUSIC PERFORMANCE HANDBOOK
INTRODUCTION
Welcome back! It's a new school year,
with new challenges and opportunities ahead. The Music Department at The
Bromfield School is looking forward to a great year ahead.
Your success in music is very important
to the success of the music program, and you are the reason that it exists.
Please feel free to communicate your feelings about the program during any
appropriate times. Remember, this is YOUR music program and your ideas are
valuable.
You are encouraged to familiarize
yourself with the materials presented in this handbook. This booklet sets up a
plan of basic organization upon which all of us can build successful performing
organizations. The key element here is that YOU ARE IMPORTANT to the success of
the program and YOUR FAMILIARITY with music program policies and organizations
is ESSENTIAL if our performing groups are to be truly outstanding.
THE
PHILOSOPHY OF THE MUSIC PROGRAM
All of the opportunities provided for
each student in The Bromfield School Music Program are focused upon offering
experiences to young people that will result in them finding joy and excitement
in the creation of music. In the various phases of this program, they are
brought into contact with new works of art and outstanding performers. They are
continuously reminded that they must exhibit high artistic integrity when
approaching any piece of music, since their responsibility is to recreate
beauty. The important element in the program is the individual's musical
growth-the individual's depth of experience- the development of the
individual's appreciation of music in particular and art in general.
The musical performing groups exist as
possible vehicles for the artistic growth of the student- the student does not
exist for these groups.
The
development of a creative way of life as taught through creative artistic
experiences is the desired end.
FANFARE!
- THE MUSIC SUPPORT ORGANIZATION FOR THE BROMFIELD SCHOOL
Fanfare!
is an organization of parents and friends which exists to assist The Bromfield
School Music Department in a number of ways. The various ways that the group
supports the program includes things such as fund-raising, chaperoning of events,
and other things which further enhance
the effectiveness of our program. Parents of students involved in the music
program are encouraged to become members when their students are members of TBS
musical groups. Please call President, Mr. David Earls at 978.368.0802 for
further information.
CANCELLATION
OF EVENTS
If an activity is cancelled due to
weather or other factors, a telephone call list will go into effect. If there
is no phone call, each member must assume that the activity is still
"on" and should report as scheduled, except in "extreme"
circumstances such as earthquakes, floods, tornados, hurricanes, blizzards,
typhoons, erupting volcanoes, etc.
COURSE
GOALS
The major goals of the Music Program are
geared toward the individual development of each student. It is the intention
of this program to help each student acquire knowledge, understanding, and
appreciation of the musical accomplishments of civilization as well as to
develop skills for self-expression. Areas include the following:
a. Ways to develop knowledge and
appreciation of music.
b. Development of aesthetic
judgments and the ability to apply them to musical works.
c. Ability to use cultural
resources of performing arts groups.
d. Ability to produce and perform
musical works.
e. Acquire a knowledge of the
materials, media, and history of music.
f. Understand the diversity of
cultural heritage.
g. Provide opportunities for
positive social interaction and fraternity.
h. Help all participants to develop
a positive feel of self-worth.
i. Students involved in The
Bromfield School Music Program are expected to:
a. respect others, property, the learning
environment, and him/herself in language, action, and dress.
b. exhibit honesty, integrity,
self-control, responsibilty,trust, concern for the well-being of others and
oneself,and a striving toward excellence.
c. demonstrate consistency and
purpose in his/her focus upon personal growth.
CONCERT
DRESS
Pride in appearance as a cohesive group
is demonstrated when all are conscientious about their concert dress. It is
important to keep your concert dress neat and in order at all times.
For LADIES, this would include the
following:
White, long-sleeve blouse
Black, mid-length/maxi skirt
Black hose
Black shoes
For GENTLEMEN, this would include the
following:
White, long-sleeve shirt
Black dress pants
Black socks
Black shoes
Black tie
TRAVEL
Since student conduct both on and off
school property reflects directly upon the reputation of The Bromfield School,
only those who are willing to abide by the following regulations qualify for
travel on any vehicle in connection with school-sponsored activities:
a. Students must make the return journey
in the same vehicle to which they were assigned at the start of the trip.
b. Students must refrain from smoking
from the time that they reach school property before the trip begins, until
they leave the school property at the conclusion of the trip.
c. Undue noise or other distractions
place everyone in jeopardy by making it impossible for the driver to use all of
his faculties to operate his vehicle safely.
d. Student conduct while at the activity
must be of a type that will be a credit to The Bromfield School and themselves.
e. Students must remain seated for the
duration of the trip, unless given permission to do otherwise.
f. No one will be allowed to board a
vehicle for such a trip unless a signed parental permission slip has been
presented to the director.
g. Students are not allowed to drive
their cars to any activity unless they are traveling as private individuals.
Any exceptions to the above will need to
be processed through the director and administration, if necessary.
REQUIREMENTS
AND GRADING:
As each year progresses, we try to
evaluate ways to improve the level of our instruction so that students will
learn more and consequently be more successful. It is the intent of this
section to establish a system of student evaluation which is both fair and
specific.
Each student's grade will be calculated
each quarter based upon the following areas which will create 9 grades for each
quarter:
2
GRADES BASED UPON SCALE UNITS (see below)
2
GRADES BASED UPON PLAYING SAMPLES (either live or on cassette)
1
GRADE BASED UPON MUSICAL TERMS
1
GRADE BASED UPON ETHICS (honesty, integrity, cooperation, effort)
1
GRADE BASED UPON PREPARATION AND PROGRESS
2 GRADES BASED
UPON PERFORMANCE ATTENDANCE AND QUALITY.
Performances at major concerts will be
treated as final test grades for the appropriate marking periods. The
performance experience is an integral part of the music curriculum and needs to
be treated as a part of the course. Students who miss performances due to
unforeseen circumstances will be required to meet with the director
individually to perform the material which was presented in the missed concert,
along with a parental note explaining the nature of the absence.
SCALE
UNITS:
A scale unit is comprised of a
combination of 4 major or minor scales which need to be successfully performed
at one time. Each scale unit evaluated during the course of the year needs to
contain a DIFFERENT combination of scales so that by the end of the year, the
student has performed at least 16 different scales. The scales are to be played
live for the music director from memory, up and down in at least one octave.
Students should also know a chromatic scale encompassing the range of the
instrument, up and down.
The scales are:
MAJOR:
C,F,G,Bb,D,Eb,A,Ab,E,Db/C#,B/Cb,Gb/F#
minor:
a,d,e,g,b,c,f#,f,c#,bb/a#,g#/ab,eb/d#
Percussion rudiments will be used in
conjunction with these scales for all percussion players. Please see rudiment
list below.
All students will have a scale
sheet which will assist them in learning the scales thoroughly.
PLAYING
SAMPLES:
A playing sample consists of a single
piece of music or etude which may be performed live for the music director or
may be submitted on a cassette tape. The playing sample should be well-polished
and last a minimum of 2 minutes. Each playing sample submitted during the
school year should represent a different musical composition. Samples will be
evaluated based upon accuracy of notes, rhythms, tempo, tone, dynamics,
articulation, intonation, interpretation, and playing technique.
ETHICS:
The Bromfield School places great
importance upon providing an environment which advances ethical, moral,
healthy, safe, stable, and purposeful standards. This grade will reflect the
music director's perception of the extent of each student's efforts to display
the following qualities in everyday classroom life: respect of others, respect
of the learning environment, respect of property, respect of her/himself in
language, action, and dress; honesty; integrity; self-control; responsibility;
trust; concern for the well-being of others and oneself; striving towards
excellence; consistency; purpose; and focus. Effort and attitude are key
concepts in this category.
PREPARATION
AND PROGRESS:
This grade will represent the music
director's perception of each student's efforts to thoroughly prepare her/his
work, as well as the director's perception of the degree of individual student
progress. A student's degree of participation in the program will also be
reflected in this category.
EVALUATION:
It is the intent of the director to
provide each student with a written report for each quarter that specifically
indicates that person's grade in each of the 9 grade areas listed.
MUSICAL
TERMS:
All students are expected to know the
definitions of a selected list of musical terms which represent different musical
concepts. Please consult the list at the end of this handbook which provides
both the terms and their definitions.
MAJOR
PERFORMANCES:
Students are expected to attend ALL
performances of the AHS performing groups of which they are members. As ALL members
are important to the success of a team, ALL members are important to the
success of a musical group.
The following reasons constitute legal
absence:
1. Sickness
2. Sickness or death in family
3. Impassable roads or weather
making travel unsafe
4. Religious observance
5. Required presence in court.
If a situation occurs where a students
needs to be absent for reasons other than listed above, he/she may appeal to
the director to work out a solution.
A note signed by the student's
parent or guardian explaining the student's absence is required.
ADDITIONAL
MUSICAL EXPERIENCES:
Additional points of the total grade per
quarter are issued to students for membership in any one of the extra musical
groups or activities listed below. If a student is involved in any of these
activities, he/she will receive 1 additional point on his/her band or chorus
grade for each additional activity in which he/she participates.
CHORUS or BAND (if the student is
enrolled in both)
BRASS ENSEMBLE (if student does not
choose alternate credit)*
WOODWIND ENSEMBLE (if student does not
choose alternate credit)*
PERCUSSION ENSEMBLE (if student does not
choose alternate credit)*
MUSICALE
PRIVATE LESSONS (if student does not
choose alternate credit)*
STAGE BAND (if student does not choose
alternate credit)*
CENTRAL DISTRICT HIGH SCHOOL MUSIC
FESTIVAL
MASSACHUSETTS ALL-STATE MUSIC FESTIVAL
ALL-NEW ENGLAND MUSIC FESTIVAL
OTHER OUTSIDE MUSICAL GROUPS (at
director's discretion)
WRITING PROGRAM NOTES
RECITAL
CHORAL ACCOMPANIST
STUDENT ASSISTANT
PERCUSSION
RUDIMENTS:
Percussionists will be required to
perform from memory the following snare drum rudiments established by the
Percussive Arts Society of North America:
five-stroke roll
six-stroke roll
seven-stroke roll
nine-stroke roll
ten-stroke roll
eleven-stroke roll
thirteen-stroke roll
long roll
single paradiddle
double paradiddle
flam
flam accent no.1
flam accent no.2
flam tap
flamacue
four-stroke ruff
ruff (half drag)
single ratamacue
double ratamacue
lesson 25
Examples of these rudiments will be
copied for your use from the New York State School Music Association Manual.
REHEARSAL
PROCEDURE
a. Play a few warm-up notes on your
instrument and check your pitch with one of the tuning devices positioned near
the front of the room BEFORE you go to your seat.
b. Be in your seat with your instrument,
music, mutes, PENCIL, etc. ready to begin rehearsal at the beginning of class.
Attendance will be taken at this time. Students who arrive late to class must
bring a pass with them from an administration, faculty or staff member.
c. Mutes are considered to be basic
equipment for all brass players.
d. Students are expected to behave in a
cooperative and constructive manner during all rehearsals and performances.
All musical organizations are considered
to be classes and all school rules relative to conduct and discipline will be
enforced. All concerts, rehearsals, and other school-sponsored musical events
that occur outside of normal school hours are considered to be extensions of
the classroom and school rules will apply.
e. Music folders with a complete
set of parts will be issued to all students, who will be held personally
responsible for them.
f. Take care of YOUR rehearsal hall
and equipment. Remember, the appearance and condition of a rehearsal room tells
a great deal about the people who use it.
g. Rehearsal will end at the
conclusion of 45 minutes, and the teacher will dismiss you at this time. Make
sure that ALL music and equipment is put in its proper place when rehearsal
ends.
h. The primary focus of a rehearsal
is to make music. Please feel free to express your ideas, questions or concerns
to the director outside of the rehearsal setting.
LESSONS
It is strongly recommended that students
schedule time for individual instruction,as individual lessons provide students
with direct personal attention from the music instructor. This attention should
help the student to improve his or her own performance skills to a point which
increases student performance satisfaction as well as to improve the total
quality of the ensembles. An ensemble is only as good as its weakest players,
and all ensemble performers must look at their own individual parts as ALL
EQUALLY IMPORTANT. ALL PERFORMERS ARE EQUALLY IMPORTANT TO ANY ENSEMBLE!
It will be possible for students to
receive alternative credit for individual lessons. (see "Alternative
Credit" section)
PRACTICING
A minimum of 15-30 minutes of daily
practice is recommended for all.Practice develops embouchure/hand/finger
muscles to improve your performance and coordination skills, thus making it
easier to perform more challenging material on your instrument. Playing a
musical instrument is a craft which takes time...the amount of effort required
to perform on a wind or percussion instrument is the same today as it was a
century ago. By taking this time, it is guaranteed that you will reap the benefits
of more playing enjoyment for yourself as well as giving you the opportunity to
improve the band through your own personal contribution.
Like
the athletes who warm-up with many exercises prior to a game to condition
themselves both mentally and physically, the musician needs his/her own warm-up
exercises to provide a similar kind of conditioning. Scales, long-tones, lip
slurs, rudiments, and sight-reading exercises should be practiced on a daily
basis, with band music or lesson material following. The "Warm-Ups in
Theory" book that you receive is full of such exercises. Try to always
balance difficult practice passages with music that is enjoyable to play. Set
only one or two goals for yourself at the beginning of each practice session
and work to achieve those goals gradually. Learn to set realistic goals for
your practicing - one practice session of 30 minutes is not going to
automatically turn you into an outstanding performer.
AUDITIONS
AND SEATING
Auditions
for chair positions will be conducted outside of group rehearsals. It is
recommended that students be prepared to play 3 major scales, or rudiments, as
well as 2 16 bar sections of their choice from a current band selection. All
students will be auditioned, including single-person sections. After seating is
established, it will be possible for students to challenge others for higher
seating positions. Details regarding challenges will be provided at a later
time.
Students
are ranked by ability through the audition process only to place the strongest
players in positions where they will benefit the entire group the most. No
one's position will be engraved in stone for the rest of his/her high school
career once the audition process has been completed.
It
is important to remember that ALL parts are important to the success of a
musical composition - otherwise, the parts would not be written. The director
will pre-determine part assignments/rotations before a particular piece is
performed. Any input that you wish to give during the implementation of this
seating process will be welcomed.
CARE
AND MAINTENANCE OF INSTRUMENTS
a. Woodwinds - Swab out your instrument
after each use. If you leave moisture in the instrument, you may cause the pads
to split and fall out. Clean your mouthpiece frequently. Take your reed off of
the mouthpiece when you have finished playing, dry it out, and store it
properly. Be sure that cork joints are lubricated with cork grease.
b. Brass - Keep valves and slides oiled
regularly. Sticky valves cause poor technique, and lack of lubrication can ruin
an instrument. Check tuning slides and valve slides each day to prevent them
from "freezing up". All slides should work properly. Use a wire snake
with attached brushes to clean the inside of your instrument to remove any
build-up in the tubing.Clean your mouthpiece frequently. Keep a soft cloth in
your case and wipe your instrument off regularly to keep it clean.
c. Percussion- All equipment must be
stored in the proper places after each rehearsal and performance. Don't
overtighten drum heads or press on plastic heads with the tips of wooden drum
sticks. Check frequently to ensure that vibrations have not loosened
nuts,bolts, and screws on these instruments or their holders. Keep heads clean
with a damp cloth. Use the proper type of stick or beater with each instrument.
MAKE SURE THAT THE PERCUSSION CABINET IS LOCKED AT THE END OF EACH REHEARSAL.
STUDENT
ASSISTANTS
LIBRARIAN(S) - An individual(s)
responsible for the proper cataloguing and filing of the Music Library owned by
the school.
STAGE MANAGER(S) - An individual(s) who
coordinates set-ups and tear-downs of performances as well as the management of
music equipment.
COURSE OBJECTIVES-Based upon the Commonwealth of Massachusetts
Department of Education Learning Strands
I. Strand 1: Creating and
Performing
A. Learning Standard
1: Student will use the arts to express ideas, emotions, and beliefs.
Student will
1 . perform works that
show a point of view about social or personal issues
2.
perform works that show an understanding of how selective use of techniques,
processes, tools and technologies, and/or materials contributes to the
communication of ideas, emotions or beliefs.
B. Learning Standard
2: Students will acquire and apply the essential skills and literacy unique to
each art form.
Student will
1.
sing
and perform on at least one instrument alone and in ensembles, demonstrating an
ability to perform more advanced vocal or instrumental works with accuracy and
expression while following a conductor.
2.
rehearse
alone and in groups outside of class.
3.
interpret
more advanced music written in treble and bass clefs, reading one's own part
from a multi-part score (choir).
4.
listen
to performances of extended length and complexity with proper attention and
audience protocol.
5.
perform
a repertoire of choral and/or instrumental ensemble music drawn from a wide
variety of genres and
periods,
showing sensitivity to nuance, balance and expression.
6.
develop
and follow a consistent and self-directed practice and rehearsal schedule.
7.
demonstrate
a mature understanding of rehearsing and performing in full-length concerts.
8.
The
following technical skills will be developed among all students:
The
student will demonstrate the ability to
1.
The
following discriminating skills will be developed among all band and choral
students:
The
student will demonstrate the ability to
II. Strand 2: Thinking
and Responding Strand
A. Learning Standard
3: Students will use imaginative and reflective thinking during all phases of
creating and performing.
Student will
1.
use
prior knowledge and imagination to extend idea into a novel variation or
interpretation by analyzing
elements
of theme and using these elements to create a new theme or variation.
2.
describe
how familiarity with imaginative works has influenced one's own artistic
development and interests.
3.
explain
personally successful approaches to working methods, rehearsal, and performance
by keeping and
maintaining
journal.
4.
demonstrate
all of the following interpretative skills (band and chorus):
The
student will demonstrate the ability to
1.
demonstrate
all of the following humanistic skills:
The
student will demonstrate the ability to
B. Learning Standard
4: Lifelong learners use analytical and critical thinking to respond to works
of art.
Students will
1.
apply appropriate music concepts and terminology to the description, analysis,
comparison, and evaluation of existing works in music
o
by
describing, analyzing and comparing events in one of the works studied.
o
by
developing criteria to evaluate the work and apply these criteria.
2.
apply appropriate arts concepts and terminology to the description, analysis
and evaluation of one's own and peer's own work in progress.
o
by
developing criteria by which they may evaluate their own and their peer's work.
o
by
applying that criteria and by keeping an individual and partner journal to
track their progress.
III. Strand 3: Connecting and
Contributing Strand
A. Learning Standard
5: Students will investigate the cultural and historical contexts of the arts.
Student will
1. demonstrate
understanding of the cultural and historical context of artists' work
o
by
researching cultural and historical context of one of the works studied.
o
by
discussing how events and culture were influences in the composition and how it
might be performed.
o
by
reporting findings in written form.
1.
Develop,
defend and apply criteria for evaluating works of different cultures, styles,
genres and periods.
B. Learning Standard
6: Students will integrate the arts and make connections among the arts and
other disciplines.
Students
will demonstrate an understanding of how styles in music relate to cultural
norms and historical events
o
by
researching how music played role in cultural norms and historical events.
o
by
backing up research with examples of the events.
o
by
drawing conclusions about music's effect in relation to cultural norms and
historical events.
C. Learning Standard
7: Students will use technology in order to create, perform, and conduct
research in the arts.
Students will
1. compare and contrast
the qualities of different kinds of technologies used in music
o
by
identifying and describing the different technologies in music.
o
by
comparing and contrasting the role technology plays in all aspects of music.
2. integrate technologies
to create and present in the arts
o
by
using production and reproduction equipment in performance.
o
by
creating and performing by other means pending equipment purchase.
3.
demonstrate understanding of how arts and artifacts of a culture are affected
by technological invention by identifying technological inventions that have
had a profound effect on music.
D. Learning Standard
8: Students will participate in the community's cultural and artistic life.
Students will
1.
demonstrate
understanding of cultural institutions as a resource of lifelong learning
opportunities by identifying
performing
organizations in the community.
2.
perform
with adults from the community when opportunities are presented.
THE BROMFIELD SCHOOL
14 Massachusetts Avenue
Harvard, Massachusetts 01451
2000-2001
MUSIC PERFORMANCE HANDBOOK