| Contents |
Introduction: concepts and principles. The arts as academic discipline ; The need for developing musicianship in high school music students -- The orchestra as part of the high school music curriculum -- Aims and objectives of this dissertation -- Four-year developmental plan to provide knowledge and understanding of music theory through group experiences. Definition of music theory ; Initial experiences for all orchestra members ; Music theory progress for the freshmen, sophomore, junior, and senior years -- Development of playing technique in individual orchestra members through group procedures. The need and importance of technique ; Group practices. Bow and breath control ; Tone quality and intonation ; Balance and dynamic contrast ; Articulation ; Meter, tempo, and rhythm ; Style, interpretation, expression -- Selecting quality instruments. Strings ; Woodwinds ; Brasses ; Percussion -- The role of the private music teacher -- Listening as a means of developing aural perception through rehearsal procedures and out-of-class activities. The listening process ; Fundamental assumptions about listening ; The composer as a listener ; The orchestral performer as a listener within the orchestra ; The orchestral performer as a listener in extracurricular activities ; Developing a sense of melody ; Developing a sense of rhythm ; Developing a sense of harmony ; Developing an understanding of design in music ; Listening data card ; Selective listening program -- Developing an aesthetic sensitivity to orchestral music by means of research, discussions, and related activities. The aesthetic process ; Art as expressive communication ; Developing aesthetic sensitivity in music ; Experience in other areas of the fine arts ; Additional projects aiding aesthetic growth ; Final considerations -- Suggested musical projects as a means of stimulating musical growth and interest. Initial responsibility. Annual music projects -- Additional projects for voluntary participation. Project one: auditions and membership ; Project two: rules and regulations ; Project three: student progress record ; Project four: constitution and officers ; Project five: a music resource book ; Project six: the historical development and structure of the orchestra ; Project seven: special research project in music ; Project eight: weekly recitals -- Public performance as an outgrowth of musical learning in the rehearsal. The importance of performance ; Performance as a discipline ; Formal performances and events ; Suggested schedule of yearly activities for the orchestra ; Solo and ensemble recitals ; Performance as a means of motivating enthusiastic interest in music -- Conclusion: conspectus and summation. Musicianship: an essential factor in orchestral performance ; Student and teacher growth relationships ; The power of music -- Appendices. A: Basic rudiments of music (freshman year) ; B: Example of music theory examination for orchestra ; C: examples of terminology examinations for each year of participation in orchestra ; D: examples of examinations designed to develop cultural understanding ; E: a selected list of fifty orchestral scores. |
| Summary |
The primary concern of this dissertation is developing artistic musical performance at the high school level which is a consequence of a comprehensive background in individual musicianship. The document presents suggestions, ideas, and procedures which the orchestral director can utilize in developing stimulating experiences in music for individual orchestral students. The scope of this investigation includes a fundamental approach to acquiring a consummate background in musicianship during the orchestral rehearsal, in terms of: (a) music theory, as related to orchestral literature, (b) improved technical skills, by means of group practices, (c) challenging musical performances through concerts, solo and ensemble recitals, and (d) guided listening to music designed to evoke aesthetic responses by cultivating taste and discrimination in listening habits. The introductory chapter defines music as an academic discipline and establishes its need in the contemporary high school curriculum. Attention is focused on the orchestra through pertinent concepts and principles which will help add dimension to the rehearsal. The dissertation is divided into eight chapters, the bulk of which is absorbed by chapters two, three, and four on music theory, instrument playing techniques and listening skills. For music theory, a sequential and continuous plan of study is outlined for each year the student participates in orchestra. The material presented provides both aural and written experiences with key signatures, scales, intervals, triads, four-part chord progressions, and their significance in the melodic and harmonic structure of the compositions being rehearsed and performed. Procedures designed to aid the student in acquiring a musical vocabulary place emphasis on terminology associated with tempo, dynamics, and musical symbols. The practices outlined in chapter three are aimed at improving individual technical facility by means of group experiences. The content is organized to help refine: (a) bow and breath control, (b) tone quality and intonation, (c) balance and dynamic contrast, (d) articulation, (e) meter, tempo, rhythm, and (f) style, interpretation, and expression. Suggestions for purchasing quality instruments and acknowledgement of the private music teacher's role in helping to develop the individual student's musical potential conclude the chapter. Chapter four on listening promotes a unique kind of experiment with all experiences centered on specific individual responses in listening activities. Fundamental assumptions concerning the components of listening and hearing are established; substantial attention is given: (a) the composer as a listener, (b) the orchestral player as a listener to technical aspects of orchestral playing, and (c) the student as a listener to live and recorded music per se. A selective listening program for each of four years the student may participate in orchestra completes this section. The remainder of the dissertation is devoted special projects in music purposely coordinated to stimulate: (a) aesthetic sensitivity, (b) factual knowledge about the history and structure of music, and (c) activity and interest in performance. Music is purported to be an indispensable factor in communicating ideas, moods, and emotions; consequently, assignments are structured to increase efficiency in analytical criticism through required essays, discussions, and contact with live and recorded music. Tangible ways of becoming personally involved with the organizational framework of the orchestra give prominence to it as a social force and means of artistic expression. Pertinent data is presented on the significance of performance as a discipline for both students and audience. In addition, a schedule of yearly activities acts as a guide for potential participation. When combined with elements of sound educational practices, the suggestions, ideas, and procedures presented in this dissertation can result in an |
