Lecture: 2/8/11

YOU WILL BE QUIZZED ON THE FOLLOWING INFORMATION!




Tom Collier – Percussion Ensemble 2/22/11, Meany Hall 7:30 p.m.

Percussion is probably the oldest known instrument.

It’s believed that the first percussion instruments were used in hunting.

Percussion is now entering its Golden Age.

Percussion is heard in almost every genre around the world.

Three major types/families of percussion instruments:

Membranophones – This type of drum has a skin or a membrane that is struck.  The material is stretched across a frame.  Plastic has replaced skin.

Metalophones – Made of metal: cymbals, gongs, triangles, vibraphone.

Idiophones – Made of wood: xylophone, marimba (largest of all mallet instruments), clave.

Types of repertoire that will be presented in the concert:

Avant garde/contemporary.

Gamelan style/eastern influence.

Jazz improvisation.

Marimba and electronics.

Example instruments:

Snare drum – A membranophone.  First used by Hadyn in a symphony, Drumroll Symphony.  The snare drum also played a roll in the military, where it was derived from.  Snare drummers would use different patterns to communicate to the soldiers in the field, amidst all of the war noises.

Sticking pattern – paradiddle, RLRR or LRLL

Rolls – RRLL or LLRR

Flam – A double strike on the drum when one strike occurs immediately after the other strike.

The aforementioned strokes were first used in the military, and eventually adapted by different styles from around the world.

The tightened strings underneath the snare give the drum its definitive sound.

Vibraphone - A metalophone.  Invented in the 1920s by an American drum company.  The company wanted to extend the range of the glockenspiel.  Lionel Hampton made the instrument popular in the 1930s.  Lewis Armstrong hired Lionel Hampton to play drums.  Lionel noticed the vibraphone in the recording studio at NBC and began to play it.  He picked up the instrument very quickly because it represented the piano.  The studio director said they use it for the famous NBC tune.

Improvisation exists in all musical cultures, however, it is most prominent in jazz.  You can even find improvisation in orchestral pieces, such as a concerto.

Example of improvisation - “Magic Fingers” by Frank Zappa

Different mallets produce different sounds: wood mallets, rubber mallets, yarn-wound mallets.

Office Hours Today (2/8/11)

Unfortunately, I will not be in my office hours today due to emergency. If you need to see me this week, please email me at bowties185@gmail.com to set up an appointment.

Thank you for understanding,

Professor Nicole Secula (Harreld)

Today's lecture

Today's lecture is going to be about a group that is performing on campus this quarter and off campus in Illsley Ball Nordstrom Recital Hall at Benaroya Hall downtown. The off campus concert will count for extra credit - as reflected in the updated syllabus - and will be worth 4 extra credit points (the equivalent of 2 quiz questions)! The conductor has graciously offered 50 free tickets to our class! I will take down names at the end of class today for those that would like to attend. To find directions to the hall, click on the link in the syllabus. If you decide to go to the concert and are not on my 50 person list, you can buy tickets HERE (student tickets are only $10!)

The lecture today will be about the off campus concert which is this Saturday, January 15th, and will be brief in order to hand out concert coupons, which will not be good for admission to the off campus concert - just to be clear. Below are notes from the conductor about the concert this Saturday. See you in class!

Unlike Mozart, who died penniless and debt-ridden, Beethoven was always good at making money and his Symphony No. 1 is one of a great many compositions commissioned by wealthy aristocrats (in this case, Baron Gottfried van Swieten).  The piece remains a work of Classical style and is not as well-known as Beethoven's great Romantic symphonies - however, the ideas presented in this first symphony clearly look forward to similar ones in the later symphonies.  The third movement is entitled "Minuetto" despite moving at a much faster tempo than the Minuets of Beethoven's classical predecessors, and is essentially an early version of Beethoven's famous scherzos found in the later symphonies (especially the 9th).  The first and last movements begin with trickery meant to mislead the listener's ear, another hallmark of Beethoven's works.  As with many classical symphonies, it requires great virtuosity of string playing to perform.

The debilitating insanity that overcame Robert Schumann towards the end of his life is well known in music history.  His Cello Concerto comes near the end of his compositional output, and we can already hear the strains of his mind in this music.  The piece is restless and full of odd interjections that seeming come out of nowhere.  It nevertheless is full of exciting and beautifully romantic material, and moves through all three movements without any pause whatsoever - something that had become a bit of a custom for Schumann, especially in his orchestral works.  His wife Clara was immediately delighted upon seeing the concerto's score, but it was nevertheless premiered four years after his death in 1860.

The Serenade No. 1 is a monumental work, a piece that marks Schumann's friend Johannes Brhams' first foray into symphonic writing.  Always conscious of the shadow cast over him by the previous great German symphonic master, Ludwig van Beethoven, Brahms took over 21 years to complete his First Symphony, and was equally cautious in the completion of this orchestral serenade.  Originally scored for a nonet of strings and winds, the Serenade looks back to the classical serenade of Brahms' predecessors, which began and ended with a march.  The classical serenade was meant for a chamber venue, where the small ensemble would march in, play their performance, and march out.  The middle movements are explorations of other conventional classical movement styles (Minuet, Scherzo, etc.) that are given an appropriately forward-looking Brahmsian treatment of harmony and form.  A favorite of SMCO brass players, the great force of the musical phrases of Brahms' First Serenade are a stunning contribution to the German symphonic repertoire.

Winter 2011 Syllabus

Coordinator of lecture series: Nicole Harreld                         Office: Room 204
E-mail: bowties185@gmail.com*                                         Phone: (206) 543-6926
Office Hours: By appointment only

Teaching Assistant: Jason Wells, Composition Student 
TA Office: Music Building - Room 13
TA E-mail: bowties185@gmail.com*                                  TA Phone: 206 543-9339
Office Hours: Monday - 12:30 to 1:30, Tuesday - 1:30 to 2:30

Class meets 3:30-4:20 Tuesdays in Kane Hall 120
All concerts unless otherwise noted will be in Meany Hall at 7:30PM
QUIZ DATES: February 1 and March 8
CLASS WEBSITE: http://www.bowties185.blogspot.com

*Any emails asking questions that can be answered by looking at the syllabus or the website will not receive a response.

COURSE INFORMATION

There are two components to this class: weekly lectures given by various faculty and voluntary concert attendance. Two quizzes will draw on material presented in the lectures. Students are responsible for taking notes at these lectures, as there will be no review sessions nor study guides provided. Our TA has regular office hours to meet with students who have questions, but they will NOT provide missed notes nor will they be available for last-minute consultations before the quizzes.

All students are expected to be respectful of the guest lecturers that come in. If a student decides to be disrespectful or disruptive during class time they will be asked to leave for the day. 

No textbooks are needed for this course, but students interested in attending concerts will be issued a coupon at the second class entitling them to purchase a special “notecard”, available only to the Music 185 class. The coupon must then be taken to the UW Ticket Office, located at 4001 University Way, NE, (543-4880) to be surrendered upon purchase of the notecard. This notecard ($15) will admit you into the Meany Hall lobby for the concerts listed in the syllabus as well as any other concerts presented by the School of Music, but only in the quarter that you are registered for Music 185. PLEASE REMEMBER THAT YOUR COUPON WILL NOT ADMIT YOU TO THE CONCERT HALL. IT MUST BE EXCHANGED AT THE TICKET OFFICE LISTED ABOVE FOR THE SPECIAL NOTECARD. ONLY ONE COUPON PER STUDENT IS NEEDED!!

You should purchase three scantrons, available at the University Bookstore. 2 scantrons will be used for the two quizzes and one will be used to record any concerts that you attend for extra credit.

CONCERT ATTENDANCE

Concert attendance, though not required, is strongly recommended as an important component of the class and one that will greatly enhance your experience. For each concert that you do attend (maximum of four), you will be awarded two points (the equivalent of one quiz question) that will be added to your total points earned for the class. Even though attendance will not be monitored, you MAY NOT run into the concert hall, grab a program and leave nor take more than one program. If abuses such as these are reported to me by School of Music administration or Meany Hall ushers, mandatory attendance will be reinstated and any extra credit forfeited. Please arrive on time, as late seating is extremely disruptive and sometimes not allowed. If you must leave before the end of the concert, wait until the intermission so as not to disturb the performers or others in the audience. All extra credit forms are due no later than Monday, March 14, 2011 by 9:00AM in Nicole’s office (Room 204 of the music building). If Nicole is not in her office, you can slide the forms under her door. The music building is also open on the weekend. See the Concert Attendance Scantron Guide for detailed instructions on how to fill out the extra credit forms.

CONCERT SCHEDULE

Concert #1 January 15 Seattle Metropolitan Chamber Orchestra: German Masterworks***

Concert #2 January 27 University Symphony: Concerto Competition Winners

Concert #3 February 17 Symphonic, Concert, and Campus Bands

Concert #4 February 22 Percussion Ensemble: Meany Beat

Concert #5 February 24 University Symphony

Concert #6 February 28 Baroque Ensemble with Seattle Metropolitan Chamber Orchestra

Concert #7 March 4 Composers' Workshop (in Brechemin Auditorium in the MUSIC Building)

Concert #8 March 7 Studio Jazz Ensemble

Concert #9 March 11 Combined Choruses & Symphony: Elijah

*** Concert is in Downtown Seattle in the Illsley Ball Nordstrom Recital Hall at Benaroya Hall (click link for directions and parking information). Due to travel and potential extra ticket cost, this concert is worth 4 extra credit points (the equivalent of 2 quiz questions)!

To request disability accommodations, contact the Disability Services Office at (206) 543-6450, dso@u.washington.edu or call Terry Dobrich at (206) 685-7208

GRADING POLICY AND EXAMS

Final grades will be based on total possible points (70) earned during the quarter from the two quizzes. Quiz 1 will have 15 questions and Quiz 2 will have 20 questions; both will be in multiple-choice format, closed-book, and each question is worth 2 points. Remember, you have the possibility of bettering your total score by attending up to four concerts. You cannot receive credit for attending more than four concerts.

Quiz 1 will be given on Tuesday, February 1, 2011 from 3:30-4:20 P.M. and will be worth 30 points. Quiz 2 will be given on Tuesday, March 8, 2011 from 3:30-4:20 P.M. and will be worth 40 points. Quiz 2 will be cumulative. Questions will be taken from material presented in the lectures, PowerPoint presentations, overhead projections, and the class website. See the Grading Scale for details.

THERE CAN BE NO CHANGE OF THE DATE OR TIME OF THESE QUIZZES.

CONCERT ETIQUETTE

For many of you, these concerts will be your first experience hearing classical music in a live setting. It is important to understand that the audience can very easily distract the performer(s) with unnecessary noises. The degree of concentration required for the performer to achieve what he/she has spent countless hours refining is something most people do not readily comprehend. Therefore, the audience is expected to remain silent during the performance. Talking, coughing, whispering, shuffling programs, opening candy wrappers, putting feet up on seats ahead, using laptops, etc. are all tremendously disrespectful behaviors which effectively jeopardize everyone's enjoyment. Also, headphones, CD players or cassette players are not allowed. Cell phones and pagers going off during concerts will not be tolerated. Turn them OFF during the concerts and during our class sessions. Better still, leave them at home, if possible.

Although the stated concert etiquette may strike you as stifling, think of it as a way to personalize your own experience - to allow the artist to effectively communicate with you alone. Remember, what you feel and respond to is different from anyone else. This is the beauty of art and in particular, live music. It is perfectly ok to not like something, but it is NOT ok to insult the performer. At a concert or recital, audiences show their appreciation and express their enthusiasm by applauding at the end of a work; if a work has more than one movement (the classical symphony, for example, usually has four movements, sometimes three), audiences do not customarily applaud between movements. At an opera, however, audiences often applaud at the end of particularly significant arias (pieces spotlighting a solo vocalist), duets or ensembles (pieces for three or more singers).

Taking photographs and using recording equipment are not permitted at either concerts or operas.

This syllabus is subject to change at any time.

Lecture Notes from Wendy Moi

UW Carolfest
Tuesday, December 7, 2010
Meany Hall
What is Carolfest?
Chamber Singers
University Chorale
University Singers
Women's Choir
Men's Glee Club
perform carols and seasonal music from around the world
Chamber Singers
The University of Washington Chamber Singers, formerly
known as the Madrigal Singers, is the UW’s longest-standing
choral organization, formed in the early 1930s.
The current Chamber Singers, consisting of graduate and
advanced undergraduate music majors, vocal performance
majors, and music education majors, has expanded in size and
repertoire to focus on challenging repertoire of all periods.
45 voice auditioned ensemble
Chamber Singers
Little Tree-Steve Heitzig
O Come Emmanuel with harp-Bern Herbolsheimer
Seattle Composer; UW Faculty
Listen for the Chant
Ding Dong Merrily on High
University Chorale
65 voice auditioned ensemble
The University Chorale is the premiere undergraduate choral
ensemble at UW and is know for its highly expressive
performances and technical abilities.
4 movements from Pushkin’s Garland is choral concerto by
Georgi Sviridov with vibraphone, harp, and percussion
Sviridov
Cult following/status in Russia
Georgi Sviridov (1915-1998) is the most prominent composer
of Russian choral music in the latter half of the twentieth
century.
"symphonic" and "coloristic" approach to choral writing
follows in the footsteps of the masters from the "new Russian
choral school" of the early 20th century--Kastalsky,
Rachmaninoff, and Gretchaninoff. His Concerto for Choir
entitled "A Pushkin Wreath" (Pushkinskii venok), from which
this haunting movement is taken, exemplifies his powerful ties
to the giants of Russian literature and poetry, as well as to the
Russian national spirit.
Men’s Glee Club
The UW Men's Glee Club is one of the oldest choral
organizations on campus.
The Glee Club is a non-auditioned choir that rehearses once a
week on Thursday nights. We sing a variety of repertoire from
classical, doo-wop, barbershop, and traditional collegiate glee
club literature.
Gaudete from Piae Cantiones
Suo Gan Traditional Welsh
Christmas Time is Here
Grandma Got Run Over by a Reindeer
Gaudete
The song was published in the Piae Cantiones, a collection of
Finnish/Swedish sacred songs published in 1582.
The text, in Latin, is a typical song of praise, probably
stemming from the Middle Ages. It follows the standard pattern
for the time - a uniform series of four-line stanzas, each
preceded by a two-line refrain (in the early English carol this
was known as the burden).
Rejoice, rejoice! Christ is born of the Virgin Mary — rejoice!
The time of grace has come—This that we have desired,
Verses of joy. Let us devoutly return.
Steeleye Span-turned it into a folk hit
University Singers
This choral ensemble is the largest and most diverse on
campus with around 100 singers. This ensemble can help you
learn about the basics of beautiful, healthy singing.
Sing dem Herrn Michael Praetorius (1571-1621)
Sing to the Lord
Joyous Christmas (Chanson joyeuse de Noël) Françoise-
Auguste Gevaert (1828-1908)
Light One Candle Peter Yarrow arr. Robert De Cormier
Praetorius
Michael Praetorius (Creuzburg, probably February 15, 1571 –
Wolfenbüttel, February 15, 1621)
German composer, organist, and writer about music.
Composer significant in the development of musical forms
based on Protestant hymns, many of which reflect an effort to
bridge the chasm that had been opened between Protestants
and Catholics.
University Singers
A la Puerta del Cielo16th Century Spanish Lullaby arr. Audrey
Snyder Kevin Dong, piano
Translation Chorus: Sleep little baby, sleep little baby, sleep
little baby, aru, aru.
Verse 1: At the gates of heaven they sell shoes for the little
angels that walk barefoot.
Verse 2: From the gates of heaven comes the child to Holy
Mary, mother of God.
Verse 3: God blesses the sleeping children, and God helps
the mothers who protect them.
Sing Noel Traditional arr. David Hamilton
Women’s Choir
The University of Washington Women’s Choir is comprised of
musicians from many different academic disciplines. This nonauditioned
ensemble explores the fundamentals of singing and
artistry within a collaborative community and through a
selection of diverse repertoire.
Women’s Choir-Aspects of Love
Mother, Please Explain Traditional French
Mon Coeur Se Recommande A Vous Attributed to Orlando di
Lasso
My heart is offered still to you. Full now of woe and deep
despairing!. Be not to constancy untrue; Say one farewell, my
sorrow sharing! My mouth which once could smile in
gladness, And charming stories improvise. Now can only
curse in its madness. Those who banished me from your
eyes.
French Madrigal-A madrigal is a type of secular vocal music
composition, written during the Renaissance and early
Baroque eras.
polyphonic and unaccompanied by instruments, with the
number of voices varying from two to eight, but most
frequently three to six
Unlike many strophic forms of the time, most madrigals are
through-composed, with music being written to best express
the sentiment of each line of a poetic text.
Holst
Tears, Idle Tears from “The Princess” Text by Tennyson Music
by Gustav von Holst
Sweet and Low
Splendour Falls
Tears Idle Tears
O Swallow, Swallow
Text painting
Women’s Choir
For Good from “Wicked” By Stephen Schwartz
Love Came Down at Christmas by Edwin R. Fissinger, arr.
Mary K. Geston
Jazz harmonies
Tomorrow Shall Be My Dancing Day Arranged by John Rutter
Dancer
Questions?

Office Hours 11/4/10

I will not be available for my office hours today. Sorry for any inconvenience.

-Nicole

10/28/10 Office Hours

Dear Students,

I will not be in my office hours today. I have come down with the flu going around campus. Just a reminder: Jason has office hours on Monday before the quiz. I will be sending you a class email with the link for the quiz on Monday or Tuesday. Be sure to check your email! However, you will not be able to look at the quiz until Tuesday at 3:30PM. I'll include instructions in the email about the quiz.

Have a good weekend,
Nicole