zilongwang/ReadingBank huggingface dataset:
framework of modern conservation that, having learnt from past experiences, requires the minimum of intervention that is sufficient to achieve stability and increased longevity of the object. I have been working on two sections that clearly join each but which are broken into 111 pieces. Microscopic examination revealed great detail, including that the white lime plaster was strengthened by the incorporation of very fine plant fibres, and the paint surface had been coated since excavation with a substance that is now brown. This coating lies in the multitude of tiny pits and abrasions of the plaster surface, which also bears the impression of baskets and cords that its creators rested on it when damp (Fig 3), and fabric impressions from the wet cloths that they applied to stop the plaster from setting before the paint could be applied. The use of the fresco technique has ensured the pigments have remained bright and well adhered. Cleaning off this organic coating has required of swabbing with a solution of ethanol and water, and picking away the remaining coating, and dirt trapped under it, with a fine-pointed dental tool under a microscope (Fig 4). The organic coating has encouraged the growth of black mould that has now been treated. Because the pavement fragments with their crumbling edges were fragile, I consolidated them with a weak solution of a high-quality, conservation-grade adhesive. This necessitated the construction of a solvent-resistant mesh basket for dipping the fragments a few at a time in a steel basin of consolidant, carefully sealing it to allow the consolidant to wick up into the porous fragments, thoroughly permeating and strengthening them. Next the pieces of this ancient jigsaw have to be joined, again with a special adhesive that can be dissolved if necessary and that will not become brittle and discolour over time. Because the plaster was laid directly on the ground its thickness is uneven, requiring support underneath so that it does not have to take its own weight with the risk of further fractures. We need to design a support system that meets the requirements of display and safe handling. Work on the pavement continues, and the excitement builds as this wonderful vignette from the distant past once more evokes the exotic Nile and the achievements of Akhenaten’s brilliant craftsmen. Dr Wendy Reade is a Conservator, Sydney University Museums. 2011 (UA2012.575) Fig 4: Dr Reade manually cleans a fragment of the fres
East Norfolk Museums and Archaeology Service £1,141,000 SHARE Museums East SHARE London Museum of London £650,190 London Museum Development LMD North East TWAM £416,000 North East Museum Development NEMD North West The Manchester Partnership and The Cumbrian Consortium £880,000 North West Museum Development MDNW South East Royal Pavilion & Museums, Brighton & Hove; HCC Arts & Museums; Chatham Historic Dockyard Trust; Oxfordshire County Museums Service £1,400,000 South East Museum Development Programme SEMDP South West South West Museum Development Programme (Bristol City Museum and Art Gallery and Archives; Plymouth City Museum and Art Gallery; Royal Albert Memorial Museum and Art Gallery; South West Federation of Museums and Galleries) £1,192,000 South West Museum Development Programme MDSW
Rubric: Full Points Partial Points + Partial Points - Minimal Points Visual aspect ____/25 Writing: history ____/20 Writing: development/ trade ____/20 Writing: future ____/20 Mini-Presentation ____/10 Citations ____/5 Total ____/100 Comments Comments Comments Comments Possible Nations Albania Algeria Argentina Armenia Azerbaijan Bangladesh Belarus Bolivia Bosnia & Herzegovina
Brazil Bulgaria Burkina Faso Burundi Cambodia Cameroon Cape Verde Central African Republic Chad Comoros Congo, Democratic Republic of the Congo Cote d Ivoire Croatia Djibouti Dominica Dominican Republic Ecuador Equatorial Guinea Estonia Ethiopia Gabon The Gambia Georgia Ghana Grenada Guinea Guinea-Bissau Guyana Haiti Honduras Indonesia Jamaica Jordan Kenya Kyrgyz Republic Lao People’s Democratic Republic Latvia Lesotho Liberia Lithuania Macedonia Madagascar Malawi Mali Mauritania Moldova Mongolia Mozambique Nepal Nicaragua Niger Pakistan Panama Papua New Guinea Peru Philippines Romania Russia Rwanda Senegal Serbia & Montenegro Sierra Leone Somalia Sri Lanka St. Kitts and Nevis Sudan Tajikistan Tanzania Thailand Togo Turkey Uganda Ukraine Uruguay Uzbekistan Vietnam Yemen, Republic of Yugoslavia, Federal Republic of Zambia Zimbabwe
Formally constituted organisations with a track record in delivering services to the museum sector or networks led by an Accredited museum (see ) When is the deadline for Expressions of Interest? 5pm on Thursday 18 February 2016 When is the outcome of Expressions of Interest? Emails will be sent to all applicants by 5pm on Wednesday 23 March 2016 When is the deadline for full applications? 5pm on Thursday 5 May 2016 How much can be applied for per application? Applicants can apply for a grant between £30,000 and £450,000 for a project or between £30,000 and £75,000 for a Subject Specialist Network When must the activity take Activities must start no earlier than 1 October 2016 Activities must end no later than 31 March 2018 Minimum match funding from other sources Ten per cent of total project budget. This can include in kind support. When will we make our decision? We will aim to notify applicants of our decision no later than the end of July 2016 Contents
Despatch Samples To: Company Name: Agpath P/L , VERVALE, VIC 3814 Contact Person: Phone: : Fax: Phone: 03 5629 1253 Mobile: 0413 013 247 Email: Website: Email Address: Postal Address: Payment Method: (please tick ) (circle type of c/card) Credit Card Cheque Invoice approval required) Purchase Order Bankcard Mastercard Visa No: / / / Expiry Date: CVV: 4 digits 4 digits 4 digits 4 digits Name on Card: Signature: Billing Address: (if different from Sample Analysis Request Price List Sample No. Sample ID ANALYSIS REQUIRED PREFERED TEST (IF ANY)
Facebook Many groups now maintain 3 Facebook Pages: A closed group for current members A closed group for alums An open for your audience & fans You really should pursue this of the closed groups and a fan page. Theater Groups Season Announcements We cannot announce a season until all rights are paid for. We can do this as early as you like (and once dates are chosen). Note: We were threatened with a lawsuit over this issue in the 2012-2013 academic year. The licensing agencies are very serious about this issue. Posters Review your contract for specifics, but most contracts require the following be on all posters (as many of these as are applicable): Name of Show Book by… Music & Lyrics by… Based on the novel… “[Name of Show]” is presented through special arrangement with “[Licensing Agency & all required contact info]” Please also include: Year Office of Music Activities (it can say for example, “VST is part of the Office of Music Activities” or “VST & the Office of Music Activities present…” Other Licensing Issues Again, please read your contracts from licensing agencies. The following sums up common contract provisions. Show Billing (names & playwrights) must be on all publicity materials, including posters, flyers, and programs, and must appear exactly as specified in the contract. Credit to licensor. For example, MTI, Dramatists Play Service, Inc., etc. must be named on posters & programs. Each contract has specific wording. Videotaping Warning. Programs must contain language specified in contract that prohibits videotaping by the audience. You may not change the play. Your contract says you will not add, delete, or change what the authors wrote in any way. You may not copy materials. Order what you need. That’s why you get 3 account money. You may not make a recording or video of rehearsal or a performance. If your program includes bios you should include bios for the authors & licensor. Official bios should be available through the licensing agency. (We’re not talking a wiki bio, but an official one.)
Concerts in St Hilda’s Church, West Cliff, Whitby - 2018 Saturday 2nd June 7.30pm – Israel In Eygpt by Handel. Performed by the combined choirs of Scarborough Choral Society and St Hilda’s Festival Chorus & Orchestra Sunday 1st July 6.00pm – RSCM ‘come and sing’ Choral Evensong – rehearsal at 4.00pm Wednesday 18th July Young Organ Scholars from Beverly Minster. 7.00pm (Members of the National Organ Scholars Trust) Saturday 21st July Male Voice Choirs in concert at 7.00pm Steeton MVC and The Dalesmen Singers Wednesday 8th August 7.00pm. Organ recital given by Daniel Cook (Organist of Durham Cathedral) Saturday 25th August 5.00pm – Yorkshire Moors Chamber Music Concert Wednesday 26th September 7.00pm. Organ recital given by Colin Walsh (Emeritus Organist – Lincoln Cathedral) Saturday 10th November Remembrance Weekend & 100th Anniversary of the end of WW1 – 7.30pm – St Hilda’s Festival Chorus & Orchestra perform Requiem by Mozart and Peacemakers by Jenkins
School Music Curriculum Map Autumn 1 Autumn 2 Spring 1 Spring 2 Summer 1 Summer 2 Reception Special people Beat and tempo Say hello Moving patterns Structure Christmas Working world Texture Supermarket Cake makers High and low/loud and quiet Sky high/low toe Tap talk Going places Goldilocks/ teddy bears picnic Our Senses Timbre – using instruments/Creative Year 1 Hey you Old school hip hop Compose own rap Little angel Gets her wings Christmas theme In the Groove 6 different styles of music Blues/Latin/folk/funk/baroque. Bhangra Rhythm in the way we walk and banana rap Action songs linked to foundation of music and Round Latin American style/film music Reflect Rewind and replay Western classical music Year 2 Hands,feet,heart African styles Little angel Gets her wings Christmas theme Glockenspiel Stage 1 Learn basics instrumental skills playing tunes in different styles I wanna play in a band Rock Zootime Reggae Reflect Rewind and replay Western classical Year 3 Three little birds Reggae Ho, Ho, Ho Christmas, Big band, Motown, Freedom songs Glockenspiel Stage 2 Learn basics instrumental skills playing tunes in different styles Benjamin Britten There was a monkey Britten (Western style), Reggae, R & B Let your spirit fly R & B, Michael Jackson, Western Classical, Musicals, Motown, Soul Reflect Rewind and replay Western classical music Year 4 Mamma Mia ABBA Structure of songs /styles of 70’s and 80’s Five Gold Rings Christmas theme Glockenspiel Stage 3 Learn basics instrumental skills playing tunes in different styles Benjamin Britten Cuckoo Western classical style, Folk, Big Band, Lean on me Gospel Reflect Rewind and replay Western classical music Year 5 Don’t stop believing’ Rock Five Gold Rings Christmas theme Classroom Jazz 1 Jazz Benjamin Britten A tragic Western classical music, Blues, Trad Jazz Stop! Grime, Classical, Bhangra Tango, Latin fusion Reflect Rewind and replay Western classical music Year 6 Livin’ on a prayer Rock Benjamin Britten New year carol Classroom Jazz 2 Jazz, Latin, Blues Fresh Prince of Bel Air Hip Hop Make you feel my love Pop ballads Reflect Rewind and replay Western classical music All units within the Charanga scheme of work provide opportunities to listen and appraise music and sing, play and perform music .
Please break these down by type of group. Please indicate under Question 17 if you have had any difficulties in obtaining this data from schools in your area. Select the category which best describes the ensemble. An ensemble is defined as an organised group meeting regularly that provides opportunities for young musicians to play and to perform as described in the core roles of the National Plan. The category ‘Choirs/Vocal’ ensemble refers to all organised vocal groups meeting regularly. The category ‘Choir/ Vocal Group Upper Voices’ refers to choirs or vocal groups featuring only upper voices, including girls and unchanged boys’ voices. The category ‘Choir/ Vocal group Mixed Voices’ refers to choirs or vocal groups featuring both upper voices and older/changed male voices (for example SATB) or lower voices only. You can provide more detailed information such as a breakdown of genres and styles and details of the category 'Other/Mixed' in Question 17. Where the figures in (a) for ensembles organised independently by schools or (d) for ensembles organised/delivered by other Hub partners are not available, please provide details in Question 17. 8 Number of pupils attending ensembles Indicate the total number of girls and boys in your area(s), from each Key Stage group, who regularly attended at least one of the ensembles listed above in 7 c) and d). Please note this question has changed from last year – we no longer require pupil characteristics data for 7 a) and 7 b). By regularly, we mean at least once a week for a minimum of half a term; and/or several times a year for a more intensive experience, e.g. holiday residential/weekend courses/sub regional ensemble meetings (more than one day). This question measures the number of pupils who attend each type
CORE ROLES EXTENSION ROLES Ensure child aged 5-18 has the opportunity to learn a musical instrument (other than voice) through whole-class ensemble teaching programmes for ideally a year (but for a minimum of a term) of weekly tuition on the same instrument. Provide opportunities to play in ensembles and to perform from an early stage. Ensure that clear routes are and to all young people. a to that every pupil is and that choirs and other vocal are in the area. Every school is to deliver and monitor a high quality music Offer CPD to school staff, in schools to deliver music in the Provide an instrument loan service, with discounts or free provision for those on a low income. Provide access to large scale and/or high quality music experiences for pupils, working with professional musicians and/or venues. This may include undertaking work to publicise the opportunities available to schools, parents/carers and students. support
PART A ‘What is’ Identify and list the characteristics of the current hub provision against the core and extension roles. Consider the following: quality musical diversity universal coverage musical progression and opportunities in and out of school accessibility inclusivity the way the hub works with the bridge organisation around data the way the hub works also with partners to align and draw in funding streams Draw on a range of data sources as suggested in the guidance notes. Provide first access tuition in 98/103 primary schools – source: Arts Council England data return. Hub ensembles vary in quality – source: school observations, partner feedback. routes for young folk music are less locally when to other – Arts data in 55 per cent of all – Arts data of of fifty of special and no Pupil Units via the SMEP – Arts data return. per cent of music in the hub hold a to with – Hub of Hub hires out 1,500 instruments a week, five per cent free of charge – source: Arts Council England data return, hub data, school data. Successful projects have been established with National portfolio organisations and professionals, but sustaining this long term is a challenge – source: partner feedback, young people feedback.
PART B ‘What should be’ Using the hub provision identified in Part A, describe what the hub’s aspiration is for it. You may wish to start considering timescales. Provide first access tuition in all 103 primary schools. By 2017 A hub-wide quality benchmark for ensembles. Ready for April 2017 A of routes for folk in all Every school to deliver and a high quality music By 2017 All music in the hub hold a to with 10 per cent each year. Twenty-two per cent of instruments should be hired free of charge to reflect local level of young people on free school meals. By 20xx A developed hub fundraising strategy to sustain partner projects related to professionals and venues.
3. "" by Staff Sgt. Barry Sadler, U.S. Army Fighting soldiers from the sky, fearless men who jump and die. Men who mean just what they say, the brave men of the Green Beret. Silver wings upon their chest, these are men, America's best. One hundred men, we'll test today, but only three, win the Green Beret. Trained to live off Nature's land, trained in combat - hand to hand. Men who fight by night and day, courage take, from the Green Beret. Chorus: Silver wings upon their chest, these are men, America's best. One hundred men, we'll test today, but only three, win the Green Beret. Back at home a young wife waits, her Beret has met his fate. He has died for oppressed, leaving her this last request. "Put silver wings on my son's chest, make him one of America's best. He'll be a man they test one day. Have him win, the Beret." copyright © by SSgt. Barry Sadler/ ASCAP 1966 Radio Corporation of America RCA Victor Records 4. "" by John Lennon imagine there's no heaven it's easy if you try no hell below us us only sky imagine all the people living for imagine there's no countries it isn't hard to do nothing to kill or die for and no religion too imagine all the people living life in you may say i'm a dreamer but i'm not the only one i hope someday you'll join us and the world will be as one imagine no possessions i wonder if you can no need for greed or hunger: a brotherhood of man imagine all the people sharing all the world... you may say i'm a dreamer but i'm not the only one i hope someday you'll join us and the world will be as one Copyright © by John Winston Lennon October 1971 5. “" by (At Woodstock, 1969—this version!—it was F***:) Give me an F! F! Give me an I! I! Give me an S! S! Give me an H! H! What's that spell? Fish! Yeah! (The standard song is:) Come on all you big strong men, Uncle Sam needs your help again.
faculty credentials. These include traditional, non-traditional, and emergency/exception to criteria methods. Traditional Credentials: Course Category/Level Degree Attainment / Credits in Area of Instruction Teaching Experience Work Experience in Area of Instruction Liberal arts/ transfer courses Master’s Degree in the content area; or Master’s Degree in a related or area with 18 graduate in the content area (none required) (none required) Developmental Studies Bachelor’s Degree in the content area or related Two years (none required) Career and technical programs leading directly to degree and work Bachelor’s Degree in the content area or Associates Degree in the content area, plus applicable certifications (none required) Two Certificates that lead directly to employment (none required) (none required) Six years Non Traditional Credentials: In lieu of the traditional credentials a candidate can submit a body of evidence that would replace the traditional credentials. The body of evidence should carry sufficient strength of information to affirm that the individual is equivalently qualified to teach the course as those with traditional credentials. The body of evidence may include a collection of such things as credentials, occupational experience, teaching experience at a level consistent with the proposed assignment, student ratings, superior evaluations, and outstanding references in addition to other possible materials. A mixture of traditional and non-traditional evidence is not uncommon. The less traditional evidence that is presented the stronger the non-traditional evidence must be. Criteria considered in the non-traditional process include: Minimum of three years teaching experience in the content area, with additional consideration given for having taught advanced placement (AP) courses or college level courses; and Successful completion of undergraduate and graduate level coursework to reflect knowledge and depth in the content area at a competence level that
Whole School Music Curriculum Map Autumn 1 Autumn 2 Spring 1 Spring 2 Summer 1 Summer 2 Reception Special people Beat and Say hello Moving patterns Structure Christmas Working world Texture Supermarket Cake makers High and low/loud and quiet Sky high/low toe Tap talk Going places Goldilocks/ teddy bears picnic Our Senses Timbre – using instruments/being creative Year 1 Hey you Old school hip hop Compose own rap Fire Fire! (CC) Comparing music on a theme of fire from the Renaissance to now In the Groove 6 different styles of music Blues/Latin/folk/funk/baroque. Bhangra Round and Round Latin American style/film music Your Imagination Robots (CC) Introduction to graphic scoring Year 2 Hands, Feet, Heart South African styles Ho, Ho, Ho Christmas, Big Band, Motown, Freedom songs I Wanna Play In A Band Rock Zootime Reggae Friendship Song Reflect Rewind and replay Western classical music Year 3 Let your spirit fly R & B, Michael Jackson, Western Classical, Musicals, Motown, Soul Glockenspiel Stage 1 Learn basics instrumental skills playing tunes in different styles little birds Reggae The Music of Marvel Studio (CC) Film music Rome (CC) Bringing us together Reflect Rewind and replay Western classical music Year 4 Mamma Mia ABBA Structure of songs /styles of 70’s and 80’s Creating: Electrical Sound Source (CC) Stop! Grime, Classical, Bhangra Tango, Latin fusion Different Cultures (CC) Lean on me Gospel Blackbird Year 5 Livin’ on a prayer Rock Jazz Stage 1 Jazz, Latin, Blues Make You Feel My Love Pop ballads The Fresh Prince of Hip Hop Dancin’ in the Street The 1960s Reflect Rewind and replay Western classical music Year 6 I’ll Be There Britten’s Got Talent (CC) A great British composer Jazz Stage 2 Jazz, Latin, Blues Wicked! A West End Study (CC) Musical theatre Happy Film music You’ve Got a Friend Reflect Rewind and replay Western classical music All units within the Charanga scheme of work provide opportunities to listen and appraise music and sing, play and perform music. Where Music is a lead subject in the Creative Curriculum, this unit is sometimes taught in place of Charanga.
A-Level Overview Year 2: Music Term Mr Calvert Mrs Nourse Key Skills / Coursework / PSAs / Deadlines 1 Revision of all set works covered in year 1. Vocal Music Instrumental Music Studying 2 part counterpoint. General Composition technique Writing for ensembles Form and Structure Melodic Dictation Read background Anthology pages Studying set Wider related listening. Performance standard to be maintained-one formal performance lesson towards end of the term. 2 Instrumental Music for Film Advanced 4 part writing. Advanced harmony techniques Writing for unfamiliar instruments. Arrangement Orchestration Extended melodic dictation. Read background Anthology pages Studying set works. Wider related listening. Performance standard to be maintained-one formal performance lesson towards end of the term. 3 Music for Film Pop Music and Jazz Studying Bach Chorales Arranging Relating composition work to the unit 3 set Free composing work. Begin formal work on composition coursework. Controlled conditions coursework on Composition units. Read background Anthology pages Studying set works. Wider related listening. Performance standard to be maintained-one formal performance lesson towards end of the term. 4 Fusions New Directions Begin formal work on composition techniques coursework. Relating composition work to the set works. Free style composing work. Continue formal work on composition coursework. Controlled conditions coursework on Composition units to be completed. Read background Anthology pages Studying set works. Wider related listening. Deadline for Performance recordings by the end of term.
Boyzonly choir (Years 3+) Guitar Group Ukulele Group Please return this expression of interest to the office returns box as soon as possible so your child’s name can be added to the waiting list. These lists will be given to the relevant music teachers at the end of each year so they can plan their groups for the following year. ………………………………………………………………. ……………………………… Parent/caregiver Date
Peralta Community College District Annual Program Update Template 2014-2015 DISTRICT-WIDE DATA by Subject/Discipline Fall Semesters I. Overview BI Download: 10/24/2014 Dept. Chair: Subject/Discipline: Dean: Campus: Mission Statement The Department of Arts and Cultural Studies mission is to promote students’ interdisciplinary perspective on culture, critical theory, and the visual and performing arts through a number of degrees, certificates, learning communities and transfer courses. The department is divided into distinct disciplines and programs all within the liberal and applied arts, including: Art History, Communication, Humanities (Film Studies, Religious Studies, Liberal Arts), Music, Philosophy, and Studio Art (Mural Art, Figure Drawing, Painting, etc.). Together these programs all support BCC’s overall goals, missions, and ILOs. The mission of Music at BCC is primarily to support transfer through individual transfer-level courses, and through supporting other degrees (AA in Liberal Arts) and learning community programs (PACE) at BCC. II. Enrollment Alameda Berkeley Laney Merritt District Census Enrollment F11 184 269 1,450 270 !Undefined Bookmark, A_CENSUS_ Census Enrollment F12 201 235 1,315 263 !Undefined Bookmark, A_CENSUS_ Census Enrollment F13 171 255 1,359 196 !Undefined Bookmark, A_CENSUS_ Sections F11 5 6 35 6 !Undefined Bookmark, A_SECTION Sections F12 5 5 35 6 !Undefined Bookmark, A_SECTION Sections F13 4 6 42 5 !Undefined Bookmark, A_SECTION Total FTES F11 18.40 28.38 157.19 28.27 !Undefined Bookmark, A_FTES_F1 Total FTES F12 20.10 23.50 142.01 27.43 !Undefined Bookmark, A_FTES_F1 Total FTES F13 17.10 25.50 146.55 20.57 !Undefined Bookmark, A_FTES_F1 Total FTEF F11 0.97 1.23 6.91 1.20 !Undefined Bookmark, A_FTEF_F1 Total FTEF F12 0.97 1.00 6.85 1.20 !Undefined Bookmark, A_FTEF_F1
Style and expression 1 2 3 4 Demonstrates little evidence of suitable style and expression. Demonstrates style and expression with inconsistent application of dynamics and/or expressive techniques. Demonstrates suitable style and expression with mostly appropriate application of dynamics and expressive techniques. Demonstrates effective style and expression with appropriate application of dynamics and expressive techniques. Phrasing and melodic line 1 2 3 4 Performs with little or no attention to phrasing or melodic line. Performs with inconsistent phrasing and melodic line. Performs with competent phrasing and suitable melodic line. Performs with excellent phrasing and effective melodic line. OVERALL EFFECTIVENESS Mark /7 Communicates compositional ideas 1 2 3 4 Performance does not communicate the compositional ideas or the context and style. Performance inconsistently communicates the compositional ideas and the context and style. Performance generally communicates the compositional and the context and style. Performance effectively communicates the compositional and the context and style. 1 2 3 Performs with little confidence or performance etiquette. Performs in a generally confident manner using appropriate performance etiquette in most instances. Performs in a confident manner, consistently using appropriate performance etiquette. Total mark /23 Sample assessment task Music – General Year 11 Task 2 – Unit 1 Assessment type: Practical performance Students will present a selection of technical work to the which has been selected with and approved by the instrumental/vocal teacher in consultation with the classroom teacher Conditions Formal in assessment, Semester 1, Week 9 Task weighting 7% of the school mark for this pair of units ________________________________________________________________________________________________________ PERFORMANCE: Technical work
Sample assessment outline Music – General Year 12 Unit 3 and Unit 4 – Practical component (select from one of three options: Performance, Composition portfolio or Production/Practical project) Performance Assessment component Assessment type (from syllabus) Assessment type weighting (from syllabus) Assessment task weighting When Assessment task Practical Prepared repertoire 20% 4% Semester 1 Week 10 Task 2: Class performance – students will select one piece that they are currently learning with their instrumental/vocal teacher to perform to the class 5% Semester 1 Week 14 Task 3: Film music concert – performance of film repertoire, perfoming pieces from The Mission, Fame, Grease, The Lion King, Toy Story and Frozen, individually and in ensembles 2% Semester 2 Week 6 Task 6: Class performance – students will select one piece that they are currently learning with their instrumental/vocal teacher to perform to the class which will be marked by an external marker 6% Semester 2 Week 12 Task 7: Recital night/concert – students will select two contrasting pieces and perform them in a recital/concert setting. Accompaniment must be provided if required. The performance will be marked by the classroom teacher and an external marker 3% Semester 2 Week 14 Task 8: Music Theatre concert– performance of selected and arranged Music Theatre repertoire studied over the semester, individually and in ensembles Other performance activities 20% 5% Semester 1 Week 7 Task 1: Technical work – students will present a selection of technical work to the class which has been selected and approved by the instrumental/vocal teacher 3% Semester 1 Week 14 Task 4: Performance of film composition score – students to present/perform music composed to accompany selected film scene devised with media students 3% Semester 2 Week 3 Task 5: reading – students will sight read an excerpt provided by their instrumental/vocal teacher, observing dynamics and articulation markings Or Task 5: Improvisation – students will play an improvised solo over an F Blues progression using a backing CD, backing band or instrumentalist, demonstrating rhythmic, melodic and harmonic creativity 4% Semester 2 Week 14 Task 9: Ensemble – summative report accounting for musical contribution, and attention to and progress made with rehearsal conventions in one or more ensembles over the year. Marks can be provided by ensemble directors, instrumental/vocal teachers or classroom teachers if the ensembles are class-based 5% Semester 2 Week 14 Task 10: Instrumental/vocal teacher report – summative report accounting for student progress over the year according to set criteria 40%
root position GENERIC GENERIC GENERIC GENERIC Unit 1 Unit 2 Unit 3 Unit 4 accents, articulations and ornamentations timbre instrument identification, purpose, physical features where it is used how it is played description of qualities playing techniques. progressions/chord analysis major key signatures up to two sharps and two flats treble and bass clef root position (block) and arpeggios (broken) major, minor, dominant 7th primary triads root position accents, articulations and ornamentations , timbre instrument identification, purpose, physical features it is used how it is played description of tonal qualities playing techniques. chords/chord progressions/chord analysis major and minor key signatures up to three sharps and three flats treble and bass clef root position (block) and arpeggios (broken) major, minor, diminished, dominant 7th primary triads root position and first inversion secondary triads root position and first inversion chord vi in major keys accents, articulations and ornamentations , timbre instrument identification, purpose, physical features it is used how it is played description of tonal qualities playing techniques. intervals treble and bass clef, diatonic, key signatures up to and including four flats and four sharps, within an octave, ascending and descending minor, perfect chords/chord progressions/chord analysis major and minor key signatures up to four sharps and four flats treble and bass clef root position and arpeggios (broken) major triad, minor triad, dominant 7th, diminished, augmented primary triads root position, first inversion and second inversion secondary triads root position, first inversion and second inversion chords ii and vi in major keys and VI in minor keys basic 12 bar blues progression using primary triads in major keys cadences as appropriate to context perfect, plagal, interrupted, imperfect accents, articulations and ornamentations , , timbre instrument identification, purpose, physical features where it is used how it is played description of tonal qualities playing techniques.
JUNE EXAMS: Grade 12 MUSIC 2015 PRACTICAL 2 Solo pieces Technical – All 7 exercises Sight Reading Aural (including sight singing) PAT 3: Improvisation EXAMINATION Practical: Pieces 100 Technical 20 Reading 15 Aural 15 Total Marks Paper 1 Music Literacy 60 GMK 60 Paper 2: Listening/Aural [dictation, music literacy, analysis, interpretation and general knowledge.] Total Marks 150 120 30 300 MUSIC LITERACY Scales: in all keys: Major / minor Harmonic/melodic/natural minor Blues/ chromatic/pentatonic/whole tone Modes: Dorian Transcription: Treble, Alto, Bass clefs Enharmonic notes Timing Intervals Triads / 4-Part harmony Cadences Analysis Melody writing GMK OPERA: Genre: define Opera seria/ buffa(comic) Overture Voice types/roles/song types Mozart: Magic Flute: Singspiel voices, characters, by various actors. SYMPHONY:Classical structure, Movements and form types [no details here] Beethoven: Pastoral Symphony Movement titles, content, musical ideas/effects from instrumentation SYMPHONIC POEM: Concert Overture- define Mendelssohn: Hebrides Overture: background, musical ideas Programme Music Notes
Psalms 12, 13, 14 Leighton Second Service Francis Jackson Te lucis ante terminum _________________________________________________________________________ 3 FRIDAY 7.30 a.m. MATINS 8.00 a.m. HOLY COMMUNION 5.15 p.m. EVENING PRAYER (said) _________________________________________________________________________ 4 SATURDAY: Francis of Assisi, friar, deacon, 1226 7.30 a.m. MATINS 8.00 a.m. HOLY COMMUNION 2.00 p.m. READERS SERVICE 5.15 p.m. EVENSONG (Boy Choristers) Malcolm Archer Preces and Responses Psalms 22, 23 Hymns 375, 263 (omit *) Malcolm Archer Berkshire Service Gary Davison A prayer of Saint Francis (first performance) OCTOBER 5 SUNDAY: THE SIXTEENTH SUNDAY AFTER TRINITY 8.00 a.m. HOLY COMMUNION (Book of Common Prayer) 9.45 a.m. CATHEDRAL EUCHARIST (Boy Choristers and Vicars Choral) 134, 308, CP 598(i), 439 Mozart Missa Brevis C-dur, K. 259 ‘Orgel-solo Messe’ Preacher: The Very Reverend John Clarke, Dean Communion Proper: In salutari tuo mea Mozart Ave verum corpus Walther Concerto del Sign. Tomaso Albinoni appropriato all’ Organo (Allegro) 11.30 a.m. MATINS (Girl Choristers and Vicars Choral) Leighton Preces and Responses Hymns 179, 486 24 Mathias Festival Te Deum (1965) and Jubilate Deo (1983) Richard Lloyd View me, Lord 3.00 p.m. EVENSONG (Boy Choristers and Vicars Choral) Leighton Preces and Responses 27 Judith Bingham The Wells Service (Alternative Canticles) Judith Bingham Harvest
Whole School Purpose School Aims/ Assessment Areas Key Stage Objectives Year Group Coverage Music is a universal language that embodies one of the highest forms of creativity. A high-quality education should engage and inspire pupils to develop a love of music and their talent as musicians, and so increase their creativity and sense of achievement. As pupils progress, they should develop a critical engagement with music, allowing them to compose, and to listen with discrimination to the best in the musical canon. The national curriculum for music aims to ensure that all pupils: perform, listen to, review and evaluate music across a range of historical periods, genres, styles and traditions, including the works of the great composers and musicians learn to sing and to use their voices, to create and compose music on their own and with others, have the opportunity to learn a musical instrument, use technology appropriately and have the opportunity to progress to the next level of musical excellence understand and explore how music is created, produced and communicated, including through the inter-related dimensions: pitch, duration, dynamics, tempo, timbre, texture, structure and appropriate musical notations. Pupils should be taught to sing and play musically with increasing confidence and control. They should develop an understanding of musical composition, organising and manipulating ideas within musical structures and reproducing sounds from aural memory. Pupils should be taught to: play and perform in solo and ensemble contexts, using their voices and playing musical instruments with increasing accuracy, fluency, control and expression improvise and compose music for a range of purposes using the inter-related dimensions of music listen with attention to detail and recall sounds with increasing aural memory use and understand staff and other musical notations appreciate and understand a wide range of high-quality live and recorded music drawn from different traditions and from great composers and musicians develop an understanding of the history of play and perform in solo and ensemble contexts, using their voices and playing musical instruments with increasing accuracy, fluency, control and expression improvise and compose music for a range of purposes using the inter-related dimensions of music listen with attention to detail and recall sounds with increasing aural memory use and understand staff and other musical notations appreciate and understand a wide range of high-quality live and recorded music drawn from different traditions and from great composers and musicians develop an understanding of the history of music.
Singing Starters and Warm Ups Energetic starters and songs that will enhance any classroom. Shirley Court Marketing Music Services and Music Mark Schools Stephanie Kennedy from Music Mark Head Office will offer he r thoughts on marketing your service as a manager or individual teacher. This session will also look in more detail at the Music Mark School scheme Stephanie Kennedy Creative Approaches to Group Music Making: New Music A PRACTICAL SESSION YOU WILL NEED YOUR INSTRUMENT This workshop will explore the challenges and pleasures of working with music of today with a conductor and composer who has worked with ‘living music’ since his teenage years, and who has been Music Director of CoMA London since 1999 [CoMA = Contemporary Music for All]. All the pieces chosen will be from the CoMA library, using the “Open score” format (upper, middle upper, middle lower, lower, plus piano and percussion) and so is suitable for virtually any instrument, and there are transpositions for most instruments. Several of the pieces have already been used in the classroom with much success. Gregory Rose In the Loop. The use of loopstation software in your teaching. Using Roland’s RC505 desktop loopstation, Josh Savage will demonstrate a range of looping techniques suitable for performing and composing in the classroom or instrumental teaching environments. Audience participation is encouraged! Josh will also chat through other looping and recording technologies including Roland’s new R07 portable digital recorder. Bring your instruments if you can! Josh Savage Progression routes for children and people with additional needs. The session is a presentation by three leading tutors from across the Greater Manchester hub, practical tips and what really works and advice on what to try with your students. Each tutor will talk about a different aspect of SEND. TBC Creative classroom responses to BBC Ten Pieces A PRACTICAL SESSION YOU WILL NEED YOUR INSTRUMENT Explore the essence of one of the Ten Pieces with musicians from the BBC Philharmonic and workshop leader Patrick Bailey. Develop methods for working with the Ten Pieces lesson plans and creating original music using different compositional ideas. BBC Philharmonic and Patrick Bailey Conducting and ensemble training with the BBC Philharmonic A PRACTICAL SESSION YOU WILL NEED YOUR INSTRUMENT Develop your maestro skills by conducting members of the BBC Philharmonic! Using the BBC Ten Pieces arrangements, learn how musicians play together with a view to helping pupils use their conductor effectively. The session will include conducting and rehearsal techniques. Bring your instrument and play with the BBC Philharmonic musicians! BBC Philharmonic and Patrick Bailey
erased from the General Ledger Table Validation report when the month is closed. Important! Use this option with caution and with the help of Munis Technical Support personnel. Rerun the Full validation in the General Ledger Tables Validation program until only warnings appear Run the Account Balance for balance sheet accounts in summary and confirm beginning and ending fund balances are zero Run the Account Trial Balance for all accounts in summary and confirm beginning and ending fund balances are zero Print a Balance Sheet report in summary (consolidated) and in detail for each fund through the period being closed: Confirm each fund’s assets=liabilities + fund balance. Record the AP control account balances. Record the Inventory account balances. Record the FA account balance. Record the expenditure control account balance. Record the revenue control account balance. Note: Run the Account Trial Balance for all accounts in detail to use if reconciliations below show differences between the modules and the Account Balance totals and export to Microsoft Excel so you can sort by source journal. Reconcile accounts receivable by: Completing the Detail Receivables by Date report. Comparing the AR/GL Reconciliation Report by Fund to the Account Trial Balance Accounts Receivable control account for each fund. Comparing the Invoice Detail Report Summary by Charge Code to the Account Trial Balance Revenue Accounts. Reconcile accounts payable by comparing the Invoice History by GL Account Report to the Account Trial Balance for the AP Control Account. Reconcile: History By Fund Invoice Selection–Only Open Invoices Year/Period equals Period Being Closed Last check date is the last day of the month to be closed Reconcile assets by comparing the Asset History by GL Account report for active assets and capitalized assets to the Account Trial Balance fixed asset account totals. Reconcile inventory by comparing the Perpetual Inventory Report to Account Trial Balance. Running the GL Table Validation, the Trial Balance for All Accounts, and then Trial Balance for Balance Sheets Accounts completes the prove process for accounts. When you run the Trial Balance for All Accounts, the control accounts are ignored and the subsidiary ledger takes their place. When run the Trial Balance for Balance Sheet Accounts, the control accounts take the place of the subsidiary ledger. If either are out of balance, then there is an issue with control accounts not equaling the subsidiary ledger. The General Ledger
Music Nursery Reception Year 1 Year 2 Year 3 Year 4 Year 5 Year 6 Singing and Performing Begins to build a repertoire of songs and dances. Sing and dance experimenting with changing them. Use voices to sing songs, chants and rhymes. Explore and create sounds with a variety of instruments. Sing songs and chants rhymes with some expression. Experiment to create accompaniments using instruments. Perform to an audience. Sing songs creatively adding accompaniments. changing the words and musical qualities. Add accompaniments to create and combine sounds using tuned and untuned instruments. Perform in a group using voices and instruments with expression. Sing in a round Perform in a group and alone using voices and instruments. Sing in a and in canon. Perform in a group and alone using voices and instruments creatively incorporating expression and control. Sing in two parts including two part harmonies. Perform in a group and alone using voices and instruments with increasing fluency, accuracy, control and expression Composing Make music experimenting with changing. Explores different sounds of instruments. Experiment with different sounds to create music. Explore different instruments and ways of making a sound with them. Begin to use symbols to represent sounds. Begin to use technology to record sounds. Adapt symbols representing music to show changes in dynamics. Choose and control sounds to create different moods and effects. Interpret notation of rhythm (not on a stave.) Improvise and compose for a range of purposes controlling musical qualities. Begin to use simple formal notation including beats in a bar. Compose using an understanding of music from a range of cultures, times and styles. Plan for expression in compositions.
Welcome Back Students! Kindergarten: This month we are getting to know our new school and learning songs to help us to remember all of our classmates names. We are chanting rhythms, using movement and keeping a steady beat. Grades 1 & 2: We are learning the fundamentals of music including the differences between rhythm and beat this month. We are challenging our classmates to repeat the rhythms that we develop in our independent groups, and combining our rhythms with other groups to create musical compositions. Grade 3: In preparation for receiving our recorder flutes, we are reviewing our music fundamentals and learning to read the notes on the treble staff. Grades 4 & 5: In preparation for starting our guitar curriculum, we are reviewing our music fundamentals and learning the parts of the guitar and the basics of instrument handling
GUITAR ENSEMBLE Teacher in Charge: TBA The guitar ensemble meets Monday at morning interval, and provides an opportunity to develop group skill. Subscription / Approximate Cost: Nil Rehearsals per week: 1 Mon Interval All Year Option JAZZ BAND Teacher in Charge: Mr Steve Chapman Providing an opportunity for more experienced brass, saxophone, guitar, keyboard and percussion players, the Jazz Band practises every Tuesday morning before school, with a sectional practice at morning interval. It frequently travels to perform outside the school. Subscription / Approximate Cost: Nil Rehearsals per week: 1 Tuesday Morning All Year Option
STUDENT INFORMATION Student’s Name: NAU ID: E-mail Address: @nau.edu Phone Number: Enrollment Term: (ex. Summer 2016) Expected Graduation: (ex. Spring 2019) Advisor: Required Units for this Degree Program: 18 This is the: Initial (upon admission) (submitted with Graduation Application) Program of Study * Course No. Course Title Replacement Course Semester Year Units Grade T/E/P** Core Courses (9 units required) * MUP 611 Private Lessons II * MUP 611 Private Lessons II Select ONE course from the following courses (3 units required): MUS 680 or MUS 681. This course should be taken in the final semester of study. * Electives (9 required): Includes large ensembles, chamber music, literature, pedagogy, accompanying, or additional private lessons, depending on the individual performance interests of the student. * * *