University of Central of Central Florida College of Arts and Humanities School of Performing Arts Department of Music Percussion Studio Handbook Curriculum

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<ul><li><p>University of Central Florida </p><p> College of Arts and Humanities </p><p>School of Performing Arts </p><p> Department of Music </p><p>Percussion Studio Handbook &amp; Curriculum </p><p> Jeffrey M. Moore </p><p>Kirk Gay </p><p>Thad Anderson </p><p> Revised Summer 2011 </p></li><li><p> 2 </p><p>Acknowledgements </p><p>I would like to acknowledge Dr. Steven R. Hemphill of the Northern Arizona Universitys School of Performing Arts for sharing his Applied Percussion Handbook with me. The Listening Cards and Composition semester requirements were inspired by his program, which includes the sample Milhaud entry taken exactly from his example. I also used his Ensemble Etiquette, Percussion Ensemble, Materials, Books, and Paraphernalia, Scheduling Practice, and Percussion Assistant pages with practically no editing. The Recital Checklist/Deadlines was inspired by his, but modified to fit the University of Central Floridas requirements and procedures. The literature, listening, and reading lists all started from his format and entries, I updated/added works, discs, and books that I am familiar with and comfortable recommending. I would also like to acknowledge Stanley Leonard, retired timpanist of the Pittsburgh Symphony, for the contributions in the timpani literature section. I took some of the solos and accompanied pieces for timpani from a handbook he produced in conjunction with his clinics and lessons. Johnny Lee Lane contributed in the General Objectives and influenced the Methods of Grading sections. Dr. Robert Schietroma of the University of North Texas influenced the layout and structure of the level system and the content/material contained in each of the instruments semester of study. </p></li><li><p> 3 </p><p>Percussion Curriculum To meet degree requirements, students are expected to show considerable proficiency in the percussion categories listed below. All students entering the percussion curriculum should have had considerable prior training in at least three of the six categories. </p><p>The percussion studies program at UCF offers majors comprehensive instruction in all areas of percussion. Individualized instruction allows for personal specialization, while providing a well-rounded foundation in all percussion instruments. Intended for undergraduate or graduate percussion students majoring in music, applied study is directed toward developing competencies and understanding that will contribute to the goals of becoming a competent percussionist, teacher and musician. Students with a minor in music/percussion are also offered opportunities for individual instruction when studio time is available. </p><p>Percussion Categories I. Snare Drum (Rudimental, Orchestral) II. Timpani (and Tuned Drums) III. Mallets (Marimba, Xylophone, Vibes, Bells, and Chimes) IV. Drumset V. Multiple Percussion VI. Hand Drumming and World Music </p><p>Requirements For Entrance to the Percussion Program 1. No specific repertoire requirements have been established. 2. The student should demonstrate facility in at least three of the six categories. 3. Admission is contingent upon audition before the percussion director. Lessons are divided into twelve (12) assignments, and the material of each level has been divided accordingly. This procedure is to aid the student in pacing him or herself throughout the semester. In addition to the weekly assignments, the student is responsible for continuing to work on the Semester Studio Requirements. Listening Cards (10), Composition (1), and Book Report (1) are due at the end of the semester. It is the responsibility of the student to prepare material prior to his or her scheduled lesson time. The assignments are arranged to allow ample time for preparation. The student must give early notice if he or she plans on not attending a lesson. This can be done by making a phone call, placing a note on the door, or in the teachers box (in the music office). Lessons missed by the student will not be made up (unless excused by the instructor). Lessons missed by the instructor will be made up at a time convenient for both. </p></li><li><p> 4 </p><p>The general goals for your applied lessons are as follows: 1. Each student will perform a solo on the music forum at least once a semester. 2. Each student should be able to sight read material according to his or her level of study. 3. Each student is required to know the history and nomenclature of his or her instrument, and should be able to engage in a scholarly discussion utilizing this knowledge. </p><p>Methods of Grading General studio evaluation criteria will be based upon, but not limited to, the following: a) evidence of careful and complete lesson preparation, b) technical (skill-related) progress and ability, c) attitude, d) regular attendance, e) punctuality, f) overall progress made during the semester in relation to the student's specific degree program, g) cooperative acquisition of required materials. I. General Requirements: A. Students are expected to report to all lessons. B. Students are expected to meet all requirements that are listed </p><p>on their level of study. II. Specific Requirements: A. To receive a grade of A for the course: 1. A student must give a superior performance on the music forum, </p><p>barrier exams, and jury. 2. A student must not have more than one unexcused absence. 3. Assigned materials, including listening cards, composition, and book </p><p>report, should be completed on time and performed or completed accurately, showing superior quality. B. To receive a grade of B for the course: 1. A student must give an excellent performance on the music forum, </p><p>barrier exams, and jury. 2. A student must not have more than 2 unexcused absences. 3. Assigned materials, including listening cards, composition, and book </p><p>report, should be completed on time and must be performed or completed accurately, showing excellent quality. </p><p> C. To receive a grade of C for the course: 1. A student must give a good performance on the music forum, barrier </p><p>exams, and jury. 2. A student must not have more than three unexcused absences. </p></li><li><p> 5 </p><p> 3. All assignments, including listening cards, composition, and book report, must show a fair to good quality. </p><p> D. A student who fails to complete the above requirements will receive a grade of D or F according to the degree of non- compliance. E. An Incomplete will not be given unless it is considered to be in the best interest of the student. </p><p>General Objective of Applied Lessons: To acquaint each student with representative solo and study materials that will aid in an orderly development toward mastery of each instrument, and a thorough knowledge of its literature. </p><p> Specific Objectives of Applied Lessons: </p><p>1. Increase percussion performance skills including: a. requisite physical techniques concerning sound production, posture, </p><p>hand grips, stroke types, flexibility, endurance, strength, digital/wrist/arm control, etc.; </p><p>b. visual, aural and tactile rhythmic and pitch discrimination skills, including sight reading; </p><p>c. awareness, understanding and synthesis of the elements requisite to sensible interpretive decisions in musical performance; </p><p>d. solo keyboard, rudimental and concert snare drum, timpani, auxiliary, drumset, multiple percussion, Latin/hand drumming and ethnic percussion. </p><p>2. Gain familiarity with the musical and pedagogical literature associated with percussion - stimulate interest in professional literature related to percussion instruments and percussion performance. </p><p>3. Acquire familiarity with, and understanding of, the basics of percussion pedagogy. </p><p>4. Gain a practical understanding of the learning process aimed at increased efficiency and economy in skill acquisition in order to: </p><p>a. acquire a constructive, problem-solving orientation b. enhance the quality of time spent in the practice and study of </p><p>percussion. 5. Develop through listening the awareness, appreciation and critical </p><p>discernment of varying types of music. 6. Cultivate interest in and development of improvisatory and compositional </p><p>skills as they relate to percussion performance. 7. Develop an awareness of those disciplines and potential situations that </p></li><li><p> 6 </p><p>can directly benefit from the experience of applied study: self-motivation, problem solving, goal setting, self-reliance and confidence, leadership, sensitivity, etc. </p><p>8. Develop and apply appropriate strategies for dealing with performance stress and anxiety. </p><p>9. Acquire the self-initiative and ability for continued self-study in percussion beyond the formal educational environment. </p><p> Private lessons are central to the music majors curriculum and are designed with the student's need for individualized, concentrated instruction. The progress and lesson documentation of each student will be recorded in an individualized notebook. The notebook will include a lesson assignment/grade sheet that is utilized for each lesson; a semester achievement form, recording the student's studio status, test results, reading requirements, ensemble participation (and positions held), among other information. Percussion Ensemble </p><p>As an integral component of percussion studies at the University of Central Florida, the UCF Percussion Ensemble performs extensively on campus and throughout Florida. With the ensemble serving as a laboratory for musical experimentation, with focus upon specific performance habits, listening skills, and general instrumental technique, the development of chamber music performance skills is at the core of the ensemble's existence. The ensemble repertoire comprises a wide variety of musical and ethnic styles, including standard works, contemporary works, marimba band, steel band, African and Brazilian drumming, commercial/jazz, and transcriptions. The student should develop an understanding of and an ability to apply appropriate and/or correct performance techniques upon all pertinent percussion instruments, many of which are not utilized in any other ensemble. Knowledge of percussion ensemble literature is also an aspect of the course structure. Opportunities for student composition and arranging, in the medium of percussion ensemble, are available to the student and highly encouraged. Course prerequisites include percussion performance experience at the high school or college level and concurrent percussion study (see instructor for exceptional circumstances). All percussion majors are expected to participate in percussion ensemble, in addition to other general ensemble requirements. Membership of the ensemble is made up of percussion performance and education majors, Bachelor of Arts majors, music minors, and majors of diverse academic disciplines. Participating membership and exact instrumentation will vary according to the specifications of each work studied and/or performed. Enrollment is subject to audition and/or permission by the instructor. </p></li><li><p> 7 </p><p>Procedures: 1. Lectures and demonstrations will be given by the instructor and students. Recordings of percussion solos by distinguished performers will be played. Video tapes will be used whenever available. Clinicians will also visit the campus for performances and workshops. 2. Read my office door and the percussion bulletin board regularly. 3. Students should split their lesson time between two instruments. For example, a half hour snare drum lesson and a half hour marimba lesson. Students may indicate their instrument preferences at the time of registration. However, final instrument assignments will be up to the instructor. 4. Attendance is urged at concerts given by all the major performing groups on campus. 5. Attendance at all percussion events (Junior, Senior, Guest Recitals, etc.) is mandatory. Your lesson grade will be lowered half a letter grade for each unexcused absence. You owe it to your colleagues to attend their performances, and you will appreciate it when they come to yours. In addition, percussionists frequently need assistance with their recital set-ups and you may be able to help. Besides, this is an excellent opportunity to become familiar with percussion solo and ensemble literature. Equipment: 1. Your own personal equipment is your responsibility - take care of it. Equipment belonging to the Department of Music is also your responsibility, and you are expected to take care of it as if it were your own. 2. Equipment that belongs neither to you nor to the University is to remain untouched. Under no circumstances are you to borrow, move, or practice on privately owned equipment unless you have permission to do so. 3. If you need to move any equipment from one assigned area to another for a rehearsal, performance, or practice period, it must be returned to its proper storage area upon completion of use. If removed from the building, it must be properly signed out. </p></li><li><p> 8 </p><p>SUGGESTED EQUIPMENT Sticks and Mallets </p><p> Snare Drum </p><p> Pro-Mark Tom Freer - Orchestral General Pro-Mark SDJM-Jeff Moore Pro-Mark S.D. 2 - Bolero OR Cooperman #1 Graham Johns Pro-Mark S.D. 5 Multi-Perc. Sticks Tom Gauger (Double-end) * Some type of all-around sticks for rim shots, etc. - any make. * Some type of drumset stick (jazz weight)- any make. * A pair of brushes - Pro-Mark, Regal, Vic Firth, etc. </p><p>Timpani Mallets Pro-Mark PST 1 Pro-Mark Bamboo PSTB 10 Pro-Mark PST 2 Pro-Mark Bamboo PSTB 20 Pro-Mark PST 3 Pro-Mark Bamboo PSTB 30 Pro-Mark PST 4 OR Pro-Mark Bamboo PSTB 40 Pro-Mark PST 5 Pro-Mark Bamboo PSTB 50 Duff Series </p><p>Marimba Mallets Rubber Mallets Yarn Mallets Pro-Mark PK 21 - Yellow Malletech - Concerto 14 (khaki) Pro-Mark PK 22 Green OR Malletech - Leigh Stevens 15 Pro-Mark PK 23 - Grey Malletech - Leigh Stevens 27 Musser M3 - Blue Malletech - Leigh Stevens 20 Ensemble Yarn Mallets Soloist Yarn Mallets Pro-Mark Jeff Moore JM11 Pro-Mark Performer PSM 8 Pro-Mark Jeff Moore JM12 Pro-Mark Performer PSM 10 Pro-Mark Jeff Moore JM13 OR Pro-Mark Performer PSM 20 Soloist Yarn Mallets Pro-Mark Performer PSM 25 Pro-Mark Kai Stensgaard KS1 Pro-Mark Performer PSM 30 Pro-Mark Kai Stensgaard KS2 Pro-Mark Performer PSM 40 Pro-Mark Kai Stensgaard KS3 Pro-Mark Blake Tyson BT1 Pro-Mark Kai Stensgaard KS4 Pro-Mark Blake Tyson BT2 Pro-Mark Kai...</p></li></ul>

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