Annotation

This document takes many of the inherent educational philosophies that I hold (they are called fundamental processes here) and illustrates how they are disseminated through teaching. This plan also illustrates a clear end point, the performance, yet there is a great deal of flexibility in how that is reached. This time line is very dependent upon the teacher/composer to implement the the correct stages at the correct time.

Curriculum

Architecture of a performance education. - Longitudinal Planning

1. Must establish a human relationship with the performer so that the composer understands where their music comes from. (With Wendy this took place on the airplane in discovering that we were both from WI and had been involved with the same youth ensembles.)

2. The performer should be introduced to the composition and the world that it inhabits. This could include listening to a midi mock up, a discussion of visual art that is related, a discussion of a philosophical construct that was being dealt with, a discussion of a musical form or technique that was employed or was the generator of the piece, etc.

3. The performer reads though the piece and creates a quick work up. Experience has begun to suggest that this can be accomplished within less than a week and that a week is the maximum time the composer should allow, as the feedback from most performers has indicated that after a week they have their ideas and want to contrast with those of the composers .

4. The meeting after the week long initial work up will allow the performer to express any technical difficulties that are present, allowing the composer and performer to discuss from the outset weather these problems should be adjusted in the score or whether they are just something for the performer to work out.

5. From here the composer must begin to schedule rehearsals that are not overbearing, yet are sufficient enough to guide the progress of the performer. (rehearsals act not only as a tangible date/goal for the performer, but are also an opportunity to discuss new problems that arise, some that they might not bother to contact the composer about, but could be quite crucial.)

6. The last phase of these rehearsals and one that generally occurs as the performance date is approaching, is to insure that all that has been worked out between the composer and performer has been retained. Also, rehearsing the performance and all the appropriate staging, such as dress, demeanor, etc. can be examined and agreed upon.

The atmosphere that the composer creates should be a positive situation, where the performer feels comfortable suggesting changes and feels that they have room in which to succeed as an artist. The composer should endeavor to search for performers that are interested in the same type of artistic mission that the composer is interested in. The composer must hold the performer to the highest standards.

Reflection

Inherent to the implementation process are knowledge of the subject matter and how to translate and apply that for the student. In working to communicate my vision of music/art to the world, I must work as an Artist/Teacher and Scholar, this lesson plan shows how those ideas gained through scholarship about artistry will be disseminated through teaching. This knowledge of the subject matter is an illustration of <Principle #1: The teacher understands the central concepts, tools of inquiry, and structures of the discipline(s) he/she teaches and can create learning experiences that make these aspects of subject matter meaningful for students.>