Annotation

In designing a curriculum, the philosophical ideas must be refined and the process must begin to emerge, that is the purpose of this document. Here I lay down the different ways in which I can take the student from beginning to end, while leaving room for the inevitable variation in the process. Although the pillars of the education process are here, the time line, or the architecture of the education process, has yet to be revealed and that is why this planning document is necessary but is not the end point of this curriculum

Curriculum Rough Draft

Teaching a performer to perform/collaborate with composer. This document was presented to my Guided Internship Class the ( ) statements are the feedback from class/directions to take this.

“A piece of music is a collaboration between a performer and a composer” - my premise

Performance Aesthetic Curriculum

1.(sensitize a player to) Notes, rhythms, dynamics, articulations, arrivals, syntax, language, phrases, etc.

The Artifacts of the composers gestural intent

-what type of composer; completely precise, looser etc. (within the context of understanding the composers world, decisions can be reached) (How do these gestures indicate a narrative?)

2 Once the piece has been heard as a whole (heard a mock up recording and read through by the player, as well as other pieces by the composer), the individual phrases can be seen in their context.

Working with the player on one phrase I am able to better refine the phrase through the feedback/suggestions of the players.

3. Refinement of individual phrases (This is problem solving. Inquiry based decisions)

-Are there any clear climaxes? or climactic frustrations?

- What is the larger structure/form?

- How do the parts comprise this?

- Are there any techniques, note values that can change to enhance the gestures?

4. The Composers job in Rehearsal

1 To hold the performer to the written artifacts, in a way that allows them to succeed and fail in comfort.- we both know what it is supposed to be, this underlying idea should allow them to be comfortable, it is not a question of ability.

2 Any repetitive mistakes should be addressed/discussed. (This is where the composer can learn form the difficulties of the player, are these things that are just technical challenges that can be worked out, or is there something the composer can do to help the performer succeed. All this within the context of the piece, is it meant to challenge the player, is it a must? etc.) (Positive learning environment?)

What the Composer Needs to Convey

- The underlying emotional sense (mood- tension and resolution issues etc.) without inhibiting the players ability to create their own narrative or forcing them to the composers point of view.

- (Must remember) The player often knows how to better achieve things on their instrument than the composer, while the composer knows how to contextualize and utilize these skills (This cooperation is the cornerstone of the dialog)

The Composer Must Adjust to a rehearsal schedule that creates a successful experience. (NEC is luxurious, school is an opportunity to explore and find out what works best and how to get results efficiently)

- Must start early enough so the performer has the opportunity to learn the music

• Conduct the rehearsals frequently or sparsely enough to raise the level of playing each successive rehearsal. (This is player dependent, each person is different)

Considerations

(This sort of curriculum requires the teacher to work on all three levels, 1. teacher who instills a love in the student, 2 A technician who shows the students what technical issues must be solved and how 3. A teacher who guides the student to create an artistic and meaningful work. This curriculum works predominantly on third level issues, those of interpretation and artistry, yet level 2 and 1 instruction must be available as needed - FLEXIBILITY, necessary at all levels of teaching)

(This curriculum needs a clearer sense of architecture, how does it move through time with the student? What is the overall design, signposts?)

(Framework: Sensitizing the players to the composers ideas)

(Architecture to teaching - Starts here...... evolves to final product. The evolution of teaching)

Issues of Social/Political context and mission could be part of how this piece of music works and how to present it.

How to present one self as a performer, dress, soloist - forthright/diminutive? All these are part of the fabric of the piece and must be decided upon and taught to the performer - education is a 2 way street, performer and composer!

Curriculum of Interpretation - Brainstorming

- Is the score a blueprint?

- What sort of decisions can/should a player make?

rhythm, pitch, dynamics, extended technique

- What are you (the player) representing?

Composer, Player, The music, The score, Musicians, Artists, A political faction, a way of life, a perspective on humanity and it’s role.

Reflection

There is a lot of indecision that is latent in this document and a great deal of that stems from striving to create an opportunity for a variety of styles of learning to gain entry. This mapping of different entry points is an illustration of <Principle #3: The teacher understands how students differ in their approaches to learning and creates instructional opportunities that are adapted to diverse learners. >