Category Archives: Education & Teaching

The Literary Essay & Its Similarity to Sheet Music

What is an essay? When you look up the word ‘essay’ in a dictionary or online, it’s actually somewhat fascinating how the definition and description about it is so similar to what you would assume you’d find when looking up the definition and description of ‘sheet music.’ It’s quite uncanny, really. With a simple word change here or there, or a twist of phrase, what can be said about an essay can be said about a piece of sheet music, or a music composition. Wait. What was that? A music ‘composition?’ Isn’t ‘composition’ a synonym for ‘essay?’ Well, there you go.

You see, according to Wikipedia, an essay is “a piece of writing which is often written from an author’s personal point of view.” That’s pretty much what a piece of sheet music is supposed to be, too. The best music is sheet music that is written from the composer’s point of view.

According to About.com, “Essays are brief, non-fiction compositions that describe, clarify, argue, or analyze a subject.” Wow. [Sheet] music is much the same.  A music composition should come from the heart and be honest and true. And certainly there’s no one out there that would argue that music is not a descriptive medium. Additionally, what serious, upper-level music student hasn’t been required at times to analyze a piece of sheet music? And let’s not forget the element of clarity that music can bring to just about any situation. Hence, the existence of love songs, silly songs, sad songs, children’s songs, love gone wrong songs, and more. Music makes going through everyday life better.

The primary definition of essay at Dictionary.com states that it is “a short [literary] composition on a particular theme or subject, usually in prose and generally analytic, speculative, or interpretive. Again, wow. Sheet music primarily begins with a theme, and certainly music can be very regimented and analytical, yet its speculative elements and how it is interpreted are big components, too. It’s all relative to the composer and the listener, of course, and it’s different for everyone. But that’s exactly why music has such value. Sheet music is limitless.

Essays are an important educational tool as well, and can be written in various forms and styles, like compare and contrast, cause and effect, descriptive, narrative — the list goes on. To wit, sheet music takes on many forms and styles, too. Some we understand, and some we don’t. And therein lies part of the mystery of it all. Whether sheet music is written in an analytical style, or whether it is written in a myriad of contrasts, it really doesn’t matter. What matters is that the creative endeavor was entered into at all. The process of writing a piece of sheet music includes forming an introduction, developing a body, and a conclusion. Wait. What was that? Introduction…body…conclusion. Sounds like the three primary elements of a good essay.

Enter the Morty Manus “What Music Means to Me” Essay Competition. Deadline is March 25th.

Where Sheet Music, Competition & Creativity Collide (in TX)

If you live in the state of Texas, and you’re involved in music and education in the schools, then the two acronyms TX UIL and TX PML likely spill freely and frequently from your lips. And even if you’re not from Texas, but are involved in music education somewhere in this great country of ours, then you probably know what they mean, right? Just in case you don’t, though, here’s the information in a nutshell taken from the UIL home page: “The University Interscholastic League (UIL) exists to provide educational extracurricular academic, athletic, and music contests for schools in Texas.”

As it pertains to UIL music, of course, this includes marching band, concert band, full and string orchestra, both instrumental and vocal solo and ensemble, and choir. Solo and Ensemble music events in band, choir and orchestra are scheduled in 28 TX UIL Music Regions, and portions of the choral and instrumental sheet music to be performed must come from the Prescribed Music List (PML).

Hence, since the performance at least in part must come from the UIL music list that is not of your own making, the sheet music selection itself is a very important part of the process, because no individual soloist or music performance group wants to play sheet music that is either too easy or too difficult. Nor do they want to play from just any sheet music that is on the UIL music list. It needs to be sheet music that is specifically relevant to their group. Picking out what sheet music is to be played at a competition (or in essence, at a mini concert), is perhaps one of the most difficult parts of the TX UIL music process. That PML piece must be representative of the overall performance level of either that one person (in a solo), or the entire group of musicians involved. Because it’s all about the competition, right? Or is it?

Students want to earn that Division One Rating at the region competitions, so that they are eligible to advance to the TX UIL State Solo and Ensemble Contest that is traditionally hosted in Austin every year on Memorial Day Weekend. The annual trek is to Austin, because it was the University of Texas at Austin that created the TX UIL in first place in 1910. So consider that. What has grown into the largest inter-school organization of its kind in the world, has a more than one hundred year history, and the model from which it was created here in Texas is now emulated all over the country.

But is it really all for just the competition? Most certainly not. Yet in almost any music circle, you’ll find there is usually a constant debate about competition, its merits, and how it relates to music and the arts. There is a school of thought that since music and the arts are creative pursuits, why must competition or the participation in music contests be an integral part of it, particularly in the school classroom? It almost seems contradictory doesn’t it? Music | Creativity | Expression. What is competitive in that? How can you measure creativity? Expression?

Yet (again from the internet pages of the TX UIL), “the Music Program [specifically]…is designed to support and enrich the teaching of music as an integral component of the public school curriculum in the state of Texas.” Support…enrich…compete, too…and don’t forget to play or sing that choral octavo or instrumental sheet music as creatively and expressively as you can. Because luckily for us, UIL music and competition have and will continue to coexist beautifully together, because as anyone knows, the heart and soul of a school’s music organization is its concert ensemble, whether it be the top-level choral group, or the elite wind ensemble in the concert band program. It is by no coincidence at all that the best marching band programs are a direct reflection of the best concert bands; that the best a cappella choral groups are an extension of the premiere choir in the school; that the wind trios, brass quartets, and percussion ensembles that compete in the TX UIL music contests are usually formed from the top players of their respective programs.

So play on and compete. Seek and find the best band sheet music, choir sheet music, and instrumental sheet music which speak not only to you, but to your students as well. The time to do it is now. Christmas is right around the corner and the TX UIL music competitions will be here before you know it. Therefore, let the sheet music, competition and creativity collide, and trust Pender’s Music Co. to help you. The result will be worth it.

Helpful links:

Band PML | New Selections for 2011 | Texas UIL (slideshow)
New Texas UIL | PML Concert Band Additions for 2011-2012 (pdf)
Choral PML | New Selections for 2011 | Texas UIL (slideshow)
New Texas UIL | PML Choral Additions for 2011-2012 (pdf)
Orchestra PML | New Selections for 2011 | Texas UIL (slideshow)
New Texas UIL | PML Full & String Orchestra Additions for 2011-2012 (pdf)
Texas UIL | PML Vocal
Texas UIL | PML Instrumental
Texas UIL | PML String

 

 

Tipster: Teaching Young String Groups

We came accross this article on the web, and thought it would be a good one to pass along, especially since school will be starting up again in just a few weeks. It’s by Jacquelyn Dillon-Krass from Wichita State University.

Tips for Teaching Young String Groups to Play “In Tune”

by Jacquelyn Dillon-Krass

Music students learn more than music – they learn of life and self-worth. You are a valuable person in the lives of your students. “Don’t under-estimate the importance of your work or the responsibility that your job demands; enjoy it.”

Without a doubt, the most important and most difficult task facing the string teacher is teaching students to play “in tune.” Orchestral educators need to understand that (1) Good pitch never just happens; it is very carefully taught; (2) Poor pitch never gets better on its own; in fact, it usually gets worse; and (3) Concern for playing with good pitch is a never-ending quest, that has to be stressed daily with every group.

A beginner group, playing even the simplest music, should be expected to play with good pitch (first fingers in correct place, whole steps and half-steps obvious, etc.). “All purpose” second fingers (neither high enough nor low enough), so often heard, are simply unacceptable. In other words, there is absolutely no excuse for groups at any level to play out of tune.

If students are trained to be concerned about pitch from the very beginning, and then never allowed to play out of tune in rehearsals, they will play in tune under pressure at concerts. My beliefs and ideas on teaching young students to play in tune follow:

Follow the link below for the tips and the rest of the article from Conn-Selmer‘s Keynotes Magazine…

via Keynotes Magazine – Now Viewing Classroom Technique : Strings : Tips for Teaching Young String Groups to Play “In Tune” by Jacquelyn Dillon.