Choosing Repertoire - Reflections

Composers, conductors, and educators constantly discuss the importance and significance of variety in programming and repertoire selection. Selecting literature of diverse style and origin provides something I find to be extremely important - a much-needed diversity for teacher and student alike. Though often underestimated, simple concepts like contrasting tempos, balancing different textures, and major, minor, and modal tonalities are ways in which variety in programming can easily be achieved. Other, more technical considerations when programming literature include having the required instrumentation and equipment, the available time to effectively teach the pieces efficiently, and the simple enjoyment that comes from rehearsing and performing the piece for the teacher, students, and the audience.

Further, because repertoire is also a source for long-term planning, I think it is very important that teachers at any level have a repertoire list he or she believes that all students should perform over a period of several years. This should not only focus on formal, rhythmic, harmonic, and melodic creativity, but also convey the composer’s imagination, be well-orchestrated, and most importantly, convey both emotional and expressive depth.

Finally, the process of repertoire selection should aim to give our students the opportunity to hear a range of emotion in the music they perform and rehearse. Through this process of recognizing and exploring emotional moments in music, students become aware of and reflect upon their own feelings, and can thus forge some type of connection between this and the music itself. Through this, we can ensure that our students begin to explore and understand what these emotions convey and how the composer expresses it in the music, allowing them to find a means of expressing their own personal emotions through performance and self-reflection within the ensemble.

Chapter 10 - "Score Study" Reflections

Over all, one key component of being proactive in rehearsing any instrumental ensemble is performing a detailed score study and analysis. However, most people do not realize how multi-faceted this process really is, and how it has to be in order to be most effective.

Beyond learning the technical aspects of notes and rhythms, a "macro" analysis must first me done where the conductor examines the overall architecture of the piece, such as form and movements, tonal centers and key areas, transitions, meters, and tempo changes. This also includes textures, melody and accompaniment, counterpoint, orchestrations, solos - the overall melodic, harmonic, rhythmic and formal picture of the piece.

On the next level, or 'micro' analysis, the conductor analyzes the piece in far greater detail, deconstructing the piece on every level to form a complete recording in one's head. We examine the harmony and chords and crystallize the conception of the orchestration, while trying to interpret the composer's intent. Studying music theory and learning how to perform a harmonic analysis has been extremely helpful in this process for me.

Finally, in the third or 'macro-redux' phase, we go back and make the important musical decisions that give the piece musical effect. I think it is important to realize that there is usually no right or wrong answer when interpreting a piece of music, but at the same time, it is the responsibility of the conductor to make consistent decisions that are in the best interest of the music as intended by the composer.

Additionally, regarding the comment within the text that recordings are a 'crutch' that "restrict the development of the mind's ear", I think they can be really effective if used properly. An initial listening to the piece can be highly effective in determining much of the "macro" analysis - something we often do in my form and analysis class. However, more of the minute musical details are probably best left to us before we listen to one recording multiples times and are biased by that conductor's interpretation.

First Teaching Episode - Teaching Reflections

Over all, my first middle school teaching experience with fifth grade percussion was extremely positive. While I was initially nervous to have someone as experienced as my particular instructor observing my first teaching episode with the students especially because percussion is one of my weaker areas of instrumental instruction, I was also extremely lucky to have someone who has been teaching for many years that could offer me very valuable advice and constructive criticism.

With this being said, I thought that the lesson went very well and was, overall, successful. I was complimented on keeping good pacing throughout the lesson and a continuous flow, and all of the material was covered in the ten minutes that I was allowed to have teaching. Further, the problem areas that needed to be covered, such as certain measures with difficult crossovers between hands in the mallet parts, were effectively isolated.

However, as any regular performer, I was often buried in the music just out of habit, despite the fact that I know very well how the tune to "Jingle Bells" goes. Next time, I will work to keep the students engaged by moving around the room and reading from the student's music if necessary.

As a whole, I am glad that this experience was so positive, and I am looking forward to working with the students this coming week. It was especially rewarding to have had some of the students ask if I was coming back next week because they "liked me", as well as having my instructor say that he "doesn't usually write so many positive things down" in an observation. Hopefully, they will continue to enjoy and learn from my teaching as I incorporate all of the constructive criticism I have received for next week and all other future teaching episodes.