Purpose of the Applied Music Course
1.
To
help the student develop a coordinated pattern of physical movements in
relation to his/her instrument which will enable him/her to perform on and
through that instrument with with optimum efficiency, ultimately projecting a
satisfying musical experience.
2.
To
help the student develop the ability to comprehend the symbolism on the printed
page, both as a representing direction for action on and with the instrument,
and as being representative of a musical experience with its own integrity
aside from the actual musical performance.
3.
To
help the student develop his ability to comprehend the musical symbolism so
that it will serve him/her both as a means for studying a particular
composition in depth, and serve him/her as a means for performing at first
sight.
4.
To
help the student develop an understanding of teaching procedure and practice, noting
that what takes place in the studio is one aspect which is worthy of study.
Objectives
1.
The
continuously developing mastery of the technique of the instrument which will
enable the student to successfully project a musical experience, utilizing the materials
from the minimum requirements of the course of study. To that end, it will be
useful for the student to keep in mind certain long range goals:
a.
the
removal of all inhibiting tensions.
b.
the
development of a coordination pattern which is consistent with the mastery of
the technique of the instrument.
c.
the
development and maintenance of the physical strength and endurance within the
musculature of the body to meet the requirements of continuing performance.
Particular emphasis shall be given to the mastery of the
following elements of the technique of the instrument:
a.
control
of the breath while inhaling and while blowing.
b.
control
of time in all of its manifestations.
c.
control
of the embouchure d. control of the tongue e. control of the slide arm.
2.
The
continuously developing mastery of a technique of reading and comprehending
which will enable the student to respond to the symbols in such a manner (a)
that the technique of playing the trombone will be subordinated to the
realization of the musical experience, and (b) that the music will have meaning
for the student apart from the act of performing.
3.
The
continuously developing understanding and perception of the musical experience
which is made manifest in the student's ability to project that musical
experience, and in his ability to evaluate that experience when projected by
others.
4.
The
continuously developing conceptualization of teaching principles which the
student will be able to utilize when he becomes an active teacher.
Attendance
It is your responsibility to arrive at lessons on time and
warmed up. Absence from lessons should be a very rare occurrence. Only illness,
death in the family or other similar circumstance should necessitate ones
absence. If you find it necessary to miss a lesson you should call my studio
phone and speak to me or leave a message on my answering machine. If you get no
answer, either call the music office (357-2390) or send me an e-mail. It is my
policy that when a student does not inform the teacher that he/she will be
absent from the lesson ahead of time, the teacher is under no obligation to
give a makeup lesson. Unexcused absences as they relate to your semester grade
are as follows: (1) One unexcused absence will result in a warning; (2)
Additional unexcused absences will lower your semester grade one letter for
each subsequent absence.
Practice: CORRECT Practice Makes
Perfect
A reasonable amount of time each week must be devoted to your
trombone practice. My own perception and experience tells me that one hour each
day will allow you to maintain your current level of proficiency. Additional
practice time will accelerate progress. See "Suggestions for Implementing
Successful Practice Habits" by Milton Stevens.
Practice skills are not usually innate; they have to be
developed. The amount of time one spends "practicing" may or may not
be considered actual practice time! If, for example, one "practices"
for an hour, and the time is simply playing through exercises to "get the
notes," the amount of actual practice time may not exceed ten (10)
minutes! One must practice awareness of fundamentals which involves, at one
time or another, tone, mouthpiece pressure, air, intonation, breathing,
endurance, tongue, slide technique, articulation, rhythm, style and expression
awareness. To receive maximum benefit from the time spent in the practice room
one must learn to develop the ability to concentrate and block out all
extraneous thoughts.
There will be times when the music student because of other
present moment demands, will not be able to practice enough to prepare lesson
material properly. I'm aware of these demands and am sympathetic to the
student's predicament. As a teacher, there are times when my schedule must be
altered to accommodate emergency situations. It behooves the music student,
perhaps more so than students in other disciplines, to budget his/her time
efficiently and not waste time. Regularity in oneีs schedule must exist if in
many cases, the student is to survive the demands placed on him/her.
Minimum Requirements
Each semester, students enrolled in the B.M. and B.S. ( mu.
ed.) degree programs must "pass off' a list of minimum requirements, which
you have received as a separate hand-out. This material may be played at any
time during the semester. If one does not successfully pass off the material in
two attempts, the student will receive a grade of Incomplete (I), and the
material must be played successfully at the beginning of the next semester. NOTE: The requirements are
to be played with a metronome, so as a part of ones basic equipment, a
metronome should be included.
Brass Juries
At the end of each semester, every student enrolled as a
music major or minor must take a Jury Examination. This is a situation in which
one plays for a panel consisting of the brass faculty. Material performed on
the jury will be taken from pieces studied during the semester, or may be a
piece specifically assigned for the jury. Jury music will be assigned two to
three weeks prior to the last day of classes. The jury will account for 25% of your semester
grade.
Semester Grading
Breakdown of Grading Assessment:
Private Lessons 50%
Scale Requirements 25%
Jury Examination 25%
Attendance and participation in Brass Area recitals and
other studio related activities will be used as a gauge for decreasing the
final grade.
The semester grade will be based on the following:
1.
The
quality of preparation for lessons.
2.
The
rate and quality of progress of the individual in light of the purposes,
objectives and minimum requirements of the course of study.
3.
In
as much as no two individuals are alike in potential, and admitting that there
will be differences in the rate of progress as well as in quality of progress,
practice time will be used as an index along with an estimate of attitude (a
third and fourth consideration).
Listed below is the IUP Trombone Studio recommended
guidelines for grading in applied music:
For a grade of A, the student:
1.
Consistently
does more than is required.
2.
Has
wide vocabulary at his command.
3.
Is
prompt, thorough in all work, and usually free from teacher's correction.
4.
Has
unusual dependability and originality in solving problems.
5.
Has
ability to associate and re-think problems and can adapt to changing
situations.
6.
Enthusiastic
and interested in his/her work.
7.
Has
ability to apply learned ideas to new material.
8.
Enthusiastically
attends recitals and concerts as an active listener.
For a grade of B, the student:
1.
Frequently
does more than required.
2.
Has
good vocabulary and speaks with conviction.
3.
Is
careful in complying with assignments.
4.
Eagerly
attacks new problems, and profits from criticism.
5.
Is
prompt, thorough and accurate in all work.
6.
Willingly
attends concerts and recitals.
For a grade of C, the student:
1.
Does
what is required.
2.
Has
a moderate vocabulary.
3.
Applies
him/herself during lesson times.
4.
Attentive
to assignments and relatively free from carelessness.
5.
Able
and willing to comply with instructions and, responds cheerfully to correction.
6.
Is
reasonably prompt and accurate in all work.
7.
Has
the ability to retain general principals and apply them.
For a grade of D, the student:
1.
Usually
does what is required.
2.
Attendance
is often irregular.
3.
Sometimes
forgets materials.
4.
Frequently
"misunderstands" assignments.
5.
Is
willing but slow in complying with instructions and corrections.
6.
Is
careless and lacking in thoroughness in preparation.
7.
Fails
to take advantage of recitals and concerts voluntarily.
For a grade of F, the student:
1.
Usually
does a little less than required.
2.
Is
listless and inattentive.
3.
Frequently
forgets materials.
4.
Is
often tardy.
5.
Seldom
knows anything outside the lesson material.
6.
Retains
only fragments of general principles.
7.
Is
lacking in conviction and is unwilling or "unable" to do the work.