A Teaching Portfolio

Compiled by:

Molly Jackson
Jackso36@miamioh.edu Cell: (847) 826-6559 Website: http://jacksonmolly.weebly.com/

Bachelor of Music in Music Education-Miami UniversityInstrumental Music Education Concentration

Table of Contents
Professional Documents: Rsum References Philosophy Teaching Platform

Mason High School Student Teaching Experience: Classes Lesson Plans Programs Sample Projects

Performing Experiences: Ensembles at Miami University Senior Recital

Awards and Professional Organizations: National Association for Music Education Scholarships

Additional Leadership and Work Experiences: Alpha Omicron Pi Camp Walden

Teaching Materials Scholarly Course Work Website

Professional Documents
This section is dedicated to any and all documents that are pertinent to my future as a music educator and reflect my ideas on teaching as a profession. Included is a rsum that highlights the basic outline of my teaching portfolio, letters of recommendation, my philosophy on education, and a teaching platform that comprises my beliefs as an educator.

Molly E. Jackson
412 S. Poplar Street Oxford, OH 45056 (847) 826-6559 60089 Career Objective jackso36@miamioh.edu After May 17, 2014 472 Weidner Road Buffalo Grove, IL

To obtain a teaching position as an orchestra director, preferably in grades 9-12, in which students will become proficient in instrument technique, ensemble collaboration, music theory, and musicianship. Miami University, Oxford, Ohio Bachelor of Music in Music Education, May 2014 Major: Music Education, Overall GPA 3.8/4.0; GPA in Major: 3.9/4.0 Field Experiences, Grades 1-12 Taught micro lessons to students. Observed classroom management strategies. Assessed students at the end of the lessons. Fall 2010-Spring 2014

Education

Teaching Experience

Private Lesson Teacher, Grade 4-8 Fall 2008-Spring 2011 Provided weekly lessons to 10 different students Taught classical violin solo repertoire and orchestra repertoire Additional Experience Summer Camp Counselor, Camp Walden Summer 2012, 2013 Lived with campers ages 10-15 for 7 weeks. Instructed and supervised designated activities in the area of arts and crafts (clay wheel and hand-building, knitting, copper enameling, etc.) Miami University Orchestra Invitational Fall 2012 Collaborated with Orchestra Director, Dr. Ricardo Averbach and fellow students to create a weekend retreat for local high school musicians. Conducted sectional rehearsals for students grades 9-12. Organized an afternoon concert and acted as an Emcee. Honors/ Professional Development Deans List, six semesters National Association For Music Education Ohio Music Educators Association Conference Goebel-Fisher Music Education Scholarship Nina J. Boyd Music Education Scholarship Music Scholarship Miami Non-Resident Scholarship

Fall 2010-present Feb 2012, 2013 2013-2014 2012-2013 2010-2014 2010-2014

Leadership Experience

Miami University Symphony Orchestra, Secretary Spring 2011-2012 Transcribed notes at weekly meetings. Developed the 1st annual Miami University/High School Invitational in the Fall of 2012 Alpha Omicron Pi, Alumni Relations Chair Nov 2011-Nov 2012 Organized and prepared our annual Founders Day Celebration for 200+ active chapter members and alumni in the Cincinnati area. Designed the annual newsletter that is distributed to area alumni. Vice President of Chapter Development Nov 2012-Nov 2013 Executed our annual Sisterhood week, which consisted of different activities each night for 7 days. Held sisterhood retreats for 3 hours on one Saturday each month.

Musical Experience

Miami University Symphony Orchestra, Associate Principal Second Violin 7 semesters Oxford Chamber Orchestra 4 semesters Morpheus Chamber Ensemble 7 semesters Constantine Quintet 6 semesters Grand Night Chamber Ensemble March 2012, 2013 Global Rhythms Ensemble Fall 2011, 2012, 2013

References
Dr. Brenda S. Mitchell
Associate Professor of Music Miami University Department of Music Center for Performing Arts, 225 Oxford, OH 45056 Office: (513) 529-1228 Home: Email: mitchebs@miamioh.edu

Dr. Ricardo F. Averbach

Professor of Music Miami University Department of Music Presser Hall, 103 Oxford, OH 45056 Office: (513) 529Home: Email: averbach@miamioh.edu

Dr. Harvey P. Thurmer

Associate Professor of Violin Miami University Department of Music Presser Hall, 201 Oxford, OH 45056 Office: (513) 529-3073 Home: Email: thurmehp@miamioh.edu

Mrs. Stephanie Jones

Director of Orchestras Mason High School 6100 Mason Montgomery Road Mason, OH 45040 Office: Email:

Dr. Kay L. Edwards

Professor of Music Miami University Department of Music Center for Performing Arts, 215 Oxford, OH 45056 Office: (513) 529-2726 Home: Email: edwardk1@miamioh.edu

Mr. Scott Ruthart

Director of Camp Walden 5607 S. River Road Cheboygan, MI 49721 PH: 231-625-2050; FAX: 231-625-2600 Email: summer@campwalden.com

Molly Jackson Music Philosophy Music washes away from the soul the dust of everyday life. Berthold Auerbach, the German author and the author of the quote above, accurately sums up my beliefs about the benefits of music in the education system. Music is one of the few ways students can express their creativity without limits and it gives them a way to show emotions without the use of words. Aside from giving students a creative outlet, experience with music teaches students other valuable traits that will benefit them later in life. They will learn to become independent, use abstract thinking, learn how to work with others, emerge as a leader, and develop invaluable time management skills. I feel that music is a crucial part of the school day and that every district, whether it be public or private, should require students to be in a music classes starting at the earliest age possible. Most traditional classroom settings require students to sit at their desks without a sense of freedom almost the entire day. By including locomotor activities in music classes, students are allowed to express their creativity in a healthy manner and might even discover a love of music that will extend beyond their time in school. A music class should be a comprehensive, balanced, sequential study of music for all students. By including these expressive outlets in the core curriculum, students will receive a well-balanced education because music has the ability to open the mind to new concepts that can really only be done through personal expression of emotion. This can be a hard concept to grasp in other subject areas, which is why it is crucial to include music in the school curricula. Along with helping them form characteristics of a model student, music will also help develop skills crucial to learning. When teachers include pieces with lyrics, such as any vocal piece, in their lesson plans, they are helping students develop their reading skills and if they are

foreign pieces, students have the ability to learn a new language. For students that learn best through visual and aural enhancement, relating words with music could help them to learn quicker. Teachers that use songs and pieces from different cultures and countries are exposing their students to other languages which can help them later in life if they choose to pursue language studies. Once students start getting into much more complex rhythmic passages, they must use their knowledge of fractions to help with the subdivisions of specific beats. Each culture includes some aspect of music and it is impossible to learn the historical context of a work without knowing the history of the time period. Music can transform students lives. Whether they choose to pursue a performance career, a teaching career or just choose to play music for fun, it can encompass a part of their life. Some may even choose to go on to support the arts because of their exposure to music during their academic development.

Teaching Platform I believe that schooling Is necessary to the development of students, not just mentally but physically, spiritually, emotionally, and morally. Is there to create meaningful bonds between students and others, whether it be teachers or other students. Can define the lives of students. Can be done inside or outside of the classroom

I believe that teachers Should be 100% invested in the education of their students. No exceptions. Should put the needs of a student above their own. Is there to be a positive adult figure in the life of a student. Need to give students a good knowledge foundation from which they can build and shape into their own beliefs Need to see the potential in each one of their students Are responsible for keeping students engaged in the learning Can learn just as much from their students as their students do from them Has to be perceptive

I believe the student Can learn valuable life lessons through their schooling Has potential to be great at whatever they choose Is also responsible for their own education and learning Has a history which will affect the way that they learn

I believe the curriculum Should be developed and changed over time to meet the students needs Is a guide for teachers, not a set of rules Should NOT define a teacher Should not set limits on students learning, if they are moving faster than anticipated, keep going! Should include everyone in the learning process

I believe that the school Should be a safe environment where everyone is able to express their ideas/beliefs without fear of being ostracized Is a community

Student Teaching Experience

This section includes lesson plans, programs, and sample projects for the classes that I taught while student teaching in the Mason City Schools in Mason, OH.

Performing Ensembles
The programs and recital examples in this section serve to demonstrate the variety of ensembles I have been a part of during my time at Miami University. I was fortunate enough to work with a variety of groups and expand my knowledge and appreciation for all genres and styles of music, as well.

Ensembles at Miami University

Miami University Symphony Orchestra- Directed by Dr. Ricardo Averbach Member for seven semesters Served as Associate Principal for the Second Violin Section for 4 semesters Performed at Carnegie Hall in New York City (October 2012) Guest conductors include Linus Lerner and Daniel A. Sommerville Performances with distinguished artists such as Kun Dong, Ilya Finkelshteyn, Nitzan Haroz, Arnaldo Cohen and Michael Chertock.

Morpheus Chamber Ensemble A conductor-less ensemble comprised of select string students and faculty at Miami University Member for seven semesters Performed one concert each semester Ability to work with renowned Jazz violinist, Christian Howes

Constantine Quintet Member for six semesters Featured Music Education Students at Miami University Played varied works by Janacek, Dvorak, and Suk

Oxford Chamber Ensemble- Directed by Dr. Ricardo Averbach Member for four semesters Played in the fall opera production (2013) Featured at the College Orchestra Directors Association conference (January 2013)

Grand Night Pit Orchestra- Mr. Benjamin Smolder 2012, 2013

Global Rhythms Orchestra- Srinivas Krishnan

Travel Experience Through Music Domestic Illinois Indiana Iowa Wisconsin Ohio New York

Abroad Italy Germany Austria Czech Republic

Senior Recital

Awards and Professional Organizations

This section gives an overview of my professional affiliations and some awards I have gathered during my time at Miami University.

Additional Leadership Experience

This section is dedicated to the additional leadership and work experience that I have gained during my time at Miami that have helped to further my aspirations to be a teacher. Included in this part are my leadership roles as a member of Alpha Omicron Pi and my work experience as a summer camp counselor.

Alpha Omicron Pi- Omega Chapter

4 year active member Alumni Relations Chair 2012-2013 Vice President of Chapter Development 2013-2014

Camp Walden- Cheboygan, MI

Worked as a girls summer camp counselor Instructed multiple art and athletics classes

Teaching Materials
In this section you will find original lesson plans that were implemented in various classrooms. The lesson plans include multiple concentrations (general music, orchestra, etc.) and for a wide array of ages from elementary through high school repertoire. A student listening guide and unit study are also provided to show documentation in the music classroom.

Molly Jackson MUS 355 5 March 2013 4th Grade Lesson: Erev Shel Shoshanim Lesson plan adapted from Spotlight on Music: Grade 4 National Standards 6. Listening to, analyzing, and describing music. 7. Evaluating music and music performances. 8. Understanding relationships between music, the other arts, and disciplines outside the arts. 9. Understanding music in relation to history and culture. Ohio State Standards 3CE- Listen, identify and respond to music of different composers and world cultures. 5CE- Identify and respond to basic music forms (AABA and rondo). 4PR- Sing, move and respond to music from world cultures and different composers. 1RE- Explain how the elements of and subject matter of music connect with disciplines outside the arts. 5RE- Interpret a selected musical work using dance, drama or visual arts. Objective: Students will be able to successfully complete the dance and correct percussion parts while listening to Erev Shel Shoshanim. They should be able to describe the differences between the A section and the B section. Materials: A and B letters Rhythm sticks Gong (if possible) Tambourine CD Grade 4 (track 17)

Procedure 1. Introduce the class to what we are going to do in class 2. Write the body percussion rhythms on the board a. Q, QR, Q, QR; EE,EE, Q, Q b. Q, Q, EE, Q; Q, QR, Q, QR 3. Have students clap and say the rhythm first

4. Introduce body percussion and have each group do the assigned body percussion 5. Second time through, have students make up their own non-locomotor body percussion movement 6. Have split the room in half a. Group 1: first rhythm b. Group 2: second rhythm 7. Have them switch and do the other rhythm 8. Listen to Erev Shel Shoshanim and have students tap a steady pulse on their laps 9. Introduce the movements to the group 10. In a circle a. Walk 8 steps to the right (grapevine) b. Walk 8 steps to the left (grapevine) c. Repeat d. Turn in towards the center and take 3 steps and kick e. Walk back out the 4 steps f. Have students turn to the right for 4 counts g. Have students turn to the left for 4 counts h. Repeat i. At the end, have each person grasp pinkies with the students next to them 11. Have students dance along with the song 12. Split the class in two again a. First group: Do the dance along with the song b. Second group: play the designated rhythms along with the music 13. Switch the groups 14. Talk about the form (AABB) 15. Wrap-up a. What is different about part A and B? b. What did we learn? Evaluation/Assessment Is everyone tapping a steady beat at the beginning? Are the individual groups playing the correct rhythm? Are students moving in a manner that fits into the music we are listening to? Can students identify the difference between the A section and B sections? Ask students how they can identify the song? Instruments/language?

Extension

The teacher could then relate this music and form to other music either from the same culture or different ones and explain that form is a universal concept. Students could improvise their own rhythms that they play along with the music Explain that the name of the song means Night of Roses and that Marc Chagall painted a piece similar to that. o Dance style depicted is a ballerina Is this similar to the style of dance that they have learned in class?

Lesson Plan Ashokan Farewell Molly Jackson 2/22/13 8th Grade Orchestra Princeton Community Middle School

National Standards:

2. Performing on instruments, alone and with others, a varied repertoire of music 5. Reading and notating music. 9. Understanding music in relation to history and culture.

Ohio Academic Content Standards: (Grade 8) 3CE- Identify intervals and concert pitches in major and natural minor scales. 1PR- Perform a varied repertoire of music, independently or collaboratively representing diverse genres and cultures and showing expression and technical accuracy at a level that includes more advanced ranges and changes of tempo, key and meter. 2PR- Perform, independently or collaboratively, with good posture producing an appropriate tone quality. 5PR- Read, write and perform rhythmic (including dotted rhythms) and melodic patterns in a variety of meters. 6PR- Perform concert pitch major scales 3RE- Compare and contrast selected composers and their works.

Concepts:

1. Blending and bow stroke 2. Tone quality 3. Intonation 4. Style of the piece

5. Confidence and playing out of the students

Objectives:

The students will: Play the style of the piece appropriately Listen across the orchestra for who has the melody Students with the accompaniment will play softer than the melody Play with correct intonation Play with correct bowing ***Play with correct rhythms Feel the pulse of the piece

Materials:

Conductor: Score, instrument Students: Their own instruments

Procedures:

1. Rhythms with the students 2. Half note, eighth-eighth (slurred) 3. dotted quarter, eighth-eighth-eighth (slurred) 4. Play those rhythms on a D-Major scale 5. Vln I and II, Vla, Bass (mm. 33-35) working crec. 6. Play Celli at the 2nd ending (mm. 33-35) working rhythm and crec. 7. Bass (mm. 33-45) working entrance of the pizz and roundness 8. Clap and say each parts rhythm 9. Have them clap the parts together 10. Go back and put together mm. 33-35; everyone 11. Vln. I and II (pick-up in 37-43) rhythm and intonation 12. Celli and Vla (mm. 37-43) rhythm and dynamics 13. Put it all together (mm. 33-43) dynamics and unity 14. Celli (mm. 52) togetherness, intonation, bow stroke 15. Vla and Celli (mm. 53-59)

16. Put mm. 33-end together

Evaluation:

Individual assessment can be done by the conductor by watching each section. This can also be aided by the group when they are clapping and saying their rhythms out loud.

Extension:

In order to extend this lesson, we could continue on in the piece with the same macro-micro-macro technique by focusing on individual sections.

Molly Jackson MUS 356 11/1/13 6th Grade Lesson: Improvisation Adapted from recorder improvisation class by Dr. Kay Edwards National Standards 2. Performing on instruments, alone and with others, a varied repertoire of music. 3. Improvising melodies, variations, and accompaniments. 5. Reading and notating music. 9. Understanding music in relation to history and culture. Ohio State Standards: Grade 6 3CE- Identify terms related to form (e.g., D.C. and D.S. al Fine, and D.S. al Coda; repeat signs, first and second endings). 5CE-Identify elements of music including tonality, dynamics, tempo and meter, using music vocabulary. 3PR- Improvise, compose, and arrange music. 2RE- Discuss contributions of musical elements to aesthetic qualities in performance of self and others. Objective: Students will be able to complete a call and response activity on their respective African drums and be able to describe how this is linked to early jazz music. Materials: African drums of various sizes Smart Board presentation Gongouki

Procedure 1. Start the lesson off by asking the students a question (imitates answer and question) 2. Talk about improvisation and how this fits in to the piece that we are working on. 3. Have students listen and talk about the question and answers that are similar in music. a. Describe how music and verbal cues are similar 4. Have students go to the instruments 5. Talk about improvise for the instruments. 6. Give each student four beats for drum improvisation 7. Let students practice on their own for 1 minute.

8. Start the group with a steady beat (teacher use the gonkogui) 9. Have each student play their improvised beats 10. Continue in the circle until each student has had a turn 11. Pair up the students and have two go at a time. 12. Ask the ending evaluation questions 13. Clean up the drums Evaluation/Assessment Instructor can ask questions that correspond with call and response to show how music is linked to text. Teacher can evaluate on the spot when students play their solos Asking questions that evaluate whether or not students understand the form. Ask students what the difference between composition and improvisation Extension - Introduce the different types of music that utilize improvisation a. jazz b. East Asian music c. Traditional fiddle music - Compare and contrast the different types of music - Introduce a lesson that deals with composition

Student Guide:

Capriol Suite
Composed by Peter Warlock
By: Molly Jackson MUS 359 Spring 2013

Table of Contents
Title page... Pg. 1 Table of contents... Pg. 2 Targeted Concepts..... Pg. 3 Learning Goals.... . Pg. 3 Historical Notes The Composer.. Pg. 3 The Work.. Pg. 4 Glossary of Musical Terms.....Pg. 4-5 Listening Assignment. Pg. 6-8 Practice Assignment Pg. 9 Practice Evaluation ..... Pg. 10 Capriol Suite/St. Paul Suite Worksheet ....... Pg. 11-12 Creative Project .......... Pg. 13 Resources .... Pg. 14

Targeted Concepts
The targeted concepts for this student study guide: - A substantial knowledge of the differences in musical forms specific to Capriol Suite. - Describe the Renaissance style and how it applies to the Capriol Suite. - Demonstrate on their specified instrument, the articulation that is distinct in the Renaissance musical time period.

Learning Goals
Students will be able to: - Write about and/or describe the biography of the composer, Peter Warlock - Describe the history of the piece - Describe the differences in each of the movements using musical terminology - Demonstrate an early understanding of modes through worksheet completion.

Historical Notes
The Composer
The composer of the Capriol Suite, Peter Warlock, was born on October 30th, 1894 with the name Philip Arnold Heseltine in the Savoy Hotel in London, England. He is best known as a composer of vocal music and songs and is also well-known for his extravagant lifestyle and the scandal that he caused while alive. Warlock spent his youth in prestigious educational institutions, and while at Eton, he encountered the British composer Frederick Delius and formed a close bond. Warlock spent a few years at Oxford, and after failing out of school, he moved on to a career in musical journalism which acted as a springboard for his composing career. After spending time out of England, he returned in 1918 and began creating music with a distinct, original style. Before his death on December 17th, 1930, Warlock made strides in the contribution of early music and even composed a full-length biography of Delius. Sadly, Warlock slowly became depressed and was unable to create any new works and died of coal poisoning in his London flat.

The Work
The Capriol Suite was composed in October of 1926 by English composer, Peter Warlock, and was considered to be his most popular work. Originally written for two pianos, if was later arranged by Warlock, himself, for a string orchestra. This suite is a set of dances in the renaissance style and is based off of tunes found in a manual of French renaissance dances and consists of six different movements. The movements are titled: I. II. III. IV. V. VI. Basse-Danse: Allegro moderato Pavane: Allegretto ma un poco lento Tordion: Con Moto Bransles: Presto Pied-en-Fair: Andantino Tranquillo Mattachins (Sword Dance): Allegro Con Brio

Glossary of Musical Terms

Dynamics: Forte: A symbol indication to play loud. Fortissimo: A symbol indication to play very loudly. Mezzo-forte: A symbol indication to play semi-loudly. Mezzo-piano: A symbol indication to play semi-softly. Piano: A symbol indication to play softly. Pianissimo: A symbol indication to play very softly. Technical Aspects: Arco: From the Italian, to bow. Notation in a composition indicating that the bow is used in the usual way; the word is usually written after a section of pizzicato Divisi a (2/3): From the Italian divided. This notation tells musicians to divide their parts and have players only on certain notes. Usually divided between two or three players. Pizzicato: from the Italian, to pluck. The notation in a composition indicating that string players are to pluck the string as opposed to using the bow to play a note. Usually abbreviated pizz. in scores.

Unison: two or more voices or instruments playing the same section and/or notes simultaneously. Tempo: A Tempo: From the Italian tempo meaning time. This notation tells players to return to the original stated tempo; usually found after an accelerando or ritardando. Allegro Con Brio: A direction to play fast (allegro) and with vigor and spirit (con brio). Andante Tranquillo: A tempo marking that directs musicians to play a moderately slow tempo; faster than adagio but slower than allegretto. Con Moto: A tempo marking that directs musicians that a passage is to be played with motion. (Poco) marcato: A notation that indicates a musical passage is to be stressed; pronounced. (Poco) pi lento: Notation that indicates a section of music is to be played more slowly. Prestissimo: A musical notation that indicates the tempo is to be played extremely fast. Presto: A musical notation that indicates the tempo is to be played very fast. Rallentando (molto): Gradual slowing down, more of a rolling stop effect; a lazy deceleration of the tempo. Ritardando: an indication to gradually decrease the tempo. Dynamics: Crescendo: The Italian music term that indicates a musical passage is supposed to gradually increase in volume, until otherwise noted. Usually abbreviated cresc. Diminuendo: also known as a decrescendo. The Italian music term that indicates that the volume of a musical passage is supposed to gradually decrease in volume, until noted otherwise. Stylistic Aspects: Con tutta Forza: Musical notation that indicates musicians should play with full power, as loud as possible. Dolce: Musical notation that indicates musicians should play sweetly. Marcato: Musical instruction indicating a note or chord should be played louder or more forcefully than surrounding music. Sforzando: indicates a forceful accent and is abbreviated as sfz.

Name: __________________ Date: ___________ Class___________ Listening Assignment: Capriol Suite In order to complete the assignment, please go to, http://imslp.org/wiki/Capriol_Suite_(Warlock,_Peter), and print off the complete score for your reference when answering the questions. 1. Basse-Danse: a. Who has the main melody from the beginning to letter a? ___________________ b. What is the dynamic from the beginning to letter a? ________________________ c. Write two words that describe this style _________________,________________ d. What is the total time of the piece? ______________________________________ e. How many dynamic changes are there from the beginning to the end? _________ f. What images do you think of when listening to this piece (there are no wrong answers)? __________________________________________________________________ __________________________________________________________________ __________________________________________________________________ 2. Pavane: a. How would you describe the first three measures? _________________________ b. What musical term could you use to describe the pattern that is passed around the orchestra? _________________________________________________________ c. Please describe the path of the pattern that starts in the Violas. Which section plays it next, etc.? __________________________________________________________________ __________________________________________________________________ d. What is the total time of this piece? _____________________________________ e. In what measure can you find the climax of the piece? ______________________ f. What images do you think of when listening to this piece (there are no wrong answers)? __________________________________________________________________ __________________________________________________________________ __________________________________________________________________ 3. Tordion

a. Who starts out with the melody at the beginning? Which section plays it next? __________________________________________________________________ __________________________________________________________________ b. Name two techniques that are used in this piece _______________,___________ c. What is the total time of this piece? ____________________________________ d. What is the dynamic during the pizzicato sections? Is this easy/difficult for string players to do? Why or Why not? __________________________________________________________________ __________________________________________________________________ e. What images do you think of when listening to this piece (there are no wrong answers)? __________________________________________________________________ __________________________________________________________________ __________________________________________________________________ 4. Bransles a. What is the correct musical term for the different levels of dynamics that are shown in the piece? _________________________________________________ b. What piece of information is shown/heard at letter B? __________________________________________________________________ c. Name two different articulations that are written in this piece _________________________, _______________________________________ d. What is the total time of this piece? _____________________________________ e. What images do you think of when listening to this piece? (there are no wrong answers) __________________________________________________________________ __________________________________________________________________ __________________________________________________________________ 5. Pieds-en-lair a. What is the articulation at the beginning? ________________________________ b. What is special about the instrumentation in this movement? Why do you think that Warlock chose to do this? __________________________________________________________________ __________________________________________________________________ c. Is this piece major/minor/modal? What can you use from the music to support this answer? __________________________________________________________________ __________________________________________________________________ __________________________________________________________________ d. What images do you think of when listening to this piece? (there are no wrong answers)

__________________________________________________________________ __________________________________________________________________ __________________________________________________________________ 6. Mattachins (Sword Dance): a. Without looking at the score, which instrument(s) start(s) the piece? __________________________________________________________________ b. What is special about the tonal center of this piece? Does it stay consistent throughout the piece? Explain. __________________________________________________________________ __________________________________________________________________ __________________________________________________________________ c. What is the total time of the movement? _________________________________ d. What images do you think of when listening to this piece? (there are no wrong answers) __________________________________________________________________ __________________________________________________________________ __________________________________________________________________

Practice Assignment Sheet

Violin I Mvt. I: mm. 41-48 Mvt. III: mm. 17-32 Mvt. IV: mm. 131-end

Violin II Mvt. I: mm. 41-48 Mvt. III: mm. 17-32 Mvt. VI: letter C to the end

Viola Mvt. III: mm. 17-32 Mvt. IV: mm. 103-111

Cello Mvt. III: mm. 9-beat 1 of 13 Mvt. IV: mm. 27-43 mm. 103-111

Bass Mvt. II: mm. 38-68 Mvt. IV: mm. 31-34 mm. 39-42

Practicing Evaluation Pitch Accuracy Rhythm Accuracy Articulation Dynamics Phrasing/Musicality _________ / _________ / _________ / __________ / _________ / __10_ _10__ __10_ __10_ __10_

Overall Grade Grades:

_________ /

__50_

0- Very poor intonation, inaccurate rhythms, articulation does not match what is written in the music, no dynamic contrast, phrasing is non-existent. 5- Intonation is correct about 50% of the time, rhythms are sometimes correct, attempts to do correct articulation, some musical contrast but is difficult to distinguish, there is phrasing about 50% of the time. 10- Student has correct intonation through the whole excerpt, rhythms are accurate, articulation makes musical sense, dynamic contrast enhances the playing and makes sense in relation to the music, and phrasing is accurate throughout the whole excerpt.

Name: ______________________ Date: ___________ Class: ___________ Capriol Suite Creative Project Prompt Now that we have learned about the history and biography of two different composers in England in the early 1900s, your task is to pick one composer in any other part of the world who was also writing music during this time period. Your teacher must sign-off on the composer that you have chosen to research before moving on to the next steps. Step 1: Pick a composer who was popular in another part of the world during this time period. *Your teacher must approve your composer in order to make sure you have enough research material. Step 2: Research their biography ***This should include their childhood, where they grew-up, their schooling, when they started to become popular, and other personal information that you deem relevant, their periods of composing (if applicable), and their most famous work. Step 3: Dissect their most famous work *** This should include, the year it was written, the genre, the ensemble it was written for, any program notes and how the first performance was received by the public. Step 4: Create your own work *** Create a masterpiece of your own that is in the same style as this composer. The work must be at least 100 measures and must include all of the string instruments. Then write a brief (250-350 words) about your inspiration for your work. Step 5: Give a 5 minute presentation to the class where we will learn about your composer and then read through your piece.

Name: _________________________ Date: _____________ Class: _____________ Capriol Suite Worksheet 1. Another composer that was prominent during this time period was an English man named Gustav Holst. a. Please compare the years that they lived and composed __________________________________________________________________ __________________________________________________________________ __________________________________________________________________ b. What is Holst mainly known for (think symphony)? How is this musical work divided up? __________________________________________________________________ __________________________________________________________________ __________________________________________________________________ __________________________________________________________________ __________________________________________________________________ 2. Next we will look at Holsts Saint Pauls Suite a. How many movements does this work have? _____________________________ b. What year was it composed? __________________________________________ c. What genre of music is this? __________________________________________ d. Compare the lives of the two composers. Where were they born? What was their upbringing? How long did they live? Did they have a particular instrument that they were good at? Did they make a living composing or by doing something else? __________________________________________________________________ __________________________________________________________________ __________________________________________________________________ __________________________________________________________________ __________________________________________________________________ __________________________________________________________________ __________________________________________________________________ __________________________________________________________________ __________________________________________________________________ __________________________________________________________________ __________________________________________________________________ __________________________________________________________________

e. Please compare the two musical works using correct musical terminology. What is different/similar about the two pieces? Do both works have the same imagery? Were they both written for the same type of ensemble? __________________________________________________________________ __________________________________________________________________ __________________________________________________________________ __________________________________________________________________ __________________________________________________________________ __________________________________________________________________ __________________________________________________________________ __________________________________________________________________ __________________________________________________________________ __________________________________________________________________ __________________________________________________________________ __________________________________________________________________ __________________________________________________________________

Resources

www.peterwarlock.org http://www.allmusic.com/artist/peter-warlock-mn0002128972 http://programnotes.wikia.com/wiki/Warlock_-_Capriol_Suite http://www.gustavholst.info/ http://www.naxos.com/education/glossary.asp http://www.classicalworks.com/html/glossary.html

Sunnyvale Public School District 142.

Dear Parents, August 28, 2011 Your child has recently been introduced to the wonderful world of string instruments and has shown an interest in joining the beginning orchestra for the Sunnyvale Public School District. The music program in our district has a long history of producing not only quality musicians but quality students and over the next few weeks, your child will have the opportunity to meet the faculty and begin their musical career. This letter is being sent to you because the role that you play is crucial in the musical development of your son/daughter. On September 7th, 2011, you and your child are invited to attend an information session to learn about signing up for beginning strings. The meeting will be held in the auditorium at Sunnyvale High School at 7:00 p.m. Here the students will make a decision as to which instrument they would like to play, obtain the correct instrument and equipment and receive the student handbook, which gives a full concert schedule and requirements for students. Music is an essential part of your childs life and by beginning in 4th grade, they will develop habit that will help them further on in life. Research shows that repeated exposures to complex music induce improved spatialtemporal learning. Music students continue to outperform their non-arts peers on the SAT, according to the most recent "Profiles of SAT and Achievement Test Takers. Students in music performance scored 52 points higher on the verbal portion of the SAT and 36 points higher on the math portion than students with no arts participation. Just like any other extra-curricular activity, students are expected to devote quality time to practicing their instrument. Students should practice for at least 20-30 minutes everyday in order to build up stamina. All students should rent their instruments with one of our instrument distributors, who will be available at the informational meeting. The price will vary depending on the instrument that the child chooses to play, but the average rental price ranges from $69-$156 for a 4-month beginning rental fee. Please feel free to contact me with any question, comments or concerns that you might have. I look forward to beginning your childs musical endeavor in the upcoming weeks. Sincerely, Ms. Molly Jackson Director of Orchestras (555) 341-ORCH Jackson.molly@sunnyvale.d142.edu

Recruiting Demonstration Outline Before the Presentation Set up chairs for students and parents Set up power point presentation Tune all instruments Set up microphone and amplifier (if needed) Greet parents when they walk in the auditorium Have them fill out an information sheet o Name o Phone o E-mail o Childs instrument choice o Previous musical experience Must provide pens for info sheet

Introduction Introduce myself, give a brief background Talk about the history of the string program at the school

Benefits of Music Education Short term o Fun o Creativity outlet o Place to meet friends o Field trips Long-term o Higher SAT/ACT scores o Hand-eye coordination o Social skills o Discipline o Responsibility o Scholarships for college (mention that they are not only for music majors)

Instrument Demonstration Viola o o o

Explain that viola and violin are different Show how to hold the viola Song: easy nursery rhymes (Old McDonald had a farm)

o Violin o o o Cello o o o Bass o o o

Ask student to come up and demo a few bows on the strings. Show how to hold the violin Song: Happy Birthday, theme from rugrats Ask students to come up and demo Show how to hold a cello Song: Popular song Baby by Justin Bieber Ask students to come a try to play Explain the difference between a cello and bass Song: Jaws theme song Ask students to try (especially lift the instrument to show how light it is)

Conclusion End the presentation by explaining the handbook o Policies o Class attendance o Behavior o Practice Techniques o Time spent practicing o Grading o Concert performances o Attire for concerts o Concert attendance o Care of instruments o Instrument insurance o Calendar of events o Other important information Any questions that the parents have

Scholarly Course Work

The following section serves to demonstrate the supplemental materials that have helped to further my knowledge about teaching. In it you can find essays from various music and non-music classes that display my writing skills and how they were applied to even foreign languages.

LOrfeo by Claudio Monteverdi Over the course of time, music has changed, evolved and made great strides that have allowed it to endure for centuries and given a meaning to the lives of the listeners. Whether it be a piece as historic as the Epitaph of Seikilos or the smallest tune coined by an anonymous composer, each musical work, phrase or note has helped contribute to the profound works that have been created in the past and ones that are created today. By the end of the sixteenth century, European ideals in science, politics and economics began to expand with the colonization of the Western World. Johannes Kepler proved to the world that the Earth revolved around the sun and the first British colony in Jamestown are only a few examples of scientific revolution in Europe and the ideas of capitalism influencing the change that was occurring in the western hemisphere. Because of all of the developments with other realms of daily life in Europe, it is not surprising that music was beginning to take on a new form. Composers began to marry poems with music and the stage and out of that mixture, the genre of opera was born. In the seventeenth and eighteenth century, opera became the leading genre of music and art that people went to watch, and has remained important ever since. The goal of opera composers was to blend ideas about the tragedies of ancient Greece with the content of then modern-day musical ideas and expressions that are characterized by the seventeenth century, and Claudio Monteverdi was the composer who spear-headed the entire opera genre. Although Monteverdi did not write the first opera, he most definitely was a forerunner in the genre with his masterpiece. The introduction of Claudio Monteverdis LOrfeo and a shift in musical performance that affected the future of the musical genre for the better.

The Life of Claudio Monteverdi Even before the performance of his infamous opera, Orfeo, Claudio Monteverdi was heralded as the most creative and innovative composer of his time. His desire to write music led to the creation of sacred pieces, madrigals and operas which are still performed to this day and influenced fellow musicians and composers. Monteverdi was born in Cremona, Italy and trained by the cathedrals music director when he was just a young boy. He was a prodigy as a composer, publishing two volumes of sacred music by age sixteen and three books of madrigals in his early twenties. Monteverdi was an accomplished viol and viola player by 1590, when he entered the service of Vincenzo Gonzaga, duke of Mantua. He married a court singer, Claudia Cattaneo, and in 1601 was appointed master of music at the ducal chapel. 1 Monteverdis fame and fortune grew continuously, along with his collection of musical works. In 1607, the Gonzaga family, called upon Claudio to write an opera, which little he knew, would be the work that would give him his infamy in the music world and change the way that others would create music from that point on. The Myth of Orpheus Folk lore and myths have long been a central focus in peoples lives especially with the intention of teaching lessons which have been passed down from generation to generation. It only seems fitting that Monteverdi would use a well-known Greek myth as the source of

Burkholder, J. Peter, Donald Jay Grout, and Claude V. Palisca. A History of Western Music: Eighth Edition. New York: W.W. Norton & Company, 2010. Pg. 317.

inspiration for his opera. The book First Nights penned by the author Thomas Kelly, goes into depth about the history and actual myth of Orpheus: The story has various versions but, at the center are the singer Orpheus and the beautiful Euridice. When Euridice dies and is taken to the underworld, Orpheus follows where no mortal is allowed and through the power of his song, convinces Pluto to allow Euridice to return to the upper world. There is only one condition: that as he leads Euridice upward, he must not look back to see whether she is following.2 Just before Orpheus reaches the upper world, he decides to look back, and because he does so, he loses Euridice forever. This fable describes universal ideas such as desire and passion, and how easily humans (or demi-gods) can become slaves to their emotions. If only Orphues had not looked back to see if his true love was following and trusted that she would be, the ending of the myth could have been different. We as humans can take these fables and apply to our lives today and learn from them just as our predecessors have done before. One aspect of Orpheus and Euridice that makes it stand out from other tales is the emphasis on music, which are not seen in other myths, and one reason why I believe that Monteverdi used Orpheus as opposed to many other well-known folk-lore tales. Thomas Kelly even goes as far as to say that some will say that it stands at the threshold of the history of opera, that it foreshadows great things to come, that it is an early version of the art form that will later be more highly developed.3 At this time, no one even knew of the art forms that

Kelly, Thomas. Claudio Monteverdi, Orfeo: Saturday, February 24, 1607. In First Nights, edited by Thomas Kelly, 2-59. New Haven: Yale University, 2000. 3 Kelly, First Nights, 6.

were to come in the future and still, they were able to recognize the magnitude of the musical work. The Premiere: The Venue and Audience Monteverdis diligence came to fruition on the evening of Saturday, February 24, 1607, at the ducal palace in Mantua, Italy, in the apartments formerly occupied by Margherita Gonzaga, the widow of Alfonso II dEste, on the occasion of meeting of the Accademia degli Invaghiti, founded in 1562 by Cesare Gonzaga, Duke of Gustalla. 4 At the time, the Accademia did not posses their own room that was specific to their meetings, which leads scholars to believe that the room that they used was called the camere lunghe (the long rooms) on the ground floor of the palace and just inside the principle entrance.5 Orfeo, was first performed not in public but in private, for a learned association, an academy of male nobles in the dukes palace in Mantua, at the end of the carnival season preceding Lent. Orfeo was a combination of learned experiment and courtly entertainment. The audience consisted of members of the academy, which held regular meetings in the palace, and some invited guests. Perhaps two-hundred persons could have crowded in. After one further performance a few days later (to which women were invited), Orfeo was not heard again until the twentieth century.6 The audience, comprised of these highly educated members, was very well-versed in the art of playing musical instruments. All of the members of the Accademia were required to

4 5

Fabbri, Paolo. Monteverdi. Translated by Tim Carter. Turin: Cambridge University Press, 1994. 63. Kelly, First Nights, 31. 6 Kelly, First Nights, 7.

have some knowledge about singing, playing the lute or some other instrument, or learning to read well if they wished to be part of the group. Thomas Kelly goes into further depth about the audiences knowledge, and he states: Most of the audience for Orfeo therefore had some musical ability and familiarity with songs, madrigals, instrumental music, and dance music. When they heard the songs and dances in the choruses in Orfeo, they recognized a style of music in which they themselves participated and which they were able to judge and enjoy in a way that many of us are not.7 The first spectators of the opera understood the format of the classical drama, which was comprised of acts in which the characters delivered long poetic speeches that emphasized a character trait or flaw, usually in a monologue form. If actors spoke in a dialogue, the musical motion was in rapid succession and this type of musical movement was used rarely and saved for special occasions in the opera.8 All of these musical expressions were understood and expected by the audiences at the first premieres of the masterpiece. The audience for Orfeo was interested in the ways poetry and music were related, in the ways music can heighten and express language and emotion. These were in fact some of the most talked-about topics in the intellectual life of the time. Renaissance Italians knew that poetry and music had common functions and aims: recreation, relaxation, appreciation of beauty and moral instruction.9

7 8

Kelly, First Nights, 17. Kelly, First Nights, 21. 9 Kelly, First Nights, 23-24.

The opera was fully appreciated by the audience that was honored enough to see it at its premier. Because of its complex musical structure, LOrfeo was exceptionally impressive to the Accademia because of their extensive knowledge and their appreciation was not unnoticed by Striggio and Monteverdi. The Music of LOrfeo Monteverdi took great care when it came to choosing his librettist and after much thought, he chose the young poet and court secretary, Alessandro Striggio. The librettist grew up in Mantua and followed in the footsteps of his father, Alessandro Striggio Sr. Like his father, who was also a high-level functionary in the court bureaucracy, Alessandro cultivated interests in music and poetry for pleasure: he had the opportunity to display his talents on a court trip to Ferrara in 1584 as a singer (which gained him the appreciation of Alfonso II dEste)10 Striggio was an inducted member in a group called the Invaghiti, a typical Italian group of aristocrats who placed great importance on the study of theater and music. 11 His experience in with the other scholars helped Striggio to gain experience and an appreciation for music, which helped him to pen the libretto for Monteverdi. When it came to actually writing the music for the opera, Monteverdi approached the composition of Orfeo, he approached it as he would a ritual text, such as a Mass. 12 He took great care to make sure that the musical ideas that he expressed were cohesive with the text of
10 11

Fabbri, Monteverdi, 63-64. Fenlon, Iain. Monteverdis Mantuan Orfeo: Some New Documentation. Early Music 12, no. 2 (May 1984): 163172. 12 Ringer, Mark. Operas First Master: The Musical Dramas of Claudio Monteverdi. New Jersey: Amadeus Press, LLC

the libretto and the acting that was shown on stage. Mark Ringer, author of Operas First Master: The Musical Dramas of Claudio Monteverdi, wrote, However, given that most music of the time was of significantly shorter duration, Monteverdi realized that he would need to have a larger musical form to tie the varied elements of the opera together.13 Because of this shorter time duration, Monteverdi created a chiastic structure to his opera, which is a structure in which the individual parts revolve around an axis, for example the form ABCBA. This structure is most apparent in the Monteverdis construct of the five acts, because of the format that they follow, which was a common practice for composers of the time. Jacopo Peri, predecessor of Monteverdi, wrote his opera Euridice was the composer who started this trend of chiastic structure. Monteverdi modeled his construction off of Peris piece and the comparisons between the two works were not a coincidence. Peris opera has five scenes, each closing with a chorus; Orfeo has five acts each also closing with a chorus. These choral scenes marked divisions, along the lines of the intermedii of music and dance, which were often used to separate the acts of spoken plays.14 During the span of Monteverdis life, the score was published twice, once in 1609, two years after the first performance and once again later on before his death. 15 Unfortunately after the initial premiers of Monteverdis work, the original score and libretto were lost, even

13 14

Ringer, Operas First Master, 2. Kelly, First Nights, 24. 15 Fenlon, Monteverdi, 168.

though the music was resurrected in the twentieth century.16 Kelly writes that There is no surviving music for Orfeo in Monteverdis hand (or in anyone elses): no instrumental parts, no composers score, no separate vocal parts.17 Aside from containing the actual notes, the score also served as a guide as to how the notes for future performances would go and that is why it is so unfortunate that the original score have been lost. Instrumentation and Characters Monteverdi took the characters into consideration while writing the music for the opera and all of the voice parts. With research conducted by musicologist, we have the ability to conjure up a cast list that would have been conducive to the singers in that time. Of the performers at the premiere, we know at least that they included Giovan Gualberto Magli, a castrato in the service of the Florentine court who had been lent to the Gonzagas for this occasion (he played Music in the prologue, and then Prosperina (Persephone)). There was also that little priest who played Eurydice(Girolamo Bacchini), and Francesco Rasi, a nobleman from Arezzo, singer and composer active at the Mantuan court from 1598, who we can be sure took the part of Orpheus.18 Thomas Kelly goes into detail more about the role of Orpheus and how Francesco Rasi took on that role and brought the character to life. He writes that, Rasi was described as a performer in Orfeo by Eugenio Cagnini, in his Lettera Cronologica of 1612, and that

16

Whenham, John. Cambridge Opera Handbook: Claudio Monteverdi: Orfeo. New York: Cambridge University Press, 1994. 17 Kelly, First Nights, 30. 18 Fabbri, Monteverdi, 64.

Monteverdi surely had Rasi in mind when he was creating the role. 19 Another artist that they were sure of was the famous castrato, Giovanni Battista Sacchi, who had lived in Monteverdis house until 1606, and may well have studied singing with Monteverdis wife, Claudia.20 At this time, the emergence of women singers was a new concept that people were starting to grasp, and it was becoming more common to see women in the theater. The reason why men were only cast in the opera was due to the fact that the Accademia was an organization solely for men, and the opera was possibly deemed too inappropriate for the eyes of women. At the second premier of the opera, only two short days later, women were allowed to see an encore performance of Monteverdis masterpiece. Modern-day Performances Because of the lost original score after the premieres of LOrfeo, it took a long time for new performances to be based off of Monteverdis rendition. Meanwhile, the thoughts and ideas of the Italian Opera began to spread throughout the rest of Europe and in 1640, it made its way to Paris, France. In that same year, Roman composer Luigi Rossi was commissioned to write a new version of Orfeo.21 This opera is written in three acts, with a prologue and an epilogue with the libretto written by Francesco Buti. The opera was one of the earliest operas to be premiered in France and was first shown to the public on March 2, 1647.22 While both Monteverdis and Rossis operas, Rossis takes a very different angle when it comes to actually telling the story of the two star-crossed lovers. While Monteverdi follows the plot of the myth

19 20

Kelly, First Nights, 33. Kelly, First Nights, 33-34. 21 Burkholder, Western, 326. 22 Burkholder, Western, 358.

completely, Rossi tells the story of a tragic beginning for the two, because of their plagued wedding. Euridices father tries to persuade her not to marry Orpheus and she, wanting to follow her fathers wishes, asks Venus to help her fall out of love with him. From there the plots follow the same structure. Another work to come out Monteverdis work was Orfeo ed Euridice with music written by Christoph Willibald Gluck in 1762.23 Gluck worked to make the opera the best that it could be and represented the style of the time period in an effective manner. It uses all the resources of opera- solo and choral singing, orchestra, and ballet- to produce a total effect of classical tragic grandeur. Glucks opera became a model for many subsequent works, especially in Paris. His influence on the form and spirit of opera was transmitted to the nineteenth century24 Conclusion Without the works of Monteverdi, other composers such as Gluck and Rossi, might not have had the opportunity to create such epic musical works that have lasted today. Because of Claudio Monteverdis musical genius, especially in regards to LOrfeo, the genre of opera and music in general has been changed for the best.

23 24

Burkholder, Western, 498-499. Burkholder, Western, 499-500.

Molly Jackson SPN 361 3/4/13 Comparacon entre las literaturas antiguas Una parte grande de una civilizacon que forma las ideas y los humanos en total es la literature. Para apreneder mucho de la historia, el gobierno, el religin, y la vida diaria, solo necesita leer la literatura, porque contiene tanto informacin. En Amrica Latina, hay tres civilizacines majores que consisten de la historia antigua y esas son los aztecas, los mayas, y los incas. Aunqe esas civilizacines existen en la misma poca, hay muchas variacines de las literaturas y voy a explicarlas. La literatura Nhuatl es el texto de los aztecas y los que havitan la gran ciudad Tenochtitlan, y consiste de gneros distintos. El texto de esta grupo es muy simblico, muy metafrica, y muy indirecta. Para este grupo de personas, la poesa es el tipo de texto ms importante y puede encontrarlo en la mayora de la literatura. Los hijos de los nobles aun fue a colegios para aprender la poesa porque tiene tanta importanca en la vida de los aztecas. Puede poner la poesa en una de cuatro grupos de clasificados porque el texto habla solamente de esas temas, los dioses, las guerras, las flores o la ntima o triste. Hay subdivisines de los cuatro grupos son tres cantos y estas habla sobre los animales, la primavera, o los juegos. Tambin hay tcnicas muy raras que solamente puede encontrar en la literatura nhuatl y son el diafrasismo, el paralelismo, y los unidades de expresin. Un diafrasismo occure cuando hay dos palabras para definir un concepto. Por ejemplo, la falda y la camisa representa la mujer y el jade y las plumas finas representa la belleza. El paralelismo es la repeticin de la misma idea con

palabras iguales o diferentes y los unidades de expresin occure cuando hay palabras independientes y intercambiales son usado para hablar sobre algo. La literatura maya vine de las personas mayas obviamente y tiene aspectas muy differentes de las literaturas de otras civilizacines. Lo ms importante de la literatura es los tres tipos, y el primero parte son los libros de Chilam Balam. Hay veintiocho libros en la colleccin y estos contienen cuentos muy simblicos. Tambin, los cuentos son mitolgicos y profticos aunque solo podemos leer tres de los veintiocho libros. Uno de los libros describe los conquistadores y los mayas tienen su propio palabra para describeirlos, y se usan dzules muchas veces en su literatura para hablar sobre los extranjeros que vienen cinquenta anos despus de Coln. El Segundo parte de la literature es El libro del Consejo o Popol Vuh y haba traducido a muchos lenguas. El libro est dividido en tres partes con el primero parte hablando sobre la creacin del mundo como Genesis en la Biblia. Parte dos describe la diference entre bien y mal y honestidad y dehonestidad y tambin parte tres habla de la genealogas de los Mayas. Finalmente, parte tres es totalmente sobre la obra de teatro y describe lo que es esto. La literature es muy distinto para cada civilizacin y nos da muchas ideas sobre lo que era importante para los grupos de personas. Si podemos usar estas en nuestro comprensin vamos a aprender mucho de las vidas diferentes.

Website
I have a very helpful website that can give you additional background about myself, as well as recordings, videos, and other helpful documents. In this section you will be able to find: State of Ohio Teaching License Official Miami University Transcript PRAXIS Scores Background Checks All Letters of Recommendation First Aid, CPR, AED Certificate Electronic Version of this Portfolio

My website was created using the Weebly domain system. The system is extremely user friendly. If anybody has the desire to create a website, I highly recommend system. Link: http://jacksonmolly.weebly.com