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The Music Theory for Young Musicians series is a colorful and imaginative set of books that covers all aspects of the ABRSM theory syllabus for Grades 1--5. With one book per grade, assigning theory lessons for your students couldn't be easier. The new revised edition of the Grade 1 book contains a step-by-step guide for each concept, then general exercises for the evaluation and reinforcement of these concepts, and finally some sample test papers so you can be certain of success before entering your student.
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Jennifer Presar, camps coordinator and SIUC instructor of horn and music theory, said those who come to the camps are looking to continue their musical studies in a fun environment. Because many of the campers return each year they are eligible, the SIUC music camps are also a place to form a network of musically inclined friends from throughout the area.
Reporters, photographers and camera crews interested in covering the camps or interviewing individual musicians can contact Jennifer Presar at 618/453-5809 or jpresar@siu.edu. Soloists are chosen early during the first week of senior high band camp.
A typical day at camp includes classes and rehearsals mixed in with fun activities and attendance at evening concerts. "This is process-based, foundational work we do here, and we study the theory behind musical expression," Presar said, noting that the busy performance schedule of many high schools often leaves students little time to study musical theory.
Band camp participants perform at 1:30 p.m. on June 23 and choir camp participants perform at 1:30 p.m. on June 30 at Shryock Auditorium during the music festival. The winners of the solo competitions, held during the first week of band camp, also perform at 7:30 p.m. on Saturday, June 23, in the "Stars of Tomorrow" concert. Other band camp participants may play at that same venue in the side-by-side wind ensemble, which has them accompanying professional musicians during the performance.
Those who attend the music theater section of the camp stage a musical revue at the end of camp, Presar said. The jazz improvisation camp also holds a performance highlighting what the students learned during the week.
Media who wish to cover the camps or interview individual musicians can contact Jennifer Presar at 618/453-5809 or jpresar@siu.edu. Soloists are chosen early during the first week of senior high band camp.
Level I: students who will enter second and third grades in the fall will meet in room 110 of Altgeld Hall. Level II: singers entering grades four-10 will meet in Quigley Hall Auditorium and perform for the St. Louis Cardinals' ballgame on Wednesday evening, Aug. 8. Transportation to and from the game will be provided for the choir. Activities during the week include choral ensemble singing, movement, hand bells, singing games and a snack. The camp ends with a concert at 5 p.m. on Friday, Aug. 10. A light supper for the campers and their families follows the concert
All day event - Morris Library's First Floor Rotunda: The Wildflower Art ShowVisit Morris Library's First Floor RotundaMay 10 - August 10Featuring these local artists: Jan York, Jen Wharton, Julie O. Murphy, Beth Martell, Shannon Green, Cathy Daesch, Kathy Wides, Lisa Lennox, Laura Marjorie Miller, Jonny Gray, Jeannie Ravenscraft, and Rhonda BranumThe real wonder of wildflowers is that they adapt so effortlessly to the different conditions they find themselves in. If ever there was a flower that epitomizes the idiom "bloom where you are planted," it's the wildflower. We could all take a cue from these wild, free and yet still rooted plants. They are resilient, untamed, beautiful, surprising, colorful, and unpredictable. There's a lot to love about them.
2:00 PM to 4:00 PM: If you are unable to make it to one of the on-campus orientations (preferred option), you may register for a virtual experience. Virtual Orientation includes:Welcome from administration, faculty, & current studentsEngagement with Orientation LeadersSaluki TraditionsAcademic College Welcome
You may have heard of Columbus's annual Indepedents' Day Festivalin Downtown/Franklinton. The festival features artists, artisans, musicians, and community organizers working together to bring all sorts of arts and oddities to visitors. (Yep, the name of the festival is really spelled that way!)
Throughout the school year, dedicated choral directors from the CCC work with Columbus City Schools' music teachers to provide music enrichment for students in the 6th-8th grades at Starling PK-8 in Franklinton. This ongoing program provides enrichment in music and the opportunity for community performances with their peers.
All told, the CCC serves around 500 students in various ensembles designed with their age and musical literacy level in mind. Students participate in sight-reading and music theory preparation as well as performances around town and abroad.
As part of a year-long sabbatical, Brian Alegant, associate professor of music theory, spent March at the Archivio Contemporaneo "A. Bonsanti" in Florence, Italy, which houses an extensive collection of manuscripts and sketches by the Italian composer Luigi Dallapiccola. In April he delivered a paper on Arnold Schoenberg's Piano Concerto at the International Performance 2000 Conference in Great Britain. The conference, held at the University of Southampton April 26-29, brought together performers, theorists and musicologists from Europe, North America, and Australia. In May he was invited to present a pedagogy paper, "Making the Grade: Contract Grading in the Music Theory Curriculum," at the annual Music Theory Midwest Conference at Lawrence University. In November Alegant delivered a paper at the Society for Music Theory Conference in Toronto. He again offered three lectures for the 2000 Oberlin College Piano Festival; this year's subjects--"The Stuff that Dreams Are Made Of," "Splitting Flaxen Hair(s)" and "Fixing Flats." Alegant has published an article in the Journal of Music Theory titled "When Even Becomes Odd: A Partitional Approach to Inversion," and has other articles forthcoming in Computers for Music Research and Music Theory Spectrum.
In February Stephen Aron, teacher of classical guitar, performed selections from his comprehensive arrangement of Frdric Chopin's entire 51 mazurkas in Kulas Recital Hall. "The most difficult challenge as a guitarist in the performance of Chopin's mazurkas is learning how to ‘hear' it," Aron says. "Chopin's harmonic language is complex. His sense of melodic invention is a wonder. And while the formal structure of the pieces--at first glance--seems straightforward, even in this area, the mazurkas offer surprises. There's no preparation for music of this type in the guitar repertoire. It's been a fascinating journey." Aron's arrangements of Chopin's mazurka repertoire will be released by Mel Bay Publications this year.
Teacher of Classical Saxophone Paul Cohen performed Prokofiev's ballet Romeo and Juliette in Charleston, South Carolina, under the direction of Kenneth Kline. He appeared in numerous performances with the New Hudson Saxophone Quartet, including the premiere of Concerto Sinfonica for saxophone quartet and orchestra by Nicholas Flagello in its wind version. This is a work that Cohen resurrected and, through score recovery, manuscript reconciliation and publishing (with the computer engraving assistance of Peter Lutkoski '99) has helped to enter the musical mainstream. Cohen also appeared with the conductor-less chamber orchestra Orpheus, with the Greenwich Symphony, the Charleston Symphony, and the CW Post Wind Ensemble. Cohen conducted a performance with the MSM Festival Winds at the Manhattan School of Music. He was a guest lecturer at Fredonia State University, where he performed a recital (soprano and alto) and conducted the saxophone ensemble in his arrangements of music by Copland. His article "Rebirth of the Soprano Saxophone" was published in the Saxophone Journal.
In August Visiting Assistant Professor of Music Theory Arnie Cox presented a paper titled "The Mimetic Hypothesis and Embodied Musical Meaning" at the Sixth Biennial International Conference on Music Perception and Cognition in Keele, England. In November he presented a paper titled "Where Musical Places Come From: The Conceptual Metaphor STATES ARE LOCATIONS" at the annual meeting of the Society for Music Theory in Toronto.
Kay Edwards, assistant professor of music education, has been elected to the board of directors for Ohio University School of Music's Society of Alumni and Friends. She was also one of only seven Finneytown High School (Cincinnati) alumni in the school's history to be inducted into its inaugural Hall of Fame. Edwards continues to serve as contributing author for Silver Burdett Ginn's K-6 basal music textbook series. She recently provided a teacher in-service workshop for the Oberlin Early Childhood Center and coordinated an early childhood music workshop at Oberlin Conservatory led by music education students Amanda Kerr, Greg Ristow and Laura Shepherd.
Jonathon Field, director of Oberlin's Opera Theater program, has been named artistic director of Lyric Opera Cleveland, Cleveland's summer opera festival. "My dream for many years has been to run a chamber opera company in a small theater," says Field. "That kind of space allows close attention to detail and intimacy among the characters and the audience. I want to build up a sophisticated audience of people who enjoy interesting works done in experimental ways." 152ee80cbc
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