Summer Music Mp3

Established in 1951 by Seattle Public Schools, All-City Band has a reputation for excellence in music education, student leadership, and entertainment. The band brings together students from schools throughout the greater Seattle area to entertain in upwards of 20 parades and community celebrations each summer.

The Buffalo State Summer Music Institute offers students in grades 7-12 from Buffalo and throughout Western New York the opportunity to improve their performance skills in classical, jazz, or musical theatre. Camps are one week long and students are immersed in rehearsals, lessons, lectures, masterclasses, seminars and ensemble performance.

Summer Music Mp3

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The Classical Camp provides students in grades 7-12 who are proficient on their instrument, with the opportunity to continue their musical development in an intensive one-week music program. The curriculum consists of small and large ensembles, theory, piano, and conducting classes, masterclasses and special topics lectures led by internationally recognized Buffalo State music faculty along with other outstanding local performers, teachers, and scholars. Instrumental students only, no vocalists.

The Vocal Camp provides students with traditional choral music ensemble and other vocal and foundational music experiences. In addition, students will study musical literacy and sight reading, and participate in movement courses including yoga and Dalcroze eurythmics. All ability levels and voice types are welcome.

Every summer, the Mary Pappert School of Music and City Music Center partner together to offer a variety of summer workshops and intensives for young musicians as well as professional symposiums for school music directors and ensemble leaders.

Berkshire Summer Music is a music program for talented students in Great Barrington, MA. There are two sessions each summer. The BRASS WEEK is for High School and College aged students and the STRING/PIANO session is for ages 8-14.

Join more than 300 music educators who are enriched annually by graduate coursework in the UArts Summer Music Studies program, and expand your pedagogical, technological, musical and instructional skills in all genres of music classrooms.

This course covers the development, writing and evaluation of curriculum as a dynamic interactive process based on research. You will develop curriculum writing and evaluation skills through critical review of various curricula, analyses of curriculum models and developing your own curricula. Measurement and assessment of learning, which is the crucial dynamic element in curricula, is covered in depth. Upon completion of the course, you should be able to critically analyze curricula, design curricula and develop appropriate assessment tools for various music learning situations.

This is an intensive course of study of the historical and philosophical foundations of music education. This course will encapsulate both the history of music education in the U.S., from the colonial period to modern times, and a philosophical emphasis on 20th- and 21st-century thought and movements in music education in the U.S. These movements and philosophies will be analyzed in terms of their impact and effectiveness and why some have succeeded where others failed. An analysis and synthesis of ideas and events will reveal historical cycles, sociopolitical ramifications, and periodic reintroduction and revision of previous approaches. Current trends in U.S. music education will be analyzed from both historical and philosophical perspectives, while making evident the connections of philosophical theories and theorists and their significance through the history of music education.

This course is designed for the music educator who has some formal experience playing bass guitar or has completed MMED/AMUS 603 Introduction to Electric Bass. This course is focused on developing your techniques and processes to ultimately be shared with your own bass students in the classroom. The course will explore different right-hand techniques, finger picking with one or two fingers and slap bass. With the left hand, you will discover efficient scale and arpeggio fingerings, covering one and two octaves. All techniques are designed to you a solid foundation in the fundamentals of bass playing, while learning the role of the bass at the same time. Stylistically, the course will explore different grooves from rock, blues and bossa nova, to walking jazz bass. Beyond the fundamentals of groove, each participant will attempt to improvise on the fundamentals of harmony. You should bring your own electric bass; amps will be provided. (If you have difficulty finding an electric bass, email sms@uarts.edu.)

This course will expand upon concepts of foundational technology and techniques necessary to produce concerts and live events from the perspective of the music educator. You will explore advanced audio engineering and live sound production strategies to maximize the quality of live and recorded student events and performances. A more sophisticated understanding of concepts such as signal flow, signal processing, live mixing, microphones and live recording will enhance the basics covered in Live Sound Production for Music Educators, Level 1. This course will refine the overarching strategies learned in the first course to maximize live sound production in your home school and with your performance ensemble.

This course provides music educators at all levels the opportunity to learn about the art of songwriting and how to teach songwriting to students. You will gain an understanding of the basic elements of a well-crafted song and the essential elements of melody and lyrics. Strategies for writing and teaching songwriting through traditional methods, current methods in the use of technology and creating through beats will be explored. You will experience an in-depth understanding of the many facets of songwriting and how to bring this art form into the classroom.

Rigorous investigation of the brain is best left to neuroscientists. However, it can be beneficial for music educators to come to a rudimentary understanding of learning- and music-specific brain processes. In addition to helping you advocate for the necessity of music in the curriculum, an overview of the intersection of neuroscience and learning supports efforts to meet the needs of all students at musical, social-emotional, and culturally responsive levels. This course is applicable to all areas and levels of music education.

The music classroom is an inherently inclusive and cooperative environment. Meeting the needs of students with special needs, however, requires a specific set of skills, dispositions and experiences to appropriately adapt and modify instruction. Enhancing the inclusive and cooperative possibilities in the music classroom while meeting the needs of all students is a challenging, yet exhilarating, possibility. This course will focus on identifying areas of strength and challenge in students with special needs, advocating for the appropriate classroom environment for all students, and the creation of adaptations and accommodations for students in inclusive and self-contained music classrooms.

The Mindful Music Educator is for any music educator. It has two components: Mindfulness and Yoga for Musicians. Through the practice of mindfulness, you will be given time to pause and focus on your own care and well-being. This class is designed for the self-care of music educators. This is an opportunity for you to reduce stress, recharge, reflect and reconnect. It will be both educational and experiential, and a shared experience of discovery, awareness and care. Self-care is at the heart of everything we do, and when we take care of ourselves, we can be at our best, have more balance in our lives, and be more present for the people in our lives. That enhanced presence allows us to better connect with our families, friends, colleagues and students. In addition, as teachers, we want our students to lead healthy lives, to learn healthy coping skills and to make healthy choices. Self-care allows us to better connect with ourselves and with the individuals who may cross our paths each moment of the day.

Specifically designed for the band director or music teacher who is not a percussionist, this course will review basic skill sets in each of the primary instrument families, present a variety of teaching strategies and offer new insights into passing this knowledge onto your student drummers. Writing for these instruments at the elementary and intermediate level will be explored. Bring a pair of concert snare drumsticks (Vic Firth SD1 or equivalent), a practice pad with a stand, a set of four matched marimba mallets and a pair of general purpose timpani mallets.

This course is designed for music performers and educators who want to learn how to improvise and teach improvisation in the classroom. Through carefully selected jazz repertoire, you will learn the basic mechanics of improvisation and the essential music theory elements needed to improvise and teach improvisation, including modal improvisation, the blues, ii-V-I progressions, and simplifying chord progressions. You will practice and perform jazz improvisation concepts on the instrument of your choice. No previous experience with improvisation is required.

This course is designed for string educators looking for something different to bring to their classrooms! You will develop strategies to learn tunes by ear, and then use those same strategies to learn chords and accompaniment techniques. You will also learn basic arranging skills and how to arrange in a group. You will also leave with the skill set to create an environment in which orchestras are excited to put away the sheet music, take ownership of their music-making and have fun in the process! This class will culminate with a public performance. Violin, viola and cello players are welcome. You will need to bring your own instrument. e24fc04721