This research is designed to show the importance of incorporating creativity in the orchestra classroom through the musical art of improvisation. Included in the research are discussions on the history of improvisation, the importance of improvisation, the importance of creativity in the classroom. This research includes lesson plans designed specifically for orchestra/string educators to teach improvisation to string players.
Drama Lesson Plans for Busy Teachers: Improvisation Rhythm Atmosphere ab 7.99 € als epub eBook: . Aus dem Bereich: eBooks, Belletristik, Dramen & Lyrik,
Meet Marty McGuire! Marty would rather spend recess catching frogs in the pond than playing dress-up with the other girls in third grade. So when her teacher casts Marty as the princess in the class play, Marty’s absolutely, positively sure that there’s been a huge mistake! But after a special lesson in the art of improvisation, Marty comes up with her own plan to improve the play. Maybe a princess in muddy sneakers can live happily ever after, after all! 1. Language: English. Narrator: Cassandra Morris. Audio sample: http://samples.audible.de/bk/schc/000220/bk_schc_000220_sample.mp3. Digital audiobook in aax.
Marty McGuire would rather spend recess catching frogs in the pond than playing dress-up with the other girls in third grade. So when her teacher casts Marty as the princess in the class play, Marty's absolutely, positively sure that there's been a huge mistake. But after a special lesson in the art of improvisation, Marty comes up with her OWN plan to IMPROVE the play: Why use stuffed-animal frog onstage when a live one would be so much better? In the end, Marty's one-of-a-kind performance makes for an unforgettable show. Maybe a tomboy princess CAN live happily ever after, after all! 1. Language: English. Narrator: Cassandra Morris. Audio sample: http://samples.audible.de/bk/schc/000367/bk_schc_000367_sample.mp3. Digital audiobook in aax.
Drama Lesson Plans for Busy Teachers: Improvisation Rhythm Atmosphere ab 7.99 EURO
Tony Rice is known world-wide for his spectacular technique, brilliant improvisation and powerful soloing. In this lesson, he personally passes on to you the style he has developed during his two decades as the top bluegrass flatpicker of his generation. In careful detail, Tony analyzes licks, runs, solos and rhythm parts to hot bluegrass songs and fiddle tunes that will challenge and delight all flatpickers. Before long you'll be picking solos to the following essential bluegrass tunes: Red Haired Boy * Little Sadie * Your Love Is like a Flower * Blue Railroad Train * Home from the Forest * Wildwood Flower * Old Train * Wild Horse * and Jerusalem Ridge.
This book will be of major interest to student teachers, teachers, lecturers and researchers. It provides a case for an integrated approach to the teaching of drama in primary and secondary schools that will help practitioners develop a theoretical rationale for their work. It also offers practical examples of lesson plans and schemes of work designed to give pupils a broad and balanced experience of drama. These are presented within a framework that argues for an integration of content and form, means and ends, and internal and external experience.Whereas the author's previous work argued for an inclusive approach that reconciled polarized views about performance drama and improvisation, this book shows how those activities can be related to each other in practice in an integrated curriculum.
Hear, Listen, Play! is a book for all music teachers who are unfamiliar with, yet curious about the worlds of ear-playing, informal learning, improvisation, and vernacular musics. For decades, or even hundreds of years, a divide has slowly been developing between the realms of notation-based musical transmission, and aural/oral methods. Yet that divide is by no means a necessary aspect of music learning, and musicians who are lucky enough to dwell on both sides of it count themselves as so much the richer for doing so. This book aims to provide a door into those other worlds for any teacher who would like to open it. Starting with a brief discussion of how popular musicians learn in the informal realm, the book then applies many aspects of their learning practices to three main areas within music education. Firstly it tackles the one-to-one specialist instrumental lesson, then ensemble work such as band and orchestra; and finally the generalist or specialist classroom. The methods within each section have been systematically tried and tested in research projects spanning more than a decade, yet the book is written in simple, non-academic language which teachers will quickly find applicable to their working lives. Vignettes from the research participants themselves provide color throughout the book, and give illustrations of how both teachers and learners have experienced the methods themselves. This book is not a prescription for one particular way of teaching or learning; it does not aim to critique, replace or change the excellent practices that are already on-going in the diverse world of music education and pedagogy. It simply offers something which is likely to be new to many teachers, and which they can, if they so wish, add in to the mix. The professional judgment and expertise of the teacher is surely the lynch-pin on which all good teaching relies; and the open nature of this book, along with its frequent calls for teachers to not only adopt, but adapt, its methods according to their own and their students' needs, is a testimony to that.
&#8220;Jazz in the Classroom&#8221; provides opportunities for students to create improvised music by using a combination of easily learned jazz techniques in the classroom. The material is suitable for mixed ability classes or smaller groups of 10-14 year olds. Each lesson should start with a warm-up using echo clapping and question and answer work. These techniques are learnt in the first few sessions. Further sessions cover melodic improvisation over ostinati, moving from small note groups to pentatonic scales, modes and finally major scales. The pieces in each session can be performed separately for concerts, and can also act as models for the composition of new pieces.