Overtones
Identifieur interne : 001530 ( Istex/Corpus ); précédent : 001529; suivant : 001531Overtones
Auteurs :Source :
- Music Educators Journal [ 0027-4321 ] ; 1968-10.
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- Teeft :
Url:
DOI: 10.2307/3392313
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ISTEX:CFFD79A3BCA9FB3370D86B4EED5C28A5E90272B3Le document en format XML
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xml:lang="EN"><front><journal-meta><journal-id journal-id-type="hwp">spmej</journal-id><journal-id journal-id-type="publisher-id">MEJ</journal-id><journal-title>Music Educators Journal</journal-title><issn pub-type="ppub">0027-4321</issn><publisher><publisher-name>SAGE Publications</publisher-name><publisher-loc>Sage CA: Los Angeles, CA</publisher-loc></publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.2307/3392313</article-id><article-id pub-id-type="publisher-id">10.2307_3392313</article-id><article-categories><subj-group subj-group-type="heading"><subject>Articles</subject></subj-group></article-categories><title-group><article-title>Overtones</article-title></title-group><pub-date pub-type="ppub"><month>10</month><year>1968</year></pub-date><volume>55</volume><issue>2</issue><fpage>23</fpage><lpage>24</lpage><custom-meta-wrap><custom-meta xlink:type="simple"><meta-name>sagemeta-type</meta-name><meta-value>Other</meta-value></custom-meta><custom-meta xlink:type="simple"><meta-name>search-text</meta-name><meta-value> Overtones • “Marine Band, sound off!” and Gunnery Sergeant Lyman A. Gilliland of the Marine Band steps out for the October cover of the Journal Behind Sergeant Gilliland and out of sight is the Marine Corps Commandant's house, the oldest continuously occupied dwelling in Washington, D.C. In front of him—also out of sight-is Jon Francis, the band's official photographer. Known as “The President's Own,” The Marine Band is the oldest military band in the United States, having been organized as a fife and drum corps in 1798. As official White House musicians, they played their first concert for John Adams on New Year's Day in 1801 and last year performed there 225 times, including the wedding of a certain Marine Captain named Robb. The development of the modern military band accompanied step by step the rise of nationalism, hitting its stride with Henry VIII's flamboyant celebrations of the English monarchy and realizing its full potential with the French Revolution and Bernard Sarrette's Music Corps of the National Guard, founded only nine years before The Marine Band. David Swanzy's “Drumming Up a Revolution” (page 54) draws from valuable source material accumulated for his doctoral dissertation to locate a missing link in the evolution of the marching band. Charles Ives, the subject of Jonathan Price's typographical collage (page 38), vividly remembered rousing Fourth of July parades down the main street of his hometown, Danbury, Connecticut. Ives' music sometimes recreates the magical confusion of sound when two marching bands playing different melodies in different keys and tempi impinge themselves upon the ear. As Price points out, this is the way Ives was taught by his father to hear music, to exclude nothing, to absorb everything. The article is about Charles the composer, but the model for music educators is his father George. Paul Haack warns that the marches that excited young Ives' ear under his father's creative tutelage may have a dulling effect on our secondary school pupils. His article “Music Education: Aesthetic or Anesthetic” (page 52) builds from a study suggesting that extensive concentration on one instrument in a band can make a student musically less aware! According to further research completed by James Aliferis (page 61), male music educators are drawn largely from band students—and tests prove that, indeed, music education students rank lowest in musical comprehension. Aliferis fears a self-perpetuating cycle of pro- fessional mediocrity unless we discard the mold music educators are made in. Nowadays, when consensus politics is breaking down everywhere and even musicians debate the universality of the musical language, it is not surprising to see indications that C. P. Snow's “two cultures” can be divided and redivided until real estrangement is apparent between members of the same artistic family—academic musicians and performers, for instance. Donald Ivey's “Faculties, Factions, and Functions,” written from personal observations on at least a dozen campuses, warns of an immoral tendency to factionalism based on false premises (page 32). Julius Herford once remarked that, “Analysis is only good insofar as it makes the music speak.” On page 35, Jan LaRue emphasizes the need for concrete, comprehensive analysis (as opposed to psychological-philosophical analysis), the kind, for example, students must practice to understand music well enough to create an original composition in the style of a particular composer or era. Actual results of this kind of analysis are printed in Lloyd Ultan's article, the second in a series on the new theory program at The American University, Washington, D.C. (page 49). While educators create rationales for the inclusion of the arts in the school curriculum (see page 27), the country may no longer be getting-along - very - well - thank - you without music. Especially when some Title I projects indicate that in disadvantaged situations, music may be the only element that makes other learning possible (page 46). Edward O'Connor and Marian Thorman want music educators to understand the potential of OCTOBER, NINETEEN SIXTY-EIGHT 23 CONVERSATION PIECE No. I with Noel Goemanne WLSM: n oel, I understand you have written a brand new choral work, a most important and significant composition. Noel: Yes, that is true. WLSM: Concerning your composition, is this The First, Noel? Noel: You know it isn't. You've already published a dozen compositions of mine. WLSM: We know, but we had to ask that to get in the pun. Noel: It wasn't worth it. WLSM: Tell us something about this great composition. Noel: Written for unison chorus, speaking choir, trumpets in C, timpani, and organ (with congregation and SATB chorus ad libitum), this composition is intended especially for those festive occasions when a director wants to bring together all the singing groups of his school or parish, as.well as those talented on instruments. Although this work will sound its best with the use of instruments, congregation, and a combined choir of men, women, and children, it can also be effectively performed with a regular choir and organ. WLSM: Sounds great! Noel! Of course it does! Especially when performed! But it is your job to see that it IS performed. Let choir masters and choral directors know about it. Like many other compositions in your Greenwood choral catalog, it is one which directors would be anxious to perform. Tell them about it. Advertise in the MUSIC EDUCATORS JOURNAL WLSM: Hey, you better tell us the title of your pride and joy. Noel: It's called SONGS FROM THE BOOK OF REVELATION, and the total performance time of the four songs is approximately 15 minutes. Full score costs $1.75; vocal score, $.35. WLSM: Quite a revelation, Noel. Quite a revelation. No6l: It's worth it. Greenwood Choral Series • Parkway Choral Series WLSM Choral Series sm WORLD LIBRARY OF SACRED MUSIC Dept. MEJ-1 2145 CENTRAL PARKWAY, CINCINNATI, OHIO 45214 Title I projects in these areas and the added responsibility that results from their initial success. MENC's Music in the Elementary School—A Conceptual Approach is being accepted throughout the country, buUit is distressing to see how few teachers understand the connection between the conceptual approach and empirical learning—learning by doing. This, Rees Olson reminds us, is the activity approach, taught by Dewey and misapplied by millions (see page 57). Note well: Most important about the conceptual approach—the doing. Least important—the verbalization. Doing, for example, is what makes the Orff Schulwerk so successful, according to Jane C. Frazee, an Orff specialist at the Northrop Collegiate School in Minneapolis. What a member of the editorial board called “The Great Debate” about Orff will not be settled by this one article. But it should serve to clear away many misconceptions about the composer's ideas on education (page 64). In the grand tradition of the Journals far-flung correspondents, Ylda Novik toured Yugoslavia and Rumania on a grant from the Institute of International Education and brought back the stimulating report on page 69. Lifting one corner of the Iron Curtain for a peek, she finds the eastern European stage filled with thousands of well-trained pianists. A speech by MENC President Wiley Housewright is featured in a review of the International Society for Music Education Conference by Frank Callaway, the newly elected president of ISME from Australia. Housewright, speaking on the Conference theme “The Influence of Technical Media on the Music Education of Today,” points out that computers can only help carry out the goals that music educators must set for themselves (page 79). Electronic Music Issue Next month, the Music Educators Journal will devote the entire issue to the subject of electronic music. Articles and interviews with leading composers and educators who have boldly committed themselves to a new world of sound will explain what electronic music really is, where it is heading, and how it can be approached in the classroom. At some point it strikes the music educator that every student he teaches comes to him fresh, uncommitted, and with open ears. And it is sometimes frightening that these students can hear music where their teachers cannot—without a real conscious effort to overcome ancient aural biases. In November, the Journal promises to offer every reader an opportunity to open his ears.—Ed. </meta-value></custom-meta></custom-meta-wrap></article-meta></front></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>Overtones</title></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>Overtones</title></titleInfo><typeOfResource>text</typeOfResource><genre type="other" displayLabel="other"></genre><originInfo><publisher>SAGE Publications</publisher><place><placeTerm type="text">Sage CA: Los Angeles, CA</placeTerm></place><dateIssued encoding="w3cdtf">1968-10</dateIssued><copyrightDate encoding="w3cdtf">1968</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><physicalDescription><internetMediaType>text/html</internetMediaType></physicalDescription><relatedItem type="host"><titleInfo><title>Music Educators Journal</title></titleInfo><genre type="journal">journal</genre><identifier type="ISSN">0027-4321</identifier><identifier type="eISSN">1945-0087</identifier><identifier type="PublisherID">MEJ</identifier><identifier type="PublisherID-hwp">spmej</identifier><part><date>1968</date><detail type="volume"><caption>vol.</caption><number>55</number></detail><detail type="issue"><caption>no.</caption><number>2</number></detail><extent unit="pages"><start>23</start><end>24</end></extent></part></relatedItem><identifier type="istex">CFFD79A3BCA9FB3370D86B4EED5C28A5E90272B3</identifier><identifier type="DOI">10.2307/3392313</identifier><identifier type="ArticleID">10.2307_3392313</identifier><recordInfo><recordContentSource>SAGE</recordContentSource></recordInfo></mods></metadata><author></author><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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