A short course to assist parents in planning musical training for their children. Under discussion will be choice of teachers and instruments, and the role of the parent in the child’s musical studies. The development of musical and rhythmic senses in children will also be discussed.

The theory of parallel development of musical and language senses in the infant will be explored and the importance of their developments in the early years emphasized; various games and other procedures, such as holding the two-year-old in one’s lap and helping him/her "conduct", will be introduced to assist this development. Chapter 9, "The Parent’s Role" in Ruth Edwards’ book The Compleat Music Teacher will be presented. The "Three Interviews Method" of teacher selection will be presented, as will an exposé of tricks school teachers might use to entice a student to a less desirable instrument.

An alluring new approach to music history beginning with the student’s favorite selections of today’s music including avant garde, rock, disco, etc., then moving backwards in time to provide insight into their relationships to each other and to music of the masters.

This course takes sort of a "Roots" approach: by raising questions about the mutual beginnings and other similarities of Bach and the Beatles, interest can be maintained at greater intensity than if the usual approach beginning with "meaningless antiquities" is used.

The science of music is the relationship of sounds to each other; the art of music is the relationship of sounds to the listener. Although Aristotle ascribed certain powers to different musical scales due in part to the physical effects they have upon us, this power is more likely to be a result of meaning attached to the scales by social convention. We have, as in Aristotle’s day, come to expect certain musical nuances to express certain feelings or moods. It is thus also important to begin a music appreciation course with music to which the student can relate. This thesis serves as the basis for the structuring of this course.

Another important advantage of this approach is that anyone, whether one’s musical taste be classical, modern or pop, will begin the course with the feeling that their taste is the one under consideration, but will leave the course with appreciation of previously unappreciated music as well as with an enhanced appreciation of their previous likes.

Designed to develop sensitivity to intervals and rhythm, and an ability to freely transfer from notes to sound and from sound to notes. The Primary Level covers basic scale and interval patterns and simple rhythms. The Secondary Level introduces changing keys and more difficult rhythms. The Advanced Level introduces elaborate modulations, chromatic embellishments, modal idioms, and musical interpretation.

Each of the three levels will meet one hour per week for 8 weeks (programs for younger ages are fifteen to thirty minutes’ duration and meet once per week for 10 weeks)..

Not only are many accomplished musicians frequently very poor sight-readers, but many students and amateurs may greatly suffer from their inability to play even the simplest piece without having studied it for weeks or months. Thus, in the course of years of study, they acquire nothing but a limited "repertory" and fail entirely to attain a broader overview of what is available for their instruments.

The first half of the class period is used for sight reading, the second half for ear training. A typical text for sight singing might be Berkowitz’ book; several ear training recordings (including a set from Rutgers University) are available. The age of students allowed in the class is something best played "by ear"; when students are properly placed it is easier to go too slow that too fast, so a slower (not necessarily a younger) student is not always a hindrance to the class.

I.    HISTORY & DEMONSTRATION
    A.    Bach
    B.    Mozart
    C.    Beethoven
    D.    "Modern" Classical

II.    PREREQUISITES
    A.    Harmony
    B.    Melody
    C.    Rhythmic Sense
    D.    Form
    E.    The Ear (Aural Analysis)

III.    EXERCISES
    A.    5-Note Positions and Pentatonic Scales
    B.    Rhythmic Diversity
    C.    Imitation Techniques (fugal techniques)
        1.    direct imitation
        2.    canonic imitation
        3.    rhythmic imitations
        4.    inversion imitations
        5.    augmentation & diminution imitations
    D.    Chord Progressions
        1.    unembellished
        2.    embellished

Courses may be 1, 2, 3, or 4 hours’ duration.

The Techniques of Music: Harmony, Counterpoint, Fugue, Form

A Music Lesson for Parents/Companions/Listeners: Techniques for the Enjoyment of Sound and the Appreciation of Music

The Styles of Music: Music History Taught Backward. Modern, Neo-Classical, Romantic

Music History Taught Backward Concluded: Baroque, Renaissance, Ancient. Conclusions.

All Lectures profusely illustrated with original and traditional musical
examples.

NOTE: Each Lecture is a stand-alone presentation or may be presented in any combination. Each presentation is one hour, but can be expanded up to 2 ½ hours when presented as stand-alones.

A study of the basics of reading and writing music, including rhythm and phrasing, melody, intervals and scales. The Primary Level will cover basic terminology and mechanics of note reading. In addition, great emphasis will be placed upon sight-reading and melodic and rhythmic dictation, as well as upon general musicianship, music appreciation, and application of the theory to the student’s instrument. The Secondary Level will cover additional terminology, and will cover intervals, scale formation, the circles of fifths and fourths and aspects of sound relationships related to them. The Advanced Level will cover formation of chords, counterpoint concepts, chromatic scales and intervals, and other materials as are necessary to prepare the student for courses in harmony and counterpoint.

A placement test may be taken if the student has had some theory; it is neither an aptitude test nor an indicator of what the course will cover but is to serve merely as a placement guide for the student’s convenience.

Theory papers (younger ages) and/or Theory text; manuscript paper.

Each of the three levels will meet one hour per week for four weeks (programs for younger ages are fifteen to thirty minutes’ duration and meet once per week for 10 weeks).

Both published and original theory materials will be used.

A study of the principles of setting words to music through the analysis of the musical qualities of words and the linguistic qualities of music. The course is designed to benefit both the non-musical wordsmith and the verbally inept musician in that emphasis is placed on the similar characteristics of music and words and the qualities present in their successful artistic marriage. The "Short" course (1 to 4 hours) is an exposé of the principles involved ("discovered" by the students rather than taught); the "Long" course (6 to 8 hours) adds mutual self-assessment of exercises by the students including their own music/words where possible.

This course is especially suited for high school students who are interested in songwriting. The ideal format is to meet on two non-consecutive days, preferably separated by a week’s time. The first meeting (2 to 3 hours) explores all the steps in the outline below except the last. The week’s break gives the participants an opportunity to prepare examples in which they apply the principles learned. The second meeting is a sharing and critiquing of the examples.

Manuscript paper, copies of student’s personal poems/words/ music.

 "Short" Course: 1 to 4 hours; "Long" Course: 6 to 8 hours.

I.    Introduction
II.    Musical Qualities of Words
        A.    Rhythm
        B.    Pitch
        C.    Timbre
III.    Linguistic Qualities of Music
        A.    Rhythm, Pitch, Timbre
        B.    Expression and Meaning ("Emote" vs. "Connote")
IV.    Integration of Words and Music
V.    Exercises
        A.    Setting Specific Problem Words/Phrases to Music
        B.    Analysis of Student’s Words Already Set to Music

    1. Introductory Remarks
    2. Composer’s Background
    3. Student’s long-term goals:
        a. Enhanced awareness of sound relationships to the real world
        b. Insight into the composition process
    4. Student’s short-term goals:
        a. Enhanced attention span
        b. Cooperation
    5. Teacher’s long-term goals:
        a. Tools to assist students in achieving above goals
        b. Tools with which to relate music to varied subjects
    6. Teacher’s short-term goal: Breaks!
    7. Theory of music as a language
    8. Composition process mental, not aural
    9. Finger Games and Songs
10. Hands on improvising experience

Targeted for performers of stage arts other than music, this course is designed to develop sensitivity to intervals and rhythm, and an ability of as well as awareness of the process to freely transfer from sound to notes and especially from notes to sound. The Primary Level covers the principles of musical pictography, i.e.., the pictorial representation of melodic and rhythmic progressions through musical notation. The Secondary Level introduces basic scale and interval patterns and simple rhythms. The Advanced Level introduces changing keys and more difficult rhythms as well as introductory commentary about modulations, chromatic embellishments, modal idioms, and musical interpretation.

Each of the three levels will meet one hour per week for 4 weeks.

The professional as well as amateur actor may have little or no ability to read music well enough to lend musical support to a production or to competently audition for that role that would otherwise be a "sure thing." This course is designed to provide awareness of the basic tools necessary to acquire the "minimum daily requirements" of musical sensibility.

A typical text for sight singing might be Berkowitz’ book; several ear training recordings (including the Rutgers University set) are available. The age of students allowed in the class is something best played "by ear"; when students are properly placed it is easier to go too slow than too fast, so a slower (not necessarily a younger) student is not always a hindrance to the class.

Targeted for performers of stage arts other than music, and for chorus and choir members who don’t read music, this course is designed to develop the tools necessary to more readily translate from notes to sound. The principles of musical pictography, i.e.., the pictorial representation of melodic and rhythmic progressions through musical notation, is introduced.

One meeting of one to two hours.

Many actors, non-singing performers, and choir and chorus members may have little or no ability to read music. This course covers some of the history and concepts of pictographic notation and its utilization in music. Focus for the non-reader of music is on how to take advantage of the pictographic nature of music to assist as a mnemonic for facilitating learning one’s part by ear.

Demonstration, discussion and handouts are the primary tools for this class.

This is an integrated arts program that exposes participants not only to the more common elements of theatrical and musical production but also to the actual inception, organizing and writing of both text and music for such a production.  Using hands on opportunities, the participants will conceptualize, write, orchestrate, rehearse, direct, stage, manage and perform a one or two act opera or musical.

Rehearsal room; performance area, scenery, costuming and advertising supplies.

There may be investments required for scenery, costuming, make-up, and public relations materials.

Five-plus (9-week programs recommended for ages 5-9; nine or eighteen week programs for older groups).

 None (any theater or music performance experience helpful).

Two one-hour (minimum) meetings per week for 9 or 18 weeks for a one or two act production plus additional dress rehearsals as can be scheduled.

6-30 participants (more where a larger production is anticipated and additional "back stage" functions are available).

This program is ideally suited for an existing Drama, Choral, or Theater class but has even been applied successfully at the K-2 school level for select groups of 15 to 30 children. Participation by the site instructor and/or parents or other experienced personnel ensures smooth development of the final production. Because an integrated arts approach is taken here, it is even possible to incorporate wood working shop or print shop students to assist with scenery construction, graphics designing, printing of tickets, advertising materials production, etc.

The first topics discussed are the function and purpose of art in general, and musical-theatrical arts in particular. Following meetings focus on the different tasks involved, the conceptualizing of a dramatic event, copyright concepts, realizing the event in words and music, phonetic and melodic considerations for words and music, instrumentation, importance of and types of back stage arts, delegation of tasks and roles, rehearsals, house management, and production. A detailed syllabus is available for review.

As a result of the remarkable diversity and constant growth of this subject, this course can be as short as 60 minutes or as long as a college semester. The short presentations are introductions to the capability the technology has to offer; the longer courses include hands-on composition, editing and production of both printed and performed music. In all programs, participants are introduced to some of the hardware used, and to software packages from the most basic to state-of-the-art.

 None; some computer literacy and music theory is preferred, especially for the longer courses.

Flexible.

A typical short presentation might include a performance of a prepared work followed by a breakdown of instrumental components. Voices and other sounds may be sampled and played back digitally in both original and modified formats (modification might include reverberation, echo, reversing the sample, splitting and combining samples, etc.). Participants are encouraged to try instruments and editing of sounds.

The longer presentation begins with an introduction to sound production, synthesizer history and theory (minimum electronics; the course is applications oriented), MIDI history and theory, and a history of compositional techniques with emphasis on the modern influence of MIDI. Participants may be able to produce original compositions for a collective performance. A detailed syllabus for an eight-week program plus final recital is available for review.