Shostakovich Prelude

Tonight I recorded a short Shostakovich Prelude, Op 34 No 14, in Eb minor.

 

I first heard this piece in its band transcription, transcribed by H. Robert Reynolds:

I have to admit that part of me likes the band transcription better. It seems to evoke the darkness of the piece more than solo piano, and the piercing trumpets at the climax add a lot to the piece. This orchestration influenced my interpretation of the piece (but I often think of solo piano pieces in terms of "its orchestration," so that's not too much of a surprise).

Thanks for watching!

Everything is a Remix

Everything is a Remix from Kirby Ferguson on Vimeo.


via www.thepriatesdilemma.comKirby Ferguson is putting together a four-part series called "Everything Is a Remix." He has two episodes out so far. (The embed above is the first, dealing with music. The second, dealing with movies, is available here.)

Remixes are a part of our contemporary musical culture. Along with mash-ups, they're a great way for even the most amateur musician to have a creative outlet. All you really need is a way to edit the music. (You get bonus points if it's uploaded on YouTube and goes viral.)

The above video is very interesting and well-composed, and it touches on the notion that all music is based on something else. Impressions is based on So What. Coldplay is based on early Radiohead. Early Beethoven is based on Haydn. Everything comes from something else.

How can we use the idea of remixes to expand the classical music audience? How can we use them in music education? Is modern copyright law properly equipped to deal with the concept of the remix?

(Visit Everything Is a Remix, and follow him on Twitter.)

Music Theory "Multiplication Tables"

One thing I disliked about how I was taught music theory during piano lessons and in undergrad was that a lot of it seemed to be busy work. Unfortunately, I came to realize that some of it does need to be "busy work." Some topics need practice to learn and perfect. And to be an adept musician, you should be able to easily identify meter signatures, key signatures, and other basics of our standard notation.

It's with this mindset that I used PowerPoint key and meter signature quizzes in my music theory classes. In a way, these are similar to the timed multiplication tables that we did in grade school.

One PowerPoint was set up to include all 15 different key signatures (it works for major and minor keys); one had more key signatures, and an audible tonic chord, to differentiate between major and minor keys. Another was set up to include several different meter signatures.

The slides can be randomized, so they aren't in the same sequence each time you give a quiz. They can also be set on a timer, so students have 5, 10, etc., seconds to name the key or meter. When giving the meter quiz, I would often have the students write out if it was simple or compound meter, as well as if it were duple, triple or quadruple meter. (I usually allowed them time after the PowerPoint was finished to do this, especially if it were on a faster timing cycle.)

This doesn't mesh very well with many current theories of learning and teaching. Some people might say that it's rote learning, or overbearing, or that it doesn't take into account the student enough.

The truth is, though, that this works. And it's a necessity to identify these elements quickly and easily. As I'm sure you know, if you have to spend a minute figuring out the key and meter signatures to a piece, that's a minute of valuable time lost practicing, studying, etc.

Feel free to use these PowerPoints (but please contact me if you use them - I'd love to hear how they work out in your classes!). Please share other ideas about using PowerPoint in your music theory class, or other ways to increase student knowledge and awareness of these ideas!

It's Groundhog Day!

via www.flickr.comHappy Groundhog Day!!

Everyone thinks Punxsutawney Phil is the real groundhog, but I have to say that Jimmy the Groundhog is the one true weather prognosticator. (Chalk it up to hometown bias. Besides, Sun Prairie is the Groundhog Capital of the World.)

We like to celebrate with a breakfast, where the mayor talks to Jimmy to find out whether or not we'll have six more weeks of winter. (If Jimmy sees his shadow - six more weeks of winter. If he doesn't - early spring!)

Jimmy has an 80% success rate, and he did not see his shadow this year. We'll be having an early spring!

Stay warm out there! And have a great Groundhog Day!!

A Question of Musical Boundaries

via suntimes.comI have some questions, and I don't have the answers:

Why is West Side Story a piece of musical theatre, but Symphonic Dances from "West Side Story" a piece of classical music? Why is Radiohead rock, but Christopher O'Riley's albums of Radiohead music classical? Just what exactly is John Adams' I Was Looking at the Ceiling and Then I Saw the Sky?

Should we eliminate musical genre terms, as David Lang wrote, partly because they're dictated to us from others? Do they help us fulfill a human desire to categorize? Would it be easier to shop (virtually or in a brick and mortar store) if CDs were organized by artist, regardless of genre (as Christian McBride, I believe, described in a record store in Philadelphia)?