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Books on the topic 'Music performance assessment'
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1
Barden, Wendy. Performance assessment in band. San Diego, Calif: Kjos, 2009.
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2
Performance assessment in orchestra. San Diego, Calif: Kjos, 2009.
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3
Shaw, Brian P. Music Assessment for Better Ensembles. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190603144.001.0001.
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Assessment is central to ensemble music. Yet, teachers do not always have the expertise to harness its potential to improve rehearsals and performances, and promote and document student learning. Written specifically for band, choir, and orchestra teachers at all levels, this book contains all of the information necessary to design and use assessment in a thriving music classroom. The first section addresses foundations such as learning targets, metacognition, and growth mindset. Assessment jargon such as formative assessment, summative assessment, Assessment for Learning, self and peer assessment, and authentic assessment is clarified and illustrated with music examples. Readers will learn practical strategies for choosing which concepts to assess, which methods to use, and how to use results to provide accurate and effective feedback to students. The second section brings assessment fundamentals into the music room. Filled with practical advice, each chapter examines a different facet of musicianship. Sample assessments in all performance areas are provided, including concert preparation, music literacy, fundamentals and technique, terminology, interpretation, evaluation and critique, composition and improvisation, beliefs and attitudes, and more. The final section is an examination of grading practices in music classes. Readers will gain information about ensemble grades that communicate what students know and are able to do. The book concludes with ways for music educators to take their first steps toward implementing these strategies in their own teaching, including the use of instructional technology. Assessing like an expert is possible, and this book is just what teachers need to get started.
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Brophy, Timothy S., ed. The Oxford Handbook of Assessment Policy and Practice in Music Education, Volume 2. Oxford University Press, 2019. http://dx.doi.org/10.1093/oxfordhb/9780190248130.001.0001.
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This volume of the handbook addresses music education practice and technology in 37 chapters written by fifty three leading experts from across the world. The volume is divided into three sections and closes with an epilogue. Part 1, “Music Assessment in the United States,” presents a review of legislation and case law, national assessment trends, and state-level assessment programs in eight states. Part 2, “Assessment of Student Music Learning,” covers the practice of assessment in early childhood, special needs, primary, and secondary music classrooms and ensembles. Part 3, “Assessment and Music Technology,” covers policy and practice for technologically assisted music assessment, and details technical issues related to computerized assessment of music performance. The epilogue brings the handbook to a close with a review of the state of the art of music assessment, and introduces the International Principles of Assessment in Music Education.
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bell, adam patrick, ed. The Music Technology Cookbook. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197523889.001.0001.
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The Music Technology Cookbook is a practitioner-oriented collection of lesson plans outlining step-by-step music-making activities with music technology. Featuring fifty-six lessons by forty-nine authors from around the world, The Music Technology Cookbook covers a broad range of music technology topics including: composition (with digital audio workstations such as Ableton, Soundtrap, GarageBand); production skills such as recording, editing, and equalization; creating multimedia (ringtones, soundscapes, audiobooks, sonic brands, jingles); beatmaking; DJing; programming (Minecraft, Scratch, Sonic Pi, P5.js); and, designing instruments (Makey Makey). The contributing authors of the lessons work in diverse educational contexts including universities and colleges, schools, community organizations, and online platforms. Each lesson is comprehensive, including a short description of the activity, keywords, materials needed, teaching context of the contributing author, time required, detailed instructions, modifications for learners, learning outcomes, assessment considerations, and recommendations for further reading. Divided into five sections (Beatmaking and Performance; Composition; Multimedia and Interdisciplinary; Production; Programming and Design), each section is scaffolded using the levels “beginner,” “intermediate,” and “advanced” to help educators gauge the appropriate level of difficulty for their students.
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Barrière, Jean-Baptiste, and Aleksi Barrière. When Music Unfolds into Image. Edited by Yael Kaduri. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199841547.013.39.
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The authors reflect on their own experience of developing a specific form of multimedia live performance: the visual concert. The various video projects they realized for works by Finnish composer Kaija Saariaho serve as examples illustrating a more general aesthetic question: what can video art bring to music within the concert ritual? Answers are suggested first in a general assessment of the scientific (perception and cognition research) and cultural roots and parameters of cross-media art forms, and second in an analysis of the contemporary technological tools that allow the visual concert to move beyond the antiquated paradigms of synesthesia, synchronization, or aleatory autonomy of juxtaposed media, and thus to meet the challenges of contemporary music. These mostly unexplored links between new musical techniques and video art open new opportunities that expand the listener’s experience of music and suggest a practice that can become an art form of its own.
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Tewinkel, Christiane. “Everybody in the Concert Hall should be Devoted Entirely to the Music”. Edited by Christian Thorau and Hansjakob Ziemer. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190466961.013.7.
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This chapter discusses the extent to which representations of “improper” listening are found in popular and academic literature of German and U.S. origin, for the process of reception is highly susceptible to error and interference. Indeed, despite near-ideal conditions, concert-goers are as prone to molding their experience according to subjective predilections as any other type of listener. They may not even be listening at all, despite being physically present and dependent on the musical performance. This mode of behavior as a fact of (concert) life is sometimes mentioned in recent popular books on music but seldom appears in older books; nor has it been part of musicological accounts of symphonic concerts, although scholars such as James H. Johnson (1995) and Peter Gay (1995) speak extensively about disruptions in historical performances. The chapter considers changes in the assessment of such listening in recent years and contemplates causes for these shifts.
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Williamon, Aaron, Terry Clark, and Mats Küssner. Learning in the spotlight. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199346677.003.0014.
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The skills needed to perform music well and to communicate effectively as a performer are truly multifaceted. Increasingly, new methods and technologies are enabling a better understanding of how musicians perform and some of the reasons great performances are so compelling. Yet, optimizing performance skills can still be an elusive task for musicians. Implicit in this is the need for performers to attain a high level of self-awareness regarding their skills and behaviours, appropriate development of those skills and behaviours, and effective implementation of them within high-stress performance situations. This chapter provides an overview of self-regulated learning and examines its relevance to enhancing musical performance. To assist musicians in applying self-regulatory processes to their own assessment, development and review of performance skills, the authors introduce an approach widely used in sport—performance profiling—as a means of facilitating effective ‘self-regulated performing’.
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Lebler, Don, and Scott Harrison. Evaluating progress and setting directions. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199346677.003.0006.
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The complexity of assessing musical performance as a nonverbal art form is well known within the field of professional practice. This chapter addresses key issues including the tension between assessing craftsmanship and artistry. It surveys the strong tradition of expert panel assessment that continues to be the hallmark of musical performance assessment in many contexts, in relation to both solo and ensemble performance. It also explores how such practices may intersect with the development of self-assessment and self-reflection as core professional skills for performers, as well as the processes of formative and summative assessment. Finally, it argues that the making of musicians is a lifelong process in which assessment and examination have an important role but are by no means the only factor in determining whether or not a music student’s eventual career will be successful.
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Hammel, Alice M., and Ryan M. Hourigan. Teaching Music to Students with Special Needs. Oxford University Press, 2011. http://dx.doi.org/10.1093/oso/9780195395402.001.0001.
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A practical guide & reference manual, Teaching Music to Students with Special Needs addresses special needs in the broadest possible sense to equip teachers with proven, research-based curricular strategies that are grounded in both best practice and current special education law. Chapters address the full range of topics and issues music educators face including parental involvement, student anxiety, field trips and performances, and assessment strategies. The book concludes with an up-to-date section of resources and technology information.
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Hawkins, Stan. Aesthetics and Hyperembodiment in Pop Videos. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.002.
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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. This chapter uses textual analysis of the music video “Umbrella,” featuring Rihanna, to demonstrate the intricacies of sound and image synchronization. It argues that music highlights subject positions according to the viewer’s expectations, assessment, and understanding of the displayed subject. Rihanna’s erotic imagery forms a critical point for contemplating the pop artist’s physical responses to music. One central ingredient of most video performances is disclosed by the suggestive positioning of the gendered body, which extends far beyond everyday experience. Such notions are theorized through aspects of hyperembodiment and hypersexuality, wherein the technological constructedness of the body constitutes a prime part of video production. The aesthetics of performance are predicated on the reassemblance of the body audiovisually. Editing, production, and technology shape the images, which are stimulated by musical sound, and ultimately the audiovisual flow in pop videos mediates a range of conventions that say much about our ever-evolving cultural domains.
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Lindeman, Carolyn A. Benchmarks in Action: A Guide to Standards-Based Assessment (Benchmark Student Performances in Music Series). Rowman & Littlefield Education, 2003.
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Daniel, Yvonne. Diaspora Dance: Courageous Performers. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036538.003.0001.
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This chapter examines the foundation of Diaspora dance and its relationship to African dance and music. It first considers the importance of dance in the African Diaspora and its relation to Caribbean dance before discussing the emergence of several types of African movement styles that echo across the Diaspora today, along with the introduction of African-derived dance practices to the mainstream European, Asian, and American dance worlds. It then takes a look at some of the performers who have brought Caribbean dance into global view and goes on to analyze particular ways of moving and preferences for certain dance formations. It also reviews some important assumptions that accompany Diaspora dance and its performance and concludes with an assessment of the consequences of Diaspora performance, noting how the efforts of Diaspora performers reinforce dance practices across the Diaspora as resilient and joyful body communication.
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Mirchandani, Sharon. Landscapes. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037313.003.0004.
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This chapter focuses on Marga Richter's compositions during the 1970s, including orchestral, chamber music, and piano pieces. Richter's music in the 1970s is her response to the beauty she found in nature, as well as intimacy. She also became increasingly aware of the need to promote her own music. Her orchestral works drew the interest of prominent conductors such as Stanislaw Skrowaczewski, Gregory Millar, Kenneth Schermerhorn, Harold Farberman, and Sheldon Morgenstern. The backdrop to these performances and more was the second-wave feminism that had swept the nation. This chapter first discusses Richter's relationship to the feminist movement of the period and how feminism contributed to the growth of support for women composers, and particularly to Richter's success. It then examines Richter's Landscapes series—Landscapes of the Mind I, Landscapes of the Mind II, and Landscapes of the Mind III—as well as her shorter works and piano works. It also analyzes Richter's thirteen-minute symphonic poem Blackberry Vines and Winter Fruit, which reflects a touch of American transcendentalism, and concludes with an assessment of her musical aesthetics.
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Macleod, Beth Abelson. Establishing a Career. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039348.003.0005.
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This chapter examines the state of classical music in the United States in the late nineteenth century as well as Fannie Bloomfield's first attempts to establish a career as a pianist during that time. It first describes the European ensembles that toured the United States beginning in midcentury, such as the Germania Musical Society, and the European virtuosos who barnstormed the country. It then considers Theodore Thomas's role in promoting an interest in classical music, and especially how he helped further Bloomfield's career. It also discusses the impediments to women's success as virtuosos, including the assumption that women were incapable of interpreting the likes of composers considered to be “virile,” such as Ludwig van Beethoven and Edvard Grieg. The chapter concludes with an assessment of Bloomfield's audition with Thomas; her initial failure to present a New York debut; her career-altering contract with the Wm. Knabe & Co.; her subsequent debut performances in Chicago and New York; and her marriage to Sigmund Zeisler in 1885.
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Berg, Christopher. The Classical Guitar Companion. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190051105.001.0001.
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The Classical Guitar Companion is an anthology of exercises, études, and pieces organized according to technique or musical texture. Students are encouraged to work in multiple chapters, simultaneously depending on advice from a teacher or their own assessment of what they need. The author’s dual perspective, as an active performing artist and as a teacher who has trained hundreds of guitarists, results in a combination of pedagogical thoroughness and artistic insight. The book opens with a large section devoted to establishing a thorough knowledge of the guitar fingerboard through a systematic and rigorous study of scales and fingerboard harmony, which will lead to ease and fluency in sight-reading and reduce the time needed to learn a repertoire piece. The chapters cover scales exercises and studies, repeated notes, slurs, harmony, arpeggios, melody with accompaniment, counterpoint, and florid/virtuoso studies. Each section contains text and examples that connect material to fingering practices of composers and practice strategies to open a path to interpretive freedom in performance. Exploring advice found in the standard pedagogical literature for guitar that effectively places constraints on a student’s long-term development, the book offers information designed to help students recognize and overcome these constraints. When the book presents the simple version of a technique, it does so through consideration of the technique’s advanced version. Many guitar composers are represented but there are also transcriptions of relevant lute music that expand the scope of the book. The book is designed to serve as a companion for years of guitar study.