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Cet article présente, dans les grandes lignes, le système de notation utilisé par Helmut Lachenmann dans Pression pour spécifier les actions que doit accomplir l’interprète sur les différentes parties du violoncelle (cordes, table d’harmonie, chevalet, cordier) mais aussi sur l’archet. Après avoir décrit succinctement les principales différences entre les deux éditions de l’oeuvre (1972 vs 2012), nous en expliquons cinq passages en montrant systématiquement les deux versions de la partition et en indiquant les minutages correspondant aux enregistrements vidéo de Lauren Radnofsky et David Stromberg. Ainsi le lecteur pourra apprécier la précision et l’évolution du système de notation, visualiser les gestes que réalisent les interprètes tout en suivant la partition et entrer ainsi pleinement dans l’univers sonore profondément inouï de cette oeuvre devenue un « classique » du répertoire pour violoncelle seul. This artical presents, in broad terms, the scoring systems used by Helmut Lachenmann in Pression to indicate the techniques required of the performer in manipulating various elements of the cello (strings, soundboard, bridge, and tailpiece) as well as the bow. After briefly describing the main differences between the two editions of the work (1972 and 2012), we focus on five excerpts, specifying their time cues in video recordings by Lauren Radnofsky and David Stromberg. Thus, score excerpts in hand, the reader can appreciate the precision and development of Lachenmann’s notational system as they observe the performers’ actions, gaining a fuller understanding of the profoundly inventive sonic landscape of this work, which has become a classic of the solo cello repertoire.

This article outlines a sequential approach to unit and lesson planning for conceptual teaching in general music classes. Guidelines for the writing of well-articulated instructional objectives are provided. Two appendices show models of a unit plan and a lesson plan in which the assessment of objectives is clearly tracked and alternative strategies for children experiencing difficulty in meeting the objectives are provided.

This paper will provide readers with a unique perspective on maximizing the benefits and overcoming the challenges inherent in the collaborative teaching process. This narrative reflection will exp...

We illustrate a technique for eliciting and exploring the constructs involved in the adjudication of music performance. Five trained musicians with extensive experience in performance adjudication evaluated six expert performances of Chopin's Etude, Opus 25, No. 6. First, we elicited from each adjudicator the personal constructs that they used to evaluate performance expression. Next, adjudicators rated each performance on each of their constructs. Adjudicators also rated each performance for overall preference. Constructs most strongly associated with overall preference related to right-hand expression and phrasing. Other constructs, such as tempo, were important for distinguishing performances, but were not strongly associated with overall preference. We discuss benefits of the technique for researchers, adjudicators and performers.

Formal music performance studies within university settings strive to prepare the next generation of performers and pedagogues for musical engagement beyond university. Yet literature suggests that these spaces of study do not always lead to a sense of readiness for potential professional worlds, due in part to a lack of opportunities for guided, in-depth, critical reflection that helps students connect theory and practice. This article articulates findings from a study that sought to consider the impact of deliberate opportunities for reflection in The Accademia Europea dell’Opera (AEDO), a university-affiliated summer opera intensive experiential learning program. Utilizing a communities of musical practice framework, researchers worked collaboratively to help participants engage in guided critical reflection as they developed high-level musical skills through rehearsals and performances. This article specifically considers the ways in which a ‘broker’ helped participants develop practices of reflection and personal agency both within and beyond this context.

Cet article effectue une analyse herméneutique des Altenberg Lieder opus 4 nos 2 et 3 d’Alban Berg. Les lieder sont analysés à la lumière de l’esthétique de la persona feminine développée par le controversé poète (et ami de Berg) Peter Altenberg, et qui prendrait le nom de « Frauenkult ». L’auteure démontre ici comment le traitement motivique, les stratégies de conduite des voix et leur relation avec les poèmes sélectionnés par Berg font résonner deux des conceptions principales du Frauenkult : la valorisation d’une sexualité féminine plus autonome et la transcendance de l’âme féminine. This article is an hermeneutical analysis of Alban Berg's Altenberg Lieder opus 4 nos. 2 and 3. These lieder are analysed from the perspective of the feminine persona esthetic known as "Frauenkult", put forward by the controversial poet (and Berg's friend) Peter Altenberg. The author shows how the motivic treatment, the voice-leading strategies and their relation with the poems selected by Berg demonstrate two of the main concepts of the Frauenkult: the valorization of a more autonomous female sexuality and the transcendence of the female soul.

What has not yet been imagined in thought is: how to remain together while still being two, how to be and become subjectively two, how to discover a way of coexisting as two beings … a way of living and thinking and loving as two beings without one being reduced to the other? … [t]hanks to the respect that I feel for the other as other, to articulate both attraction and restraint with respect to him. I go out from and return to myself in order to respect his alterity, and this respect for the other becomes respect for myself, my life and my growth. So there is no longer fusion or submission, but the existence of a two which is irreducible to one or to the simple opposition between one (male) and the other (female), a reduction which makes them simply two poles of the one. Luce Irigaray, Democracy Begins Between Two 112–13

Artful Dodgers is an arts education project developed by two artists and delivered in two early years settings located in two areas of urban disadvantage. It is a music and visual arts programme designed and implemented with early years teachers of children aged 3–5 years. It explored whether the provision of high-quality arts experiences could enhance children’s emerging literacy and numeracy. A novel ‘artist in(formed) residency’ model was developed within a unique arts education research design. Piloting a tripartite relationship between researchers, artists and early years teachers, this study was situated within a qualitative action research paradigm, with both artists located in both services weekly over a 12-week period. The evaluation of the programme indicates changes in pedagogical planning and style in the early years teachers over the period of the artists’ residency. Their language became more reflective and their practice incorporated a wider and richer range of materials; there was greater ...

Kendrick Lamar’sTo Pimp A Butterflyoffers core music theory instructors many opportunities: to engage with popular music in a curriculum traditionally focused on art music, to discuss theoretical topics not usually considered in the music theory core (including flow, groove, meter and rhythm), and to diversify the range of composer identities included in classroom repertoire. The album’s focus on African-American experiences of race and racism in the contemporary United States also allows instructors to integrate social justice topics with music-theoretical ones. This article discusses three possible models for such integration. In the “plug-and-play” model, examples from the album are embedded within lesson plans focused on traditional music theory topics. In the “concept” model, the undergraduate core curriculum is reorganized to focus on musical concepts rather than on analytical approaches to a particular repertoire, and musical examples from the album are used to explore analytical strategies for each concept. Finally, in the “social justice” model, the album is used as a springboard for classroom discussions and assignments about race, racism, poverty, and more, while still maintaining focus on analytical methods. For all three types, the author includes sample teaching materials including lesson plans, curricular design strategies, and teaching techniques. With this work, the author encourages instructors of all backgrounds, abilities, and institutional settings to consider ways of incorporating social justice into their own classrooms to change the world for the better.