BANDSTAND...
Choosing Quality Literature for Ensembles Joe Parisi, MMEA Band Vice-president
As I complete my term as band vice-president I am appreciative and humbled to have served the MMEA band population. With this final article, I have attempted to provide some information and resources that have proven valuable to me throughout the years. Although this is not meant to be a definitive answer, I do feel it serves as a good litmus test when selecting literature. Ensemble directors are most fortunate to be catalysts for artistic and creative development, and it is essential to select the finest repertoire for our ensembles to perform. The information below attempts to take us through the variables that are inherent in quality music, useful in identifying quality music, and helpful in selecting that music.
What is “Good” Music? (Osling, 1978; Gilbert, 1992)
1. The composition has form -- not a form but form -- and reflects a proper balance between repetition and contrast.
2. The composition reflects shape and design, and creates the impression of conscious choice and judicious arrangements on the part of the composer.
3. The composition reflects craftsmanship in orchestration, demonstrating a proper balance between trans- parent and tutti scoring, and between solo and group colors.
4. The composition is sufficiently unpredictable to preclude an immediate grasp of its musical meaning.
5. The route through which the composition travels in initiating its musical tendencies and probable musi- cal goals is not completely direct and obvious.
6. The composition is consistent in its quality throughout its length and in its various sections.
7. The composition is consistent in its style, reflecting a complete grasp of technical details, clearly con- ceived ideas, and avoids lapses into trivial, futile, or unsuitable passages.
8. The composition reflects ingenuity in its development, given the stylistic context in which it exists. 9. The composition is genuine in idiom, and is not pretentious.
10. The composition reflects a musical validity which transcends factors of historical importance, or factors of pedagogical usefulness.
Literature Selection • Depth Chart on a scale of 1 to 10 (Literature – Director – Ensemble)
o Does the literature meet the “good” music litmus test above? o How mature is the director’s ability to “realize” the literature? o How well could the ensemble play this particular literature?
• Other Considerations?
o For whom? o Process? o Product? o Philosophy? o Fit the group?
• Programming Content
o Variety of styles (three ballads/key?) o Interesting scoring and timbres o Historical accuracy/relevance
• Programming Order (technique – affect) • New vs. standard repertoire • Ask experts, seasoned directors, colleagues!
10 MISSOURI SCHOOL MUSIC| Volume 68, Number 3
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60