bell ringer 12 2 2013 m socrative com room 38178 n.
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Bell Ringer – 12/2/2013 m.socrative - Room #38178

Bell Ringer – 12/2/2013 m.socrative - Room #38178

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Bell Ringer – 12/2/2013 m.socrative - Room #38178

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  1. Bell Ringer – 12/2/ - Room #38178 • QUESTION: • 1. What was your favorite part of Thanksgiving? USE YOUR DEVICES IF YOU HAVE ONE – its so much quicker to grade when you submit them electronically!!! This is easy just to get you back in the swing of things – any answer will get you credit!

  2. Extra Credit Opportunities

  3. Extra Credit Opportunities • Throughout the year, if you attend the band concerts, you can earn extra credit points. • Part of the humanities is EXPERIENCING them • 10 points ADDED TO ANY GRADE YOU CHOOSE • Basically raises an assignment of your choice UP A LETTER GRADE • EASY POINTS • You HAVE TO STAY for the whole concert though – they are 45-90 minutes.

  4. Extra Credit Opportunities • Monday, December 9th – Jazz Band & Percussion Ensemble Concert @ 7pm • Tuesday, December 17th – Concert Band & Choir @ 7pm • Next one won’t be until March • FREE • You have to SIGN IN AND OUT in the lobby of the auditorium – there will be a parent/student there making sure that you’re not signing in multiple people or lying about your arrival and departure times. • The next day I’ll ask you where you would like to apply your points.

  5. Your Mozart Sonatas Let’s talk about the grades and common mistakes... (you’ll get these back shortly.)

  6. Your Mozart Sonatas • This is the third year I’ve assigned this project. The first year, students handwrote their sonatas instead of using MuseScore (this took much longer.) • I have never had this many Fs on this project • Disappointed  • That said, there were LOTS OF As!!! • Groups/Individuals either passed with flying colors because they followed all the instructions or FAILED because they ignored them completely • Not a lot of inbetween...

  7. Your Mozart Sonatas This project didn’t involve any research or critical thinking or difficult problem solving – it was just following steps to help you understand Mozart’s genius (he could do all this in his head instantly!!) NO ONE should’ve failed.

  8. Your Mozart Sonatas • Interesting... • 1st Period: Had only 1 F, but they had to figure out MuseScore without demonstration because it wasn’t installed on the teacher’s computer when we got into the lab. They did a great job with the step by step instructions that were passed out. • 2nd Period: Had 11 As (the most), but by far the MOST Fs (8). Several groups completely ignored the handouts with step-by-step instructions. Two groups had the first line of their sonatas PERFECT but then clearly slopped through the rest... so much that they failed. • 3rd Period: Was the ONLY CLASS to have a group score a perfect 100%!!!

  9. Your Mozart Sonatas • Every day you got a handout with detailed step-by-step instructions of exactly what to do. • I read them to you and specifically pointed out very important details • Here are the two most common mistakes...

  10. Two Biggest Errors • 1. Music glued onto the blueprint incorrectly... Pictures were removed so it would fit on the slide. Those bolded and underlined words WERE MARKED THAT WAY on the handout.

  11. Two Biggest Errors... • 2. Copying music from the blueprint into MuseScore incorrectly... Some of you had rests ALL OVER your music which made the music completely unrecognizable from Mozart. Look at steps 8 & 9 – several of the Fs simply didn’t do all 24 measures!!!

  12. If you got an F... • Or any grade you’re not happy with, I AM going to let you redo this assignment if you’d like. There are a couple of rules: • 1. You have to do it ON YOUR OWN TIME (I will not let you out of class to work on it.) • 2. I will give you EVERY HANDOUT that went with it – you have to read through it and do it on your own (I will gladly answer questions in passing before school or at the end of class.) • 3. If your blueprint is done correctly, you may reuse it. If it’s not – START FROM SCRATCH (don’t try to fix it.) • 4. ALL REDOS HAVE TO BE TURNED IN BY FRIDAY DECEMBER 13TH

  13. Your Mozart Sonatas • I will now pass them back. If you don’t get yours, that’s because it’s hanging on the wall and you got an A!!!!!!!!! • If you want to redo, come up and get the handouts from me now.

  14. Dance & Drama NEOCLASSICAL (“Classical” only applies to music and opera)

  15. Classical Dance

  16. Classical Dance – the Costume • “The only way to make ballet more popular is to lengthen the dances and shorten the [female dancer’s] skirts.” – the composer Campra • One of the most significant obstacles to the further development of the ballerina’s art was the costume • Floor length skirts were not conducive to freedom of movement • As a result, male dancers played the prominent roles at the turn of the 18th century

  17. Marie Anne Cupis de Camargo • Marie Anne Cupis de Camargo was a brillant dancer • Her footwork was so dazzling that, in order to feature it more fully, one night she raised her skirts an inch or two above the ankle! • “The first woman to dance like a man” • Was she? Or was it just the first time anyone could see what the female could do?

  18. Marie Anne Cupis de Camargo

  19. A Style Change • Another ballerina, Marie Salle brought about a significant style change • Her studies in mime and drama led her to believe that the current ballet style (in Paris) was too formal and repetitious • She left Paris for London • Her style was expressive, rather than a series of “leaps and frolics” • She let her hair flow freely rather than be piled on top of her head

  20. Ballet • Instantly changeable • A flashy technique that becomes boring can quickly be relieved by a shift to expressiveness • When emotion becomes melodramatic, the pendulum can swing back to technique • Melodramatic: dramatic, exaggerated work

  21. The Stages of Classical Ballet • Early Classical • Mostly choreographed by dancing master John Weaver • The use of movement to communicate a story • These early attempts to integrate movement and dramatic content brought forth ballet d’action (late classical – end of the century) • Ballet d’action contained an evolving classical concern for unity (similar to music at the end of the century) • Reinforced ballet’s independence from opera and drama • Emphasis on drama while dancing

  22. Jean-Georges Noverre (1727-1810) • Letters on Dancing and Ballets (1760) • Wrote that ballets should be unified works in which all elements contribute to the main theme • Ballet was a dramatic spectacle, a play without words • Content should be communicated through expressive movement • Music should be written to fit each phrase and thought • Technical virtuosity for its own sake should be discouraged (movement without purpose) • Dancers should draw upon natural forms of movement in order to be a faithful likeness of nature

  23. Noverre – Jason & Medea • Noverre’s most famous work • Jason, in order to regain his throne from his uncle, seeks to find the Golden Fleece. The precious object becomes his when a powerful sorceress named Madea helps him conquer the dragon who guards it. Jason has two children with Medea, but abandons them for another woman. Medea poisons this new woman, and in a jealous rage kills her own children. • Rehearsal of the 4 Gladiators • Rehearsal of The Nymphs

  24. Popularity • Ballet becomes more popular • By 1789, ballet themes began to include subjects beyond mythology • Ordinary country life provided topics for ballets • As opera (which will talk about more tomorrow) went away from mythology, so did ballet.

  25. Charles Didelot (1767-1837) • Changed the course of ballet forever • He introduced tights – simplified the line and form of dance costume • In Zephyr and Flora (1796), he attached ballerinas to wires and flew them in and out of scenes • The wires allowed ballerinas to pause on the tips of their toes • Soon ballerinas would be dancing en pointe without using wires • With these changes, an entirely new age in dance would begin… in the Romantic period (“the Golden Age of ballet”)

  26. Don Juan • 1761 • By Calzabigi, music by Christoph von Gluck, choreographed by GasparoAngiolini • Premiered in Vienna, Austria • Follows the legend of Don Juan and his descent into Hell after killing his lover’s father in a duel • Don Giovanni, from Don Juan • Later transformed into an opera by Mozart

  27. Theater

  28. Theater in Britain • The playing area consisted of a forestage, the sides of which contained doorways for entrances and exits by the actors • Above these were boxes for spectators • Lighting consisted of wax candles in chandeliers over the audience • Fire was a constant problem; smoke was a nuisance

  29. Theater in Britain • Wing and drop scenery was placed upstage behind the proscenium arch • Drop Scenery: flat, painted pieces used strictly as background

  30. Theater in France • French drama had one final blaze before the French revolution • Pierre de Beaumarchais (1732-99) • Two most famous works: • The Barber of Seville (1775) • The Marriage of Figaro (1784) • Entertaining comedies built upon the traditions of neoclassicism • The plots of both hint the coming French revolution • The first was enjoyed and received calmly, but in the Marriage of Figaro, France was well aware of what was going on • The criticisms directed against the characters in the play were taken seriously as an indictment of society as a whole

  31. Beaumarchais’s Plays • The Barber of Seville • Would be adapted as an opera by Rossini in the Romantic Period • The Marriage of the Figaro • Would be adapted in 1786 (2 years later) by Mozart

  32. Theater in America We get to start looking America now 

  33. Theater in America • The first theater was built in Williamsburg, Virginia in 1716 and housed a performing company • Philadelphia and New York developed lively theater traditions • For the most part, theater in America was merely an extension of the British stage, and English touring companies provided most of the fare

  34. Theater in America • Theaters themselves appear to have been small and closely modeled upon provincial English theaters with proscenium arches, painted scenery, and forestages flanked by entrance doors • On average about 400 seats • The front curtain rose and fell at the beginning and end of each act, but the numerous scene changes within the acts were executed in audience view

  35. Theater in America • Companies from London, usually comedy groups, came to Williamsburg annually for an 11-month season • By 1766, touring British companies played the entire eastern seaboard from NY, Philadelphia, and Annapolis to Charleston. • In 1767, The Prince of Parthia, became the first play written by an American to receive a professional production

  36. The Prince of Parthia • By Thomas Godfrey • The first play written by an American to be presented in the US by a professional cast of actors • April 24, 1767

  37. The Prince of Parthia • Takes place across 24 hours and in one single setting • When you look at the plot though, it’s not something that would happen in 24 hours in REAL LIFE • 5-act structure • Inspired by Shakespeare – has plot related to Romeo and Juliet, Julius Caesar, King Lear, Macbeth, Hamlet, and Othello.

  38. The Prince of Parthia • We won’t dig too deep into the storyline and plot of this one... • It was the FIRST... Not the BEST... • Over the next few days we’ll analyze the plots and watch some of the more famous plays of the time, but this is a nice little piece of American history 