An Analytical and Educational Survey of Howard Hanson's Dies ...
An Analytical and Educational Survey of Howard Hanson's Dies ... An Analytical and Educational Survey of Howard Hanson's Dies ...
5515. nelmodo Gregoriano - (Italian) in a Gregorian manner16. pesante - (Italian) weighty; with emphasis1 7. piii - (Italian) more18. poco apoco crescendo - (Italian) growing little by little; gradually louder19. ritardando {rit., ritard) - (Italian) slowing down gradually20. semplice - (Italian) simple; without ornament21. sforzato (sfz) - (Italian) forced or accented and loud; can be interchangeable with theterm sforzando22. soli - (Italian) plural of solo; often one part of a section in an ensemble is featured23. subito - (Italian) suddenly; quickly24. tempo di comminciando - (Italian) the starting tempo {A tempo)Musical definitions from:thRandel, D. M. (Ed.). (20C (2003). The Harvard dictionary of music (4 ed.). Cambridge, MA:The Belknap Press of Harvard University Press.
56Lesson IVObjectives:• Students will compose a variation on the chorale melody.• Students will demonstrate an understanding of variations based on a theme bycomposing their own variations on the chorale theme.Standards:• Improvising melodies, variations, and accompaniments.• Composing and arranging music within specified guidelines.• Reading and notating music.Once students have learned the chorale melody, they should learn how each individualvariation correlates to the theme. Comparison of variation melodies to the choralemelody, key centers, natural and harmonic minor, unusual harmonies, rhythm, timesignatures, and tempo differences among variations should be addressed during therehearsal process. Students should be given the opportunity to apply this knowledge andtheir individual musical creativity to compose a variation on the chorale. The teachershould consider a flexible grading system for this activity, perhaps solely based onstudents' participation and completion of the activity since this is an exercise in creativityand is therefore more subjective. If eight measures of original composition proves toochallenging for students, the activity may be changed to a four-measure composition thatcontinues from the first section of the chorale melody.As a follow-up activity, students should share their compositions by performingeach other's variations. This may be done by singing or playing. The teacher maydistribute students' variations, or students may choose a partner with whom to exchangecompositions. After this activity, students can provide written or aural feedback to eachother concerning their compositions. The teacher may choose to reserve collecting andgrading compositions until after students receive feedback from their peers and have achance to revise their variations if necessary.
- Page 8 and 9: Chapter 1 : Howard HansonBiographyH
- Page 10 and 11: Sweden. He visited the studio of Na
- Page 12 and 13: he used different terminology and f
- Page 14 and 15: 11Promotion ofAmerican MusicHanson
- Page 16 and 17: 13Compositional StyleHanson is wide
- Page 18 and 19: 15Chapter 2: Dies NatalisDies Natal
- Page 20 and 21: 17InstrumentationTime of Performanc
- Page 22 and 23: 19on the secondary seventh of the d
- Page 24 and 25: 21Ex. 2: Piano reduction of chorale
- Page 26 and 27: 23Five Variations: Style OverviewEa
- Page 28 and 29: 25Five Variations: Melodic Elements
- Page 30 and 31: 27the chords that the melodies arpe
- Page 32 and 33: P29intervallic relationship of a fi
- Page 34 and 35: 131Variation II.The harmonic materi
- Page 36 and 37: 33The tritone is an essential eleme
- Page 38 and 39: 35Five Variations: Rhythmic Element
- Page 40 and 41: 37Five Variations: Dynamics and Orc
- Page 42 and 43: 139FinaleThe Finale to Dies Natalis
- Page 44 and 45: Chapter 4: Teacher's Guide41
- Page 46 and 47: 43The first variation has a small n
- Page 48 and 49: 45Sequence for LearningPrerequisite
- Page 50 and 51: 47Objectives• Students will perfo
- Page 52 and 53: 49Chimes: m. 208-215All drums with
- Page 54 and 55: Ai,!rrrr51Lesson IIObjective:• St
- Page 56 and 57: 53Lesson HIObjective:• Students w
- Page 60 and 61: '—57Composition AssignmentStudent
- Page 62 and 63: 59Evaluation SheetName:Date:Title o
- Page 64 and 65: 61Chapter 5: Student's GuideStudent
- Page 66 and 67: 63Hanson's use of the chorale almos
- Page 68 and 69: irr'r-F'rrr'rrrr65Dies Natalis Chor
- Page 70 and 71: s»67O Morning Star, How Fair and B
- Page 72 and 73: 69(Butterworth, 1998)Plate 9: 1972
- Page 74 and 75: .7114. mosso -15. nelmodo Gregorian
- Page 76 and 77: 73Evaluation RubricYour Name:Your I
- Page 78 and 79: 75ReferencesButterworth, N. (1998).
- Page 80 and 81: Appendices77
- Page 82 and 83: 79Appendix B: Premiere of Dies Nata
- Page 84 and 85: i81Appendix D: Hymn Musical Setting
- Page 86 and 87: 83Appendix F: Hanson Photographs(Bu
- Page 88 and 89: 11851970 The Mystic Trumpeter1974 L
- Page 90 and 91: 87Appendix H: DiscographyThe Cornel
56Lesson IVObjectives:• Students will compose a variation on the chorale melody.• Students will demonstrate an underst<strong>and</strong>ing <strong>of</strong> variations based on a theme bycomposing their own variations on the chorale theme.St<strong>and</strong>ards:• Improvising melodies, variations, <strong>and</strong> accompaniments.• Composing <strong>and</strong> arranging music within specified guidelines.• Reading <strong>and</strong> notating music.Once students have learned the chorale melody, they should learn how each individualvariation correlates to the theme. Comparison <strong>of</strong> variation melodies to the choralemelody, key centers, natural <strong>and</strong> harmonic minor, unusual harmonies, rhythm, timesignatures, <strong>and</strong> tempo differences among variations should be addressed during therehearsal process. Students should be given the opportunity to apply this knowledge <strong>and</strong>their individual musical creativity to compose a variation on the chorale. The teachershould consider a flexible grading system for this activity, perhaps solely based onstudents' participation <strong>and</strong> completion <strong>of</strong> the activity since this is an exercise in creativity<strong>and</strong> is therefore more subjective. If eight measures <strong>of</strong> original composition proves toochallenging for students, the activity may be changed to a four-measure composition thatcontinues from the first section <strong>of</strong> the chorale melody.As a follow-up activity, students should share their compositions by performingeach other's variations. This may be done by singing or playing. The teacher maydistribute students' variations, or students may choose a partner with whom to exchangecompositions. After this activity, students can provide written or aural feedback to eachother concerning their compositions. The teacher may choose to reserve collecting <strong>and</strong>grading compositions until after students receive feedback from their peers <strong>and</strong> have achance to revise their variations if necessary.
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