Choir
Festival Info
SE Dist Music Festival
Tuesday April 14, 2015
Arrive at School: 7:40 a.m.
Time of Departure: 8:00 a.m.
Event start time: 10:55 a.m.
Location: Cheyenne Central High School
Clothing: dress pants or a skirt; the best shoes possible; choir robe
Lunch: restaurants at the mall, must be paid for by the students
Time of Return: approx. 3:30 p.m.
SE Dist Music Festival
Tuesday April 14, 2015
Arrive at School: 7:40 a.m.
Time of Departure: 8:00 a.m.
Event start time: 10:55 a.m.
Location: Cheyenne Central High School
Clothing: dress pants or a skirt; the best shoes possible; choir robe
Lunch: restaurants at the mall, must be paid for by the students
Time of Return: approx. 3:30 p.m.
O vos omnes
(From Wikipedia, the free encyclopedia)
O vos omnes is a responsory, originally sung as part of Roman Catholic liturgies for Holy Week, and now often sung as a motet. The text is adapted from the Latin Vulgate translation ofLamentations 1:12. It was often set, especially in the sixteenth century, as part of the Tenebrae Responsories for Holy Saturday. Some of the most famous settings of the text are by Tomás Luis de Victoria (two settings for four voices: 1572 and 1585), Carlo Gesualdo (five voices: 1603; six voices: 1611), and Pablo Casals (mixed choir: 1932).
Text
O vos ómnes qui transítis per víam, atténdite et vidéte:
Si est dólor símilis sícut dólor méus.
V. Atténdite, univérsi pópuli, et vidéte dolórem méum.
Si est dólor símilis sícut dólor méus.
Translation
O all you who walk by on the road, pay attention and see:
if there be any sorrow like my sorrow.
V. Pay attention, all people, and look at my sorrow:
if there be any sorrow like my sorrow.
(From Wikipedia, the free encyclopedia)
O vos omnes is a responsory, originally sung as part of Roman Catholic liturgies for Holy Week, and now often sung as a motet. The text is adapted from the Latin Vulgate translation ofLamentations 1:12. It was often set, especially in the sixteenth century, as part of the Tenebrae Responsories for Holy Saturday. Some of the most famous settings of the text are by Tomás Luis de Victoria (two settings for four voices: 1572 and 1585), Carlo Gesualdo (five voices: 1603; six voices: 1611), and Pablo Casals (mixed choir: 1932).
Text
O vos ómnes qui transítis per víam, atténdite et vidéte:
Si est dólor símilis sícut dólor méus.
V. Atténdite, univérsi pópuli, et vidéte dolórem méum.
Si est dólor símilis sícut dólor méus.
Translation
O all you who walk by on the road, pay attention and see:
if there be any sorrow like my sorrow.
V. Pay attention, all people, and look at my sorrow:
if there be any sorrow like my sorrow.
Choral adjudication form
choir.pdf | |
File Size: | 64 kb |
File Type: |
Evaluations
ecm_eval_1.pdf | |
File Size: | 158 kb |
File Type: |
Careers in Music Research Project
Download the following file and open it in Notability. Fill it out and email it to [email protected] when complete. If this won't work, print the file instead and fill it out and turn it in by hand. Remember to cite your sources on the first page! The first Careers Research Project will be due by the end of the day on Thursday, October 2.
Download the following file and open it in Notability. Fill it out and email it to [email protected] when complete. If this won't work, print the file instead and fill it out and turn it in by hand. Remember to cite your sources on the first page! The first Careers Research Project will be due by the end of the day on Thursday, October 2.
careers_research_project_1.pdf | |
File Size: | 195 kb |
File Type: |
Pre-B.O.E. Listening Guides
pre-b.o.e._guide_1.pdf | |
File Size: | 107 kb |
File Type: |
create_musical_map_assignment.pdf | |
File Size: | 8 kb |
File Type: |
Music and History B.O.E.: Song Report
These are the instructions for the Music and History B.O.E. Use them as a checklist while you do your research so that you can be sure you have found all the necessary information.
These are the instructions for the Music and History B.O.E. Use them as a checklist while you do your research so that you can be sure you have found all the necessary information.
music_and_history.pdf | |
File Size: | 47 kb |
File Type: |
French Baroque Music
The contribution of France to baroque music, particularly in its earlier period, 1650-1700, was comparatively small. This was due entirely to the influence of one Giovanni Battista Lulli (1632-1687), an Italian of noble birth who, as a young man, journeyed to France, taking up service in 1653 at the Court of Louis XIV. Here he used his influence with the king, combined with an aggressive sense of business, to create for himself a virtual monopoly over French music which was to last beyond his death and well into the early 1700s, it being only with Rameau and Couperin that France began to find itself musically once again. The stranglehold of Lully (to use his later French spelling) on French music at the time could hardly be over-emphasized. A series of highly restrictive royal patents gave him a total monopoly on the use of music on the French stage. Aggressive and shrewd in business, Lully bought up the leading theater venues, and to strengthen his position he even persuaded the king to issue an ordnance limiting the number of singers and instrumentalists that could perform with other Parisian theater troupes.The major influence which France did exert over the baroque age was one of courtly opulence. In 1669 Louis XIV (1638-1715) decided to convert an old hunting lodge at Versailles into a palace of unprecedented magnificence. It was completed in 1682, and the court moved in 1683. There was not a kingly or princely court in Europe which could match Versailles for the opulence of its gilded interiors, its mirrors and chandeliers, with an appropriately matching flamboyance of courtly ceremony, and there was not a kingly or princely court in Europe which did not, either openly or secretly aspire to match this model.
Lully (now naturalized French as Jean-Baptiste Lully with a 'y') reflected this ideal in the magnificence of his operas and operatic settings, staged with the aid of all kinds of machines by which suns and angels could fly about and ships could ride the wild stormy seas. His operatic texts praised the king and reflected the latest royal thinking at every turn, which of course served to strengthen his position. At the same time however, it must be stressed that his performances were not to be missed. His operas and sacred works displayed a richness and majesty (the French-style Ouverture being one of his contributions) which would attract the interest admiration of audiences, and visiting musicians from Italy and Germany.
Though much or Europe's royalty was to make the pilgrimage to Versailles, none was to know that Louis and his country were overburdened by the debts which the costly Versailles imposed on them. In addition France during the latter years of the 1600s was to suffer two famines and a series of disastrous military defeats. The splendor of Versailles gradually faded along with the king's vigor, and his death in 1715 signaled both an end for Versailles (though it would later revive), and a rebirth of (non-Lullian) music in Paris with a boom in sheet-music printing and music lessons for the bourgeoisie, Musical freedom and vitality were reborn in Paris, and would continue to flourish even after Louis XV moved his court back to Versailles.
The contribution of France to baroque music, particularly in its earlier period, 1650-1700, was comparatively small. This was due entirely to the influence of one Giovanni Battista Lulli (1632-1687), an Italian of noble birth who, as a young man, journeyed to France, taking up service in 1653 at the Court of Louis XIV. Here he used his influence with the king, combined with an aggressive sense of business, to create for himself a virtual monopoly over French music which was to last beyond his death and well into the early 1700s, it being only with Rameau and Couperin that France began to find itself musically once again. The stranglehold of Lully (to use his later French spelling) on French music at the time could hardly be over-emphasized. A series of highly restrictive royal patents gave him a total monopoly on the use of music on the French stage. Aggressive and shrewd in business, Lully bought up the leading theater venues, and to strengthen his position he even persuaded the king to issue an ordnance limiting the number of singers and instrumentalists that could perform with other Parisian theater troupes.The major influence which France did exert over the baroque age was one of courtly opulence. In 1669 Louis XIV (1638-1715) decided to convert an old hunting lodge at Versailles into a palace of unprecedented magnificence. It was completed in 1682, and the court moved in 1683. There was not a kingly or princely court in Europe which could match Versailles for the opulence of its gilded interiors, its mirrors and chandeliers, with an appropriately matching flamboyance of courtly ceremony, and there was not a kingly or princely court in Europe which did not, either openly or secretly aspire to match this model.
Lully (now naturalized French as Jean-Baptiste Lully with a 'y') reflected this ideal in the magnificence of his operas and operatic settings, staged with the aid of all kinds of machines by which suns and angels could fly about and ships could ride the wild stormy seas. His operatic texts praised the king and reflected the latest royal thinking at every turn, which of course served to strengthen his position. At the same time however, it must be stressed that his performances were not to be missed. His operas and sacred works displayed a richness and majesty (the French-style Ouverture being one of his contributions) which would attract the interest admiration of audiences, and visiting musicians from Italy and Germany.
Though much or Europe's royalty was to make the pilgrimage to Versailles, none was to know that Louis and his country were overburdened by the debts which the costly Versailles imposed on them. In addition France during the latter years of the 1600s was to suffer two famines and a series of disastrous military defeats. The splendor of Versailles gradually faded along with the king's vigor, and his death in 1715 signaled both an end for Versailles (though it would later revive), and a rebirth of (non-Lullian) music in Paris with a boom in sheet-music printing and music lessons for the bourgeoisie, Musical freedom and vitality were reborn in Paris, and would continue to flourish even after Louis XV moved his court back to Versailles.
Discussion Report Card
We will use the following report card any time we have a major discussion in class. This will allow you to see what is expected of you during discussions and reflect on your contribution to the discussion. Fill it out in Notability.
We will use the following report card any time we have a major discussion in class. This will allow you to see what is expected of you during discussions and reflect on your contribution to the discussion. Fill it out in Notability.
discussion_report_card.pdf | |
File Size: | 521 kb |
File Type: |
Caravaggio's Italian artwork and his influtence on the Spanish Baroque
aspects_of_the_baroque_art_of_caravaggio_and_spain.pdf | |
File Size: | 51 kb |
File Type: |
Blues Improvisation Cards
Download the Notability file and choose two cards. There is no need to email anything to Mr. Follum (for once)
Download the Notability file and choose two cards. There is no need to email anything to Mr. Follum (for once)
blues_improvisation.note | |
File Size: | 2131 kb |
File Type: | note |
Music Career Assignment
Keep track of your sources, because the assignment requires a bibliography in order to be graded.
The written assignment will be due Tuesday, Dec. 17. From Tuesday on we will work on presentations in the library.
The final project, including the presentation, will be due Friday, Dec. 20
Keep track of your sources, because the assignment requires a bibliography in order to be graded.
The written assignment will be due Tuesday, Dec. 17. From Tuesday on we will work on presentations in the library.
The final project, including the presentation, will be due Friday, Dec. 20
career_assignment.pdf | |
File Size: | 9 kb |
File Type: |
Baroque Assignment Materials
gloria_in_excelsis_deo.pdf | |
File Size: | 27 kb |
File Type: |
hallelujah_chorus_cards.note | |
File Size: | 809 kb |
File Type: | note |
District Clinic Files
That's right, Aubree and Sierra. All-State auditions are done, so it's time to start preparing for Clinic! Here are the files to help you prepare:
That's right, Aubree and Sierra. All-State auditions are done, so it's time to start preparing for Clinic! Here are the files to help you prepare:
all_that_hath_life__breath_praise_y.mp3 | |
File Size: | 3159 kb |
File Type: | mp3 |
all_that_hath_life_soprano.mp3 | |
File Size: | 3159 kb |
File Type: | mp3 |
black_is_the_color_of_my_true_love_2.mp3 | |
File Size: | 1539 kb |
File Type: | mp3 |
black_is_the_color_soprano.mp3 | |
File Size: | 1539 kb |
File Type: | mp3 |
blow_blow_thou_wint_all_parts.mp3 | |
File Size: | 3541 kb |
File Type: | mp3 |
blow_blow_thou_wint_sop.mp3 | |
File Size: | 3541 kb |
File Type: | mp3 |
homeland.mp3 | |
File Size: | 4131 kb |
File Type: | mp3 |
homeland_soprano.mp3 | |
File Size: | 4131 kb |
File Type: | mp3 |
weep_o_mine_eyes.mp3 | |
File Size: | 2835 kb |
File Type: | mp3 |
weep_o_mine_eyes_soprano1.mp3 | |
File Size: | 2835 kb |
File Type: | mp3 |
weep_o_mine_eyes_soprano2.mp3 | |
File Size: | 2835 kb |
File Type: | mp3 |
All-State Audition Files
vocalise_-_soprano.mp3 | |
File Size: | 497 kb |
File Type: | mp3 |
soprano_i_scale_high.mp3 | |
File Size: | 277 kb |
File Type: | mp3 |
soprano_i_scale_low.mp3 | |
File Size: | 278 kb |
File Type: | mp3 |
soprano_ii_scale_high.mp3 | |
File Size: | 278 kb |
File Type: | mp3 |
soprano_ii_scale_low.mp3 | |
File Size: | 277 kb |
File Type: | mp3 |
sop_1_excerpt_2.m4a | |
File Size: | 291 kb |
File Type: | m4a |
sop_2_excerpt_2.mp3 | |
File Size: | 1043 kb |
File Type: | mp3 |