MIME-Version: 1.0 Content-Type: multipart/related; boundary="----=_NextPart_01CC2449.A9F77080" This document is a Single File Web Page, also known as a Web Archive file. If you are seeing this message, your browser or editor doesn't support Web Archive files. Please download a browser that supports Web Archive, such as Microsoft Internet Explorer. ------=_NextPart_01CC2449.A9F77080 Content-Location: file:///C:/D0C89D18/index.htm Content-Transfer-Encoding: quoted-printable Content-Type: text/html; charset="us-ascii" Ross School - Senior Project 2006-07

Ross School - Senior Projects 2011

 

Student<= /span>: Beom J= oo Yu       

Mentor: Ms. Is= bister

Domain): Perfor= ming Arts

 

Product        = ;            &n= bsp;       

 

Title: My Little Music Sketchbook=

Descript= ion:

My project consisted of two parts: = live music performance and a paper. I performed cello music of various genres, s= uch as Baroque, Classical, Romantic and Modern music. Composers of these periods include Johann Sebastian Bach, Franz Joseph Haydn, Charles Camille Saint-Sa= ens, Gabriel Urbain Faure, and Ennio Morricone. I focused mainly on different periods in music history and the stylistic similarities and differences amo= ng them. Moreover, I did research on the aforementioned composers and their mu= sic pieces that I played. 

 

Details:

Paper

 

Practice Pieces (1, 2)

 

PowerPoint

 

Abstract

 

When I was first introduced to the senior project during my junior year, my initial plan was to compose music = of piano and/or cello, or at least to do anything related to music. My motive = was simple. In the previous year, I was so dazzled by Pietro’s music performace of his own composition that I wanted to do something like that. I had a conversation with my mentor, Ms. Isbister, and talked about my plan of composing my own music and performing it. She suggested me a book on composition named ‘Scales, Intervals, Keys, Triads, Rhythm, And Meter’ by John Clough, wi= th which she studied before as well. The book consists of series of questions = and explanations on musical symbols, terms and rules. During the summer break of 2010, I brought the book to Korea and studied it with my dad, who is also an avid musician and had some experience in computer music. Although I had no experience on composing, I was still curious wanted to do it, believing tha= t it would be the perfect opportunity to obtain a concrete knowledge about it. Unfortunately, however, my plan changed soon after the break. Although I was interested in composition and was eager to study about it, I realized that = it was such a huge topic, requiring lots of experience and knowledge. It was j= ust too much for a beginner like me.

I had another conversation with Ms. Isbister afterwards. Still wanting to do something music-related, I came up with another idea: to play New Age or Classical music on either the piano or the cello. I happened to have sheet music of Yiruma, a Korean New Age piani= st, and many cello music as well, so I knew that I wouldn’t have to put m= uch effort on looking for the music at least. Although I was not a good pianist= , I was still confident enough to believe that if I practiced hard, I would imp= rove quickly. Again, however, my boldness didn’t last long. Nevertheless, I still didn’t give up on music.

One day, I had a chance to talk to = my senior fellow Angela. Unlike me, she was already settled with her plan, whi= ch was to hold a piano recital. Suddenly, a thought crossed my mind: “how about a collaboration work with her?” I thought I should play the cel= lo music and she could accompany me. She seemed to be interested in this idea. Final= ly, we decided to play two pieces together, one for each other. Since her proje= ct theme was Frederick Chopin’s music, we decided to play Chopin’s= Cello Sonata in G Minor, Largo. No= w I had to construct my own theme in order for her to participate in my project. After a deep consideration, I selected the following pieces: Johann Sebasti= an Bach’s Cello Suite No.1-Prelu= de; Joseph Haydn’s Cello Concerto= in C Major; Camille Saint-Saens’ The Swan; Gabriel Faure’s Aft= er a Dream and Ennio Morricone Gabri= el’s Oboe. Angela and I compromised on playing Saint-Saens together.

Over the winter break, I kept on practicing these pieces.I already had an experience of practicing and performing some of them, such as Haydn and Saint-Saens. Saint-Saens’ = The Swan was easy and simple, wher= eas Haydn’s Cello Concerto was very demanding and complex. Although I practiced some part of Haydn with my private teacher a year before, it was still very hard and considerably long as well. As a result, I had to focus = mainly on this piece. This piece consists of 3 pages, in which the first and the t= hird page closely resemble each other. The third page also contains the cadenza,= a solo part in which the soloist can play improvised music. I didn’t ma= ke up my own improvisation, but decided to play the one written by Mstislav Rostropovich, one of the greatest cellists. To help improve my cello, I frequently watched many videos of cellists playing, such as Yo-Yo Ma, Han-Na Chang, Jacquline Du Pre, Mstislav Rostropovich, Mischa Maisky and more. I a= lso listened to their music on my iPod to be accustomed to hear them. Listening= to many different cellists inspired me a lot, which gave me some ideas on play= ing the music according to certain mood and style.

After the break, I met with Ms. Isbister to discuss about my paper. With her, I organized an outline. Generally, my paper included the following: summary of the period of Baroque, Classical, Romantic and Modern (20-21st century), description of the composers (Bach, Haydn, Saint-Saens, Faure, Morricone), description of their pieces (date, format, style, context etc) and the interre= lation (mostly similarities, differences if any found) among periods, composers, a= nd their music. I did a lot of research using not only the Ross Library Databases, b= ut also the books my outside consultant gave me.

Here are the steps of my researching process. F= irst of all, I visited web databases and encyclopedia on the library website that Ms. Parkes recommended, and also a good web book called Google Book. Then, I looked up all the musical periods, composers, and their music. I skimmed through each material in order to judge if it would be useful or not. Once I thought it would be usable, I printed it out and organized it by musical pe= riods. Then, I started reading the description of the musical periods first, becau= se I thought it made the most sense. After that, I continued with the biographie= s of the composers, and finally the description and analysis of their music. As I was reading, I highlighted points I considered significant.  After a considerable amount of researching and reading, I jogged down the highlighted information on my process book.

During the M-Term, I was on a senior project session, which Ms. Parkes supervised. In the mornings, I usually worked on = my paper, and in the afternoons, I practiced the cello. Ms. Parkes usually hel= ped me with the researching technique and organize a better outline. When practicing, I focused mainly on Haydn and Faure, the two technically hardest pieces. Moreover, I recorded some of the pieces to hear and judge myself.

        &= nbsp;   After the M-Term, I was running out of time, so I began to work harder on the pap= er. I wrapped up with the researching and started writing more. Furthermore, I began to input in-text citation and organize works cited page. Ms. Engel, a librarian, helped me a lot with these. Meanwhile, I had to finish up my performance as well. I started to tune up with Ms. Schneider, my piano accompanist, and also with Angela.

On Friday May 6, I finally held my recital. I played the music in order of their musical periods. The first piece, Bach’s Cello Suite, was the one and only solo piece in the program. M= s. Schneider accompanied for Haydn, Faure and Morricone, and Angela for Saint-= Saens. My performance lasted for about 30 minutes maximum.

        &= nbsp;   A couple weeks later, on Monday May 23, I had a presentation too. A few days before it, Ms. Takeda, my presentation grader, helped me organize my presentation and gave me helpful advice. My presentation consisted of the following: the rational and a brief description of my project, process, challenge, skills acquired, future plan, thank you, and lastly a question session.          <= o:p>

     

Works Consulted

 

Works Consulted

 

"Bach, Johann Sebastian." Great Composers 1300-1900. 1966. Biography Ref Bank Select. Web. 9 Mar. 2011

 

Bonta, Stephen. "Violoncello." Gro= ve Music Online. Oxford Music Online. Web. 16 Mar. 2011.

 

"Carnaval des animaux, Le." The Ox= ford Companion to Music. Ed. Alison Latham. Oxford Music Online. Web.= 14 May. 2011.

 

"Faure, Gabriel." Composers since 1900 1st Supplement; Composers since 1900= . 1969. Biography Ref Bank Select. Web. 9 Mar. 2011.=

 

"Haydn, Joseph." Great Composers 1300-1900. 1966. Biography Ref Bank Select. Web. 9 Mar. 2011.

 

Janof, Tim. "INTERPRETATIONAL ANGST AND THE BACH CELLO SUITES by Tim Janof.&q= uot; INTERNET CELLO SOCIETY. Web. 1 Mar 2011.

&nb= sp;

Kozinn, Allan. "Baroque Music." Grolier Multimedia Encyclopedia. 2= 011. Web. 10 Mar. 2011.

 

Laki, Paul. “Cello Concerto No. 1 in C major.” The Kennedy Center. Web. 1 Mar. 20= 11.

 

"Morricone, Ennio." Current Biography. 2000. Biography Ref Bank Select. Web. 14 May 2011.

 

“Music History.” Oracle Education Foundation. 2010. Web. 1 Jan. 2011.

 

Nectoux, Jean-Michel, and Roger Nichols. Gabriel Faure: a Musical Life. Cambridge: Cambridge UP, 2004. Print.

 

Nectoux, Jean-Michel. "Fauré, Gabriel." Grove Music Online. Oxford Music = Online. Web. 14 May. 2011.

 

Plushie, Nick. “Review of Carnival of the Animals.” The Pride Lands Online. 13 Dec. 1996. Web. 14 May. 2011.

 

"Saint-Saens, Camille." Gr= eat Composers 1300-1900. 1966. Biography Ref Bank Select. Web. 9 Mar. 2011. 

Siblin, Eric. The Cello Suites: J.S. Bach, Pablo Casals, and the Search for a Baroque Masterpiece. New York: Grove, 2011. Print.

 

Stove, R. J. A Student's Guide to Music History. Wilmington, DE: ISI, 2008. Print.

 

Terry, Paul, David Bowman, Lucien Jenkins, and Monica Leiher. A Student's Guide= to AS Music: for the Edexcel Specification 2001-2004. London: Rhinegold Pu= b., 2001. Print.

 

Outside Consultant=

Margaret Bodkin, cello teacher at the middle school.

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