(1) Positive Statement
What are you most proud of in your Block Presentation and/or your senior project? Why?
I suppose I am proud of the fact that I put in enough time to be able research a few things that were both new and familiar to me.
(2) Questions to Consider
a. What assessment would you give yourself on your Block Presentation (self-assessment)?
AP/CR
b. What assessment would you give yourself on your overall senior project (self-assessment)?
AP/CR
(3) What worked for you in your senior project?
I was able to explore more about what goes into preparation for a classical music performance.
(4) (What didn't work) If you had a time machine, what would have you done differently to improve your senior project if you could go back in time?
I would most likely better prepare myself for my presentation or at least practiced before an audience.
(5) Finding Value
How has the senior project been helpful to you in your future endeavors? Be specific and use examples.
The senior project I believe will help me find ways to become a better person in the sense that I will be able to be more open minded about alternatives for when it comes to problem solving and thinking.
Wednesday, May 28, 2014
Monday, May 12, 2014
Blog 21: Mentorship
Literal
Log of specific hours with a total and a description of your duties updated on the right hand side of your blog
Contact Name and Mentorship Place.
Done.
Interpretive
What is the most important thing you gained from this experience? Why?
I suppose the most important thing I gained from this was the ability to think about things differently and also the skills to be a more effective, if not apt learner for cases of having to prepare on very short notice or even preparing a year or so ahead. I also learned some new skills along the way that can help me better prepare classical music for a performance, especially since I have plans to one day perform in an international piano competition. I could also say I gained more self confidence that of what I had, as I have been known to be quite hard on myself as I am a perfectionist for when it comes to being a serious musician.
Applied
How has what you’ve done helped you to answer your EQ? Please explain.
What I have done has helped me answer my EQ because it helped me explore numerous methods of practice, different periods of music (and different genres outside of senior project with fellow musicians in the senior class), and has also given me plenty to research and question aside from everything I already knew or had an idea of.
Tuesday, April 29, 2014
Blog 20: Exit Interivew
Content:
(1) How can learning various playing styles and techniques best prepare you for mastering classical music for a performance?"
My answers are:
I took as many routes to finding this answer as possible. I looked at the few answers I currently had and then decided to delve further into what goes behind making a classical piece successful. What helped was to practice different methods myself, and also asking other musicians what practice methods worked best for them when they were preparing classical music.
My answers are:
- Learning various playing styles and genres help you to really listen to music and understand it for what it is and what goes on within it, especially when it comes to music periods from the Baroque era to 20th Century, where the composer's intents are explicitly described in each measure and phrase of a piece
- Learning various styles and genres help you when Exploring multiple methods of practice and playing can really assist a pianist for when it comes to performing classical music in a way that gets them to continue repeating basic knowledge while also learning something new along the way.
- Learning various styles and genres help you with creating your own way of expressing yourself in music by influencing your musical style so that you can be unique with your own musical interpretations.
- Learning various styles and genres help you when Exploring multiple methods of practice and playing can really assist a pianist for when it comes to performing classical music in a way that gets them to continue repeating basic knowledge while also learning something new along the way.
I took as many routes to finding this answer as possible. I looked at the few answers I currently had and then decided to delve further into what goes behind making a classical piece successful. What helped was to practice different methods myself, and also asking other musicians what practice methods worked best for them when they were preparing classical music.
(3) What problems did you face? How did you resolve them?
Some problems I faced were having unclear answers and also not being specific with what I was trying to convey. I already had my answers and everything, I just needed to find a way to explain it while still making sense. I tend to have a habit of confusing others.
Some problems I faced were having unclear answers and also not being specific with what I was trying to convey. I already had my answers and everything, I just needed to find a way to explain it while still making sense. I tend to have a habit of confusing others.
(4) What are the two most significant sources you used to answer your essential question and why?
Two most significant sources I used to answer my essential question were:
Johnson, Daniel. "Music Listening and Critical Thinking." International Journal of the Humanities, Vol. 2, No. 2 (2004). Web. 24 Apr. 2014.
Chueke, Zelia. "Stages of Listening During Preparation and Execution of a Piano Performance." University of Miami (2000). Web. 2 Apr. 2014.
They helped me find what I needed and gave me detailed insight on how listening and practice really help.
Two most significant sources I used to answer my essential question were:
Johnson, Daniel. "Music Listening and Critical Thinking." International Journal of the Humanities, Vol. 2, No. 2 (2004). Web. 24 Apr. 2014.
Chueke, Zelia. "Stages of Listening During Preparation and Execution of a Piano Performance." University of Miami (2000). Web. 2 Apr. 2014.
They helped me find what I needed and gave me detailed insight on how listening and practice really help.
Thursday, April 24, 2014
Blog 19: Independent Component 2
LITERAL
(a) Statement saying: “I, Alyssa Casey, affirm that I completed my independent component which represents 30 hours of work.”
(b) Sources:
(c) Provide a digital spreadsheet (aka log of the 30 hours).
Posted.
(d) For my independent component, I did three pieces for the piano. They were for the Talent Show, which was April 1st, and they were rather varied. One was a classical piece, another was an accompaniment for my own voice, and the other an accompaniment for another vocalist's voice. The thirty hours of work were mainly daily practice, especially with the accompaniment piece that was for another vocalist besides myself. That last piece I took different ways of playing it: by ear, by the written, set-in-stone sheet music with the notes, and also with the chord names that were written above the sheet music on the same page. I took to simply using the basic five chord pattern for that particular piece. As for the others, I mainly went by how they were written, and may have added more thematic elements when I performed them with more vigor and excitement.
INTERPRETIVE
Defend your work and explain how the significant parts of your component and how it demonstrates 30 hours of work. Provide evidence (photos, transcript, art work, videos, etc) of the 30 hours of work.
The work I did was mainly practicing and finding different methods of how not to become nervous while onstage. I took time to try listening to my material on the go repeatedly, so that if there were to come a moment that I forgot a passage, I could simply improvise because I would know what that passage was supposed to sound like. I tried different methods for multitasking, especially for when it came to accompanying my own singing voice. Playing as an accompanist for another singer or even as a classical soloist was very different than from what I was preparing for. At times, I felt that this self sustaining performance of me playing along with my voice was more difficult than executing Beethoven. I managed to perform well at the talent show, and received good reception overall.
A phrase from "Let It Go" by Kristen Anderson-Lopez and Robert Lopez, composed for the movie "Frozen."
Lyrics from "Let It Go."
Here's me (figuratively) hoping that I was confident enough about it.
"Read All About It" by Emeli Sande
First page of the sheets I found that thankfully had the guitar tabs and chord names (letters above the graph things that have letters such as Bm and Gmaj7).
Finally, there's this delicious piece.
Here is a passage where the first set of mordents is shown. The mordents force the pianist to move the right hand over the left as you are to play the staccato bass notes before jumping back into treble clef.
The part where the grave set piece becomes devilishly fast, with notes that play like sixteenths.
Second set of mordents after the fast bass notes that lead to the trills. This is in a different key than the first set of mordents.
Here is a part where the fast paced main theme leads into a slower paced passage with half notes that seem to quiet down, but then get louder, and get softer once more. You now are in the second set of mordents in E-Flat.
Here's a fun part where the first set of mordents dissipates into the slow, longer held half notes that builds up to the wrist rotating staccato parts that get louder each time, as mentioned where it says "cresc." meaning, get louder.
This page here, this very one was the most fun and the most painful. That sudden natural key change and then the melody shifting to the left hand. You gotta love it. Oh, the markings with "tr," those are the really fast and painstaking trills. Totally fun. Oh, they were played with my pinky and ring fingers.
My hand moving over for the first mordents that appear in the piece. Notice that my left is crossed under, playing the softer harmonic rhythm while my right hand is playing the melody.
My hands here are playing the Beethoven at the actual speed it was written at, which was Allegro di molto e con brio, which means "fast, with fire." Left me plenty of room for expression.
Talent Show pamphlet, with all three of my performance numbers under 2, 6, and 13.
APPLIED
How did the component help you answer your EQ? Please include specific examples to illustrate how it helped.
The component helped me answer my EQ because it helped me understand how much practice can really make a difference in the way a final performance goes. Although I admit I didn't do as much practice as I wished, the times I did made me realize that for most cases, it is best to get secondary help from others and to actually communicate with those you are working with, even if you have yet to complete your end of the deal. That is something I realized after not practicing with my partner for the song "Read All About It." The reason I didn't exactly meet up my partner was because I didn't want them to feel I wasn't ready or capable enough of assisting them.
(a) Statement saying: “I, Alyssa Casey, affirm that I completed my independent component which represents 30 hours of work.”
(b) Sources:
- Stacey Ulmer, mentor
- Thomas Nalbach , 4th Interview
- Lammers, Will. "Factors Affecting Performance Proficiency: A Case Study Involving Intermediate Piano Students." Department of Graduate and Undergraduate Studies in Education, Brock University (2006). Web. 2 Apr. 2014.
- Schoenberg, Arnold. Style and Idea. New York: Philosophical Library, Inc., 1950. Print. Pgs 153-180.
- Chueke, Zelia. "Stages of Listening During Preparation and Execution of a Piano Performance." University of Miami (2000). Web. 2 Apr. 2014.
(c) Provide a digital spreadsheet (aka log of the 30 hours).
Posted.
(d) For my independent component, I did three pieces for the piano. They were for the Talent Show, which was April 1st, and they were rather varied. One was a classical piece, another was an accompaniment for my own voice, and the other an accompaniment for another vocalist's voice. The thirty hours of work were mainly daily practice, especially with the accompaniment piece that was for another vocalist besides myself. That last piece I took different ways of playing it: by ear, by the written, set-in-stone sheet music with the notes, and also with the chord names that were written above the sheet music on the same page. I took to simply using the basic five chord pattern for that particular piece. As for the others, I mainly went by how they were written, and may have added more thematic elements when I performed them with more vigor and excitement.
INTERPRETIVE
Defend your work and explain how the significant parts of your component and how it demonstrates 30 hours of work. Provide evidence (photos, transcript, art work, videos, etc) of the 30 hours of work.
The work I did was mainly practicing and finding different methods of how not to become nervous while onstage. I took time to try listening to my material on the go repeatedly, so that if there were to come a moment that I forgot a passage, I could simply improvise because I would know what that passage was supposed to sound like. I tried different methods for multitasking, especially for when it came to accompanying my own singing voice. Playing as an accompanist for another singer or even as a classical soloist was very different than from what I was preparing for. At times, I felt that this self sustaining performance of me playing along with my voice was more difficult than executing Beethoven. I managed to perform well at the talent show, and received good reception overall.
A phrase from "Let It Go" by Kristen Anderson-Lopez and Robert Lopez, composed for the movie "Frozen."
Lyrics from "Let It Go."
Here's me (figuratively) hoping that I was confident enough about it.
"Read All About It" by Emeli Sande
First page of the sheets I found that thankfully had the guitar tabs and chord names (letters above the graph things that have letters such as Bm and Gmaj7).
Finally, there's this delicious piece.
Here is a passage where the first set of mordents is shown. The mordents force the pianist to move the right hand over the left as you are to play the staccato bass notes before jumping back into treble clef.
The part where the grave set piece becomes devilishly fast, with notes that play like sixteenths.
Second set of mordents after the fast bass notes that lead to the trills. This is in a different key than the first set of mordents.
Here is a part where the fast paced main theme leads into a slower paced passage with half notes that seem to quiet down, but then get louder, and get softer once more. You now are in the second set of mordents in E-Flat.
Here's a fun part where the first set of mordents dissipates into the slow, longer held half notes that builds up to the wrist rotating staccato parts that get louder each time, as mentioned where it says "cresc." meaning, get louder.
This page here, this very one was the most fun and the most painful. That sudden natural key change and then the melody shifting to the left hand. You gotta love it. Oh, the markings with "tr," those are the really fast and painstaking trills. Totally fun. Oh, they were played with my pinky and ring fingers.
My hand moving over for the first mordents that appear in the piece. Notice that my left is crossed under, playing the softer harmonic rhythm while my right hand is playing the melody.
My hands here are playing the Beethoven at the actual speed it was written at, which was Allegro di molto e con brio, which means "fast, with fire." Left me plenty of room for expression.
Talent Show pamphlet, with all three of my performance numbers under 2, 6, and 13.
APPLIED
How did the component help you answer your EQ? Please include specific examples to illustrate how it helped.
The component helped me answer my EQ because it helped me understand how much practice can really make a difference in the way a final performance goes. Although I admit I didn't do as much practice as I wished, the times I did made me realize that for most cases, it is best to get secondary help from others and to actually communicate with those you are working with, even if you have yet to complete your end of the deal. That is something I realized after not practicing with my partner for the song "Read All About It." The reason I didn't exactly meet up my partner was because I didn't want them to feel I wasn't ready or capable enough of assisting them.
Monday, March 31, 2014
Extra Post: March
For the duration of this month, I have been focusing more on accompaniment mainly because I am doing two accompaniments for talent show on April 1st. These two are songs from different genres, one being a soundtrack piece from the film Frozen and the other a pop/R&B song by Emeli Sande. However, I have also been studying my Beethoven piece, and have that ready to perform whenever. As of now, I am to start a piece for iFest, also an accompaniment. This accompaniment is a song from the popular musical Wicked by Stephen Schwartz, and the song is Defying Gravity. I hope to be prepared for talent show as it is approaching soon.
Thursday, March 27, 2014
Blog 18: Third Answer
Learning various playing styles and techniques can best prepare you for mastering classical music because performing more often can reduce your anxiety when you have recitals.
- Knowing different musical styles can help a pianist be more comfortable with what they are performing in front of crowds because they have the skills to improvise if they forget a phrase or are nervous when playing
- Performing in group ensembles can take away from some of the anxiety because the perfection of the performance depends on the consistency of the entire group's musical aptitude
- When playing classical, it will seem easier because most of the piece is applied knowledge that is often used
Tuesday, March 4, 2014
Blog 17: 4th Interview
Ten open ended questions.
1. What do you know specifically about your style piano playing, and how did you master it?
2. Has piano taken up a lot of time, and if so, has it interfered with other musical aspirations?
3. Has there been a specific influence in your musical career, and if so, how have they impacted your style of playing?
4. What pianists have you seen that have also worked on the same kind of pieces as you and how did their interpretations differ from yours?
5. How precise are you with rhythmic music and how long did it take you to become good at it?
6. What specific composer's music has helped with understanding musical structure of any piece you've learned and what about their music was useful?
7. What theory books have you used in the past and how can these theory books help other classical pianists?
8. Can listening to other pianists interpretations of one specific piece useful and what benefits would it have?
9. Can collaborating with other pianists boost the desire to do even better and if so, in what ways?
10. Can learning how to accompany vocalists help a pianist understand chords and eventually memorize them, and if so, does this also help keep consistent rhythm?
11. Can the way a pianist studies music influence the way they learn, and if so, can they learn a piece incorrectly?
12. What determines if a pianist is ready to take on classical music, and does this qualification have to do with them knowing how to play a variety of genres and styles?
13. Can classical music be learned effectively in a short amount of time, even if the person has no prior musical experience, and if so, can it take longer than average?
14. When should a pianist start studying classical music and how would this help them expand their knowledge?
15. What benefits can come from mastering classical music, and are they enough to push a pianist to want to compete?
16. What kind of preparation does it take for preparing oneself for a major piano competition and how much time does this require?
17. Which composer's music is most difficult to learn and why is it so?
18. What era of music history has the most technically challenging music, and how can studying the music from this period help improve technique?
19. What is the importance of theory, rhythm and interpretation in classical music and how does it impact the piece?
20. Can teaching another how to play piano help improve a pianist's knowledge, and if so, in what ways?
1. What do you know specifically about your style piano playing, and how did you master it?
2. Has piano taken up a lot of time, and if so, has it interfered with other musical aspirations?
3. Has there been a specific influence in your musical career, and if so, how have they impacted your style of playing?
4. What pianists have you seen that have also worked on the same kind of pieces as you and how did their interpretations differ from yours?
5. How precise are you with rhythmic music and how long did it take you to become good at it?
6. What specific composer's music has helped with understanding musical structure of any piece you've learned and what about their music was useful?
7. What theory books have you used in the past and how can these theory books help other classical pianists?
8. Can listening to other pianists interpretations of one specific piece useful and what benefits would it have?
9. Can collaborating with other pianists boost the desire to do even better and if so, in what ways?
10. Can learning how to accompany vocalists help a pianist understand chords and eventually memorize them, and if so, does this also help keep consistent rhythm?
11. Can the way a pianist studies music influence the way they learn, and if so, can they learn a piece incorrectly?
12. What determines if a pianist is ready to take on classical music, and does this qualification have to do with them knowing how to play a variety of genres and styles?
13. Can classical music be learned effectively in a short amount of time, even if the person has no prior musical experience, and if so, can it take longer than average?
14. When should a pianist start studying classical music and how would this help them expand their knowledge?
15. What benefits can come from mastering classical music, and are they enough to push a pianist to want to compete?
16. What kind of preparation does it take for preparing oneself for a major piano competition and how much time does this require?
17. Which composer's music is most difficult to learn and why is it so?
18. What era of music history has the most technically challenging music, and how can studying the music from this period help improve technique?
19. What is the importance of theory, rhythm and interpretation in classical music and how does it impact the piece?
20. Can teaching another how to play piano help improve a pianist's knowledge, and if so, in what ways?
Friday, February 28, 2014
Extra Blog: February Post
This month, I have started an easier Beethoven piece, of which I am doing for my second independent component. For my answers to my essential question, I am going to have each answer just focus on one aspect of performance, and how it relates to succeeding at learning classical music. These answers are going to be based on theory, pitch, interpretation, and rhythm, and will go into detail about each and how important they are to classical music endeavors. I should have this piece finished in a month or less as I have already played this before, and I simply need to review it. My research from here on out will be focusing on the importance of theory, rhythm, pitch and interpretation, and I hope to find good sources soon with my research. I'm hoping to find books on each, or will ask assistance of my mentor.
Thursday, February 27, 2014
Blog 16
EQ
Answer #2 (Write in a complete sentence like a thesis statement)*
Learning different genres help a musician test their capabilities by forcing them to think about a piece and learn how to approach music differently, whether it be by listening to how music is played by a technical standpoint or by playing something in sections slowly until they have each section fully memorized after utilizing what they already know from past experiences and apply that knowledge to playing that specific piece.
3 details to support the answer (a detail is a fact and an example)
- For example, if I were being given a piece that I had never seen before and was an intermediate classical piece or so, I would have most likely looked at the entire score before I even decided to attempt playing it myself without practice. Most often it is helpful to scan the score and mark in places that prove more difficult or demanding of technique, such as sudden jumps from octave to octave or ornamentation.
- I would listen to a recording of it to better understand the rhythm of the piece, then I would proceed to begin using a metronome to work on it. Most often, listening helps also with interpretation and understanding the emotion of the piece itself.
- I would play through it until I got better, starting out slow then going gradually faster. Most of the time, this forces a pianist to look at approaching score differently, and if needed, learning how to shift their hands in a different way whether written in the score by numbered fingerings indicated on page.
Conclusion
Through listening to recordings, taking a piece apart after scanning it and changing the way you play certain notes, you are in a sense challenged to improve your skills and therefore become a better musician in doing so.
Saturday, February 22, 2014
Blog 15: Independent Component 2 Approval
1. Describe in detail what you plan to do for your 30 hours.
For my thirty hours, I want to explore learning another piece, and maybe incorporate what I learn from it into another music performance or so. I'm hoping by doing this, I will be able to find another answer as to why learning different genres and styles can help a pianist become better, even if it means incorporating that into something not necessarily classical, but yet heavily influenced by classical, or at least as demanding of a musician in all aspects as classical music is of a performer. I do know I'm going to be doing this to also help me prepare for talent show.
2. Discuss how or what you will do to meet the expectation of showing 30 hours of evidence.
I will have better technology to be able to record my progress through video, in a final product. And maybe some pictures and visuals as well as a log of these hours.
3. And explain how what you will be doing will help you explore your topic in more depth.
What I will be doing will have me take what I know and learn something new while still being able to put that learned experience back into what my original goal is of finding just what can prepare me for a demanding performance.
4. Post a log on the right hand side of your blog near your other logs and call it the independent component 2 log.
Will be done soon.
Friday, February 7, 2014
Blog 14: Independent Component 1
LITERAL
(a) I, Alyssa Casey, affirm that I have completed my independent component which represents 30 hours of work.
(b) My mentor Stacey Ulmer has helped me complete my independent component. Other books that have helped are The Library of Piano Classics 2 published by Hal Leonard, which includes my Beethoven piece and other pieces I have had to learn to build up my technique.
(c) Independent Component Log (Can't seem to put it up on the blog itself. Link is here.)
(d) I completed a Beethoven piece, specifically Sonata Pathetique, Mvt. 1, of which took a significant amount of practice to fully master.
INTERPRETIVE
The significant parts of my component were mostly me practicing nearly every day for at least two hours, mostly with breaking up the piece by playing sections at a time until I memorized it fully, slowly at first, then gradually picking up speed.
A part in the piece that has me cross my right hand over to play low notes and mordents, which are trill like notes.
This Beethoven piece requires a lot of fast notes, as depicted above.
Proper playing requires a pianist to sit forward, rather than sit back and try to reach out to the keyboard. The way a pianist sits can affect how they play.
A page from Sonata Pathetique.
.JPG)
Music is my life, or at least takes up a lot of it, if not my free time. Then again, it is more than just a hobby for me.
The Steinway Metronome app I have been using for the entirety of my senior project.
.JPG)
Hanon (yellow book) next to my book with Beethoven and other composers.
The component helped me understand the foundation of my topic better because it made me take a look at everything that goes into learning classical music, the method of learning it by breaking up measures to memorize, the exercises in Hanon that help build precision, and the constant rhythmic changes that are often heard from Jazz and other forms of music. It also made me, in a sense, really understand just how important time management really is, especially when it comes to classical music. You just simply cannot rush any piece of music whenever it comes to classical music.
Wednesday, January 29, 2014
Additional Blog
As of this month, I am nearly done with my independent component. Most of my research for senior project has been behind the structure of the instrument itself and also the differentiating styles of music that can be played on the piano. I have a Beethoven and Bach piece ready for talent show, as it is expected of me, and am currently also studying the structure of J.S. Bach's fugues particularly from a book titled Bach's Fugal Works by A.E.F. Dickinson, for I am to learn the future to Praeludium and Fuga I BVW 846 from Book 1 of The Well Tempered Klavier.
Thursday, January 16, 2014
Blog 12: 3rd Interview Questions
Ten Open-Ended Questions
1. How can learning various playing styles and techniques best prepare you for mastering classical music for a performance?
2. How were you able to obtain a career in this profession and how has it changed your life?
3. What kind of experience have you gained and can you elaborate on each memorable experience in this field?
4. Which classical pieces have you had to prepare and how did you prepare them?
5. How many different kinds of instrumentalists have you had the privilege to work with and for what kind of performances?
6. Exactly how many genres of music have you had to listen to and played in your life?
7. What playing techniques have you mastered and how long did they take you to learn?
8. For what group or company have you recorded with and how did you get the opportunity to do so?
9. How did you become well known in your field of expertise and for what reasons?
10. What kind of students or disciples have you had and how have they helped you approach piano playing differently?
1. How can learning various playing styles and techniques best prepare you for mastering classical music for a performance?
2. How were you able to obtain a career in this profession and how has it changed your life?
3. What kind of experience have you gained and can you elaborate on each memorable experience in this field?
4. Which classical pieces have you had to prepare and how did you prepare them?
5. How many different kinds of instrumentalists have you had the privilege to work with and for what kind of performances?
6. Exactly how many genres of music have you had to listen to and played in your life?
7. What playing techniques have you mastered and how long did they take you to learn?
8. For what group or company have you recorded with and how did you get the opportunity to do so?
9. How did you become well known in your field of expertise and for what reasons?
10. What kind of students or disciples have you had and how have they helped you approach piano playing differently?
Friday, January 10, 2014
Blog 11: Ten Hour Check
1. Where are you doing your mentorship?
I am doing my mentorship at the San Dimas Music store, and I am working privately with a piano instructor.
2. Who is your contact?
My contact is my mentor, Stacey Ulmer, with whom I have done 27 hours of mentorship with my mentor which has mainly been a long process of learning new things to play and understand, especially with different musical styles and composers.
3. How many total hours have you done (total hours should be reflected in your mentorship log located on the right hand side of your blog like your WB)?
I have done a total of 27 hours with my mentor since the beginning of the year, not counting the ten in the summer.
4. Summarize the 10 hours of service you did.
The ten hours of service I've done are mainly getting my pieces prepared for performances, mainly classical pieces as these are more demanding of a performer's technical abilities and timing. These pieces have taken more than 40 hours each alone to practice and master.
5. Email your house teacher the name of your contact and their phone number confirming who they should call to verify it.
Stacey Ulmer
(626) 991-0242
Saturday, January 4, 2014
Blog 10: Senior Project, The Holiday
1. It is important to consistently work on your senior project, whether it is break or we are in school. What did you over the break with your senior project?
I practiced for two hours every day on one single classical piece, and three hours at night on another piece. I researched a little bit about history of a composer who was new to me, went by the name of Moritz Moszkowski, who was a 20th century composer.
2. What was the most important thing you learned from what you did and why? What was the source of what you learned?
My original goal was to apply to Juilliard. However, I realized I wasn't being realistic, as I didn't prepare my pieces in time for audition deadlines. What I learned from this was to always maintain good time management with everything I do, especially performance pieces, so that I didn't have to be stressing about learning a piece fast enough.
3. If you were going to do a 10 question interview on questions related to answers of your EQ, who would you talk to and why?
I would most likely speak to a well rounded pianist such as my inspirational figure, Martha Argerich. Though realistically I may never get to interview her in person, I would go to her specifically because she has been a professional concert pianist who has played with many chamber orchestras around the world for most of her life and because I feel she would be able to best answer most of my questions that relate to my essential question with her personal experiences in performing classical music.
I practiced for two hours every day on one single classical piece, and three hours at night on another piece. I researched a little bit about history of a composer who was new to me, went by the name of Moritz Moszkowski, who was a 20th century composer.
2. What was the most important thing you learned from what you did and why? What was the source of what you learned?
My original goal was to apply to Juilliard. However, I realized I wasn't being realistic, as I didn't prepare my pieces in time for audition deadlines. What I learned from this was to always maintain good time management with everything I do, especially performance pieces, so that I didn't have to be stressing about learning a piece fast enough.
3. If you were going to do a 10 question interview on questions related to answers of your EQ, who would you talk to and why?
I would most likely speak to a well rounded pianist such as my inspirational figure, Martha Argerich. Though realistically I may never get to interview her in person, I would go to her specifically because she has been a professional concert pianist who has played with many chamber orchestras around the world for most of her life and because I feel she would be able to best answer most of my questions that relate to my essential question with her personal experiences in performing classical music.
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