SCMS Performance Make up Assignment - Please read the policy and print the form
There are lists of suggested composers at the end. Please choose from the category that best fits your instrument and the concert you missed.
Performances in the Fine Arts fulfill the following purposes:
-Personal ownership and contribution to a final product
-Complies with Utah State and National Core standards for each Fine Arts area
Performance Attendance and Alternate Performance Assignment Policy
As a Fine Arts Team, we implement performance into our curriculum as a fulfillment of Utah State and National Core Standards for the Arts. As teachers, we understand that our students are involved in multiple activities. There may be times when they must choose between a performance and another important event. In those cases, we ask that you do not expect to be excused from the school performances. We are responsible for the educational process regardless of individual schedules. It is our job, first and foremost, to give our students an education, and we must follow the core standards as outlined.
Excused Performance Absence:
Family emergencies and illnesses are considered valid excuses for a student absence at a Fine Arts performance. The teacher must be notified of the emergency/illness by a legal guardian via email/signed note or the absence will not be excused. If there are extreme circumstances that do not fit into these categories, it is up to the teacher to determine if the student can be excused from the performance.
Unexcused Performance Absence:
Family vacations, weekly youth groups, sporting events, after school activities, along with other events specified by the teacher, are not considered valid excuses for missing a Fine Arts performance. Students who do not have a valid excuse may do an alternate performance assignment to gain points that will be factored into the missed performance grade.
Alternate Performance Assignment:
Teachers will offer an alternate assignment based on their Fine Arts area curriculum. It will either require attendance at a performance similar to the missed performance OR the assignment will be research based. Students will turn in a report on the given assignment.
Alternate Assignments will not “make-up” the total performance points. Performances are very specific and require months of work to prepare students to successfully demonstrate their skill and ability to work with other members of the performance group. It is not possible to duplicate this experience. Therefore, the points earned through the alternate assignment cannot be equal. The Alternate Assignment grade will be factored into the performance grade. If the assignment is completed to a satisfactory level, the student will receive a basic passing grade for the missed performance.
Composers of March music
Composers of Orchestra Music
15. Saint Hildegard Von Bingen 1098 – 1179
14. Guillaume Dufay 1397 – 1474
13. Giovanni Pierluigi da Palestrina 1525? – 1594
12. Antonio Vivaldi 1678 – 1741
11. George Frideric Handel 1685 – 1759
10. Carl Philipp Emanuel Bach 1714 – 1788
9. Franz Joseph Haydn 1732 – 1809
8. Wolfgang Amadeus Mozart 1756 – 1791
7. Giuseppe Verdi 1813 – 1901
6. Richard Wagner 1813 – 1883
5. Gustav Mahler 1860 – 1911
4. Igor Stravinsky 1882 – 1971
3. Edgard Varese 1883 – 1965
2. Nadia Boulanger 1887 – 1979
1. John Cage 1912 – 1992
When you think about it, jazz composition is an incredibly difficult art. A great jazz composer must create a piece of music that is interesting as written, but also interesting as a framework for what is not written. A good jazz composition should imply more than it says.
Everyone's short list of top jazz composers should begin with Duke Ellington. My personal short list would then include Thelonious Monk, Gil Evans, Horace Silver, and Wayne Shorter. And of course many of the Tin Pan Alley composers wrote tunes that generations of jazz musicians have cherished as frameworks for improvisation.
I hope to post some more tributes to jazz composers in the future, but I'm going to start with three personal favorites that deserve more recognition: Billy Strayhorn, who was in many ways eclipsed by his mentor and collaborator, Duke Ellington; Jelly Roll Morton, well recognized in his day but not well known to today's young jazz listeners, and Hank Mobley, who is still better known as a tenor sax player than as a composer, though his jazz compositions are wonderful.