Lincoln Center Institute Curriculum Unit Topics
http://www.lincolncenter.org/lci/index.htm
List of Curricula taught by Kitty Brazelton 1989-Present
- Lewis Nash Percussion Ensemble - Rhythm is Our Business: The Syncopations
of Jazz Through Percussion directed by Lewis Nash, drums performed by Lewis
Nash Percussion Ensemble: Lewis Nash, Regina Carter, Steve Kroon, Stefon Harris,
and David Finck: Freedom Jazz Dance (Eddie Harris) 106 Nix (Lewis
Nash) Sabaku (Lewis Nash) Skeeter Blues (Lewis Nash) Let
Me Try (Sir Roland Hanna) Afro Blues (Mongo Santamaria) Tico
Tico (Zequinha Abreu) Cubano Chant (Ray Bryant) The Freedom
Rider (Art Blakey) I Never Told You (Johnny Mandel) Evidence (Thelonius
Monk) A co-production of Jazz at Lincoln Center and Lincoln Center Institute
- Irish Music: A Living Tradition performed by The Cathie Ryan Band
- Margaret Leng Tan - The Art of the Toy Piano
- Eric Reed Trio - Music of Monk, Compositions of Thelonious Sphere Monk -
San Francisco Holiday Rhythm-A-Ning Misterioso Thelonious Ugly Beauty 'Round
Midnight Coming on the Hudson Trinkle Tinkle Four in One composed by Thelonious
Monk performed by The Eric Reed Trio
- The Harlem Spiritual Ensemble - American Negro Spirituals - Go Down Moses
arranged by Harlem Spiritual Ensemble I've Been 'Buked arranged by
Wm. Farley Smith Rockamamumba arranged by Harlem Spiritual Ensemble
Swing Low, Sweet Chariot arranged by Louis Smart, Fran¨ois Clemmons
and Adrian Pressley You Better Min' arranged by Harlem Spitiual Ensemble
Ain't Gonna Let Nobody Turn Me 'Round arranged by Fran¨ois Clemmons
Go Tell It On the Mountain arranged by Louis Smart Amen arranged by
Harlem Spiritual Ensemble We Shall Overcome, Free at Last directed
by Fran¨ois Clemmons performed by The Harlem Spiritual Ensemble
- Park Stickney - Suites for Harp - French Suite No. 5 composed by Johann
Sebastian Bach transcribed for harp by Park Stickney Suite for Harp, Op. 83
composed by Benjamin Britten performed by Paul Stickney, harp
- The Robert Minden Ensemble - The Lost Sound - composed by Robert Minden,
Carla Hallett, Andrea Minden and Dewi Minden written by Robert Minden performed
by The Robert Minden Ensemble
- Meridian Arts Ensemble - Muy Linda, Pavane, Galliard composed by
Anthony Holborne, Armenian Scenes composed by Alexander Arutiunian,
Quintet for Brass Instruments (2nd Movement) composed by Alvin Etler,
Brass Confusion composed by Norman Yamada, Smart Went Crazy
composed by Kirk Nurock, performed by the Meridian Arts Ensemble
- Juilliard Jazz - Black Bottom Stomp composed by Jelly Roll Morton,
Mood Indigo composed by Duke Ellington, Shaw Nuff composed by
Dizzy Gillespie, All Blues composed by Miles Davis, Congeniality
composed by Ornette Coleman, conducted by David Berger performed by The Juilliard
Jazz Sextet
- Duo Loco - Percussive Exploration - Triplets composed by George Hamilton,
Green Hamaba Jakaa traditional African Sonata in G-Major (Excerpts)
composed by Johann Sebastian Bach, Cunca traditional Irish arranged
by John Morton India Star composed by Ravi Shankar, Bulerias
composed by Pepe Habichuela arranged by Moriyasu Iigaya, Samba Mamba
composed by Paul Hostetter and Bill Ruyle - performed by Duo Loco (Paul Hostetter
and Bill Ruyle)
- Cos“ Cosa* based on Cosi fan tutte by Wolfgang Amadeus Mozart
conceived by Orchestra of St. Luke's and Lincoln Center Institute for the
Arts in Education in collaboration with David Briskin and Joshua Major music
direction by David Briskin stage direction by Joshua Major
- Music and Musicians from South Africa - Basadi Kgwedi Kemang (Women,
what season is this?) Masilo and Li Masilonyana (Oh My! Masilo killed
Masilonyana) Thula, Thula (Lullaby) Jikel Emaweni (Boys practice
Stick Fighting) Hamba Bhekile (Let it go around) U Shaka (A
tribute to King Shaka) presented by The Juilliard School
- Piano Focus and Friends - Sonata No. 8 (1st Movement) composed by
Ludwig van Beethoven Voice of the Whale (Excerpt) composed by George
Crumb Intermezzo in C-Major composed by Johannes Brahms The Sunken
Cathedral composed by Claude Debussy Allegro Barbaro composed by
Bˇla B‡rtok - performed by Richard Cionco, piano; James Zellers, flute, and
Jennifer Kloetzel, cello
- Drumfire -Kaida Suite for Hand Clappers and Jazz Drums, Saw Concerto,
Timbrack Quartet, Dance Piece, A Bird Whispered, Stick Talk composed by
Michael Udow presented by The Juilliard School
- Winds of a Feather - Two Part Inventions: No. 1 in E-Major and No. 2 in
C-Major composed by Johann Sebastian Bach Ch™ros No. 2 composed by Heitor
Villa-Lobos Esprit Rude/Esprit Doux composed by Elliot Carter The Gentle Birds
composed by Jean Rivier Harlekin composed by Karlheinz Stockhausen New Work
composed by Tom O'Horgan performed by Linda Chesis, flute and Jean Kopperud,
clarinet
- Fanfare composed by Michelle DiBucci written and directed by Dennis
Aubrey presented by The Juilliard School
- Das Musikalisches Opfer (2nd and 3rd Movements) composed by Johann Sebastian
Bach Duettino Concertante (1st Movement) composed by Ingolf Dahl Duet for
Flute and Violin, Op. 75, No. 4, K.374E composed by Wolfgang Amadeus Mozart
Duo for Violin and Violoncello, Op. 7 (1st Movement) composed by Zoltan Kodaly
River of January* composed by Richard Baitz presented by The Juilliard School
- Symphony in C-Major, K.338 composed by Wolfgang Amadeus Mozart conducted
by Armin Jordan performed by The Mostly Mozart Festival Orchestra
- Hispanic Musical Journey - Chorino No. 1 Cueca No. 1 composed by Daniel
Freiberg El Pano Moruno Cancion Nana Seguidilla Murciana composed by Manuel
de Falla Tabu Zambra composed by Ricardo Llorca presented by The Juilliard
School
- Frankenstein!! composed by H. K. Gruber poems written by H. C. Artmann
English version by Harriett Watts conducted by Keri-Lynn Wilson
- Jazz Masters -Oriental Folksong composed by Wayne Shorter Tin Tin Deo composed
by Gil Fuller and Chano Pozo Nearness of You composed by Hoagy Carmichael
and Ned Washington Song for My Father composed by Horace Silver Milestones
composed by Miles Davis Never Let Me Go composed by Jay Livingston and Ray
Evans Anthropology composed by Charlie Parker performed by The Roy Hargrove
Quintet
- Canzons and Counterpoints - Fanfare for St. Edmunsbury composed by Benjamin
Britten Alleluia: Canon in Four Parts composed by Wolfgang Amadeus Mozart
arranged by Orstander Canzon Primi Toni composed by Giovanni Gabrieli Deus
in Adjutorium composed by Claudio Monteverdi arranged by Mark Niehaus Canzon
in Double Echo composed by Giovanni Gabrieli Gagliardi Battaglia composed
by Samuel Scheidt arranged by Mase Contrapunctus I composed by Johann Sebastian
Bach arranged by King Ceremonial Fanfare composed by Aaron Copland Solemn
Entry composed by Richard Strauss arranged by Mark Niehaus directed by Mark
Niehaus performed by The New York Big Brass
- Octet in E-flat, Op. 20 composed by Felix Mendelssohn produced by The Juilliard
School
- Owl in Love composed and conducted by Jon Deak
- Songs of Kings and Warriors - West African jali Mamadou Betec Jaliya Kaira
Alalake Kunkuba Kaira performed by Papa Susso, Salieu Susso, Basirou Jobarteh
and Nakoyo Susso
- Quintets for Winds produced and performed by The Juilliard School
- The Trout Quintet composed by Franz Schubert performed by The Phantasy Chamber
Players
An Explanation of the LCI Teaching Format
A Lincoln Center Institute Music Teaching Artist goes in to the participant
school in advance to prepare students to attend a concert or segment of
an opera. Schools are K-12, located in the tri-state greater New York area,
mostly public schools, although these criteria have changed somewhat over
the years.
The Teaching Artist makes 3-4 visits to the school working with activities
designed in collaboration with classroom teachers during an initial Planning
Session. These activities prepare students for the experience of listening
in a parallel but non-literal way. Teaching Artists use kinetic, visual,
auditory, emotional and creative approaches but never direct description
of the event they are preparing. One visit is customarily scheduled after
the event, so that the Teaching Artist can help students reflect on what
they have seen, heard and felt.
Each unit requires some study on the part of the Teaching Artist and participant
classroom teachers. I include a list below of all the units I have had the
privilege of teaching and learning about.
Teaching for Lincoln Center Institute is demanding. You have very little
time to engage with the students and get across a lot of ideas, many of
which are very new to these students and to the teachers as well. As a composer,
I find I always gravitate towards helping kids and teachers to create their
own version of the performance they are going to see. I feel strongly that
creation gives deeper insight and involvement into the creativity of another
human being: if you try to make a song, you will understand something of
what it takes to make a really great song.