So, I was asked to do a seminar for my school's Honors Program students.  Basically, part of the (almost defunct) Honors Program at my school is monthly seminars on topics that are intended to expand their musical experience whilst at the school.

So, I'm thinking...what.  I haven't the foggiest idea on what such a topic would be that I could present (certainly not grammar and sentence structure).  See, it's been a few years since I have taught anything besides guitar and saxophone private lessons.  No comp, no theory besides basic and hilarious solfege classes for rammy 5 and 6 year olds. And certainly no advanced topics to anyone bedsides myself.

I've also been reticent to teach until I was sure that what I was saying were my own words, and not those of my teacher(s).  Not that his (their) words were wrong, they just sound less and less like mine when they come out of my face.  When I was supposed to know that, I'm not sure; and waiting without teaching it in hopes that it would work itself out doesn't seem to have been a great solution, now that I think of it...hmm.

So, in the shower, it came to me - what do I bust my student's humps about every week: listening.  There it is - "How to Listen." Some questions to ask:

What do you listen to?  Why do you listen to it?  What listening do you do for fun?  For education? For work?  Do you listen only to music for fun or edification? What about talk radio, recorded books, sounds of nature? 

Then, I pulled out my copy of Copland's What to Listen for in Music.  What a great book!  I recommend it as a primer for musical composition as well as a guide for the discerning music lover OR performer.  I will likely use the structure of his book to guide the discussion of how to sort out the parts of music as you are listening (rhythm, melody, harmony and tone color being the four parts of music to listen for, according to Aaron).

Which brings me to my own listening. It's been Ives all day and night for a few months (I LOVE the Naxos online catalogue).  Today, Dallapiccola orchestral works.  A refinement of serial technique.  Far more listenable in some respects, plus amazing and fresh orchestration tactics.  Why isn't his music programmed more?