EDEL 325

Question 1

Timbre

Answer 1

Unique tone colour of a voice, instrument or sound source

Question 2

Expressive Qualities

Answer 2

Dynamics, tempo and articulation

Question 3

Dynamics

Answer 3

loudness or softness of sound

Question 4

Tempo

Answer 4

Speed of the music

Question 5

Articulation

Answer 5

the way musical tones are attacked in a performance

Question 6

Melody

Answer 6

a succession of pitches that move up, down or repeat

Question 7

Rhythm

Answer 7

Long and short durations of sounds/silences and their organization

Question 8

form

Answer 8

structure of a musical composition, the order of the same/different musical events

Question 9

Texture

Answer 9

The layering of sounds; the thickness or
thinness of the music

Question 10

Harmony

Answer 10

Two or more pitches sounded simultaneously

Question 11

Music concepts

Answer 11

basis for the elementary music
curriculum and based on the elements of music

Question 12

Development of conceptual understanding

Answer 12

For a concept to become part of deeper understanding it must be
continually experienced in a variety of contexts

Conceptual learning is a spiraling or cyclical process

Music concepts begin to develop when children have multiple
opportunities to experience and explore sound sources in their
environment

Teachers should encourage exploration of music concepts both
in group settings and in individual play

Musical foundation is laid in the early years

Children expand their conceptual understandings as they are
continually engaged in active music-learning experiences

Concepts are categorized by the elements of music

Question 13

General outcomes program of study

Answer 13

concepts, skills and attitudes

Question 14

Program of study: Concepts

Answer 14

• rhythm
• melody
• harmony
• form
• expression

Question 15

Program of study: skills

Answer 15

• singing
• playing instruments
• listening
• moving
• reading (and writing)
• creating.

Question 16

4 historic influences

Answer 16

Johann Heinrich Pestalozzi
Emile Jaques-Dalcroze
Zoltan Kodály
Carl Orff

Question 17

Johann Heinrich Pestalozzi: influence on teaching today

Answer 17

Child centered
Active participation: direct experience of the world
Emphasis on the interests/needs of kids
Discovery learning
Cooperation between school/home
All round education
Cross curricular
How and what is taught
Swiss educator

Question 18

Johann Heinrich Pestalozzi philosophy

Answer 18

Whole child: head,heart, and hands
Education was a vehicle for creating more just society

Question 19

Emile Jaques-Dalcroze approach name

Answer 19

Euthrythmics

Question 20

Euthrythmics

Answer 20

through this approach the body and mind respond to what the child hears and feels
Based on the premise that rhythm is the primary element in music
3 parts
– Eurhythmics, Solfege, and Improvisation

Question 21

Emile Jaques-Dalcroze philosophy

Answer 21

believed that the learner should experience aspects of music through body movement and that without such preparation and experiences in early childhood, expressive movement later on in life may be lacking.

Question 22

Zoltan Kodály philosophy

Answer 22

young children should learn to read and write music just as they learn to read and write language. He believed strongly that the development and use of the singing voice should be at the centre of the school’s approach to music literacy for every child. He also maintained that it was the right of every citizen to be musically educated.

Question 23

Kodály Method

Answer 23

comprehensive system of music education that was not invented by Kodály but rather it evolved in the Hungarian schools under his guidance and with his inspiration.

Question 24

what did kodaly emphasize

Answer 24

use of the tonic sol-fa and the movable doh system as major vehicles through which music literacy could be achieved. In the tonic sol-fa system syllables are assigned to pitches to facilitate the hearing and singing of melodic intervals. Hand signs are often used as tools to reinforce the inner hearing of the intervals and they provide a visualization in space of the tonal relationships being sung.

Question 25

Overall Kodaly approach

Answer 25

* All people capable of lingual literacy are also capable of musical literacy. * Singing is the best foundation for musicianship. * Music education to be most effective must begin with the very young child. * The folk songs of a child’s own linguistic heritage constitute a musical “mother tongue” and should therefore be the vehicle for all early instruction. * Only music of the highest artistic value, both folk and composed, should only be used in teaching. * Music should be at the heart of the curriculum, a core subject used as a basis for education.

Question 26

Carl Orff

Answer 26

He believed that children should experience speech, music, and movement together. He also believed that children should experience by reliving the early stages of historical development in music and therefore should be actively involved with music. Creativity is an important aspect of the Orff approach to teaching music and teachers provide children with many opportunities to be creative.

Question 27

what did orff develop

Answer 27

Orff developed instruments for children’s use: the xylophone, metallophone, and the glockenspiel. He guided the instrument maker, Karl Maendler, in the creation of these instruments. A variety of unpitched percussion instruments are used in conjunction with the Orff instruments. The Orff approach is one of guided exploration of sound, space, and form within a particular structure

Question 28

“Schulwerk

Answer 28

Orff approach Children are encouraged to explore space, sound, and form. In Orff-Schulwerk imitation is used to ensure a role-model for creativity. The teacher in Schulwerk is like the “master” or major role model. The role of the teacher is gradually lessened as the children exhibit more and more independence. The process involves: Observe – Imitate – Experiment – Create supports the notion that although children must discover the qualities of space, sound and form for themselves, each individual simultaneously contributes to the group as a whole, and that community of individuals becomes the ensemble.

Question 29

what did orff advocate for

Answer 29

The Orff approach advocates for the inclusion of extensive musical experiences prior to the development of reading and writing music. Music reading and writing is viewed as a tool for children to record their musical creations.

Question 30

music literacy

Answer 30

ability to read and write music ability to understand a wide variety of music as it occurs within a broad range of contexts. It refers to one’s ability to make meaning out of musical experiences and to use music as a means of personal expression. It means understanding the organization of music across time and place, the conventions and cultural characteristics of music, and its role in the lives of people. It means knowing enough about music to function with a certain amount of musical independence - and knowing enough about music to value it in one’s lives

Question 31

music literacy should be approached from a ________ before ______ perspective

Answer 31

sound before symbol perspective.

Question 32

Teaching Music Reading and Writing through a Sound before Symbol Process

Answer 32

Preparation: students engage in a wide variety of activities that include singing, listening, moving, and responding to music without referring to the musical label or symbol Presentation: students learn the labels (names and notational symbols) that have been prepared during Step 1. Practice: students learn the labels (names and notational symbols) that have been prepared during Step 1. Create: During this step, students compose and improvise using the new notational labels or symbols.

Question 33

Concrete manipulatives

Answer 33

Something physical to represent lesson: felt and notes or popsicle sticks

Question 34

Concrete motivator

Answer 34

Something physical to get children excited: puppet, songbook

Question 35

Benefits to music literacy

Answer 35

Benefits: Don't need a teacher there or more knowledgeable person, create your own, independent learning, learn long songs,

Question 36

what note to introduce in rhythm for grade 1

Answer 36

quarter note, eighth note, quarter rest

Question 37

rhythmic syllable: quarter note

Answer 37

ta

Question 38

ta traditional name

Answer 38

quarter note

Question 39

ti ti tradtional name

Answer 39

eighth note

Question 40

eighth note rhythmic sound

Answer 40

ti ti

Question 41

quarter rest rhytmic sound

Answer 41

sh

Question 42

half note rhytmic sound

Answer 42

ta-a

Question 43

ta-a traditional name

Answer 43

half note

Question 44

dotted half note rhythmic sound

Answer 44

ta-a-a

Question 45

half rest rhythmic sound

Answer 45

sh sh

Question 46

ta- a -a traditional name

Answer 46

dotted half note

Question 47

sh sh traditional name

Answer 47

half rest

Question 48

what note to introduce in rhythm for grade 2

Answer 48

half note, dotted half note, half rest

Question 49

what note to introduce in rhythm for grade 3

Answer 49

sixteenth notes, combination notes

Question 50

sixteenth notes rhytmic sound

Answer 50

ti-ka-ti-ka

Question 51

repeat sign

Answer 51

:||

Question 52

staff

Answer 52

5 lines

Question 53

why movement in music

Answer 53

Important for kinesthetic learners Another way of supporting understanding

Question 54

strategies for movement

Answer 54

demonstrating movement, verbal cues (walk, turn, in, out, etc), musical cues (where we want to be)

Question 55

safety with movement

Answer 55

physical safety( not falling or tripping, hazards, emotional safety( partners, etc)

Question 56

teaching by rote

Answer 56

Short song, may be able to learn whole thing by singing it back (rain rain go away) Teaching phrase by phrase Focusing on listening to whole song first Listen for something