Edel 325 final exam Flashcards
(187 cards)
1
Q
What is music literacy
A
the 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
2
Q
music literacy should be approached from what perspective
A
sound before symbol
3
Q
what does sound before symbol mean
A
prior to the beginning stages of learning to read notation, children should first have an aural foundation
4
Q
How to teach music through sound before symbol
A
Step 1 - Preparation: During this step, 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. This is similar to the aural foundation described in the development of language literacy.
Step 2 – Presentation: During this step, students learn the labels (names and notational symbols) that have been prepared during Step 1.
Step 3 – Practice: During this step, students practice using the new names or notational symbols with known songs at first and then with new or unknown songs.
Step 4 – Create: During this step, students compose and improvise using the new notational labels or symbols.
5
Q
Sound before symbol: Preparation
A
Step 1: During this step, 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. This is similar to the aural foundation described in the development of language literacy.
6
Q
Sound before symbol: Presentation
A
Step 2: During this step, students learn the labels (names and notational symbols) that have been prepared during Step 1.
7
Q
Sound before symbol: Practice
A
Step 3: During this step, students practice using the new names or notational symbols with known songs at first and then with new or unknown songs.
8
Q
Sound before symbol: create
A
During this step, students compose and improvise using the new notational labels or symbols.
9
Q
Sequence for introducing pitch: Grade 1
A
soh-mi lah
10
Q
Sequence for introducing pitch: Grade 2
A
doh-re
11
Q
Sequence for introducing pitch: Grade 3
A
soh-lah below doh
12
Q
Sequence for introducing pitch: Grade 4
A
high doh
13
Q
Sequence for introducing pitch: Grade 5
A
fa ti
14
Q
Sequence for introducing pitch: Grade 6
A
fi(raised fa), si (raised soh)
15
Q
What symbols are introduced in grade 1
A
quarter note, eighth note, quarter rest, eighth rest
16
Q
what symbols are introduced in grade 2
A
half note, dotted half note, half rest
17
Q
what symbols are introduced in grade 4
A
whole note, whole rest, syn-co-pa
18
Q
what symbols are introduced in grade 5
A
dotted quarter note, tam-ti, dotted -eighth-sixteenth
19
Q
what symbols are introduced in grade 3
A
sixteenth notes, combination notes (ti tika, or tika ti)
20
Q
what symbols are introduced in grade 6
A
triplet note
21
Q
what is the rhythmic symbol for quarter note
A
tah
22
Q
what is the rhythmic symbol for a eighth note
A
ti-ti
23
Q
what is the rhythmic symbol for a quarter rest
A
sh
24
Q
what is the rhythmic symbol for a half note
A
ta-ah
25
what is the rhythmic symbol for a dotted half note
ta-ah-ah
26
what is the rhythmic symbol for a whole note
ta-ah-ah-ah
27
what is the rhythmic symbol for a sixteenth note
ti-ka-ti-ka
28
what is the rhythmic symbol for a dotted -eighth-sixteenth
tim-ka
29
what symbols names are the same as their name
trip-o-let
syn-co-pa
tam-ti
30
what is teaching a song by rote
Teaching a song aurally without referring to musical notation
31
what is teaching a song by note
Teaching a song by referring to some or all of the musical notation
32
what tactic is commonly used to teach elementary students songs
rote
Commonly used in the elementary grades when children are just beginning to develop the ability to read music notation. In the later elementary grades teachers may use rote teaching in combination with note reading depending upon the music reading skills of the students.
33
two approaches for teaching rote
Whole Song Approach: Children echo back the whole song. This would typically be used when teaching a very short song that can be remembered by the children.
Phrase-by-Phrase Approach: Children echo back the song one phrase at a time
34
How to teach a song by rote: suggestions
- concrete motivator
-sing the whole song and children listen for an aspect
-phrase by phrase better for longer songs
- once teacher sings, children speak each line
- echo singing
- sing whole song together
- add movements,actions,etc
35
how to teach a song by note
* This approach supports the children’s ability to independently perform a song.
* The children will find it easier to read the rhythmic notation by sight first. They may perform the rhythmic passages by clapping and saying the rhythmic syllables (ta, ti-ti etc.)
* Teachers can then guide the children to read the melodic passages for which they are ready. This can be done by using a neutral syllable or by using tonic sol-fa syllables (doh, re, mi etc.), and using gestures (e.g. hand signs)
* Once the rhythm and the melody have been practiced in this way the children should have the opportunity to sing the entire song.
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tempo: adagio
a slow tempo
37
tempo: andante
a slow walking tempo
38
tempo: allegro
brisk and lovely tempo
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tempo: allegretto
a cheerful, quick tempo
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tempo: moderato
moderate tempo
41
tempo: vivave
vivacious and fast tempo
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tempo: presto
a very quick tempo
43
tempo: accelerando
gradually getting faster
44
tempo: ritardando
gradual slowing of the tempo
45
dynamics: pianissimo(pp)
very softly
46
dynamics: piano (p)
softly
47
dynamics: mezzo piano (mp)
moderately softly
48
dynamics: mezzo forte (mf)
moderately loudly
49
dynamics: forte (f)
loudly
50
dynamics: fortissimo (ff)
very loudly
51
dynamics: sforzando (sfz)
a sudden forte on the note or chord indicated
52
dynamics: crescendo (cresc.)
gradually become louder
53
dynamics: decrescendo (decres.)
gradually become softer
54
dynamics: diminuendo(dim)
gradually become softer
55
why teach the recorder to upper elementary students
* Authentic musical instrument – not a toy
* Inexpensive, easy to care for, portable
* Not difficult to learn to play – many songs available for practice on the first 3 notes: BAG
* Can be used to play a descant or another second part
* Excellent way to teach music reading (absolute pitch)
* Provides opportunities for cooperation
* For some children this may be the only instrumental ensemble experience that they have during their school experience
* Reinforces skills which are also needed in singing e.g. correct posture, breath control, attention to phrasing, harmony, form, expression, and rhythm.
56
when is a recorder introduced and why
Grade 4
Physical Development: hand size, finger dexterity, & breathing
Social/Emotional Development: Children can take on the responsibility to practice and bring recorder back and forth between school & home.
Musical Development: Children have had experiences reading pitch with tonic solfa and are now ready to transfer their understanding to absolute pitch. The recorder can provide this experience in a meaningful way.
57
What to consider when selecting children literature
* Developmental appropriateness
* Curriculum outcomes
* Conceptual sequencing
* Quality of the book
* Interests of the children
58
musical considerations for selecting literature
* Is there a repeating phrase or refrain?
* Can ostinato patterns be created from the text?
* Can rhythm be added?
* Can a melody be added?
* Can sounds be added for various characters and words?
* Can instruments or a song be added while reading the book?
* Are there opportunities to extend learning?
* How can it be aligned with the Program of Studies for Elementary Music?
59
What skills can literature support
singing
moving
listening
playing instruments
creating
reading and writing
60
how can literature support singing
* Understanding and demonstrating the difference between singing and speaking
* Singing alone and with others while looking at a picture book
* Singing fragments of songs
* Developing the ability to match pitch
* Singing pentatonic patterns and other melodic sequences
61
what are examples of literature to teach singing for k-3
Down by the Bay
Wheels on the Bus
Jingle Bells
62
what are examples of literature to teach singing for 4-6
One Love
The Cat Came Back
63
how can literature support movement
* Initiating movement
* Moving to beat and/or rhythm
* Responding to directions
* Creating movements
* Preparing instrumental experiences
64
what are examples of literature to teach movement
Chick a Chick a Boom Boom
Shake My Sillies Out
65
what are examples of literature to teach listening
* Peter and the Wolf
* Zin, Zin, Zin! A Violin
66
what are examples of literature to teach playing instruments
The Wheels on the Bus
Big Fat Hen
67
what are examples of literature to teach creating
Down by the Bay
68
what are examples of literature to teach reading and writing
Brown Bear, Brown Bear
69
how can literature support listening
* Using a book as a focal point when listening to a piece of music
* Following a story told by music
* Demonstrating attentive listening
* Recognizing and appreciating music of composers of a variety of genres and time periods
* Distinguishing among the sounds of instruments of the orchestra and those of various cultures and genres
70
how can literature support playing instruments
* Accompanying songs, stories, and poems with instruments
* Making decisions regarding instrument choices for accompaniments
* Exploring timbres of various instruments
71
how can literature support creating
* Using instruments to create sounds of up-down, slow-fast, short-long, loud-soft
* Creating melodic and/or percussion accompaniments
* Creating rhythmic or melodic ostinato patterns
* Adding sounds to poems and/or songs
* Making up new words to songs
72
how can literature support reading and writing
* Reading and writing rhythm patterns associated with word patterns in literature that are at their level of rhythmic understanding
* Reading pentatonic melodies to repeated word patterns
73
names of the orff instuments
* Xylophones (Bass, Alto, Soprano): Inspired by the African cradle xylophone
* Metallophones (Bass, Alto, Soprano): Inspired by the Indonesian gamelan
* Glockenspiels (Alto & Soprano): Inspired by the orchestra bells
74
what scale do orff instruments use and why
Pentatonic Scale
* No dissonance in the pentatonic scale
* Absence of half steps allows all tones to blend well together and therefore children can improvise very early in the experience
* The bordun accompaniment is always possible
* Many melodies can be accompanied by children
* C, G, & F pentatonic are commonly used with elementary school children
75
how to create a C pentatonic scale
Remove the notes (bars) F (Flies) and B (Bugs) on the instrument
76
how to create a G pentatonic scale
Remove the notes (bars) C (Corn) and F (Flakes) on the instrument
77
How to create a F Pentatonic scale
Remove the notes (bars) B (Bacon) and E (Eggs) on the instrument
78
what is a bordun
Consists of 2 notes: tonic (note I, doh) and dominant (note V, soh)
* Played as an ostinato
79
what is a chordal bordun
Doh and Soh are played simultaneously
80
what is a broken bordun
Doh and Soh are played alternately
81
Criteria for selecting songs: range definition
distance between lowest and highest notes
82
k-2 range criteria for songs
1-6 notes
83
3-4 range for criteria for selecting songs
1-8 songs
84
5-6: range criteria for selecting songs
1-10 notes (with special consideration for the changing voice)
85
Note placement in child's singing voice: k-2
all notes in upper part of child's singing range
86
Note placement in child's singing voice: 3-4
most notes in upper part of child's singing range
87
Note placement in the child's singing voice: 5-6
notes in any part of the child's singing range
88
Absolute Pitch Names
the musical alphabet, A, B, C, D, E, F, and G used to label the lines and spaces on the staff
89
Acapella
Unaccompanied singing
90
Accent
A note or beat that is emphasized or made stronge
91
Augmentation
A compositional technique that involves lengthening the note value in a theme or melody
92
Bar Lines
Vertical lines that divide the musical staff into measures of equal length
93
Beat
The steady pulse underlying the music
94
Binary Form:
A musical form that has two distinct sections. One section is referred to as “A” and the contrasting section as “B”.
95
Body Percussion:
The use of body parts to make percussive sounds. Common body percussion includes stamping, patting, clapping and snapping. Teachers also use the term “levels of body percussion” that move from the lowest level (stamping) to the highest level (snapping).
95
Canon
A musical form in which two or more parts are the same rhythmically and melodically but start at different predetermined times, one after the other. It is an example of polyphonic texture in music.
96
Chord
Three or more different pitches played or sung together and that sound simultaneously
97
Classroom Instruments
Instruments commonly played by children in the elementary music classroom (non-pitched percussion instruments, barred instruments, recorder etc.)
98
Coda
A short ending section for a musical composition.
99
Common Time
A term and symbol used to indicate 4/4 metre
100
Contour
The direction of a melody, moving up, down or staying the same.
101
Diminution
Contraction (shortening) of note values – opposite of augmentation
102
Double Bar Line
Two bar lines placed at the end of a piece of music
103
Duration
The length of a note or a rest
104
Fermata
A sign placed above or below a specific note to indicate that the note should be held longer than its written value
105
Form
The structure and design of a composition
106
Hand Signs
A series of specific hand shapes that are used to kinesthetically show individual pitches
107
Head Voice:
The child’s natural, light, treble singing voice
108
Interval:
The distance between two notes
109
Leap
A larger distance or interval between notes ( a 4th or larger)
110
Learner Centred:
Learning in ways that allow individuals to reach their potential through the most developmentally appropriate and positive ways possible
111
Legato:
Referring to a piece of music or a musical performance in which the notes of the music are joined together smoothly
112
Measure (or Bar):
A short segment of music on the staff that is enclosed by bar lines
113
Melody
High and low pitches strung together into an organized sequence; thought of by children as “the way the tune goes”
114
Metre
The basic grouping of the beats
115
Musical Alphabet
The letters of the alphabet used to name the lines and spaces on the staff: A, B, C, D, E, F, and G
116
Musical Phrase
A musical idea or sentence
117
Musical Understanding
The ability to think and act musically with personal meaning
118
Ostinato:
A short rhythmic or melodic pattern that is repeated over and over as an accompaniment
119
Partner Songs:
Two songs that harmonize when sung together at the same time.
120
Pentatonic Scale
A scale made up of 5 notes; the most common pentatonic scale contains 5 notes of the major scale: doh, re, mi, soh and la
121
Refrain (Chorus):
A section of music that is repeated after each verse of a song
122
Rests:
Musical symbols that represent silence in music
123
Rhythm
The organization of sounds and silences of varying lengths (duration) over a steady beat (often thought of by children as “the way the words go”)
124
Rhythmic Syllables:
A mnemonic device for verbalizing rhythm, using syllables such as ta or
ti-ti
125
Rondo
A musical form in which one main theme is repeated several times with contrasting themes “sandwiched” in between. It is written A B A C A D A.
126
Round
A form of canon in which several voices entering at stated intervals, sing the same melody. The terms round and canon are often used interchangeably in elementary school settings.
127
Skip
Two consecutive notes with one note skipped between them; two consecutive notes that are the interval of a 3rd apart
128
Staccato
Notes that are short and detached. Staccato is indicated by a dot above or below the note head.
129
Staff
The lines and spaces on which musical notation is written (5 lines and 4 spaces)
130
Step
The distance between two consecutive notes on the staff (e.g. A to B)
131
Stick Notation
A short-cut for writing rhythmic notation using only stems with no note heads attached
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133
Song-based Picture Books
Picture books that contain the text and illustrations of familiar children’s songs
134
Tempo
The speed (fast or slow) of the beat
135
Ternary Form
A form of music that has 3 parts. The first and last are the same and the middle section is different. It is written A B A.
136
Theme
The melodic phrase which constitutes the basic element in the construction of a musical composition.
137
Tie
A curved line joining two notes of the same pitch, and combining the length of both notes
138
Timbre
The tone colour of an instrument or voice
139
Traditional Rhythmic names
The traditional labels used for individual rhythmic values e.g. quarter note, eighth note etc.
140
Treble Clef
A clef that identifies the second line of the staff as the G above middle C. (Also known as the G Clef)
141
Assessment
Regular tracking and recording evidence of musical growth that is fair and ethical
142
Evaluation
Making a judgement based on the assessments that have been collected over a period of time. This generally happens at report card times during the school year
143
Student Assessments
may be informal (unrecorded observations) or formal (recorded observations or other assessment methods)
144
Musically authentic assessments
are assessments that gather information in a natural, real music-making, listening, or creating situation
145
Examples of Assessment Tools
* Teacher or student checklists
* Recordings (audio, video & photos that comply with local school district regulations related to recording student performance &/or work)
* Student journal entries &/or reflections that comment on and discuss musical experiences
* Worksheets
* Student compositions
* Written tests
* Research reports
Some teachers also keep portfolios of students’ musical work (a variety of assessments) that reflect growth over time.
146
5 aspects of Lesson Planning
Introduction
Anticipatory Set
Develop
Apply
Closing
147
Lesson Planning: Introduction
Short section at the beginning of the lesson that warms up the children's musical ears, voices, bodies (hello song, favourite songs, etc)
148
Lesson Planning: Anticipatory Set
Short experimental section that "sets up" the main activity by preparing and focusing the children's attention toward the main concept being studied
149
Lesson Planning: Develop
The central section of the lesson where the children engage in musical activities that focus their learning toward the main concept
150
Lesson Planning: Apply
The second part of the main activity where children engage in musical activities that focus their learning toward the main concept
151
Lesson Planning: Closing
A short review of what has been taught
a closing song or listening activity
152
Curricular Planning
The ability to bring educational goals (from the POS) into daily action
153
Influential factors from outside the classroom: Curricular Planning
* Provincial educational goals and directives (e.g. the Program of Studies)
* Goals and directives from local school boards
* Goals and expectations from individual schools
154
Influential factors from inside the classroom include: Curricular Planning
* Attitude of the teacher towards the role and importance of the elementary school curricula
* Skills, knowledge, and comfort level of the teacher related to music instruction
* Time allotted to music instruction
* Class size and grade level
* Classroom space, equipment, materials, and instruments available
* Nature of the school population
155
Curricular Planning: teacher decisions
* Selection and sequencing of content
* Selection of experiences, activities, and strategies
* Selection of measures of assessment
* Preparation of long term and daily lesson plans
156
Harmony
Simultaneous sounding of two or more notes in music
157
Two part harmony
Example: Voice accompanied by a rhythmic ostinato
158
Three part harmony
Example: Melody accompanied by a rhythmic ostinato (e.g. played on a hand drum or other non-pitched instrument) and a bordun played on an Orff instrument (e.g. Bass Xylophone)
159
Texture
This is a way to describe how the music or sounds created by the harmony are organized. It may also be thought of as how many layers of sounds a piece has and the way that these layers are organized.
160
Monophonic
“mono” means one. This is the simplest texture. It consists of one melody or tune, played or sung by one person or by a group performing in unison, for example elementary school children may sing a song with no additional accompaniment or they may play a piece on the recorder without accompaniment.
161
Polyphonic
“poly” means “many” or “multiple” in Greek
Polyphonic texture occurs when there are multiple independent parts
It may be thought of as two or more parts “doing their own thing”
162
Elementary School Children perform polyphonic music when they:
* perform rounds or canons,
* add simple rhythmic or melodic ostinato patterns to songs,
* sing partner songs, or
* add descants or counter melodies to songs.
163
Homophonic
“homo” means “same” or “similar”
This type of texture occurs when you have multiple different notes playing together but they are all based around the same melody
164
Elementary School Children experience homophonic texture when they play
pitched instruments that can produce chordal accompaniments
165
Starting note criteria for selecting songs: k-2
G or higher
166
Starting note criteria for selecting songs: 3-4
G or higher desirable but not required
167
Starting note criteria for selecting songs: 5-6
any note in the child's singing range
168
Melodic contour and Intervals criteria for selecting songs: k-2
Melodies containing only repeated notes, steps, and skips: avoiding leaps if possible
169
Melodic contour and Intervals criteria for selecting songs: 3-4
melodies containing only repeated notes, steps, skips, and small leaps (up to a 5th)
170
Melodic contour and Intervals criteria for selecting songs: 5-6
melodies containing repeated notes, steps, skips, and leaps up to an octave (8 notes)
171
Rhythm criteria for selecting songs: k-2
simple rhythms made up of half notes, quarter notes, eighth notes, sixteenth notes
avoid long sustained notes like whole notes
172
Rhythm criteria for selecting songs: 3-4
simple rhythms (as for the early grades) with the addition of syncopated rhythms and longer note values
173
Rhythm criteria for selecting songs: 5-6
rhythms as for the earlier grades, with the addition of complexities such as dotted rhythms and triplets
174
Length criteria for selecting songs: k-2
short songs (4-16 measures) with lots of repetition
175
Length criteria for selecting songs: 3-4
longer songs with multiple verses; some repetition is desirable
176
Length criteria for selecting songs: 5-6
longer songs with multiple verses; some repetition is desirable
177
Texture criteria for selecting songs: k-2
monophonic repertoire only
178
Texture criteria for selecting songs: 3-4
monophonic repertoire plus simple polyphonic structures
for example, rounds, canons, partner songs, and simple 2 part songs with ostinati descants and counter melodies
179
Texture criteria for selecting songs: 5-6
monophonic songs, polyphonic rounds and canons, plus polyphonic two and three part choral arrangements
180
Text criteria for selecting songs
appropriate to age group
181
Program of Study: Concepts
rhythm
* melody
* harmony
* form
* expression.
182
Program of Study: Skills
singing
* playing instruments
* listening
* moving
* reading (and writing)
* creating.
183
Key signs: C
no sharps or flats
184
Key Sign: G
one sharp
185
Key Sign: F
one flat
186
Slurr
expression sign, smooth lines together and join them together. It is a curved line under two different notes
