Facilitating Learning Flashcards

Question

Discuss various techniques in teaching musical aesthetics and expression.

Answer 1

Music educators can use various techniques to teach musical aesthetics and expression in their students. Instructors should use the technique of modeling often, to demonstrate various physical and aural attributes of an expression to the student. The student should have various visual and aural models of expressive representation to be able to integrate the technique and sound into his or her own expressive voice. The music educator can also use guided listening to teach musical aesthetics to students. As another method of modeling, the student will be ale to listen to the individual expression of other performers in developing one's own musical aesthetic. The music educator can also analyze, reflect, and evaluate musical performances together with the students, so that the students will be able to think critically and creatively in, analyzing, reflecting, and evaluating their own unique musical aesthetic and expression.

Answer 2

Since the student with visual impairment will not have the visual aspect to aid their learning, music educators should focus on other modalities of learning like aural and tactile methods, to help the visually impaired student succeed. If the student with visual impairment is learning how to pay an instrument, the educator should allow ample time for the student to physically explore the instrument and take it apart if possible. The student should also have the chance to explore other examples of the instrument so that student can fully conceptualize the shape and various aspects of the instrument. The instructor should use the Braille Music Code for lessons on staff notation. Students should not be expected to rely solely on their aural awareness of music, but should be able to learn notation as well. When demonstrating instrumental technique and movement, the educator should demonstrate the action by placing his or her hand under the student's hand.

Answer 3

The Socratic method refers to the philosophy of education as set by the ancient Greek philosopher Socrates, which advocates the use of questions in developing a student's critical thinking and intellect. Rather than lecturing or telling the student education content, the questions compel the student to use critical thinking for a solution or answer. The music educator can utilize this philosophy of education in all areas of music education, and especially in guided listening to teach students self-assessment, critical thinking, and how to develop one's own musical expression. Music educators can ask guided questions such as "How do the expressive elements of this performance inform your own planning?" to foster a sense of self-assessment in the student's music listening. Asking open-ended questions rather than yes/no questions will further develop the student's critical thinking abilities and intellectual curiosity, translating the analysis of guided listening to his or her own musical practice and growth.

Answer 4

When a music classroom is able to accommodate students with physical disabilities, there are numerous benefits for both the students with the disabilities as well as the average student. Inclusion promotes social awareness and acceptance, increased motor development, and higher mental activity. The music room should be ADA-Accessible and free from obstacles or other hazards. Also the instructor can acquire adaptive instruments that allow students with physical disabilities the opportunity to develop motor and aural skills on a real instrument. Instructionally, educators should be sure to include lessons that require minimal physical strength. This will encourage confidence and self-esteem for student with physical disabilities. Educational goals should be appropriately sequenced to facilitate outcomes that are realistic and achievable.

Answer 5

In grades 1-2, students experience a wider range of musical characteristics, learning more about music by doing. Students should follow a balanced curriculum that includes experiment learning such as playing, singing, and moving to music. In a sample 6-week curriculum that focuses on intruding rhythm to students: Week 1 : Might include games and songs that introduce the concept of a steady beat to students. Week 2 : The concept of a steady beat should be reinforced while associating certain beats with certain counts (quarter note = 1 count, half note = 2 counts). Week 3 : Steady beat and notes should be reinforced through movement and songs. Week 4 : The students should compose using quarter and half note values to musical. Weeks 5-6 : Students should continue to reinforce these concepts as well as improves on the learned rhythms through games, dance, and songs.

Answer 6

It is important to provide motivation for students in the music classroom, since motivated students result in higher engagement and better learning. 1. Become a role model. When students see the excitement and passion for the lesson material, that energy will be transferred to the students. 2. Know the students well. Once students know that the teacher is involved in their education they will be motivated to do well. 3. Use positive reinforcement and constructive criticism. These nonjudgmental remarks should motivate students on ways to improve. 4. Use frequent activities where students have the opportunity to demonstrate their achievements, encouraging them to progress to the next level in cooperation. 5. Set realistic performance goals, once that are appropriately challenging but still attainable.

Answer 7

When teaching music in a group setting, it is always important to establish classroom rules and consequences in the beginning. The music educator should thoroughly explain expectations for the classrooms, detailing examples of good behavior and class participation. During this discussion, the music educator should also explain the consequence of inappropriate behavior or negative responses to rules so that the students know the system of classroom rules from the first day. Although positive reinforcement should be emphasized in classroom management, the educator may need to use negative reinforcement in certain situations. If a student responds negatively to classroom rules, the educator may try positive reinforcement first. If this isn't effective, the teacher may have to remind the entire class of the rules and consequences. If this is isn't effective, then the teacher may have to talk individually to the student, reinforcing the rules and taking action on the consequences of not following the rules.

Answer 8

Impressionism began as a visual arts movement at the end of the 19th century and beginning of the 20th century with the works of Eduoard Manet, Claude Monet, Edgar Degas, Pierre-Auguste Renoir, Berthe Morisot, Camille Pissarro, Alfred Sisley, and Mary Cassatt. The painters of the Impressionist movement sought to move away from the highly defined traditional painting of the official salons of the day and to create works that caught the brief, sensory effect of a particular moment through optical effects of light, color, and atmosphere. The painters used soft brushstrokes, abandoning any sharp lines to evoke a sense of haze and smoke in their work. The Impressionist movement in the visual arts paralleled the musical movement of the 19th and 20th centuries as well. In the music of Claude Debussy, formal elements such as distinct tonalities, cadences, and line work were abandoned, while soft effects such as non-climactic melodies, complex textures, misty instrumental colors, and continuously changing forms all contributed to fleeting moments of color.

Answer 9

Correct intonation on brass instruments is the result of properly forming the entire system flowing from the diaphragm to the end of the instrument. Playing with good posture and breath support allows the player to play at a wide variety of registers and volumes more comfortably, reducing strained intonation that can occur at the extremes. Cue the student to think of the airway from the lungs to the throat and the oral cavity as a broad and open passageway. Playing in front of a mirror allows the student to monitor horn placement and embouchure. Mental practice is extremely important. The student should have a clear idea of the tone they want to produce and think actively about playing with good tone. Long tones are an excellent tool for developing intonation. Depending on the particular instrument, the student should learn which note fingerings are inherently out of tone and how to adjust the relevant slide to compensate.

Answer 10

The beginning middle school band will have had little experience with performances and may still be working through rudimentary techniques and skills on their instruments. Repertoire for the beginning middle school band will focus mostly on easily accessible beginner works. The advanced high school band will have at least a few years of experience performing and playing their instruments. Repertoire selection for the advanced concert band will have a wider range of intermediate to advanced works. Endurance is also an issue for beginning band. The concert length will be shorter with shorter musical work and more frequent changes. The advanced band will be able to perform longer works of music with less frequent breaks.

Answer 11

Pitch reading can be a challenging concept for beginner students as many mental processes occur from the written visual cue to the symbolic processing, to knowledge retrieval, to the answering output. For beginners, it is important to have a reference when pitch reading, whether it is middle C or another referential pitch. Students should also understand the spatial relationships required in note reading, that higher on the staff means higher in pitch and lower on the staff means lower in pitch. The teacher should ensure that the beginner student understands how to play high and low on their respective instrument before continuing lessons into more complex playing. Similarly to language learning, the teacher should provide ample reinforcement and practice in pitch reading as the student begins to integrate the symbols with aural and pitch meanings.

Answer 12

Correct intonation on woodwind instruments is the result of properly forming the entire system flowing from the diaphragm to the end of the instrument. Playing with good posture and breath support allows the player to play at a wide variety of registers and volumes more comforably. Cue the student to think of the airway from the lungs to the throat and the oral cavity as a broad and open passageway. Playing in front of a mirror allows the students to monitor their embouchure. The student should have a clear idea of the tone they want to produce and think actively about playing with good tone. Long tones are an excellent tool for developing intonation. Tuning to the rest of the ensemble, piano, or tuner should be done only after a thorough warm-up, at which point tuning adjustments to the instrument (pushing in or pulling out sections) can be made.

Answer 13

In the fixed-do system of notational reading, the solmization of pitches refers to a specific pitch, usually where do refers to c, re refers to d, mi refers to e, and so on. In the moveable-do system of notational reading, the solmization of pitches refers to any pitch within a diatonic scale so that do refers to the tonic, re refers to supertonic, mi refers to the mediant, and so on. In the moveable-do system, any pitch can be do, while the rest of the diatonic scale is built upon the relative tonic pitch. The fixed-do system of notational reading focuses on the functional association of the specific pitches to the staff, where do is always recognized as C. The moveable-do system of notational reading focuses on the intervallic relationship between the pitches as they occur within the scale.

Answer 14

Many times, rhythmic inaccuracy in beginner students results from a lack of basic reinforcement of the concept of a steady beat. Beginner music students will benefit from heavy reinforcement of a steady beat through movement activities such as dancing to the beat of a song, clapping or tapping along to a rhyme, swaying back and forth while counting out loud, or other forms of multi-sensory learning that involve the kinesthetic mode as well as the aural mode. Beginner music students will also benefit from visual and aural modeling from the music educator as well as from peers. Peer learning can be a great source of motivation and encouragement to learn, as students will generally want to match the level of their peers. Music educators should also introduce the concept of the heartbeat in practicing a steady beat, relating the abstract concept of tempo and meter to a familiar one of the body.

Answer 15

Mental practice has been shown to be a highly effective method of instrumental practicing when access to an instrument is not possible. When musicians practice traditionally on an instrument, the maxim "practice makes perfect" describes the correct pattern-forming process of the brain. Many music educators ascribe instead to the phrase "practice makes permanent" as scientists know that repeated practicing reinforces the cognitive neural pathway of a particular action, similarly to the way habits are formed. It is therefore important for a musician to make sure to practice passages correctly, or else incorrect technique can easily be habituated by repeated practicing. The concept of mental practicing mirrors the neural processes of physical practice and helps to reinforce a particular neural pathway even without movement. Mental practice combined with physical practice provides optimal cognitive and motor learning for a musician.

Answer 16

Good concert programming will reflect the diversity that that audience experiences in the world around them. Concerts must engage the audience with relevant and fresh perspectives through culturally diverse and new works as well as through the musical standards of the past. Showcasing contemporary new works alongside a traditional classical work can inform and rejuvenate the audience's listening ear. It also illuminates the performance practices of the past. Students will have a broader musical perspective by experiencing music from different cultures, genres, and time periods. Widely diverse convert programs can unite audience members of the past, today, and of the future.

Answer 17

A fundamental element of good choral sound lies in accurate intonation. Without all voices sounding in pitch, balance and blend become the least of a director's concerns. The changing of a seating arrangement of the chorus can drastically improve intonation. Be sure that all vocal parts can ear each other clearly so that intonation is no longer an issue. If the seating arrangement isn't the issue, the director can cake the singers through a problem spot, singing every beat vertically, stopping on each harmony to check for pitch accuracy. Directors can warm up with dominant chords and tonic pedals so that the singers always have a reference pitch to tune to. Singers should practice breathing exercises, vocalizations, and etudes to strengthen their vocal mechanisms and their overall vocal technique.

Answer 18

Educators use the EPR instructional technique as a way to ensure student inclusion during a lesson. The technique requires students to simultaneously respond to the teacher's question by demonstrating or displaying the appropriate response. This allows the educator to quickly and efficiently check for understanding. This technique can be adapted to fit a variety of situations and keeps students actively involved. Teachers can hand out cards with 'yes/no,' different musical notational signs, or a blank board with which students can write their own responses and hold up. Teachers can also instruct students to point to the correct object or placement on an instrument. If students are seated in pairs, teachers can instruct students to whisper the answer to their neighbor and then have the entire classroom say the answer aloud.

Answer 19

As students progress through puberty in ages 10-14 for girls and 12-16 in boys. Students will be going through many growth spurts and their reference for posture or instrument positioning may need to be adjusted accordingly. Voice development will affect vocal students as the larynx enlarges and the vocal chords lengthen and thicken. The physiological changes of the vocal mechanisms tend to affect boys more than girls, evident in the 'cracking' of the voice. During puberty, students will have to work towards winging voice production, pitch accuracy, increasing vocal range, and maintaining a positive attitude towards choral singing. Cognitively, students in puberty are increasingly able to process conceptual ideas and should work on self-regulating musical activities and performances. Socially, students in puberty tend to need more opportunities for self-expression, autonomy, and acceptance in their musical learning.

Answer 20

Visual learners learn best by seeing content. When teachers are explaining content or delivering instructions, they should provide a visual explanation. This can be through a handout, projector, or visual demonstration. Educators can encourage visual learners to make flash cards, a helpful tool to visually learn content. Another practical tool for visual learners are pictures, diagrams, and concept maps. These allow students to visually integrate the learning content internally. When demonstrating instrumental technique or posture, the educator should make sure that all students can see, to accommodate for those who are also visual learners. Without a visual model, visual learners will have a harder time assimilating the new concepts and skills.

Answer 21

Classroom procedures and routines are important for structure and organization within a student's day. Daily routines and procedures can prevent many of the misbehaviors that result from an unorganized schedule and distractions. The lessons will have less interruption from distracted students and will flow much more easily. The music teacher should make sure to establish clear procedures and routines from the first day, taking care to go over each procedure in detail while modeling them to ensure full understanding from the students. The first few weeks may require more time spent establishing procedures and routines to help the rest of the school year flow more easily. Example classroom routines that are useful in providing structure and organization: Entering the classroom, beginning work, roll, announcements, tardies, absences, teacher's attention signal, leaving one's seat, assignments, supplies, group work, independent work, rehearsal schedule.

Answer 22

Kinesthetic learners do best by doing and need to integrate movement with the introduction of new educational concepts and ideas. Music educators should implement teaching techniques that require students to move while learning new educational content. Lesson segments should be kept short with frequent breaks to stand up and move. When introducing concepts such as rhythm and meter, the music educator should require students to physically move to the various rhythms and meters to accommodate those whoa re kinesthetic learners. When teaching specific instrumental techniques, the instructor should make sure that the kinesthetic learner demonstrates the movement or technique, rather than verbally or visually explaining the content. Educators can also implement frequent games, field trips, and seating changes.

Answer 23

Principles of sequencing a music curriculum can be based on three different techniques : content sequencing, task sequencing, or sequencing of elaboration. SEQUENCING BASED ON CONTENT The instructor should analyze the content for the main item and then organize the general content into a hierarchal structure. The most general and inclusive content should be presented first, leading the way to more detailed ideas while all the while relating them to former learning content. SEQUENCING BASED ON TASKS The instructor should first analyze the skill involved and order the learning progression from simple, more elementary tasks towards more complex skills that build on previous tasks. SEQUENCING BASED ON ELABORATION Students are given an overall view of the knowledge, then presented with basic content first, progressing towards more detailed information while keeping the organizing overall theme in place.

Answer 24

The tongue plays a key role in vowel formation and clear diction as it directly influences the vocal tract and the larynx. With all other vocal mechanisms fixed, a change in the tongue directly changes the vocal sound from dull and distorted to tinny and harsh. Clarity in singing requires clear vowel formation for the words to be intelligible to the listening audience. For clear vowels, the tongue should rest forward in the mouth, with the tip of the tongue resting against the bottom teeth for the most space in the mouth for resonance. The back of the tongue should not press against the throat but should be kept away from the throat for clear and unobstructed delivery of airflow and sound. The tongue should always be kept relaxed and free from tension when singing to avoid a choked sound and possible injury to the vocal mechanisms.

Answer 25

Students in grades 5-8 should be reinforcing skills acquired in grades k-4 while preparing to achieve the standards set by the National Achievement Standards by grade 8. 1. Students should be able to sing with expression from a variety of styles and genres by memory, on pitch, alone as well as in groups. 2. Students should be able to perform on at least one instrument alone as well as in groups with good technique, posture, bowing or breath, and with good fingering. 3. Students should be able to play simple tunes by ear. 4. Students should be able to improvise short melodies and simple accompaniment patterns. 5. Students should be able to compose simple compositions in a variety of styles. 6. Students should be able to read treble and bass clefs, and whole/half/quarter/eighth/sixteenth notes and rests in a variety of meters. 7. Students should be able to analyze basic meter, rhythm intervals, chords, and tonality. 8. Students should be able to relate music to history, other arts, and disciplines outside of music.

Answer 26

Regular care and maintenance helps to prolong the life of instruments. Teachers can involve students in the care and maintenance of instruments for a learned sense of responsibility as well as an efficient way of cleaning the instruments. Teachers can provide an end-of-year event that includes the cleaning of Orff instruments. Students should remove the instrument bars and vacuum all of the dust from the instrument. Next, they should take a damp rag with an oil soap to wash and clean the boxes and wooden bars. After the instrument has been cleaned, the students can use an oil polish (like furniture polish) to keep the instrument in proper, working condition. Music teachers can also have the students place sticky notes on any broken pins or damaged areas for the teacher to replace.

Answer 27

When executing finger technique on keyboard instruments, one must always be aware of relaxed wrists, arms, elbows, and shoulders to prevent overuse injuries. Wrists : held in line with the hand and the harm, not sagging or raised too high. Elbows : hang comfortably to the side of the body, never tensed. Shoulders : relaxed and dropped, never raised (that's a sign of tension) Fingering at the keyboard should use the thumb-tuck technique to allow a flowing a continuous line of notes when playing. When tucking the thumb under the middle or ring fingers, the keyboardist should ensure that the wrist doesn't drop during the movement but that the thumb helps to maintain a healthy wrist position. Players should always drill a fingering section slowly/ at first, and only increase the playing speed if the passage can be executed without tension.

Answer 28

Transverse Flute Embouchures - Require the player to blow air across the instrument body - Place the flute against the chin so that the bottom lip is in line and close to the tone hole. - Corners of the mouth should be relaxed - Upper lip is held firmly against the upper teeth. Reed Embouchures - Requires the player to enclose the mouthpiece so that the airflow can effectively vibrate the reed in sound production. - Mouthpiece should be taken into the mouth only as far as the reed meets the mouthpiece. - Bottom lip should be placed slightly over the bottom teeth and against the reed. - Upper teeth should rest on the mouthpiece. - Corners of the mouth are drawn in to create a seal around the mouthpiece.

Answer 29

The National Association for Music Education has published Performance Standards of musical outcomes and student abilities by grade level. They should provide a guideline for the educator for assessment criteria. Students should be able to : 1. Sing alone and with others, demonstrating correct technical and musical ability and in a wide range of styles. 2. Play an instrument alone and with others, demonstrating correct technical and musical ability and in a wide range of styles. 3. Improvise basic melodies and basic accompaniments on their instrument or through singing. 4. Compose and arrange music within specific contexts with or without technology. 5. Read and notate music appropriate to their level. 6. Listen to and then analyze or describe it. 7. Evaluate music and music performances. 8. Relate music to non-musical fields such as history, visual art, literature, math, etc.

Answer 30

Body - In a fully relaxed and comfortable position without allowing the back to slouch or lean in. - A seated body position in playing the snare drum (drum set) should allow the feet be flat on the floor with the legs spread evenly. - Drum set should be position so that the player doesn't have to adjust unnaturally. - Player should be seated facing directly in front of the snare, not to the side of from below. Arms - Always relaxed - Hanging at the body's side without tension. Grip - Firmly grasped between the thumb and first knuckle of the index finger (this is called the fulcrum) - Other fingers gently wrapped around the stick for control so that each stick has a flowing yet controlled movement with a full, legato sound.

Answer 31

The reed interacts with the player's airflow and vibrations against the body of the instrument in four ways that influence tone and sound. Response - The ability of the reed to maintain a high quality of sound through all registers without splattering or spreading. Resistance - The amount of embouchure tension required to keep the reed behaving and sounding with good tone. - Lower resistance reeds may cause the player to overblow in searching for a fuller tone. - Higher resistance reeds can cause player fatigue and difficulty in creating a good tone. Tone Quality - The resonance and timbre of the reed itself. - A reed with only lower partials will sound dull. - A reed with only higher partials will sound shrill and thin. Stability - The ability of the reed to hold a pitch at any dynamic and can influence the sound in sound flat, stable, wild, sharp, or dull.

Answer 32

Musical creativity holes improvisation at the core of its internal process through the formation of new ideas, sounds, and direction. Improvisation is the core vehicle of creativity within the musical realm. A musician might explore musical creativity by exploring only the black keys on a keyboard; this keeps the tonal context within a simple pentatonic scale and allows the musician to explore various phrases, ideas, and range of the keyboard. Improvisation can also foster freer musical creativity through singing or playing along to an existing track. This structured approach allows the musician to explore different timbres, harmonies, and tones with freedom. The musician must use mental imagery and mystery when improvising to conceptualize new and different feelings, moods, and sounds. All of these processes contribute to an overall expansion of a musician's musical creativity and improvisational possibility, leading to more independent melodic, harmonic, and rhythmic improvisation.

Answer 33

Assessment strategies must include both individual and ensemble achievement. A comprehensive rubric provides accountability for each student's musical growth within an ensemble setting. A sample semester assessment plan should include : - Individual grading criteria such as performance of technical scales and musical excerpts, correct pitch matching, and correct rhythm matching. - Students should be able to demonstrate historical and contextual knowledge of the appropriate music and should demonstrate thoughtful analysis and evaluation of music. Group grading criteria can include : - Attendance at performance - Attendance at local concerts, chamber music participation, and solo/ensemble festival participation. Classroom criteria can include : - Rehearsal preparation and readiness The weight of each section could be graded as follows : Individual Performance : 30% Ensemble Performance : 30% Classroom Participation : 30% Other : 10%

Answer 34

Timpani - Inspect for even and smooth head with a balanced action. - Rims should be greased annually with lubricant or a Teflon tape should be applied instead. - Keep them covered when not in use. - Never store instruments on top of them. Metal Mallet Instruments - Wipe bars regularly with a glass cleaner. Wooden Bar Instrument - Wipe down regularly with a dampened cloth or rag, then a dry one when finished to remove moisture. - Inspect for splintered or cracked bars that need replaced. - Use a vacuum to clean out resonators after removing them from the instrument as needed. Drums - Clean and lubricate the hardware. - Inspect the rim, counterhoop, and head for issues that warrant replacement/repair.

Answer 35

Pitched percussion can include membranophones as well as idiophones that have definite pitches. Timpani - Notated in bass clef 30" : D2 - A2 28" : F2 - C3 25" : Bb2 - F3 23" : D3 - A3 Xylophone - Notated in treble clef, sounding an octave higher. Gf - C7 Marimba - Notated on the grand staff. C2 or A2 - C7 Glockenspiel - Notated in the treble clef, sounding 2-8 octaves higher G3 - C6 Vibraphone - Notated in treble clef F3 - F6 Chimes - Notated in the treble clef, sounding an octave higher C4 - G5

Answer 36

Once the basics of improvisation have been established, the next step is to apply that learning in the context of a full song. The song will likely follow the standard head-solos-head structure. Full tunes for the beginner improviser should have characteristics that allow a student to focus their attention on a limited number of variables at one time. Songs should have a moderate tempo, a strong tonal center, and preferably have no more than 3-4 different chords. These characteristics will allow the student to play within each chord, focus only on the notes that are 'strong' within the different chords of the song, and appreciate the sound of the same notes in different chordal contexts. The goal in introducing improvisation within this context is to reduce the number of choices of what note to play, a common hurdle for beginner improvisers, and direct the student's focus to playing with confidence, remaining oriented with the song while improvising, and other aspects of the performance - rhythm, dynamics, space that eventually leads to more varied and interesting improvisations.

Answer 37

Baroque, improvisation and jazz improvisation are separated by more than two centuries of musical development, and share widely different origins. Baroque improvisation served a primarily religious element in the churches of the time while jazz improvisation was born in the bars and alleyways of New Orleans. Instruments used in baroque improvisation centered on string instruments, while in jazz improvisation, a wide array of instruments can be found, from brass instruments and voices to drum kits and banjos. However, baroque and jazz improvisation share many similar traits. Although the instrumentation's differ, both styles feature a more prominent section as well as a supporting harmonic section. Both baroque and jazz improvisation follow a standard form in performance, whether a 32 bar form in jazz or a ritornello form in baroque music. Throughout both genres, improvisations are based on outlined chord symbols that direct the melody.

Answer 38

There are several musical skills necessary for a student to understand and composing a harmonic progression with prop root motion. Students must understand the circle of fifth's relationship between all 24 diatonic major and minor keys. The systematic organization of keys will help the student in creating key signatures and key relationships within chord progressions. Students should also understand that scales have formulae and spellings, whole and half notes, as well as understand the concept of diatonic harmony. Without these precursory concepts, the student will have a harder time. Grasping the basic diatonic Harmony of a major scale with Roman numeral designations. Students should also understand All inversions of triads and 7th courts, as the composition of proper root motion assumes the incorporation of appropriate inverted cords. Also important in the composition of harmonic progressions is proper voice leading of all four SATB voices, which in turn, informs the proper motion of the chord roots.

Answer 39

Keyboard instruments include those instruments whose sound producing mechanisms are set into motion through a system of levers and keys. Keyboard - Generally made up of seven natural and five chromatic keys - The distance between the natural keys are whole steps except for the half steps between e-f and b-c. Modern Piano - Typically notated on the grand staff, sounding is written. A0 - C8 Celesta - Typically notated on the grand staff, sounding and octave higher. C3 - C7 Harpsichord - Typically notated on the grand staff, sounding is written. F1 - F6 Harmonium - Typically notated on the grand staff, sounding is written. F1 - F6 Organ - Typically notated on the Grand staff, sounding is written. C2 - C7

Answer 40

Students in pre-k should experience music as much as possible through listening, feeling, moving, and experimenting with their own vocal pitch and timbre. Children in this age range should be encouraged to freely use their voices in singing, chanting, and speaking along with musical accompaniment and on their own. Students in Pre-K should experience a wide range of instrumental sounds and improvise their own melodies and patterns on different instruments. Students should practice relating musical sounds to other objects, symbols, and animals that are familiar to them, to engage their imagination and encourage creative responses. Students in Pre-K should become increasingly accurate in their pitch, matching and rhythm matching through their voices or on instruments. Students should experience a wide variety of genres and styles as well as be able to identify basic differences and changes in music.

Answer 41

String instruments include those whose main vibrating system is a string set into motion by plucking, striking, or bowing. Violin - Typically notated in the treble clef, sounding is written. C3 - A7 Viola - Typically notated in the alto clef, sounding as written. G3 - A7 Cello - Typically notated in the base, tenor, and treble clefs, sounding is written. C2 - C6 Double Bass - Typically notated in the bass clef, sounding an octave lower. C2 - C5 Banjo - Typically notated in the treble clef, sounding is written. C3 - A4 Guitar - Typically notated in the treble clef, sounding an octave lower. E3 - E6 Harp - Typically notated on the grand staff, sounding is written. Cb1 - G#7

Answer 42

Brass instruments include those wind instruments that are typically made with metal and sounded by the vibration of the player's lips through a mouthpiece. French Horn - Typically notated on the treble or bass clefs, sounding a perfect fifth lower. F#2 - C6 Trumpet - Typically notated on the treble clef, sounding a major second lower. F#3 - D6 Tenor Trombone - Typically notated on the base, Tara, or Alto clefs, sounding is written. E2 - F5 Bass Trombone - Typically notated on the bass clef, sounding is written. Bb1 - Bb4 Tuba - Typically notated on the bass clef, sounding is written. G0 - C5 Euphonium - Typically notated on the base or treble class, sounding as written on the bass clef, or a major 9th lower on the treble clef. Bb1 - F5

Answer 43

The wrote method of note reading refers to teaching a student to read notes from memory. Techniques to teach students to read by rote include mnemonic devices, such as the lines of the treble clef (every good boy does fine), and the spaces of the bass clef (all cows eat grass). Intervalic note reading refers to the method of reading by intervalic relationships, such as a third up, a second down, a fourth up etc. intervalic note reading relies on spatial visualization, well rote Reading relies on memorization. While both methods of note reading results in proficient musical skills, pros and consist for each. For rote reading, students are more quickly able to identify note names, but site reading may be slightly slower because of the added mental processing of labels. In intervalic, reading, students are more quickly able to identify direction and intervals during sight reading, but note naming may be slightly more difficult if students must first process intervals.

Answer 44

The pyramid model of balance and blend refers to the theory that higher pitched singers and instruments should play softer than the lowest pitched singers and instruments, so that an ideal bounce exists between the treble and the base. This is also known as the pyramid of sound. In this model, the higher pitch section will also be able to hear the bases for better intonation and blend. In the pyramid model, the bass voice is and instruments constitute the bottom rung of the pyramid, the width of the pyramid determines the overall volume of The Ensemble. As the pyramid rises, higher pitched voices and instruments are stacked above the base section to the tip of the pyramid where the highest treble section is placed. The higher the voice are instrument is on the period, the softer the sound should be. To apply it to an ensemble, the director should have the bass section play or sing a fortissimo, the tenor section a forte, the alto section a mezzo forte, and the soprano section a mezzo piano. This ensures that the full Elensemble can experience the balance and blend of the pyramid model.

Answer 45

Approaching instrumental playing in a healthy manner requires a relaxed body to prevent injuries and to enhance instrumental tone and resonance. Physical tension in a musician can translate into an unpleasant, thinner, and pinched sound. Music. Educators can foster a relaxed approach to instrumental playing through daily instructional activities that encourage flexibility and freedom at the instrument. Rehearsals and music classes that start with physical stretching help students to release any existing tension, while signaling to the body, a time for increased blood flow and loose joints. Educators can implement warm-ups that involve tensing and releasing the shoulders so students can feel the presence and absence of tension in their bodies. Consistent infrequent reminders for a student to relax any tension will also help to make a relaxed approach a habit for the student.

Answer 46

During an ensemble rehearsal, there are many rehearsal strategies to take on technically challenging passages. The director should first determine if the passage is the result of a lack of individual practice. If so, the director should show the students in detail the correct way to practice individually and at home. If the passage still presents technical challenges for the ensemble, the director should take the Ensemble through the passage slowly and rhythmically to identify the probable origin of the difficulty. Then the educator will be able to assist the ensemble in note accuracy, technical facility, and fluency, and playing. Once the ensemble has the tools to fix the challenging passage, the ensemble should go through the passage again slowly in isolation, and then slowly speed up the challenging passage until performance tempo has been reached. The ensemble should practice scales, arpeggios, and technical etudes to further develop technical skills.

Answer 47

During an ensemble rehearsal, there are many rehearsal strategies to take on technically challenging passages. The director should first determine if the passage is the result of a lack of individual practice. If so, the director should show the students in detail the correct way to practice individually and at home. If the passage still presents technical challenges for the ensemble, the director should take the Ensemble through the passage slowly and rhythmically to identify the probable origin of the difficulty. Then the educator will be able to assist the ensemble in note accuracy, technical facility, and fluency, and playing. Once the ensemble has the tools to fix the challenging passage, the ensemble should go through the passage again slowly in isolation, and then slowly speed up the challenging passage until performance tempo has been reached. The ensemble should practice scales, arpeggios, and technical etudes to further develop technical skills.

Answer 48

The Dalcroze approach to music education makes use of physical movement as a tool for musical development. Emile Jacques-Dalcroze believed music should be taught with kinesthetic movement, so sound can be integrated with nerves and muscles, then articulated through bodily motion. Dalcroze theorized that music can be more readily understood through music than reason, a musical education should start with movement before intellectual concepts can be introduced. In this framework, the body is the instrument, and students discover expression, musicality, tempo, dynamics, style, and phrase structure through inner dialogue with the music. In this way, students develop musicality with a deeper understanding of their physical connection to music and refine their senses of rhythm, coordination, hearing, and creativity.

Answer 49

Phyllis Weikart has written numerous books on the pedagogical applications of music and movement and is the author of 'movement plus music,' a music education guide for learning through movement for ages 3 through 7. She has served on the faculty of the division of kinesiology at the University of Michigan, and is also the founder of the program " education through movement : building the foundation" which is a research-based approach to learning through movement and music. In the Weikart method, kinesthetic experiences are broken down into individual units. First, movements must be isolated and modeled to the students. Then, the movement may be simplified and built upon. Finally, the students must have a variety of opportunities to use the movements in personal and creative ways. Through her program, Weikart provides a detailed, sequential approach to movement-based musical tasks, and continues the traditions developed by Orff-Schulwerk and Dalcroze.

Answer 50

- Students dance freely to a teacher's improvisation on the piano that changes frequently in relation to mood, tempo, dynamics, and style. Students must change their dance styles accordingly. - Students must pass a beach ball around a circle in rhythm, as defined by the teachers music. - Students stomp their feet in rhythm and sway side to side while the teacher recites a children's rhyme - Students clap their hands to the tempo of the teacher's improvisation at the piano. The teacher alters the tempo of the music so that students must follow along. - The teacher plays a soft melody on the piano while the students move smoothly to the music. For every sforzando chord played, Students must clap hands with a partner, then resume the quiet music and movement.

Answer 51

- Students dance freely to a teacher's improvisation on the piano that changes frequently in relation to mood, tempo, dynamics, and style. Students must change their dance styles accordingly. - Students must pass a beach ball around a circle in rhythm, as defined by the teachers music. - Students stomp their feet in rhythm and sway side to side while the teacher recites a children's rhyme - Students clap their hands to the tempo of the teacher's improvisation at the piano. The teacher alters the tempo of the music so that students must follow along. - The teacher plays a soft melody on the piano while the students move smoothly to the music. For every sforzando chord played, Students must clap hands with a partner, then resume the quiet music and movement.

Answer 52

The CMP initiative is a model that prioritizes an inclusive, deeper understanding of music for lifelong musical involvement, rather than a narrow-minded exclusive learning model. In the model, the rehearsal becomes a learning laboratory with the teacher acting as a musical facilitator, rather than merely as a lecturer or conductor. The chosen musical selection becomes a vessel from musical discovery. Students prepare the selection, the instructor provides a holistic approach for different objectives and different learning styles. The model encompasses a wide possibility of student outcomes, from knowledge of music, history, style, and composition, to form, structure, and theory. The five main elements of the CMP educational process are musical selection, objectives, analysis, strategies, and assessment. These segments may be used in any order to plan a music curriculum. Analysis involves a deeper understanding of the history, form, and style of the musical selection. The educator then decides on the learning objectives through a musical selection. Strategies for musical Discovery and performance are implemented in the curriculum. Educator assesses student needs and educational outcomes.

Answer 53

The CMP initiative is a model that prioritizes an inclusive, deeper understanding of music for lifelong musical involvement, rather than a narrow-minded exclusive learning model. In the model, the rehearsal becomes a learning laboratory with the teacher acting as a musical facilitator, rather than merely as a lecturer or conductor. The chosen musical selection becomes a vessel from musical discovery. Students prepare the selection, the instructor provides a holistic approach for different objectives and different learning styles. The model encompasses a wide possibility of student outcomes, from knowledge of music, history, style, and composition, to form, structure, and theory. The five main elements of the CMP educational process are musical selection, objectives, analysis, strategies, and assessment. These segments may be used in any order to plan a music curriculum. Analysis involves a deeper understanding of the history, form, and style of the musical selection. The educator then decides on the learning objectives through a musical selection. Strategies for musical Discovery and performance are implemented in the curriculum. Educator assesses student needs and educational outcomes.

Answer 54

Hand- – horn technique also known as right hand technique, is the placing of the right hand inside the bell of the horn. The technique was derived from early versions of the instrument, which had no valves. And these instruments, notes between the open partials of the harmonic series were played by opening and closing the throat of the bell with the hand. When valves were added, horn players still played with the right hand inside of the bell in order to produce a slightly darker tone, more easily control pitch, and perform extended techniques such as stopped horn and echo horn. There are two methods for hand placement inside of the bell. In the American method, the hand is held flat with the metal, touching the back of the hand, with some of the horn's weight supported by the thumb. In the French method, the right hand is held out flat with the Palm down and the thumb forming a 90° angle with the hand, some of the horns weight is supported by the first knuckles as well as the back of the hand..

Answer 55

Hand- – horn technique also known as right hand technique, is the placing of the right hand inside the bell of the horn. The technique was derived from early versions of the instrument, which had no valves. And these instruments, notes between the open partials of the harmonic series were played by opening and closing the throat of the bell with the hand. When valves were added, horn players still played with the right hand inside of the bell in order to produce a slightly darker tone, more easily control pitch, and perform extended techniques such as stopped horn and echo horn. There are two methods for hand placement inside of the bell. In the American method, the hand is held flat with the metal, touching the back of the hand, with some of the horn's weight supported by the thumb. In the French method, the right hand is held out flat with the Palm down and the thumb forming a 90° angle with the hand, some of the horns weight is supported by the first knuckles as well as the back of the hand..

Answer 56

As students undergo puberty, hormonal fluctuations and growth spirits cause many singers, the added challenges of adolescent vocal chains. Females typically undergo puberty between the ages of 10 and 18, while males typically undergo puberty between ages 12 and 20. Adolescent vocal change occurs in both females and males, but is most prominent in male singers. During puberty, the vocal tract increases in length and circumference, and the larynx increases in size and density. Symptoms include cracking and abrupt register breaks. While the vocal mechanisms are developing in adolescent students, it is important to practice safe and intelligent techniques of singing, rather than pushing the vocal mechanisms to damage. The body should be both energetic and relaxed, providing proper support for the breath but never pushing. Equally important during this developmental stage is proper. Rest for the singing voice. Students should never sing too loud or with too much effort, which could injure the vocal mechanisms.

Answer 57

As students undergo puberty, hormonal fluctuations and growth spirits cause many singers, the added challenges of adolescent vocal chains. Females typically undergo puberty between the ages of 10 and 18, while males typically undergo puberty between ages 12 and 20. Adolescent vocal change occurs in both females and males, but is most prominent in male singers. During puberty, the vocal tract increases in length and circumference, and the larynx increases in size and density. Symptoms include cracking and abrupt register breaks. While the vocal mechanisms are developing in adolescent students, it is important to practice safe and intelligent techniques of singing, rather than pushing the vocal mechanisms to damage. The body should be both energetic and relaxed, providing proper support for the breath but never pushing. Equally important during this developmental stage is proper. Rest for the singing voice. Students should never sing too loud or with too much effort, which could injure the vocal mechanisms.

Answer 58

Good mallet technique for marimba players allows the musicians of free range of color and technical possibility. It starts with one mallet in each hand, also called the two mallet grip. Once the two mallet grip has been learned with a flexible grip, the student usually learns a four mallet grip. Next. The three main multiple mallet grips are the traditional crossed grip, the Burton grip, and the Musser/Steven's grip. Traditional Grip - Places the second mallet between the index and middle fingers while grass being the end of the second mallet with the ring finger and pinky. The traditional grip has a higher rate of tension and less support than other grips. Burton Grip - Places the second mallet between the index and middle fingers and the end of the mallet underneath all four fingers. Musser/Steven's Grip - Places the first mallet between the thumb and the index fingers, and the second mallet between the middle and ring fingers so that the mallets are not crossed. This grip provides the most Independence of mallet movement.

Answer 59

Good mallet technique for marimba players allows the musicians of free range of color and technical possibility. It starts with one mallet in each hand, also called the two mallet grip. Once the two mallet grip has been learned with a flexible grip, the student usually learns a four mallet grip. Next. The three main multiple mallet grips are the traditional crossed grip, the Burton grip, and the Musser/Steven's grip. Traditional Grip - Places the second mallet between the index and middle fingers while grass being the end of the second mallet with the ring finger and pinky. The traditional grip has a higher rate of tension and less support than other grips. Burton Grip - Places the second mallet between the index and middle fingers and the end of the mallet underneath all four fingers. Musser/Steven's Grip - Places the first mallet between the thumb and the index fingers, and the second mallet between the middle and ring fingers so that the mallets are not crossed. This grip provides the most Independence of mallet movement.

Answer 60

In a regular rehearsal, the conductor or director should prepare a comprehensive plan for their time with the ensemble. Since rehearsal time is usually limited, the conductor should prioritize the musical goals for this session beforehand. The sequencing of the rehearsal goals is up to the conductor, based on the musical works and ensemble, but every rehearsal should have these general components. In the beginning, the ensemble should spend adequate time warming up their instruments and bodies as well as tuning their instruments. This practice helps to develop both the musicians habits as well as listening with awareness. The ensemble should have time with the conducting and playing of various musical works. The ensemble should also spend time refining technically and musically challenging passages. There should also be time for the musicians to develop musicality and sight reading skills during the rehearsal.

Answer 61

In a regular rehearsal, the conductor or director should prepare a comprehensive plan for their time with the ensemble. Since rehearsal time is usually limited, the conductor should prioritize the musical goals for this session beforehand. The sequencing of the rehearsal goals is up to the conductor, based on the musical works and ensemble, but every rehearsal should have these general components. In the beginning, the ensemble should spend adequate time warming up their instruments and bodies as well as tuning their instruments. This practice helps to develop both the musicians habits as well as listening with awareness. The ensemble should have time with the conducting and playing of various musical works. The ensemble should also spend time refining technically and musically challenging passages. There should also be time for the musicians to develop musicality and sight reading skills during the rehearsal.

Answer 62

As a section leader in a larger group, there are several responsibilities that must be met to strengthen the musical experience and unity of the performing group. Section leader, or principal player of a section, should be thoroughly prepared with their own musical part, since this will be the framework for the rest of the section. The section leader should also be ready to give advice in terms of style, articulation, phrasing, bowing, fingering, and other musical details. The section leader should also be proficient at keeping accurate tuning and should help ensure the proper intonation of their entire section. They are also responsible for interpreting any directives that the conductor may give concerning a musical reputation such as dynamics, freezing, articulation, and character.

Answer 63

Bright and dark are descriptions of tonal quality. Tonal quality is independent from pitch as demonstrated by a violin and a cello. For example. If both were played to produce the same note, their tonal qualities would still differ, what the violin producing a brighter tone. The bright tone emphasizes the partials in the upper mid-range. A dark tone in contrast, will have a tonal balance emphasizing the lower range, with weak eye frequencies. In terms of singing, a bright tone is one that resonates farther Forward in the face, and is associated with the front vowels i and e. a dark tone resonates further back and is associated with the vowels u, o, and a. In a full chorus, the brightness or darkness of a passage can be adjusted through the manipulation of vowel quality. In general, female vocalists will tend to have a brighter tone.

Answer 64

Bright and dark are descriptions of tonal quality. Tonal quality is independent from pitch as demonstrated by a violin and a cello. For example. If both were played to produce the same note, their tonal qualities would still differ, what the violin producing a brighter tone. The bright tone emphasizes the partials in the upper mid-range. A dark tone in contrast, will have a tonal balance emphasizing the lower range, with weak eye frequencies. In terms of singing, a bright tone is one that resonates farther Forward in the face, and is associated with the front vowels i and e. a dark tone resonates further back and is associated with the vowels u, o, and a. In a full chorus, the brightness or darkness of a passage can be adjusted through the manipulation of vowel quality. In general, female vocalists will tend to have a brighter tone.

Answer 65

Tessitura refers to the range within a singer's vocal abilities that resonate the most in an aesthetically pleasing manner. The particular tessitura of a singer's voice type is also usually the most comfortable for his or her vocal timbre. Tessitura differs from vocal range in that the range of a singer's voice refers tot he limits of pitches the singer is able to sing. The tessitura of a singer's voice, though he or she may have a wide singing range, may be best described as a high or low tessitura, wherever the voice is able to sustain the most dramatic, comfortable, and pleasing sound. When assigning a voice to a part, it is important to consider the tessitura of a particular voice as well as his or her range, timbre, transition points, and voice weight.

Answer 66

Intervallic reading is founded on the principal that students who can recognize the relative relationships between pitches will be able to read more quickly and with less mental processing demands than reading note by note. Students who read note by note must first mentally identify the pitch name, translate that into the fingering or key pattern on the instrument, and then play. Students who read intervallically can forgo the pitch identification step of mental processing and proceed immediately to spatial processing, thus simplifying the reading process. Music educators can use instructional activities that reinforce the concept of spatial distance and direction, such as dictating a tune by note distance and direction only (2nd up, 3rd down, etc.), making a game out of flash cards, being able to play intervals and directions with eyes closed, and practicing placing notes on a classroom staff.

Answer 67

When teaching a group of more than 15 students, certain strategies will benefit the educational environment. If there are instructions, they should be clear and concise. When students understand instructions for a task, they are more likely to stay focused on the task. Follow the instructions with reinforcement by modeling the activity, asking students to repeat the instructions back, or having the students do an example of the activity together to ensure that the students understand and can proceed with the activity. If instructions are not made clear, problems such a student frustration or loss of group control could occur. In addition, always establish rules, awards, and consequences for the classroom. It is essential that students have guidelines to operate within so that when behavior issues do arise, the education can act simply and according to the guidelines rather than out of emotion.

Answer 68

Keeping students focused and on task is one way to prevent behavior issues. There are many instructional strategies to refocus a misbehaving student. If students are distracted, wait until they're paying attention to continue the lesson. Silence will draw attention to the misbehaving students. Redirect attention of distracted students by using an attention-getter. (If you can hear my voice, clap once. etc.) Misbehaving students will often redirect their attention and try not to be left out. Reward good behavior through positive reinforcement. If needed, students should be separated. Establish a quieting signal such as raising a hand or a hand signal. Place a misbehaving student next to the teacher so that the students become more conscious of their behavior among their classmates. Give the misbehaving student a specific task. Oftentimes, a distracted student is one who is not challenged by the current lesson. If students continue to misbehave, the teacher may be talking too much. Adjustments may be needed to keep the students actively focused and involved.

Answer 69

In a full elementary class, there are many important instructional strategies to effectively teach rhythm to young students. First, students must experience rhythm. This can be done through kinesthetic movement (clapping, swaying the bodying, or dancing). The teacher can have students mimic certain patterns so that the students can experience the rhythms before labeling them. They can also experience rhythms by keeping a beat to music, to help feel for a steady beat. The teacher can also refer to a steady beat as a heartbeat, relating it to a familiar internal process. Once the students have experienced certain rhythms, the teacher can begin to assign visual and verbal labels to the rhythms. The association between label and rhythms can thus be strengthened, as the students already know the rhythms through experience.

Answer 70

When a student misbehaves in a classroom setting, it is always important for the music educator to reflect on the misbehavior. If an adjustment in teaching style or lesson sequencing will redirect the misbehavior, the teacher should start there. The teacher should observe for any learning impairments that may trigger behavior problems. The teacher should set clear limits and boundaries of behavior. If the student it misbehaving regardless of various strategies of engaging teaching techniques and sequencing, then the educator should address the misbehavior, taking care not to condemn the student but rather the behavior. The teacher should make sure not to interrupt the flow of the lesson but to address the student with as little verbal response as possible. The teacher can use silence, physical cues, close proximity, and quickly stating the student's name as reminders to focus. If these techniques are not effective, the teacher should thoroughly address the misbehavior after class.

Answer 71

For any student in a large group ensemble, there can be many benefits for the student in taking additional individual lessons with a private teacher. Although a student can learn the basics solely through ensemble rehearsals, it is preferable for students to learn the basics with the help of a private teacher. In an ensemble rehearsal, the conductor can only give so much attention to an individual student, as there are many other students who may need help as well. With a private teacher, the student will have undivided help from a focused professional to guide the student's musical education, ensuring proper technique and musicality are reinforced from the beginning. As the student progresses to a more advanced level, having a private teacher will better assist in technical challenges and fingering issues that cannot be addressed as easily in a large group ensemble. With a private teacher, a student can advance more quickly to a higher level of playing.

Answer 72

When too much time is spent on an individual section or part during the full ensemble rehearsal, time is wasted and musicians can become unengaged. Sectional rehearsals allow players to fine-tune their parts together and fix any technical or musical problems apart from the full ensemble. Sometimes, the conductor may not be aware of other hidden problems except through listening to sectional rehearsals. However, certain precautions should be taken to ensure the highest efficiency of a sectional rehearsal. Sectionals should be scheduled either immediately before or after a full ensemble rehearsal so that the progress made through a sectional can be immediately integrated within the full ensemble for the most improvement. Players should also be aware of clear objectives before beginning any sectional to avoid wasting time within a sectional.

Answer 73

Students with dyslexia tend to have difficulty with visual tracking, visual stress, visual-motor comprehension, sound discrimination, and symbol-sound relationships. Without proper guidance from the teacher, the student with dyslexia may feel alienated from the curriculum as well as from peers and the overall learning process. The teacher should begin by removing any barriers to the student's learning and helping to build on the student's strengths. Musical notation can be enlarged so that visual processing for the student will be eaiser. The student can also use color-coded overlays to prevent visual stress from an all-white background as well as to highlight certain aspects of the score. The teacher should use a multi-sensory approach to teaching musical notation, including Dalcroze and Kodaly techniques, visual and aural demonstrations of rhythm, visual, and tactile demonstrations of notation, technology, pattern learning, and graphics within the notation.

Answer 74

Brass instruments require care and maintenance on several fronts. They must always be handled with care. Avoid handling the finish and wipe away any dirt, oil, or debris with a soft cloth after handling. Take care to avoid damage from jewelry, buttons, or zippers. Before storage, use a swab to remove as much moisture as possible from the instrument. Remove the mouthpiece before storage. For valved instruments, apply a small amount of valve oil before each playing session. Clean and lubricate all slides, removing old lubricant before applying a new layer. Use only a small amount, removing any excess with a soft cloth. Whenever possible, keep the instrument in a cool environment that is neither too dry nor humid. Perform a regular inspection of all moving parts and the mouthpiece.

Answer 75

The National Core Arts Standards were developed to provide milestones to attain to a grade-by-grade level in various forms of art, including dance, media arts, music, theater, and visual arts. Usually, arts standards are dictated on the state and local level, but the national standards may be helpful in informing curriculum and instruction for a specific grade and art-subject. The National Core Arts Standards are classified into 4 categories of artistic thought : Creating, Performing/Presenting/Producing, Responding, and Connecting. They are further subdivided into anchor standards that inform the grade-level standards. Creating - Generate and conceptualize artistic ideas and work. - Organize and develop artistic ideas and work. - Refine and complete artistic work. Performing/Presenting/Producing - Select, analyze, and interpret artistic work for presentation. - Develop and refine artistic techniques and work for presentation. - Convey meaning through the presentation of artistic work. Responding - Perceive and analyze artistic work. - Interpret intent and meaning in artistic work. - Apply criteria to evaluate artistic work. Connecting - Synthesize and relate knowledge and personal experience to make art. - Relate artistic ideas and works with societal, cultural, and historical context to deepen understanding.

Answer 76

It is the conductor's final responsibility to select appropriate music for an ensemble. They should consider : 1. The ability level of the ensemble. Music shouldn't be impossibly hard or too easy but just challenging enough for the ensemble to be able to play the music as well as to progress musically and technically. 2. The strengths and weaknesses of the ensemble. Music shouldn't always cater to their strengths but should also help develop any weaknesses the ensemble may have. 3. The number of players and instruments in the ensemble. Minor changes can be made but it is difficult to rearrange a full instrumentation down to just a few instruments. 4. The number of rehearsals before the given performance. There should be adequate time to rehearse any given piece. 5. Selecting a variety of music that is appropriate for audience and occasion of the performance.

Answer 77

As a music educator, it is important to incorporate music theory instruction during full rehearsals, ensuring that a student's musical education is a comprehensive, all-encompassing one, and not one solely focused on performance. A thorough music education will allow the student an informed and deeper understanding of music. When possible, the music educator should introduce new theoretical concepts before rehearsing a piece. The instructor shouldn't take too much time in explanation, but give only clear, concise, direct introductions, as the immersion within the music will aid in a student's understanding. When the educator interrupts the rehearsal to do spot checks, the teacher should use appropriate language in explaining the technical or musical problem to further integrate the concept of music theory into musical performance and understanding. When time allows, the teacher can give brief verbal quizzes, to keep the students accountable for their musical theory learning.

Answer 78

Aural learners learn best by hearing content so teachers should use frequent and precise terms when explaining an idea. Aural learners also learn through talking and discussion so a useful teaching technique is allowing students to discuss ideas and content among themselves. Aural learners may be to question and talk through ideas to help thoroughly comprehend educational content so teachers shouldn't brush off student questions but allow ample time for student questions and answers. Another technique to accommodate aural learners who need to hear ideas and talk through them is to have spoken quizzes and tests, to allow them the opportunity to talk through a concept. A helpful technique particularly for aural music learners is to listen to a recording of one's own rehearsals to be able to hear for mistakes and areas for improvement.

Facilitating Learning Flashcards

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