MUED 4823 Final Exam

Question 1

The roles of facilitating a creative environment

Answer 1

facilitating, documenting, providing equipment/time, encouragement?

Question 2

Examples for setting up students to improvise

Answer 2

improvise over a steady beat, use an eight-beat cycle, over a rhythm pattern or ostinato, on a neutral syllable, on a familiar melody or chord sequence

Question 3

Development of the creative production among children

Answer 3

exploration and discovery, improvisation, composition

Question 4

Three levels of deep-listening

Answer 4

attentive listening, engaged listening, and enactive listening

Question 5

Attentive Listening

Answer 5

level 1 of deep-listening; teacher focuses on musical structures by use of diagrams that highlight points of musical interest in the piece, each listening could invite students to notes, something new, such as themes or motives, melodic shape, dynamic changes, etc.; help guide their listening

Question 6

Engaged Listening

Answer 6

level 2 of deep-listening; occurs when the learner is drawn into fuller participation in the music, listening by tapping the beat, playing an ostinato, singing a melody, or performing a groove, students will carefully listen to discover patterns to perform; something physical, engaged using something other than eyes

Question 7

Enactive Listening

Answer 7

level 3 of deep-listening; contains deeper levels of listening, such as learning to perform a piece in style, and reflecting the nuances of that work of music, it takes repeated focus, listening, and engagement with the music to begin to perform succussfully within the style of the given work, typical for middle and high school ensemble learning; beyond listening to a recording, listening to each other

Question 8

The principles for teaching music listening

Answer 8

gets the students’ attention/intrigue them, introduce the music, listen to the music with the students, get students involved physically and mentally, keep the listening example relatively short, encourage spontaneous responses to music

Question 9

Examples of intentional listening activities that can be used to teach concepts and skills

Answer 9

tapping the beat or off-beat, raising your hand when you hear a specific instrument, or move to only the melodic line

Question 10

Pitched Orff Instruments

Answer 10

Xylophone, Metallophone, Glockenspiel, Marimba, Resonator Bells, Chime Bells, Bass Bars, Timpani

Question 11

Un-Pitched Orff Instruments

Answer 11

Rhythm Sticks, Sand Blocks, Wood Blocks, Castanets, Claves, Guiro, Tambourine

Question 12

Developmental sequence for playing instruments

Answer 12

0-2 shaking; 2-3 hand tapping and striking; 3-4 rubbing, mallet striking; 5-6 one hand keyboard, finger cymbals; 7-9 bourdon, ostinato, two mallets striking, both hands keyboard, recorder; 10-12 orchestral wind and brass

Question 13

Examine methods for teaching instruments

Answer 13

Orff, Suzuki, Kodaly

Question 14

Orff Methods of learning the elements of music

Answer 14

speech, body percussion, instruments, imitation, improvisation, literature, exploration, movement, games

Question 15

Children’s rhythmic development

Answer 15

0-1 rhythmic swaying, bouncing; 1-2 babbling in irregular rhythmic patterns, dancelike rhythmic movements; 2 songs in regular rhythmic patterns; 3 songs with feeling of meter and recurring rhythmic patterns; 4-5 taps beat in time, clapping and patting; 6-7 distinguish fast and slow, PRW quarter, eighth and half notes; 8-9 PRW dotted quarter and eighth notes, recognize 2/4, 4/4, 6/8, and 3/4; 9-10 PRW sixteenth notes, recognize 9/8 and 12/8; 10-12 PRW dotted eighth and sixteenth notes, recognize 5/8 and 7/8

Question 16

Approaches of connecting rhythm to speech

Answer 16

Orff approach; words become musical when they are spoken over the foundation of a set pulse, their sounds are transformed into chants of longer and shorter musical duration, some words in a group are emphasized over others

Question 17

Approaches of connecting rhythms to movement

Answer 17

Dalcroze eurhythmics; coordinated walking, running, skipping, galloping, hopping, jumping or swaying

Question 18

The role of teaching pulse and meter to children

Answer 18

pulse regulates music, and meter is what defines it

Question 19

Songs from Ch. 7

Answer 19

Rain, Rain, Go Away 2/4 (quarter quarter eighth eighth quarter); Mighty Pretty Motion 3/4(dotted quarter eighth half); Kookaburra 4/4 (sixteenths eighth sixteenths)

Question 20

Orrf rhythmic mnemonics/system

Answer 20

(assigned words based on teacher) pear, ap-ple, boy-sen-ber-ry

Question 21

Kodaly/Cheve rhythmic mnemonics/system

Answer 21

ta, ti-ti, ti-ri-ti-ri

Question 22

Gordon rhythmic mnemonics/system

Answer 22

du, du-de, du-ta-de-ta

Question 23

notating for reading and writing rhythms

Answer 23

Kodaly just uses note stems; as the children mature, the rhythms get increasingly complex, if children can learn to read and write letters, words and sentences, they can also decipher, interpret, and write rhythmic notation

Question 24

How to facilitate polyrhythms with children

Answer 24

learn each part individually, slowly add them

Question 25

Principles of Dalcroze Eurhythmics

Answer 25

movement as the foundation of musicianship, students express the music they hear through a creative reorganizing of the movements they already know

Question 26

Exploratory tasks using movement with and without music

Answer 26

stay on beat with or wo music, move during sound freeze during silence, action songs, singing games

Question 27

Four areas of movement

Answer 27

1. action songs/singing games, 2. creative movement 3. dance 4. eurhythmics

Question 28

Percept vs. Concept

Answer 28

percept is the ability to notice something and concept is the ability to identify or describe how that something functions in a variety of settings and permutations

Question 29

Children's melodic development

Answer 29

0-6 months responds to different pitches and can match vocally sustained pitches and imitate sounds; 6-18 months differentiates between pitch contours and sensitive to phrase endings and intervals; 18m to 4 years able to recognize familiar phrases and songs based on contour and rhythm and increased ability to replicate familiar material and more attention to absolute value of pitches and sensitivity to phrases shown through movement; 4-8 beginning to conceptualize aspects of pitch and melody and able to demonstrate this knowledge through showing and telling and sensitivity to intervals and tonality emerges and continued development of phrase; 8-12 can identify aspects of pitch motion such as steps leaps and repeated tones and perceives patterns and recognizes melodic sequences and can build concepts of scale and mode

Question 30

Kodaly methods

Answer 30

music belongs to everyone, music is the right of all children who can and should develop performance, listening, and literacy skills. Singing based approach, moveable Do solfege, hand signs, use of folk music, music literacy, developmental sequence/sequential learning

Question 31

Curwen Hand Sign

Answer 31

solfege hand signs used in the kodaly method

Question 32

conversational solfege

Answer 32

a literature based curriculum designed by John Feierabend, teaching music literacy through a combination of singing, listening and rhythmic and melodic patterns

Question 33

ranges and timbres of childrens singing voices

Answer 33

6-7 C4-B4; 7-8 C4-D5; 8-9 Bb3-Eb5; 9-10 A3-E5; 10-11 Ab3-F5; 11-12 G3-G5

Question 34

Differences between rote, rote-note, and note singing/reading

Answer 34

rote is imitating the teacher or other model; rote note is blends singing by ear and reading solfege/using hand signs; note singing/reading is singing by reading music notation

Question 35

process for teaching a song by rote

Answer 35

1. establish a beat - get them to feel the beat 2. sing entire song 3. break down into four, five six, or eight sections. you sing they echo. you must use clear gestures with the students. prep. 4. pair two segments together then echo 5. pair more than two segments together or pair the entire song then echo 6. have class sing the song again without your vocal assistance

Question 36

vocal technique related to posture, breathing, head/chest voice, and tone

Answer 36

perfect singing posture, breathing exercises,

Question 37

Ch. 3 learning and music pedagogy

Answer 37

Dalcroze Eurhythmics are movement with a mission; Kodaly is inner hearing and music literacy; Orff is expression through musical experience; Comprehensive Musicianship is integration of performance, theory, history and literature, and composition; Gordon's Music Learning Theory is audiation and inner hearing and discrimination learning and inference learning; Manhattanville Music Curriculum Project is connected learning from one grade level to the next via a spiral on progressively more sophisticated aspects of the musical elements (spiral learning); Music in Education has goals to develop intelligent listeners who can describe and discuss the music they hear, make, and create; Education through Music is a holistic approach to music education, based on Kodaly, songs and language are acquired through pattern recognition; Weikert's Movement Sequence is using basic movement to maintain a steady beat through a four step process (step 1 - say, step 2 - say and do, step 3 - whisper and do, step 4 - think and do)