Pedagogy, Professional Issues, and Technology Flashcards
Study
Music education in the United States has been historically focused on music of the WESTERN WORLD. Music of the Western world includes Western C_____ music, American B_____ music, and Western F___T____.
classical;
band;
folk traditions
“Informal training” refers to a student’s SELF-LED EXPLORATION of musical learning (with or without an experienced _____.) NON-FORMAL teaching and INFORMAL learning can constitute a valuable part of the student’s growth as a musician.
Pros and cons of non-formal teaching and informal learning:
PROS- students are able to CHOOSE THE STYLE AND DIRECTION OF THEIR GROWTH and have more _____ (self-government).
CONS- they may not ____; they may only practice their _____, but not their ______.
mentor
autonomy;
work;
strengths;
weaknesses.
Many iPad apps act as a TOUCH-SENSITIVE synthesizer to convert M______ to A______, allowing students with limited mobility to create music.
movement;
audio
The UTILITARIAN philosophy stems from the writings of P____ and A____ in ancient Greece.
Plato;
Aristotle
Some of the non-musical benefits of music study include: good C_____, C_____ responsibility, C_____ awareness, and a quality of N______.
character;
civic;
cultural;
nobility.
According to a utilitarian philosophy, music is a tool to develop EXTRA-MUSICAL BENEFITS (whether for other intellectual fields, for the development of c____ or for social e_____). For SUPPORTERS of a utilitarianism, music is a key component of a ____ education.
Arguments AGAINST utilitarianism point to the p____, CONTROL, and a____AWARENESS students need in order to develop MUSICAL P______skills.
character;
entertainment;
comprehensive
persistence;
aural;
performance
Music educators saw the need for a new philosophy of music education beyond what utilitarian educators could provide. Thus, an ____ to the philosophy of music education was put into play.
UTILITARIAN ==>AESTHETIC
Aesthetic philosophy for music curriculum emerged during the national E___R___ of the 1950s.
AESTHETIC approach
education reform
Influential theorists of AESTHETIC arts education include Bennett REIMER, Michael MARK, Elliot EISNER, Charles LEONHARD, Robert HOUSE and Maxine GREENE. Theorists of AESTHETIC arts argue that music ought to be studied ____; only through music and arts can students develop the SENSITIVITY, f____, and symbolic c_____ represented by musical understanding.
In opposition to utilitarian philosophy, supporters of the AESTHETIC philosophy believe that any extra-musical benefits pale in comparison to the pure e___ and i____ of making music and that no other field of study can develop the musical PERCEPTION, mental SENSATIONS, and the APPRECIATION for beautiful sound except music study itself.
in and for itself;
feeling,
communication
enjoyment;
interaction
DALCROZE EURHYTHMICS- Emile Jacques-Dalcroze believed that music should be taught with ______MOVEMENT so that sound can be integrated with n___ and m____ and articulated through b____ MOTION. This method was developed around 1900. Emile Jacques-Dalcroze believed that musical education should start with movement BEFORE intellectual concepts can be introduced.
In Dalcroze eurhythmics, the body is THE INSTRUMENT and students discover expression, musicality, tempo, dynamics, style, and phrase structure through i___d___ with the music. In this way, students refine their senses of RHYTHM, COORDINATION, HEARING, and creativity.
Without the ability to physically respond to music, Dalcroze believed that no human could be fully musical. The approach uses EURHYTHMICS, s___, and i____ to facilitate musical development in children.
kinesthetic;
nerves and muscles;
body
inner dialogue;
solfege,
improvisation
The Kodaly method was developed by Hungarian composer, musician, ethnomusicologist, and educator Zoltan Kodaly. For Kodaly, the main goal of musical education is ____. (since music belongs to every human, and every culture has folk songs, the VOICE is then the most accessible instrument)
To facilitate musical literacy for the masses, Zoltan Kodaly advocated the use of the MOVEABLE-DO SYSTEM as well as hand signs for S______ syllables, R_____ syllables, and S___-N___.
The Kodaly method uses a five-step instructional sequence: 1. PR___, 2. MAKE C___, 3. RE___, 4. PR___, 5. CR___ and is foundational in early music education philosophies today.
singing;
solfege;
rhythmic;
solfa notation
- Preparation
- Make Conscious
- Reinforcement
- Practice
- Create
The Orff-Schulwerk method was developed by German composer, musician, and educator CARL ORFF and his close collaborator Gunild Keetman who believed that music should be actively _______ and is best learned through a child’s NATURAL TENDENCY TO ___.
In the Orff approach, students explore music through the integration of d___, s____, and m____. Students are encouraged to play an active part in their musical development through i____ on pitched and non-pitched instruments.
The Orff-Schulwerk method emphasizes RHYTHM development through ch____ rhythm patterns and through m_____. It emphasizes MELODIC development through IMPROVISATION of speaking patterns and specialized O___ i____.
The ______scale is the most common scale used in the Orff method, as it is most accessible on the Orff instruments.
Central activity components of an Orff-Schulwerk lesson include sp___, si___, m___, and playing instruments.
The Orff approach holds that musical development begins with a child’s natural s____. Along with speech, the Orff method uses s_____ to introduce t____ patterns and strengthen children’s singing abilities.
______ through games in the Orff approach is an important activity component, as music and movement are fundamentally intertwined in the Orff-Schulwerk philosophy.
experienced;
play
drama, speech, and movement.
improvisation;
chanting;
rhythm;
movement;
Orff instruments;
pentatonic
speech,
singing,
movement
speech;
singing;
tonal
Movement
The Suzuki method was developed by Japanese violinist, educator, and composer Shinichi Suzuki who believed that musical development is best structured through a MOTHER TONGUE approach where children hear and learn to play music from an _____, as with speech.
The Suzuki method emphasizes substantial PARENT involvement, an EARLY start, l_____, and r_____, similar to a child’s LANGUAGE development. In the Suzuki method, students typically BEGIN learning music by e___, and after, developing competence on an INSTRUMENT, then finally learn to READ m___ n___.
early age;
listening;
repetition;
ear;
music notation
Bloom’s taxonomy refers to the framework for EDUCATIONAL goals and OBJECTIVES for learning as set in the 1950s by BENJAMIN Bloom and other educational psychologists.
Bloom’s taxonomy model outlines _____of thinking in three different domains. These three DOMAINS of hierarchical levels of thinking (Bloom’s taxonomy) are c___, a___, and ps___.
Objectives for the DOMAINS in Bloom's taxonomy focus on KNOWLEDGE, (for the cognitive domain) v\_\_\_\_, (for the affective domain) p\_\_\_m\_\_\_ SKILLS (for the psychomotor domain)
The 6 hierarchical LEVELS in Bloom’s taxonomy IN ORDER are: ___(k-c-a-a-s-e)___.
In the comprehension stage of Bloom’s taxonomy, students must UNDERSTAND and be able to _____ ideas and concepts
In the analysis stage of Bloom’s taxonomy, students must d_____ between d___ parts of the concept
In the synthesis stage of Bloom’s taxonomy, students must be able to g____ the knowledge acquired to s____ and j____ a decision.
In the evaluation stage of Bloom’s taxonomy, students must become independent to c____ and i____ o____ i____
hierarchical levels;
cognitive, affective, and psychomotor.
knowledge
values
physical motor skills
knowledge, comprehension, application, analysis, synthesis, and evaluation. (kcaase)
explain
new
distinguish;
different
gather;
support;
justify
create;
improvise;
original ideas.
Bennett Reimer was a prominent music educator and philosopher whose influential book, A Philosophy of Music Education, promoted an _____ model of music education. For Reimer, music exists as an ___ form, and cannot be limited to intellectual or other non-musical pursuits. Its merit is in connecting PEOPLE to f____
Reimer believed that because music is essentially, DYNAMIC SOUND WAVES, it is the only art form that can kindle ________. He argued for the integration of music in general education for the overall betterment of SOCIETY’S c____ and e____.
According to Bennett Reimer’s philosophy, the best form of music education involves l____, EXAMINING, and actively PARTICIPATING in ONLY musical works. In his music curriculum, performance should not be the focus, since it does not encourage active LISTENING and the development of AESTHETIC feeling.
aesthetic;
expressive;
feelings
mental feelings.
compassion;
empathy.
listening;
Rudolf von Laban was a Hungarian dancer and theorist whose foundational movement theories for dance have been adopted by music educators for _____ music education. He believed that all people should learn the FOUR ELEMENTS of movement to develop MINDFULNESS and CREATIVITY.
Rudolf von Laban’s four “effort” elements are:
- Flow (free and tense movements)
- Weight (heavy and light movements)
- Time (quick and slow movements)
- Space (direct/straight and indirect/arcing movements)
Rudolf von LABAN also outlined eight basic actions: __(p,s,d,f,p,w,g,f)__. These movements have been adopted in education as well as by CONDUCTORS to convey musical gesture.
movement-based;
punch, slash, dab, flick, press, wring, glide, and float;
David Elliot is a music educator and philosopher whose book, “Music Matters: A New Philosophy of Education”, presents the _____ philosophy of music education.
“Praxial” emphasizes that music ought to be understood in relation to the MEANINGS and v____ evidenced in actual music MAKING, music LISTENING, and musical OUTCOMES in specific cultural contexts.
David Elliot supports a PRACTICAL, PR___ approach to music education, one that puts emphasis on the___(not the FEELING that comes from) making music. Musical knowledge is not just about the familiarity and appreciation of music, but is also about the direct, purposeful ____ involved in MAKING music.
Central to David Elliot’s praxial philosophy is the concept of m______–one that encompasses music MAKING and LISTENING. Curriculum should be based on music p_____ and should start with music m_____ before students can fully comprehend THE ART of music making when listening to music. He recommends a student apprenticeship model of education where the teacher plays the role of MENTOR AND EXPERT MUSICIAN.
praxial
outcomes;
procedural;
activity of;
feeling;
skill set;
musicianship;
practice;
making;
IMPRESSIONISM began as a visual arts movement at the end of the nineteenth century with the works of Edgar DEGAS and Pierre-Auguste RENOIR. The painters of the Impressionist movement sought to move away from the highly DEFINED traditional paintings of the official s___ of the day and to create works that caught the brief, sensory effect of a particular movement through optical effects of l___, c___, and at_____. The painters of the Impressionist movement 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 nineteenth and twentieth centuries. In the music of Claude _____, formal elements such as DISTINCT t___, c____, and line were ABANDONED, while SOFT effects such as non-c____ melodies, c____ textures, MISTY instrumental colors, and continuously changing f___ all contributed to fleeting moments of color.
salons;
light;
color;
atmosphere;
Debussy; tonalities; cadences; non-climactic; complex; forms
The ballade refers to a l____ and musical form in which words are set to ____ stanzas with _____ lines each.
A stanza, or v____, is a p____ set to music with a recurring pattern of both RHYME and m____.
Although ballades have been around since the _____, renewed interest in the ____ Era helped the genre to flourish in the 18TH and 19TH centuries. POETS who often wrote ballades that were then set to music include Goethe, Schiller, Fontane, Heine, Platen, and Chamisso
Notable ballade COMPOSERS who set literary ballades to music include __(S, S, L, W, and S)
By the middle of the nineteenth century, composers started to write purely ______ ballades. _____ wrote four piano ballades, most likely based on poems by MICKIEWICZ, and both ___ and ___ wrote instrumental PIANO ballades.
literary;
three;
seven or eight
verse;
poem;
meter
Medieval ages;
Romantic
Schubert, Schumann, Liszt, Wagner, and Strauss
instrumental;
Chopin;
Liszt;
Brahms;
Intrinsic motivation is defined as motivation that exists for an individual in the _____, as opposed to extrinsic motivation in which motivation for an activity exists apart from the activity such as an outside _____. It can be very effective, but not for students who find no internal satisfaction.
When students are intrinsically motivated, there will be satisfaction in the ACTIVITY partly from natural _____ and partly from ____ in doing the task. When students are extrinsically motivated, satisfaction lies in AN EXTERNAL REWARD OR PRESSURE.
activity itself;
pressure or reward.
curiosity;
gratification
K-4 Students should be able to:
- improvise simple musical ____ and accompaniment for familiar melodies.
- compose simple short songs to accompany_____ or dramatizations.
- read basic notation to ____ notes, basic dynamic markings, and understand ____ and ____ meters.
Grades 5-8. Students in this bracket should be able to:
- improvise short ____ and simple ___ accompaniments in a consistent style, meter, and tonality
- read standard notation including ___ notes and ____ notes, and understand ____ meters.
- compare and contrast music with other ____arts and other disciplines
- classify and describe various genres and styles of music h_____ and other world c_____.
Grades 9-12 should be able to:
- Improvise _____ melodies and stylistically appropriate ______ parts in a consistent style, meter, and tonality.
- compose for a VARIETY of ___ and ____.
- read standard and _____ notation in full vocal and instrumental scores.
- Describe and ANALYZE in DETAIL SPECIFIC elements of music in listening.
- CRITICALLY evaluate performances, improvisations, and compositions.
- METICULOUSLY compare and contrast music with other fine arts and other disciplines.
answers; readings eighth notes; 2/4; 4/4
(5-8): melodies; harmonic; sixteenth; dotted; compound FINE arts; disciplines history; cultures;
(9-12): original harmonizing instruments; voices nonstandard
As students progress through puberty in ages 10-14 for girls and 12-16 for boys, there are many changes PHYSICALLY, COGNITIVELY, AND SOCIALLY that affect their music learning. Students’ reference for p____ or instrument p_____ may need to be adjusted accordingly. Voice development will affect vocal students as the larynx ______ and the vocal chords ____and ____.
During puberty, the vocal tract increases in ___, and the larynx increases in _____. Females typically undergo puberty between 10-18, and males between 12-20.
Infants are born with a very____ larynx. The larynx ____ slightly when a child reaches the age of ___. From age __ to about age ____, the larynx is not fully functional. During puberty, a child’s LARYNX grows to it’s full size, drops, and the vocal chords l____ and t____ substantially.
posture;
positioning;
enlarges;
lengthen and thicken
length and circumference;
size and density;
high; drops; three; three; 10-13
lengthen;
thicken
Principles of sequencing in a music curriculum can be based on three different techniques: CONTENT sequencing, TASK sequencing, or sequencing of ELABORATION.
When sequencing curriculum based on CONTENT, the instructor should analyze the content for the ____ item and then organize the general content into a HIERARCHICAL structure (arranged in order of RANK). The most g___and in___ content should be presented FIRST, leading the way to the more DETAILED ideas, while all the while relating them to f____ learning content.
When sequencing curriculum based on a TASK, the instructor should analyze the ___ involved and order the learning progression from s___, more e____tasks towards more COMPLEX skills that build on PREVIOUS tasks.
When sequencing curriculum based on ELABORATION, the students are given an OVERALL VIEW of the k____ and then presented with b___ content first, progressing towards more DETAILED information while keeping the organizing OVERALL theme in place.
main;
general and inclusive;
former
skill;
simple, more elementary;
knowledge;
basic;
Phillis ____ has written many books on the PEDAGOGICAL (relating to TEACHING) applications of music and movement and is the author of “ MOVEMENT PLUS MUSIC: a music education guide for learning through movement for ages 3-7”, “ROUND THE CIRCLE: Key Experiences in Movement”, and “TEACHING MOVEMENT AND DANCE: A Sequential Approach to Rhythmic Movement”, among others.
Phillis Weikart has served on the faculty of the Division of ______ at the University of Michigan and is also the founder of the program ____(ETM)___:Building the Foundation, a research-based approach to learning through movement and music.
In the Weikart Method, ______ experiences are broken down into individual UNITS.
In the Weikart Method’s individual units, first, the movements must be i___and m___ to the students, then the movement may be s___and BUILT UPON. Finally, the students must have a variety of opportunities to ____ the movements in PERSONAL and CREATIVE ways.
Weikart;
Kinesiology;
Education Through Movement:
kinesthetic;
isolated and modeled;
simplified;
use;
personal and creative.
The Comprehensive Musicianship through Performance initiative is a model that prioritizes an inclusive, deeper understanding of music for ______ rather than a narrow-minded, EXCLUSIVE learning model. In the CMP Model, the rehearsal becomes a l___ l____ with the teacher acting as a musical FACILITATOR rather than merely as a LECTURER or CONDUCTOR.
The chosen musical selection becomes a vessel for musical di_____. As the _____ prepare the selection, the instructor provides a h_____ approach for different objectives and learning styles.
The CMP (Comprehensive Musicianship through Performance) Model encompasses a wide possibility of STUDENT OUTCOMES. From music h___, s___, and c___ to f___ structure and t___.
The five main elements of the CMP (Comprehensive Musicianship through Performance) process are: music s___, ob___, an___, str___, and as____ (moasa).
These segments may be used in ANY ORDER to plan a curriculum.
In the CMP process, analysis involves a deeper understanding of the h___, f___, and s___ of a musical selection; the educator then decides on the learning objectives through a musical SELECTION. Strategies for musical d___ and p___ are implemented in the curriculum; and the educator assesses students’ needs and educational outcomes.
lifelong musical involvement;
learning laboratory;
discovery;
students;
holistic (including the WHOLE content)
history; style; composition; form; theory;
music selection, objectives, analysis, strategies assessment
history, form style; discovery performance;
Edwin Gordon developed the Music Learning Theory to describe how students learn music and how it should be taught. The theory centers on the concept of a_____, a term Gordon uses to describe the i____ of music when performing, listening, or composing.
Edwin Gordon differentiates audiation from aural perception, as aural perception is an _____ response to the sound in the brain, whereas audiation requires _____in the brain to give MEANING to the sound.
Edwin Gordon delineates (describes) _____ different types of audiation.
Edwin Gordon’s eight types of audiation:
- l_____ familiar or unfamiliar music
- r_____ familiar or unfamiliar music
- w_____ familiar or unfamiliar music via d_____
- r_____ and p_____ familiar music from memory
- r____ and w____ familiar music from memory
- c_____ and i_____ unfamiliar music
- c____ and i____ unfamiliar music while r____
- c_____ and i_____unfamiliar music while w_____
audiation;
internalization;
involuntary;
cognitive processing;
8;
- listening to
- reading
- writing;
via dictation - recalling and performing
- recalling and writing
- creating and improvising
- creating and improvising;
reading - creating and improvising;
writing
The rote method of note reading refers to teaching a student to read notes from_____. Techniques used to teach students to read this way include mnemonic devices such as the lines of the bass and treble clefs. This method relies on _____.
Intervallic note reading refers to the method of reading by intervallic relationships, i.e.a third up, a second down, etc. This method relies on ______
Rote learning vs. intervallic note reading (Pros and Cons of each)
ROTE PRO- quickly able to identify ______.
ROTE CON- ______ may be slower
INTERVALLIC PRO- more quickly able to identify d___ and ___.
INTERVALLIC CON- ______ may be more difficult
memory;
memorization
spatial visualization
note names;
sight-reading;
direction;
intervals;
note naming
The ___(PMoBaB)____ refers to the theory that higher-pitched singers and instruments should be softer than the lowest pitched singers and instruments. To apply it to an ensemble, the director should have the bass section sing a _____, the tenor a _______, the alto a _____ and the soprano a _______.
Pyramid model of balance and blend; fortissimo; forte; mezzo-forte; mezzo-piano
“Bright” and “Dark” are descriptions of _____. This is independent from pitch, as demonstrated by a violin and a cello, for example. A bright tone emphasizes the partials in the ____ range. A dark tone, in contrast, will have a tonal balance emphasizing the _____ range with weak ____ frequencies.
In terms of singing, a bright tone is one that resonates farther forward in the face and is associated with the ___ vowels __and__. A dark tone resonates further BACK, and is associated with the vowels __,__,and___.
Tonal Quality.
upper midrange;
lower;
high;
front;
i and e;
u, o, and a.
Correct intonation on brass and woodwind instruments is the result of properly forming the ____, flowing from the ____ 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. _____ are an excellent tool for developing intonation.
entire system;
diaphragm;
long tones;
