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Hist 261 > EDEL 325 > Flashcards

EDEL 325 Flashcards

1
Q

Timbre

A

Unique tone colour of a voice, instrument or sound source

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2
Q

Expressive Qualities

A

Dynamics, tempo and articulation

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3
Q

Dynamics

A

loudness or softness of sound

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4
Q

Tempo

A

Speed of the music

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5
Q

Articulation

A

the way musical tones are attacked in a performance

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6
Q

Melody

A

a succession of pitches that move up, down or repeat

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7
Q

Rhythm

A

Long and short durations of sounds/silences and their organization

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8
Q

form

A

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

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9
Q

Texture

A

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

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10
Q

Harmony

A

Two or more pitches sounded simultaneously

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11
Q

Music concepts

A

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

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12
Q

Development of conceptual understanding

A

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

Conceptual learning is a spiraling or cyclical process

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

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

Musical foundation is laid in the early years

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

Concepts are categorized by the elements of music

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13
Q

General outcomes program of study

A

concepts, skills and attitudes

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14
Q

Program of study: Concepts

A
  • rhythm
  • melody
  • harmony
  • form
  • expression
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15
Q

Program of study: skills

A
  • singing
  • playing instruments
  • listening
  • moving
  • reading (and writing)
  • creating.
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16
Q

4 historic influences

A

Johann Heinrich Pestalozzi
Emile Jaques-Dalcroze
Zoltan Kodály
Carl Orff

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17
Q

Johann Heinrich Pestalozzi: influence on teaching today

A

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

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18
Q

Johann Heinrich Pestalozzi philosophy

A

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

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19
Q

Emile Jaques-Dalcroze approach name

A

Euthrythmics

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20
Q

Euthrythmics

A

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

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21
Q

Emile Jaques-Dalcroze philosophy

A

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

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22
Q

Zoltan Kodály philosophy

A

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

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23
Q

Kodály Method

A

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

24
Q

what did kodaly emphasize

A

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

25
Q

Overall Kodaly approach

A
  • All people capable of lingual literacy are also capable of musical literacy.
  • Singing is the best foundation for musicianship.
  • Music education to be most effective must begin with the very young child.
  • The folk songs of a child’s own linguistic heritage constitute a musical “mother tongue” and should therefore be the vehicle for all early instruction.
  • Only music of the highest artistic value, both folk and composed, should only be used in teaching.
  • Music should be at the heart of the curriculum, a core subject used as a basis for education.
26
Q

Carl Orff

A

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

27
Q

what did orff develop

A

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

28
Q

“Schulwerk

A

Orff approach
Children are encouraged to explore space, sound, and form. In Orff-Schulwerk imitation is used to ensure a role-model for creativity. The teacher in Schulwerk is like the “master” or major role model. The role of the teacher is gradually lessened as the children exhibit more and more independence. The process involves:
Observe – Imitate – Experiment – Create

supports the notion that although children must discover the qualities of space, sound and form for themselves, each individual simultaneously contributes to the group as a whole, and that community of individuals becomes the ensemble.

29
Q

what did orff advocate for

A

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

30
Q

music literacy

A

ability to read and write music

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

31
Q

music literacy should be approached from a ________ before ______ perspective

A

sound before symbol perspective.

32
Q

Teaching Music Reading and Writing through a Sound before Symbol Process

A

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

33
Q

Concrete manipulatives

A

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

34
Q

Concrete motivator

A

Something physical to get children excited: puppet, songbook

35
Q

Benefits to music literacy

A

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

36
Q

what note to introduce in rhythm for grade 1

A

quarter note, eighth note, quarter rest

37
Q

rhythmic syllable: quarter note

A

ta

38
Q

ta traditional name

A

quarter note

39
Q

ti ti tradtional name

A

eighth note

40
Q

eighth note rhythmic sound

A

ti ti

41
Q

quarter rest rhytmic sound

A

sh

42
Q

half note rhytmic sound

A

ta-a

43
Q

ta-a traditional name

A

half note

44
Q

dotted half note rhythmic sound

A

ta-a-a

45
Q

half rest rhythmic sound

A

sh sh

46
Q

ta- a -a traditional name

A

dotted half note

47
Q

sh sh traditional name

A

half rest

48
Q

what note to introduce in rhythm for grade 2

A

half note, dotted half note, half rest

49
Q

what note to introduce in rhythm for grade 3

A

sixteenth notes, combination notes

50
Q

sixteenth notes rhytmic sound

A

ti-ka-ti-ka

51
Q

repeat sign

A

:||

52
Q

staff

A

5 lines

53
Q

why movement in music

A

Important for kinesthetic learners
Another way of supporting understanding

54
Q

strategies for movement

A

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

55
Q

safety with movement

A

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

56
Q

teaching by rote

A

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

57
Q
A

Hist 261 (6 decks)

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