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Hist 261 > Edel 325 final exam > Flashcards

Edel 325 final exam Flashcards

1
Q

What is music literacy

A

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

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2
Q

music literacy should be approached from what perspective

A

sound before symbol

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3
Q

what does sound before symbol mean

A

prior to the beginning stages of learning to read notation, children should first have an aural foundation

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4
Q

How to teach music through sound before symbol

A

Step 1 - Preparation: During this step, students engage in a wide variety of activities that include singing, listening, moving, and responding to music without referring to the musical label or symbol. This is similar to the aural foundation described in the development of language literacy.
Step 2 – Presentation: During this step, students learn the labels (names and notational symbols) that have been prepared during Step 1.
Step 3 – Practice: During this step, students practice using the new names or notational symbols with known songs at first and then with new or unknown songs.
Step 4 – Create: During this step, students compose and improvise using the new notational labels or symbols.

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5
Q

Sound before symbol: Preparation

A

Step 1: During this step, students engage in a wide variety of activities that include singing, listening, moving, and responding to music without referring to the musical label or symbol. This is similar to the aural foundation described in the development of language literacy.

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6
Q

Sound before symbol: Presentation

A

Step 2: During this step, students learn the labels (names and notational symbols) that have been prepared during Step 1.

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7
Q

Sound before symbol: Practice

A

Step 3: During this step, students practice using the new names or notational symbols with known songs at first and then with new or unknown songs.

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8
Q

Sound before symbol: create

A

During this step, students compose and improvise using the new notational labels or symbols.

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9
Q

Sequence for introducing pitch: Grade 1

A

soh-mi lah

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10
Q

Sequence for introducing pitch: Grade 2

A

doh-re

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11
Q

Sequence for introducing pitch: Grade 3

A

soh-lah below doh

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12
Q

Sequence for introducing pitch: Grade 4

A

high doh

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13
Q

Sequence for introducing pitch: Grade 5

A

fa ti

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14
Q

Sequence for introducing pitch: Grade 6

A

fi(raised fa), si (raised soh)

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15
Q

What symbols are introduced in grade 1

A

quarter note, eighth note, quarter rest, eighth rest

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16
Q

what symbols are introduced in grade 2

A

half note, dotted half note, half rest

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17
Q

what symbols are introduced in grade 4

A

whole note, whole rest, syn-co-pa

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18
Q

what symbols are introduced in grade 5

A

dotted quarter note, tam-ti, dotted -eighth-sixteenth

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19
Q

what symbols are introduced in grade 3

A

sixteenth notes, combination notes (ti tika, or tika ti)

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20
Q

what symbols are introduced in grade 6

A

triplet note

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21
Q

what is the rhythmic symbol for quarter note

A

tah

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22
Q

what is the rhythmic symbol for a eighth note

A

ti-ti

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23
Q

what is the rhythmic symbol for a quarter rest

A

sh

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24
Q

what is the rhythmic symbol for a half note

A

ta-ah

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25
Q

what is the rhythmic symbol for a dotted half note

A

ta-ah-ah

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26
Q

what is the rhythmic symbol for a whole note

A

ta-ah-ah-ah

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27
Q

what is the rhythmic symbol for a sixteenth note

A

ti-ka-ti-ka

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28
Q

what is the rhythmic symbol for a dotted -eighth-sixteenth

A

tim-ka

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29
Q

what symbols names are the same as their name

A

trip-o-let
syn-co-pa
tam-ti

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30
Q

what is teaching a song by rote

A

Teaching a song aurally without referring to musical notation

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31
Q

what is teaching a song by note

A

Teaching a song by referring to some or all of the musical notation

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32
Q

what tactic is commonly used to teach elementary students songs

A

rote
Commonly used in the elementary grades when children are just beginning to develop the ability to read music notation. In the later elementary grades teachers may use rote teaching in combination with note reading depending upon the music reading skills of the students.

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33
Q

two approaches for teaching rote

A

Whole Song Approach: Children echo back the whole song. This would typically be used when teaching a very short song that can be remembered by the children.

Phrase-by-Phrase Approach: Children echo back the song one phrase at a time

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34
Q

How to teach a song by rote: suggestions

A
  • concrete motivator
    -sing the whole song and children listen for an aspect
    -phrase by phrase better for longer songs
  • once teacher sings, children speak each line
  • echo singing
  • sing whole song together
  • add movements,actions,etc
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35
Q

how to teach a song by note

A
  • This approach supports the children’s ability to independently perform a song.
  • The children will find it easier to read the rhythmic notation by sight first. They may perform the rhythmic passages by clapping and saying the rhythmic syllables (ta, ti-ti etc.)
  • Teachers can then guide the children to read the melodic passages for which they are ready. This can be done by using a neutral syllable or by using tonic sol-fa syllables (doh, re, mi etc.), and using gestures (e.g. hand signs)
  • Once the rhythm and the melody have been practiced in this way the children should have the opportunity to sing the entire song.
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36
Q

tempo: adagio

A

a slow tempo

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37
Q

tempo: andante

A

a slow walking tempo

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38
Q

tempo: allegro

A

brisk and lovely tempo

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39
Q

tempo: allegretto

A

a cheerful, quick tempo

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40
Q

tempo: moderato

A

moderate tempo

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41
Q

tempo: vivave

A

vivacious and fast tempo

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42
Q

tempo: presto

A

a very quick tempo

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43
Q

tempo: accelerando

A

gradually getting faster

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44
Q

tempo: ritardando

A

gradual slowing of the tempo

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45
Q

dynamics: pianissimo(pp)

A

very softly

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46
Q

dynamics: piano (p)

A

softly

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47
Q

dynamics: mezzo piano (mp)

A

moderately softly

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48
Q

dynamics: mezzo forte (mf)

A

moderately loudly

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49
Q

dynamics: forte (f)

A

loudly

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50
Q

dynamics: fortissimo (ff)

A

very loudly

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51
Q

dynamics: sforzando (sfz)

A

a sudden forte on the note or chord indicated

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52
Q

dynamics: crescendo (cresc.)

A

gradually become louder

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53
Q

dynamics: decrescendo (decres.)

A

gradually become softer

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54
Q

dynamics: diminuendo(dim)

A

gradually become softer

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55
Q

why teach the recorder to upper elementary students

A
  • Authentic musical instrument – not a toy
  • Inexpensive, easy to care for, portable
  • Not difficult to learn to play – many songs available for practice on the first 3 notes: BAG
  • Can be used to play a descant or another second part
  • Excellent way to teach music reading (absolute pitch)
  • Provides opportunities for cooperation
  • For some children this may be the only instrumental ensemble experience that they have during their school experience
  • Reinforces skills which are also needed in singing e.g. correct posture, breath control, attention to phrasing, harmony, form, expression, and rhythm.
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56
Q

when is a recorder introduced and why

A

Grade 4
Physical Development: hand size, finger dexterity, & breathing

Social/Emotional Development: Children can take on the responsibility to practice and bring recorder back and forth between school & home.

Musical Development: Children have had experiences reading pitch with tonic solfa and are now ready to transfer their understanding to absolute pitch. The recorder can provide this experience in a meaningful way.

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57
Q

What to consider when selecting children literature

A
  • Developmental appropriateness
  • Curriculum outcomes
  • Conceptual sequencing
  • Quality of the book
  • Interests of the children
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58
Q

musical considerations for selecting literature

A
  • Is there a repeating phrase or refrain?
  • Can ostinato patterns be created from the text?
  • Can rhythm be added?
  • Can a melody be added?
  • Can sounds be added for various characters and words?
  • Can instruments or a song be added while reading the book?
  • Are there opportunities to extend learning?
  • How can it be aligned with the Program of Studies for Elementary Music?
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59
Q

What skills can literature support

A

singing
moving
listening
playing instruments
creating
reading and writing

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60
Q

how can literature support singing

A
  • Understanding and demonstrating the difference between singing and speaking
  • Singing alone and with others while looking at a picture book
  • Singing fragments of songs
  • Developing the ability to match pitch
  • Singing pentatonic patterns and other melodic sequences
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61
Q

what are examples of literature to teach singing for k-3

A

Down by the Bay
Wheels on the Bus
Jingle Bells

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62
Q

what are examples of literature to teach singing for 4-6

A

One Love
The Cat Came Back

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63
Q

how can literature support movement

A
  • Initiating movement
  • Moving to beat and/or rhythm
  • Responding to directions
  • Creating movements
  • Preparing instrumental experiences
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64
Q

what are examples of literature to teach movement

A

Chick a Chick a Boom Boom
Shake My Sillies Out

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65
Q

what are examples of literature to teach listening

A
  • Peter and the Wolf
  • Zin, Zin, Zin! A Violin
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66
Q

what are examples of literature to teach playing instruments

A

The Wheels on the Bus
Big Fat Hen

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67
Q

what are examples of literature to teach creating

A

Down by the Bay

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68
Q

what are examples of literature to teach reading and writing

A

Brown Bear, Brown Bear

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69
Q

how can literature support listening

A
  • Using a book as a focal point when listening to a piece of music
  • Following a story told by music
  • Demonstrating attentive listening
  • Recognizing and appreciating music of composers of a variety of genres and time periods
  • Distinguishing among the sounds of instruments of the orchestra and those of various cultures and genres
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70
Q

how can literature support playing instruments

A
  • Accompanying songs, stories, and poems with instruments
  • Making decisions regarding instrument choices for accompaniments
  • Exploring timbres of various instruments
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71
Q

how can literature support creating

A
  • Using instruments to create sounds of up-down, slow-fast, short-long, loud-soft
  • Creating melodic and/or percussion accompaniments
  • Creating rhythmic or melodic ostinato patterns
  • Adding sounds to poems and/or songs
  • Making up new words to songs
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72
Q

how can literature support reading and writing

A
  • Reading and writing rhythm patterns associated with word patterns in literature that are at their level of rhythmic understanding
  • Reading pentatonic melodies to repeated word patterns
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73
Q

names of the orff instuments

A
  • Xylophones (Bass, Alto, Soprano): Inspired by the African cradle xylophone
  • Metallophones (Bass, Alto, Soprano): Inspired by the Indonesian gamelan
  • Glockenspiels (Alto & Soprano): Inspired by the orchestra bells
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74
Q

what scale do orff instruments use and why

A

Pentatonic Scale
* No dissonance in the pentatonic scale
* Absence of half steps allows all tones to blend well together and therefore children can improvise very early in the experience
* The bordun accompaniment is always possible
* Many melodies can be accompanied by children
* C, G, & F pentatonic are commonly used with elementary school children

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75
Q

how to create a C pentatonic scale

A

Remove the notes (bars) F (Flies) and B (Bugs) on the instrument

76
Q

how to create a G pentatonic scale

A

Remove the notes (bars) C (Corn) and F (Flakes) on the instrument

77
Q

How to create a F Pentatonic scale

A

Remove the notes (bars) B (Bacon) and E (Eggs) on the instrument

78
Q

what is a bordun

A

Consists of 2 notes: tonic (note I, doh) and dominant (note V, soh)
* Played as an ostinato

79
Q

what is a chordal bordun

A

Doh and Soh are played simultaneously

80
Q

what is a broken bordun

A

Doh and Soh are played alternately

81
Q

Criteria for selecting songs: range definition

A

distance between lowest and highest notes

82
Q

k-2 range criteria for songs

A

1-6 notes

83
Q

3-4 range for criteria for selecting songs

A

1-8 songs

84
Q

5-6: range criteria for selecting songs

A

1-10 notes (with special consideration for the changing voice)

85
Q

Note placement in child’s singing voice: k-2

A

all notes in upper part of child’s singing range

86
Q

Note placement in child’s singing voice: 3-4

A

most notes in upper part of child’s singing range

87
Q

Note placement in the child’s singing voice: 5-6

A

notes in any part of the child’s singing range

88
Q

Absolute Pitch Names

A

the musical alphabet, A, B, C, D, E, F, and G used to label the lines and spaces on the staff

89
Q

Acapella

A

Unaccompanied singing

90
Q

Accent

A

A note or beat that is emphasized or made stronge

91
Q

Augmentation

A

A compositional technique that involves lengthening the note value in a theme or melody

92
Q

Bar Lines

A

Vertical lines that divide the musical staff into measures of equal length

93
Q

Beat

A

The steady pulse underlying the music

94
Q

Binary Form:

A

A musical form that has two distinct sections. One section is referred to as “A” and the contrasting section as “B”.

95
Q

Body Percussion:

A

The use of body parts to make percussive sounds. Common body percussion includes stamping, patting, clapping and snapping. Teachers also use the term “levels of body percussion” that move from the lowest level (stamping) to the highest level (snapping).

95
Q

Canon

A

A musical form in which two or more parts are the same rhythmically and melodically but start at different predetermined times, one after the other. It is an example of polyphonic texture in music.

96
Q

Chord

A

Three or more different pitches played or sung together and that sound simultaneously

97
Q

Classroom Instruments

A

Instruments commonly played by children in the elementary music classroom (non-pitched percussion instruments, barred instruments, recorder etc.)

98
Q

Coda

A

A short ending section for a musical composition.

99
Q

Common Time

A

A term and symbol used to indicate 4/4 metre

100
Q

Contour

A

The direction of a melody, moving up, down or staying the same.

101
Q

Diminution

A

Contraction (shortening) of note values – opposite of augmentation

102
Q

Double Bar Line

A

Two bar lines placed at the end of a piece of music

103
Q

Duration

A

The length of a note or a rest

104
Q

Fermata

A

A sign placed above or below a specific note to indicate that the note should be held longer than its written value

105
Q

Form

A

The structure and design of a composition

106
Q

Hand Signs

A

A series of specific hand shapes that are used to kinesthetically show individual pitches

107
Q

Head Voice:

A

The child’s natural, light, treble singing voice

108
Q

Interval:

A

The distance between two notes

109
Q

Leap

A

A larger distance or interval between notes ( a 4th or larger)

110
Q

Learner Centred:

A

Learning in ways that allow individuals to reach their potential through the most developmentally appropriate and positive ways possible

111
Q

Legato:

A

Referring to a piece of music or a musical performance in which the notes of the music are joined together smoothly

112
Q

Measure (or Bar):

A

A short segment of music on the staff that is enclosed by bar lines

113
Q

Melody

A

High and low pitches strung together into an organized sequence; thought of by children as “the way the tune goes”

114
Q

Metre

A

The basic grouping of the beats

115
Q

Musical Alphabet

A

The letters of the alphabet used to name the lines and spaces on the staff: A, B, C, D, E, F, and G

116
Q

Musical Phrase

A

A musical idea or sentence

117
Q

Musical Understanding

A

The ability to think and act musically with personal meaning

118
Q

Ostinato:

A

A short rhythmic or melodic pattern that is repeated over and over as an accompaniment

119
Q

Partner Songs:

A

Two songs that harmonize when sung together at the same time.

120
Q

Pentatonic Scale

A

A scale made up of 5 notes; the most common pentatonic scale contains 5 notes of the major scale: doh, re, mi, soh and la

121
Q

Refrain (Chorus):

A

A section of music that is repeated after each verse of a song

122
Q

Rests:

A

Musical symbols that represent silence in music

123
Q

Rhythm

A

The organization of sounds and silences of varying lengths (duration) over a steady beat (often thought of by children as “the way the words go”)

124
Q

Rhythmic Syllables:

A

A mnemonic device for verbalizing rhythm, using syllables such as ta or
ti-ti

125
Q

Rondo

A

A musical form in which one main theme is repeated several times with contrasting themes “sandwiched” in between. It is written A B A C A D A.

126
Q

Round

A

A form of canon in which several voices entering at stated intervals, sing the same melody. The terms round and canon are often used interchangeably in elementary school settings.

127
Q

Skip

A

Two consecutive notes with one note skipped between them; two consecutive notes that are the interval of a 3rd apart

128
Q

Staccato

A

Notes that are short and detached. Staccato is indicated by a dot above or below the note head.

129
Q

Staff

A

The lines and spaces on which musical notation is written (5 lines and 4 spaces)

130
Q

Step

A

The distance between two consecutive notes on the staff (e.g. A to B)

131
Q

Stick Notation

A

A short-cut for writing rhythmic notation using only stems with no note heads attached

132
Q
A
133
Q

Song-based Picture Books

A

Picture books that contain the text and illustrations of familiar children’s songs

134
Q

Tempo

A

The speed (fast or slow) of the beat

135
Q

Ternary Form

A

A form of music that has 3 parts. The first and last are the same and the middle section is different. It is written A B A.

136
Q

Theme

A

The melodic phrase which constitutes the basic element in the construction of a musical composition.

137
Q

Tie

A

A curved line joining two notes of the same pitch, and combining the length of both notes

138
Q

Timbre

A

The tone colour of an instrument or voice

139
Q

Traditional Rhythmic names

A

The traditional labels used for individual rhythmic values e.g. quarter note, eighth note etc.

140
Q

Treble Clef

A

A clef that identifies the second line of the staff as the G above middle C. (Also known as the G Clef)

141
Q

Assessment

A

Regular tracking and recording evidence of musical growth that is fair and ethical

142
Q

Evaluation

A

Making a judgement based on the assessments that have been collected over a period of time. This generally happens at report card times during the school year

143
Q

Student Assessments

A

may be informal (unrecorded observations) or formal (recorded observations or other assessment methods)

144
Q

Musically authentic assessments

A

are assessments that gather information in a natural, real music-making, listening, or creating situation

145
Q

Examples of Assessment Tools

A
  • Teacher or student checklists
  • Recordings (audio, video & photos that comply with local school district regulations related to recording student performance &/or work)
  • Student journal entries &/or reflections that comment on and discuss musical experiences
  • Worksheets
  • Student compositions
  • Written tests
  • Research reports

Some teachers also keep portfolios of students’ musical work (a variety of assessments) that reflect growth over time.

146
Q

5 aspects of Lesson Planning

A

Introduction
Anticipatory Set
Develop
Apply
Closing

147
Q

Lesson Planning: Introduction

A

Short section at the beginning of the lesson that warms up the children’s musical ears, voices, bodies (hello song, favourite songs, etc)

148
Q

Lesson Planning: Anticipatory Set

A

Short experimental section that “sets up” the main activity by preparing and focusing the children’s attention toward the main concept being studied

149
Q

Lesson Planning: Develop

A

The central section of the lesson where the children engage in musical activities that focus their learning toward the main concept

150
Q

Lesson Planning: Apply

A

The second part of the main activity where children engage in musical activities that focus their learning toward the main concept

151
Q

Lesson Planning: Closing

A

A short review of what has been taught
a closing song or listening activity

152
Q

Curricular Planning

A

The ability to bring educational goals (from the POS) into daily action

153
Q

Influential factors from outside the classroom: Curricular Planning

A
  • Provincial educational goals and directives (e.g. the Program of Studies)
  • Goals and directives from local school boards
  • Goals and expectations from individual schools
154
Q

Influential factors from inside the classroom include: Curricular Planning

A
  • Attitude of the teacher towards the role and importance of the elementary school curricula
  • Skills, knowledge, and comfort level of the teacher related to music instruction
  • Time allotted to music instruction
  • Class size and grade level
  • Classroom space, equipment, materials, and instruments available
  • Nature of the school population
155
Q

Curricular Planning: teacher decisions

A
  • Selection and sequencing of content
  • Selection of experiences, activities, and strategies
  • Selection of measures of assessment
  • Preparation of long term and daily lesson plans
156
Q

Harmony

A

Simultaneous sounding of two or more notes in music

157
Q

Two part harmony

A

Example: Voice accompanied by a rhythmic ostinato

158
Q

Three part harmony

A

Example: Melody accompanied by a rhythmic ostinato (e.g. played on a hand drum or other non-pitched instrument) and a bordun played on an Orff instrument (e.g. Bass Xylophone)

159
Q

Texture

A

This is a way to describe how the music or sounds created by the harmony are organized. It may also be thought of as how many layers of sounds a piece has and the way that these layers are organized.

160
Q

Monophonic

A

“mono” means one. This is the simplest texture. It consists of one melody or tune, played or sung by one person or by a group performing in unison, for example elementary school children may sing a song with no additional accompaniment or they may play a piece on the recorder without accompaniment.

161
Q

Polyphonic

A

“poly” means “many” or “multiple” in Greek
Polyphonic texture occurs when there are multiple independent parts
It may be thought of as two or more parts “doing their own thing”

162
Q

Elementary School Children perform polyphonic music when they:

A
  • perform rounds or canons,
  • add simple rhythmic or melodic ostinato patterns to songs,
  • sing partner songs, or
  • add descants or counter melodies to songs.
163
Q

Homophonic

A

“homo” means “same” or “similar”
This type of texture occurs when you have multiple different notes playing together but they are all based around the same melody

164
Q

Elementary School Children experience homophonic texture when they play

A

pitched instruments that can produce chordal accompaniments

165
Q

Starting note criteria for selecting songs: k-2

A

G or higher

166
Q

Starting note criteria for selecting songs: 3-4

A

G or higher desirable but not required

167
Q

Starting note criteria for selecting songs: 5-6

A

any note in the child’s singing range

168
Q

Melodic contour and Intervals criteria for selecting songs: k-2

A

Melodies containing only repeated notes, steps, and skips: avoiding leaps if possible

169
Q

Melodic contour and Intervals criteria for selecting songs: 3-4

A

melodies containing only repeated notes, steps, skips, and small leaps (up to a 5th)

170
Q

Melodic contour and Intervals criteria for selecting songs: 5-6

A

melodies containing repeated notes, steps, skips, and leaps up to an octave (8 notes)

171
Q

Rhythm criteria for selecting songs: k-2

A

simple rhythms made up of half notes, quarter notes, eighth notes, sixteenth notes

avoid long sustained notes like whole notes

172
Q

Rhythm criteria for selecting songs: 3-4

A

simple rhythms (as for the early grades) with the addition of syncopated rhythms and longer note values

173
Q

Rhythm criteria for selecting songs: 5-6

A

rhythms as for the earlier grades, with the addition of complexities such as dotted rhythms and triplets

174
Q

Length criteria for selecting songs: k-2

A

short songs (4-16 measures) with lots of repetition

175
Q

Length criteria for selecting songs: 3-4

A

longer songs with multiple verses; some repetition is desirable

176
Q

Length criteria for selecting songs: 5-6

A

longer songs with multiple verses; some repetition is desirable

177
Q

Texture criteria for selecting songs: k-2

A

monophonic repertoire only

178
Q

Texture criteria for selecting songs: 3-4

A

monophonic repertoire plus simple polyphonic structures
for example, rounds, canons, partner songs, and simple 2 part songs with ostinati descants and counter melodies

179
Q

Texture criteria for selecting songs: 5-6

A

monophonic songs, polyphonic rounds and canons, plus polyphonic two and three part choral arrangements

180
Q

Text criteria for selecting songs

A

appropriate to age group

181
Q

Program of Study: Concepts

A

rhythm
* melody
* harmony
* form
* expression.

182
Q

Program of Study: Skills

A

singing
* playing instruments
* listening
* moving
* reading (and writing)
* creating.

183
Q

Key signs: C

A

no sharps or flats

184
Q

Key Sign: G

A

one sharp

185
Q

Key Sign: F

A

one flat

186
Q

Slurr

A

expression sign, smooth lines together and join them together. It is a curved line under two different notes

Hist 261 (6 decks)

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