MUED 4823 Final Exam Flashcards
The roles of facilitating a creative environment
facilitating, documenting, providing equipment/time, encouragement?
Examples for setting up students to improvise
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
Development of the creative production among children
exploration and discovery, improvisation, composition
Three levels of deep-listening
attentive listening, engaged listening, and enactive listening
Attentive Listening
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
Engaged Listening
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
Enactive Listening
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
The principles for teaching music listening
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
Examples of intentional listening activities that can be used to teach concepts and skills
tapping the beat or off-beat, raising your hand when you hear a specific instrument, or move to only the melodic line
Pitched Orff Instruments
Xylophone, Metallophone, Glockenspiel, Marimba, Resonator Bells, Chime Bells, Bass Bars, Timpani
Un-Pitched Orff Instruments
Rhythm Sticks, Sand Blocks, Wood Blocks, Castanets, Claves, Guiro, Tambourine
Developmental sequence for playing instruments
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
Examine methods for teaching instruments
Orff, Suzuki, Kodaly
Orff Methods of learning the elements of music
speech, body percussion, instruments, imitation, improvisation, literature, exploration, movement, games
Children’s rhythmic development
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
Approaches of connecting rhythm to speech
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
Approaches of connecting rhythms to movement
Dalcroze eurhythmics; coordinated walking, running, skipping, galloping, hopping, jumping or swaying
The role of teaching pulse and meter to children
pulse regulates music, and meter is what defines it
Songs from Ch. 7
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)
Orrf rhythmic mnemonics/system
(assigned words based on teacher) pear, ap-ple, boy-sen-ber-ry
Kodaly/Cheve rhythmic mnemonics/system
ta, ti-ti, ti-ri-ti-ri
Gordon rhythmic mnemonics/system
du, du-de, du-ta-de-ta
notating for reading and writing rhythms
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
How to facilitate polyrhythms with children
learn each part individually, slowly add them
Principles of Dalcroze Eurhythmics
movement as the foundation of musicianship, students express the music they hear through a creative reorganizing of the movements they already know
Exploratory tasks using movement with and without music
stay on beat with or wo music, move during sound freeze during silence, action songs, singing games
Four areas of movement
- action songs/singing games, 2. creative movement 3. dance 4. eurhythmics
Percept vs. Concept
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
Children’s melodic development
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
Kodaly methods
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
Curwen Hand Sign
solfege hand signs used in the kodaly method
conversational solfege
a literature based curriculum designed by John Feierabend, teaching music literacy through a combination of singing, listening and rhythmic and melodic patterns
ranges and timbres of childrens singing voices
6-7 C4-B4; 7-8 C4-D5; 8-9 Bb3-Eb5; 9-10 A3-E5; 10-11 Ab3-F5; 11-12 G3-G5
Differences between rote, rote-note, and note singing/reading
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
process for teaching a song by rote
- establish a beat - get them to feel the beat
- sing entire song
- break down into four, five six, or eight sections. you sing they echo. you must use clear gestures with the students. prep.
- pair two segments together then echo
- pair more than two segments together or pair the entire song then echo
- have class sing the song again without your vocal assistance
vocal technique related to posture, breathing, head/chest voice, and tone
perfect singing posture, breathing exercises,
Ch. 3 learning and music pedagogy
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)
