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
