Music EC-12 CD=10.Conducting Vocal & Instrumental Perf. Flashcards
Identify the national music education association that is among the largest arts education organizations in the world.
A. NMEA (National Music Educators Association)
B. NMEC (National Music Educators Conference)
C. MENC (MENC: The National Association for Music Education)
D. AMEA (American Music Educators Association)
Answer C is correct.
MENC: The National Association for Music Education, among the world’s largest arts education organizations, addresses all aspects of music education. MENC serves millions of students nationwide through activities at all teaching levels, from preschool to graduate school. The mission of MENC: The National Association for Music Education is to advance music education by encouraging the study and making of music by all.” To better reflect its mission, the association’s name was changed from MENC (Music Educators National Conference) to MENC: The National Association for Music Education. The Texas Music Educators Conference (TMEC) is a federated state association. The other responses are not national music education associations.
Identify the state organization that oversees state contests and competitions in Texas that assist in preparing students for citizenship.
A. University Scholastic League
B. University Interscholastic League
C. Universal Interscholar League
D. University Interscholar League
Answer B is correct.
From the UIL website: “The University Interscholastic League was created by The University of Texas at Austin to provide leadership and guidance to public school debate and athletic teachers. Since 1909 the UIL has grown into the largest inter-school organization of its kind in the world. “ http://www.uil.utexas.edu/. The other responses are not names of organizations in Texas.
Identify the state organization with over 10,000 members that sponsors and oversees the Texas “All-State” music audition process that culminates in Texas music students attaining membership in “All-State” organizations.
A. TAME (Texas Association of Music Educators)
B. TMEC (Texas Music Educators Conference)
C. TMAE (Texas Music Association of Educators)
D. TMEA (Texas Music Educators Association)
Answer D is correct.
The Texas Music Educators Association oversees the Texas “All-State” music audition process that culminates in Texas music students attaining membership in “All-State” organizations. From the TMEA website: “Begun in 1920 as the Texas Band Teachers Association, the Texas Music Educators Association is an organization of over 10,000 school music educators dedicated to promoting excellence in music education. TMEA is comprised of five divisions: Band, Orchestra, Vocal, Elementary, and College. On behalf of its members and Texas school children, TMEA carefully monitors the actions of all state decision-making bodies on issues affecting fine arts instruction in Texas.”
The Texas Music Educators Conference (TMEC)
The Texas Music Educators Conference (TMEC) is the federated state organization associated with MENC: The National Association for Music Education; however, it is NOT the state organization that sponsors the “All-State” audition process. TMEC’s membership does not approach 10,000 members.
Identify the state organization in Texas that is the largest state band directors organization in the United States, and sponsors an annual convention/clinic.
A. TBA (Texas Bandmasters Association)
B. TBDA (Texas Band Directors Association)
C. TABD (Texas Association of Band Directors)
D. TBDC (Texas Band Directors Conference)
Answer A is correct.
The Texas Bandmasters Association. From the TBA website: “Formed in 1920 by a small group of Texas bandmasters, the Texas Bandmasters Association has worked diligently to further the cause of instrumental music education in communities throughout the Lone Star State. As a professional service organization, TBA reaches out through its membership to constantly improve the quality of music education in Texas’ elementary, middle and high schools, colleges and universities. During the past 60 years TBA has evolved into the largest state band organization in the world.” http://www.texasbandmasters.org/. The other responses are not names of music organizations in Texas.
Identify the state organization for choral directors in Texas that sponsors an annual New Music Reading Convention.
A. TACD (Texas Association of Choral Directors)
B. TCDA (Texas Choral Directors Association)
C. TCEA (Texas Choral Educators Association)
D. TCDC (Texas Choral Directors Conference)
Answer B is correct.
The correct response is TCDA (Texas Choral Directors Association). From the TCDA website: “The mission of TCDA is to support and foster the success of Texas choral directors and music teachers and to instill a love of music in every Texas school, church, and community singer.” TCDA is an affiliated state association of the American Choral Directors Association (ACDA): http://www.ensemble.org/tcda/index.php.
Which of the following scenarios represents the most reliable guideline for reproducing printed music?
A. It is permissible to make emergency copies of the number of copies of music that you have on order in preparation for an imminent performance of the music.
B. It is permissible to copy music that is out of print.
C. It is permissible to make copies of music for your ensemble if it is for educational purposes.
D. It is permissible to make copies of music as long as the copyright notice is visible on the copies.
Answer A is correct.
This is the scenario that provides the greatest amount of detailed information related to photocopying music. In this case, the scenario falls under the “fair use” of copyrighted music, and of the four choices in this question, the detail provided in this scenario makes it the safest guideline for a music teacher.
Music teachers should be proficient in conducting with or without a baton. For the purpose of considering the question that follows, the reader should consider the words “hand” and “baton” to be interchangeable.
What represents the best description of how to approach conducting the following measure?
Conduct 1; Conduct to beat 2 and stop pattern; Immediately move baton in slower, non-cuing motion to the right to “hold” fermata; End fermata with a cut-off on beat 4; Hold baton still to reflect caesura (silence); Conduct the “and” of 3 and beat 4 to prepare entrance on the “and” of 4
This is a clear and appropriate approach to conducting what could be a challenging passage for both the conductor and the ensemble. ALWAYS accounting for the pattern and each beat, move to the fermata, and reflect the “hold” with a slower (non-cuing) motion. The “cut-off” of the held note simultaneously marks the beginning of the motionless silence (still baton) of the caesura. This stopping point in the pattern is pre-meditated and places the baton in a position that facilitates conducting a clear preparatory beat for what could be a problematic entrance on the “and” of 4.
General conducting diagram of a staccato four pattern
Each ictus (point of beat ), rebound, and direction is illustrated correctly in the diagram, in accordance with generally accepted patterns. This angular pattern (sometimes referred to as a “V” pattern) is best utilized to conduct staccato, heavy marcato, or “rhythmic” music, as opposed the curved pattern (sometimes referred to as a “U” pattern) that reflects smoother, less “rhythmic,” more legato music.
Which of the following description reflect the best direction to move - to each beat - when conducting a three pattern?
A. Down to 1, right to 2, left to 3
B. Down to one, left to 2, right for 3
C. Down to 1, return halfway up, down to 2, return halfway up, down to 3, return to top of pattern
D. Down to one, right to 2, right for 3
Answer A is correct.
The brief narrative is accurate for describing a 3 pattern: Down to beat 1, to the right to beat 2, and to the left to beat 3. While other elements (such as the prevalence of curved or straight lines) in the visual pattern may change, depending on if the music is legato, staccato, or marcato, the direction to reach each ictus (point of beat) remains the same for each pattern.
Rubato, a characteristic often associated with Romantic music, could require use of extremely legato conducting and the subdivision of a conducting pattern to help an ensemble negotiate a gradually slowing tempo.
Rubato is a term used by composers to indicate an interpretive adjustment of a tempo for musical expression, and was used liberally by composers in the Romantic era. Leading an ensemble confidently through rubato passages requires skill in conducting gradually changing tempos.
It is an accurate statement related to musical style, interpretation, conducting, and performance.
Melismatic passages characteristic of some Baroque music could require the use of a light marcato conducting style to help keep the “weight” out of the music, the conducting gesture, and the ensemble’s playing or singing.
Proper singing and playing of melismatic sections (e.g. some of the consecutive sixteenth note passages in some of Handel’s and Bach’s choral and instrumental music) calls for approaching the rapid succession of sixteenth notes lightly, avoiding any sense of weight or heaviness. The conducting gesture should convey the same “lightness” that is expected from the ensemble. The statement is accurate and therefore does NOT reflect a correct response to the question.
It is an accurate statement related to musical style, interpretation, conducting, and performance.
Lack of expressive markings that is characteristic of Twentieth Century music could require less interpretive skills that would in turn require conducting that would reflect those interpretive decisions.
Twentieth Century composers are generally MORE inclined to include expressive marking in their music rather than less inclined, so the premise of the statement is inaccurate. Though Twentieth Century music may be more specific on how the music is performed and could limit some aspects of “interpretation,” post-Romantic music can also present many challenges for the music teacher and ensemble, particularly in the area of rhythm and meter.
It is NOT an accurate statement related to musical style, interpretation, conducting, and performance.
Stark dynamic contrasts that are characteristic of some Classical music suggest conducting that moves rapidly but smoothly between larger and smaller conducting patterns that reflect the abrupt changes in volume.
Proper singing and playing of “loud-soft” or “soft-loud” sections passages found in Classical music (e.g. Mozart’s and Haydn’s instrumental and choral music) calls for creating an expressive flow of contrasting dynamics. The conducting gesture should convey a similar natural-looking flow of contrasting patterns sizes.
It is an accurate statement related to musical style, interpretation, conducting, and performance.
