Music Education Flashcards

Question

tactics for motivating students

Answer 1

be a role model - exhibiting passion for the subject matter, know the students well, positive reinforcement and constructive criticism, frequent activities where students can demonstrate their achievements, setting realistic performance goals

Answer 2

requires students to simultaneously respond to the teacher's question by demonstrating or displaying the appropriate response, could involve cards that students hold up with "yes" or "no" on them, a blank board form them to write their answers on, telling answers to a neighbor, or having the entire class say the answer out loud

Answer 3

set clear limits and boundaries of behavior, adjust teaching style or sequencing, address the behavior without interrupting the flow of the lesson (use proximity, silence, quickly saying the student's name, physical cues), and if none of this is effective, address the student after class

Answer 4

ability level of ensemble, ensemble's strengths and weaknesses (piece should help develop weaknesses and not play to strengths), instrumentation, amount of rehearsals before the given performance, and varied music appropriate for the audience and occasion

Answer 5

warm up/tuning, playing through pieces, refining challenging sections, developing musicality and sight-reading

Answer 6

the series of frequencies, or overtones, present when a fundamental frequency occurs; they are multiples of the fundamental (an octave above the fundamental, then a fifth, then an octave, then a third)

Answer 7

the different frequencies that are superimposed into one complex sine wave that the human listener perceives as a single tone, give instruments their unique timbres

Answer 8

height of the sound wave, measured in decibels, perceived by the human ear as changes in loudness

Answer 9

number of sound waves per second, perceived as pitch

Answer 10

direct sound moves outwards until it hits a physical surface, where it is either absorbed or redirected (sound waves undergo reflection, diffraction, and refraction). As sound waves reflect back towards the source, they create this acoustical phenomenon

Answer 11

the time it takes for sound to decay

Answer 12

energy is imparted to a resonator (ex: wind blown (energy) across a reed (resonator)) and the surrounding air physically vibrates, traveling to the listener's ear where it is perceived as sound

Answer 13

softer instruments with important melody lines should sit near the front, instrument groups with similar lines should be seated together

Answer 14

choral blocked section (sections in blocks) - best suited for homophonic pieces, can be difficult to listen to other parts. Choral columnar section (tenors behind sopranos, basses behind altos) - suits polyphonic music, easier for singers to hear for balance. Mixed formation - good for intonation and mixing of sound for the audience, but requires independent singing

Answer 15

contextual background, historical context, first performance, musical style, composer's biographical information, and possible details to listen for

Answer 16

other instruments can more easily hear their tuning pitches because of overtones/harmonics from bass, other instruments can more easily place their pitches within the context of a chord structure as bass becomes the foundational pitch

Answer 17

tall vowels, raised soft palette, forward resonance, blending exercises involving matching the vowels of a neighbor

Answer 18

instructor tunes each instrument before rehearsal, ensemble tunes to the concert pitch of a lead oboe/clarinet, each section tunes as a group, instruments can tune to a tuning machine

Answer 19

preparing the ensemble mentally for performances and listening, promotes blood flow, warms up instrument

Answer 20

fills out the texture of the sound, adds forward to the music, softens delivery of the accompaniment, giving the music a sense of lightness

Answer 21

removes aspects such as reading and fingering, allowing the player to solely focus on creating a pleasing tone, adjusting pitch, timbre, vibrato, etc, increases stamina

Answer 22

generally, the faster the tempo, the fewer number of beats the conductor should indicate, the slower the tempo, the higher number of beats the conductor should indicate

Answer 23

preparatory beats ready an ensemble for an attack or release, indicating the tempo, style, and expression of music. Active beats signal immediate change or action from the ensemble (articulation, accents). Passive beats do not require immediate change but indicate things like rests, offbeats, and other simple pulses

Answer 24

a clear preparatory beat in the beginning tempo, breathe in with the ensemble on the preparatory beat

Answer 25

should be a natural extension of the hand and arm

Answer 26

turn pages, reinforce dynamic changes, aid in cueing parts, indicate release, phrasing, musical style, and modification in balance in the ensemble

Answer 27

downbeat is strongest pulse of the pattern, indicated by a downward stroke of the hand, last beat of the pattern is the weakest pulse and indicated by an upward stroke of the hand. There is a secondary strong pulse in compound meter and the movement of the hand is almost as strong as the downbeat

Answer 28

some are membranophones (sound produced by the vibration of a membrane around a resonating body). Sound are idiophones (concussion idiophones like rhythm sticks make sound by two objects being struck together, percussion idiophones are struck by mallets like marimbas, rattles like maracas are shaken, scrapers are stroked across a notched surface, and friction idiophones are played by rubbing, like the glass harmonica)

Answer 29

volume, velocity, pressure

Answer 30

chest, head, and falsetto

Answer 31

chest, mix (middle), head

Answer 32

One of the largest non-profit organizations of its kind, documents musical sources from around the world. Series A is arranged by composer and includes printed music and music manuscripts, Series B is arranged by topic, Series C is an index of music libraries

Answer 33

sound is produced through the vibrations of the strings (set in motion by plucking, bowing, or striking) on a resonating body usually made of wood. Strings set the surrounding air into motion, also vibrating the soundboard through the bridge and the audible tone effuses out of the sound hole

Answer 34

The Garland Encyclopedia of World Music, The New Grove Dictionary of Music and Musicians, The Encyclopedia of Popular Music

Answer 35

both feature a more prominent section as well as a supporting harmonic section, both follow a standard form in performance, both improvisations are based on outlined chord symbols. Baroque improvisation was primarily religious and centered on string instruments. Jazz improvisations was born in the bars/alleyways of New Orleans and featured a wide array of instruments from brass to voice to drum kits and more

Answer 36

words are set to three stanzas with seven or eight lines each. Have been around since the medieval ages, interest in the form was renewed in the Romanic era. Composers included Schubert, Schumann, Liszt, Wagner, and Strauss

Answer 37

refers to the philosophy of education by Socrates which advocates the use of questions in developing a student's critical thinking and intellect. Teacher can use this during guided listening to teach students self-assessment, with questions such as "how does the expressive elements of this performance inform your own playing?" Try to use open ended rather than yes or no questions

Answer 38

modeling, visual and aural models, guided listening of other performances, guided listening of students' performances

Answer 39

phrasing and question and answers in music can be related to English, repertoire selection can reinforce historical knowledge, math is involved in meter and rhythm, science can be involved in the properties of sound

Answer 40

National Music Publisher's Association, represents many of the music publishers in the US and helps with copyright holder identification

Answer 41

Music Publishers' Association of the US, represents many print music publishers and assists in copyright ownership issues

Answer 42

American Society of Composers, Authors, and Publishers, Broadcast Music Inc, and Society of European Stage Authors and Composers all function to exercise appropriate performance licensing and distribution to their publishers and members

Answer 43

The Harry Fox Agency, serves as a recording license resource for many US music publishers

Answer 44

part of the Library of Congress, provides general information on the copyright laws and issues in the US

Answer 45

educators are exempt from certain copyright laws, given the appropriate use and distribution of the copyrighted materials. When reproducing materials for the classroom, teachers can make copies of up to 10 percent of the entire work for each student. When recording copyrighted materials, educators are exempt from the compulsory license only if the educator makes a single recording. The educator can rearrange a musical work for educational purposes and can perform a copyrighted song only if for demonstration in the classroom

Answer 46

creating, performing, responding, and connecting

Answer 47

theory that higher-pitched singers/instruments should play softer than the lowest-pitched singers/instruments to create and ideal balance between treble and bass

Answer 48

keep band practices to two hours, use hearing protection if practicing loudly for long periods of time, don't listen to music on portable devices at a high volume

Answer 49

tuning to the rest of an ensemble or a tuner, pushing in or pulling out specific sections of the instrument, long tones

Answer 50

adjust seating arrangement, make sure all vocal parts can hear each other, sing through a problem spot by stopping on each harmony and checking for accurate pitches

Answer 51

bright tone - more forward resonance, dark tone - more back space in the mouth. Manipulation of vowels

Answer 52

publishing companies, ACDA, state clinic and contest repertoire lists

Answer 53

slow down the section, once problems are addressed, gradually speed it up until performance tempo is reached

Answer 54

rote method - uses mnemonic devices to learn the lines and spaces, results in faster note identification but slower sight reading because of the added mental processing of labels. Intervalic note reading - method of reading by intervalic relationships, results in quicker sight reading but slower note naming abilities

Answer 55

children have a high larynx in puberty it grows to full size, drops, and vocal chords lengthen and thicken

Answer 56

play with good posture, watch yourself play in the mirror, long tones, know which notes are inherently out of tune, adjust slide to compensate

Answer 57

proper hydration, find alternatives to yelling (proximity, clapping), reduce background noise to avoid raising the voice, get proper rest, avoid drinking excessive alcohol and smoking, don't sing loudly on any high pitch that feels strained

Answer 58

stretching and tensing/relaxing exercises during warm ups, reminders of students to relax any tension during playing

Answer 59

mouthpiece taken into the mouth only as far as the reed meets the mouthpiece, upper teeth rest on top of the mouthpiece, corners of mouth are drawn in to create a seal around the mouthpiece, bottom lip placed slightly over the bottom teeth and against the reed

Answer 60

flute placed against the chin so that the bottom lip is in line with and close to the hole, corners of mouth relaxed, upper lip held firmly against the upper teeth

Answer 61

do is the tonic vs. do is C

Answer 62

dictating a tune by note distance and direction only (ex: 2nd up, 3rd down), make a game out of flash cards, be able to play intervals and directions with eyes closed, and practicing placing notes on a classroom staff

Answer 63

should rest forward in the mouth, with the tip of the tongue resting against the bottom teeth for the most space in the mouth for resonance, the back of the tongue should be kept away from the throat for clear and unobstructed delivery of airflow and sound, tongue should be relaxed and free of tension

Answer 64

reed's response refers to the ability of the reed to maintain a high quality of sound through all registers without splattering or spreading, reed's resistance is the amount of embouchure tension required to keep the reed sounding with good tone - low resistance may cause player to overblow, high resistance can cause player fatigue. Tone quality refers to timbre and resonance of the reed itself (if only lower partials are present it will sound dull, only higher partials will sound shrill). Stability is the ability of the reed to hold pitch at any dynamic and affects intonation

Answer 65

bow position on a violin and viola should have a rounded thumb holding the side of the bow with a pinky on top of the bow, with the other fingers comfortable holding the other side of the bow. On cello and bass, bow should be held similarly, but the pink doesn't rest on top of the bow, instead it rests next to the middle and ring fingers

Answer 66

tinny, metallic sound

Answer 67

muffled, darker tone, common in trumpet sections during big band era

Answer 68

softer tone, reduces the piercing quality of loud or high notes

Answer 69

produces a buzzed tone, often associated with Miles Davis's cool jazz period

Answer 70

musician plays with one hand while manipulating the mute over the front of the bell with the other

Answer 71

traditional crossed grip (places second mallet between the index and middle fingers while grasping the end of the second mallet with the ring finger and pinky, has more tension and less support than other grips), Burton grip (places second mallet between the index and middle fingers and the end of the mallet underneath all four fingers), and Musser/Stevens grip (first mallet placed between thumb and index liners, second between the middle and ring fingers so that mallets are not crossed, provides the most independence of mallet movement)

Answer 72

relaxed wrists, arms, elbows, and shoulders, writes in line with hand and arm, elbows comfortably hanging to the side, shoulders never raised, should use the thumb-tuck technique to allow a flowing and continuous line of notes

Answer 73

sheet muscle that separates abdomen from chest cavity, as it contracts, it increases the length and diameter of the chest cavity, causing a vacuum in the lungs, inducing air to enter the lungs in inhalation. During exhalation, the diaphragm naturally relaxes, deflating the lungs and expelling air

Answer 74

range within a singer's vocal abilities that resonate the most in an aesthetically pleasing manner, where it has the most "color"

Answer 75

cracking and abrupt register breaks

Answer 76

relaxed/energetic body, providing support for breath but never pushing, proper rest for the singing voice - students should never sing too loud or with too much effort

Answer 77

serves the purpose of producing a slightly darker tone, easier control over pitch, and techniques like stopped horn and echo horn. American method - hand held flat with metal touching back of hand, French method - right hand is held out flat with palm down and thumb forming a 90 degree angle with the hand

Answer 78

body relaxed without slouching/leaning, player facing directly in front of the snare, arms at the body's side relaxed, grip the drumstick firmly and in a relaxed manner so that each stroke has a flowing yet controlled movement

Answer 79

one has the hand play an octave quickly, releasing the tension as quickly as possible back to a neutral hand position, another has the hand fixed in an octave position and uses the quick movement of a flexible wrist snapping for each motion, another has the hand and wrist fixed in the octave position and uses the quick movement of the elbow to play each octave

Answer 80

timpani - inspected for an even and smooth head with balanced action, rim should be greased annually with lubricant, but those using Teflon tape should never be lubricated (consult manufacturer), keep covered when not in use. Metal mallet instrument should be regularly wiped with glass cleaner, wooden bar instruments should be regularly wiped with a dampened cotton cloth/rag and inspected for spintered/cracked bars. Drums should be maintained by cleaning/lubricating hardware, inspect rim, counterhoop, and head