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Music Education Flashcards

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1
Q

compare and contrast the timbre of classical and popular singing

A

Classical - use a high palette, rich vibrato, pure vowels and clear consonants. Popular - flexility to the shape of the mouth (both high and low palettes), less vibrato, wide variety of sounds including rasp, growl, and edge to achieve emotional range

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2
Q

How is sound produced on a woodwind instrument?

A

produce sound through vibrations in an enclosed tube. Vibrations are set in motion by blowing through single or double reeds, across an opening, or through an opening

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3
Q

name 3 periodical databases

A

JSTOR, The Music Index Online, The International Index of Music Periodicals, The RIPM (Retrospective Index to Music Periodicals)

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4
Q

How is sound produced on a brass instrument?

A

sound is produced through the buzzing of the players lips as the air travels through a tubular, expanding metallic wind instrument

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5
Q

2/4 conducting pattern

A

hand moves down on first beat and up on second beat

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6
Q

3/4 conducting pattern

A

hand moves down on first beat, out on second beat, and up on third beat

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7
Q

4/4 conducting pattern

A

hand moves down on first beat, in on second beat, out on third beat, and up on fourth beat

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8
Q

6/8 conducting pattern

A

hand moves downward on first primary strong beat, bounces inward on the second and third beats, moves outward on the secondary strong fourth beat, bounces outward on the fifth beat, and upwards on the sixth beat

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9
Q

9/8 conducting pattern

A

hand moves down on first primary strong beat, bounces inward on the second and third beats moves outward on the secondary strong fourth beat, bounces outward on the fifth and sixth beats, then moves upward on the tertiary strong seventh beat, and bounces upward and inward on the weak eighth and ninth beats

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10
Q

physiological mechanisms of singing

A

air supply (taken into lungs), vibrator (vocal folds), and resonator (pharynx and mouth cavities)

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11
Q

how to create dynamic changes on a string instrument

A

move the bow faster and with more weight for louder dynamics, and slower and with less weight for softer dynamics

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12
Q

teaching techniques for aural learners

A

allow students to discuss ideas and content, allow ample time for students questions, have spoken quizzes and tests, listen to a recording of one’s rehearsals to listen for areas of improvement

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13
Q

teaching techniques for kinesthetic learners

A

learning by doing, integrate movement with introduction of new concepts, short lesson segments with frequent breaks to stand up and move

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14
Q

How does puberty affect music learning?

A

growth spurts cause a need for adjustment in posture and instrument positioning, voice development affects girls and boys both (but boys especially as their voices crack) - they will have to work with an increased vocal range. Students in puberty need more opportunities for self-expression, autonomy, and acceptance

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15
Q

teaching techniques for students with visual impairments

A

aural and tactile methods, such as physically exploring the instrument and taking it apart, Braille Music Code on staff notation, teacher should demonstrate actions by placing his or her hand under the student’s hand

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16
Q

maintaining string instruments

A

oils, rosin dust, and debris can be removed with a soft cloth after each use (not on strings or hair of the bow), instruments should be kept in a well-regulated environment away from exposure to direct light, too hot or too cold temperatures, and too dry or too humid environments

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17
Q

maintaining Orff instruments

A

remove instrument bars and vacuum out all dust, use a damp rag with oil soap to wash and clean the boxes and wooden bars, oil polish (like furniture polish) to keep the instrument in working condition

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18
Q

maintaining brass instruments

A

wipe away oil, dirt, etc with a soft cloth after handling, use a swab to remove as much moisture as possible from inside the instrument before storing, apply valve oil before playing, removing old lubricant before applying a new layer, keep instrument in a cool environment that isn’t too dry or humid

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19
Q

strategies to help a student with dyslexia understand written music notation

A

enlarge music notation, use color-coded overlays, use of multi-sensory approaches, like Dalcroze, visual, aural, and tactile demonstrations of notation

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20
Q

sequencing in a music curriculum

A

3 different techniques: content sequencing (general content presented first, then more detailed ideas), task sequencing (order the learning progression from simple to complex tasks), or sequencing of elaboration (basic content first, progressing towards more detailed information)

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21
Q

techniques to accomodate visual learners

A

use of projector or handouts, encourage students to make flashcards, use of pictures, diagrams, and concept maps, make sure everyone can see demonstrations on an instrument

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22
Q

accommodations for students with physical disabilities

A

classroom should be accessible and free of obstacles, develop adaptive instruments, lesson requiring minimal physical strength

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23
Q

maintaining woodwind instruments

A

instrument should be wiped clean with an appropriate sized swab after playing, apply key oil to key pivot points monthly, apply cork grease, wipe down the finish of the instrument to remove fingerprints and oils, clean the mouth between eating and playing, discard cracked reeds, don’t leave reed on the mouthpiece, keep instrument out of direct light and excessively warm, cold, or humid climates

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24
Q

instructional strategies to keep students on task

A

wait until they are paying attention, “If you can hear me, clap once,” separating students, positive reinforcement, establishing a quiet signal, moving a misbehaving student closer to the teacher, giving a misbehaving student a special task, refrain from talking too much in a lesson

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25
Q

tactics for motivating students

A

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

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26
Q

Every Pupil Responds technique

A

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

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27
Q

steps to take when a student exhibits behavior problems

A

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

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28
Q

considerations for selecting repertoire

A

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

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29
Q

outline of a full ensemble rehearsal

A

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

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30
Q

harmonics

A

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)

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31
Q

partials

A

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

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32
Q

amplitude

A

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

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33
Q

frequency

A

number of sound waves per second, perceived as pitch

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34
Q

reverberation

A

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

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35
Q

reverberation time

A

the time it takes for sound to decay

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36
Q

physical properties behind sound production

A

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

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37
Q

acoustical considerations for instrumental ensemble arrangement

A

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

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38
Q

choral formations and their acoustical implications

A

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

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39
Q

essential elements of program notes

A

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

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40
Q

theory behind tuning an ensemble up from the bass

A

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

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41
Q

techniques to achieve vowel uniformity in a chorus

A

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

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42
Q

tuning strategies for an instrumental rehearsal

A

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

43
Q

importance of warming up an ensemble

A

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

44
Q

use of arpeggiation in accompaniment

A

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

45
Q

importance of long tones for brass instruments

A

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

46
Q

determining the number of beats to conduct based on tempo

A

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

47
Q

preparatory, active, and passive beats in conducting

A

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

48
Q

how to give a clear attack (first downbeat) in conducting

A

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

49
Q

position of the baton when conducting

A

should be a natural extension of the hand and arm

50
Q

role of the free hand in conducting

A

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

51
Q

general principles for conducting beat patterns

A

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

52
Q

how sound is produced on percussion instruments

A

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)

53
Q

three components of expiration in a brass instrument

A

volume, velocity, pressure

54
Q

3 vocal registers for men

A

chest, head, and falsetto

55
Q

3 vocal registers for women

A

chest, mix (middle), head

56
Q

What is the Repertoire International des Sources Musicales online?

A

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

57
Q

how sound is produced on a string instrument

A

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

58
Q

encyclopedias/dictionaries of music

A

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

59
Q

compare Baroque improvisation and jazz improvisation

A

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

60
Q

ballade genre

A

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

61
Q

Describe the use of the Socratic method in guided listening to teach students self-assessment

A

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

62
Q

techniques in teaching musical aesthetics and expression

A

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

63
Q

integrating music with common core subjects

A

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

64
Q

NMPA

A

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

65
Q

MPA

A

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

66
Q

ASCAP, BMI, SEASAC

A

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

67
Q

HFA

A

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

68
Q

U.S. Copyright Office

A

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

69
Q

the “fair use” provision as defined in the 1976 Copyright Act

A

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

70
Q

4 major categories of the National Core Arts Standards

A

creating, performing, responding, and connecting

71
Q

the pyramid model of balance and blend for an ensemble

A

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

72
Q

how to prevent hearing loss

A

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

73
Q

correcting intonation on a woodwind instrument

A

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

74
Q

techniques for correcting intonation in a choir

A

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

75
Q

how to get a bright versus dark tone from a chorus

A

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

76
Q

sources for middle school choral repertoire

A

publishing companies, ACDA, state clinic and contest repertoire lists

77
Q

technique for practicing technically challenging passages in the ensemble

A

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

78
Q

rote method of note reading vs. intervallic note reading

A

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

79
Q

physiology of vocal range development

A

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

80
Q

techniques to correct intonation on a brass instrument

A

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

81
Q

maintaining vocal health

A

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

82
Q

instructional activities for fostering a relaxed instrumental playing approach

A

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

83
Q

embouchure of reed woodwind instrument

A

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

84
Q

flute embouchure

A

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

85
Q

movable do versus fixed do

A

do is the tonic vs. do is C

86
Q

instructional activities that aid intervallic reading and understanding

A

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

87
Q

How should the tongue be in order to have clear diction?

A

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

88
Q

characteristics of the reed that affect intonation

A

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

89
Q

differences in bow handling of different string instruments

A

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

90
Q

straight trumpet mute

A

tinny, metallic sound

91
Q

cup trumpet mute

A

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

92
Q

bucket trumpet mute

A

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

93
Q

wah-wah trumpet music

A

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

94
Q

plunger and hat trumpet mutes

A

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

95
Q

three mallet grips

A

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)

96
Q

fingering techniques for keyboard instruments that prevent injury

A

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

97
Q

role of diaphragm in breathing

A

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

98
Q

tessitura

A

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

99
Q

symptoms of adolescent vocal change

A

cracking and abrupt register breaks

100
Q

techniques to refine vocal development in puberty

A

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

101
Q

hand-horn technique for French horn

A

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

102
Q

body, arm, and finger position on drumstick for snare drum technique

A

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

103
Q

schools of thought on the physical approach to playing octaves on a keyboard instrument

A

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

104
Q

how to care for and maintain percussion instruments

A

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

Music MTEL (9 decks)

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