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Subtest 3 > Visual and Performing Arts > Flashcards

Visual and Performing Arts Flashcards

1
Q

Historically, the traditional shape of a folk dance was based upon the

A

A circle is a universal symbol for ancient sacred cultural dances from around the world. Fostered community spirit and increased dancer interaction.

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2
Q

Nondramatic ballet emphasizes

A

dance that does not tell a story. The dance movements, including its expressive qualities, are the central focus.

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3
Q

Teaching advantages of the square dance

A

can be simple and easy to learn; it is structured, requiring concentration and teamwork.

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4
Q

The flamenco dance originated in

A

originated from the Andalusian Gypsies of Spain. This style is characterized by forceful rhythms, hand clapping, rapid foot movements, the use of castanets, and colorful costumes.

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5
Q

Maypole dances were originally associated with

A

fertility rituals. In primitive cultures, a pole was placed in the ground and consecrated during a religious ceremony. Individuals dance around the maypole, often holding long ribbons that are tied to the pole.

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6
Q

Rhythm is the flow of music in

A

time

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7
Q

Which of the sections includes the largest number of instruments in a traditional orchestra

A

String, the string section of a standard orchestra usually has a minimum of 10 first violins, 8 second violins, 6 violas, 4 chellos, and 2 basses.

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8
Q

In treble clef staff, the lines are identified from bottom to top as

A

EGBDF- Every Good Boy Does Fine.

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9
Q

Bar lines are used to

A

mark of the grouping of beats

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10
Q

Blues music is a kind of jazz that evolved from the music of

A

Emerged in the early twentieth century from African-American work songs and spirituals. Blues was a form of communicating melancholic feelings.

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11
Q

Field Hollers

A

Slave work songs.

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12
Q

American functional folk instrument

A

familiar household item that is used to make music. Spoons, harmonica, jug, and washboard.

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13
Q

In the late 1920s what dramatically changed the film industry

A

in 1927 with the invention of talking films (talkies), the movie industry changed dramatically, . Vaudeville and Broadway stage performer Al Jolson produced and starred in teh first talking pictures.

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14
Q

A thrust stage

A

extends into the audience’s seating area, allowing the audience to surroud it on three sides.

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15
Q

Advantage of a teacher double casting a role is

A

to allow more students to participate in major parts of the play and to have a backup in case of emergency.

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16
Q

The benefit of having a class act out the scenes silently

A

get students more involved in the movements and feelings she wants them to express.

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17
Q

In the early 1900s most movies were made in

A

New York City and New Jersey

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18
Q

The cubist movement of the early twentieth century

A

incorporating sharp edges and straight lines, depicting nature in geometric terms. Using themes from the dimensional art of primitive peoples. Depicting subjects with solid shapes and detailed textures.

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19
Q

The axis line in a painting is

A

an imaginary line that controls the pat of eye movement through a composition.

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20
Q

The position of the light source

A

determines the direction of the shadow. The shadows are always on the side opposite the light.

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21
Q

The vanishing point in a drawing or painting is

A

the point at which parallel lines appear to converge in the distance.

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22
Q

Locomotor

A

traveling through space. Eight Basic Steps- walking, running, leaping, jumping, hopping, galloping, skipping, and sliding

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23
Q

Spacial Elements of Dance

A

Locomotor, Nonlocomotor, Combined Locomotor

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24
Q

Nonlocomotor

A

Staying in one place “on spot”; stretching, pushing, twisting, bending, kicking, sinking, or curling.

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25
Q

Combined Locomotor

A

often traditional folk steps; - two-step, paddle, grapevine, step-hop, chug, and spinning.

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26
Q

Time as an element of dance accounts for

A

rhythm, tempo, beat, meter, syncopation, rhapsodic rhythms.

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27
Q

Rhythm

A

countable patterns

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28
Q

Tempo

A

fast or slow speed

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29
Q

Beat

A

even or uneven

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30
Q

Meter

A

2/4 time, 3/4 time, etc.

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31
Q

Syncopation

A

a rhythmic pattern produced when a deliberate pattern is upset.

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32
Q

Rhapsodic Rhythms

A

non-metric (e.g. breath, water, or wind)

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33
Q

Levels as an Element of Dance account for

A

direction, form and shape, level, range, pathway, and focus.

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34
Q

Direction

A

forward, backward, up, down, sideways (vertical or horizontal), diagnol, straight, circle, out, in zigzag, or spiral.

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35
Q

Form and Shape

A

angular, rounded, twisted, bent, crooked, symmetrical, or asymmetrical

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36
Q

Level

A

high, medium, or low

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37
Q

Range

A

wide, narrow, big, or little

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38
Q

Pathway

A

floor, elevated, or air patterns

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39
Q

Focus

A

gaze, floor, or away

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40
Q

Force as an element of dance accounts for

A

quality of energy and degree of energy,

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41
Q

Quality of Energy

A

sustained (smooth), suspended (light), swing (under-curve), sway (over-curve), collapsed (loose), percussive (sharp), or vibrate (shudder)

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42
Q

Degree of Energy

A

strong, weak, heavy, light, dynamic, static, flowing, or tense.

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43
Q

Cultural Dance

A

often carry important historical significance from ancient civilizations.

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44
Q

Chinese cultural dance

A

ribbon dance

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45
Q

Polish cultural dance

A

Polonaise

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46
Q

Indian cultural dance

A

Kathakali

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47
Q

Wales cultural dance

A

Clogging

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48
Q

Irish cultural dance

A

Riverdances

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49
Q

Folk Dance

A

a cultural dance. Originated from medieval times when townspeople danced to celebrate.

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50
Q

Four factors for authentic folk dancing

A
  1. Dance movements must predate the nineteenth century.
  2. Dance is performed by peasants or royalty
  3. The choreography is derived from tradition.
  4. There is no teacher
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51
Q

Primary school folk dances

A

London Bridge, Hokey Pokey, Ring Around the Rosie, The Farmer in the Dell, BINGO, Pop Goes the Weasel, and Skip to my Lou

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52
Q

Modern Dance

A

born in the twentieth century. Is based upon the subjective interpretation of internalized feelings, emotions, and moods.

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53
Q

Theatrical Dance

A

is based on music, songs, dialogue, and dance. Ballet, jazz, tap, ethno-cultural, kabuki, Russian, and Celtic dance.

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54
Q

Social Dance

A

socializing is main focus, a dance partner is essential. Social dance styles include hip-hop, line dance, ballroom, waltz, foxtrot, tango, rumba, jive, and swing

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55
Q

Prehistory to Beginning of Middle Ages (AD 400)

A

Circle form. Early accompaniment came from drugs, harps, flutes, and chants. Reasons for dancing: social dance, ritual dance, fertility dance, harvest-related dancing

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56
Q

Middle Ages (500-1400 AD)

A

Folk dances rooted in fertility. Current examples: polka, square dances, historic dances, Cossack dance of Russia, polonaise of Poland, Czardas Hungarian tavern dance, and Mexican El Jarabe Tapatio (“hat dance”)

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57
Q

Renaissance (1400-1600)

A

Dancing evolved from pageants. Ballet developed in France (1500s) and moved to Italy. This led to the development of court dancing in Europe (nobility in a palace setting).

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58
Q

Adagio

A

Steps were slow

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59
Q

Allegro

A

Steps were fast

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60
Q

18th and 19th Centuries

A

Professional choreography at the Paris Opera (opera and dance); costuming; introduction of the walz (1-2-3) rhythm, court dance.

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61
Q

The era of Romanticism in Dance (1800s)

A

the continued evolution of ballet; emphasis on emotions and fantasy; pointe work, lightness in flight.

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62
Q

Early 20th century

A

Revolutionary aspects of early modern dance; primitive and expressive tone. During this period that ragtime jazz, the flapper era, and the Charleston

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63
Q

Abstract Dance

A

Art of pure movement, does not show a narrative story.

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64
Q

Arabesque

A

Ballet pose in which the dancer stands on one leg with one arm extended in front and the other leg and arm extended directly behind the body.

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65
Q

Attitude

A

A sance pose modeled after the statue of the winged Mercury by Giovanni Bologna

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66
Q

Barre distance from the ground

A

three and a half feet above the floor.

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67
Q

Choreography

A

the composing and arranging of movements, steps, and patterns of a dance for a performance.

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68
Q

Classical Dance

A

refers to romantic ballet. Imperial Russia, such as Tchaikovsky’s The Nutcracker and Swan Lake

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69
Q

Force

A

the force of energy that is released from the body (potential energy) causes a change in the body’s physical motion (kinetic energy)

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70
Q

Grand Jete en Tournant

A

the dancer body turns hallfway in midair so the dancer lands facing the direction in which the movement started.

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71
Q

Jete

A

A leap from one foot to the other in which the working leg is thrown away from the body and into the air.

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72
Q

Pas de Deux

A

a dance duet, classical ballet like Sleeping Beauty and Swan Lake

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73
Q

Passe

A

A “passing” movement position in which the foot passes from back to front, or vice versa.

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74
Q

Promenade

A

the dancer pivots slowly around on one foot while maintaining a pose with the working leg.

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75
Q

Spotting

A

a dancer’s eyes focusing on one point in distance in order to keep balance while turning.

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76
Q

Dynamics

A

is the volume or intensity of a tone. Music can be played loudly (forte) or softly (piano)

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77
Q

Harmony

A

is two or more tones played simultaneously that support the melody and give the music texture or mood.

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78
Q

Pitch

A

refers to hearing a note and being able ot reproduce it either vocally or with an instrument. As the frequency of vibrations change, the pitch changes.

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79
Q

Rhythm

A

is the pattern of musical movement through time. Rhythm is the way sounds beats within different lengths and accents that combine into patterns

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80
Q

Tempo

A

is the pace of the beat.

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81
Q

Presto Tempo

A

very fast

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82
Q

Allegro Tempo

A

fast

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83
Q

Moderato Tempo

A

moderate

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84
Q

Adagio Tempo

A

slow

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85
Q

Largo Tempo

A

very slow

86
Q

Timbre

A

the unique tonal quality of a musical sound. It could be described as bright, shrill, brittle, or light; or it could be dull, harsh, forceful or dark.

87
Q

Chamber music

A

played by one to twenty performers

88
Q

Chord

A

several notes sounded together

89
Q

Consonance

A

the combination of tones that produce a quality of relaxation

90
Q

Dissonance

A

The combination of tones that produces a quality of tension

91
Q

Fugue

A

is based upon a short theme called a subject. Contains both rhythmic and melodic motifs.

92
Q

Lied

A

A type of German song

93
Q

The subject is announced by one voice alone. A second voice then restates the subject, usually on a different scale. A third and tehn a fourth voice enter, each carrying the subject.

A

Fugue

94
Q

Motifs

A

A recurring group of notes played at the beginning of Beethoven’s Fifth Symphony

95
Q

Opera

A

A drama, either tragic or comic, that is sung to an orchestral accompaniment.

96
Q

Opus

A

A work, usually identified by a number.

97
Q

Oratorio

A

A major orchestral piece with solo voices and chorus

98
Q

Rondo

A

a musical form whose main feature is the return of the main theme, which alternates with secondary themes.

99
Q

Simple Rondo

A

ABABA

100
Q

Second Rondo

A

ABACA

101
Q

Third Rondo

A

ABACABA

102
Q

Sonata

A

typically, a multi-movement instrumental work for solo keyboard, or keyboard and another instrument, or small chamber ensemble

103
Q

Song Form

A

The structure of a song in which the first section orf a simple ternary form is repeated- for example AABA.

104
Q

Symphony

A

an elaborate musical composition, many of which are between 20 and 45 minutes in length. A classical symphony usually consists of 4 movements that are intended to stir up a wide range of emotions through contrast in tempo and mood.

105
Q

Syncopation

A

A rhythmic effect produced when the expected rhythmic pattern is deliberately upset.

106
Q

Strings Section

A

first violins, second violins, cello, double bass, and viola.

107
Q

Stringed instruments that make a higher pitched sounds

A

violin and viola

108
Q

Larger instruments that produce low, rich sounds

A

cello and double bass

109
Q

Two instrumentss that are not a part of the string section

A

guitar and harp

110
Q

Woodwind instruments

A

Clarinet, oboe, flute, saxophone, and bassoon

111
Q

The smaller woodwinds

A

play higher pitches; flute and clarinet

112
Q

The larger woodwind instruments

A

play lower notes; oboe, bassoon, and saxophone

113
Q

Brass Section Instruments

A

French Horn, Trombone, Trumpet, and Tuba

114
Q

Tusks, horns, shells, and wood are examples of

A

earliest forms of brass instruments

115
Q

Percussion instruments include

A

Piano, xylophone, timpani, snare drum, bass drum, triangle, tambourine, bongos, conga, cowbells, chimes, claves, wood block, `and cymbals

116
Q

Auditory skills

A

hearing the sound of music; being able to hear and reproduce he tones of music in their minds when no sound is actually being produced.

117
Q

Translative skills

A

reading and writing music.
as children become familiar with reading and writing the language of music through notations, they develop cognitive associations of meaning.

118
Q

Creative skills

A

composing and creating music both improvised and written music.

119
Q

Performance skills

A

singing, playing instruments, body movement, conducting, and musical analysis

120
Q

Musical selections should be chosen based on

A

the physical development of students’ voices.

121
Q

Instrument-playing aids in understanding

A

the concepts of sound, pitch, rhthmn, and so on.

122
Q

Moving to music promotes

A

the acuity of perceptions.

123
Q

Conducting fosters

A

sensitivity to musical expression.

124
Q

Sacred music was the most prevalent. Gregorian chant, phonic styles (monophonic, polyphonic, and chromatic style)

A

Middle Ages/Medieval (500-1400)

125
Q

music and dnace were connected; new instruments included the keyboard (clavichord), and the lute

A

Renaissance Era (1400-1600)

126
Q

Composers: Monteverdi, Handel, and Bach; opera, orchestra, sonata, secular music advances

A

Baroque Era (1600-1750)

127
Q

Ochestra gained in importance. developmet of piano, sonato, Rococo style, trombone is introduced. Composers Hadyn, Mozart, and Beethoven.

A

Classical Era (1750-1820)

128
Q

Composers: Chopin, Liszt, Berlioz, Mendelssohn, and Schumann; Opera (verdi and Wagner). Themes from literature and folk tales

A

Romantic Period

129
Q

Widening gap between “art” and popular music; technology allowed for mass appeal,

A

Modern Era (1900s)

130
Q

The 7 Elements of Theatre

A

Acting, theatre, drama, improvisation, scriptwriting, technical support tools, and stage

131
Q

Technical support tools

A

costumes, sets, lights, props, makeup, and sound.

132
Q

Open air amphitheaters, masked were used to show age and emotion, women were barred from acting, violence took place off stage

A

Ancient Greek Theatre (600-400 BC)

133
Q

Women were allowed minor parts, mass appeal/impressive theatres, stage at ground level with raised seating error

A

Roman Theatre (300 BC - AD 500)

134
Q

Theatre buildings not permitted, open stage areas, traveling groups, the theatre was used to educate regarding religious events not to entertain.

A

Medieval Theatre (500-1400)

135
Q

Rebirth of classical Greek and Roman art, culture, and literature. Open stages “apron stages” with painted sets and scenery. Situational and secular works led by Protestant Reformation

A

Renaissance and Reformation Theatre (1400-1600)

136
Q

Theatre was supported by Queen Elizabeth, language of the educated, satire. Playwrights included Christopher Marlowe, Ben Johnson, and William Shakespeare. Globe Theatre (open-air)

A

Elizabethan Theatre

137
Q

Theatre architecture evolved in France, artificial lighting, theatres began to be roofed, stage was raised above the audience. Playwrights Racine and Moliere

A

Restoration England: 1660s

138
Q

Art of acting became prominent, plays more often dealt with ordinary people, and commercial theatre evolved.

A

Eighteenth Century

139
Q

Technology changed the theatre (gas lighting was changed to electrical; mechanisms were created for changing scenery), growth of melodrama, actor became more important than the author, playhouses and touring actors

A

Nineteenth Century

140
Q

Serious drama, comedy, commercial theatres, actor’s studio, experimental theatre, ensemble theatre, and community theatre. New movements such as realism, naturalism, symbolism, and impressionism.

A

Twentieth Century

141
Q

Arena staging

A

the audience surrounds the playing area

142
Q

Aristotelian theatre

A

includes clear, simple plotting; strong characters; high levels of intellectual content, and a minimum of spectable.

143
Q

Block (verb)

A

to decide upon the gross movements of actors upon the stage; assign the physical relationshi of actors and the locations of entrance and exits

144
Q

Broadway Theatre

A

a profit making enterprise in which shares of a production are sold to investors with the expectations that after meeting the initial expenses of production they will recieve substantial return on investments.

145
Q

Chorus (theatre)

A

a group of characters in a play who comment ont the action frequeently speaking directly to the audience. Seldom have individual names, can view with horror or amusement the action of the major characers.

146
Q

Company

A

all of the people associated with producing a play. Designers, technicians, directors, stage managers, and actors.

147
Q

Connotative meaning

A

symbols that are vague in terms of strict defintion, but rich in portic meaning. evokes an emotional response.

148
Q

Conventions

A

The temporary “rules” of the performance. Specific to particular cultures, styles of theatre, and even individual productions

149
Q

Creative Drama

A

students improvise scenes for their own growth and edificiation not that of an audience.

150
Q

Denouement

A

the last remaining loose ends are “tied up” including the disposition of any unresolving conflicts and the restablishment of stasis.

151
Q

Director

A

the major interprative figure, provide artistic meaning ot the theatre experience.

152
Q

Downstage

A

the portion of the stage closest to the audience.

153
Q

Dramatic Criticism

A

commentary on a play or script intended to enrichthe experience of seeing the play or reading the script by others.

154
Q

Dramatic Question

A

raises the issue of which of the conflicting parties will prevail and in doing so begins to develop suspense.

155
Q

Environmental staging

A

Dictate that audience and performers use the same space during the course of the experience.

156
Q

Exposition

A

the playwriting decice of providing information to the audience ( retrospective and acurrent )

157
Q

Kabuki

A

Classical Japanese theatre form that combines colorful song and dance, flamboyant characters, and extravagant plots.

158
Q

Melodrama

A

between tragedy and dram. The moral stance is always clear; the good characters are very good, the bad ones very bad.

159
Q

Neoclassic Drama

A

attempted to recapture the glory of theatre in ancient Greece and Rome. Unities (action, place, time)

160
Q

Orchestra

A

the lowest and usually most expensive array of seats directly in front of the stage.

161
Q

Pastoral Play

A

Italian Renaissance; set in the countryside populated by nymphs, satyrs, shepherds, shepherdesses, and wandering knights.

162
Q

Pit

A

the portion of the theatre immediately in front of the stage. Occupied by patrons who paid the lowest admission fee now called the orchestra.

163
Q

Proscenium arch

A

major architectural feature of Western theatres since the Renaissance. An opening in the wall between two rooms.

164
Q

Restoration comedy

A

is known for its glittering language, salacious plots, and frequently debauched characters. English Restoration

165
Q

Revolving stage

A

a portion of the stage constructed so that it rotates around a pivot. Many uses most frequent being to change settings.

166
Q

Rising Action

A

the portion of the plot that begins with the inciting incident and continues until the climax.

167
Q

Stage Left

A

Left of an actor facing the audience. Audience Right.

168
Q

Stage Right

A

Right of an actor facing the audience. Audience Left.

169
Q

Thrust Staging

A

some part of the stage extends into, and is surrounded by the audience.

170
Q

Upstage

A

farthest from the audience.

171
Q

Vomitoria

A

were the tunnels that allowed the audience to enter and exit the large

172
Q

Balance

A

is a sense of visual stability in a composition.

173
Q

Formal Balance

A

gives the feeling that the weight is equally distributed.

174
Q

Informal balance

A

there is a visual emphasis, or pull to one side of the composition.

175
Q

Contrast

A

represents two things that are opposite. Depict two dramatic differences.

176
Q

Emphasis

A

draws your eye to a visual focal point. It stands out and grabs your attention.

177
Q

Pattern

A

objects in a composition that are repeated. Viewers can visually recognize what may appear next.

178
Q

Unity

A

sense that all components of a composition belong together. The elements of art such as shape, line, and color appear to fit together as the viewer gazes upon the piece of art.

179
Q

Perspective: Linear

A

a technique for representing 3-d objects on a flat surface. The technique shows that when converging lines meet at a single vanishing point, the human eye perceives objects at a distance.

180
Q

Perspective: Atmospheric or Aerial

A

used to create depth and dimension. Artists use overlapping, color, size, and contrast to reproduce the effects of distant objects.

181
Q

Hue

A

a particular point on the color spectrum.

182
Q

Intensity

A

describes the brillianceor dullness of color.

183
Q

Value

A

the lightness or darkness of color

184
Q

Primary colors

A

red, yellow, and blue

185
Q

Secondary colors

A

orange, green, and violet

186
Q

Tertiary colors

A

mixing secondary colors tend to be muted or grayish.

187
Q

Complementary colors

A

are pairs of colors that sit opposite one another on the color wheel and do not share any common characteristics.

188
Q

Shape

A

two dimensions, height and width

189
Q

Form

A

three dimensions height, weight, and depth

190
Q

Contour lines

A

create dimension

191
Q

Texture

A

the way a composition may actually feel. Three-dimensional art has a tactile quality.

192
Q

Space

A

gives the artwork a feeling of depth. Artists use both positive and negative space to influence how an object might appear.

193
Q

Negative Space

A

the space between or around the object,,

194
Q

Ancient Greece and Rome

A

architecture (Parthenon, Coliseum, aqueducts), sculpture, pottery, painting, frescoes

195
Q

Eastern Roman Empire

A

religious imagery, mosaics, elongated bodies, gold leaf, and triptych

196
Q

Gothic Art

A

church was sole patron of the arts, human body shape was used to communicate emotions, stained glass windows, majestic cathedrals, and flying buttress

197
Q

Renaissance art

A

development of (Florence, Venice, ect.) art influenced by religion, humanism, marble sculpture, oil paintings, and eff tempera.

198
Q

Baroque Art

A

Italy and Germany; counter-reformation, naturalism, romanticism, Rococo

199
Q

Impressionism

A

influenced by science, principles of harmony, emphasis on primary colors. Manet, Monet, Renoir, Cassatt, and Degas.

200
Q

Post-Impressionism

A

paints indoors or outside, emotions through the use of color/swirling color/thick applications, and narrow spectrum of viewing. vaan Gogh; Cauguin, Cezanne

201
Q

Twentieth Century

A

Fauvism, cubism, surrealism, abstract impressionism, “op” art, and American Regional Art

202
Q

Cubism

A

overlapping geometric forms, fragmentation of form, influenced by African tribal arts

203
Q

Surrealism

A

evolved from Dada art; workings of the subconscious mind through fantastic imagery. Salvador Dali - di

204
Q

Abstract Impressionism

A

“dribbles, splatters, splashes” everyday objects to apply to art; influenced by Navajo sand paintings; examples Pollock, de Kooning, and Kandinsky.

205
Q

Fauvism

A

influenced by the technology of the early 20th century; expansion of color- assertive brush,

206
Q

“Pop” art

A

“why is art?” reaction against abstract paintings (soup cans, comics); Warhol, Lichtenstein, acrylics.

207
Q

American Regional Art

A

(from the 1930s) rural art, everyday life. Grant Wood.

208
Q

Neo-impressionism

A

tiny dots of primary colors to produce secondary colors; colors placed in scientifically measured dots (Georges Seurat)

209
Q

Rococo

A

1750-1800s influenced by the French revolution and industrial revolution. Salons; carefree lifestyle/high fashion; moved away from Baroque heroic subjects and dark color, moved to more delicate/ pale colors. the theme of romantic love.

210
Q

Humanism

A

depictions of the natural world; study of light and perspective; complex and crowded space.

211
Q

Frescoes

A

tempera painting with egg tempera as a binder; illuminated manuscripts,

212
Q

Counter-Reformation

A

against Protestantism- paintings of faith/martyrs.

Subtest 3 (2 decks)

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