question

Episode

answer

Passage that does not state the principal subject (esp in Fugue)

question

Exposition

answer

Section in which subject(s) are announced. In Fugue, Sonata, Concerto.

question

Fugue

answer

Composition or Section in which subject is answered or repeated by several parts.

question

Hocket

answer

Splitting up a melodic line between two voices

question

Leitmotif

answer

Musical theme/motive assoc. w a person, thing, emotion or idea in a drama

question

Monody

answer

Accompanied solo song

question

Motet

answer

Polyphonic vocal composition, sacred text

question

Passacaglia

answer

Pattern of pitches serving as a foundation for harmony.

question

Partita

answer

Single variation of a theme, set of such variations.

question

Recapitulation

answer

Section of a movement in which the subjects announced in the exposition are reviewed

question

Renaissance

answer

1450-1600; rebirth of secular musical activity/ideals of antiquity.

question

Ripieno

answer

Tutti as opposed to solo

question

Rondeau

answer

ABaAabAB; one of Formes Fixes

question

Sarabande

answer

Slow dance in triple meter often emphasizing the second beat

question

Sonata

answer

To be played on one or more instruments; Work in several mvts for one or two solo instruments

question

Sonata form

answer

Used mostly in first mvts; Exposition - Development - Recapitulation

question

Stretto

answer

Imitation of a subject at a close time-interval

question

Tetrachord

answer

Scale of 4 notes spanning a fourth (Greek/Medieval); Set of four pitches (Modern)

question

Toccata

answer

Introductory improvised instrumental piece

question

Triplum

answer

Second part in early polyphony, set against a Tenor and Duplum

question

Abgesang

answer

Bar Form - Song form in which first melodic component is sung 2x w/different texts (Stollen); the remainder (Abgesang) is sung once

question

Ad Libitum

answer

Details of execution left to discretion of the performer

question

Aggregate

answer

Unordered set of pitch classes of the chromatic scale

question

Air

answer

1. Tune 2. Tuneful song in Fr. stage work 3. Eng., Fr. art song w/lute or violin accompaniment

question

Air de cour

answer

French monodic song

question

Aleatory

answer

Deliberately leaving choice of pitches, rhythmic values or order of events to chance.

question

Ambitus

answer

Pitch range of a mode or plainchant

question

Antiphonal

answer

One group answers the other, perf. method

question

Archlute

answer

Lute w/extra peg box for long bass strings tuned diatonically. Theorbo

question

Aria

answer

1. Tune for singing poetry 2. Songful monologue or duet in an opera

question

Baroque

answer

1. Bizarre, extravagant 2. 1600-1750

question

Basse Danse

answer

Family of dances (duple + triple) whose music was often improvised over a tenor cantus firmus

question

Cadenza

answer

Improvised passage usually placed just before the end of a piece or section

question

Camerata

answer

Intellectuals and amateurs of arts that met in Florence at the home of Giovanni Bardi (1570-80)

question

Cantata

answer

1. Composition for solo voice with recitatives and arias 2. Sacred concerto

question

Chorale prelude

answer

Organ arr. of a chorale played before the congregation sings it

question

Classical

answer

1750-1825

question

Concertino

answer

Ensemble w/a few solo instruments

question

Concerto grosso

answer

Tutti or ripieno - the full orchestra in a concerto

question

Counterpoint

answer

Artful combination of 2+ simultaneous melodic lines

question

Courante

answer

Fluent dance in moderate triple meter

question

Development

answer

Process or section in which a subject is taken apart combined with other ideas and reworked

question

Discant

answer

1. Treble part 2.improvised or written polyphony in which voices move @ same speed

question

Dodecaphonic

answer

Composition w/12-tone rows

question

Duplum

answer

Voice part in early polyphony set against a tenor

question

Phrase

answer

The shortest passage of music which, having reached a point of relative repose, has expressed a more or less complete musical thought

question

Jete

answer

Ricochet; bow "thrown" on string so it will bounce

question

Spiccato

answer

Conscious spiccato: slower tempo, player makes bow 'spring' Spontaneous spiccato: fast tempo, soft dynamics. Short, quick up/down motion by wrist -> bow bounces

question

Martele

answer

To hammer. Usually performed toward the frog. Fast, well-articulated stroke resembling a sfz.

question

Staccato

answer

Short separate strokes

question

Loure

answer

'Pique' Legato stroke. Dashes under notes w/slurs used to designate the bow changes

question

Detache

answer

Basic stroke on all bowed string instruments. It changes direction each note.

question

Soprano

answer

Range: C4 - C6 (high C)

question

Mezzo soprano

answer

Range: A4 - A6

question

Contra alto

answer

Range: F3 - F5

question

Tenor

answer

Range: C3 - C5

question

Baritone

answer

Range: F2 - F4

question

Bass

answer

Range: E2 - E4

question

Portamento

answer

Glissando in vocal music

question

Trombone, Position VII

answer

E

question

Trombone, Position VI

answer

F

question

Trombone, Position V

answer

Gb

question

Trombone, Position IV

answer

G

question

Trombone, Position III

answer

Ab

question

Trombone, Position II

answer

A

question

Trombone, Position I

answer

Bb

question

Trumpet, 3rd Valve

answer

1 + 1/2 steps

question

Trumpet, 2nd Valve

answer

1/2 step

question

4th Valve

answer

2 1/2 steps

question

Trumpet, 1st Valve

answer

1 step

question

Classes

answer

I - Tonic ii - Supertonic iii - Mediant IV - Subdominant V - Dominant vi - Submediant vii - Leading Tone

question

Steps of Conducting

answer

1. Preparation 2. Ictus 3. Rebound 4. Penultimate beat placement 5. Final beat placement

question

Baroque: Dates

answer

1600 - 1750

question

Baroque: Musical Characteristics

answer

Decorative, filled w/ornaments, few dynamic markings

question

Baroque: Composers

answer

Vivaldi, Handel, Bach, Pachelbel

question

Classical: Dates

answer

1750 - 1825

question

Classical: Musical Characteristics

answer

Reserved, intellectual, rational-sounding. Controlled compositions. Great growth in string section.

question

Classical: Composers

answer

Haydn, Mozart, Beethoven, Schubert, Mendelssohn

question

Classical: Orchestra Size

answer

30 - 50; Marked increase in # of string players.

question

Romantic: Dates

answer

1825 - 1900

question

Romantic: Musical Characteristics

answer

Conveyed feeling, programmatic, used nature for inspiration, Nationalistic, incorporation of folk tunes.

question

Romantic: Composers

answer

Weber, Chopin, Brahms, Dvorak, Grieg, Tchiakovsky

question

Modern: Dates

answer

1900 - Present

question

Modern: Characteristics

answer

Unconventional sources of inspiration; broke molds of traditional harmony.

question

Modern: Composers

answer

Debussy, Ravel, Stravinsky, Prokofiev, Copland, Gershwin

question

Horn

answer

It. - Corno Fr. - Cor Ger. - Horn

question

Trumpet (tr. or tpt.)

answer

It. - Tromba Fr. - Trompette Ger. - Trompete

question

Trombone (trb. or tbn.)

answer

It. - Trombone Fr. - Trombone Ger. - Posaune

question

Tuba (t.)

answer

It. - Tuba Fr. - Tuba Ger. - Tuba

question

Strings

answer

It. - Archi Fr. - Cordes Ger. - Streichinstrumente

question

Violin (vl.)

answer

It. - Violino Fr. - Violon Ger. - Violine or Geige

question

Viola (vla.)

answer

It. - Viola Fr. - Alto Ger. - Bratsche

question

Violoncello (vlc.)

answer

It. - Violoncello Fr. - Violoncelle Ger. - Violoncell

question

Double Bass (d.b.)

answer

It. - Contrabasso Fr. - Contrabasse Ger. - Kontrabass

question

Harp

answer

It. - Arpa Fr. - Harpe Ger. - Harfe

question

Nestico

answer

Band Arranger

question

Bocook

answer

Band Composer & Arranger

question

Dackow

answer

String Arranger/Orchestral Arranger

question

Eilers

answer

Choral Arranger

question

Theory of Multiple Intelligences

answer

Gardner; Differentiates intelligence into specific modalities: - musical-rhythmic, visual-spatial, verbal-linguistic, logical-mathematical, bodily-kinesthetic, interpersonal, intrapersonal, naturalistic; Little evidence by way of studies to support model.

question

Teaching Sequence: General Music

answer

1. Preparation 2. Presentation 3. Practice 4. Execution

question

Hall Johnson, William Dawson & Jesper Hairston

answer

Arrangers of Spirituals

question

Bennett Reimer

answer

"A Philosophy of Music Ed" Aesthetic Education Art ---> Subjective, a teacher of feeling Students explore value through: Composition, Listening, Music Theory & Performance

question

Woodwinds

answer

It. - Legni Fr. - Bois Ger. - Holzblazer

question

Piccolo (picc.)

answer

It. - Ottovino Fr. - Petite Flute Ger. - Kleine Flote

question

Flute (fl.)

answer

It. - Flauto Fr. - Flute Ger. - Flote

question

Oboe (ob.)

answer

It. - Oboe Fr. - Hautbois Ger. - Oboe

question

English Horn (Eng. hn.)

answer

It. - Corno Onglese Fr. - Cor Anglais Ger. - Englisches Horn

question

Clarinet (cl.)

answer

It. - Clarinetto Fr. - Clarinette Ger. - Klarinette

question

Bassoon (bn.)

answer

It. - Fagotto Fr. - Basson Ger. - Fagott

question

Contrabassoon (cbn.)

answer

It. - Contrafagotto Fr. - Contrebasson Ger. - Kontrafagott

question

Saxophone (sax)

answer

It. - Sassofone Fr. - Saxophone Ger. - Saxophon

question

Overtone Series

answer

Fundamental 8va - P5 - P4 - M3 - m3 - m3* - M2*

question

Monophonic

answer

Unaccompanied Melody

question

Polyphonic

answer

Musical Texture consisting of two or more lines of melody.

question

Homophonic

answer

Music in which the harmony is chordal & not made up of distinctive lines.

question

Heterophony

answer

Same melody performed simultaneously in more than one way, for ex., simply and ornamented.

question

Polar Patterns

answer

Omnidirectional, Cardoid, Super or Hyper Cardoid, Bidirectional

question

Continuous Binary Form

answer

Single harmonic movement divided by design (conclusive cadence).

question

Continuous Binary Form: Simple

answer

Design: AB or AA'

question

Continuous Binary Form: Rounded

answer

Design: AB II A'

question

Continuous Binary Form: Balanced

answer

Design: AA'. Part two closes with a transposed restatement of the passage that ends part one.

question

Sectional Binary Form

answer

Double Harmonic movement, that is, two complete or interrupted harmonic movements.

question

Sectional Binary Form: Simple

answer

Design: A-B or A-A'

question

Sectional Binary Form: Rounded

answer

Design: A-BA

question

Sectional Binary Form: barform

answer

Design: A-A-B. Part one repeated, part two not repeated.

question

Sectional Ternary Form

answer

Double harmonic movement, the second of which is further divided by design (contrast). Design: A-BA.

question

Full Sectional Ternary Form

answer

Triple harmonic movement, that is, three complete or interrupted harmonic movements. Design: A-B-A.

question

Continuous Ternary Form

answer

Single interrupted harmonic movement divided by design (conclusive cadence and contrast). Design: AB II A'

question

Sectional Four Part Form

answer

Same as secional ternary plus transposed restatement of part two as part four. Design: A-BA-B'

question

Sectional Five Part Form

answer

Same as sectional ternary plus new part four and restatement of part one as part five. Design: A-BA-CA

question

Classical Rondo Form

answer

ABACAB'A

question

Perfect Authentic Cadence (PAC)

answer

V - I. Both Chords in root position. Soprano on root of chord I.

question

Imperfect Authentic Cadence (IAC)

answer

V - I, but with either an inverted chord, or soprano not finishing on the tonic.

question

Half Cadence (HC)

answer

_ - V. The V chord can be approached from a number of other chords (I, ii, IV, V/V)

question

Plagal Cadence (PC)

answer

IV - I. Known as the 'church' cadence. Named for the 'Amen' commonly used at the end of hymns.

question

Deceptive Cadence (DC)

answer

A cadence that creates the expectation of going to I, but substitutes another chord instead. Common substitutes for I are: vi, IV6, bVI, and occasionally IV or V/ii.

question

It +6

answer

Three pitches only. +6 and the tonic (M3)

question

Fr +6

answer

The characteristic augmented sixth interval, the tonic pitch and the second scale degree.

question

Ger +6

answer

The characteristic augmented sixth interval, the tonic pitch, and the lowered third.

question

Anitquity (Dates)

answer

500 BC - 500 AD

question

Medieval (Dates)

answer

500 - 1400

question

Renaissance (Dates)

answer

1400 - 1600

question

Baroque (Dates)

answer

1600 - 1750

question

Classical (Dates)

answer

1750 - 1825

question

Romantic (Dates)

answer

1825 - 1900

question

Modern / 20th Century (Dates)

answer

1900 - Present

question

Bouree

answer

French Baroque dance in fast duple meter

question

Cantata *

answer

Music composition using scared texts (Baroque)

question

Chanson

answer

A French polyphonic song (Late Middle Ages & Renaissance)

question

Chorale

answer

Protestant hymn melody (Baroque)

question

Choral Prelude

answer

Composition for an organ, played before congregation begins to sing (Baroque)

question

Concerto

answer

Composition for an orchestra & 1 or more solo instrument (Classical)

question

Divertimento

answer

Chamber Music (Classical)

question

Etude

answer

A study piece, composition for development of technique

question

Fanfare

answer

Loud brass instruments (esp. trumpets), Major triad. Ex: 'Fanfare for the Common Man'

question

Fugue *

answer

Imitative polyphonic composition, themes repeat

question

Gavotte

answer

French peasant dance (Baroque)

question

Gigue

answer

Popular Baroque dance, fugal style.

question

Madrigal

answer

A secular song for 2 or 3 unaccompanied voices (Renaissance)

question

Motet *

answer

Polyphonic composition sacred text w/o accompaniment (Renaissance)

question

Opera

answer

A musical dramatic work

question

Organum

answer

Plain chant, note against note counterpoint (Medieval)

question

Passacaglia

answer

Continuous variation on ground bass, similar to Chaconne (Baroque)

question

Recitative

answer

Spoken Song (Romantic)

question

Rondeau *

answer

French Lyrical poem (Renaissance)

question

Sarabande *

answer

Slow dance in triple meter often emphasizing the second beat (Baroque)

question

Sonata *

answer

composition for 1 or more solo instruments, one of which is usually a keyboard instrument, usually consisting of of 3 or 4 independent movements varying in key, mood, and tempo

question

String Quartet

answer

2 Violins, Viola & Cello (Classical)

question

Suite

answer

An instrumental composition consisting of a series of varying movements or pieces

question

Symphonic Poem

answer

Orchestral Form (Ex. Lizst) (Romantic)

question

Toccata

answer

Keyboard piece, free in form, that displays dexterity (Baroque)

question

Rim Shot

answer

[Drumming technique] 1 loud hit

question

Flam

answer

[Drumming technique] 1 beat preceding 1 beat (Ex. ba-dop)

question

Drag

answer

[Drumming technique] 2 beats preceding 1 beat (Ex. ba/da-bop)

question

Paradiddle

answer

[Drumming technique] par-a-di-dle

question

Classical (Characteristics)

answer

Simple melodies, refined strings, strings dominate, Alberti Bass

question

Medieval (Characteristics)

answer

Monophonic, plain chant

question

Renaissance (Characteristics)

answer

Polyphonic, no instruments, Motet & Madrigal

question

Baroque (Characteristics)

answer

Small orchestras w/basso continuo, keyboards

question

Accelerando

answer

Gradually accelerating or getting faster

question

Anacrusis

answer

An upbeat or pickup note(s); a termused for unstressed notes at the beginning of a phrase of music.

question

Augmentation

answer

Statement of a melody in longer note values, often twice as slow as the original.

question

Diminution

answer

Note values are shortened, usually by half.

question

Marcato

answer

marked, emphatic

question

rubato

answer

perform freely

question

alla breve

answer

A tempo marking indicating a quick duple meter 2/2

question

poco a poco

answer

little by little

question

adagio

answer

slow

question

Ad Libitum (ad. lib.)

answer

At liberty

question

Allagrando (allag.)

answer

Broaden out

question

Allegretto

answer

Slower than Allegro

question

Allegro

answer

Fast (Tempo = 120 - 168)

question

Andante

answer

Slow; in a walking style (Tempo = 76 - 108)

question

Andantino

answer

A little faster than Andante

question

A Tempo

answer

At the original tempo

question

Calando

answer

Softer and slower

question

Con Moto

answer

With Motion

question

Grave

answer

Slow and serious

question

Largo

answer

Very slow (Tempo = 40 - 60)

question

Lento

answer

Slowly

question

L'istesso Tempo

answer

In the same time

question

Marcia

answer

March tempo and style

question

Meno Messo

answer

Less motion; slower

question

Moderato

answer

In moderate time or speed (Tempo = 108-120)

question

Ma non Troppo

answer

Not too fast

question

Piu Mosso

answer

A little more motion

question

Presto

answer

Very fast; double the time (tempo = 200 - 208)

question

Rallentando (rall.)

answer

Gradually becoming slower

question

Ritardando (rit.)

answer

To retard or slow down

question

Stringendo

answer

Faster tempo

question

Valse

answer

In waltz time

question

Vivace

answer

With life (very fast)

question

Tempo - Slowest to Fastest

answer

Largo, Larghetto, Adagio, Andante, Moderato, Allegro, Presto, Prestissimo

question

Conducting: Attack

answer

Indicated by the speed of acceleration and force of the ictus

question

Conducting: Ictus

answer

The point of the rebound

question

Conducting: Dynamics

answer

Indicated by the size of the preparation

question

Conducting: Preparation

answer

The space between the ictus of one beat and the ictus of the next

question

Conducting: Quality

answer

Indicated by the shape of the preparation

question

Tessitura

answer

Range of an instrument

question

Comprehensive Musicianship [Music Learning K-12]

answer

Comprehensive musicianship emphasizes the encouragement of students to function in various roles of performer, composer-improviser and listener.

question

How do beginning woodwind players often play? [Music Learning K-12]

answer

Beginning woodwind players often play with a closed throat and oral cavity to compensate for inadequate breath support.

question

General Music Teaching Sequence

answer

1. Preparation 2. Presentation 3. Practice 4. Extension

question

How often does music class meet in Middle and High School? [Music Learning K-12]

answer

Every music course meets at least every other day for at least 45 minutes in Middle School and High School.

question

Elementary Music Library [Music Learning K-12]

answer

For band, orchestra and chorus, a library of music is provided that includes at least 40 titles for each type of group. At least 15 titles for each type of group are added each year.

question

Grade 8

answer

General music is required of all students through grade 8

question

Middle and High School Library [Music Learning K-12]

answer

A library of small-ensemble music is provided that contains at least 75 titles. At least 15 new titles are added each year.

question

Budget [Music Learning K-12]

answer

An annual budget is provided for the replacement of school-owned instruments that is equivalent to at least 5% of the replacement value of the total inventory of instruments.

question

Peter and the Wolf [Music Learning K-12]

answer

Peter and the Wolf (Prokofiev), is a piece most appropriate for introducing the instruments of the orchestra to Elementary General Music Students.

question

How long should Elementary Students receive Music Instruction? [Music Learning K-12]

answer

In elementary school, each student receives general music instruction each week for at least 90 minutes, excluding time devoted to elective instrumental or choral instruction. Music is woven into the curriculum throughout the day.

question

Beginning Instruction: Strings & Woodwinds [Music Learning K-12]

answer

Instruction on string instruments begins no later than 4th grade. Instruction on wind & percussion instruments begins no later than 5th grade. For the 1st year of instrumental study, students are taught at least part of the time in homogenous instrumental groupings.

question

Alexander Technique [Music Learning K-12]

answer

Alexander Technique has a long history of helping instrumentalists and singers to perform with less stress and likelihood of injury. Students learn to identify and change patterns that lead to aches pains, shallow breathing and performance anxiety.

question

K-4 Vocal Range [Music Learning K-12]

answer

K-4 vocal range is about an octave starting with Middle C (C4)

question

Music Sequencing and its effect on Music Education [Music Learning K-12]

answer

Music sequencing is similar to linguistic structuring as it relates to the audience member: patterns of melody, harmony and rhythm work together better with appropriately defined tone, key and chord structures. Infants are able to approximate tone and young children can reproduce short or limited contours with some discrepancy in pitch. Early childhood music education opportunities to learn to produce pitches accurately and distinguish between scale and key structure.

question

Johann Amos Comenius [Music Learning K-12]

answer

Johann Amos Comenius believed that the educator of children should begin immediately so that the child could learn about faith, cognizance of moral actions and familarity with arts and language. Comenius felt that music education was instinctual for children who first learn to make sound through vocalizations.

question

Acculturation of Preparatory Audiation [Music Learning K-12]

answer

Absorption - 1st 18 months (inc. listening) Random Response - 1-3 years (involves participation) purposeful response - 18mo - 3 years (contribute to music)

question

What is the Music Educators Role? [Music Learning K-12]

answer

Educators are responsible for making music a positive influence on students. All teachers should seek out ways to prepare for curriculum planning and designing instructions that are appropriate for the child's particular education level. Music combines with all developmental, cognitive, language, physical, emotional and social arenas of education and places the music educator in an important, multifaceted role. Music educators should be able to guide children in their musical experiences and encourage progress as it occurs.

question

Working with rhythm in instruments in the classroom [Music Learning K-12]

answer

Rhythm instruments such as shakers, cowbells, drums, and tambourines are the easiest to work with when instructing children about rhythm, beat, and tempo since they are small, and children can easily be taught to use them correctly. Children should be introduced to these instruments and how they work to produce sound before being taught simple melodies. Once students are familiar, they can be instructed to incorporate those sounds in their exercises.

question

Involvement of Parents [Music Learning K-12]

answer

Parents should always be encouraged to become more active in their child's education and musical development. Music educators should make an effort to include parents in discussions of instruments or musical practice. Parents are teachers first and a full support from them will help the child learn the importance of education. Music educators should always seek out ways to keep parents involved, such as through band support programs or fund-raising.

question

Sound Exploration Areas [Music Learning K-12]

answer

Young children need a place to experiment with musical instruments and sounds that is separated from other groups that may be involved in more directed study. Children should be free to work with instruments such as the bells, shakers, claves, drums, tambourines, and castanets as loudly as the child chooses. All sound exploration should be hands on.

question

How should Music Educators introduce music instruments? [Music Learning K-12]

answer

The music educator should give instruction on each instrument, how to use the instrument, and then allow the child to replicate that instruction and then to improvise. Music educators should respond positively to a student's efforts.

question

Why is singing and chanting important with young children? [Music Learning K-12]

answer

Rhythmic songs and chants are important for children to understand the combination of sounds and beats and apply the process to their own sensory perceptions. When music educators participate in the singing or chanting, they can interact with the children, and show them how much fun moving to music and creating music can be for all ages. Music educators can teach songs in small segments, through repetition, or through example.

question

Creative and Synchronized Movement [Music Learning K-12]

answer

Movements that are associated with music and performed as dances or exercise by young children are classified as either creative movement or synchronized movement. Creative movement gives children freer expression and allows them to improvise and enjoy the act itself. Synchronized movement follows an established routine and is choreographed to the rhythm and beat of the selected music. Creative movement allows children to freely express themselves to song, while synchronized movement helps children work as a group and realize the importance of teamwork.

question

Why music educators should model movements in teaching creative movement...[Music Learning K-12]

answer

Children will often watch the movements of those around them. Music educators can show students how to do a particular movement to a song, and then let the children copy what they have seen. Any type of movement should be at the child's developmental level. Music educators can show children how to move faster or slower through music. They can also be introduced to dynamics with loud marching or tiptoeing. Teachers can teach about changes in phrasing by changing direction.

question

Creative Movement [Music Learning K-12]

answer

Creative movement involves a child's interpretation of the song without paying attention to the beat. Children should be familiar with walking, marching, running, galloping, dancing, clapping, sliding, jumping, and hopping to music.

question

Synchronized Movement [Music Learning K-12]

answer

By following a pre-set order of movements to music, children are able to begin to understand a connection between feeling and hearing the music. Children can later apply this connection and develop a steady beat or pulse. There are four stages for young children's understanding the beat of music. 1)Unable to respond to the beat. 2)Responds with too much. 3)Narrow down response to the beat. 4)Able to clap or step to the beat. Using props during synchronized movement helps children to focus on the movements as they relate to the music and create the movements with greater confidence. (ex. scarves, streamers, ribbons, parachute)

question

Software and Materials for the High School classroom [Music Learning K-12]

answer

Aside from the computer centers, the technological music classroom for high school should contain at least different software programs that deal with listening, analyzing, reading, and describing various types of music. Creation, improvisation, and composition software should be available. Students should be encouraged to utilize the technology for practice and performance, while music educators can access different programs for grading, instrument inventory, etc... Other software or internet (with supervision) for research.

question

Perceptive Listening [Music Learning K-12]

answer

Music is best appreciated by listeners who are attentive, and music educators can help students learn how to listen. Perceptive listening allows students not only to hear the notes but to understand the structure and movement of the phrasing.

question

How can beat, rhythm and tempo be explored? [Music Learning K-12]

answer

Rhythm is the pattern of long and short sounds. Music educators can explore beat by clapping each syllable of a simple song. Beat is the pulse of the music which may speed up or slow down during the course of the music. Music educators should have students practice grouping beats together. Tempo is the speed of the music. Music education should help students learn the distinction between slow, moderate, and fast tempos by speeding or slowing down the music.

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Bloom's Taxonomy - Six levels of thinking and learning skills

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1. Knowledge 2. Understand 3. Apply 4. Analyze 5. Evaluate 6. Create

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Publisher Resources

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J.W. Pepper, Carl Fischer, Hal Leonard, Alfred Music

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Theory of Multiple Intelligences *

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- Howard Gardner - traditionally defined intelligence does not sufficiently encompass wide variety of human abilities.

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Jerome Bruner

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New Material ---> ICONIC to Symbolic representation. - suggests that a learner even of a very young age is capable of learning any material so long as the instruction is Bruner (1960) adopts a different view and believes a child (of any age) is capable of understanding complex information: 'We begin with the hypothesis that any subject can be taught effectively in some intellectually honest form to any child at any stage of development'. (p. 33) - Importance of language for coding - Spiral curriculum - information being structured so that complex ideas can be taught at a simplified level first, and then re-visited at more complex levels later on organized appropriately, in sharp contrast to the beliefs of Piaget and other stage theorists.

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Orff

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- 1920s, German - it is a way of introducing and teaching children about music on a level that they can easily comprehend. Musical concepts are learned through singing, chanting, dance, movement, drama and the playing of percussion instruments. Improvisation, composition and a child's natural sense of play are encouraged. - "Never music alone, but music conntected." - Approach is simple, basic, natural, close to a child's world. IMITATION EXPLORATION LITERACY IMPROVISATION

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Kodaly

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- Mid 1900s, Hungarian - Child-Developmental approach - Rhythm syllables- solfege for rhythm - Rhythmic movements - walking, running, marching, clapping - Rhythm sequence and notation - Moveable "do," solfege - Melodic sequence and pentatony - Hand signs - Folk Songs

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Gordon

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- Audiation - hearing music with understanding - Listen - Imitate - Think - Improvise - Students build a foundation of aural and performing skills through singing, rhythmic movement, and tonal and rhythm pattern instruction before being introduced to notation and music theory.

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Dalcroze

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Swiss - Early 1900s - Eurhythmics - musical expression through movement; developing musical skills through kinetic exercises. - Solfege - Improvisation (using instruments, movement, and voice)

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Suzuki

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- Mid 1900s - "Mother-tongue approach" - Early beginning - Saturation of music - No tests - Rote Learning ->Learning by ear rather than reading - Review of previous pieces - repetition - Play in groups a public performance - Parental Involvement

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Aerophones

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a class of instruments that produce their sound by the vibration of air, i.e., flute or clarinet

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Chordophones

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a class of instruments that produce their sound by means of vibrating strings stretched between fixed points, i.e. guitar, violin, and etc.

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Idiophones

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class of instruments that produce their sound by the vibration of the instrument itself, i.e. castanets, rattles, glass harmonics, and etc.

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Membranophones

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a class of instruments that produce their sound by the vibration of a membrane or head i.e., drums

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Flutter tongue

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a special effect on the flute and occasionally other wind instruments consisting of the rapid insertion of the tongue into the blowhole resulting in a rapid staccato Single: (t-t-t) Double: (t-k t-k t-k) Triple: (t-k-t t-k-t)

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Col legno

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hit the strings with the wooden part of the bow

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Coloratura soprano

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A type of operatic soprano who specializes in music that is distinguished by agile runs and leaps. The term coloratura refers to the elaborate ornamentation of a melody, which is a typical component of the music written for this voice

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Lyric soprano

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a type of operatic soprano that has a warm quality with a bright, full timbre which can be heard over an orchestra

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Soubrette

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A soubrette voice is light with a bright, sweet timbre, a tessitura in the mid-range, and with no extensive coloratura.A soubrette's range extends approximately from middle C (C4) to "high C" (C6). The voice has a lighter vocal weight than other soprano voices with a brighter timbre

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Spinto

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a category of operatic soprano voice that has the limpidity and easy high notes of a lyric soprano, yet can be "pushed" on to achieve dramatic climaxes without strain. This type of voice may possess a somewhat darker timbre, too, than the average lyric soprano. It generally uses squillo to "slice" through the sound of a full orchestra, rather than singing over the orchestra like a true dramatic soprano

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Dramatic Soprano

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a type of operatic soprano with a powerful, rich, emotive voice that can sing over, or cut through, a full orchestra. Thicker vocal folds in dramatic voices usually (but not always) mean less agility than lighter voices but a sustained, fuller sound. Usually this voice has a lower tessitura than other sopranos, and a darker timbre

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Lyric Tenor

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A warm graceful voice with a bright, full timbre that is strong but not heavy and can be heard over an orchestra. Lyric tenors have a range from approximately the C one octave below middle C (C3) to the D one octave above middle C (D5) with some able to sing up to E5 and higher. Similarly, their lower range may extend a few notes below the C3. There are many vocal shades to the lyric tenor group

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Leggiero

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a lightweight, flexible tenor type of voice, The leggiero tenor can go quite low, the A or so below the low C

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Spinto Tenor

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a vocal term used to characterize a soprano or tenor voice of a weight between lyric and dramatic that is capable of handling large musical climaxes in opera at moderate intervals

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Dramatic tenor

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an emotive, ringing and very powerful, clarion, heroic tenor sound. The dramatic tenor has an approximate range from the B two octave below middle C (B2) to the C one octave above middle C (C5) with some able to sing up to the D one octave above middle C (D5)

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Heldentenor

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A rich, dark, powerful and dramatic voice, featured in romantic German works

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Dramatic Baritone

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A voice that is richer and fuller, and sometimes harsher, than a lyric baritone and with a darker quality. This category corresponds roughly to the Heldenbariton in the German fach system except that some Verdi baritone roles are not included. The primo passaggio and secondo passaggio of both the Verdi and Dramatic Baritone are at Bb and Eb respectively, hence the differentiation is based more heavily on timbre and tessitura. Accordingly, roles that fall into this category tend to have a slightly lower tessitura than typical Verdi baritone roles, only rising above an F at the moments of greatest intensity. Many of the Puccini roles fall into this category. However, it is important to note, that for all intents and purposes, a Verdi Baritone is simply a Dramatic Baritone with greater ease in the upper tessitura (Verdi Baritone roles center approximately a minor third higher). Because the Verdi Baritone is sometimes seen as subset of the Dramatic Baritone, some singers perform roles from both sets of repertoire. Similarly, the lower tessitura of these roles allow them frequently to be sung by bass-baritones.

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Verdi Baritone

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A more specialized voice category and a subset of the Dramatic Baritone, a Verdi baritone refers to a voice capable of singing consistently and with ease in the highest part of the baritone range, sometimes extending up to the C above middle C, or "High C." The Verdi baritone will generally have a lot of squillo, or "ping"

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Basso Profondo

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Lowest sounding Bass voice

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Basso Buffo

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Buffo, literally "funny", basses are lyrical roles that demand from their practitioners a solid coloratura technique, a capacity for patter singing and ripe tonal qualities if they are to be brought off to maximum effect

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Bel Canto

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same as basso buffo

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Basso Cantente

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Basso cantante means "singing bass". Basso cantante is a higher, more lyrical voice. It is produced using a more Italianate vocal production, and possesses a faster vibrato, than its closest Germanic/Anglo-Saxon equivalent, the bass-baritone

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Dramatic bass

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Hoher Bass or "high bass" or often a dramatic bass-baritone

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Sprechstimme

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literally "speech song"; a type of inflected vocal delivery, with pitches indicated only approximately on the music staff. this is a modern technique often used in contemporary opera and song cycles

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Sotto voce

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in an undertone, aide, under the breath

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Wet/live acoustics

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big room with materials such as wood or marble; ideal performance space for choirs

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Dry/dead acoustics

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small room with no reverb; ideal for instrumental ensembles

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The School Music Program: A New Vision

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1. All children have musical potential 2. Children bring their own unique interests and abilities to the music learning environment 3. Very young children are capable of developing critical thinking skills through musical ideas 4. Children come to early-childhood music experiences from diverse backgrounds 5. Children should experience exemplary musical sounds, activities, and materials 6. Children should not be encumbered with the need to meet performance goals 7. Children's play is their work 8. Children learn best in pleasant physical and social environments 9. Diverse learning environments are needed to serve the developmental needs of many individual children 10. Children need effective adult models

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Manhattanville Music Curriculum Project

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integrated music into the social studies curriculum

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Contemporary Music Project

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Implemented during the Ford administration, gave schools exposure to contemporary music

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Yale Seminar on Music Education

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seminar that discussed problems in music education and how to fix them; revamp the music curriculum in schools to promote a public that was musically literate

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Tanglewood Symposium

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The purpose was to discuss and define the role of music education in contemporary American society and to make recommendations to improve the effectiveness of music instruction

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Tonal Sequence

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Intervals of first phrase are NOT reproduced exactly.

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Real Sequence

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Exact transposition of each note in a sequence

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Sequence

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Repetition of musical idea @ a higher or lower pitch

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Motif

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Smallest unit of musical form. Can be as short as 2 notes, or as long as 6. Has clear rhythmic patters & melodic outline.

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Neighbor Tone

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(NCT) Approached by: STEP Left by: STEP in OPPOSITE direction

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Passing Tone

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(NCT) Approached by: STEP Left by: STEP in SAME direction

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Appogiatura

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(NCT) Approached by: LEAP Left by: STEP in OPPOSITE direction

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Escape Tone

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(NCT) Approached by: STEP Left by: LEAP in OPPOSITE direction

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Suspension

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(NCT) Approached by: SAME NOTE Left by: STEP DOWN

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Retardation

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(NCT) Approached by: SAME NOTE Left by: STEP UP

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Anticipation

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(NCT) Approached by: STEP or LEAP Left by: SAME NOTE

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Pedal Tone

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(NCT) Approached by: SAME NOTE Left by: SAME NOTE

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Muted

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It. - Con Sordino Fr. - Sourdine(s) Ger. - mit Dampfer

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Take Off Mutes

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It. - Via Sordini Fr. - Enlevez les Sourdines Ger - Dampfer Weg

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Without Mutes

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It. - Senza Sordino Fr. - Sans Sourdine Ger. - Ohne Dampfer

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Divided

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It. - Divisi Fr. - Divise Ger. - Geteilt

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Unison

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It. - Unisono (unis.) Fr. - Unis Ger. - Zusammen

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Solo

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It. - Solo Fr. - Seul Ger. - Allein

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All

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It. - Tutti Fr. - Tous Ger. - Alle

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At (near) the Bridge

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It. - Sul Ponticello Fr. - Sur le Chevalet Ger. - am Steg

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Over the Fingerboard

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It. - Sul Tasto Fr. - Sur la Touche Ger. - am Griffbrett

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With the Wood of the Bow

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It. - Col Legno Fr. - Avec le Bois Ger. - Col Legno

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At the Point of the Bow

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It. - Punta d'Arco Fr. - (de la) Pointe Ger. - Spitze

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At the Frog

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It. - al Tallone Fr. - du Talon Ger. - am Frosch

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Bells in the Air

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It. - Campane in Aria Fr. - Pavillons en l'Air Ger. - Schalltrichter auf

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Half (a string group)

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It. - la meta Fr. - la moitie Ger. - die Halfte

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Stopped (horns)

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It. - Chiuso Fr. - Bouche(s) Cuivre Ger. - Gestopft Schmetternd

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Open

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It. - Aperto Fr. - Ouvert Ger. - Offen

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With Soft Stick

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It. - Bacchetta di Spugna Fr. - Baguette d'Esponge Ger. - mit Schwammschlegel

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With Hard Stick

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It. - Bacchette di Legno Fr. - Baguettes en Bois Ger. - mit Holzschlegeln

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In the Ordinary Way (after sul pont., sul tasto, etc.)

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It. - Modo Ordinario Fr. - Mode Ordinaire Ger. - Gewohnlich

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String

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It. - Corda Fr. - Corde Ger. - Saite

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Cognitive Developmental Theory of Piaget

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1. Sensorimotor 0-2 yrs. Observe their environment through exploration and motor skills. 2. Preoperational 2-7 yrs. Problem solving skills & language growth. Color, size, use, and shape of objects. 3. Concrete Operational 7-11 yrs. Expand their knowledge of classification and recognize similarities regarding items of the same height or pitch 4. Formal Operational 12-teenage yrs.. Abstract thoughts to solve problems.

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Erik Erikson

answer

Freudian psychology. Believed each stage of children's development offers tasks that a child can be challenges with possibility of failure. Teachers should recognize that children's self worth is wrapped in their definition of success. Music should offer a personal sense of success.

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Lev Vygotsky

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Importance of culture in a child's development with awareness that parents and older children affect child's behavior. Teacher or parent can assist a child in defining problem to be solved and then dividing into workable sections using verbal instruction and encouragement.

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Jerome Bruner

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His ideas are based on categorization (3 modes of fact-gathering for children.) 1. Physical manipulation 2. Pictoral representation 3. Symbolic Understanding

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Bruners Four Features of Learning

answer

1. Exploration, should be encouraged to show curiosity to learn about their world. 2. Info should be easily accessible and comprehensible 3. Order or sequence should be logical and orderly 4. Method of reward should be installed so children are encouraged

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School Music Program: A New Vision K-4

answer

Sing on pitch and rhythm, steady tempo, ostinatos, rounds, partner songs, improvise simple ostinato accompaniments, improvise short songs, use body and nontraditional sounds to make music, create and arrange music to accompany readings, create short songs, read whole, half, dotted half, quarter, eighth notes, rests in 2/4, 3/2, 4/4 meter, Use system (syllables, numbers, letters) reading simple pitch notation, Navajo, Arabic, Latin American music, Evaluate music,

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School Music Program: A New Vision 5-8

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Sing with breath control, alone and in small and large ensembles, sing with expression vocal lit. on a difficulty level of 2 including songs from memory, two and three parts, improvise simple harmonic accompaniments, simple rhythmic and melodic variations on given pentatonic melodies and major keys, read whole, hald, quarter, eighth, sixteenths, and dotted notes and rests in 2/4, 3/4, 4/4, 6/8, 3/8 and alla breve. SR music with difficulty of 2, recognize jazz, mariachi, gamelan

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School Music Program: A New Vision 9-12

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Sing with expression and technical accuracy, large and varied repertoire of vocal literature difficulty of 4 on scale of 6, sing 4 parts with and without accompaniment, improvise stylistically appropriate harmonizing parts, improvise in pentatonic, major and minor keys, compose in several distinct styles, evolve criteria for making informed critical evaluations of the quality, compose, arrange, improvise, Baroque, Sub-Saharan, African, Korean, sing, broadway musicals, blues.

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MIDI

answer

Musical Instrument Digital Interface. Standard specification that enable electronic instruments such as the synthesizer, sampler, sequencer, and drum machine from any manufacturer to communicate with one another and with computers.

question

Orff-Schulwerk Approach

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Combines music, movement, drama, speech into lessons that are similar to child's world of play. Four Different Stages within the Orff-Approach 1. Imitation - the teacher, group leader, or students perform for the class and the class in turn repeats what was played for them. 2. Exploration - Allows students to seek out not only the different musical aspects that the Orff instruments offer but they also explore aural/oral skills and the different motions and expressions that the body is capable of 3. Literacy - Taught by learning musical notation and becoming familiar with the various forms of music like rondo, and ABA 4. Improvisation - The act of creating something, especially music, without prior preparation.

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Hornbostel-Sachs System of Musical Instruments Classification

answer

Idiophones, membranophones, chordophones, aerophone, electrophone

question

Which of the following lists the musical genres in the correct chronological order of their development? A. Motet, string quartet, opera, symphonic poem B. Motet, opera, string quartet, symphonic poem C. Opera, motet, string quartet, symphonic poem D. Opera, symphonic poem, motet, string quartet

answer

B. motet - 13th century opera - 17th century string quartet - 18th century symphonic poem - 19th century

question

Which of the following is likely to cause faulty intonation by singers in a high school choir? A. Inadequate rehearsal time B. Unsupported tone C. Singing in a foreign language D. Lack of an instrumental accompaniment

answer

B. Unsupported tone

question

Prior to learning about meter, elementary students should be able to demonstrate their understanding of A. weak and strong beats B. syncopation C. subdivision of the beat D. tempo markings

answer

A. weak and strong beats Meter, the grouping of beats into repeated sets of two, three or more beats, depends on the differentiation between weak and strong beats; thus, students must understand this differentiation before they learn about meter.

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Which of the following is an example of a critical thinking skill? A. Students label the parts of a chord B. Students notate rhythmic patterns in all of the common meters C. Students compare to different recordings of the same work D. Students transpose a trumpet part from written pitch to concert pitch

answer

C. Students compare to different recordings of the same work In cognitive domain, evaluation represents a high-level thinking skill. When students compare two recordings of the same work, they must use the skill of evaluation.

question

Creating an ostinato on barred instruments to accompany a folk song is most closely associated with which of the following approaches? A. Orff B. Kodaly C. Dalcroze C. Gordon

answer

A. Orff The singing of folk songs accompanied by improvised ostinatos on barred instruments is an important component of the curricular approach developed by Carl Orff.

question

Orff Composition

answer

Carmina Burana

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Under current U.S. copyright law, guidelines for educational uses ("fair use") of music permit all of the following EXCEPT A. emergency copying to replace purchased copy that is lost and is not available for an imminent performance B. making a single copy of recordings of performances for evaluating rehearsal purposes C. making an arrangement of a copyrighted work for a school ensemble to perform D. copying for the purpose of scholarly research

answer

C. making an arrangement of a copyrighted work for a school ensemble to perform

question

Which of the following ballets was written by Copland? A. Swan Lake B. Romeo and Juliet C. The Rite of Spring D. Appalachian Spring

answer

D. Appalachian Spring Copland composed Appalachian Spring in 1944 for the choreographer Martha Graham. Swan Lake - Tchaikovsky Romeo and Juliet - Prokofiev The Rite of Spring - Stravinsky

question

Which of the following modes has a major tonic triad? A. Aeolian B. Phrygian C. Mixolydian D. Dorian

answer

C. Mixolydian The Aeolian, Phrygian, and Dorian modes have minor tonic triads. The Mixolydian mode has a major triad.

question

Which of the following venues could normally be expected to have the longest reverberation time? A. Recital hall B. Coffeehouse C. Gothic-style cathedral D. Opera house

answer

C. Gothic-style cathedral Reverberation is most noticeable in large spaces, such as cathedrals and other large stone buildings, characterized by walls and floors constructed of hard, reflective surfaces. Opera houses are large, but their interiors include curtains, soft seats, and other soft surfaces that absorb sound. Likewise, acoustically "dead" spaces such as coffeehouses and recital halls are usually quite small and have walls of nonreflective surfaces such as drywall and plaster.

question

Which of the following is a well-known, prolific researcher in music education, author of several standard texts on music education topics, and a coeditor of The New Handbook of Research on Music Teaching and Learning? A. Lowell Mason B. Bennett Reimer C. Edwin E. Gordon D. Richard Colwell

answer

D. Richard Colwell Richard Colwell is a prolific music education researcher and author.

question

Conducting cues are customarily given when A. a soloist or a section must fade out on a long note B. a soloist or a section enters after a long rest C. the articulation changes from one style to another D. the meter changes from simple to compound

answer

B. a soloist or a section enters after a long rest During long rests, performers may lose count and will enter with confidence if a cue is given

question

excerpt from the gamelan music "Bubaran Hudan Mas") What is the country of origin? A. India B. Indonesia C. Peru D. Japan

answer

B. Indonesia The excerpt heard on the CD features music by a characteristic Indonesian gamelan ensemble composed primarily of hanging gongs, gong-chimes, and drums. The correct answer is B.

question

excerpt from Terry Riley's In C. Who is the composer? A. Terry Riley B. Charles Ives C. John Corigliano D. Duke Ellington

answer

A. Terry Riley Terry Riley's In C is characterized by layering of repeated, short melodic modules and ostinatos. This question is another type commonly appearing on the test. As a study activity, one could research the biography and style of each of these leading composers and listen to works representative of each. This particular question asks about American composers. Another good study activity would be to determine other leading composers in history that might appear in test questions. Become familiar with representative examples of each of their works.

question

- standard chamber ensemble consisting of two violins, viola, and cello - multimovement composition for this ensemble

answer

String Quartet

question

a set of pieces that are linked together into a single work. During the baroque, usually referred to a set of stylized dance pieces

answer

Suite

question

term coined by Franz Liszt for a one-movement work of program music for orchestra that conveys a poetic idea, story, scene, or succession of moods by presenting themes that are repeated, varied, or transformed

answer

Symphonic Poem (or tone poem)

question

large work for orchestra, usually in four movements

answer

Symphony

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Italian for "touched" - piece for keyboard instrument or lute resembling an improvisation that may include imitative sections or may serve as a prelude to an independent fugue

answer

Toccata

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solo vocal piece with instrumental accompaniment

answer

Aria

question

used to catalogue the compositions of J.S. Bach, stands for Bach-Werke-Verzeichnis

answer

BWV

question

a term used to classify a composition in relation to the composer's other compositions

answer

Op or Opp

question

the name of the numbering scheme used to categorize Mozart's work

answer

Kochel Verzeichnis or Catalog

question

continuous variations on ground bass similar to chaconne (baroque)

answer

Passacaglia

question

French lyrical poem (renaissance)

answer

Rondeau

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music composition using sacred texts (baroque)

answer

Cantata

question

a musical dramatic work

answer

Opera

question

plain chant, note against note counterpoint (medieval)

answer

Organum

question

a secular song for 2 or 3 unaccompanied voices (renaissance)

answer

Madrigal

question

popular baroque dance in triple time

answer

Gigue

question

French peasant dance (baroque)

answer

Gavotte

question

polyphonic composition sacred text without accompaniment (Renaissance) associated with the church

answer

Motet

question

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