Edel 325

Front 1

What are the similarities between musical intelligence and linguistic intelligence?

Back 1

1. Language and music are universal to all humans and specific to humans.
2. Language and music are capable of generating an unlimited number of novel sequences.
3. The natural medium for both language and music is auditory-vocal.
4. Children seem to have a natural ability to learn the rules of language and music through exposure to example.
5. Receptive skills precede productive skills in the development process. (p.17-21)

Front 2

What is musical understanding? (P4)

Back 2

The ability to think and act musically with personal meaning – involves students using their knowledge of musical structure and syntax acquired during classroom experiences in order to think, to act flexibly, and to ultimately bring personal intervention to any of their musical encounters.

Front 3

10 Elements of Music

Back 3

1 Beat,
2 Meter,
3 rhythm,
4 Tempo,
5 dynamics,
6 pitch,
7 timbre,
8 harmony/texture,
9 form,
10 expression

Front 4

3 ways children encounter music

Back 4

performers, composers, listeners

Front 5

Classroom music experiences (8)

Back 5

1. Singing
2. Playing classroom instruments
3. Improvising
4. Composing
5. Listening
6. Reading music
7. Writing music
8. Moving to music

Front 6

POS uses 10 elements of music as over-arching concepts

how are they sequenced?

Back 6

easy to complex

Front 7

Explain spiral progression

Back 7

Children study progressively more sophisticated musical concepts from all ten elements of music during each consecutive grade level.

– thus, the purpose of the purpose of the easy-to-complex sequence of musical concepts is to select the simplest concepts from each of the ten musical elements for kindergarten, leaving the most complex for teaching in Grade 6.

Front 8

Explain learner-centered

Back 8

Teachers should incorporate classroom strategies that promote learning in ways that allow individual students to reach their potential through the most positive routes possible. (when learning about any of the 10 musical elements, children should be provided with classroom lessons that involve a variety and balance of experiences; from 8 experiences listed above).

Front 9

What is developmentally appropriate

Back 9

Daily classroom activities involving any of the 8 musical experiences need to be developmentally appropriate: that is they should match the children’s cognitive, psychomotor, and socio-emotional development levels.

Front 10

What are the "sound before symbol" teaching steps?

Back 10

1. aural, kinaesthetic, oral: rote learning
2. Label: notational symbols with the new song
3. Reinforce: practice!
4. Create: compose and improvise

Front 11

What is music literacy

Back 11

reading and writing of musical notation (music theory)

Front 12

What is the difference between structured movement and creative/exploratory movement

Back 12

Structured movement – action songs, singing games, and dances

Creative or exploratory movement – movement used to interpret music.

Front 13

beat awareness

Back 13

ability to feel a steady beat in music

Front 14

beat competency

Back 14

ability to keep a steady beat while singing or playing an instrument

Front 15

beat-movement activities

Back 15

activities that use movement to help children feel a steady beat

Front 16

meter

Back 16

the periodic accenting of specific beats over others

Front 17

non-locomotor motion

Back 17

movement that is performed in a stationary position (in child's own space)

Front 18

locomotor motion

Back 18

movement that involves travelling from one space to another

Front 19

end point of the beat

Back 19

a physical spot at which the beat is felt kinesthetically (ictus?)

Front 20

tempo discrimination

Back 20

ability to hear the difference between faster and slower tempos

Front 21

tempo production

Back 21

ability to use tempo effectively during performing or improvising

Front 22

musician's way to keep the beat

Back 22

discreetly tapping the toes inside one's shoes

Front 23

Sequence of beat-movement-teaching
(17 steps)

Back 23

Step 1: the child sings a song or chants a rhyme in his or her own space while moving his or her arms together in a repetitive beat motion with an end point for the beat.

Step 2: the child sings a song or chants a rhyme in her or his own space while alternating her or his arms in a repetitive beat motion with an end point for the beat.

Step 3: the child sings a song or chants a rhyme in his or her own space while moving his or her arms together or in alternation in a repetitive beat motion with no end point to the beat.

Step 4: the child sings a song or chants a rhyme in her or his own space while manipulating a concrete object on the beat.

Step 5: the child sings a song or chants a rhyme in her or his own space while playing a percussion instrument on the beat.

Step 6: the child sings a song or chants a rhyme in his or her own space while moving his or her arms in a repetitive beat motion with a partner.

Step 7: the child listens to recorded music in her or his own space while moving her or his arms together or in alternation in a repetitive beat motion with or without an end point for the beat.

Step 8: the child listens to recorded music in his or her own space while manipulating a concrete object on the beat.

Step 9: the child sings a song, chants a rhyme, or listens to recorded music in her or his own space while passing an object to another person on the beat.

Step 10: the child sings a song or chants a rhyme while his or her arms travel from space to space.

Step 11: the child sings a song, chants a rhyme or listens to recorded music in her or her own space while making stepping beat motions.

Step 12: the child sings a song, chants a rhyme or listens to recorded music while travelling from space to space with stepping beat motions.

Step 13: the child leads the class in keeping the beat in a repetitive arm beat motion or stepping beat motion while singing a song, chanting a rhyme, or listening to recorded music

Step 14: the child sings a song, chants a rhyme, or listens to recorded music in her or his own space while keeping repetitive arm beat motions going, even when the music temporarily continues only in the child’s inner hearing.

Step 15: the child sings song, chants a rhyme, or listens to recorded music in his or her own space while keeping stepping beat motions going, even when the music temporarily continues only in the child’s inner hearing.

Sep 16: the child sings a song, chants a rhyme, or listens to recording music while travelling from space to space with stepping beat motions, even when the music temporarily continues only in the
child’s inner hearing.

Step 17: the child in his or her own space is able to sing a song, chant a rhyme, or play an instrument with a steady beat by keeping the beat with a hidden motor movement in the toes.

Front 24

define Rhythm

Back 24

the varied durations of notes or silences over a steady beat.

Children’s focus on text leads to the recognition of rhythmic patterning

Young children often think of rhythm as the way the words sound.

Front 25

4 rhythm concepts

Back 25

1. rhythm (words)
2. rhythm vs beat
3. individual rhythmic values (ta, ti-ti)
4. rhythmic patterns (combinations of note values)

Front 26

pitch

Back 26

highness or lowness of a note

Front 27

melody

Back 27

high and low pitches strung together to make a melody (the way the tune goes)

Front 28

pitch discrimination

Back 28

ability to hear whether two notes are the same or not

Front 29

melodic contour

Back 29

upward and downward linear shape of pitches in a melody

Front 30

pitch production

Back 30

ability to make higher and lower pitches with the voice

Front 31

absolute pitch names

Back 31

musical alphabet A B C D E F G

Front 32

timbre

Back 32

the tone colour of an instrument or voice

Front 33

4 voice timbres

Back 33

shouting, talking, & singing

soprano, alto, tenor, bass

Front 34

4 instrumental timbres

Back 34

1 booming
2 tapping
3 ringing

Front 35

form

Back 35

the way in which music is structured into an organized journey

Front 36

phrase

Back 36

complete musical sentences that are delineated by a pause or a breath

Front 37

phrase form

Back 37

arrangement of individual phrases into a structure of same, different, or similar phrases; the individual phrases are usually labelled with lowercase letters (small letters - a, b, c, etc)

Front 38

sectional form

Back 38

is the arrangement of larger sections of music made up of several phrases into a structure of same, different, or similar sections; the individual sections are usually labelled with capital letters (A, B, C, etc)

Front 39

Coda

Back 39

Coda- a short section of music placed at the end of a piece of music, usually to serve as an epilogue.

Front 40

Introduction

Back 40

Introduction – a short section of music placed at a beginning of a piece of music, usually to serve as a prologue

Front 41

Sectional Form sequence (5)

Back 41

1. Binary AB
2. Ternary (ABA)
3. Rondo (ABACA)
4. Theme & Variations (A A1, A2, etc.)
5. Fugue (polyphony melody/subject & counter subject/contrasting theme)

Front 42

Curricular planning, as the ability to bring educational goals into daily action (Montgomery, 2002, p. 311) is affected by

Back 42

i. “provincial educational goals and specific directives regarding music teaching” (Montgomery, 2002, p. 312) – the official program of studies
ii. local school board goals and directives regarding music teaching
iii. individual school goals and the administrator’s expectations about the role of music in the elementary school program
iv. teacher attitudes about “the role of music in the elementary curricula” (Montgomery, 2002, p. 312)
v. teacher comfort with providing music instruction
vi. a teacher’s musical knowledge
vii. the amount of time available for music classes
viii. classroom size and grade levels
ix. classroom space and equipment availability
x. the nature of the children being instructed

Front 43

2. The difference between assessment and evaluation is that

Back 43

assessment is ongoing and formative. Evaluation is summative and usually done as a culminating activity.

Front 44

3. Formal assessment, as “the gathering and recording of evidence of student growth in musical understanding” should be done when?

Back 44

all the time as part of the instructional process (Montgomery, 2002, p. 318).

Front 45

examples of monophonic music

Back 45

“Alleluia” (Montgomery, 2002, p. 298)
“Savez-vous planter des choux” (Montgomery, 2002, p. 31)

Front 46

examples of polyphonic music

Back 46

“Laugh Ha! Ha!” (Montgomery, 2002, p. 297)
“Iroquois Lullaby” (Montgomery, 2002, p. 32)

Front 47

6. Development of dynamic discrimination involves what two things?

Back 47

listening and moving.

Front 48

define head voice

Back 48

“light, natural treble” and the “beautiful upper singing register of the child’s voice” (Montgomery, 2002, p. 26)

Front 49

8. Two activities that can help children discover their head voices are

Back 49

i. “the use of the head voice can be encouraged in the classroom by using children’s songs
that contain only notes in the upper part of the child’s natural singing” (26)
ii. “pretend to be an owl and make a high-pitch “whooo” sound. Repeat this several times;
each time try to make the “whooo” a little higher than the last time (Houlahan & Tacka, 2008, p. 75).
iii. “pretend you’re falling off a cliff “aaahhhhhhhh” (sirens) (Houlahan & Tacka, 2008, p. 75)

Front 50

9. Describe an activity suitable for a primary grade to teach melodic contour.

Back 50

i. Children can “draw” the melodic contour of a melody using movement (grades 1-2) pg 239
ii. Children can “draw” the melodic contour of the melody using movement and a rope (grades 1-2) pg 240
iii. Children can trace the melodic contour of a notated melody (grades 1-2) pg 240

Front 51

10. What is the difference between pitched and non-pitched percussion instruments?

Back 51

Non-pitched percussion “sound on only one pitch, such as finger cymbals, claves, or sand
blocks” pg 66
Pitched percussion are “multi-barred instruments that produce thirteen different pitches
(such as glockenspiels, xylophones, and metallophones), or single bass bars that sound
only one pitch” pg 66
“non-pitched percussion: percussion instruments that sound on only one pitch” (Montgomery, 2002, p. 270)
“pitched percussion: percussion instruments that sound on multiple pitches” (Montgomery, 2002, p. 270)

Front 52

12. Why is it valuable to use a review song when introducing the label for a new pitch or
rhythmic value?

Back 52

“This will help the children build their new symbolic knowledge upon previous aural and kinaesthetic experience with the melody of that song” (Montgomery, 2002, p. 244)

Front 53

13. Describe 2 activities that could be used to help children explore timbre.

Back 53

1) play “where is the sound coming from” and have the children stand up when they hear that the teacher has changed instruments (Montgomery, 2002, p. 271)
2) “same and different sounds” – have the children hop for one instrument’s timbre and march for another instrument’s sound (Montgomery, 2002, p. 271)
3) “classifying sounds” – ask children to sort instruments into timbre categories such as: ringing, tapping, or booming (Montgomery, 2002, p. 272)

Front 54

14. What are the three phrase types?

Back 54

Same, different, and similar “the arrangement of individual musical phrases into a structure of same, different, and/or similar phrases; individual phrases are usually labelled with small letters (a, b, c, etc.) (Montgomery, 2002, p. 359)

Front 55

define Monophonic:

Back 55

music written in only one part with no accompaniment

Front 56

define polyphonic

Back 56

music made up of two or more independent parts

Front 57

Homophonic definition

Back 57

music made up of two or more parts that move together rhythmically but in different pitches; music made up of a melody and a chordal accompaniment.

Front 58

Interval:

Back 58

the distance between two notes; intervals can be measure by whole and half steps, or by their relation to the major scale.

Front 59

Concrete motivator:

Back 59

a unique object (such as a puppet, an article of clothing, or a picture) that the teacher shows the children to motivate them towards a particular song or rhyme.

Front 60

Rhythmic syllables:

Back 60

a mnemonic device for verbalizing rhythm, using syllables such as tah or ti-ti

Front 61

Pitch discrimination: (the difference between high and low pitch)

Back 61

the ability to determine one pitch from another, and to hear a succession of pitches

Front 62

Pitch production:

Back 62

the ability to manipulate one’s singing through a range of pitches

Front 63

Pitch monitoring:

Back 63

the ability to hear and focus on one’s own vocal pitch

Front 64

Motivation to sing:

Back 64

having the desire and positive self-esteem to sing with others

Front 65

Rote-note observation method:

Back 65

a variation of the rote method that combines both rote and note teaching

Front 66

Neutral syllable:

Back 66

“loo” used to sight read melodic passages; so any syllable you choose to use to teach instead of tonic sol-fa syllables ex: doh, re, mi etc)

Front 67

Fill-in-the-blank song:

Back 67

a song in which a leader sings most of the song while the rest of the singers sing only the missing text of the song (indicated by a blank line in the music)

Front 68

Call-and-response:

Back 68

songs consisting of alternating sections of calls sung by the leader (solo) and responses sung by the rest of the singers (chorus)

Front 69

Piggy-back songs:

Back 69

songs that combine a familiar melody with new or different words

Front 70

Ostinato:

Back 70

a short melodic or rhythmic pattern that is repeated over and over as an accompaniment

Front 71

Bordun:

Back 71

two notes – usually the tonic (I) and the dominant (V) of the key of the song – that are played as an ostinato accompaniment

Front 72

Pedal tone (drone):

Back 72

a single note – usually the tonic note (I) of the key of the song – that is used as an ostinato accompaniment

Front 73

Canon (round):

Back 73

polyphonic music for voices or instruments, in which all parts perform the same melody; each voice enters after a specific time interval, and imitates exactly the melody sung or played by the first voice

Front 74

Partner song:

Back 74

two songs that produce acceptable harmony when sung together

Front 75

Descant:

Back 75

an independent and sometimes ornamental melody written above the main melody of the music that provides both harmony and decoration for the main melody

Front 76

Countermelody:

Back 76

an independent melody written below the melody of the music that enriches the main melody by providing not only harmony but also musical contrast

Front 77

Simultaneous imitation:

Back 77

the simultaneous copying of body movement performed by a leader

Front 78

Timbre exploration

Back 78

classroom experiences that allow children to try out timbres of different instruments

Front 79

Timbre discrimination:

Back 79

the ability to determine one timbre from another

Front 80

A cappella:

Back 80

singing with no instrumental accompaniment

Front 81

Circle Dances:

Back 81

folk-like dances done in a circle, and often accompanied by the dancer’s own singing

Front 82

Eurythmics:

Back 82

a series of movement-based activities that allow the expression of musical nuance by using the entire body as a musical instrument

Front 83

Duple meter:

Back 83

music with a metre in which beat units are grouped into two, such as 2/4 or 4/4

Front 84

Triple meter:

Back 84

a metre in which the beat units are groups of three ex 3/2, ¾, or 3/8, 9/8

Front 85

Phrase form:

Back 85

the arrangement of individual musical phrases into a structure of same, different, and/or similar phrases; individual phrases are usually labelled with small letters (a, b, c, etc)

Front 86

Curricular planning:

Back 86

the ability to bring educational goals into daily action

Front 87

Assessment:

Back 87

the tracking and recording of student progress on a regular basis in a fair and ethical manner

Front 88

evaluation

Back 88

an official judgement of the merit of the data collected during assessment

Front 89

Informal Assessment:

Back 89

unrecorded observations of a student’s progress in musical understanding

Front 90

Formal Assessment:

Back 90

the gathering and recording of evidence of a student’s growth in musical understanding