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32 Cards in this Set
- Front
- Back
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Beat |
Steady pulse underlying music |
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Tempo |
speed of the beat |
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Metre |
periodic accenting of specific beats |
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Rhythm |
varied durations of notes |
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Dynamics |
Volume |
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Timbre |
tone colour in the voice/instrument |
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Form |
The way music is structured |
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harmony/texture |
simultaneous sounding of more than 1 note |
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Expressive Elements |
Emphasis on notes |
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Encounters with Music |
Perform: Make Compose: Create Listen: Consume through variety of ways, actively, concretely and authentically. |
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Musical Styles |
- Variety needed to make meaninful decisions, build depth - IE FNMI traditional, 20th century jazz/pop, international -prior experiences as baseboard |
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Solfege/Tonic Solfa |
Sight singing system using syllables -to teach to sight read pitch |
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Tonic Solfa/Solfege Hand Signals |
Kinesthetic reinforcement doh - fist re - slanted hand mi - flat hand soh- sideways Lah - humped |
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Concrete Manipulatives |
Tools used in lesson to provide hands on experience in manipulating musical structure ie pink felt, popsicle sticks, flashcards |
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Concrete Motivator |
Object used to motivate kids, ie puppet, star stick, picture |
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Rythmic Syllables vs Traditional Names |
* see notes* |
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Body Percussion |
using body as instrument - patsching -simultaneous imitation - good for timbre exploration - diff levels for diff pitches |
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Beat Pedagogy |
Steady pulse - awareness - feel beat - competency - keep bet |
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Rhythm Pedagogy |
Varied durations of notes/silences - happens over a seady beat |
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Historical |
Pestalozzi - active in learning Dalcroze - movement importance Orff- body first instrument, many experiences Kodaly - lawful right, folk songs of nation Bruner - spiral curriculum |
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Musical Literacy |
Reading, writing of musical noation - important for comprehensive understanding (independence in learning) - 2 authentic models: performing & composing |
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Environment (non physical) |
- ask questions, take risks - problem solving -analyzing own work, valuing others |
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Environment (Physical) |
- enough area (min. furniture, carpet, good sing posture) - conrete equip (ie scarves, ribbons, balls) - variety of resources, songs. copies for all - stereo system with ind. listening and cds - concrete materials (ie pop sticks) - instruments - video equipment |
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Instruments |
Non pitched: rhythm sticks, triangles, hand drums Pitched: xylophones, glocks ALSO: recorders/ukes piano |
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Musical Understanding |
ability to think/act musically with PERSONAL MEANING - structure/syntax - curricu should inspire, intensify - response is musical intell |
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Teaching Singing (Rote) |
- orally (no notation) - whole song/global approach - give pitch, tempo - phrase by phrase - kids echo, keep beat |
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Teaching Singing (note) |
1 - rhythmic syllables (tah) 2 - Sing in tonic sol-fa 3- read melodic passages 4 - teacher assisted 5 - independent |
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Pre-req singing in tune |
Pitch discrimination - one pitch from another p. production - manipulate singing voice through range p. monitoring - hear own pitch motivation - desire, self esteem |
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Strategies for Teach singing in tune |
1. Strong criteria, dev. apprt in choosing songs 2. concrete motivator 3. explore 4 voices(sing, talk, shout, whisper) 4. experience individual singing 5. repetition 6. kinesthetic aids |
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Movement |
simultaneous, many cultures inseperable. - non loco and locomotor |
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Recorder |
Grade 3/4 Introduction Write notes if helps positive reinforcement |
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Sound Before Symbol |
Step 1. Aural, kinesthetic, oral, Participate. 10 elements unconsciously, ie clap rhythm 2) Label, learn verbal/visual labels 3) Reinforce. practice recognizing, translating, ie read new song 4) Create new music using notation symbols |
