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| without instrumental accompaniment |
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| large group of singers; also used to denote a refrain or choral segment of an oratorio |
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| greater emphasis on note or chord |
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| way in which musical tones are attacked |
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| connecting pitches smoothly |
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| the speed of a musical composition |
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| graph of five horizontal lines on which musical notes are placed |
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| the symbol for the G clef |
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| the G and F clefs joined together |
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| distance between two pitches |
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| interval from one pitch to the next adjacent pitch |
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| interval formed by two half steps |
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| key center or home key of a piece |
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| how melodic and harmonic elements are organized around a tonal center |
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| scale entirely composed of half steps |
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| seven-tone sclae composed of W-W-H-W-W-W-H steps |
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| seven tone scale composed of W-H-W-W-H-W-W |
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| five note, whole tone scale |
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| major and minor keys that have identical key signatures |
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| musical symbol that raises the pitch a half step |
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| musical symbol that lowers the pitch half a step |
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| the sharps or flats placed at the beginning of a musical composition to affect the entire composition |
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| system for identifying the pitches of the Western scale: DO RE MI FA SOL LA TI DO |
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| a melodic progression of pitches ascending or descending without skips |
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| vertical line drawn on the staff to divide music into measures |
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| group of beats between the bar lines on the staff |
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| vertical lines that signify the end of a composition |
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| numbers placed at the beginning of a composition |
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| one or more notes that occur before the first measure of a musical composition |
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| small vertical, flutelike instrument whose pitch is determined by covering or uncovering holes with the fingers |
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| pitched percussion instrument made from wooden bars mounted on a frame |
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| tuned metal bars mounted individually on a block of wood or plastic that serves to enhance the sound |
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| small instrument made of tuned metal bars mounted horizontally on a frame |
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| medium to large diatonic instrument with tone bars made of aluminum and tuned for perfect pitch and harmonies |
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| Unpitched Percussion Instruments |
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| used primarily to provide rhythmic accompaniments to songs; divided into woods, metals, and skins |
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| Does music make you smarter? |
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| Increases spatial-temporal reasoning; can develop a vocabulary for music and movement on which to base future music studies; piano instruction significantly increases spatial; improvement is temporary |
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| Howard Gardener’s Multiple Intelligences |
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| Linguistic, Logical/Mathemtaical, Musical Rythmic, Bodily/Kinesthetic, Spatial, Naturalist, Intrapersonal, Interpersonal, Exsistential |
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| capacity to use language to express what’s on your mind – writer, orator, speaker, lawyer |
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| Logical/Mathematical Intelligence |
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| capacity to understand the underlying principles of some kind of causal system or to manipulate numbers, quantities, and operations |
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| Musical Rhythmic Intelligence |
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| capacity to think in music; to be able to hear patterns, recognize them, and perhaps manipulate them |
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| Bodily/Kinesthetic Intelligence |
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| capacity to use your whole body or parts of your body to solve a problem, make something, or put on some kind of production |
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| abliity to represnet the spatial world internally in your mind; navigation of sailor or pilot |
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| ability to discriminate among living things and sensitivity to other features of the natural world |
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| Intrapersonal Intelligence |
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| having an understanding of yourslef; knowing who you are, what you can do, what you want to do, how you react to things, which things to avoid, and which things to gravitate toward |
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| Interpersonal Intelligence |
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| ability to understand other people |
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| Exsistential Intelligence |
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| ability and proclivit to pose questions about life, death, and ultimate realities |
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| Emile Jacques-Dalcroz (pioneer of movement); includes eurhythmics (experienceing elements of music through body movement), soflege, and improvisation |
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| Carl Orff; includes active participation, movement, singing, instruments (Orff instruments), Improvisation; explore and experience first by imitation then creation; part then whole; simple then complex; individual then ensemble |
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| Zoltan Kodaly; vocal approach to music literacy (ability to read, hear and think music); focus on music reading, singing is foundation – believed musicianship began with voicel sequential – beginning with young children; folk songs in mother tongue and other music of the “highest” quality; child-developmental approach (taught from child’s point of view); tools: solfege, curnew hand signs, rhythm syllables |
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1. Oral Tradition
2. Stood the test of time – staying power – variants
3. Anonymous Composer |
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| Why are folk songs valuable? |
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| Let kids bring out emotions dont always get to address through another medium; singable and appropriate for voices; memorable melodies; pure enjoyment; good tools for teaching musical elements |
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| focus on topic and music used to supplemnt the curriculum |
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| Parallel Concepts Approach |
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| explore commonalities among other arts; focuses on common concepts found in dance, music, theatre, and the visual arts |
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| simplify, use repetition, revisit familiar songs |
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| break into parts; focus on one thing at a time |
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| feel vibrations, tactile, seat next to strong singer |
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| don’t give extra work; use as leader |
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| pay attention to person; don’t change rules; separate student from behavior |
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| similar to sqaure dance; no caller; no instrumental accompaniment; no waist swings |
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| used to indicate solfege; fingers used = half step |
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