GACE Exam

Discuss how to extract a bright tone vs. a dark tone from a chorus

"Bright" and "dark" are descriptions of tonal quality. Tonal quality is independent from pitch, as demonstrated by a violin and a cello, for example. If both were played to produce the same note, their tonal qualities would still differ, with the violin producing a brighter tone. A bright tone emphasizes the partials in the upper midrange. A dark tone, in contrast, will have a tonal balance emphasizing the lower range, with weak high frequencies. In terms of singing, a bright tone is one that resonates father forward in the face, and is associated with the front vowels [i] and [e]. A dark tone resonates further back, and is associated with the vowels [u], [o], and [a]. In a full chorus, the brightness or darkness of a passage can be adjusted through the manipulation of vowel quality. In general, female vocalists tend to have brighter tones.

Discuss techniques to improve a chorus' intonation and vocal technique

A fundamental element of good choral sound lies in accurate intonation. Without all of the voices sounding in pitch, balance and blend become the least of a choral director's concerns. There are many rehearsal techniques to improve a chorus' intonation. Sometimes, changing the seating arrangement of the chorus can drastically improve intonation. Be sure that all vocal parts can hear each other clearly so that intonation is no longer an issue. If the seating arrangement is not the issue, then the director can take the singers through a problem spot singing every beat vertically, stopping on each harmony for accurate pitches. Directors can also warm up with dominant chords and tonic pedals so that the singers always have a reference pitch to tune to. Singers should practice breathing exercises, vocalizations, and etudes to strengthen their vocal mechanisms and their vocal technique.

Discuss instructional activities music educators could us to foster a relaxed instrumental playing approach

Approaching instrumental playing in a healthy manner requires a relaxed body to prevent injuries and to enhance instrumental tone and resonance. Physical tension in a musician can translate to unpleasant, thinner, and pinched sound. Music educators can foster a relaxed approach to instrumental playing through daily instructional activities that encourage flexibility and freedom at the instrument. Rehearsals and music classes that start with physical stretching help students to release any existing tension, while signaling to the body a time for increased blood flower and loos joints. Music educators can implement warm-ups that involve tensing and releasing the shoulders so students can feel the presence and absence of tension in their bodies. Consistent and frequent reminders for a student to relax any tension will also help to make a relaxed approach a habit for the student.

Discuss strategies for motivating students in the music classroom

As a music educator, it is important to provide motivation for students in the music classroom, since motivated students result in higher engagement and better learning. One effective strategy for motivating students is to become a role model for the students; Another strategy is to know the students well; once the students know that the teacher is involved in their education, they will be motivated to do well. Also, the teacher should use positive reinforcement and constructive criticism. the nonjudgmental remarks should motivate students on ways to improve. The music educator should also use frequent activities where the students have the opportunity to demonstrate their achievements, encouraging them to progress to the next level in cooperation. The teacher should also set realistic performance goals, ones that are appropriately challenging but still attainable.

Describe how the changes of physical, cognitive, and social development during puberty affects music learning

As students progress through puberty in ages 10-14 for girls and 12-16 for boys, there are many changes physically, cognitively, and socially that affect their music learning. Students will b going through many growth spurts, and their reference for a posture or instrument positioning may need to be adjusted accordingly. Also, voice development will affect vocal students as the larynx enlarges and the vocal chords lengthen and thicken. The physiological changes of the vocal mechanisms tend to affect boys more than girls, evident in the "cracking" of the voice. During puberty, students will have to work towards singing voice production, pitch accuracy, increasing vocal range, and maintaining a positive attitude towards choral singing. Cognitively, students in puberty are increasingly able to process conceptual ideas and should work on self-regulating musical activities and performances. Socially, students in puberty tend to need more opportunities for self-expression, autonomy, and acceptance in their music learning.

Describe the symptoms of adolescent vocal change and techniques to refine vocal development for students

As students undergo puberty, hormonal fluctuations and growth spurts may cause many singers to undergo the added challenges of adolescent vocal change. Females typically undergo puberty between the ages of 10 and 18, while males typically undergo puberty between the ages of 12 and 20. Adolescent vocal change occurs in both males and females, but it's most prominent in male singers. During puberty, the vocal tract increases in length and circumference, and the larynx increases the size and density. symptoms include cracking and abrupt register breaks. While the vocal mechanisms are developing an adolescent students, it is important to practice safe and intelligent techniques of singing rather than pushing the vocal mechanisms to damage. The body should be both energetic and relaxed, providing proper support for the breath but never pushing. Equally important during this developmental stage is proper rest for the singing voice semicolon students should never sing too loud or too much effort, which could injure the vocal mechanisms

Discuss the role of teacher feedback in music rehearsals as formative assessment of student evaluation

Assessments in the music classroom can be a time consuming activity thus, it is highly useful and efficient to integrate as many informal assessment techniques as possible throughout the music rehearsal. Informal assessments can take the form of teacher feedback, short on-the-spot quizzes, and informal questioning and discussion. Not only will these informal assessments keep the students accountable for their daily musical progress, they will also give the music educator a formative assessment of the student's progress. When giving short on-the-spot performance tests, the teacher has the opportunity to gauge the progress of the individual or section; the educator can provide the appropriate feedback to help the students' comprehension of the matter. The more feedback the teacher can provide, the more learning opportunities will be provided for the students.

Describe repertoire to our resources for an intermediate middle school chorus

Choral directors should choose intermediate middle school choir repertoire that is of high quality, teachable, and appropriate for the range, ability level, cultural context, and programming considerations of the ensemble. There are many repertoire sources for the middle school's choral director that can assist in preliminary repertoire selections. The American choral director's association publishes multiple repertoire lists including " tried and true literature" for junior high choirs, as well as annual honor choir repertoire list. Donald roaches complete secondary choral music guide includes extensive repertoire lists, music theater sources, and other content that is valuable for the middle school choral director. Music directors can also consultate clinic and contest repertoire lists. Several publishing companies also produce suggested repertoire for intermediate choirs as well as complete compilations of coral works for the middle school choir

Explain the importance of procedures and routines, and discuss examples of classroom routine

Classroom procedures and routines are important for structure and organization within a student's day. Daily routines and procedures can also prevent many of the misbehavior that result from an unorganized schedule and distractions. The lessons will have less interruption from distracted students and will flow much more easily. The music teacher should make sure to establish clear procedures and routines from the first day, taking care to go over each procedure in detail while modeling the procedures to ensure full understanding from the students. The first few weeks may require more time spent establishing procedures and routines, to help the rest of the school year flow more easily. Example classroom routines that are useful in providing structure and organization include how to enter the classroom, beginning work, roll call, announcements, "tardies", absences, teacher's attention signal, leaving one's seat, assignments, supplies, group work, and independent work.

Discuss techniques to correct intonation on brass instruments

Correct intonation on brass instruments is the result of properly forming the entire system flowing from the diaphragm to the end of the instrument. Playing with good posture and breath support allows the player to play at a wide variety of registers and volumes more comfortably, reduced strain intonation that can occur at extremes. Cue the student to think of the airway from the lungs to the throat and the oral cavity as a broad and open passageway. Playing in front of a mirror allows the student to monitor horn placement and embouchure. Mental practice is extremely important. The student should have a clear idea of the tone they want to produce, and think actively about playing with good tone. Long tones are an excellent tool for developing intonation. Depending on the particular instrument, the student should learn which note fingerings are inherently out of tune and how to adjust the relevant slide to compensate

Discuss techniques to correct intonation on woodwind instruments

Correct intonation on woodwind instruments is the result of properly forming the entire system flowing from the diaphragm to the end of the instrument. Playing with good posture and breath support allows the player to play at a wide variety of registers and volumes more comfortably. Cue the student to think of the airway from the lungs to the throat and the oral cavity as a broad and open passageway. Playing in front of a mirror allows the students to monitor embouchure. The student should have a clear idea of the tone they want to produce, and think about how to make a good tone. Long tones are an excellent tool for developing intonation. Tuning to the rest of the ensemble/piano/tuner should be done only after a thorough warm-up, at which point tuning adjustments to the instrument, such as pushing in or pulling out sections, can be made

Describe the educational value of programming widely diverse repertoire for an ensemble

Diversity

Discuss ensemble rehearsal strategies for practicing technically challenging passages

During an ensemble rehearsal, there are many rehearsal strategies to take on technically challenging passages. The music director should first determine if the technically challenging passage is the result of a lack of individual practice. If so, the director should show the students in detail the correct way to practice individually and at home. If the passage still presents technical challenges for the ensemble, the music director should take the ensemble through the passage slowly and rhythmically to identify the probable origin of the difficulty. Then the educator will be able to assist the ensemble in not accuracy, technical facility, and fluency in playing. Once the ensemble has the tools to fix the challenging passage, the ensemble should go through the passage again slowly in isolation and then slowly speed up the challenging passage until performance tempo has been reached. The ensemble should practice scales, arpeggios, and technical etudes to further develop technical skills

Describe the Every Pupil Responds instructional technique

Educators use the Every Pupil Responds instructional technique as a way to ensure student inclusion during a lesson. The technique requires students to simultaneously respond to the teacher's question by demonstrating or displaying the appropriate response. This allows the educator to quickly and efficiently check for understanding. The Every Pupil Responds technique can be adapted to fit a variety of situations and keeps students actively involved. Teachers can hand out cards with the answers "yes" or "no", different musical notational signs, or a blank board with which students an write their own responses and hold up. Additionally, teachers can instruct students to point to the correct object or placement on an instrument. If students are seated in pairs, teachers can instruct students to whisper the answer to their neighbor, and then have the entire classroom say the answer out loud.

Describe the types of audiation according to Gordon's Music Learning Theory

Edwin Gordon developed the Music Learning Theory to describe how students learn music and how it should be taught. The theory centers on the concept of audiation, a term Gordon uses to describe the internalization of music when performing, listening, or composing. Gordon differentiates audiation from aural perception, as aural perception is an involuntary response to sound in the brain, whereas audiation requires cognitive processing in the brain to give meaning to the sound. Gordon delineates eight different types of audiation. Type 1 involves listening to familiar or unfamiliar music; Type 2 involves reading familiar or unfamiliar music; Type 3 encompasses writing familiar or unfamiliar music via dictation; type 4 for involves recalling and performing familiar music from memory; type 5 deals with recalling and writing music from memory; type 6 involves creating and improvising unfamiliar music; type 7 involves creating and improvising unfamiliar music while reading; and type 8 deals with creating and improvising unfamiliar music while writing

Discuss the advantages and disadvantages of extrinsic motivation in the classroom

Extrinsic motivation is defined in behavior psychology as motivation that exists for an individual apart from the activity or task such as an outside pressure or reward, as opposed to intrinsic motivation in which motivation exists in the activity itself. When students are extrinsically motivated, satisfaction lies in an external reward, pressure, or some external prompt. Music educators can facilitate or encourage extrinsic motivation. Oftentimes, the classroom structure is based on extrinsic motivation, through rewards such as grades, privileges, and peer esteem. Extrinsic motivation can also exist through a student's sense of future well-being and goals. If the music educator focuses on extrinsic motivators such as tangible rewards or a student's ego, the motivation will disappear when the motivators disappear. Thus, educators should encourage extrinsic motivators such the student's acknowledgement of the tasks' importance towards a future goal.

Describe various aspects to consider when selecting music for an ensemble

For any conductor, it is their final responsibility to select appropriate music for an ensemble. The conductor should consider the ability level of the ensemble; music should not be impossibly hard or too easy, but just challenging enough for the ensemble to be able to play the music as well as to progress musically and technically. The conductor should also consider the strengths and weaknesses of the ensemble. The music should not always cater to an ensemble's strength, but should also help develop any weaknesses an ensemble may have. The conductor should also consider the number of players and instruments in the ensemble; minor changes can be made, but it is difficult to rearrange a full instrumentation to a few instruments. When selecting music, the conductor should also take into account the number of rehearsals before the given performance; there should be adequate time to rehearse any given piece. The conductor should also select a variety of music appropriate for the audience and on occasion of the performance

Discuss the benefits of individual student lessons

For any student in a large ensemble, there can be many benefits for the student in taking additional individual lessons with a private teacher. Although a student can learn the basics solely through ensemble rehearsals, it is preferable for students to learn the basics with the help of a private teacher. In an ensemble rehearsal, the conductor can only give so much attention to an individual student, as there many other students who may need help as well. With a private teacher, the student can have undivided help from a focused professional to guide the student's musical education, ensuring that proper technique and musicality are reinforced from the beginning. As the student progresses to a more advanced level, having a private teacher will better assist in technical challenges and fingerings issues that cannot be addressed as easily in a large group ensemble. With a private teacher, a student can advance more quickly to a higher level of playing

Compare the style of Impressionalism in the visual arts with Impression in the Musical Arts

Impressionism began as a visual arts movement at the end of the nineteenth century and beginning of the 20th century with the works of Edouard Manet, Claude Monte, Edgar Degas, Pierre-Auguste, Renoir, Berthe Morisot, Camille Pissarro, Alfred Sisley, and Mary Cassatt. The painters of the Impressionist movement sought to move away from the highly defined traditional paintings of the official salons of the day, and to create works that caught the brief, sensory effects of a particular moment through optical effects of light, color, and atmosphere. The painters used soft brushstrokes, abandoning any sharp lines to evoke a sense of haze and smoke in their work. The Impressionist movement in the 20th century as well. In the Music of Claude Debussy, formal elements such as distinct tonalities, cadences, and line were abandoned, while soft effects such as non-climactic melodies, complex textures, misty instrumental colors, and continuously changing forms all contributed to fleeting moments of colors.

Discuss instructional strategies for teaching rhythm to a full elementary class

In a full elementary class, there are many important instructional strategies to effectively teach rhythm to young students. The students must first experience rhythm; this can be achieved through kin-esthetic movement, whether by clapping, swaying the body, or dancing. The music educator can have students mimic certain clapping or dancing patterns so that the students experience the rhythms before labeling the rhythms. Students can also experience rhythms by keeping a beat to music, to help feel for a steady beat. The music educator can refer to a steady beat as a heartbeat, relating it to a familiar internal process. Once students have experienced certain rhythms, the music educator can begin to assign visual and verbal labels to the rhythms. the association between label and rhythms can thus be strengthened, as the students already know the rhythms through experience.

Discuss a comprehensive outline of a regular full ensemble rehearsal

In a regular full ensemble rehearsal, the conductor or director should prepare a comprehensive plan for the time with the ensemble. Since rehearsal time is usually limited, the conductor should prioritize the musical goals for the session beforehand. The sequencing of the rehearsal goals is up to the conductor., based on the musical works and ensemble, but every rehearsal should spend adequate time warming up their instruments and bodies as well as tuning their instruments. This practice helps to develop both the musician's habits as well as listening with awareness. The ensemble should also spend time refining technically and musically challenging sections. There should also be time for the musicians to develop musicality and sight-reading during their rehearsal.

Describe a sample six-week curriculum and objectives for grad 1-2 in general music instruction.

In grades 1-2, students experience a wider range of musical characteristics, learning more about music by doing. Students should follow a balanced curriculum that includes experiential learning, such as playing, singing, and moving to music. In a sample six-week, curriculum that focuses on introducing rhythm to students, the first week might include games and songs that introduce the concept of a steady beat to students. In the second week, the concept of a steady beat should be reinforced while associating certain beats with certain counts (i.e. quarter note = 1 count, half note = 2 counts). In the third week, steady beat and notes to music. In the fifth and sixth weeks, students should continue to reinforce these concepts as well as improvise on the learned rhythms through games, dance, and songs.

Compare and contrast the fixed-do system and the movable-do system

In the fixed due system of notational reading, the solemnization of pitches refers to a specific pitch, usually where do refers to the C pitch, Ray refers to the D pitch, me refers to the e-pitch, and so on. In the movable do system of notational reading, the solemnization of pictures refers to any pitch with an a diatonic scale so that dough refers to the tonic, ray refers to the supertonic, me refers to the mediant, and so on. In the movable dough system, any pitch can be dough, while the rest of the diatonic scale is built upon the relative tonic pitch. The fixed dose system of a notational reading focuses on the a functional association of the specific pitches to the staff, where dough is always recognized as c. The movable dose system of notational reading focuses on the intervalic relationship between the pitches as they occur within the scale

Discuss the advantages and disadvantages of intrinsic motivation in the classroom

Intrinsic motivation is defined in behavioral psychology a motivation that exists for an individual in the activity itself, as opposed to extrinsic motivation in which motivation for an activity exists apart from the activity such as an outside pressure or reward. When students are intrinsically motivated, there will be satisfaction in the activity or task at hand, partly from a natural curiosity and partly from gratification in doing the task. Music educators can facilitate or encourage intrinsic motivation in the classroom; however, this type of motivation is only effective for those students who already have a natural tendency towards the task at hand. For other students who find no internal satisfaction or curiosity for the task at hand, intrinsic motivation will be useless. Intrinsic motivation, when effective, can foster a high quality of learning and creativity in students.

Discuss instructional strategies to keep students focused and on task

Keeping students focused and on task is one way to prevent behavior issues. There are many instructional strategies to refocus a misbehaving student.If students are distracted, wait until they are paying attention to continue the lesson. Silence will draw attention to the misbehaving students. If students are distracted, educators can redirect their attention by giving a direction such as "If you hear my voice, clap once." (Teachers may need to continue with clap twice, three times, etc.) Misbehaving students will redirect their attention and try not to be left out. Teachers can also reward good behavior through positive reinforcement. If needed, students should be separated. Establish a quieting signal such as raising a hand, or two fingers. Teachers can also place a misbehaving student next to them so that the student becomes conscious of his or her behavior among his classmates. Another technique is to give the misbehaving student a special task; oftentimes, a distracted student is one who is not challenged by the current lesson. Finally, if students continue misbehaving, the teacher may be talking too much, so adjustments may be needed to keep the students actively focused and involved.

Discuss instructional activities to improve rhythmic accuracy in beginner students

Many times, rhythmic inaccuracy in beginner students results from a lack of basic reinforcement of the concept of a steady beat. Beginner music students will also benefit from visual and aural modeling from the music educator as well as from peers. Peer learning can be a great source of motivation and encouragement to learn, as students will generally want to match the level of their peers. Music educators should also introduce the concept of the heartbeat in practicing a steady beat, relating the abstract concept of tempo and meter to a familiar one of the body.

Discuss a sample semester assessment plan including both individual and group development.

Music educators should use assessment strategies that include both individual student achievement as well as group ensemble achievement. A comprehensive rubric provides accountability for each student's musical growth within an ensemble setting. A sample semester assessment plan should include individual grading criteria such as performance of technical scales and musical excerpts, correct pitch matching, and correct rhythm matching. Students should be able to demonstrate historical and contextual knowledge of the appropriate music, and should demonstrate thoughtful analysis and evaluation of music. Group grading criteria can include rehearsal preparation and readiness. The weight of each section could be graded as follows: individual performance: 30% ensemble performance: 30% classroom participation: 30% other: 10%

Discuss how most instruction can be integrated with common core subjects

Musical educators have the unique opportunity of integrating subjects outside of the fine arts with musical instruction. While focusing on musical instruction, the students can be fully immersed in musical learning as well as language arts, history, math, and science. When discussing musical phrasing, music educators can relate questions and answers in music to questions and answers in English. The students can also examine how individual phrases within music reinforce the work as a whole, the same way an individual phrases within music reinforce the work as a whole , the same way an individual sentence or paragraph relates to a written text as a whole. Teachers can use repertoire selections to reinforce historical knowledge as well, whether it be the Industrial Revolution during the Romantic era, or the Greek and Roman renewal of the Renaissance era. Basic musical elements require a mathematical understanding such as the division of meters and the relationship of subdivided beats. Concepts in science such as humidity, fluid dynamics, and physics can be integrated with instrument knowledge such as woodwind care and sound wave properties.

Discuss Phyllis Weikart's contributions to modern music education.

Phyllis Weikart has written numerous books on the pedagogical applications of music and movement and is the author of Movement Plus Music, a music education guide for learning through movement for ages 3-7, Round the Circle: Key Experiences in Movement, among others. She has served on the faculty of the Division of Kinesiology at the University of Michigan and is also the founder of the program Education Through Movement: Building the Foundation, a research-based approach to learning through movement and music. In the Weikart method, kinesthetic experiences are broken down into individual units. First, the movements must be isolated and modeled to the students, then the movement may be simplified and built upon, and finally, the students must have a variety of opportunities to use the movements in personal and creative ways. Through her program, Weikart provides a detailed, sequential approach to movement-based musical tasks, and continues the traditions developed by Dalcroze and Orff-Schulwerk

Discuss instructional activities to improve pitch reading in beginner students

Pitch reading can be a challenging concept for beginner students, as many mental processes occur from the written visual cue to the symbolic processing, to knowledge retrieval, to the answering output. For beginner students, it is important to have a reference when pitch reading, whether it is middle C or another referential pitch. Students should also understand the spatial relationships required in note reading, that higher on the staff also means higher in pitch and that lower on the staff also means lower in pitch. The music educator should ensure that the beginner student understands how to play high and low on their respective instrument before continuing the lessons into more complex playing. Similarly to language learning, the music educator should also provide ample reinforcement and practice in pitch reading as the student begins to integrate the musical symbols with aural and pitch meaning

Describe principles of sequencing a music curriculum

Principles of sequencing a music curriculum can be based on three different techniques: content sequencing, task sequencing, or sequencing of elaboration. When sequencing based on content, the instructor should analyze the content for the main item and then organize the general content into a hierarchical structure. The most general and inclusive content should be presented first first, leading the way to more detailed ideas while all the while relating them to former learning content. When sequencing based on a task, the instructor should analyze the skill involved and order the learning progression from simple, more elementary tasks towards more complex skills that build on previous tasks. When sequencing based on elaboration, the students are given an overall view of the knowledge, and then presented with basic content first, progressing towards more detailed information while keeping the organized overall theme in place

Provide sample activities for a Pre-K eurhythmics class

Sample activities for a Pre-K Eurhythmics class can include: 1. Students dance freely to a teacher's improvisation on the piano that changes frequently in relation to mood, tempo, dynamics, and style. Students must change their dance styles accordingly. 2. Students must pass a beach ball around in a circle in rhythm, as defined by the teacher's music 3. Students stomp their feet in rhythm and sway side to side while the teacher recites a children's rhyme 4. Students clap their hands to the tempo of the teacher's improvisation at the piano; the teacher alters the tempo of the music so that students must follow along. The teacher plays a soft melody while the students move smoothly to the music; for every sudden sfz chord played, students must clap hands with a partner, then resume the quiet music/movement

Discuss the advantages and disadvantages of sectional rehearsals and full ensemble rehearsals

Sectional rehearsals are an important tool for the rehearsal ensemble. When too much time is spent on an individual section or part during the full ensemble rehearsal, time is wasted and musicians can become unengaged. Sectional rehearsal allow players to fine-tune their parts together and to fix any technical or musical problems apart from the full ensemble. Sometimes the conductor may not be aware of other hidden problems except through listening to sectional rehearsals. However, certain precautions should be taken to ensure the highest efficiency of a sectional rehearsal. Sectionals should be scheduled either immediately before or after a full ensemble rehearsal; that way, the progress made through a sectional can be immediately integrated within the full ensemble for the most improvement. Players should also be aware of clear objectives before beginning any sectional to avoid wasting time within a sectional.

Discuss various strategies to accommodate students with visual impairments in the music classroom

Since the student with visual impairment will not have the visual aspect to aid their learning, music educators should focus on other modalities of learning, i.e., aural and tactile methods, to help the visually impaired student succeed. If the student with visual impairment is learning how to play an instrument, the educator should allow ample time for the student to physically explore the instrument and take it apart if possible. The student should also have the chance to explore other examples of the instrument so the student can fully conceptualize the shape and various aspects of the instrument. Also, the music instructor should use the Braille Music Code for lessons on staff notation; students should not be expected to rely solely on their aural awareness of music, but should be able to learn musical notations as well. When demonstrating instrumental technique and movement, the educator should demonstrate the action by placing his or her hand under the student's hand.

Discuss appropriate classroom objectives for grades 5-8 set by the National Achievement Standards

Students in grades 5-8 should be reinforcing skills acquired in grades K-4, while preparing to achieve the standards set by the National Achievement Standards by grade 8. Students should be able to sing with expression from a variety of styles and genres by memory, on pitch, alone as well as in groups. Students should also be able to improvise short melodies and simple accompaniment patterns. Students should be able to compose simple compositions in a variety of styles. Students should be able to read treble and bass clefs, and whole, half, quarter, eighth, and sixteenth notes, and rests in a variety of meters. Students should be able to analyze basic meter, rhythm, intervals, chords, and tonality. Students should also be able to relate music to history, other arts, and disciplines outside of music.

Describe practical teaching techniques to accommodate aural learners

Students whose primary learning style is that of aural learning need specific teaching techniques to help them succeed. Aural learners learn best by hearing educational content, so teachers should frequently use precise terms when explaining an idea. Aural learners also learn through talking and discussion, so a useful teaching technique is allowing students to discuss ideas and content, so teachers should not brush off students' questions, but allow ample time for student questions and answers. Another technique to accommodate aural learners, who need to hear ideas and talk through them, is to have spoken quizzes and tests, to allow aural learners to opportunity to talk through a concept. A helpful technique particularly for aural music learners is to listen to a recording of one's own rehearsals to be able to hear mistakes and areas for improvement.

Describe practical teaching techniques to accommodate kin-esthetic learners

Students whose primary learning style is that of kinesthetic learning need specific teaching techniques to help them succeed. Kinesthetic learners learn best by doing, and need to integrate movement with the introduction of new educational concepts and ideas. Music Educators should implement teaching techniques that require students to move while learning new educational content. Lesson segments should be kept short with frequent breaks to stand up and move. When introducing concepts such as rhythm and meter, the music educator should require students to physically move to the various rhythms and meters to accommodate those who are kinesthetic learners. When teaching specific instrumental techniques, the instructor should make sure that the kinesthetic learner demonstrates the movement or technique, rather than merely verbally or visually explaining the concept. Educators can also implement frequent games, field trips, and seating changes.

Describe practical teaching techniques to accommodate visual learners

Students whose primary learning style is that of visual learning need specific teaching techniques to help them succeed. Visual learners learn best by seeing educational content. When teachers are explaining educational content or instructions, they should also provide a visual explanation, either through a projector or handouts, or by demonstrating the concepts visually. Educators can also encourage visual learners to make flashcards, a helpful tool to visually learn content.Another practical tool for visual learners are pictures, diagrams, and concept maps. These all allow students to visually integrate the learning content internally. When demonstrating instrumental technique or posture, the educator should make sure that all students can see, to accommodate for those who are also visual learners. Without a visual model, visual learners will have a harder time assimilating the new concepts and skills.

Discuss various strategies to help students with dyslexia understand written musical notation

Students with dyslexia tend to have difficulty with visual tracking visual stress, visual-motor comprehension, sound discrimination, and symbol-sound relationships. Without the proper guidance from the music educators, the student dyslexia may feel alienated from the educational curriculum, as well as from peers and the overall learning process. The music educator should begin by removing any barriers to the student's learning and helping to build on the students' strengths. Musical notation can be enlarged so that visual processing for the student will be easier. The student can also use color-coded overlays to prevent visual stress from an all-white background as well as to highlight certain aspects of the score. The music educator should also use a multi-sensory approach to teaching musical notation, including Dalcroze and Kodaly techniques, visual and aural demonstrations of rhythm, visual and tactile demonstrations of notation, technology, pattern learning, and graphics within the notation.

Define tessitura and describe the considerations involved in assigning a voice part to a vocal part

Tessitura refers to that range within a singer's vocal abilities that resonate the most in an aesthetically pleasing manner. The particular tessitura of a singer's voice type is also usually the most comfortable for his or her vocal timber. Tessitura differs from vocal range and that the range of a singer's voice refers to the limits of pitches the singer is able to sing; the tessitura of a singer's voice, although they may have a wide singing range, maybe best described as a high tessitura, or a low tessitura, wherever the voice is able to sustain the most dramatic, comfortable comic and pleasing sound. When assigning a voice to a vocal part it is important to consider the tessitura of a particular voice as well as their range, transition points, and voice weight

Describe the comprehensive musicianship through Performance (CMP) initiative and its elements in a modern music program

The Comprehensive Musicianship through Performance Initiative is a model that prioritizes an inclusive, deeper understanding of music for lifelong musical involvement, rather than a narrow-minded exclusive learning model. In the model, the rehearsal becomes a learning laboratory with the teacher acting as a musical facilitator rather than merely as a lecturer or conductor. The chosen musical selection becomes a vessel for musical discovery; as students prepare the selection, the instructor provides a holistic approach for different objectives and different learning styles. The model encompasses a wide possibility of student outcomes, from knowledge of music history, style, and different learning styles. The five main elements of the CMP educational process are musical selection, objectives, analysis, strategies, and assessment. These segments may be used in any order to plan a music curriculum. Analysis involves a deeper understanding of the history, form, and style of a musical selection; the educator then decides on the learning objectives through a musical selection; strategies for musical discovery and performance are implemented in the curriculum; and the educator assesses students' needs and educational outcomes.

Explain the philosophy behind the Dalcroze eurhythmics approach

The Dalcroze approach to music education makes use of physical movement as a tool for musical development. Emile Jacques-Dalcroze believed that music should be taught with kinesthetic movement so that sound can be integrated with nerves and muscles, and articulated through body motion. Dalcroze theorized that music can be more readily understood through movement than reason, and musical education should start with movement before intellectual concepts can be introduced. In this framework, the body is the instrument and students discover expression, musicality, tempo, dynamics, style, and phrase structure through inner dialogue with the music. In this way, students develop musicality with a deeper understanding of their physical connection to music and refine their senses of rhythm, coordination, hearing, and creativity.

Discuss the various music performances outcomes according to the National Standards that help to dictate assessment components

The National Association for Music Education has published Performance Standards of musical outcomes and student abilities by grade level. These Performance Standards should provide a guideline for the music educator for assessment criteria. Students should be able to sing alone and with others, demonstrating correct technical and musical ability and a wide range of styles. Students should be able to improvise basic melodies and basic accompaniments on their instrument or through singing. Students should be able to compose and arrange music within specific contexts with or without technology. Students should be able to read and notate music appropriate to their level. Students should be able to evaluate music and musical performances. Students should also be able to relate music to non-musical fields such as history, visual art, literature, and others.

Describe the use of the National Core Arts Standards and list their major categories

The National Core Arts Standards were developed to proved milestones to attain to on a grade-by-grade level in various forms of art, including dance, media arts, music, theatre, and visual arts. Usually, arts standards are dictated on the state and local level, but the national standards may be helpful in informing curriculum and instruction for a specific grade and art-subject. The National Core Arts Standards can be classified into these categories of artistic thought: creating, performing, presenting, producing, responding, and connecting. These categories of artistic thought are further subdivided into anchor standards, which inform the grade-level standards. The 11 anchor standards are as listed below: Creating: generate and conceptualize artistic ideas and work. Organize and develop artistic ideas and work. Refine and complete artistic work. Performing, Presenting, and Producing: Select, analyze, and interpret artistic work for presentation. Develop and refine artistic techniques and work for presentation. Convey meaning through the presentation of artistic work. Responding: Perceive and analyze artistic work. Interpret intent and meaning in artistic work. Apply criteria to evaluate artistic work

Describe the activity components of an Orff-Schulwerk lesson plan

The Orff-Schulwerk approach to music education emphasizes children's natural tendency to play as a key omponent to music discovery and development. Students are given the opportunity to explore various rhythms, melodies, and songs. Central activity components of an Orff-Schulwerk lesson include speech, singing, movement, and playing instruments. The Orff approach holds that musical development begins with a child's natural speech; children use common chants and rhymes to explore rhythmic stress patterns. Along with speech, the Orff method uses singing to introduce tonal patterns and strengthen children's singing abilities. Singing activities are most commonly formatted as games and simple songs to encourage students' natural tendency to play. Movement through games is also an important activity component, as music and movement are fundamentally intertwined in the Orff-Schulwerk philosophy. The model activity is the use of instruments; common instruments include body percussion, hand instruments, and specialized Orff instruments built specifically to facilitate easy access for children. These include bass, alto, and soprano xylophone and metallophones, and the soprano and alto glockenspiel.

describe the use of the Socratic method in guided listening to teach student self-assessment and to develop one's own musical expression

The Socratic method refers to the philosophy of education as step by the ancient Greek philosopher Socrates, which advocates the use of questions in developing a student's critical thinking and intellect. Rather than lecturing or telling the student educational content, this question compel the student to use critical thinking for a solution or answer. The music educator can utilize this philosophy of education in all areas of music education, and especially in guided listening to each student's self-assessment, critical thinking, and how to develop one's own musical expression. Music educators can ask guided questions such as "how does the expressive elements of this performance inform your own playing? " To foster a sense of self assessment in the student's music listening. Asking open-ended questions rather than yes/no questions will further develop the student's critical thinking abilities and intellectual curiosity, translating the analyst of guided listening to his or her own musical practice and growth

Describe the Literary and Musical Background of the Ballade Genre

The ballade refers to a literary and musical form in which words are set to three stanzas with seven or eight lines each. The original literary form of the ballade usually featured a narrative that could be comic, romantic, tragic, or historical. Although ballades have been around since the Medieval ages, renewed interest in the Romantic Era helped the genre to flourish in the 18th & 19th centuries. Poets who often wrote ballades that were then set to music include Goethe, Schiller, Fontane, Heine, Platen, and Chamisso. Notable ballade composers who set literary ballades to music include Schubert, Schumann, Liszt, Wagner, and Strauss. By the middle of the 19th century, composers started to write purely instrumental ballades; Chopin wrote four piano ballades, most likely based on poems by Michiewicz, and both Liszt and Brahms wrote instrumental piano ballades.

Discuss the slight differences in bow position and bow handling of the different string instruments

The boat position on a violin and viola should have a rounded thumb holding the side of the bow with a pinky on top of the bow, with the other fingers comfortably holding this other side of the bow. The fingers should be fairly arched during a down stroke and more elongated during an up stroke. The bow should not be held with any tension but firmly and lightly. The players should be careful not to extend any finger, as this will create tension in the wrist. On the cello and base, the bow should be held in a similar manner to both the violin and viola bow, but the pinky finger does not rest on top of the bow; instead, the pinky should rest next to the middle and bring fingers. Since both the cello and base are played upright, the arm does not generally stay above the bow semicolon in fact, bow handling on a cello and bass requires the elbow and arm to lower significantly whether playing near the tip of the bow or near the frog.

Describe the importance of the diaphragm in breathing for vocal music

The diaphragm plays a central role in the respiratory system, as one of the main acting forces behind inhalation at exhalation. The diaphragm is a sheet of muscle that separates the abdomen from the chest cavity. The diaphragm muscle is attached to the lower parts of the rib cage, the spine, and the lower edge of the sternum. As the muscle contracts, it increases the length and diameter of the chest cavity, causing a vacuum in the lungs, inducing air to enter lungs through inhalation. During exhalation, the diaphragm muscle naturally relaxes, deflating the lungs and expelling the air out of from the lungs. When singing, it is important to actively engage the diaphragm during inhalation for a deep supported breath, as well as during exhalation to prolong the supported singing breath as long as possible

Discuss kinesthetic theories of rhythm reading that aid musical development.

The kinesthetic theories of rhythm reading hold that rhythm cannot be experienced without having first experience its movement physically. Since rhythm refers to the flow of movement through space, students should experience rhythm through their bodies first. Once the rhythm has been experienced physically through movement, students will more readily be able to audiate the rhythm mentally during rhythm reading. PHYLLIS Weikart a prominent figure and movement pedagogy, advocated the introduction of movement-based learning and early childhood education, so that early gross motor development could better prepare students for more complex rhythmic integration and musical development. Other motor theorists also found the rudimentary motor movements are informed before the age of five, and all other motor movements after the age of five are reinforcements and stabilizations of those fundamental motive movements learned in early childhood

Describe the pyramid model of balance and blend for a large ensemble and how to apply it

The pyramid model of balance and blend refers to the theory that higher-pitched singers and instruments should play softer than the lowest-pitched singers and instruments, so that an ideal balance exists between the treble and the bass. In this model, the higher-pitched section will also be able to hear the bass for better intonation and blend. In the pyramid model, the bass voices and instruments constitute the bottom rung of the pyramid; the width of the pyramid determines the overall volume of the ensemble. As the pyramid rises, higher-pitched voices and instruments are stacked above the bass section to the tip of the pyramid where the highest treble section is placed. The higher the voice/instrument, the softer the sound should be. To apply it to an ensemble, the director should have the bass section play or sing a fortissimo, the tenor section a forte, the alto section a mezzo-forte, and the soprano section, a mezzo-piano, so that the full ensemble can experience the balance and blend of the pyramid model

Discuss the characteristics of the reed that influence intonation

The read interacts with the players air flow and vibrations against the body of the instrument in four ways that influence the tone and sound. A reeds response refers to the ability of the read to maintain a high quality of sound through all registers without splattering or spreading. The reeds resistance refers to the amount of embouchure attention required to keep the read behaving and sounding with a good tone. A reed that has a low resistance may cause the player to overflow in searching for a fuller tone, while a read that has a high resistance can cause the player fatigue and difficulty in creating a good tone. A reeds tone quality refers to the resonance and timber of the read itself. A reed with only lower partials will sound dull; a read with only higher partials will sound shrill and thin. A rees stability refers to the ability of the read to hold pitch at any dynamic and can influence the sound in sounding flat, stable, wild, sharp, or dull.

Compare and contrast rote learning vs. intervallic note reading

The rote method of of note reading refers to teaching a student to read notes from memory. Techniques to teach students to read by rote include mnemonic devices such as the lines of the treble clef (Every Good Boy Does Fine), the spaces of the treble clef (FACE), the lines of the bass clef (Good Boys do Fine Always), the spaces of the bass clef (All Cows Eat Grass). Intervallic note reading refers to the method of reading by intervallic relationships i.e. a third up, a second down, a fourth up, etc. Intervallic note reading relies on spatial visualization, while rote reading relies on memorization. While both methods of note reading result in proficient musical skills, pros and cons exist for each. In rote reading, students are more quickly able to identify note names; however, sight-reading may be slightly lower because of the added mental processing of labels. In intervallic reading, students are more quickly able to identify direction and intervals during sight-reading; however, note naming may be slightly more difficult as students must first process intervals.

Discuss the role of the tongue in forming clear diction and vowel formation.

The tongue plays a key role in vowel formation and clear diction, as it directly influences the vocal tract and the larynx. With all other vocal mechanisms fixed, a change in the tongue directly changes the vocal sound, from dull and distorted to tinny and harsh. Clarity in singing requires clear vowel formation for the words to be intelligible to the listening audience. For clear vowels, the tongue should rest forward in the mouth, with the tip of the tongue resting against the bottom teeth for the most space in the mouth for resonance. The back of the tongue should not press against the throat, but should be kept away from the throat for clear and unobstructed delivery of airflow and sound. The tongue should always be kept relaxed and free from tension when singing, to avoid a choked sound and possible injury to the vocal mechanisms.

Describe the various mutes for trumpet and trombone and resulting sounds

The trumpet and trombone share all the most popular mutes, with a trumpet and trombone version of each of the straight mute, cup mute, bucket mute, wah-wah mute (Harmon), plunger, and hat. The difference between a trumpet mute and one for trombone is principally one of scale. The straight mute results in a tiny, metallic sound. The commute produces a muffled, darker tone and was common in trumpet sections during the classic big band error of the 1930s and 1940s. The bucket me produces a softer tone and reduces the Pearson quality of louder high nodes that can be amplified by other mutes. The wah-wah mute, often known by the brand name harmonute, produced a buzzed tone, and for trumpet is often associated with Miles Davis during his cool jazz period. The plunger and the hat mute are used similarly, with the musician playing with one hand while manipulating the mute over the front of the bell with the other.

Discuss various strategies to accommodate students with physical disabilities in the music classroom

When a music classroom is able to accommodate students with physical disabilities, there are numerous benefits for both the students with disabilities as well as the average student. Inclusion promotes social awareness and acceptance, increased motor development, and higher mental acuity. Music educators can accommodate students with physical disabilities in a number of ways. The music classroom should be ADA-accessible and free from obstacles or other hazards. Also, the instructor can acquire adaptive instruments that allow students with physical disabilities the opportunity to develop motor and aural skills on a real on a real instrument. Instruction-ally, educators should be sure to include lessons that require minimal physical strength; this inclusive teaching strategy will encourage confidence and self-esteem for students with physical disabilities. Educational goals should be appropriately sequenced to facilitate outcomes that are realistic and achievable.

Discuss the appropriate steps to take when a student exhibits behavior problems

When a student misbehaves in a classroom setting ,it is always important for for the music educator to reflect on a misbehavior. If an adjustment in teaching style or lesson sequencing will redirect the misbehavior, then the educator should start there. The teacher should also observe for any learning impairments that may trigger behavior problems. Also, the educator should make sure to set clear limits and boundaries of behavior. If the student is misbehaving regardless of various strategies of engaging teaching techniques and sequencing, then the educator should address the misbehavior, taking care not to condemn the student but rather the behavior. The music educator should make sure not to interrupt the flow of the lesson but to address the misbehaving student with as little verbal response as possible; the teacher can use silence, physical cues, close proximity, and quickly stating the student's name as reminders to focus. If these techniques are not effective, then the teacher should thoroughly address the misbehavior after class

Discuss certain strategies to prevent student behavior issues in a group setting

When teaching a group of more than 15 students, certain strategies will benefit the educational environment. If there are instructions, they should be clear and concise. When students understand instructions for a task, they are more likely to stay focused and on task. Follow the instructions with reinforcement by modeling the activity, asking the student to repeat the instructions back, or having the students do an example of the activity together, to ensure that students understand and can proceed with the activity. If instructions are not made clear, problems such as student frustration or loss of group control could occur. In addition, always establish rules, awards, and consequences for the classroom. It is essential that students have guidelines to operate within, so that when behavior issues do arise, the educator can act simply and according to guidelines rather than out of emotion.

Discuss methods for establishing classroom rules and ways to manage negative responses to rules

When teaching music in a group setting, it is always important to establish classroom rules and consequences in the beginning. The music educator should thoroughly explain expectations for the classrooms, detailing examples of good behavior and class participation. During this discussion, the music educator should also explain the consequences of inappropriate behavior or negative responses to rules so that the students know they system of classroom rules from the first day. Although positive reinforcement should be emphasized in classroom management, the educator may need to use negative reinforcement in certain situations. If a student responds negatively to classroom rules, the educator may try positive reinforcement first. If this is not effective, the teacher may have to remind the entire class of the rules and consequences. If this is not effective, then the teacher may have to talk individually to the student, reinforcing the rules and taking action on the consequences of not following the rules.

Describe the differences in concert length and pacing for a beginning middle school band and an advanced high school concert band

a concert planned for a beginning middle school band will differ widely from a concert plan for an advanced high school concert band. The beginning middle school band will have had little experience with performances and may still be working through rudimentary techniques and skills on their instruments. repertoire for the beginning middle school band will focus mostly on easily accessible beginner works. The advanced high school concert band however will have at least a few years of experience performing and playing their instruments. Repertoire selection for the advanced concert band will have a wider range of intermediate to advanced works. Endurance is also an issue for the beginning band semicolon concert length will be shorter with shorter musical works and more frequent changes. The advanced high school band will be able to perform longer works of music with less frequent breaks

Discuss methods of incorporating music theory instruction during a full rehearsal

as a music educator, it is important to incorporate music theory instruction during full rehearsals, ensuring that a student's musical education is a comprehensive, all dash encompassing one, and not only one solely focused on performance. a thorough musical education will allow the student and informed and deeper and understanding of music. When possible, the music educator should introduce new theoretical concepts before rehearsing a piece; the instructor should not take too much time explanation, but given only concise, direct introduction, as the immersion within the music will aid in a student's understanding. When the music educator interrupts the rehearsals you do spot checks, or the instructor should use appropriate language and explaining the technical or musical problem, to further integrate the concept of music theory into musical performance and understanding. When time allows, the music educator can give brief verbal quizzes, to keep the students accountable for their music theory learning

Discuss how to select appropriately leveled, culturally diverse music selections for an advanced high school ensemble

as a music educator, it is important to select appropriately leveled, culturally diverse music selections to reflect the musical diversity within the global community as well as to challenge the students in a variety of styles and genres. Music director should select a variety of music that is below, at comma and above and ensembles level to provide opportunities for in-depth expressive growth without technical obstacles, as well as music that challenges the student's technically to reach the next level. Music directors can consult state contest repertoire lists for a general list of appropriate repertoire as well as published rapper try books. Culturally diverse composers such as Soon Hee Newbold, William Grant still, Dorothy Rudd Moore, and Yasuhide Ito, and many works that would be appropriate for an advanced high school ensemble

Describe the transposition and instrumental ranges of five to seven brass instruments

brass instruments include those wind instruments that are typically made with metal and sounded by the vibration of the player's lips through a mouthpiece. The front horn is typically notated on the trouble or based clefts sounded a perfect fifth lower with a general range of f-sharp 2-c6. The trumpet is typically notated on the treble clef with the sea trumpet sounding as written in the b flat trumpet sounding a major second lower, both with a general range of f-sharp 3-d6. The toner trombone is typically notated on the base, tenor, or also cleft sounding as written. With a general range of e2-f5. The bass trombone is typically notated on the bass clef sounding as written, with a general range of Bflat 1-Bflat4. The tuba is typically notated on the bass clef sounding as written, with a general range of G0-C 5. The euphonium is typically notated on the base or treble clef sounding as written on the bass clef or a major 9th lower on the treble clef, with a general range of Bb1-F5

Describe how to care for and maintain brass instruments

brass instruments require camera maintenance on several fronts. Instruments should always be handled with care. Avoid handling the finish and wipe away any oil, dirt, or other debris with a soft cloth after handling. Be careful to avoid any damage from jewelry, buttons, or zippers. Before storage, use a swab to remove as much moisture as possible from the inside of the instrument, and remove the mouthpiece before storage. For valved instruments, apply a small amount of valve oil before each playing session. Clean and lubricate all slides, removing old lubricant before applying a new layer, and use only a small amount, removing any excess with a soft cloth. Whenever possible, keep the instrument in a cool environment that is neither too dry nor too humid. Perform a regular inspection of all moving parts and the mouthpiece

Discuss appropriate jazz standards for beginning middle school jazz band

for a beginning jazz band, a director should choose repertoire based on the opportunity it presents to play and experiment in the new idiom, taking advantage of the unique aspects of jazz music in a way that is educational and engaging. These features may include focusing on swing feeling, sectional solos, and other harmonic and structural features. Charts should provide the opportunity for students to take improvised solos, and students on all instruments, including the rhythm section, should be encouraged to experiment with improvisation. Popular publishers with charts for beginning jazz bands include Hal Leonard, Alfred, and kendor. These arrangements are tailored to beginning musicians and may include sample solos that can be used as teaching tools. The director may wish to consider jazz standards with common core changes such as " I've got rhythm " or a simple 12-bar blues. Over the course of the school year, the director may want to find charts that will allow different soloists to play to feature parts

Discuss the three main multiple mallet techniques used by marimba players

good mallet technique for marimba players allows the musicians of rearrange of color and technical possibilities, and starts with one mallet in each hand. Once the two mallet grip has been learned with a flexible grip, the student usually learns the formal grip next. The three main multiple mala groups are the traditional cross grip, the Burton grip, and the musser / Steven's grip. The traditional grip places the second male between the index and middle fingers while grasping the end of the second mallet with the ring finger and pinky. The traditional grip has a higher rate of tension and less support than the other grips. The burton grip places the second mallet between the index and middle fingers and the end of the mallet underneath all four fingers. The musser slash Stevens grip places the first mallet between the thumb and index fingers, and the second mallet between the middle and ring fingers so that the mallets are not crossed. The Musser/Stevens provides the most independence of mallet movement

Discuss the handhorn technique for French horn

hand-horned technique, also known as right-hand technique, is the placing of the right hand inside the bell of the horn. The technique was derived from early versions of the instrument, which had no valves. And these instruments, notes between the open partials of the harmonic series were played by opening and closing the throat of the bell with the hand. When vowels were added, horn players still played with the right hand inside the bell in order to produce a slightly darker tone, more easily controlled pitch, and perform extended techniques such as stopped horn and echo horn. There are two methods for hand placement inside the bell. In the American method, the hand is held flat with the metal touching the back of the hand, with some of the horns weights supported by the thumb. And the French method, the right hood is held out flat with palm down and the thumbs forming a 90- degree angle with a hand column and some of the horns weight is supported by the first knuckles and the back of the hand.

Discuss the conductor's influence on an ensemble's musical expression in performance

in addition to coordinating arithmetic timing of players and other musical logistics, part of the conductor's role is to establish the emotional content and musical expression of the performance. A skilled conductor is able to extract the appropriate musical expression from the ensemble with the slightest of guest gestures. The conductor should utilize his or her entire body and fit conveying the musical expression of the piece. An energetic musical section might require the conductor to exaggerate movements in a quicker manner, with an animated expression on the face, to draw out a similar energetic mood from the players. Likewise, a somber musical section might require the conductor to conduct with heavier, slower movements, with a grave expression on the face, to draw out a similar dark and solemn sound from the players

Describe the elements of music needed in order to successfully perform a piece of music

in order to successfully perform a piece of music, a student must know more than correct notes and rhythms. The student should also analyze all aspects of the melody, rhythm, harmony, and form of the piece. and thorough analysis of the melody, for example, can inform the performer of where the climax is, allowing the performer to appropriately time the musical tension and release of the overall piece. Knowing the rhythmic form also allows the performer to note any subtle transitions the composer may be suggesting. The harmony of the musical work also holds clues as to the structure of the word, allowing the performer to bring the appropriate mood and transitions and development of the work. The performer should also examine the historical context of the peace; knowing the intention and purpose of the composition can inform the musician as to how to execute dynamics, articulations, and releases, depending on the given mood

Discuss instructional activities that aid intervallic reading and understanding

intervalic reading is founded on the principle that students who can recognize their relative relationship between pitches will be able to read more quickly and with less mental processing demands than reading by note by note. Students who read music know by note must first mentally identify the pitch name, translate that into fingering or keep pattern on the instrument, and then play. Students who read intervalically can forgo the pitch identification step of mental processing and proceed immediately to spatial processing, the simplifying the reading process. Music educators can use instructional activities that reinforce the concept of spatial distance and direction, such as dictating a tune by note, distance and direction only i.e second up third down, making a game out of flashcards, being able to play intervals and directions with eyes closed, and practicing placing notes on a classroom staff.

Describe the transposition and instrumental ranges of 3 to 5 keyboard instruments

keyboard instruments include those instruments who sound producing mechanisms are set into motion through a system of levers and keys. The keyboard is generally made up of seven natural and five chromatic keys. The distance between the natural keys are whole steps except for the half steps between e-f and b-c. The modern piano is typically notated on the grand staff until sounding as written in common with a general range of A0-c8. The celesta is typically notated on the grand staff sounding an octave higher, with a general range of C3-C7. The harpsichord is typically notated on the grand staff sounding as written, with a general range of f1-f6. The harmonium is typically noted on the grand staff sounding as written, with a general range of f1-f6. The organ is typically notated on the grand staff of sounding as written, with a general range of C2-C7

Discuss the neural basis for mental practice efficacy

mental practice has been shown to be a highly effective method of instrumental practicing when access to an instrument is not possible. When musicians practice traditionally on an instrument, the maximum "practice makes perfect " describes the correct pattern forming process of the brain. Many music educators ascribe instead to the phrase "practice makes permanent", as scientists now know that repeated practicing reinforces the cognitive neural pathway of a particular action, similarly to that way habits are formed. It is therefore important for a musician to make sure to practice passages correctly, or else incorrect technique can easily be habituated by repeating practicing. The concept for mental practicing mirrors the neural processes of physical practice, and helps to reinforce a particular neural pathway even without movement. Mental practice combined with physical practice provides optimal cognitive and motor learning for a musician.

Discuss various techniques and teaching musical aesthetics and expression

music educators can use various techniques to teach musical aesthetics and expression in their students. And structures should use the technique of modeling often, to demonstrate various physical and auto attributes of an expression to the student. The student should and sound into his or her own expressive voice. The music educator can also use guided listening to teach musical aesthetics to live students. As another method of modeling, the student will be able to listen to the individual expression of the other performers and developing one's own musical aesthetic. The music educator can also analyze, reflect, and evaluate musical performances together with the students, so that the students will be able to think critically and creatively and analyzing, reflecting, and evaluating their own unique musical aesthetic and expression

Discuss the rule of improvisation and musical creativity

musical creativity holds improvisation at the core of its internal process through the formation of new ideas, sounds, and direction. Improvisation is the core vehicle of creativity within the musical realm. A musician might explore musical creativity by exploring only the black keys on keyboard; this keeps the tonal context within a simple pentatonic scale and allows the musician to explore various phrases, ideas, and ranges of the keyboard,. improvisation can also foster freer musical creativity through singing or playing along to an existing track. The structured approach allows the musician to explore different timbers, harmonies, and tones with freedom. The musician must use mental imagery and mystery when improvising, to conceptualize new and different feelings, moods, and sounds. All these processes contribute to an overall expansion of a musician's musical creativity and improvisational possibility, leading to more independent melodic, harmonic, and rhythmic improvisation

Discuss how to identify tune suitable for the beginning jazz improviser

once the basics of all improvisation have been established, the next step is to apply that learning in the context of a full song. The song will likely follow the standard head/solo/head structure. Full tunes for the beginning improvisers should have characteristics that allow a student to focus her attention on a limited number of variables at one time. Songs should have a moderate tempo, a stronger total center, and preferably no more than three or four different chords. These characteristics will allow the student time to play within each chord, focus on only the notes that are " strong" within that different chords of the song, and appreciate the sound of the same notes in different chordal contexts. The goal in introducing improvisation within this context is to reduce the number of choices of what note to play, a common hurdle for the beginning improviser, and direct the student's focus to playing with confidence. Remaining oriented within the song will improvise in, and other aspects of performance - rhythm, dynamics, space that eventually lead to more varied and interesting improvisations

Describe how to care for and maintain percussion instruments

percussion instruments require regular maintenance and inspection depending on the specific percussion instruments involved. Tiffany should be regularly inspected for an even and smooth head with an with a balanced action. On some Tiffany drums, the rim should be greased annually with lubricant such as cork grease, but others (like those that use Teflon tape)should never be lubricated - consult the manufacturer about specific care instructions regarding lubrication. Make sure to keep the timpani covered when not in use. Metal mallet instruments should be wiped regularly with a glass cleaner while wooden with bars instruments should be wiped regularly with only a dampened cloth or rag. Frequent inspection should be made to ensure that there are no splintered or cracked bars that needs to be replaced. Drums should also be maintained regularly through the cleaning and lubricating of the hardware. Periodically inspect the rim, counter hoop, and head for any serious issues that would warrant repair or replacement

Describe the transposition in an instrumental ranges of 4 to 6 pitched percussion instruments

pitched percussion instruments can include membranophones as well as idiophones that have definite pitches. The timpani is typically notated in bass clef sounding as written within the 30-inch timpani in a range of d2-a2, the 28-inch and timpani in a range of F2-C3, the 25-inch timpani in a range of b-flat 2-f3, and the 23-in timpani with a range of d3-83. The xylophone is typically notated in treble clef sounding an octave higher, with a general range of G4-C7. The marimba is typically located on the Grand staff sounding as written, with a general range of C2 or A2 to N7. The glockenspiel is typically notated in treble clef sounding 2 to 8 octaves higher, with a general range of G3-C6. Vibraphone is typically notated in treble clef sounding as written, with a general range of f3-f6. Chimes are typically notated in treble clef sounding and octave higher, with a general range of C4-G5

Discuss how to involve students in caring for and maintaining Orff instruments

regular care and maintenance of orf instruments help to prolong the life of the instruments. Music educators can involve students in the care and maintenance of the instruments for a learned sense of responsibility as well as an efficient method of cleaning the instruments. Music educators can provide an end of the year event that includes the cleaning of all or instruments. Students should remove the instrument bars and start with the vacuuming of all dust from the instrument. Next, the students should take a damp rag with an oil soap to wash and clean the boxes and wooden bars. After the instrument has been cleaned, the students can then take an oil polish such as common furniture polish to keep the instrument improper, working condition. Music teachers can also have the students place a sticky note on any broken pins for the teacher to replace

Describe the transposition and instrumental ranges of five to seven string instruments

string instruments typically include those instruments whose main vibrating system is a string set into motion by plucking, striking, or bowing. The violin is typically notated in the treble clef sounding as written, with a general range of g3-a7. The viola is typically notated in the alto clef sounding as written, with a general range of c3-e6. The cello is typically notated in the base, tenor, and treble clef sounding as written, with a general range of C2-C6. The double bass is typically notated in bass clef sounding an octave lower, with a general range of C2-C5. The banjo is typically notated in treble clef sounding as written, with a general range of c3-A4. The guitar is typically notated in treble clef sounding an octave lower, with the general range of E3-E6. The harp is typically notated on the grand staff sounding as written, with a general range of Cb1-G# 7

Describe how to care for and maintain stringed instruments

stringed instruments require care and maintenance on several fronts. The instrument should be handled with care, and players should avoid directly handling the fragile varnish, which can be damaged by oils on the hands. When playing, care should be taken to avoid damage by jewelry, buttons, or zippers. Immediately after each use, remove oil, rosin dust, and other debris with a soft cloth. Special treated cloths can be used, but must not be used on strings or the hair of the bow. String instruments should, whenever possible, be kept in a well-regulated environment away from excessive exposure to direct light, too hot or too cold temperatures, and too dry or too humid environments. Failure to observe these precautions can result in bending, cracking, glue joint separations, arching distortion, and many other problems

describe appropriate performance competencies for students in Pre-K as outlined in the school music program: a new vision

students in Pre-K should experience music as much as possible through listening, feeling, moving, and experimenting with their own vocal pitch and timber. children in this age range should be encouraged to freely use their voices in singing, chanting, and speaking along with music accompaniment and on their own. Students in Pre-K should experience a wide range of instrumental sounds and improvise their own melodies and patterns on different instruments. Students should practice relating musical sounds to other objects, symbols, and animals that are familiar to them, to engage their imagination and encourage creative responses. Students and pre-k should become increasingly accurate in their pitch matching and rhythm pouching through their voices or on instruments. Students should experience a wide variety of genres and styles as well as be able to identify basic differences and changes in music

Discuss proper woodwind embouchure for good tone quality and accurate intonation

there are two types of woodwind embouchure based on the type of woodwind in question; transverse flute embouchures require the player to blow air across the instrument body, while the reed would win embouchure requires a player to enclose the mouthpiece so that the airflow can effectively vibrate the reed and sound production. The transfers flute should be placed against the chins of the bottom lip and is in line and close to the hole. The corners of the mouth should be relaxed, while the upper lip is held firmly against the upper teeth. On a reed woodwind the mouthpiece should be taken into the mouth only as far as the redness the mouthpiece. The bottom lip should be placed slightly over the bottom teeth and against the reed. The upper teeth should rest on top of the mouthpiece while the corners of the mouth are drawn in to create a seal around the mouthpiece.

Describe the body, arm, and finger position on the drumstick for proper snare drum technique

to execute proper snare drum technique, full of tension must be made to develop the body, arm, and finger position of the player. The body should be in a fully relaxed and comfortable position without allowing the back to slouch early in. A seated body position and playing the snare drum should allow the feet to be flat on the floor with the legs spread evenly. The drum set should always be positioned to the player so that the player does not have to adjust unnaturally to the set. The player should be seated facing directly in front of the snare drum and not to the side or from below. The arms should always be relaxed and should hang at the body side without unnecessary tension. The snare players should grip the drumstick firmly and and relaxed manners that each stroke has a flowing yet controlled movement with a full, legato sound

Discuss the physiology of vocal range development

until puberty, a child's vocal mechanisms are not fully developed and do not contain the full range of the adult voice. Infants are born with a very large layering semicolon The larynx drops slightly when a child reaches the age of three. From age three until about age 10 to 13, the larynx is not yet fully functional. The vocal folds of a child are much shorter than any adults vocal folds, and the larynx of a child sits higher than the adults. The vocal range of a child is relatively limited as compared to an adult semicolon high and low pitches are reached by the lengthening or thickening of the vocal folds. During puberty, a child's larynx grows to its full size, drops, and the vocal cords lengthen and thicken substantially. The full matured vocal mechanisms acquire a vocal range much larger than a child's functioning through the complex muscular and cartilage actions within the larynx to produce a wide ranging pitches in different registers

Discuss considerations when devising a core repertoire list for ensemble

when devising a core repertoire list for an ensemble, it is important to take many musical aspects into consideration. A core repertoire list should provide a strong framework of music education for the students, factoring in the student's musical growth and development. A core repertoire list should include a variety of rhythmic features that challenge the ensemble's technical abilities. The harmonic language of the repertoire list should be varied in in a wide range of genres. The melodic lines within the repertoire should exhibit creative writing and expressive interest for the students. The repertoire should also be well orchestrated providing musical interests in all sections of the ensemble, as well as providing a balance between tutti and thinner textures. The repertoire should provide some works that are deeply expressive, to allow students to expand their musical expressive language. The core repertoire list should be well sequenced and introducing new musical concepts as well as reinforcing old ones

Discuss fingering techniques for keyboard instruments and approaches for injury prevention

when executing finger technique on keyboard instruments, one must always be aware of relaxed risks, arms, elbows, and shoulders to prevent you overuse injuries. The wrist should be held in line with the hand and the arm, not sagging or raised too high. The elbows should hang comfortably to the side of the body and never tensed. The shoulder should be relaxed and dropped and never raised, as this is a sign of tension. Fingering at the keyboard should use the thumb - tuck technique, to allow a flowing and continuous line of notes when playing. When tucking the thumb under the middle or ring fingers, the keyboardist should ensure that the wrist does not drop during the movement, but that the thumb helps to maintain a healthy wrist position. Players should always drill a fingering section slowly at first, and only increase the playing speed if the passage can be executed without tension

Describe how to incorporate solfege into regular rehearsals to develop sight-reading skills

when teaching an ensemble how to sight read, it is useful to incorporate solfege into rehearsals to teach the relative relationship between pitches as they occur within any diatonic scale. The reinforcement of solfege on a removable dose system trains the students understanding of relative pitch. As the students learn to sight read through solfège, they will be able to identify the relative position of the pitch within a scale, without the additional processing of identifying the absolute pitch. Music educators should begin by teaching students all the solfege syllables, with the added hand motions that reinforce the spatial relationship between pitches. The solfege syllable should be reinforced by singing through a number of different keys to train the student's ear to hear the relationships between the diatonic pitches. As the lessons progress, students should be required to sing or play back certain pitch intervals in various keys, such as a do, mi, sol progression

discuss the kinesthetics of octave playing on keyboard instruments and these different schools of thought on physical approach

when the keyboard is plays an octave passage in either or both hands, the hand is required to stretch the length of eight keys. The motion should be played and released quickly since the reach of the octave can present unnecessary tension and exhaustion to the arm if not released quickly. One school of thought has the hand plan octave quickly, but releasing the tension as quickly as possible back to a neutral hand physician. And a long passage of octave playing, this method requires quick stretch and release of each octave. Another school of thought has the hand fixed in an octave position and uses the quick movement of a flexible wrist snapping for each motion to play the octopassage as quickly as possible. Yet another school of thought has the hand and risk fixed in the octave position and use a quick movement of the elbow to play each octave thought I feel like those teachers that just read off of their PowerPoint

Explain how to care for and maintain woodwind instruments

woodwind instruments should be handled with care, taking precaution to avoid damage by jewelry, buttons, or zippers. Instruments should be kept dry while in storage. After each playing session the instrument should be white clean, making sure to use an appropriately size swab; this is especially important for the small-bored piccolo and oboe. On a monthly basis, apply key oil to keep pivot points. Similarly, apply a small amount of cork grease to tenons and neck corks, taking care to remove any excess grease. Wipe down the finish of the instrument to remove fingerprints and oils from fingers, moisture, and other debris. Never use alcohol on any plastic parts, and never use excessive force when constructing the instrument. Thoroughly clean out the mouth between eating and playing; clean mouthpieces weekly. For reeds instruments, discard reads that are chipped or cracked semicolon do not leave reads on the mouthpiece, and check metal ligatures for signs of damage, as an out of round liquid sure can damage a mouthpiece. The instrument should be kept out of direct light and excessively warm, cold, or humid environments

Describe the transposition in instrumental ranges of five to seven woodwind instruments

would an instruments include single read, double reads, and flutes. All woodwind instruments have side holes that are left open are covered to change the sounding length of the tube. The piccolo is typically notated on the treble clef and active lower and has a general range of D4-C7. The flute is typically notated on the treble clef with no transposition and has a general range of b-flat 3-d7. The oboe is typically notated on the treble clef with no transposition and has a general range of b flat 3-a6. The clarinet is typically notated on the treble clef with the b-flat clarinet sounding a major second lower, the a clarinet sounding a minor third lower, the d clarinet sounding a major second higher, the e-flat clarinet sounding a minor third higher, and all with a general range of E3-C7. The bassoon is typically notated on the bass or tenor class with no transposition and has a general range of Bflat one - Eflat five