Teaching Competencies for Music Educators, Technology, Performance Competencies for Music Educators, Music PRAXIS II, Music Praxis: Instruction, Professional Issues, and Technology, Music Praxis 5114

Describe the role of the breathing warm-up and give examples of breathing warm-ups

Before beginning any choral rehearsal, it is essential for the director to prepare the singer both physically and mentally. One important aspect of warming up a choral ensemble is the breathing warm up. Breathing warm-ups engage the diaphragm for supported singing and help to warm the vocal chord for singing. Not only will the breathing exercises physically prepare the lungs and vocal mechanisms for singing, they will also mentally center the singer to be mindful of breath during the rehearsal. One choral breathing warm-up consists of taking in a deep breath over as many counts as possible, holding the breath, and then slowly letting out the air on an "s" sound, over as many counts as possible. Another choral warm-up consists of having the singers exhale on a pulse with an open mouth "ha"

Describe the correct use of breathing for singing

For any singer, the breath plays an essential role in producing a controlled, robust tone while keeping the vocal chord in good health. To begin any breath, the singer must inhale first; the inhalation should be deep and initiated by the contraction of the diaphragm, the muscle and tendon that runs along the bottom of the ribcage. As the diaphragm contracts and is actively engage, it creates a vacuum in the lungs, which begins the intake of oxygen. After intentional inhalation, the singer must control the rate of exhalation, as the flow of air through the vocal chords results in sound. The singer must use great care not to allow the chest to collapse while managing the rate of airflow through the trachea and larynx.

Disscuss fingering techniques for keyboard instruments and approaches for injury prevention.

when executing finger techniques on keyboard instruments, one must always be aware of relaxed wrist arms elbows and shoulders to prevent 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 concretely to the side of the body and never tent. The shoulders 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 touching the bottom under the middle or ring fingers, the keyboardist should ensure that the wrist does not drop during the movement, but that the some helps to maintain a healthy rest 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.

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

"Bright" and "dark" are descriptions of tone quality. Tone 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, the violin producing a brighter tone. A bright tone emphasized 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 farther forward in the face, and as 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 vocalist will tend to have brighter tones.

Discuss the benefits of individual student lessons

1. Although a student can learn the basic solely ensemble rehearsals, is is preferable for students lo learn the basics with the help of a private teacher. 2. In an ensemble rehearsal, the conductor can only give so much attention to an individual student, as there are 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. 3. As the student progresses to a more advanced level, having a private teacher will better assist in technical challenges and fingering issues that cannot be addressed as easily in a large group ensemble. 4. With a private teacher, a student can advance more quickly to a higher level of playing

Describe various aspects to consider when selecting music for an ensemble

1. Final responsibility is to select appropriate music for an ensemble. 2. Needs to consider the ability of the students. 3. Should consider the strengths and weaknesses but should help to develop and weaknesses an ensemble may have. 3. Also needs to consider the number of players and instruments in the ensemble. 4. The conductor should also take into account the number of rehearsals before the given performance. 5. Should select a variety of music appropriate for the audience and occasion of the performance.

Discuss instructional strategies to keep students focused and on task

1. If a students are distracted, wait until they are paying attention to continue the lesson. Silence will draw attention to the misbehaving students. 2. If students are distracted, educator can redirect their attention by giving a direction such as "If you hear my voice, clap once (twice, three times etc.) Misbehaving students will redirect their attention and try not to be left reinforcement. 3. Teachers can also reward good behavior through positive reinforcement. If needed, students should be separated. 4. 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 hos or her behavior among his classmates. 5. Another technique is give the misbehaving student a special task;oftentimes, a distracted student is one who is not challenged by the current lesson. 6. Finally, is 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 strategies for teaching rhythm to a full elementary class

1. The students must first experience rhythm; this can be achieved through kinesthetic movement, whether by clapping, swaying the body, or dancing. 2. The music educator can have students mimic certain clapping or dancing patterns so that the students experience the rhythms before labeling the rhythms. 3. Students can also experience rhythm by keeping a beat to music, to help feel for a steady beat. The music educator can refer to a steady beat as a heart beat, relating to a familiar internal process. Once students have experienced certain rhythms. The association between label and rhythms can thus be strengthened as the students already know the rhythms through experience.

Describe the ideal features of a classroom computer for music use.

A classroom computer in any music room proves to be an invaluable resource for the 21st century music student. With the music technology at hand, a classroom computer can help to reinforce lesson material, provide a launching pad for music technology instruction, and offer students a wide array of resources for making music. The classroom computer should have: - enough RAM and storage to run multimedia programs - be internet-ready and have audio input and output features, speakers and a CD or DVD-ROM player. - have easy-to-use menu screens and controls so that the students can easily navigate through the programs. -loudspeakers as well as headphones - should include MIDI, notation, and sequencing software, as well as electronic instruments with which to experiment and create sound in the DAW software.

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 planned 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 on 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 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 the use of colleagues, mentor, and conferences and publishers as repertoire resources for a music program.

A conscientious director should be willing to look to a diverse variety of sources for repertoire. By drawing from colleagues, mentors, conferences, and publishers, the director can tap the experience of people of different tastes, ages, backgrounds, and musical circles. The suggestions of those with a different approach to choosing repertoire can be particularly valuable, as these suggestions are the most likely to be overlooked by a search undertaken independently. Publishers may be useful due to their access not only to their own catalogs, including back catalog that may have been previously overlooked, but also to the catalogs in the publisher's extended network. As publishing houses have consolidated and collections have become digitized, repertoire has become available for wider circulation.

Discuss Techniques to improve a chorus' intonation and vocal techniqueI

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 director's concerns. There are many rehearsal techniques to improve a choruses internation. become the least of a directors. There are many rehearsal text me to improve a chorus is in a nation. , Changing the seating arrangement of the chorus can drastically improve information. B sure that all mobile parked in your eachother clearly so that information no longer an issue. Is the seating arrangement is not the issue, then the director can take this fingers through a problem bought singing every beat vertically, stopping on each harmony for accurate pictures. Directors can also warm up with Dominic Ford and tonic petals so that the seniors always have a reference pitch to tune to. Fingers should practice breathing exercises, vocalization, & a tooth to strengthen their vocal mechanism and their overall vocal technique.

Describe the mechanisms of a simple sound system following sound from an input transducer to an output transducer.

A simple sound system for sound amplification consists of an input transducer, signal processing, and an output transducer. The input transducer can take the form of a microphone, which converts the sound that is picked up into audio signals that travel down cables to the signal processor. A signal processor can take the form of a mixing console through which the audio signals are processed in three ways. First, the audio signal goes through a preamplification system in which the sound that is picked up is amplified up the line level. Then, the audio signal goes through an equalizer in which an audio engineer or console operator adjusts the specific levels of tone quality for the most aesthetically pleasing balance. If necessary, the audio signal undergoes mixing, in which multiple input are processed together into one line-level output signal. The output transducer can take the form of a loudspeaker, and the single line-level output signal is amplified and converted back into sound.

Compare and contrast appropriate etiquette for 3 different types of performance venues.

Any audience member should be aware of the performance venue for a concert, as there are different etiquettes for different performance venues. In a classical concert, the audience usually does not talk during a performance as it is considered disruptive, and applause is only polite at the end of a musical work. In contrast, jazz audiences can clap or give sound approval at any point of the performance to exhibit admiration for an improvised section or solo. At a rock concert, not only can the audience clap or give sound of approval any time, audience members can freely talk throughout the concert. Although the appropriate sound levels of the various audience deffer, some thing remain constant a any venue. Audiences should arrive early to settle into the venue and feel comfortable. Audience members should always be aware of photography and videography regulations. Also, audiences should always be responsible for their children at a concert.

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

Approaching instrumental playing in a healthy manner required a related body to prevent injuries and to enhance instrumental tone and resonance. Physical tension in a musician can translate into and unpleasant, thinner, and pinched sound. Music educator 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 flow and loose joints. music educators can implement warm-ups that involve tension 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; when the students see the excitement and passion for the lesson material, that energy will be transferred to 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. These 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 thorough 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 be going through many growth spurts, and their reference for 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, pit 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 cause many singers the added challenges of adolescent vocal change. Females typically undergo puberty between the ages of 10 and 18, while males typically under puberty between the ages of 12 and 20. Adolescent vocal change occurs in both males and females, but is most prominent in male singers. During puberty, the vocal tract increases in length and circumference, and the larynx increases in size and density. Symptoms include cracking and abrupt register breaks. While the vocal mechanisms are developing in 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; students should never sing too loud or with 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 performance tests, the teacher has the opportunity to gauge the progress of the individual or section; the educator can provide quick succinct feedback on accuracy, technique, or any other issues that arise. Informal questioning and discussion relating to the analysis of the music also allows the teacher to assess and 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.

List 3 to 5 vocalization warm-ups for choirs

Before beginning any choral rehearsal, it is essential for the director to prepare the singers both physically and mentally through vocalization warm-ups. One such warm-up is the siren, in which the singers sing to the upper reaches of their vocal range and slide back down to their lower reaches. Another warm-up consists of the singing pentatonic scales upwards and down wards using consonant-and vowel-heavy sentences such as "Mommy made me eat my m&ms." Choruses can also warm up by sliding their voices from a Do to a Sol and back down. Yet another warm-up consists of singing Do to the nest Do an octave up, back down to So-Mi-Do. A warm-up useful for vowels consists of singing a single pitch through the five vowels from open to close, or vice versa: "ee," "eh", "ah" and "oo"

List 4 to 5 physical warm-ups to prepare the chorus for singing.

Before beginning any choral rehearsal, it is essential for the director to prepared the singer both physically and mentally. The use of physical warm-ups helps the body to release any tension that may hinder the vocal delivery while also increasing blood flow to the vocal mechanisms. A useful physical warm-up to prepare the lips for singing consists of taking in a deep breath and releasing is through slack lips, as in a lip trill. Another helpful warm-up to prepare the mouth for singing consists of stretching the mouth wide open while imitating the chewing motion. Singers must also stretch appropriately before singing to help loosen the neck and shoulder muscles through shoulder rolls, neck rolls, side bends, and arm extensions. Singers can also take deep breaths, and release them as heavy sighs while dropping the shoulders to help loosen the body.

Define and describe the use of blocked chords in accompaniment.

Blocked chords are defined as pitches that are played simultaneously like a chord. When using blocked chords in accompaniment, the player can combine notes that are written separately into a blocked chord, or play blocked chords from a chord chart. If the player must sight-read music, blocking the chords can help to simplify the sight-reading process so that the player doesn't have to read every single note; a quick scan of the harmony is all that is required to play a blocked chord of that harmony. If the player is reading music with a chord chart, then blocking chords can also provide a quick and simple method of accompaniment. The player must only see the written harmony needed, and play the blocked harmony without the intermediate processing stage of notation.

Describe the transposition and instrumental ranges of 5 to 7 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 French horn is typically notated on the treble or bass clef sounded a perfect 5th lower with a general range of F#2-C6. The trumpet is typically notated on the treble clef with the C trumpet sounding as written and the Bb trumpet sounding a major 2nd higher, both written with a general range of F#3-D6. The tenor trombone is typically notated on the bass, tenor or alto clefs 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 Bb1-Bb4. The tuba is typically notated on the bass clef sounding as written, with a general range of G0-C5. The euphonium is typically notated on the bass or treble clefs sounding as written on the bass clef or a major ninth lower on the treble clef, with a general range of Bb1-F5.

Describe how to care for and maintain brass instruments.

Brass instruments require care and maintenance on several fronts. Instruments should always be handled with care. has voice handeling this finished and wipe away anne your age oil or other degrees with a soft cloth actor handeling. 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 valve instruments, apply a small amount of olive oil before each playing session. Clean and lubricate all sides, 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 to humid. Perform a regular inspection of all moving parts and the mouthpiece

Describe repertoire sources 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 choral director that can assist in preliminary repertoire selections. The American choral Directors Association publishes multiple repertoire lists including "Tried and True Literature" for junior high choirs, as well as annual choir repertoire lists. Donald Roach's Complete Secondary Choral Music Guide includes extensive repertoire lists, music theater sources, and other content that is valuable of the middle school choral Director. Music directors can also consult state clinic and contest repertoire for intermediate choirs as well as complete compilations of choral works for the middle school choir.

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 register and volumes more comfortably, reducing strained 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 she wants 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 h-note fingering 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 student to monitor embouchure. The student should have a clear idea of the tone she wants to produce, and think actively about playing with good tone. Long tones are an excellent tool for developing intonation. Tuning to the rest of the ensemble, piano, or 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.

Define a DAW, its uses and include three to five popular examples of sequencing software.

DAW stands for Digital Audio Workstation and is a computer-based recording sequencing, and mixing tool for the modern musician. A complete DAW includes the computer, the digital audio software, a digital audio interface, optional plug-ins, digital signal processing, and possibly additional digital audio interfaces. It is important to choose the right digital sequencing software to have the right tools where needed. Avid Pro Tools is a popular DAW software and has become the standard in recording studios and home studios as well. MOTU Digital Performer is one of the oldest DAWs around and is compatible with both Mac and Windows. Apple Logic Pro is also one of the top DAWs and provides a wealth of interface options but is compatible with Apple products only. Alberton Live is one of the best live recording DAWs and offers many third-party hardware options made especially for the program. FL Studio is a classic DAW for creating loop- and sample-based music.

Describe the educational values of programing widely diverse repertoire for an ensemble.

Diversity of repertoire is an important and current topic for music directors in the present era of concert programming. Good concert programming will reflect the diversity that the audience experiences in the world around them. Concerts must engage the audience with relevant and fresh perspectives through culturally diverse and new works as well as through the musical standards of the past. Showcasing contemporary new works alongside a traditional classical work can inform and rejuvenate the audience's listening ear. Programming new works along with old works also illuminates the performance practices of the past. Students will have a broader musical perspective by experiencing music from different cultures, genres, and time periods. Widely diverse concert programs can unite audience members of the past, of today, and of the future.

Explain the teaching goal of using intonation spot check of different sections during rehearsal

During a rehearsal, the director should use various techniques to ensure the accurate intonation of the ensemble. Aside from beginning each rehearsal with accurate tuning, the director can use spot checks of each different section as teaching moments as well. Isolating the instrument or vocal groups for intonation spot checks teaches the students to listen attentively to themselves and also to the surrounding students. Students will have opportunities to practice the appropriate procedures of adjusting pitch on their respective instruments. Brass instruments with slides can adjust their pitches through adjustments of the mouthpieces; string instruments can adjust their pitches through tuning pegs; vocalist can adjust their pitches through minor adjustments of their vocal mechanism. When participating in intonation spot checks, students will learn to produce a consistent pitch with their breath or their open strings.

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 difficulty. Then the educator will be able to assist the ensemble in note 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 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 required cognitive processing in the brain to give meaning to sound. Gordon delineates 8 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 diction Type 4 involves recalling and performing familiar music from memory. Type 5 deals with recalling and writing familiar music from memory Type 6 involves creating and improvising unfamiliar music Type 7 involves creating and improvising unfamiliar music while reading 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 behavioral 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 in the classroom, especially when there is a lack of intrinsic 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 as the student's acknowledgement of the tasks' importance towards a future goal.

Describe the necessity of filtering software for music classrooms.

Filtering software is one method to protect students from obscene, inappropriate, and otherwise harmful websites on the Internet. The filtering software can be set to a variety of levels, from most restrictive to least restrictive. Even at the least restrictive setting, the software blocks pornographic content, obscene subject matter, and other inappropriate websites. The more restrictive settings marginally block more content, but may also block safe educational content through unreliable and inconsistent measures. Some educators have voiced opposition to filtering software, claiming inconsistent and unreliable results, interference of legitimate education websites, and a lack of input across the school district. Opposition also claims that filtering software prevents students from learning how to make their own sound decisions based on real world knowledge. Despite the challenges of filtering software, it still a necessary tool in providing a safe and positive learning environment for students.

Describe the software capabilities of Finale, Nightingale, and Overture.

Finale is one of the most widely used notation software packages in the market. It allows music to be input through MIDI-controlled instruments as was through scanning, and then converts the data onto a staff. Finale features a diverse playback instrument library and allows easy sharing between users. Tools like transposition, range checking, production and sequencing capabilities make Finale an essential tool for the musician. Nightingale notation software is available on the Mac platform only, and offers a simple, basic approach to digital notation. Nightingale offers a PostScript output equal to that of other notation software, with similar features such as MIDI and scanning input, as well as playback, transposition and orchestration tools. Overture is a highly intuitive notation software that features many similar tools such as MIDI and scanning input and diverse editing options, but also includes VST, Virtual Studio Technology, which allows ease of integration between software audio synthesizer, plugins, Overture and other recording systems.

Describe the advantages and disadvantages for conductors to individually tune each student's instrument

For conductors rehearsing a beginning ensemble, helping to tune the students' instruments can save time and confusion for the students. Especially with beginner students who are still familiarizing themselves with and instrument, having help with tuning will not only save time, but also offer an opportunity to teach the students how to tune. Although tuning each student's instrument has many advantages, there are also certain disadvantages to be aware of. If possible, the conductor should tune each student's instrument before the beginning of rehearsal; otherwise, time taken may be inefficient and would detract from the limited rehearsal time. Also, if tuning instruments for middle school or high school students, care must be taken to encourage every student's own ability to tune; otherwise, tuning students' instruments for the sake of time may become a hindrance in the student's comprehensive music education.

Discuss the 3 main multiple mallet techniques used by marimba players

Good mallet technique for marimba players allows the musicians a free range of color and technical possibilities, and starts with one mallet in each hand. Once the 2-mallet grip has been learned with a flexible grip, the student usually learns the 4-mallet grip next. The 3 main multiple mallet grips are the traditional crossed grip, the Burton's grip and the Stevens grip. The traditional grip places the second mallet 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 gate 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 Stevens grip places the first mallet between the thumb and index fingers and the second 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 Stevens provides the most independence of mallet movement.

Discuss the hand-horn technique for French horn

Hand-horn technique, also known as right-hand technique, is 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. In 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 valves were added, horn players still played with the right hand inside the bell in order to produce a slightly darker tone, more easily control pitch, and perform extended techniques such as stopped horn and echo horn. There are 2 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 horn's weight supported by the thumb. In the French method, the right hand is held out flat with palm down and the thumb forming a 90-degree angle with the hand, and some of the horn's weight is supported by the first knuckles and the back of the hand.

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 have these general components. In the beginning, the ensemble should spend adequate time warming up their instruments and bodies as well as tuning their instruments. This practice helps to develop the musician's habits as well as listening with awareness. The ensemble should have time with the conducting and playing of various musical works. The ensemble should also spend time refining technically and musically challenging sections. There should also be time for the musicians to develop musically and sight-reading during the rehearsal.

Describe cost-effective ways of publicizing music programs and events.

In a music program, there is usually a limited budget for yearly expenses; music educators can stretch the program budget by implenting cost-effective methods of publicizing music programs and events. One area in which the music educator can minimized cost is through concert publications. Instead of using costly printed posters, the educator can take advantage of social media, publicizing upcoming events through the Internet instead of though paper. If the program still needs paper publications, the educator can use smaller flyers what will cost less than larger posters. The educator can also publicize music programs through the help of a parent committee; working as a team, supporters of the music program con publicize upcoming concerts and events through fund-raising efforts while also spreading information about the program. The educator can also eliminate the cost of the program notes by having an announcer give brief introductory information between musical works.

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

In a setting with 15 or more students: 1. If there are instructions, they should be clear and concise. When students understand instructions for a task, they are more likely to stay focused on task. 2. Follow the instructions with reinforcement by modeling the activity, asking the students 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. 3. If the instructions are not made clear, problems such as student frustration or loos of group control could occur. 4. 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 the guidelines rather than out of emotion.

Describe how to create a clean release in conducting.

In conducting, the release of a note is as important as the initial attack; clear indication must be made on the conductor's part so that the musician does not have any doubt when to release a note. When indication a release, the conductor should also use a preparatory beat to indicate the cutoff. A release usually comes after holding a long note; as such, the conductor's baton should indicate the final note to be played, the be held in position for as long as the note is to be held with a possible slight movement outwards. The preparatory beat to indicate the release should be a slight movement upwards so as not to detract from the musical expression of the final note. As the conductor's baton comes down or out from the preparatory beat, the stress of the cutoff marks the point of release.

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

In the fixed-do system of notational reading, the solmization of pitches refers to a specific pitch usually where do refers to the C pitch, re refers to the D pitch, mi refers to the E pitch, and so on. In the movable-do system of notational reading, the solmization of pitches refers to any pitch within a diatonic scale so that do refers to tonic, re refers to the superonic, mi refers to the mediant, and so on. In the movable-do system, any pitch can be do, while the rest of the diatonic scale is built upon the relative tonic pitch. The fixed-do system of notational reading focuses on the functional association of the specific pitches to the staff, where do is always recognized as C. The movable-do system of notational reading focuses on the intervallic relationship between the pitches as they occur within the scale.

Discuss instructional activities that aid intervallic reading and understanding

Intervallic reading is founded on the principle that students who can recognize the relative relationships between pitches will be able to read more quickly and with less mental processing demands than reading note by note. Students who read music note by note must first mentally identify the pitch name, translate that into the fingering or key pattern on the instrument, then play. Student who read intervallically can forgo the pitch identification step of the mental process and proceed immediately to spatial processing, thus simplifying the reading process. Musical educators can use instructional activities that reinforce the concept of spatial distance and direction, such dictating a tune by note distance and direction only, i.e., 2nd up, 3rd, down, making a game out of flash cards, being able to play intervals and directions with eyes closed and practicing placing notes on a classroom staff.

Discuss the advantages and disadvantages of intrinsic motivation in the classroom

Intrinsic motivation is defined in behavioral psychology as 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 high quality of learning and creativity in students.

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

It is always important for the music educator to reflect on the 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.

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

Keyboard instruments include those instruments whose sound producing mechanisms are set into motion through a system of levers and keys. The keyboard is generally made of 7 natural and 5 chromatic keys. The distance between the natural are whole steps except for the half steps between E-F and B-C. The modern piano is typically notated on the grand staff sounding as written, 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-F-6. The harmonium is typically notated on the general range of F1-F6. The organ is typically notated on the grand staff sounding as written, with a general range of C2-C7

Discuss the importance of long tones for brass players

Long tones are critical practice for brass and woodwind players. The benefit of the exercise lies in removing other aspects of performance such as reading, fingering and so on. This allows the player to singly direct his or her focus towards the production of those aspects that crate a pleasing tone. The definition of "pleasing tone" may vary according to the personal preference and the idiom of performance; however, long tones allow the performer to scrutinize and adjust pitch, timbre, vibrato, etc. Although the exercise has the additional benefit of increasing stamina and strength of the muscles involved, maximum duration of the held note should not be the sole or primary focus of long-note practice. Instead, the performer's attention should focus on the quality of the note through the coordination of the entire system that produces the note: diaphragm, throat, oral and sinus cavities, embouchure and the instrument.

Discuss MIDI technology and give examples of its capabilities within music production

MIDI stands for Musical Instrument Digital Interface and provides a standard "language" of MIDI that allows communication between digital keyboards, computers, and even cell phones. MIDI does not record a digital version of a sound recording, but instead stores performance data of a particular performance. MIDI data includes tempo settings, which notes are to be played, and the volume levels of the instruments. Since the recorded data are inherently performance instructions, MIDI stored performances can be changed to sound on different instruments, in different keys, and in different tempi, MIDI technology has become a staple in the music industry, with its simplicity of recording, compact storage size and multitude of practical applications in recording editing and performing.

Describe methods of inputting music into desktop music publishing software.

Many programs will notate the music as played by a MIDI instrument such as a keyboard or guitar. Some programs can also notate music that is sung into a microphone. This method allows the most organic processing from live music to notation, but may require some cleaning up after the music has been notated into the program. Another way of inputting music into desktop music publishing software is by manually placing each note and rest through the mouse. This method allows for more meticulous control of each note placement, but can be highly time-consuming. Some desktop music publishing software can process scanned print music into the proper notational format within the software. This method is highly efficient for multiple pages of sheet music, but will have to be cleaned once the scanned music has been transferred into the program.

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 benefit from heavy reinforcement of a steady beat through movement activities such as dancing to the beat of a song, clapping or tapping along to rhyme, swaying back and forth while counting out loud, or other forms of multi-sensory learning that involve the kinesthetic mode as well as the aural mode. 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 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 maxim practice makes perfect describes the correct pattern forming process of the brain. Many music educators ascribe instead of the phrase practice makes permanent, as scientists know that repeated practicing reinforces the cognitive Neural pathway of a practical action, similarly to the way habits are formed. It is therefore important for a musician to make sure to practice passages correctly, or else incorrect 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 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 provide 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 experts, correct pitches matching, and correct rhythm matching. Students should be able to demonstrate historical and contextual knowledge or the appropriate music, and should demonstrate thoughtful analysis and evaluation of music. Group grading criteria can include attendance at performances, attendance at local concerts, chamber music participation, and solo/ensemble festival participation. Classroom criteria can include rehearsal preparation and readiness. The weigh of each section could be graded as follows: individual performance- 30%, ensemble performance-30%, classroom participation- 30%, other-10%.

Describe various notation software and methods for incorporating the software into instructional activities.

Notation software provides an important tool in music education, allowing students to notate compositions electronically, transfer the data to other MIDI instruments, and integrate technology into the music classroom. Using notation software helps to reinforce musical concepts and compositional lessons for the students. Many notation programs will transcribe the music as it is played on an attached keyboard or sung into a microphone. Notes can also be manually input by the mouse. The premier notation software Sibelius features high ease of use, varied input/output capabilities, great editing option, and good technical support. Finale is another widely used notation software and features students versions as well as professional versions. MagicScore Maestro features easy notational input, but does not have controls that are as intuitive as other notation software. Forte Home is a great notation software for the beginner but features no virtual piano.

Describe the theory behind tuning an ensemble upwards from the bass.

One method of tuning an ensemble starts with careful tuning upwards from the brass. In a choir, this would be the lowest bass voices; in an orchestra, this would be the basses, cellos, bass clarinets, bassoons, trombones, and tubas. In a concert band or wind ensemble, this would be the bassoons, bass clarinets, trombones, tubas, bass saxophones, and euphoniums. Once the bass instruments have been carefully and precisely tuned, the next higher in range would be tuned, and so on and so forth until the entire ensemble has been tuned through the bass, middle and soprano ranges. The theory behind this tuning method holds that with precise tuning, the other instruments can more easily hear their tuning pitched because of the overtones and harmonics from the bass sounds. Also, the other instruments can more easily place their pitched within the context of a chord structure, as the bass becomes the foundational pitch of the ensemble

Discuss Phyllis Weikart's contributions to modern music education.

Phyllis Weikart has written numerous books on the pedagogical application 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, and Teaching Movement and Dance: A Sequential Approach to Rhythmic 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 researched-based approach to learning through movement and music. In 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 Off-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 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 his or her 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 the transposition and instrumental ranges of 4 to 6 pitched percussion instruments

Pitched percussion instruments can include membranophones as well as idiophones that have definte pitches. The timpani is typically notated in bass clef sounding as written with the 30-inch timpani in range of D2-A2, the 28-in timpani in a range of F2-C3, the 25 in timpani in a range of Bb2-F3 and the 23-inch timpani in a range of D3-A3. The xylophone is typically notated in treble clef sounding and octave higher, with a general range of G4-C7. The marimba is typically notated on the grand staff as written, with a general range of C2 or A2 to C7. The glockenspiel is typically notated in treble clef sounding 2 or 8 octaves higher, with a general range of G3-C6. The vibraphone is typically notated in the treble clef sounding as written, with a general range of F3-F6. Chimes are typically notated in treble clef sounding an octave higher, with a general range of C4-Gg5.

Describe the steps involved in preparing program notes for a performance setting

Preparation for program notes involves extensive and thorough research on the musical work as well as its historical context and contextual background. When first starting to research, it is important to consult a variety of sources for the most accurate information. A good starting point for any music research is the New Grove Dictionary of Music and Musicians. As a standard, authoritative text, this source offers the most up-to-date and complete resource available. After consulting the New Grove Dictionary, it useful to use composer biographies, orchestral music resources, CD liner notes, primary notes on the score, and other published collection of program notes. The writers should also check the text and translations for the most accurate rendering. Once researched, the program notes should be written, including historical, biographical, and contextual information as well as information about the work itself.

Describe principles of sequencing a music curriculum

Principles of sequencing a music curriculum can be based

Describe the essential elements to include in program notes

Program notes should serve as a helpful guide for the audience while listening to a musical performance. It should provide key elements to understanding the work such as contextual background, historical context, first performance, scoring, musical style, and possible details to listen for. The writer should avoid personal anecdotes, footnotes, irrelevant facts and details, musical examples or excerpts ,exclusively technical terminology, or effusive emotional descriptions. Program notes should be insightful and engaging, and should further the enjoyment of the listening audience. The program notes should be thoroughly researched, geared toward the level of understanding of the audience, whether for a young audience or for expert theorists. If possible, the writer should include unique and engaging facts such as the initial reception through a first review or the dedicated of the work.

Provide sample activities for a Pre-K eurhythmics class

Sample activities for a Pre-K eurhythmics class can include: - 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. - Students must pass a beach ball around in a circle in rhythm, as defined by the teacher's music. - Students stomp their feet in rhythm and sway side to side while the teacher recites a children's rhyme. - Students clap their hands to the tempo or the teacher's improvisation at the piano; the teacher alters the tempo of the music so that students must follow along. - The teacher play a soft melody on the piano while the students move smoothly to the music; for every sudden sfz chord played, students must clap with a partner, then resume the quiet music/movement.

Describe the transposition and instrumental ranges of 5 to 7 string instruments.

Siring instruments 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 a general range of G3 to A7. The viola is typically notated in the alto clef sounding as written, with a general of C3 to E6. The cello is typically notated in the bass, tenor, and treble clefs sounding as written, with a general range of C2 to 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 a general range of E 3-E6. The harp is typically notated on the grand staff sounding as written, wit a general range of Cb1-G#7.

Describe the use of solfege in kinesthetic pitch learning

Solfege, also known as solfeggio in Italian, originated in the 17th century as a vocal exercise using solmization syllables for singing the pitches of a scale. Solmization systems were found all around the world, but the most commonly used in Western culture stems from the Guidonian system of the eleventh century. In teaching pitch names, and associations, the use of solfege can greatly aid the student's understanding of high and low pitch, as educators such as John Curwen and Zoltan Kodaly have integrated a kinesthetic system using both hand signs and spatial reasoning. The solmization for the diatonic scale, from tonic to tonic, is as follows: do, re. mi, fa, sol, la, ti, do. As each pitch rises, the corresponding hand sign rises from the low on the body to high above the head. The spatial, kinesthetic, association allows the learner to relate the rising pitch to rising motion.

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

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. In the third week, steady beat and note should be reinforced through movement and song. In the fourth week, the students should compose rhythms of quarter and half notes to music. In the fifth and sixth week, students should continue to reinforce these concepts as well as improvise on the learned rhythms through games, dance and songs.

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

Students in grades 5-8 should be reinforcing skills acquired in 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 be able to perform on at least one instrument alone as well as in groups with good technique, posture, bowing or breathing, and with good fingering. Students should be able to play simple tunes by ear Students should be able to improvise short melodies and simple accompaniment patterns. 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 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 among themselves. Aural learners may need to question and talk through ideas to help thoroughly comprehend educational content, so teachers should not brush off students' questions, but allow ample time for students 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 the 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 for mistakes and areas for improvement.

Describe practical teaching techniques to accommodate kinesthetic 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 mover 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-round relationships. Without the proper guidance from the music educators, the students with 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 student's strengths. Musical notation can be enlarged so that visual processing for the students will be easier. The students 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 for 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 the most comfortable for his or her vocal timbre. Tessitura differs from vocal range in 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 he or she may have a wide singing range, may be best described as a high tessitura, or a low tessitura, whenever the voice is able to sustain the most dramatic, comfortable 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 his or her range, timbre, transition points and voice weight.

Explain the philosophy behind a 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 bodily 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.

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 component to musical discovery and development. Students are given the opportunity to explore various rhythms, melodies, and songs, and then imitate, improvise and create their own 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 mostly commonly formatted as games and simple songs to encourage student's 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 Orff-Schulwerk 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 the bass, alto, and soprano xylophones and metallophones and the soprano and alto glockenspiel.

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

The bow 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 the 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 player should be careful not to extend any finger, as this will create tension in the wrist. On the cello and bass, 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 ring fingers. Since both the cello and bass are played upright, the arm does not generally stave above the bow; 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 and 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 the lungs through inhalation. During exhalation, the diaphragm muscle naturally relaxes, deflating the lungs and expelling the air out of the lungs. When singing, it is important to actively engage the diaphragm during exhalation to prolong the supported singing breath as long as possible.

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

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Describe the ideal posture for singing

The ideal posture for singing should engage the entire body while avoiding any tension or restrictions on the vocal mechanisms. The feet should be shoulder-width apart, with one foot slightly in front of the other for optimal balance. The weight of the body should lean slightly forward instead of backwards on the heels. The knees should be loose and never locked. The hands should be relaxed and kept by the side of the body or engages in expressing a vocal line. The abdomen should be active and involved in supporting the breath. The arms and shoulders should be relaxed and allowed to hang freely. The chest should not be collapsed, but should be held high to support the breath. The singer's chin should be held level to the floor so as not to obstruct the flow or air through the trachea.

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 experienced 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 in movement pedagogy, advocated the introduction of movement-based learning in early childhood education, so that early gross motor development could better prepare students for more complex rhythmic integration in musical development. Other motor theorists also found that rudimentary motor movements are formed before the age of 5 and all other motor movements after the age of 5 are reinforcements and stabilizations of those fundamental motor movements learned in early childhood.

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

The music educator should thoroughly explain expectations for the classroom, 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 the system of classrooms 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 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 the 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 or instrument is on the pyramid, 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 reed interacts with the player's airflow and vibration against the body of the instrument in 4 ways that influence the tone and sound. A reeds response refers to the ability of the reed to maintain a high quality of sounds through all registers without splattering or spreading. The reed's resistance refers to the amount of embouchure tension required to keep the reed behaving and sounding with a good time. A reed that has a low resistance may cause the player to overblow in searching for a fuller tone while a reed that has a high resistance can cause the player fatigue and difficulty in creating a good tone. A reeds tone quality refers to the residence and timbre of the reed itself. A reed with only lower partials will sound dull a read with only higher partials will sound shrill and send. A reeds stability refers to the ability of the reed 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 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 (Every Good Boy Does Fine) spaces of the treble clef (FACE) and bass clef (Good Boys Do Fine Always) and 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 and down, a fourth up, etc. Intervallic note reading relies on spatial visualizations while rote reading relies on memorization. While both methods of not reading result in proficient music 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 slower because of the added mental process of labels. In intervallic reading, students are more quickly able to identify direction and intervals during sight-reading;however, note names may be slightly more difficult as students must first process intervals.

Explain the physiology and musical goal of lifting the palate in vocal technique.

The soft palate, also called the velum, is the soft tissue at the top of the mouth cavity that rises and lowers as the mouth swallows and in speech. The soft palate is responsible for closing off the nasal cavity while the mouth swallows so that any material in the oral cavity proceeds to the esophagus. In vocal technique, singers practice singing with an open throat where the velum is raised and the larynx is lowered. This allows the sound quality to be more relaxed and free while also easing register singers lift the soft palate, the resulting space within the oral cavity enlarges, helping to achieve a more resonant, warm tome without restrictions. Since this action also relaxes the surrounding vocal muscles, the singer can transition between registers more easily, resulting in a consistently smooth tone.

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 tiny 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 related 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, 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 cup mute produces a muffled, darker tone and was common in trumpet sections during the classic big band era of the 1930s and 1940s. The bucket mute produces a softer tone and reduces the piercing quality of loud or high notes that can be amplified by other mutes. The wah-wah mute, often know by the brand-name Harmon mute, produces a buzzed tone, and for the trumpet is often associated with Miles Davis during his cool jazz period. The plunger and the had 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 proper woodwind embouchure for good tone quality and accurate intonation

There are 2 types of woodwind embouchure base on the typed of woodwind in question; transverse flute embouchures require the player to blow air across the instrument body, while the reed woodwind embouchure requires the player to enclose the mouthpiece so that the air flow can effectively vibrate the reed in sound production. The transverse flute should be placed against the chin so that the bottom lip 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 reed meets 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 various tuning strategies in an instrumental rehearsal

There are a variety of tuning strategies for tuning an instrumental ensemble for rehearsal. For a beginning ensemble, the conductor may tune each student's instrument, preferably before the rehearsal starts, or quickly and efficiently at the beginning of the rehearsal. If the ensemble may tune based on the pitch of the lead oboe or lead clarinet play the concert pitch. The conductor can also choose to have each section tune as a group at the beginning or rehearsal, so the musicians can match the pitch and timbre of the instrumental section. Also, musicians can tune based on a tuning machine that plays a pure tone concert pitch where the musicians must listen carefully to adjust their instruments to the proper pitch

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

To execute proper snare drum technique, full attention 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 or lean in. A seated body position in playing the snare drum should allow the feet to be flat on the floor where's the legs spread evenly. The drum set should always be positioned to the player so that the player does not have to adjust and naturally to the set. The players should be seated facing directly in front of the snare drum & not to the side or from below. The arms should always be relaxed and should hang at the body side without unnecessary tension. This near player should grab the stick from early and in a relaxed manner so that each row has a flowing yet controlled movement with a full legato sound

Describe situation in which a music license is necessary or unnecessary for student recordings.

Under the 1976 Copyright Act, music teachers are exempt from copyright recording laws only if the make a single copy of a student performance of a copyrighted work for educational purposes or for documentation. If a teacher makes duplicates of the recording, then a music license is necessary. In this case, a licensing fee is required for each copy of the recording that is duplicated and distributed. Music educators mus contact the Harry Fox Agency to acquire the correct music license for distribution. The licsnsee must pay a fee to the copyright holder of 9.1 cents per song that is five minute or shorter, or 1.75 per minute or fraction of the song that exceeds five minutes. This licensing fee applies to each copyrighted work. Although festivals and recording companies must pay royalty fees, it is ultimately the music ed. responsibilities to ensure that all all royalties are paid to prevent undue consequences from copyright law enforcement.

Describe the Every Pupil Responds instructional technique

Used as a way to ensure student inclusion during a lesson. The technique requires students to simultaneously respond to a 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 can write their own responses and hold up. Additionally, teachers can instruct students to point out 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.

Discuss the importance of warming up for an instrumental or choral ensemble

Warming up serves several important physical and mental functions for the group ensemble. Mentally, it has the effect of centering and adjusting the ensemble to an appropriate mental state for performance and establishing proper physiological cues for posture, breathing, etc. Warm-ups serve as a unifying tool for all members of the ensemble to begin listening to each other as a musical entity and adjusting sound according to the group. Physically, the warm-up promotes blood flow to the entire body, making every member ready to respond to the physical demands of making music. Though easy to overlook, the warm-up serves an important function for the instrument as well as the body. Whether a brass, woodwind, string, percussion, or vocal instrument, every instrument should be properly warmed and its mechanisms stretched and lubricated. Without a proper warm-up, singers could damage their vocal mechanisms, and the tonal quality of instrumentalists could suffer.

Describe the importance of warming up on wind instruments.

Warming up serves several important physical and mental functions for the wind instrumentalist. Mentally, it has the effect of centering and adjusting the player to an appropriate mental state for performance and establishing proper physiological cues for posture, breathing, etc., before performance. In addition to establishing the mindset for performance, the warm-up provides necessary functions at a physical level. The warm-up promotes blood flow to the fingers and the structures associated with embouchure, making them feel "loose" and ready to respond to the demand of playing. Though easy to overlook, the warm-up serves an important function for the instrument as well as the body. An instrument that has been sitting in an air-conditioned room is significantly colder that it will be during a performance. The warm air of the player's breath passing through the instrument will create warmth and thus expansion. An instrument should either be warm before tuning or re-tuned after a thorough warm-up.

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

When a music classroom is able to accommodate students with physical disabilities, there are numerous benefits for both the disabled students 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 instrument. Instructionally, 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 considerations when devising a core repertoire list for an 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 students' musical growth and development. A core repertoire list should provide a strong framework of music education for the students, factoring in the students' 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 and 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 interest 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 in introducing new musical concepts as well reinforcing old ones.

Discuss proper microphone technique for vocal amplification.

When singing into a microphone, a singer may have immaculate vocal technique but still not sound ideal. Vocal amplification requires proper microphone technique to maximize the aesthetic balance of a loudspeaker. A good sound starts with an ideal fit between the voice and loudspeaker. A good sound starts with an ideal fit between the voice and the microphone. A high-pitched voice would fit with a microphone that adds warmth through the mid and low ranges, whereas a deeper and darker voice would fit better with a microphone that lightens the sound with treble and upper-mid prominence. Also, the singer should sing into the center of the microphone, not across the top or at a wrong angle. The singer should not strain to sing into the microphone, but should think of the microphone as an extension of the ears. Singers should sing at a consistent distance away from the microphone, to ensure maximal sound pick-up. If there is a sudden increase in singing volume, however, the singer should back away slightly so as not to blast the sound system.

Describe how to incorporate solfege into regular rehearsals to develop by reading skills

When teaching and 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 movable do system trains the students understanding of relative pitch. As the students learn how to sight read through solfege, 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 syllable with the added hand motions to reinforce the spatial relationship between pitches. The solfege syllables should be reinforced by singing through a number of different keys to change the student's to hear the relationship between the diatonic pitches. As the lessons progress, students should be required to sing or playback certain pitch intervals in various keys such as the do-me sol progression.

Discuss the kinesthetics of octave playing on keyboard instruments and the different schools of thought on physical approach.

When the keyboardist plays an octave passage in either or both hands, the hand is required to stretch to the length of 8 keys. The motion should be played and released quickly since the leach of the octave can present unnecessary tension and exhaustion to the arm if not released quickly. One school of though has the hand play an octave quickly, but releasing the tension as quickly as possible back to a neutral hand position. In a long passage of octave playing, this method requires the quick stretch and release at 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 octave passage as quickly as possible. Yet another school of thought has the hand and wrist fixed in the octave position and uses the quick movement of the elbow to play each octave.

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

When too much time is spent on an individual section or part during the full ensemble rehearsal, time is wasted and musicians can be unengaged. Sectional rehearsals allow players to fine-tune their parts together and to fix any technical or musical problems apart for 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. Sections 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.

Explain how to care for and maintain woodwind instruments

Woodwind instruments should be handled with care, take 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 wiped clean, making sure to use an appropriately sized swab; tis is especially important for the small-bored piccolo and oboe. On a monthly basis, apply key oil to key pivot points. Similarly, apply a small amount of cork grease to tenons and neck corks, taking care to remove any excess grease. Whip 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 mouthpiece weekly. For reed instruments, discard reeds that are chipped or cracked; do not leave reeds on the mouthpiece, and check metal ligatures for signs of damage, as an out-of round ligature can damage the mouthpiece. The instrument should be kept out of direct light and excessively warm, cold or humid environments.

Explain the importance of procedures and routines and discuss examples of classroom 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 and 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 on establishing procedures and routines, to help the rest of the school year flow more easily. Example classroom routines inc. 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.