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Praxis music
| Question | Answer |
|---|---|
| Style Characteristics | melody, rhythm, harmony, texture, instrumentation, expressive devices |
| Major historical periods | Medieval, Renaissance, Baroque, Classical, Romantic, 20th/21st century, jazz, American popular music, world music |
| Melody of Medieval Music | monophonic |
| Melody of Renaissance Music | polyphony, based on modes |
| Melody of Baroque Music | flowery and complex lines, Grandeur |
| Melody of Classical Music | simpler lines, to the point, ready to be developed later in the piece. Many don't have a melody that is distinguished but it is just good phrasing. unpretentious |
| Melody of Romantic Music | going with the emotion of the piece, new |
| Melody of 20th/21st Century Music | - different melodic schemes |
| Rhythm of Medieval Music | monophonic |
| Rhythm of 20/21st century Music | - manipulations of rhythm explored |
| Harmony of Medieval music | fourths and fifths, open sounding |
| Harmony of Renaissance music | more blended, more progression of chords |
| Harmony of Baroque music | creation of tonality |
| Harmony of Classical music | Clean and uncluttered - Alberti bass - chords played in unison instead of contrapuntally |
| Harmony of Romantic music | lush and full |
| Harmony of 20th/21st century music | - experimentation with the 12 tone row and unusual harmony |
| Texture of Medieval music | mostly monophonic, polyphony at the END (ars nova) |
| Texture of Renaissance music | equally balanced polyphonic voices |
| Texture of Baroque music | one melody and harmonic accompaniment - homophony |
| Texture of Classical music | Alberti bass, homophony |
| Texture of Romantic music | dissonance, chromaticism, restless modulation of keys |
| Instrumentation of Medieval music | plucked string instruments, flute and recorder, |
| Instrumentation of Renaissance music | vocal polyphony and instrumental dance music |
| Instrumentation of Baroque music | Harpsichord, orchestral accompaniment for opera |
| Instrumentation of Classical music | sonata, string quartets, rise of the symphony |
| Instrumentation of Romantic music | Bigger orchestras (Mahler's attempt at 1,000) |
| Instrumentation of 20th/21st century music | modified symphony |
| Various Popular American Musical Styles | - Bebop - Blues - Dixieland - Gospel - Motown - Ragtime - Rap - Rhythm and Blues - Swing |
| Milton Babbitt | - 20th century American composer - known for his serial and electronic music |
| J.S. Bach | Baroque - started in the church on organ - influenced by Vivaldi - court composer - Well-Tempered Clavier - Inventions - religious based with Lutheran chorale or hymn as a foundation - FUGUES and CANONS - master of counterpoint - no opera, every |
| Bela Bartok | - 20th century - nationalistic - combined newer tonal schemes with traditional folk songs |
| Ludvig Van Beethoven | - Classical/Romantic - Eroica Symphony - more drama (a musical revolution) - Symphony #5 dot dot dot dash motive - Symphony #9 "Ode to Joy" - Symphony #6 "Pastoral" more Romantic |
| Alban Berg | - 20th century - second viennese school - most romantic - 12 tone system - |
| Hector Berlioz | - Romantic |
| Johannes Brahms | - Romantic - sonatas, piano trios - German Requiem |
| Anton Bruckner | - Romantic - symphonies, masses, and motets - dissonances, roving harmonies, unprepared modulations |
| Elliot Carter | - 20th century - American atonal composer - coined the term "metric modulation" |
| Aaron Copland | - 20th century - instrumental in forging a distinctly American style of composition - assessable "Populist" or "vernacular" style - ballets and symphonies - "Gebrauchsmusik" - German term for "music for use" - more a conductor toward the end of his c |
| Frederic Chopin | - Romantic - pianist - preludes for occasions |
| Claude Debussy | - 20th Century - created the whole tone scale - impressionist - mostly vocal and piano pieces - Prelude to an Afternoon of a Faun |
| Guillaume Dufay | - Renaissance - Burgundian school - masses, motets - vocal works - usually 3 parts - wrote chant harmonizations using fauxbourdon - may have invented fauxbourdon - sacred and secular both |
| Edward Elgar | - modern composer - Pomp and circumstance - Edwardian era in England - English English English |
| George Gershwin | - 20th century composer - American - "Porgy and Bess" - Rhapsody in Blue, An American In Paris - Tin Pan Alley - influenced by French composers of the early 20th century, such as Ravel |
| Philip Glass | - 20th century American composer - minimalist - great collaborator - film scores, classical music, etc. |
| Christoph Gluck | - Classical - fused French nationalism and Italian opera - operas - wanted to return opera to a more natural state, away from opera buffa and seria |
| George Handel | - Baroque - Messiah - Rinaldo opera - oratorio - Choruses were the focus, not arias (model for others) |
| Howard Hanson | - 20th century - American classical music |
| Franz Joseph Haydn | - Classical - Father of the Symphony/String Quartet - made the symphony what it is today - phased out basso continuo and added instruments - more balanced treatment of string quartet parts |
| Gustav Holst | - English composer - Famous: The Planets orchestral suite - unconventional meter, haunting melodies |
| Hildegard von Bingen | - Ordo Virtutem morality play - monophonic - melismatic |
| Charles Ives | - American modernist - experimental; polyrhythm, polytonic, tone clusters, |
| Libby Larsen | - born in 1950 - American - founder of American composers forum - musical philosopher and composer - style comes from her philosophy that it is the composers job to make sense of the world through music - vernacular of the English language- her rhyt |
| Orlando di Lasso | - Renaissance - polyphonic - Franco Flemish school - vocal music - parody masses based on secular works |
| Gustav Mahler | - Late Romantic - song and symphony, closely related - major opera conductor in Vienna, interpreted Mozart and Wagner - 3 periods of his work: 1st (programmatic symphonies), Middle ("absolute" symphonies), final (personal) |
| Olivier Messiaen | - 20th century - created "modes of limited transposition" - innovations in serialism |
| Claudio Monteverdi | - transition between Renaissance and Baroque - adventurous harmonies, use of dissonance - madrigals in both Renaissance and Baroque style - invented the tremolo - Opera- L'Orfeo (first operatic masterpiece) |
| W.A. Mozart | - Classical - Don Giovanni, Marriage of Figaro, Magic Flute - opera buffa (comedy) |
| Thea Musgrave | - 20th century - Scottish composer of opera and classical music - dramatic-abstract musical ideas, programmatic work |
| Palestrina | - Renaissance - sacred and secular - Roman School - THE name in polyphony - Pope Marcellus Mass- understandable text - dissonance on weak beats, few leaps between notes except for app. and e.t's, dynamic flow of music (non-static) |
| Krzysztof Penderecki | - 20th century - Polish composer and conductor - operas, symphonies, choral work, etc. - many pieces used for films - tone clusters and avant-garde, then a return to a more pleasing aesthetic |
| Perotin | - Medieval - Notre Dame school - |
| Giacomo Puccini | - verismo style - 20th century - Tosca, La Boheme, Madama Butterfly, Turandot |
| Sergey Rachmaninoff | - Romantic - mostly piano solos and piano concertos |
| Jean-Philippe Rameau | - Baroque - keyboard and chamber music - lavish operas and ballets - gallant style - accredited with the rationalization of chords into harmonic relationships |
| Maurice Ravel | - 20th century - Impressionistic - Bolero - melody extremely important, use of modes, no leading tones |
| Arnold Schoenberg | - atypical harmonies - late romantic and early 20th century - Second Viennese School for composition - abandoned key signature (atonal) - emancipation of dissonance - 12 tone scale - |
| Franz Schubert | - Romantic - Pianist, passionate and dark major to minor key changes - best known for lieder |
| William Schuman | - American 20th century composer - started out writing popular music with Frank Loesser - symphonies, ballets |
| Robert Schumann | - Romantic - pianist - influenced by literature - wrote suites |
| Heinrich Schutz | - Baroque - First German Opera (Dafne) - sacred vocal work |
| Dmitri Shostakovich | - 20th century - Russian - string quartets, piano music, operas, film music, etc. - hybrid style of post-Romanticissm and neoclassicism - 5th symphony "the leningrad symphony" about mass executions in the soviet union under stalin |
| Bedrich Smetana | - Father of Czech music - Romantic - Ma vlast (My fatherland) = symphonic cycle - nationalism, realism, and romanticism |
| William Grant Still | - 20th century American classical composer - African American - "The Dean" of African-American Composers, first to do anything - started as an arranger of popular music |
| Richard Strauss | - Late Romantic/early modern - German - pioneering in orchestration plus advances in harmony - wrote tone poems, concertos, lieder, - |
| Igor Stravinsky | - 20th Century - Firebird, Rite of Spring - |
| Pyotr Ilich Tchaikovsky | - Romantic - Russian nationalistic composer - 1812 overture - Nutcracker |
| Joan Tower | - contemporary American composer - feminist - "Fanfare for the Uncommon Woman" |
| Giuseppe Verdi | - Romantic - Italian - La Traviata, Aida - mostly bel canto |
| Antonio Vivaldi | - four seasons - crisp, driving music with intense rhythm - most well known for his many concertos |
| Richard Wagner | - Romantic - German opera composer - influenced by Von Weber - used German stories for his content - Ride of the Valkyries - Ring Cycle - unresolving harmony inspired other later composers |
| Anton Webern | - 20th century - student of Schoenberg - Passacaglia for Orchestra (like a Brahms composition) |
| Ellen Taaffe Zwilich | - American modern composer - atonal, post-modernist, neo-romantic style - generates entire works from initial motives |
| What is the name for the numbering scheme used to categorize Mozart's works? | Kochel |
| Bourree | spirited French dance rhythm |
| Cantata | vocal composition with an instrumental accompaniment - several movements - choir |
| Chanson | - polyphonic secular French song - lyric driven - earliest were sung by minstrels, monophonic, historical (de geste) - |
| Chorale | - a melody to which a hymn was sung by a Christian congregation - four parts - AAB form (German Bar form) |
| Chorale Prelude | - German Baroque style - used by Bach - for organ, a short liturgical piece using a chorale melody |
| Concerto | usually 3 parts, a solo instrument is accompanied by an orchestra |
| Divertimento | - lighthearted music of the 18th century for social gatherings - composed for a small ensemble - multi-movement, after dinner music |
| Etude | - short instrumental music - designed for practicing a particular musical skill |
| Fanfare | - relatively short piece of instrumental music for mostly brass and percussion - intended for ceremonial events and other social purposes - originate in the Middle Ages |
| Fugue | - contrapuntal composition technique - 2 or more voices - built around a theme which is introduced and developed - usually has an exposition, development, and recapitulation |
| Gavotte | - French folk dance - phrases begin in the middle of the bar |
| Gigue | - Baroque dance - usually appears at the end of a suite - contrapuntal, usually accents the 3rd beat |
| Madrigal | - Developed in England - secular - poetic style - 2/3 stanzas of 3 lines and then a ritornello in a new meter at the end |
| Motet | - sacred music with church polyphony - Biblical passages |
| Organum | - Developed in the Middle Ages - one voice is melodic, at least one enhances the harmony - usually a fourth or fifth away ^ |
| Passacaglia | - musical form that is usually in triple meter - usually based on a bass ostinato - serious in nature |
| Rondeau | - Medieval and early Renaissance musical form - based on poetic rondeau form - repetition of verse and refrain |
| Sarabande | - dance in triple meter - 2nd and 3rd beats often tied - Baroque suites typically included, in the 3rd movement |
| Sonata | - literally means "played" as opposed to "sung" (cantata) - classical- became common term for three movement work including an allegro, a slow middle movement, and a FInale (Faster) - four movement: fast, slow, dance, fast |
| Song Cycle | - a group of songs meant to be performed together- same composer, same lyricist |
| Suite | instrumental pieces performed in a concert setting; extracts from ballets or plays (e.g. the Nutcracker Suite) |
| Symphonic Poem | - on off-shoot of program concertos - developed by Franz Liszt - one movement work illustrating a poem or story |
| Symphony | - work for an orchestra with multiple movements (fast slow fast) - enjoyed at private gatherings in palaces, monasteries, and residences, and public concerts - began with Sammartini - format in the classical period increased to 4 parts |
| Toccata | - a virtuoso piece typically for keyboard or string, emphasizing dexterity of the player - found less frequently after the Baroque era |
| What are the major differences between madrigals and motets? | motet- sacred. madrigals- secular |
| What is the difference between a fugue and a toccata? | fugue- more than one instrument. toccata- solo |
| Louis Armstrong | - American trumpet jazz player and singer - first to scat - New Orleans - Played with King Oliver's Creole Jazz Band in Chicago - |
| John Coltrane | - Sax player - pioneered use of modes in jazz - played with Miles and monk |
| Miles Davis | - American trumpeter, band leader, composer - played every style of jazz - Charlie Parker and bebop |
| Benny Goodman | - King of Swing - clarinettist/bandleader - racially integrated groups - concert in Carnegie Hall brought jazz into realm of respectable music |
| Peggy Lee | - jazz singer - Benny Golson band - songwriter |
| Wynton Marsalis | - trumpeter/composer/educator |
| Thelonius Monk | - jazz pianist and composer - unorthodox style, percussive playing |
| Charlie Parker | - saxophone - bebop |
| Bessie Smith | - most popular female blues singer of the 1920s and 30s |
| Sarah Vaughan | - American jazz singer - jazz, bebop, cool jazz |
| German Augmented sixth chord | - ♭6—1—♭3—♯4 - usually goes to the I 6/4, to avoid parallel 5ths. - appears in Beethoven's music - dominant sounding, but with a different usage - always resolve to the V |
| French augmented sixth chord | - ♭6—1—2—♯4 - all are contained in the whole tone scale - Wagner's Tristan chord - resolves to the V |
| Italian augmented sixth chord | - ♭6—1—♯4 - resolves to the V |
| Names for the scale tones | I: Tonic ii: Supertonic iii: Mediant IV: Subdominant V: Dominant vi: Submediant vii: Leading Tone |
| Dorian | Minor scale with raised 6th, d-d |
| Phrygian | Minor scale with a lowered 2nd, e-e |
| Lydian | Major scale with a raised 4th, f-f |
| Mixolydian | Major scale with a lowered 7th, g-g |
| Locrian | Minor scale with a lowered 2nd and a lowered 5th, b-b |
| Blues progression | I I I I IV IV I I V IV I I |
| deceptive cadence | V-vi, ends with something other than the tonic |
| authentic cadence | V-I, ends on the tonic |
| half cadence | ends on the V |
| Hemiola | three beats of equal value normally occupied by 2 |
| Hocket | used commonly in Medieval music, particularly the Notre Dame school (ars antiqua) - a rhythmic passing of a melody, chord, or pitch between voices. - one voice rests while the other plays |
| Binary Form | AABB - popular in the Baroque period |
| Theme and Variations | the theme is stated, then presented in different ways. - came from court dances being long and musicians having to play the same thing over and over |
| Fugue | - between 2-6 voices - first voice is presented as a solo w/ basso continuo, then imitated by a second - countersubject - like a conversation - usually monothematic |
| Phrase structure | - antecedent (inconclusive phrases) and consequent (conclusive phrases)- - altogether create musical periods |
| Bar form | - AAB - comes from meistersingers in Germany - stollen, stollen, abgesang - most blues are in bar form |
| Cadenza | - improvised ornamental passage sung by a soloist - free rhythmically - happens in concertos when the orchestra stops playing and the soloist takes over and shows off - used originally in arias - also used in jazz by John Coltrane |
| Contrasting double period | - double period= four phrases, with the two phrases being different and the first three ending with an inconclusive cadence, the last ending with a conclusive. |
| Development | the transformation and restatement of initial material, after the exposition and before the recapitulation - harmonic and textural possibilities of the material is explored. |
| Episode | used in a fugue, the section that follows the subject being stated in each voice (the exposition), often in related keys and derivative of previously stated material |
| Exposition | - in a sonata, the initial statement of the theme containing at least one important modulation - modulations followed by modulating transitions - often followed by a closing theme &/or codetta -In a fugue, the initial statement of the theme in each voi |
| Extension | any notes written beyond the normal range or tessitura of an instrument or voice |
| Motive | a short melody that is well defined enough to be recognizable during any variations. allow for development. |
| Parallel double period | four phrases split into two groups of the same material, one group ending in an inconclusive cadence, and the last ending in a conclusive cadence. |
| Recapitulation | - the return to the thematic material in the exposition that occurs after the development in sonata form. - returns to the tonic, and any material that hasn't been stated in tonic key is resolved by being played in the tonic. |
| Phrase | - groups of notes in both composition and performance |
| Rondo | - consists of a main theme, alternated with contrasting themes (called episodes) - ABA, ABACA, or ABACADA - Rondo character type in classical music is fast and vivacious |
| Sonata Form | - exposition, development, recapitulation - an introduction and a coda may be present - used from the Classical period up to the 20th century |
| Strophic Form | - aka "verse repeating" or "chorus" form - all verses are sung to the same music - A, A, A... |
| Subject | the theme of a fugue |
| Ternary Form | - ABA - each section is self-contained thematically and tonally - B section is usually in a different key, dominant most popular |
| Through-composed | - non repetitive, non sectional, continuous |
| Types of musical texture | - monophony - polyphony - homophony - heterophony |
| Expressive elements | - Dynamics - Articulation - Tempo - Timbre |
| Adagio | slow and stately, "at ease" |
| Andante | at a walking pace |
| Allegro | fast, quickly, and bright |
| Grave | slow and solemn |
| Largo | broadly |
| Moderato | moderately |
| Presto | very fast |
| Rallentando | gradual slowing down |
| Ritenuto | slightly slower, temporarily holding back |
| Subito meno mosso | suddenly less movement |
| Subito piu mosso | suddenly more movement |
| Vivace | lively and vivid |
| poco a poco | little by little |
| augmentation | note values become larger |
| Basso Ostinato | a bass line creates harmony by moving slowly underneath moving parts of variations |
| Bitonality | the use of two keys at the same time. |
| Diminution | note values become shorter |
| Metric Modulation | a change in pulse rate or grouping, usually from one meter to another where one note value remains the same |
| Pedal Point | a sustained tone, sometimes functioning as a non-chord tone - used in fugues often to re-establish the tonality |
| Polymeters | two meters at the same time, usually with them sharing an accent |
| Retrograde | reverse, used in canons |
| Sequence | a restatement of a motif either higher or lower in the same voice |
| Serialism | a mode of composition that uses an equal set of values to manipulate musical elements (ex: 12 tone rows) |
| Variation | music is repeated in an altered form |
| Classification of instruments (think Phones) | - Aerophones - Chordophones - Idiophones - Membranophones |
| Aerophones | any musical instrument that produces sound primarily by causing a body of air to vibrate, without the use of strings or membranes, and without the vibration of the instrument itself adding considerably to the sound (winds and woodwinds) |
| Chordophones | any musical instrument that makes sound by way of a vibrating string or strings stretched between two points |
| Idiophones | any musical instrument which creates sound primarily by way of the instrument's vibrating, without the use of strings or membranes (percussion that aren't drums) |
| Membranophones | any musical instrument which produces sound primarily by way of a vibrating stretched membrane (drums) |
| Flutter tongue | a wind instrument tonguing technique in which performers flutter their tongue to make a characteristic "FrrrrFrrrrr" sound |
| Col legno | an instruction to strike the string with the stick of the bow, rather than by drawing the hair of the bow across the strings |
| Double stops | playing two notes simultaneously on a bowed stringed instrument such as a violin, a viola, a cello, or a double bass |
| Glissando | a glide from one pitch to another |
| Multiphonics | an extended technique in instrumental music in which a monophonic instrument is made to produce several notes at once. |
| Mutes | a device fitted to a musical instrument to alter the sound produced: by affecting the timbre, reducing the volume, or most commonly both. |
| Pizzicato | a playing technique that involves plucking the strings of a string instrument |
| Portamento | a musical term that describes pitch sliding from one note to another |
| Successive down bows | add more oomph |
| Coloratura soprano | a type of operatic soprano who specializes in music that is distinguished by agile runs and leaps. - ornamentation of a melody - lighter voices known as lyric coloraturas, larger voices known as dramatic coloraturas - bel canto arias |
| Mezzo Soprano | range lies between the soprano and the contralto singing voices, usually extending from the A below middle C to the A two octaves above |
| Sotto Voce | intentionally lowering the volume of one's voice for emphasis. |
| Acoustics | science that deals with the study of all mechanical waves in gases, liquids, and solids including vibration, sound, ultrasound and infrasound |
| Common acoustic problems of performance and rehearsal spaces | 1) Sound Isolation 2) Interior Room Issues (too loud, too boomy, to echoey, dead spots) 3) Mechanical Noise (vents, pipes, etc) 4) Practice Room Problems (you can hear people in them) |
| What are some appropriate musical achievements for students in grades K-2? | K: sing on pitch within a minor 3rd, sing with a group in unison 1: perform the steady beat on a variety of instruments with proper technique 2) Improvise an accompaniment using a select number of pitches |
| By what grade level should students be able to play by ear simple melodies on a melodic instrument? | 3rd |
| Basic requirements of a music program | - Facilities - Course Offerings - Scheduling - Staffing - Materials - Equipment |
| Organization of curriculum | - Units - Lesson plans - Programs |
| Psychomotor behaviors | the relationship between cognitive functions and physical movement. - varies with age; kindergarteners will not have as much success on piano as a 5th grader |
| Cognitive behaviors | refers to things one does to achieve tasks--remember, respond, sequence (do things in order) and so on. Usually, they are logical, learned things. |
| Affective behaviors | Behavior that involves or expresses emotions, feelings, or sentiments. |
| Bloom's Taxonomy | Knowledge, Comprehension, Application, Analysis, Evaluation, Creativity |
| Transfer of Learning Approach | the study of the dependency of human conduct, learning, or performance on prior experience. |
| Appropriate learning sequence for rhythm | - develop a sense of the steady beat and meter - build a rhythm vocabulary in students minds, starting with micro and macro beats |
| Teaching care of instruments | - bows- use rosin - swabs- cotton, attached to a string pull thru 2/3 times - reeds- moisten with water before playing, store in cool/dry - tighten strings before playing, loosen when storing - mouthpieces- clean once a month with warm water and deter |
| Correcting specific problems in ensemble rehearsal | - Breath support - Embouchure - Soft palate - Hand positions - Stick Grips - Posture - Fingerings |
| What are some good musical excerpts to play to a general music class in elementary school to introduce the concept of syncopation? | - Beethoven's String Quartet in A Major, Op. 18 - Satisfaction |
| What genre is usually associated with the work of Sammy Nestico? | big band |
| Tonic sol-fa | Kodaly perfected, Guido D'Arezzo invented to teach sight singing |
| Solfeggietto | a short solo keyboard piece in C minor composed by C. P. E. Bach |
| Orff | combines music, movement, drama, and speech into lessons that are similar to child's world of play. - all concepts are learned by ‘doing' - no systematic stepwise procedure to be followed. - 4 stages: imitation, exploration, improvisation, and composit |
| Kodaly | uses a child-developmental approach to sequence with capabilities - incorporates rhythm syllables - use of rhythmic movement - rhythms spoken then notated - moveable do solfege - mother tongue |
| Dalcroze | developed eurhythmics, a method of learning and experiencing music through movement. - consists of three equally-important elements: eurhythmics, solfège, and improvisation. |
| Suzuki | people learn from their environment, and a good musical environment creates good musicians and people - mother tongue approach - Saturation in the musical community, avoidance of musical aptitude tests, playing young, trained teachers, ear tr. |
| Gordon | - based on research and field testing - audiation - singing, rhythmic movement, and tonal and rhythm pattern instruction first - skill learning, tonal content, and rhythm content - music aptitude |
| Contemporary Music Project | educate educators about contemporary music, symposiums at colleges, putting composers in public school systems |
| Manhattanville Music Curriculum Project | curricular plan that sought to improve music education through a child-centered approach. -making music relevant through discovery, concepts and skills, music of today, and totality (doing it all!) |
| Yale Seminar on Music Education | consider the problems facing music education and to propose possible solutions - goal of music ed is to develop musicality - broaden repertory - expanded curriculum - etc |
| Tanglewood Symposium | sponsored by the Music Educators National Conference (MENC) - to discuss and define the role of music education in contemporary American society and to make recommendations to improve the effectiveness of music instruction. |
| Bennett Reimer | Chair of the Music Education Department at Northwestern U. - specialist in the philosophy of music education, curriculum development, theory of research, and comprehensive arts education programs. - |
| Bruner's spiral curriculum | philosophy suggesting that students should continually return to basic ideas as new subjects and concepts are added over the course of a curriculum. |
| Plato's view of music ed | - education is for the development of the whole person: music develops the soul |
| Aristotle's view of music ed | - art completes man's nature - 3 reasons: amusement, moral virtue, or intellectual enjoyment |
| John Dewey | laboratory school, an elementary school where he could test his theories on pedagogy - included music |
| The new handbook of research on music teaching and learning | - MENC publication |
| 9 music ed standards | -Singing, alone and with others -Performing on instruments, alone and with others -Improvising melodies/variations/accomp. -Composing/arranging within guidelines. -Reading/notating music. - Listening/analyzing/describing - Evaluating music/perf. -U |
| Opportunity to learn standards for music instruction | suggest what types and levels of support are necessary to achieve the content standards. - standards for curriculum and scheduling, staffing, materials, and facilities - companion to achievement standards |
| Describe: Performance standards for music | suggest what every student in America should know and be able to do in music, created by NAfME. - grouped by age level (ages 2-4, grades 5-8, grades 9-12) |
| Name some standard reference works that should be in the collection of a high school library to help students complete projects in music history. | - Real books - A history of Western Music |
| Is it ever appropriate to make duplicates of sheet music using a copy machine? If so, under what circumstances? | yes if it is out of print, less than 10% of entire work, or only for a performance |
| NAfME | to advance music education by encouraging the study and making of music by all. |
| American Bandmasters Association | recognizes outstanding achievement on the part of Concert Band conductors and composers. |
| ACDA | American Choral Directors Association promote excellence in choral music through performance, composition, publication, research, and teaching. In addition, ACDA strives through arts advocacy to elevate choral music's position in American society. |
| Americans for the Arts | advancing the arts and arts education. - representing and serving local communities and to creating opportunities for every American to participate in and appreciate all forms of the arts. |
| AOSA | American Orff-Schulwek Association organization of educators dedicated to the creative music and movement approach developed by Carl Orff and Gunild Keetman. |
| OAKE | Organization of American Kodaly Educators to support music education of the highest quality, promote universal music literacy and lifelong music making, and preserve the musical heritage of the people of the United States of America |
| ASTA | American String Teachers Association organization for string and orchestra teachers and players, helping them to develop and refine their careers. |
| ASCAP | American Society of Composers, Authors, and Publishers owned and run by its members, is the leading U.S. Performing Rights Organization representing over 450,000 songwriters, composers and music publishers. |
| MPA | Music Publishers' Association - fostering communication among publishers, dealers, music educators, and all ultimate users of music. |
| MTNA | Music Teachers National Association advancing the value of music study and music-making to society while supporting the careers and professionalism of teachers of music. |
| The International Music Products Association | NAMM: National Association of Music Merchants mission is to strengthen the music products industry and promote the pleasures and benefits of making music. |
| NASM | National Association of Schools of Music - It establishes national standards for undergraduate and graduate degrees and other credentials. |
| NSBA | National School Boards Association |
| Which organization publishes Opportunity-to-learn standards for music instruction: Grades preK-12? | NAfME |
| When did music first come to be documented? | The middle ages |
| Greek music legacy | Lyre, intervals, modes |
| Gregorian chant | named after pope Gregory the Great who commissioned the chants to be written down |
| sixth century chants | monophonic, modal, free flowing rhythm with the words |
| minstrels examples | French- troubador and trouvere German- minnesingers and meistersingers English- scops and gleemen |
| organum | polyphonic chants moving in fourths, fifths and octaves |
| Perotin | Sederunt Principes, four part organum |
| tenor | slow moving original melody of the chant as a drone |
| Guillaume de Machaut | Ars Nova, La Messe de Notre Dame, minstrel flair, mainstreamed polyphony |
| Burgundian school composers | bridge the music history gap between medieval and renaissance. incorporated popular music in their sacred works |
| Guillame Dufay | most notable Burgundian composer. fuller sonorities, ars nova |
| motet | sacred vocal work |
| Ars nova composers (2) | Dufay and Machaut |
| Cantus firmus | freely interpreted polyphonic work based on an existing melody with variations on meter, rhythm, and wording. |
| Baroque characteristics | the words should be more key. meaning of the music is important. Opera was created. |
| Opera was modeled after | Greek drama |
| Renaissance vs. Baroque | Ren- equally balanced voices, words not as important, small range, modal counterpoint, modality, intervalic harmony and dissonance Bar- homophony, words super important, wide range, diatonic melody, tonality, chordal harmony and dissonance |
| Counterpoint | a combination of 2 or more melodic lines and the way they fit together to create sounds |
| three divisions of the Baroque period | Early- Monteverdi Middle- Corelli Late- Handel and Bach |
| concerti grossi | - an outline for operas and other musical works of three or more movements - fast- slow- fast progression - established formally by Vivaldi |
| Bach's works examples | - "Jesu Joy of Man's desiring" - Well tempered Clavier - Inventions - B minor mass - Brandenburg concertos - Fugue in D minor |
| canon | - an imitation of an entire subject by different voices at fixed intervals of time or pitch - can be transformed through various techniques |
| techniques to transform a canon | - inversion, retrograde, retrograde inversion, augmentation, diminution, mensuration - comes and dix - |
| mensuration | the canon is interpreted at the same time but in different proportions |
| 4 types of canons | - finite (coda at end) - Infinite (ends with fermata) - Spiral (changes key) - compoung (combined with other canons) |
| Domenico Scarlatti | - harpsichordist and composer of the Baroque period - wild and impulsive music - counterpoint (new for keyboard) - strumming left hand accompaniments of repeated notes - prepares for the transition to the Classial period with contrapuntal music |
| Classical period dates | 1750-1825 |
| Baroque vs Classical major types of music | Baroque- motet and opera Classical- symphony, string quartet, sonata |
| Haydn and Mozart | Haydn- string quartets inspired Mozart Mozart- symphonic style inspired Haydn Haydn- sober, fatherly, servant Mozart- childlike, unpredictable |
| Serenade | - an evening performance work of voices or instruments to a particular person (lover, friend) |
| Romantic Period Dates | 1825-1900 |
| Romantic Period Ideology | emotion, subjective yet astounding music - awareness of self - visual art at its peak |
| Romantic Period genres | symphonies used, but not as much as in Classical - waltz and polonaise, fantasy and nocturne, preludes and overtures - art songs- great popularity |
| Gioacchino Rossini | created bel canto (beautiful singing) opera - The Barber of Seville - Romantic |
| Modest Mussorgsky | piano suite "pictures at an exhibition" and Night on bald mountain |
| Antonin Dvorak | - Bohemian composer "New world" symphony |
| Nationalist Romantic Composers | Composers from Italy and Germany were so well-known, but other nationalities at this time started to make a name for themselves |
| 19th century opera | national traditions were the foundation - grand style (crazy costumes, large choirs, ballets) - |
| operetta | a lighter, more sentimental genre of opera - created in the Romantic period |
| Carl Maria von Weber | - Romantic - German opera composer - nationalist composer |
| leitmotivs | - used by Wagner - short melodic pieces used to recall ideas from earlier in his long operas |
| 4 great Romantic pianists | Chopin, Lizst, Schubert, Schumann |
| Romantic symphony | based on emotion, programmatic |
| 20th century ideology | searching for something different - post-tonal |
| modernism | the steady exploration of artistic means to reach an expressive end |
| ragtime | - piano - African american - combining march forms and sycopated tunes - duple meter - cake walk, one step, two step, polka - 16 bar melodies |
| jazz | - born in New Orleans between 1890 and 1910 - improvisation and development |
| Swing | - bigger ensembles - dance music - 5 sax, 4 trumpet, 4 trombones, and rhythm section (sometimes a vocalist) - 8th note triplet feel - based on 32 bar AABA and 12 bar blues |
| Carl Orff | Carmina Burana - |
| Franz Lizst | - Romantic - created the symphonic poem, inspired by the program symphony |
| Florentine camerata | Baroque musicians in Florence who created opera, modeled after Greek Theater |
| concerto grosso | two independent groups of instruments: ripieno (large) and concertino (small) - pioneered by Corelli |
| another name for the classical period | Viennese Style |
| fauxbourdon | "false bass" - Dufay invented? - mostly parallel harmony - cantus firmus and two other voice parts a fourth and a sixth below. |
| isorhythm | "same rhythm" - Medieval method - rhythm was called the "talea" and the pitches were the "color" |
| Roman School | in Rome, the term for the musical composers of the 16th/17th centuries (Renaissance and Baroque) of mostly sacred music |
| Council of Trent effect on music | Part of the Catholic Counter-Reformation, it defined the style of Renaissance polyphony- "church music should be seriously composed and understandable" and no secular melodies such as motets in masses |
| What are some appropriate musical achievements for students in grades 3-5? | 3) Create short songs and instrumental pieces with specified guidelines 4) Notate rhythms in 2/4, 3/4 , 4/4 5) Demonstrate knowledge of the basic principles of meter, rhythm , tonality, intervals, chords and harmonic progressions in analyzation |
Created by:
mrozinski