Music Its Role and Importance in Our Lives Chapter 8 Review Answers

Main Body

Chapter 2: Music: Fundamentals and Educational Roots in the U.S.

Chapter Summary: The first half of this chapter attempts to define music every bit a subject and offers perspectives on music, including bones vocabulary and what you lot should know about music in order to incorporate information technology in your work with children. The second half gives a brief overview of music education and teaching in the U.South., which provides the foundation of the discipline for the book.

I. Defining Music

"Music" is one of the almost difficult terms to ascertain, partially considering beliefs almost music have changed dramatically over time simply in Western culture alone. If nosotros wait at music in different parts of the world, we find even more variations and ideas almost what music is. Definitions range from practical and theoretical (the Greeks, for example, divers music as "tones ordered horizontally equally melodies and vertically every bit harmony") to quite philosophical (according to philosopher Jacques Attali, music is a sonoric event betwixt noise and silence, and according to Heidegger, music is something in which truth has set itself to work). There are also the social aspects of music to consider. As musicologist Charles Seeger notes, "Music is a system of communication involving structured sounds produced by members of a customs that communicate with other members" (1992, p.89). Ethnomusicologist John Blacking declares that "nosotros tin go further to say that music is audio that is humanly patterned or organized" (1973), covering all of the bases with a very broad stroke. Some theorists even believe that there can be no universal definition of music because information technology is so culturally specific.

Although we may find information technology hard to imagine, many cultures, such as those establish in the countries of Africa or amidst some indigenous groups, don't accept a word for music. Instead, the relationship of music and dance to everyday life is so shut that the people have no need to conceptually separate the two. Co-ordinate to the ethnomusicologist Bruno Nettl (2001), some North American Indian languages have no discussion for "music" as distinct from the word "song." Flute melodies besides are labeled as "songs." The Hausa people of Nigeria have an extraordinarily rich vocabulary for soapbox about music, but no single word for music. The Basongye of Zaire have a broad conception of what music is, only no respective term. To the Basongye, music is a purely and specifically homo product. For them, when you lot are content, you sing, and when you are angry, you lot make noise (2001). The Kpelle people of Liberia have one word, "sang," to describe a movement that is danced well (Stone, 1998, p. vii). Some cultures favor sure aspects of music. Indian classical music, for case, does not contain harmony, but merely the iii textures of a tune, rhythm, and a drone. However, Indian musicians more than make up for a lack of harmony with circuitous melodies and rhythms not possible in the West due to the inclusion of harmony (chord progressions), which crave less complex melodies and rhythms.

What nosotros may hear equally music in the West may non exist music to others. For example, if we hear the Qur'an performed, it may sound like singing and music. Nosotros hear all of the "parts" which we call up of every bit music—rhythm, pitch, melody, class, etc. However, the Muslim understanding of that sound is that it is really heightened speech or recitation rather than music, and belongs in a separate category. The philosophical reasoning behind this is circuitous: in Muslim tradition, the idea of music as entertainment is looked upon as degrading; therefore, the holy Qur'an cannot be labeled as music.

Activity 2A

Listen

Qur'an Recitation, 22nd Surah (Chapter) of the Qur'an, recited by Mishary Rashid Al-'Efasi of Kuwait.

Although the exact definition of music varies widely even in the West, music contains tune, harmony, rhythm, timbre, pitch, silence, and course or structure. What we know about music so far…

Music is comprised of sound.
Music is fabricated up of both sounds and silences.
Music is intentionally made art.
Music is humanly organized audio (Bakan, 2011).

A working definition of music for our purposes might exist as follows: music is an intentionally organized fine art grade whose medium is sound and silence, with cadre elements of pitch (melody and harmony), rhythm (meter, tempo, and articulation), dynamics, and the qualities of timbre and texture.

Beyond a standard definition of music, there are behavioral and cultural aspects to consider. As Titon notes in his seminal text Worlds of Music (2008), we "brand" music in two dissimilar ways: we make music physically; i.e., we bow the strings of a violin, we sing, we printing down the keys of a piano, we accident air into a flute. We too brand music with our minds, mentally constructing the ideas that we have about music and what we believe about music; i.e., when information technology should be performed or what music is "proficient" and what music is "bad." For example, the genre of classical music is perceived to have a higher social status than pop music; a rock band's lead singer is more than valued than the drummer; early dejection and rock was considered "evil" and negatively influential; nosotros label some songs as children's songs and deem them inappropriate to sing after a certain age; etc.

Music, above all, works in sound and time. Information technology is a sonic issue—a communication just like speech, which requires u.s. to listen, procedure, and reply. To that end, it is a part of a continuum of how we hear all sounds including dissonance, speech, and silence. Where are the boundaries between dissonance and music? Betwixt noise and speech communication? How does some music, such as rap, challenge our original notions of oral communication and music past integrating speech every bit role of the music? How do some compositions such as John Muzzle'southward 4'33'' challenge our ideas of artistic intention, music, and silence?

Basic Music Elements

Audio (overtone, timbre, pitch, amplitude, duration)
Melody
Harmony
Rhythm
Texture
Structure/grade
Expression (dynamics, tempo, joint)

In order to teach something, we need a consensus on a basic list of elements and definitions. This list comprises the basic elements of music every bit we understand them in Western culture.

1. Sound

Overtone: A fundamental pitch with resultant pitches sounding above it co-ordinate to the overtone series. Overtones are what requite each note its unique sound.

watch this throat-singing

Timbre: The tone color of a audio resulting from the overtones. Each vocalization has a unique tone colour that is described using adjectives or metaphors such as "nasally," "resonant," "vibrant," "strident," "high," "low," "breathy," "piercing," "ringing," "rounded," "warm," "mellow," "dark," "bright," "heavy," "calorie-free," "vibrato."

Pitch: The frequency of the note's vibration (note names C, D, East, etc.).

Amplitude: How loud or soft a audio is.

Duration: How long or short the sound is.

ii. Melody

A succession of musical notes; a series of pitches oft organized into phrases.

iii. Harmony

The simultaneous, vertical combination of notes, usually forming chords.

iv. Rhythm

The arrangement of music in time. Also closely related to meter.

5. Texture

The density (thickness or thinness) of layers of sounds, melodies, and rhythms in a slice: due east.g., a complex orchestral composition will take more possibilities for dumbo textures than a song accompanied only by guitar or piano.

Most common types of texture:

Monophony: A single layer of audio; e.g.. a solo vocalism
Homophony: A tune with an accompaniment; due east.g., a lead vocalist and a band; a vocalist and a guitar or piano accompaniment; etc.
Polyphony: Ii or more independent voices; e.thou., a round or fugue.

sentinel this Musical Texture

6. Construction or Form

The sections or movements of a piece; i.e. poesy and refrain, sonata course, ABA, Rondo (ABACADA), theme, and variations.

seven. Expression

Dynamics: Book (amplitude)—how loud, soft, medium, gradually getting louder or softer (crescendo, decrescendo).

Tempo: Beats per minute; how fast, medium, or slow a slice of music is played or sung.

Joint: The fashion in which notes are played or words pronounced: e.g., long or brusk, stressed or unstressed such as brusque (staccato), smoothen (legato), stressed (marcato), sudden emphasis (sforzando), slurred, etc.

What Do Children Hear? How Exercise They Answer to Music?

Now that we take a listing of definitions, for our purposes, let'south refine the definition of music, keeping in heed how children perceive music and music'south constituent elements of audio (timbre), melody, harmony, rhythm, structure or form, expression, and texture. Children'south musical encounters can be self- or peer-initiated, or instructor- or staff-initiated in a classroom or daycare setting. Regardless of the type of encounter, the basic music elements play a significant role in how children respond to music. One of the most of import elements for all humans is the timbre of a sound. Recognizing a sound's timbre is meaning to humans in that it helps us to distinguish the source of the sound, i.e. who is calling u.s.—our parents, friends, etc. It also alerts us to possible danger. Children are able to discern the timbre of a sound from a very young age, including the vocal timbres of peers, relatives, and teachers, every bit well as the timbres of different instruments.

Studies show that fifty-fifty very immature children are quite sophisticated listeners. As early on as two years of historic period, children reply to musical style, tempo, and dynamics, and fifty-fifty show preference for certain musical styles (e.g., pop music over classical) beginning at age five. Metz and his peers affirm that "a mutual competence constitute in immature children is the enacting through motility of the music's most constant and salient features, such as dynamics, meter, and tempo" (Metz, 1989; Gorali-Turel, 1997; Chen-Hafteck, 2004). On the aggregate level, children physically respond to music's crush, and are able to move more accurately when the tempo of the music more clearly corresponds to the natural tempo of the kid. As we might expect, children respond to the dynamic levels of loud and soft quite dramatically, irresolute their movements to lucifer changing volume levels.

The fact that children seem to respond to the expressive elements of music (dynamics, tempo, etc.) should non come as a surprise. Well-nigh people respond to the same attributes of music that children do. We hear changes in tempo (fast or slow), changes in dynamics (loud or soft), we physically reply to the rhythm of the bass guitar or drums, and we listen intently to the melody, particularly if there are words. These are among the most ear-communicable elements, along with rhythm and melody.

This is what we would wait. Even so, at that place are other studies whose conclusions are more vague on this discipline. Co-ordinate to a study by Sims and Cassidy, children's music attitudes and responses do non seem to be based on specific musical characteristics and children may have very idiosyncratic responses and listening styles (1997). Mainly, children are non-discriminating, reacting positively to about any type of music (Kim, 2007, p. 23).

Action 2C

What type of music might children best answer to given their musical perceptions and inclinations? Is there a particular genre of music, or detail song or fix of songs? How might you get them to respond actively while engaging a high level of cerebral sophistication?

Music Pedagogy Vocabulary

Later familiarizing yourself with the bones music vocabulary list above (e.chiliad., melody, rhythm), familiarize yourself with a practical teaching vocabulary: in other words, the music terms that you might use when working in music with a lesson for children that correspond to their natural perception of music. For most children, the nuts are easily conveyed through concept dichotomies, such as:

Fast or Slow (tempo)
Loud or Soft (dynamics)
Short or Long (joint)
Loftier or Low (pitch)
Steady or Uneven (beat)
Happy or Sad (emotional response)

Interestingly, three pairs of these dichotomies are found in Lowell Mason'due south Transmission for the Boston Academy of Music (1839).

For slightly older children, more advanced concepts can be used, such as:

Duple (ii) or Triple (3) meter
Melodic Contour (melody going up or down)
Rough or Smoothen (timbre)
Verse and Refrain (course)
Major or Minor (calibration)

Music Fundamentals

The emotive aspects of music are what nigh people respond to first. However, while an important part of music listening in our culture, merely responding subjectively to "how music makes y'all feel" is similar to an Olympic guess saying that she feels happy when watching a gymnast'due south vault. It may very well be true, but it does non assist the judge to empathise and evaluate all of the elements that go into the execution of the gymnast's exercise or how to judge it properly. Studies show that teachers who are familiar with music fundamentals, and especially annotation reading, are more than comfortable incorporating music when working with children (Kim, 2007). Even just knowing how to read music changes a teacher'due south conviction level when it comes to singing, and so it'southward of import to accept a few of the nuts under your chugalug.

Grooming for Learning to Read Music

Formal note reading is not required in order to empathise the basics of music. Younger children can learn musical concepts long earlier learning written annotation. Applying some of the vocabulary and concepts from above will help you lot brainstorm to discern some of the inner workings of music. The skillful news is that any blazon of music can be used for do.

Melodic Direction. Just being able to recognize whether a tune goes upwards or down is a big step, and an of import auditory-cerebral process for children to undergo. Imagine the melody of a song such every bit "Row, Row, Row Your Boat." Sing the song dividing it into ii phrases (phrase 1 begins with "row," phrase 2 begins with "merrily"). What is the direction of phrase one? Phrase 2? Draw the direction of the phrase in the air with your finger as y'all sing.
Timbre. Practice describing unlike timbres of music—play unlike types of music on Pandora, for instance, and effort to describe the timbres you lot hear, including the vocal timbre of the singer or instrumental timbres.
Expression. Now practise describing the expressive qualities of a song. Are there dynamics? What type of joint is at that place? Is the tempo fast, slow, medium?

Learning Notation: Pitch

Information technology sounds simple, but notes or pitches are the building blocks of music. Just being able to read simple notation will help build your confidence. Learning notes on a staff certainly seems dull, just coming up with mnemonics for the notes on the staff tin really be fun. For example, most people are familiar with:

Every Proficient Boy Deserves Fudge to signal the treble clef line notes
F A C Eastward to signal the treble clef infinite notes
Good Boys Deserve Fudge Always for the bass clef line notes
All Cows Eat Grass for the bass clef space notes
But allowing children to develop their own mnemonic device for these notes can a creative way to have them ain the notes themselves. How nigh Grizzly Bears Don't Wing Airplanes for the lines of the bass clef, or Empty Garbage Before Dad Flips or Elephants Become Big Dingy Anxiety for the lines of the treble clef?

Notes of the Treble Staff

Notes of the Bass Staff

Notation/Pitch Name Practice

Note Review: Spelling Words with Notation names

Learning Notation: Rhythm

Rhythm concerns the organization of musical elements into sounds and silences. Rhythm occurs in a tune, in the accessory, and uses combinations of short and long durations to create patterns and unabridged compositions. Rests are as of import to the music every bit are the sounded rhythms considering, but similar language, rests utilize silence to help organize the sounds so we tin can better understand them.

Notes and rests

Whole note	Whole rest
Dotted half annotation	Dotted half rest
One-half note	Half rest
Quarter note	Quarter balance
8th notation	8th remainder
Sixteenth note	Sixteenth rest

Rhythm Practise: Label each rhythm

Learning Note: Meter

Meter concerns the organisation of music into stiff and weak beats that are separated by measures. Having children feel the stiff beats such as the downbeat, the first beat in a measure, is relatively piece of cake. From there, it's a matter of counting, hearing and feeling how the stiff vs. weak beats are grouped to create a meter.

Duple Meters

In duple meter, each measure out contains groupings of two beats (or multiples of 2). For example, in a 2/4 time signature, there are ii beats in a measure out with the quarter note receiving one beat or one count. In a 4/4 time signature, at that place are iv beats in a measure, and the quarter note also receives one beat or count.

Examples of 2/four Rhythms

Examples of 4/4 Rhythms

Triple Meters

In triple meter, each measure contains three beats (or a multiple of three). For instance, in a three/4 time signature, there are three beats in a measure and the quarter note receives 1 beat out.

Examples of iii/4 Rhythms

Compound Meters

Both duple and triple meter are known every bit simple meters—that ways that each beat tin can exist divided into two eighth notes. The time signature six/8 is very common for children's rhymes and songs. In 6/eight, there are half-dozen beats in a measure with each eighth note receiving one beat. 6/viii is known equally a compound meter, significant that each of the 2 main beats can be divided into iii parts.

Examples of half-dozen/viii Rhythms

Learning Note: Dynamics

Learning basic concepts such as dynamics and tempo will better equip you to involve children in more nuanced music making and listening.

The 2 basic dynamic indications in music are:

p, for pianoforte, meaning "soft"
f, for forte, meaning "loud" or really, with forcefulness, in Italian

More subtle degrees of loudness or softness are indicated by:

mp, for mezzo-piano, meaning "moderately soft"
mf, for mezzo-forte, meaning "moderately loud"

There are also more extreme degrees of dynamics represented by:

pp, for pianissimo and meaning "very soft"
ff, for fortissimo and meaning "very loud"

Terms for changing volume are:

Crescendo (gradually increasing volume)
Decrescendo (gradually decreasing book)

Crescendo

Decrescendo

Dynamics Practice

Make full in the blanks below using the following terms: fortissimo, pianissimo, mezzo-forte, mezzo-piano, crescendo, decrescendo, forte, pianoforte

ane. p
2. f
3. ff
4. mp
five.
6. mf
seven. pp
viii.

Learning Notation: Tempo

Tempo is the speed of the music, or the number of beats per minute. Music'south tempo is rather infectious, and children respond physically to both fast and ho-hum speeds. The post-obit are some terms and their beats per minute to help yous guess different tempi. The terms are in Italian, and are listed from slowest to fastest.

Larghissimo: very, very slowly (xix beats per minute or less)
Grave: slowly and solemnly (20–40 bpm)
Lento: slowly (40–45 bpm)
Largo: broadly (45–fifty bpm)
Larghetto: rather broadly (50–55 bpm)
Adagio: slow and stately (literally, "at ease") (55–65 bpm)
Andante: at a walking pace (the verb andare in Italian ways to walk) (73–77 bpm)
Andantino: slightly faster than andante (78–83 bpm)
Marcia moderato: moderately, in the manner of a march (83–85 bpm)
Moderato: moderately (86–97 bpm)
Allegretto: moderately fast (98–109 bpm)
Allegro: fast, quickly and bright (109–132 bpm)
Vivace: lively and fast (132–140 bpm)
Allegrissimo: very fast (150–167 bpm)
Presto: extremely fast (168–177 bpm)
Prestissimo: even faster than presto (178 bpm and in a higher place)

Terms that refer to changing tempo:

Ritardando: gradually slowing down
Accelerando: gradually accelerating

Action 2nd

Exploring tempo in everyday life: The average person walks at a pace betwixt 76-108 beats per minute. Playlists can offering dissimilar tempi for different types of practice. Find your tempo! What song fits a tiresome walking speed, medium, brisk, running? Stores play songs in slower tempi to encourage you to store. Go to a supermarket or store and notice your walking speed. Is it continued to the beat of the music?

Scales

Scales are sets of musical notes organized by pitch. In Western culture, nosotros predominantly use the major and minor scales. Nevertheless, many children'due south songs employ the pentatonic scales (both major and small-scale) also.

The major scale comprises seven different pitches that are organized past using a combination of half steps (one note on the piano to the very side by side note) and whole steps (two one-half steps together). The major scale looks as follows: Whole Whole One-half Whole Whole Whole Half or Westward W H W West W H.

A minor scale uses the following formula: W H W W H W Due west.

Pentatonic scales, found in many early American and children's songs, but employ five pitches, hence the moniker "pentatonic." There are many types of major pentatonic scales, but one of the nearly pop major pentatonic scale is like to the major scale, just without the fourth or 7th pitches (Fa or Ti). One of the mutual pocket-size pentatonic scales is like to the pocket-size scale, but also without (Fa or Ti).

Major, small (natural), and pentatonic scales

Major Scale (C Major)

Pocket-size Calibration (A Pocket-size)

Major Pentatonic (C)

Minor Pentatonic (A)

Scale Practise

Label the half steps and whole steps for the C major scale.

Exercise writing your own C major scale.

Characterization the half steps and whole steps of the A small scale.

Practice writing your ain A minor scale.

Resources for Further Learning

There are numerous websites that cover the fundamentals of music, including the staff, notes, clefs, ledger lines, rhythm, meter, scales, chords, and chord progressions.

Music Theory

www.musictheory.net

musictheory.internet is a music theory resource from basic to complex. It contains active definitions for musical terms; music lessons regarding the meanings of musical notation; and exercises designed to further understanding of musical notes, chords, and many other musical aspects. This site also includes a pop-upwardly piano and adventitious calculator specifically to assist users learn and exercise their developing musical skills. Information technology also features a products page with apps people can buy to practice and apply music on the go via their smartphones. The site would be appropriate for people ages 12 and up, and is extremely user friendly.

http://www.musictheoryvideos.com/

Musictheoryvideos.com was designed by Stephen Wiles in the hope to make music theory an active part of music learning. The site includes music theory lessons for students between grades 1 and 5 in the form of tables, lists, and videos to aid the student better sympathise the many parts of music. There are videos nigh the importance and divergence of treble and bass clefs; in that location is a list of music terms and what they mean, and the site even contains videos entailing the transposition of music. It would be a great resource for teachers to offer students, especially those who could benefit from some extra data outside of course. The site contains information that would take a educatee step by pace through the basics of music theory through simple brusque videos, complete with British-accented narrations.

https://www.themightymaestro.com/

The Mighty Maestro website contains interactive games for children outset with note values and pitches. Unfortunately, some of the activities require payment, but the gratis access games are very basic in terms of musical skill and literacy level, and very attainable.

https://www.classicsforkids.com/

Classics for Kids is an excellent website with a wealth of music data geared for children. Games, online listening, quizzes, activity sheets, information on composers, and lots of music history make this website highly valuable. The website is user friendly, bright, and cheerful, and very easy to navigate. It besides contains sections for parents and teachers.

www.mymusictheory.com

Mymusictheory.com includes helpful lessons for students grades 1 through vi, as well as helpful links for teachers when information technology comes to teaching music theory. For the teachers, they provide music flashcards, lesson plans, music-reinforcing word searches, and many other helpful resources, all in one location. The site is cleaved down past course level, with each level containing exercises and practice exams for the material learned during each lesson.

world wide web.8notes.com

8notes.com is a big website total of music lessons for several instruments, including but not limited to piano, guitar, vocal, and percussion. Gratuitous canvas music is available for the different instruments, also equally music from different pop movies. An online metronome, guitar tuner, blank canvas music, music theory lessons, and music converters are all available at 8notes.com. This site would exist helpful to those learning new instruments, every bit well equally experienced musicians who are only looking for some new music to play.

Annotation Reading

http://readsheetmusic.info/alphabetize.shtml
https://www.teoria.com/
https://world wide web.classicsforkids.com/games/note_names.php

Keyboard Skills

Many classroom teachers have pianos in their rooms and don't know how to use them or underutilize them. Learning to play a basic melody on a pianoforte or keyboard or fifty-fifty put a few chords to them is a cracking confidence architect, and the children love to sing to a pianoforte accompaniment!

http://www.howtoplaypiano.ca/
http://world wide web.pianobychords.com/

Notes on a keyboard

II. Music Education in America

Music education does non exist isolated in the music classroom. It is influenced by trends in full general education, club, civilization, and politics.

—Harold Abeles, Critical Issues in Music Educational activity, 2010

How did music educational activity develop into its current form? Did music specialists always teach music? What were classroom teacher'due south musical responsibilities? Well, to respond these questions, we demand to expect to the past for a moment. Initially, music and education worked hand in paw for centuries.

Early Music Education

18th century: Singing schools and their tune books

Earlier there was formal music education in the U.s.a., there was music and teaching, primarily experienced through religious instruction. Music education in the U.S. began after the Pilgrims and Puritans arrived, when ministers realized that their congregation needed help singing and reading music. Several ministers developed melody books that used iv notes of solfege (Mi, Fa, Sol, La) and shape notes to train people in singing the psalms and hymns required for proper church singing. Past 1830, singing schools based on the techniques constitute in these books began popping upward all over New England, with some people attending singing school classes every solar day (Keene, 1982). They were promised that they would learn to sing in a month or go music teachers themselves in three months.

Some consider the hymn music of this time to be uniquely American—borrowing styles from Ireland, England, and Europe, but using dance rhythms, loose harmonic rules, and complex song parts (counterpoint) where each vocalisation (soprano, alto, tenor and bass) sang its own unique tune and no one had the main tune. Original American composers such as William Billings wrote hundreds of hymns in this style.

19th century

Johann H. Pestalozzi (1746–1827)

Pestalozzi was an educational reformer and Swiss philosopher born in 1746. He is known equally the father of mod education. Although his philosophies are over 200 years old, you may recognize his ideas as sounding quite gimmicky. He believed in a child-centered pedagogy that promoted understanding the world from the child's level, taking into account individual evolution and physical, tactile experiences such as working directly with plants, minerals for science, etc. He advocated education poor as well equally rich children, breaking down a subject to its elements, and a broad, liberal teaching forth with instructor training. In the U.S., normal schools would take off by the end of the 19th century, and advocates of Pestalozzi'southward educational reform would put into identify a organization of teacher grooming that influences united states of america to this 24-hour interval.

Lowell Mason (1792–1872) and the "Better Music" motility

Lowell Mason, considered the founder of music education in America, was a proponent of Pestalozzi's ideas, particularly the rote method of teaching music, where songs were experienced and repeated beginning and concepts were taught afterward. Mason authored the start series book based on the rote method in 1864 chosen The Song Garden.

Mason was highly critical of both the singing schools of the mean solar day and the compositional way. He was horrified at the promises that singing schools fabricated to their students—namely that they could be qualified to teach afterward just a few months of lessons, and the general limerick techniques used at the time. Mason felt that the music, including the work of composers such as Billings, was "rude and crude." To change this, he promoted simplified harmonies that made the melody the most prominent aspect of the music, and downgraded the importance of the other vocal parts to support the melody. He achieved this through the establishment of shape notation singing schools, which carried out his musical vision. The result was that the original hymn style became the purview of the shape note singing schools, mostly in the South, where they flourished for many years. The most famous shape-annotation book is called Sacred Harp.

Hosted at the U.S. Library of Congress (U.S Library of Congress and [1]) [Public domain], via WikiCommons

Under the title "New Britain", "Amazing Grace" appears in a 1847 publication of Southern Harmony in shape notes

The songs in Sacred Harp were religious hymns. "Amazing Grace" was 1 of the songs published in this book.

Amazing Grace

John Newton (1779), Sacred Harp Songbook (1844)

lookout this Shape Note Singing

watch this Sacred Harp Shape Note Singing

Music and the normal school

Normal schools in the 19th century grew out of a need to educate a burgeoning young American population. These schools were teacher preparation courses, ordinarily with access to model schools where teachers in training could observe and practice teach. Music was a meaning part of education. The Missouri Land Normal Schoolhouse at Warrensburg stressed the importance of music in their catalog from 1873–74:

Vocal Music—the importance of music every bit i of the branches of teaching is fully recognized. Vocal music is taught throughout the entire course…and teachers are advised to brand it a part of the form of education in every school with which they may exist connected (Keene, 1982, p. 204).

Music and teaching in America: 20th century

Music supervisors, who oversaw the work of classroom teachers, received additional grooming in music. Music education in the early on 20th century connected under the purview of the music supervisor, while classroom teachers were trained to teach music to their students. Gradually, a specialization process began to occur and music became a regular subject with its own certification, an educational tradition that continues to this day. By the 1920s, institutions in the U.South. began granting degrees in music education and, along with groups such every bit the Music Supervisor's Conference (afterward the Music Educator's National Conference and currently the National Clan for Music Educators or NAfME), supported the use of qualified music teachers in the schools. Somewhen, the arts bankrupt into different specialties, and the separate role of music teacher as we know it was created.

Ironically, in that location was bang-up business at the time regarding these special music teachers. Considering music was no longer in the hands of the classroom teachers, great endeavour was made to "bring music in as shut a relation to the other work as is possible under the present arrangement of a special music instructor" (Goodrich, 1901, p. 133).

Contemporary Music Education

Instructional methods

The office of music in the U.S. educational system is perpetually under discussion. On one paw, many see structural issues inherent in music's connexion to its history and the glaring stardom betwixt the prevalence, importance, and part of music's role in everyday life and its embattled function in the classroom Sloboda (2001). On the other, increased advancement is required in society to justify music'due south existence and terms of benefits to the kid among the threat of constant budget cuts. Given this, information technology is of import to remember music education's history, origin and deep roots in the American educational activity experience.

The beginning of the 20th century was an heady time for music education, with several significant instructional methods being developed and taking hold. In the U.s.a., music instruction developed around a method of instruction, the Normal Music Course, the remnants of which are adhered to fifty-fifty today in music classrooms. The books used a "graded" curriculum with successively more circuitous songs and exercises, and combined writer-equanimous songs in these books with folk and classical material. An online copy of the New Normal Music Course (1911) for quaternary and fifth graders is attainable via Google Books.

In Europe and Asia, 4 outstanding and very dissimilar music educational activity methods developed: the Kodály Method, Orff Schulwerk, Suzuki, and Dalcroze all played significant roles in furthering music education away and in the U.S., and were methods based on folk and classical genres (encounter Chapter 4 for further word well-nigh these methods). In contrast to the early music books for the Normal Schoolhouse, for which at that place was "a paucity of vocal material prompting the authors of the original course to chiefly use their own song fabric" (Tufts & Holt, 1911, p. 3), Kodály and Orff in item used accurate music in their methods, and authentic music directly related to children's lives (see Chapter four for more on this).

Resources

Gregory, A., Worrall, L., & Sarge, A. (1996). The development of emotional responses to music in young children. Motivation and Emotion. December 20 (4), 341–348.

Boone, R., & Cunningham, J. (2001). Children's expression of emotional pregnant in music through expressive body movement Journal of Non-verbal Behavior. March, 25 (i), 21–41.

Children every bit young as 4 and v years sometime were able to portray emotional significant in music through expressive motility.

Metz, East. R. (1989). Motion as a musical response among preschool children. Journal of Research in Music Pedagogy 37, 48–lx.

The primary result of "Movement as a Musical Response Amongst Preschool Children" was the generation of a noun theory of children'southward movement responses to music. The writer also derived implications of the seven propositions of early children education and movement responses to music.

Sims, W., & Cassidy, J. (1997). Exact and operant responses of young children to song versus instrumental song performances. Journal of Research in Music Education, 45(2), 234–244.

Immature children'southward music attitudes and responses do not seem to exist based on specific musical characteristics; children may take very idiosyncratic responses and listening styles.

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Vocabulary

articulation: the style in which notes are played or words pronounced; e.one thousand., long or short, stressed or unstressed

counterpoint: the fine art of combining melodies

dynamics: indicates the volume of the audio, and the changes in volume (e.thou. loudness, softness, crescendo, decrescendo).

harmony: the simultaneous combination of tones, specially when blended into chords pleasing to the ear; chordal structure, equally distinguished from melody and rhythm

homophony: a melody with an accessory; east.k., a atomic number 82 vocalizer and a band

indigenous groups: people associated with a sure area who codify their own culture

tune: musical sounds in agreeable succession or organization

meter: the organization of strong and weak beats; unit of measurement in terms of number of beats in a measure

monophony: single layer or sound; e.one thousand.; a soloist

notation: how notes are written on the page

pitch: the frequency of a note's vibration

polyphony: two or more than independent voices; e.g., a round of a fugue

psalms and hymns: examples of church music

recitation: reading a text using heightened speech, similar to chanting

rhythm: the pattern of regular or irregular pulses caused in music past the occurrences of strong or weak melodic and harmonic beats

rote method: memorization technique based on repetition, especially when material is to exist learned quickly

shape notes: annotation way used in early singing schools in the U.Southward. where each notation had a unique shape by which it was identified

silence: the absence of sound

solfege: a music education method to teach pitch and sight reading, assigning syllables to the notes of a scale; i.east., Do, Re, Mi, Fa, Sol, La, Ti, Do would be assigned to represent and assist hear the major scale pitches

audio: vibrations travelling through air, water, gas, or other media that are picked upwardly past the human ear drum

tempo: relative rapidity or rate of movement, usually indicated past terms such as adagio, allegro, etc., or by reference to the metronome. Also, the number of beats per infinitesimal

texture: the style in which tune, harmony, and rhythm are combined in a piece; the density, thickness, or thinness or layers of a piece

timbre: the tone color of each audio; each voice has a unique tone color (vibrato, nasal, resonance, vibrant, ringing, strident, loftier, low, breathy, piercing, rounded warm, mellow, dark, vivid, heavy, or light)

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