High School Musical Bad Lip Reading Script

Main Body

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

Affiliate Summary: The outset half of this chapter attempts to define music as a field of study and offers perspectives on music, including basic vocabulary and what yous should know about music in order to incorporate it in your work with children. The second one-half gives a brief overview of music education and instruction in the U.S., which provides the foundation of the subject area for the book.

I. Defining Music

"Music" is one of the most hard terms to define, partially because beliefs about music take inverse dramatically over time merely in Western culture lone. If we look at music in unlike parts of the earth, we find even more than variations and ideas about what music is. Definitions range from practical and theoretical (the Greeks, for instance, defined music as "tones ordered horizontally as melodies and vertically as harmony") to quite philosophical (according to philosopher Jacques Attali, music is a sonoric result between noise and silence, and according to Heidegger, music is something in which truth has fix itself to work). There are also the social aspects of music to consider. Equally musicologist Charles Seeger notes, "Music is a system of advice involving structured sounds produced by members of a community that communicate with other members" (1992, p.89). Ethnomusicologist John Blacking declares that "nosotros can become further to say that music is sound that is humanly patterned or organized" (1973), covering all of the bases with a very broad stroke. Some theorists even believe that at that place tin can be no universal definition of music because it is so culturally specific.

Although nosotros may find it difficult to imagine, many cultures, such as those institute in the countries of Africa or among some indigenous groups, don't have a discussion for music. Instead, the relationship of music and trip the light fantastic toe to everyday life is so close that the people have no need to conceptually split the two. According to the ethnomusicologist Bruno Nettl (2001), some North American Indian languages take no word for "music" as distinct from the word "song." Flute melodies too are labeled equally "songs." The Hausa people of Nigeria accept an extraordinarily rich vocabulary for soapbox about music, only no single word for music. The Basongye of Zaire accept a broad conception of what music is, but no corresponding term. To the Basongye, music is a purely and specifically human product. For them, when you are content, you sing, and when yous are angry, you make noise (2001). The Kpelle people of Liberia have 1 give-and-take, "sang," to depict a movement that is danced well (Stone, 1998, p. 7). Some cultures favor certain aspects of music. Indian classical music, for example, does non contain harmony, but only the iii textures of a tune, rhythm, and a drone. Notwithstanding, 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 require less complex melodies and rhythms.

What nosotros may hear equally music in the West may not be music to others. For example, if nosotros hear the Qur'an performed, it may sound like singing and music. We hear all of the "parts" which we think of as music—rhythm, pitch, tune, form, etc. However, the Muslim understanding of that audio is that information technology is actually heightened spoken language or recitation rather than music, and belongs in a split category. The philosophical reasoning behind this is circuitous: in Muslim tradition, the idea of music as amusement 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 past Mishary Rashid Al-'Efasi of Kuwait.

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

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

A working definition of music for our purposes might be as follows: music is an intentionally organized art form whose medium is sound and silence, with core 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 "make" music in two different ways: we make music physically; i.east., nosotros bow the strings of a violin, nosotros sing, nosotros press down the keys of a piano, nosotros blow air into a flute. We also make music with our minds, mentally constructing the ideas that we accept about music and what nosotros believe well-nigh music; i.eastward., when it should be performed or what music is "proficient" and what music is "bad." For instance, the genre of classical music is perceived to take a college social status than popular music; a rock ring's lead vocalist is more valued than the drummer; early blues and stone was considered "evil" and negatively influential; we label some songs as children's songs and deem them inappropriate to sing after a sure age; etc.

Music, above all, works in audio and time. Information technology is a sonic event—a communication just similar speech, which requires the states to heed, procedure, and respond. To that end, it is a office of a continuum of how we hear all sounds including noise, speech, and silence. Where are the boundaries betwixt dissonance and music? Between dissonance and spoken language? How does some music, such as rap, challenge our original notions of speech and music by integrating speech every bit part of the music? How do some compositions such equally John Muzzle's 4'33'' challenge our ideas of artistic intention, music, and silence?

Basic Music Elements

Sound (overtone, timbre, pitch, aamplitude, duration)
Melody
Harmony
Rhythm
Texture
Construction/form
Expression (dynamics, tempo, articulation)

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

1. Audio

Overtone: A primal pitch with resultant pitches sounding above it according to the overtone series. Overtones are what give each notation its unique sound.

watch this throat-singing

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

Pitch: The frequency of the note'due south vibration (note names C, D, Due east, etc.).

Amplitude: How loud or soft a sound is.

Elapsing: How long or brusk the sound is.

2. Tune

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

3. Harmony

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

4. Rhythm

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

v. Texture

The density (thickness or thinness) of layers of sounds, melodies, and rhythms in a piece: east.g., a complex orchestral composition volition accept more than possibilities for dense textures than a vocal accompanied but by guitar or pianoforte.

Almost mutual types of texture:

Monophony: A unmarried layer of sound; e.g.. a solo vocalisation
Homophony: A melody with an accessory; due east.k., a lead singer and a band; a singer and a guitar or piano accompaniment; etc.
Polyphony: Two or more independent voices; east.k., a round or fugue.

watch this Musical Texture

6. Structure or Grade

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

seven. Expression

Dynamics: Volume (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.

Articulation: The manner in which notes are played or words pronounced: e.g., long or short, stressed or unstressed such as short (staccato), smooth (legato), stressed (marcato), sudden emphasis (sforzando), slurred, etc.

What Practise Children Hear? How Practise They Reply to Music?

Now that we take a list of definitions, for our purposes, let's refine the definition of music, keeping in mind how children perceive music and music'due south constituent elements of audio (timbre), melody, harmony, rhythm, construction or form, expression, and texture. Children's musical encounters tin 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 part in how children respond to music. One of the nigh important elements for all humans is the timbre of a sound. Recognizing a sound's timbre is significant to humans in that it helps united states to distinguish the source of the sound, i.eastward. who is calling us—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, as well as the timbres of unlike instruments.

Studies testify that fifty-fifty very young children are quite sophisticated listeners. As early as two years of age, children respond to musical style, tempo, and dynamics, and even show preference for certain musical styles (e.g., popular music over classical) beginning at age five. Metz and his peers affirm that "a common competence institute in immature children is the enacting through motility of the music's most constant and salient features, such every bit dynamics, meter, and tempo" (Metz, 1989; Gorali-Turel, 1997; Chen-Hafteck, 2004). On the aggregate level, children physically respond to music's beat, and are able to movement more accurately when the tempo of the music more clearly corresponds to the natural tempo of the child. As we might look, children reply to the dynamic levels of loud and soft quite dramatically, changing their movements to match changing volume levels.

The fact that children seem to reply to the expressive elements of music (dynamics, tempo, etc.) should not come up as a surprise. Most people respond to the aforementioned attributes of music that children do. We hear changes in tempo (fast or slow), changes in dynamics (loud or soft), we physically answer to the rhythm of the bass guitar or drums, and we listen intently to the melody, specially if there are words. These are amongst the nearly ear-communicable elements, forth with rhythm and melody.

This is what we would expect. All the same, there are other studies whose conclusions are more vague on this discipline. Co-ordinate to a study by Sims and Cassidy, children'south music attitudes and responses practice not 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 almost any type of music (Kim, 2007, p. 23).

Activity 2C

What type of music might children best respond to given their musical perceptions and inclinations? Is there a item genre of music, or particular song or set of songs? How might you lot go them to respond actively while engaging a high level of cognitive sophistication?

Music Teaching Vocabulary

After familiarizing yourself with the basic music vocabulary listing above (e.g., melody, rhythm), familiarize yourself with a practical educational activity vocabulary: in other words, the music terms that you might use when working in music with a lesson for children that represent to their natural perception of music. For nigh children, the basics are easily conveyed through concept dichotomies, such every bit:

Fast or Boring (tempo)
Loud or Soft (dynamics)
Brusk or Long (articulation)
Loftier or Low (pitch)
Steady or Uneven (beat)
Happy or Sad (emotional response)

Interestingly, three pairs of these dichotomies are institute in Lowell Mason'due south Manual for the Boston University 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 Smooth (timbre)
Poesy and Refrain (form)
Major or Pocket-size (scale)

Music Fundamentals

The emotive aspects of music are what most people respond to get-go. Yet, while an important part of music listening in our culture, simply responding subjectively to "how music makes you experience" is like to an Olympic estimate saying that she feels happy when watching a gymnast's vault. It may very well be true, but it does not assist the judge to sympathize and evaluate all of the elements that go into the execution of the gymnast's exercise or how to estimate it properly. Studies show that teachers who are familiar with music fundamentals, and particularly notation reading, are more comfortable incorporating music when working with children (Kim, 2007). Even just knowing how to read music changes a instructor's confidence level when it comes to singing, and so it's of import to take a few of the basics under your chugalug.

Preparation for Learning to Read Music

Formal annotation reading is not required in lodge to understand the basics of music. Younger children can learn musical concepts long before learning written note. Applying some of the vocabulary and concepts from above volition assistance you begin to discern some of the inner workings of music. The good news is that any type of music can be used for do.

Melodic Direction. Just beingness able to recognize whether a melody goes upward or down is a big pace, and an of import auditory-cognitive procedure for children to undergo. Imagine the melody of a song such as "Row, Row, Row Your Gunkhole." Sing the song dividing information technology into 2 phrases (phrase i begins with "row," phrase ii begins with "merrily"). What is the direction of phrase 1? Phrase 2? Depict the direction of the phrase in the air with your finger as you sing.
Timbre. Do describing dissimilar timbres of music—play different types of music on Pandora, for case, and endeavor to draw the timbres you hear, including the vocal timbre of the singer or instrumental timbres.
Expression. Now practice describing the expressive qualities of a song. Are there dynamics? What blazon of articulation is at that place? Is the tempo fast, slow, medium?

Learning Notation: Pitch

It sounds unproblematic, merely notes or pitches are the edifice blocks of music. Just existence able to read simple notation volition help build your confidence. Learning notes on a staff certainly seems dull, but coming upwards with mnemonics for the notes on the staff tin actually exist fun. For example, most people are familiar with:

Every Good Boy Deserves Fudge to betoken the treble clef line notes
F A C Eastward to betoken the treble clef space notes
Proficient Boys Deserve Fudge Always for the bass clef line notes
All Cows Swallow Grass for the bass clef space notes
Merely allowing children to develop their own mnemonic device for these notes can a creative way to have them ain the notes themselves. How about Grizzly Bears Don't Fly Airplanes for the lines of the bass clef, or Empty Garbage Before Dad Flips or Elephants Get Big Dirty Feet for the lines of the treble clef?

Notes of the Treble Staff

Notes of the Bass Staff

Note/Pitch Proper name Practice

Annotation Review: Spelling Words with Note names

Learning Notation: Rhythm

Rhythm concerns the organisation of musical elements into sounds and silences. Rhythm occurs in a melody, in the accompaniment, and uses combinations of short and long durations to create patterns and entire compositions. Rests are as important to the music as are the sounded rhythms because, merely similar language, rests use silence to help organize the sounds and then we can improve empathize them.

Notes and rests

Whole note	Whole rest
Dotted half note	Dotted half rest
Half note	Half rest
Quarter notation	Quarter balance
8th note	Eighth rest
Sixteenth notation	Sixteenth rest

Rhythm Practise: Characterization each rhythm

Learning Notation: Meter

Meter concerns the organization of music into strong and weak beats that are separated past measures. Having children feel the strong beats such as the downbeat, the first beat in a measure, is relatively easy. From in that location, it's a thing 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 ii beats (or multiples of two). For example, in a 2/4 time signature, at that place are 2 beats in a measure with the quarter annotation receiving i beat or one count. In a 4/four time signature, there are iv beats in a measure, and the quarter notation also receives ane beat or count.

Examples of two/4 Rhythms

Examples of 4/four Rhythms

Triple Meters

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

Examples of 3/4 Rhythms

Compound Meters

Both duple and triple meter are known as elementary meters—that means that each shell can be divided into two 8th notes. The time signature half-dozen/8 is very common for children'southward rhymes and songs. In 6/8, there are six beats in a measure with each eighth notation receiving one shell. 6/8 is known as a compound meter, significant that each of the 2 main beats can be divided into 3 parts.

Examples of 6/8 Rhythms

Learning Notation: Dynamics

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

The 2 basic dynamic indications in music are:

p, for piano, meaning "soft"
f, for forte, pregnant "loud" or actually, with force, in Italian

More than subtle degrees of loudness or softness are indicated by:

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

There are also more extreme degrees of dynamics represented past:

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

Terms for changing volume are:

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

Crescendo

Decrescendo

Dynamics Practise

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

1. p
2. f
3. ff
4. mp
5.
vi. mf
7. pp
eight.

Learning Note: Tempo

Tempo is the speed of the music, or the number of beats per minute. Music'southward tempo is rather infectious, and children respond physically to both fast and slow speeds. The following are some terms and their beats per minute to aid you guess dissimilar tempi. The terms are in Italian, and are listed from slowest to fastest.

Larghissimo: very, very slowly (nineteen beats per minute or less)
Grave: slowly and solemnly (20–xl bpm)
Lento: slowly (twoscore–45 bpm)
Largo: broadly (45–50 bpm)
Larghetto: rather broadly (50–55 bpm)
Adagio: boring and stately (literally, "at ease") (55–65 bpm)
Andante: at a walking stride (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 brilliant (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 above)

Terms that refer to changing tempo:

Ritardando: gradually slowing down
Accelerando: gradually accelerating

Activity 2nd

Exploring tempo in everyday life: The average person walks at a stride between 76-108 beats per minute. Playlists can offer different tempi for different types of exercise. Find your tempo! What song fits a slow walking speed, medium, brisk, running? Stores play songs in slower tempi to encourage you to shop. Go to a supermarket or shop and find your walking speed. Is it continued to the trounce of the music?

Scales

Scales are sets of musical notes organized by pitch. In Western culture, nosotros predominantly utilise the major and minor scales. However, many children's songs use the pentatonic scales (both major and minor) as well.

The major scale comprises vii different pitches that are organized by using a combination of half steps (one note on the pianoforte to the very next note) and whole steps (two half steps together). The major scale looks as follows: Whole Whole Half Whole Whole Whole Half or W Due west H Westward W W H.

A pocket-sized scale uses the post-obit formula: W H W Westward H W W.

Pentatonic scales, found in many early American and children's songs, only use v pitches, hence the moniker "pentatonic." At that place are many types of major pentatonic scales, but ane of the virtually popular major pentatonic scale is similar to the major scale, but without the fourth or 7th pitches (Fa or Ti). One of the common minor pentatonic scales is similar to the minor scale, but also without (Fa or Ti).

Major, small (natural), and pentatonic scales

Major Scale (C Major)

Minor Calibration (A Minor)

Major Pentatonic (C)

Minor Pentatonic (A)

Scale Practice

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

Practice writing your own C major scale.

Label the half steps and whole steps of the A minor scale.

Practice writing your ain A pocket-size 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

world wide web.musictheory.internet

musictheory.internet is a music theory resource from basic to complex. Information technology contains active definitions for musical terms; music lessons regarding the meanings of musical annotation; and exercises designed to farther understanding of musical notes, chords, and many other musical aspects. This site too includes a pop-upwardly piano and accidental reckoner specifically to aid users learn and practice their developing musical skills. It also features a products page with apps people tin can buy to practice and utilize music on the go via their smartphones. The site would be appropriate for people ages 12 and upwards, 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 i and 5 in the form of tables, lists, and videos to help the educatee better understand the many parts of music. In that location are videos virtually the importance and difference of treble and bass clefs; there 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 dandy resource for teachers to offer students, especially those who could benefit from some extra information outside of class. The site contains data that would accept a pupil footstep past step through the basics of music theory through simple short videos, consummate with British-accented narrations.

https://world wide web.themightymaestro.com/

The Mighty Maestro website contains interactive games for children get-go with note values and pitches. Unfortunately, some of the activities crave payment, simply the free 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 information 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, brilliant, and cheerful, and very easy to navigate. It besides contains sections for parents and teachers.

world wide web.mymusictheory.com

Mymusictheory.com includes helpful lessons for students grades 1 through 6, as well every bit helpful links for teachers when information technology comes to education 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 broken downward by course level, with each level containing exercises and practice exams for the fabric learned during each lesson.

www.8notes.com

8notes.com is a large website full of music lessons for several instruments, including simply non limited to piano, guitar, vocal, and percussion. Free sheet music is bachelor for the different instruments, equally well every bit music from different pop movies. An online metronome, guitar tuner, blank sail music, music theory lessons, and music converters are all available at 8notes.com. This site would be helpful to those learning new instruments, too as experienced musicians who are just looking for some new music to play.

Note Reading

http://readsheetmusic.info/index.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 employ them or underutilize them. Learning to play a basic melody on a piano or keyboard or fifty-fifty put a few chords to them is a dandy confidence architect, and the children beloved to sing to a piano accompaniment!

http://www.howtoplaypiano.ca/
http://www.pianobychords.com/

Notes on a keyboard

II. Music Education in America

Music instruction does not exist isolated in the music classroom. It is influenced by trends in full general education, order, civilisation, and politics.

—Harold Abeles, Disquisitional Issues in Music Instruction, 2010

How did music education develop into its current course? Did music specialists always teach music? What were classroom teacher'due south musical responsibilities? Well, to answer these questions, we need to look to the past for a moment. Initially, music and teaching worked paw in paw for centuries.

Early Music Instruction

18th century: Singing schools and their tune books

Before in that location was formal music teaching in the U.s., at that place was music and education, primarily experienced through religious education. 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 adult tune books that used four 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 establish in these books began popping upwards all over New England, with some people attending singing schoolhouse classes every 24-hour interval (Keene, 1982). They were promised that they would learn to sing in a calendar month or get music teachers themselves in three months.

Some consider the hymn music of this time to exist uniquely American—borrowing styles from Ireland, England, and Europe, only using dance rhythms, loose harmonic rules, and circuitous song parts (counterpoint) where each voice (soprano, alto, tenor and bass) sang its own unique melody and no one had the principal melody. Original American composers such as William Billings wrote hundreds of hymns in this manner.

19th century

Johann H. Pestalozzi (1746–1827)

Pestalozzi was an educational reformer and Swiss philosopher born in 1746. He is known as the father of mod educational activity. Although his philosophies are over 200 years old, yous may recognize his ideas as sounding quite gimmicky. He believed in a child-centered education that promoted understanding the earth from the kid's level, taking into account individual development and concrete, tactile experiences such as working directly with plants, minerals for science, etc. He advocated educational activity poor equally well as rich children, breaking down a subject to its elements, and a broad, liberal education along with teacher training. In the U.S., normal schools would take off by the terminate of the 19th century, and advocates of Pestalozzi's educational reform would put into place a system of teacher training that influences us to this mean solar day.

Lowell Bricklayer (1792–1872) and the "Better Music" movement

Lowell Bricklayer, considered the founder of music didactics in America, was a proponent of Pestalozzi's ideas, particularly the rote method of teaching music, where songs were experienced and repeated first and concepts were taught later. Mason authored the first series book based on the rote method in 1864 called The Song Garden.

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

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

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

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

Amazing Grace

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

watch this Shape Note Singing

lookout man 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 training courses, commonly with access to model schools where teachers in training could detect and practise teach. Music was a significant function of pedagogy. The Missouri State Normal Schoolhouse at Warrensburg stressed the importance of music in their catalog from 1873–74:

Vocal Music—the importance of music every bit one of the branches of teaching is fully recognized. Vocal music is taught throughout the entire class…and teachers are brash to make information technology a part of the course of educational activity in every school with which they may be connected (Keene, 1982, p. 204).

Music and education in America: 20th century

Music supervisors, who oversaw the work of classroom teachers, received additional grooming in music. Music instruction in the early 20th century continued nether 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. Past the 1920s, institutions in the U.Southward. began granting degrees in music education and, along with groups such as the Music Supervisor'southward Conference (after the Music Educator'south National Conference and currently the National Association for Music Educators or NAfME), supported the use of qualified music teachers in the schools. Somewhen, the arts broke into dissimilar specialties, and the separate role of music teacher every bit we know it was created.

Ironically, there was great concern at the fourth dimension regarding these special music teachers. Because music was no longer in the hands of the classroom teachers, keen attempt was fabricated to "bring music in as close a relation to the other work equally is possible nether the present arrangement of a special music instructor" (Goodrich, 1901, p. 133).

Contemporary Music Didactics

Instructional methods

The part of music in the U.S. educational system is perpetually under give-and-take. On one hand, many run into structural bug inherent in music's connection to its history and the glaring stardom between the prevalence, importance, and office of music's part in everyday life and its embattled role in the classroom Sloboda (2001). On the other, increased advocacy is required in society to justify music'due south beingness and terms of benefits to the child amidst the threat of constant upkeep cuts. Given this, it is important to remember music teaching's history, origin and deep roots in the American teaching experience.

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

In Europe and Asia, iv outstanding and very different music education 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 farther discussion about these methods). In contrast to the early music books for the Normal School, for which there was "a paucity of vocal cloth prompting the authors of the original grade to chiefly use their own song material" (Tufts & Holt, 1911, p. three), Kodály and Orff in particular used authentic music in their methods, and accurate music directly related to children's lives (see Chapter four for more on this).

Resource

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

Boone, R., & Cunningham, J. (2001). Children'south expression of emotional significant in music through expressive body movement Journal of Non-verbal Behavior. March, 25 (1), 21–41.

Children as young as four and five years old were able to portray emotional meaning in music through expressive movement.

Metz, E. R. (1989). Motion as a musical response amidst preschool children. Journal of Inquiry in Music Education 37, 48–60.

The primary result of "Movement as a Musical Response Among Preschool Children" was the generation of a noun theory of children'due south movement responses to music. The author also derived implications of the seven propositions of early children didactics and motility responses to music.

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

Young children'southward music attitudes and responses practise non seem to exist based on specific musical characteristics; children may have very idiosyncratic responses and listening styles.

References

Abeles, H. (2010). The historical contexts of music education. In H. Abeles & 50. Custodero (Eds.), Critical problems in music pedagogy: Contemporary theory and practice (1–22). Oxford, UK: Oxford Academy Press.

Abeles, H., and Custodero, L. (2010). Critical bug in music teaching: Gimmicky theory and exercise. Oxford, Britain: Oxford Academy Press.

Andress, B. (1991). From enquiry to practice: Preschool children and their movement responses to music. Young Children, November, 22–27.

Atkinson, P., & Hammerley, M. (1994). Ethnography and participant observation. In N. Thou. Denzin & Y. S. Lincoln (Eds.), Handbook of qualitative inquiry (248–261), Thousand Oaks, CA: Sage Publications.

Attali, J. (1985). Noise: The Political Economy of Music. Minneapolis: University of Minnesota Printing.

Bakan, Yard. (2011). World music: Traditions and transformations. New York: McGraw-Colina.

Blacking, J. (1973). How Musical is Man? Seattle: Academy of Washington Printing.

Boone, R. T., & Cunningham, J. G. (2001). Children'south expression of emotional meaning in music through expressive body movement. Journal of Nonverbal Behavior 5(1), 21–41.

Bresler, L., & Pale, R. Due east. (1992). Qualitative research methodology in music education. In R. Colwell (Ed.), Handbook of research on music teaching and learning (75–90). New York: Schirmer Books.

Chocolate-brown, H. A. (1919). The Normal School curriculum. The Simple School Journal twenty(four), 19, 276–284.

Chen-Hafteck, 50. (2004). Music and move from zero to iii: A window to children'south musicality. In 50. A. Custodero (Ed.), ISME Early on Childhood Commission Briefing—Els Móns Musicals dels Infants (The Musical Worlds of Children), July 5–10. Escola Superior de Musica de Catalunya, Barcelona, Spain. International Society of Music Educational activity.

Cohen, 5. (1980). The emergence of musical gestures in kindergarten children (Unpublished doctoral dissertation). University of Illinois, Champaign, IL.

Flohr, J. W. (2005). The musical lives of immature children. Upper Saddle River, NJ: Pearson Prentice-Hall Music Education Series.

Goodrich, H. (1901). Music. The Elementary Schoolhouse Teacher and Course of Report, 2(2), 132–33.

Graue, K. E., & Walsh, D. J. (1998). Studying children in context: Theories, methods and ethics. Thousand Oaks, CA: Sage Publications.

Heidegger, Martin. (2008). On the Origin of the Work of Art. In D. Farrell Krell (Ed.) Basic Writings (143-212). New York: Harper Collins

Holgersen, S. E., & Fink-Jensen, G. (2002). "The lived trunk—object and bailiwick in inquiry of music activities with preschool children." Paper presented at the meeting of the10th International Conference of the Early Childhood Commission of the International Society for Music Education, August 5–nine, Copenhagen, Denmark.

Janesick, V. J. (1994). The dance of qualitative research blueprint: Metaphor, methodology, and meaning. In Northward. K. Denzin & Y. S. Lincoln (Eds.), Handbook of qualitative enquiry (209–219). Thou Oaks, CA: Sage Publications.

Hashemite kingdom of jordan-DeCarbo, J., & Nelson, J. A. (2002). Music and early childhood instruction. In R. Colwell & C. Richardson (Eds.), The new handbook of research on music teaching and learning (210–242). Oxford, UK: Oxford Academy Press.

Keene, J. (1982). History of music teaching in the U.s.. Hanover, NH: University Press of New England.

Kim, H. K. (2007). Early childhood preservice teachers' behavior almost music, developmentally appropriate practice, and the relationship between music and developmentally appropriate practice (Unpublished doctoral dissertation). University of Florida, Gainesville, FL.

Mason, Fifty. (1839). Manuel of the Boston Academy of Music for the pedagogy of vocal music in the organisation of Pestalozzi. Boston, MA: Wilkins and Carter.

Bricklayer, L. (1866). The song garden. Boston, MA: Oliver Ditson and Co.

Metz, E. (1989). Motion as a musical response among preschool children. Journal of Inquiry in Music Education 37(1), 48–60.

Moog, H. (1976). The musical experience of the pre-schoolchild. (C. Clarke, Trans.). London: Schott Music. (Original work published 1968)

Moorhead, M. E., & Pond, D. (1978). Music of young children: Full general observations. In Music of Young Children (29–64). Santa Barbara, California: Pillsbury Foundation for Advocacy of Music Educational activity. (Original work published 1942)

Nettl, B. (2001). Music. In S. Sadie (Ed.), New Grove dictionary of music and musicians (Vol. 17, 425-37) London: Grove'due south Dictionaries of Music Inc.

Peery, J. C., & Peery, I. W. (1986). Effects of exposure to classical music on the musical preferences of pre-school children. Journal of Research in Music Education 33(ane), 24–33.

Retra, J. (2005). Musical motility responses in early babyhood music instruction practice in kingdom of the netherlands. Newspaper presented at the meeting of Music Educators and Researchers of Young Children (MERYC) Briefing, April iv–five, at the Academy of Exeter.

Sims, W. Fifty. (1987). The use of videotape in conjunction with systematic ascertainment of children'due south overt, physical responses to music: A research model for early childhood music education. ISME Yearbook 14, 63–67.

Sims, W. 50., & Nolker, D. B. (2002). Individual differences in music listening responses of kindergarten children. Periodical of Research in Music Education fifty(two), 292–300.

Singing Schools. (n.d.). Library of Congress. https://www.loc.gov/collections/music-of-nineteenth-century-ohio/articles-and-essays/singing-schools/ (accessed June 24, 2021).

Sloboda, J. (2001). Emotion, functionality and the everyday experience of music: Where does music education fit? Music Education Research iii(2).

Smithrim, One thousand. (1994). Preschool children's responses to music on telly. Newspaper presented at the International Society for Music Education Early Babyhood Commission Seminar "Vital Connections: Young Children, Adults & Music," July eleven–15, University of Missouri-Columbia.

Stone, R. (1998). Africa, the Garland encyclopedia of world music. New York: Garland Publishing, Inc..

Temple, A. (1920). The kindergarten primary unit of measurement. The Unproblematic School Journal, 20/7(20), 498–509.

Titon, J. T. (2008). Worlds of music: An introduction to the music of the world's people. Boston, MA: Cengage.

Tobin, J. J., Wu, D. Y. H., & Davidson, D. H. (1989). Preschool in three cultures—Japan, Cathay, and the United States. New Oasis and London: Yale University Printing.

Tufts, J., and Holt, H. (1911). The New Normal music course. Demand location of publisher: Argent Burdett and Co.

Vocabulary

joint: the manner in which notes are played or words pronounced; east.g., 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.g. loudness, softness, crescendo, decrescendo).

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

homophony: a melody with an accompaniment; e.g., a lead singer and a band

ethnic groups: people associated with a sure area who formulate their own culture

melody: musical sounds in agreeable succession or arrangement

meter: the organisation of potent and weak beats; unit in terms of number of beats in a measure

monophony: single layer or sound; e.k.; a soloist

notation: how notes are written on the folio

pitch: the frequency of a note's vibration

polyphony: two or more contained voices; e.yard., 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 be learned quickly

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

silence: the absence of sound

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

sound: vibrations travelling through air, water, gas, or other media that are picked up by the human ear drum

tempo: relative rapidity or charge per unit of movement, commonly indicated by terms such as adagio, allegro, etc., or past reference to the metronome. Also, the number of beats per minute

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

timbre: the tone color of each sound; each vocalisation has a unique tone colour (vibrato, nasal, resonance, vibrant, ringing, strident, high, low, breathy, piercing, rounded warm, mellow, dark, bright, heavy, or light)

mingleyoustand.blogspot.com

Source: https://milnepublishing.geneseo.edu/music-and-the-child/chapter/chapter-2/