Music Its Role and Importance in Our Lives Chapter 9 Review Answers

Main Torso

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

Chapter Summary: The starting time half of this chapter attempts to define music every bit a subject and offers perspectives on music, including basic vocabulary and what you should know about music in order to incorporate it in your work with children. The 2d half gives a cursory overview of music educational activity and teaching in the U.S., which provides the foundation of the discipline for the book.

I. Defining Music

"Music" is 1 of the most difficult terms to define, partially because beliefs well-nigh music take changed dramatically over time only in Western civilisation alone. If we wait at music in different parts of the globe, we find even more variations and ideas about what music is. Definitions range from practical and theoretical (the Greeks, for example, defined music every bit "tones ordered horizontally as melodies and vertically as harmony") to quite philosophical (according to philosopher Jacques Attali, music is a sonoric effect betwixt noise and silence, and co-ordinate to Heidegger, music is something in which truth has gear up itself to work). In that location 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 community that communicate with other members" (1992, p.89). Ethnomusicologist John Blacking declares that "nosotros tin go further to say that music is sound that is humanly patterned or organized" (1973), covering all of the bases with a very wide stroke. Some theorists even believe that in that location tin be no universal definition of music because information technology is so culturally specific.

Although nosotros may find information technology hard to imagine, many cultures, such as those found in the countries of Africa or amid some ethnic groups, don't have a discussion for music. Instead, the human relationship of music and dance to everyday life is so close that the people have no need to conceptually separate the ii. According to the ethnomusicologist Bruno Nettl (2001), some Northward American Indian languages accept no word for "music" as distinct from the word "vocal." Flute melodies likewise are labeled as "songs." The Hausa people of Nigeria have an extraordinarily rich vocabulary for discourse near music, just no unmarried give-and-take for music. The Basongye of Zaire have a broad formulation of what music is, but no respective term. To the Basongye, music is a purely and specifically human product. For them, when yous are content, you sing, and when you are aroused, you brand noise (2001). The Kpelle people of Republic of liberia take one word, "sang," to draw a move that is danced well (Rock, 1998, p. 7). Some cultures favor certain aspects of music. Indian classical music, for example, does non incorporate harmony, but only the three textures of a melody, rhythm, and a drone. However, Indian musicians more than than make up for a lack of harmony with complex melodies and rhythms not possible in the W due to the inclusion of harmony (chord progressions), which crave less complex melodies and rhythms.

What we may hear equally music in the W may not exist music to others. For instance, if we hear the Qur'an performed, it may sound like singing and music. We hear all of the "parts" which we think of every bit music—rhythm, pitch, melody, grade, etc. However, the Muslim understanding of that audio is that information technology is really heightened speech or recitation rather than music, and belongs in a dissever category. The philosophical reasoning behind this is complex: in Muslim tradition, the idea of music as entertainment is looked upon as degrading; therefore, the holy Qur'an cannot exist labeled every bit music.

Action 2A

Listen

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

Although the exact definition of music varies widely even in the Westward, music contains melody, harmony, rhythm, timbre, pitch, silence, and class or structure. What we know about music and then 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 fine art class whose medium is sound and silence, with core elements of pitch (tune 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. Equally Titon notes in his seminal text Worlds of Music (2008), we "brand" music in 2 dissimilar means: nosotros make music physically; i.east., we bow the strings of a violin, we sing, we 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 take about music and what nosotros believe almost music; i.due east., when information technology should be performed or what music is "practiced" and what music is "bad." For example, the genre of classical music is perceived to have a college social status than popular music; a rock band's lead singer is more valued than the drummer; early blues and rock was considered "evil" and negatively influential; we label some songs as children's songs and deem them inappropriate to sing later a certain historic period; etc.

Music, higher up all, works in sound and time. It is a sonic upshot—a communication merely similar speech, which requires united states of america to listen, procedure, and answer. To that stop, it is a part of a continuum of how we hear all sounds including noise, spoken language, and silence. Where are the boundaries between noise and music? Betwixt racket and voice communication? How does some music, such as rap, challenge our original notions of speech and music by integrating speech as part of the music? How do some compositions such as John Cage's 4'33'' claiming our ideas of artistic intention, music, and silence?

Basic Music Elements

Sound (overtone, timbre, pitch, aamplitude, duration)
Melody
Harmony
Rhythm
Texture
Structure/class
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 as we sympathize them in Western civilisation.

one. Sound

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

watch this throat-singing

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

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

Amplitude: How loud or soft a audio is.

Duration: How long or short the audio is.

2. Tune

A succession of musical notes; a serial of pitches often organized into phrases.

iii. Harmony

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

4. Rhythm

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

5. Texture

The density (thickness or thinness) of layers of sounds, melodies, and rhythms in a piece: e.g., a circuitous orchestral limerick will take more possibilities for dense textures than a song accompanied but by guitar or piano.

Most common types of texture:

Monophony: A single layer of audio; e.g.. a solo phonation
Homophony: A melody with an accompaniment; e.g., a pb singer and a ring; a singer and a guitar or piano accompaniment; etc.
Polyphony: Two or more contained voices; eastward.1000., a circular or fugue.

watch this Musical Texture

half dozen. Structure or Grade

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

7. Expression

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

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

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

What Do Children Hear? How Practise They Respond to Music?

Now that we have a list of definitions, for our purposes, let'due south refine the definition of music, keeping in mind how children perceive music and music's constituent elements of sound (timbre), melody, harmony, rhythm, structure or class, expression, and texture. Children's musical encounters can be self- or peer-initiated, or instructor- or staff-initiated in a classroom or daycare setting. Regardless of the blazon of meet, the bones music elements play a significant role in how children respond to music. 1 of the most important elements for all humans is the timbre of a sound. Recognizing a audio'south timbre is meaning to humans in that it helps us to distinguish the source of the sound, i.east. who is calling us—our parents, friends, etc. Information technology also alerts us to possible danger. Children are able to discern the timbre of a audio from a very immature age, including the song timbres of peers, relatives, and teachers, equally well every bit the timbres of dissimilar instruments.

Studies show that even very immature children are quite sophisticated listeners. As early on as two years of age, children respond to musical fashion, tempo, and dynamics, and even prove preference for certain musical styles (due east.g., pop music over classical) starting time at age five. Metz and his peers assert that "a common competence found in young children is the enacting through movement of the music's most abiding 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 beat, and are able to move more accurately when the tempo of the music more clearly corresponds to the natural tempo of the kid. Every bit nosotros might wait, children respond to the dynamic levels of loud and soft quite dramatically, changing their movements to friction match changing book levels.

The fact that children seem to respond to the expressive elements of music (dynamics, tempo, etc.) should not come up equally a surprise. Most people reply to the same attributes of music that children practise. We hear changes in tempo (fast or ho-hum), changes in dynamics (loud or soft), we physically respond to the rhythm of the bass guitar or drums, and we listen intently to the tune, specially if there are words. These are amid the most ear-catching elements, forth with rhythm and melody.

This is what we would expect. Still, at that place are other studies whose conclusions are more vague on this subject. According to a report by Sims and Cassidy, children's music attitudes and responses do not seem to be based on specific musical characteristics and children may take very idiosyncratic responses and listening styles (1997). Mainly, children are not-discriminating, reacting positively to almost any type of music (Kim, 2007, p. 23).

Activeness 2C

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

Music Teaching Vocabulary

Later familiarizing yourself with the basic music vocabulary list above (eastward.g., melody, rhythm), familiarize yourself with a practical educational activity vocabulary: in other words, the music terms that yous might use when working in music with a lesson for children that correspond to their natural perception of music. For nearly children, the nuts are easily conveyed through concept dichotomies, such equally:

Fast or Tedious (tempo)
Loud or Soft (dynamics)
Short or Long (joint)
High or Depression (pitch)
Steady or Uneven (beat)
Happy or Sorry (emotional response)

Interestingly, 3 pairs of these dichotomies are constitute in Lowell Mason's Manual for the Boston University of Music (1839).

For slightly older children, more than avant-garde concepts tin be used, such as:

Duple (2) or Triple (3) meter
Melodic Contour (melody going upwardly or downwardly)
Rough or Smooth (timbre)
Poesy and Refrain (form)
Major or Minor (calibration)

Music Fundamentals

The emotive aspects of music are what most people respond to first. However, while an important part of music listening in our culture, simply responding subjectively to "how music makes you feel" is similar to an Olympic judge proverb that she feels happy when watching a gymnast's vault. It may very well be true, but it does not aid the judge to sympathize and evaluate all of the elements that go into the execution of the gymnast's practise or how to judge it properly. Studies bear witness that teachers who are familiar with music fundamentals, and specially annotation reading, are more than comfortable incorporating music when working with children (Kim, 2007). Fifty-fifty just knowing how to read music changes a teacher's conviction level when it comes to singing, so it's important to have a few of the basics under your belt.

Grooming for Learning to Read Music

Formal note reading is not required in order to understand the basics of music. Younger children can acquire musical concepts long before learning written note. Applying some of the vocabulary and concepts from higher up volition help yous begin to discern some of the inner workings of music. The expert news is that any type of music tin can be used for do.

Melodic Management. Just beingness able to recognize whether a melody goes up or down is a big step, and an important auditory-cognitive procedure for children to undergo. Imagine the melody of a vocal such as "Row, Row, Row Your Gunkhole." Sing the vocal dividing it into two phrases (phrase 1 begins with "row," phrase 2 begins with "merrily"). What is the direction of phrase i? Phrase 2? Draw the direction of the phrase in the air with your finger as you sing.
Timbre. Practice describing different timbres of music—play different types of music on Pandora, for example, and try to describe the timbres you hear, including the vocal timbre of the vocaliser or instrumental timbres.
Expression. Now practice describing the expressive qualities of a song. Are there dynamics? What type of joint is there? Is the tempo fast, boring, medium?

Learning Notation: Pitch

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

Every Skillful Boy Deserves Fudge to indicate the treble clef line notes
F A C East to point the treble clef space notes
Good Boys Deserve Fudge Ever for the bass clef line notes
All Cows Eat Grass for the bass clef space notes
Just allowing children to develop their own mnemonic device for these notes can a creative style to have them own the notes themselves. How about Grizzly Bears Don't Fly Airplanes for the lines of the bass clef, or Empty Garbage Earlier 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

Notation/Pitch Proper name Practise

Note Review: Spelling Words with Annotation names

Learning Annotation: Rhythm

Rhythm concerns the organization 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 unabridged compositions. Rests are every bit important to the music every bit are the sounded rhythms because, only similar language, rests utilise silence to help organize the sounds then we can better sympathise them.

Notes and rests

Whole note	Whole rest
Dotted one-half note	Dotted half rest
One-half annotation	One-half rest
Quarter annotation	Quarter rest
Eighth note	Eighth rest
Sixteenth annotation	Sixteenth residuum

Rhythm Practice: Label each rhythm

Learning Notation: Meter

Meter concerns the organization of music into strong and weak beats that are separated by measures. Having children feel the potent beats such every bit the downbeat, the showtime trounce in a measure, is relatively easy. From there, it's a matter of counting, hearing and feeling how the strong vs. weak beats are grouped to create a meter.

Duple Meters

In duple meter, each measure contains groupings of two beats (or multiples of ii). For example, in a 2/4 fourth dimension signature, there are two beats in a measure with the quarter note receiving 1 beat out or one count. In a iv/4 time signature, there are iv beats in a measure out, and the quarter note also receives one beat or count.

Examples of two/four Rhythms

Examples of 4/4 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 3 beats in a measure and the quarter note receives one crush.

Examples of 3/iv Rhythms

Compound Meters

Both duple and triple meter are known as unproblematic meters—that ways that each beat can be divided into two eighth notes. The time signature 6/8 is very common for children's rhymes and songs. In 6/8, there are 6 beats in a measure with each eighth annotation receiving one beat. half dozen/8 is known as a compound meter, meaning that each of the two main beats tin exist divided into three parts.

Examples of 6/8 Rhythms

Learning Notation: Dynamics

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

The two basic dynamic indications in music are:

p, for pianoforte, meaning "soft"
f, for forte, meaning "loud" or really, with strength, 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 than farthermost degrees of dynamics represented past:

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

Terms for changing volume are:

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

Crescendo

Decrescendo

Dynamics Exercise

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

1. p
2. f
iii. ff
4. mp
5.
vi. mf
7. pp
viii.

Learning Notation: Tempo

Tempo is the speed of the music, or the number of beats per minute. Music's 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 help yous gauge different tempi. The terms are in Italian, and are listed from slowest to fastest.

Larghissimo: very, very slowly (19 beats per minute or less)
Grave: slowly and solemnly (20–40 bpm)
Lento: slowly (40–45 bpm)
Largo: broadly (45–50 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 means to walk) (73–77 bpm)
Andantino: slightly faster than andante (78–83 bpm)
Marcia moderato: moderately, in the way of a march (83–85 bpm)
Moderato: moderately (86–97 bpm)
Allegretto: moderately fast (98–109 bpm)
Allegro: fast, quickly and vivid (109–132 bpm)
Vivace: lively and fast (132–140 bpm)
Allegrissimo: very fast (150–167 bpm)
Presto: extremely fast (168–177 bpm)
Prestissimo: fifty-fifty faster than presto (178 bpm and higher up)

Terms that refer to changing tempo:

Ritardando: gradually slowing down
Accelerando: gradually accelerating

Activity second

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 exercise. Find your tempo! What vocal 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 detect your walking speed. Is information technology connected to the vanquish of the music?

Scales

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

The major calibration comprises seven unlike pitches that are organized past using a combination of half steps (one note on the piano 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 W West W H.

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

Pentatonic scales, establish in many early American and children's songs, but utilize 5 pitches, hence the moniker "pentatonic." There are many types of major pentatonic scales, but i of the most popular major pentatonic scale is similar to the major scale, merely without the quaternary or 7th pitches (Fa or Ti). One of the common small-scale pentatonic scales is like to the minor calibration, but also without (Fa or Ti).

Major, minor (natural), and pentatonic scales

Major Scale (C Major)

Minor Scale (A Small-scale)

Major Pentatonic (C)

Minor Pentatonic (A)

Scale Practice

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

Practice writing your own C major scale.

Characterization the half steps and whole steps of the A pocket-size calibration.

Practice writing your own A minor scale.

Resource for Further Learning

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

Music Theory

www.musictheory.net

musictheory.net is a music theory resource from bones to complex. It contains agile 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-upward pianoforte and accidental calculator specifically to assist users learn and practice their developing musical skills. It also features a products page with apps people can buy to practice and use music on the get via their smartphones. The site would exist appropriate for people ages 12 and up, and is extremely user friendly.

http://www.musictheoryvideos.com/

Musictheoryvideos.com was designed past Stephen Wiles in the hope to make music theory an active part of music learning. The site includes music theory lessons for students betwixt grades 1 and five in the class of tables, lists, and videos to help the student ameliorate sympathise the many parts of music. In that location are videos most 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 great resource for teachers to offer students, particularly those who could benefit from some extra information outside of class. The site contains information that would take a student footstep by step through the basics of music theory through uncomplicated curt videos, complete with British-absolute narrations.

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

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

https://world wide web.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, brilliant, and cheerful, and very easy to navigate. It also contains sections for parents and teachers.

www.mymusictheory.com

Mymusictheory.com includes helpful lessons for students grades 1 through 6, as well as helpful links for teachers when it comes to teaching music theory. For the teachers, they provide music flashcards, lesson plans, music-reinforcing discussion searches, and many other helpful resources, all in ane location. The site is broken down by grade 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 large website full of music lessons for several instruments, including just not limited to piano, guitar, song, and percussion. Free sheet music is available for the unlike instruments, as well every bit music from different pop movies. An online metronome, guitar tuner, blank sheet music, music theory lessons, and music converters are all bachelor at 8notes.com. This site would be helpful to those learning new instruments, equally well as experienced musicians who are just looking for some new music to play.

Annotation Reading

http://readsheetmusic.info/index.shtml
https://www.teoria.com/
https://www.classicsforkids.com/games/note_names.php

Keyboard Skills

Many classroom teachers have pianos in their rooms and don't know how to utilize them or underutilize them. Learning to play a basic tune on a pianoforte or keyboard or even put a few chords to them is a great confidence builder, and the children dearest to sing to a piano accompaniment!

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

Notes on a keyboard

II. Music Instruction in America

Music teaching does not be isolated in the music classroom. It is influenced by trends in general education, society, civilization, and politics.

—Harold Abeles, Critical Issues in Music Education, 2010

How did music educational activity develop into its current form? Did music specialists always teach music? What were classroom teacher's musical responsibilities? Well, to answer these questions, we need to wait to the by for a moment. Initially, music and pedagogy worked paw in hand for centuries.

Early Music Teaching

18th century: Singing schools and their tune books

Before in that location was formal music education in the Us, there was music and education, primarily experienced through religious education. Music education in the U.Due south. began after the Pilgrims and Puritans arrived, when ministers realized that their congregation needed aid singing and reading music. Several ministers developed tune books that used four notes of solfege (Mi, Fa, Sol, La) and shape notes to railroad train people in singing the psalms and hymns required for proper church singing. By 1830, singing schools based on the techniques establish in these books began popping upwardly all over New England, with some people attending singing school classes every day (Keene, 1982). They were promised that they would learn to sing in a calendar month or become 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, just using dance rhythms, loose harmonic rules, and complex song parts (counterpoint) where each voice (soprano, alto, tenor and bass) sang its own unique melody and no i had the chief melody. 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 as the father of modernistic education. Although his philosophies are over 200 years one-time, yous may recognize his ideas as sounding quite contemporary. He believed in a child-centered didactics that promoted understanding the world from the child'southward level, taking into account individual development and concrete, tactile experiences such as working directly with plants, minerals for science, etc. He advocated teaching poor equally well as rich children, breaking down a field of study to its elements, and a broad, liberal instruction along with teacher preparation. In the U.South., normal schools would accept off by the finish of the 19th century, and advocates of Pestalozzi's educational reform would put into place a organization of teacher preparation that influences us to this twenty-four hours.

Lowell Stonemason (1792–1872) and the "Better Music" move

Lowell Bricklayer, considered the founder of music teaching in America, was a proponent of Pestalozzi'south ideas, peculiarly the rote method of instruction music, where songs were experienced and repeated first and concepts were taught afterward. Mason authored the first series book based on the rote method in 1864 called The Vocal Garden.

Mason was highly critical of both the singing schools of the day and the compositional style. He was horrified at the promises that singing schools fabricated to their students—namely that they could be qualified to teach after 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 every bit Billings, was "rude and crude." To change this, he promoted simplified harmonies that fabricated the tune the most prominent attribute of the music, and downgraded the importance of the other vocal parts to back up the tune. He achieved this through the establishment of shape note singing schools, which carried out his musical vision. The outcome was that the original hymn style became the purview of the shape notation singing schools, mostly in the South, where they flourished for many years. The most famous shape-note book is chosen Sacred Harp.

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

Nether the championship "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 1 of the songs published in this book.

Astonishing Grace

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

watch 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 brainwash a burgeoning young American population. These schools were teacher preparation courses, usually with access to model schools where teachers in preparation could detect and exercise teach. Music was a significant part of education. The Missouri State Normal School at Warrensburg stressed the importance of music in their catalog from 1873–74:

Vocal Music—the importance of music as one of the branches of education is fully recognized. Vocal music is taught throughout the entire course…and teachers are brash to make it a function of the course of instruction in every school with which they may be connected (Keene, 1982, p. 204).

Music and teaching in America: 20th century

Music supervisors, who oversaw the work of classroom teachers, received additional training in music. Music education in the early on 20th century continued nether the purview of the music supervisor, while classroom teachers were trained to teach music to their students. Gradually, a specialization procedure began to occur and music became a regular bailiwick with its own certification, an educational tradition that continues to this day. Past the 1920s, institutions in the U.S. began granting degrees in music education and, along with groups such as the Music Supervisor'due south Conference (later the Music Educator's National Briefing and currently the National Association for Music Educators or NAfME), supported the use of qualified music teachers in the schools. Eventually, the arts broke into different specialties, and the divide role of music instructor every bit we know it was created.

Ironically, there was keen concern at the fourth dimension regarding these special music teachers. Because music was no longer in the hands of the classroom teachers, great try was made to "bring music in as shut a relation to the other piece of work as is possible nether the present organization of a special music teacher" (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 hand, many see structural bug inherent in music'southward connection to its history and the glaring distinction betwixt the prevalence, importance, and office of music'south role in everyday life and its embattled role in the classroom Sloboda (2001). On the other, increased advancement is required in order to justify music'southward existence and terms of benefits to the child amid the threat of constant budget cuts. Given this, information technology is important to remember music pedagogy's history, origin and deep roots in the American didactics experience.

The beginning of the 20th century was an heady time for music teaching, with several significant instructional methods existence developed and taking hold. In the Usa, music didactics developed effectually a method of instruction, the Normal Music Class, the remnants of which are adhered to fifty-fifty today in music classrooms. The books used a "graded" curriculum with successively more complex songs and exercises, and combined writer-equanimous songs in these books with folk and classical cloth. An online re-create of the New Normal Music Course (1911) for 4th and fifth graders is accessible via Google Books.

In Europe and Asia, four outstanding and very different music education methods developed: the Kodály Method, Orff Schulwerk, Suzuki, and Dalcroze all played significant roles in furthering music pedagogy away and in the U.S., and were methods based on folk and classical genres (see Affiliate iv for further discussion about these methods). In contrast to the early music books for the Normal Schoolhouse, for which there was "a paucity of song material prompting the authors of the original class to chiefly employ their ain song material" (Tufts & Holt, 1911, p. 3), Kodály and Orff in particular used accurate music in their methods, and authentic music directly related to children'south lives (see Chapter iv for more on this).

Resources

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

Metz, East. R. (1989). Movement every bit a musical response among preschool children. Journal of Research in Music Education 37, 48–lx.

The primary result of "Movement every bit a Musical Response Amid Preschool Children" was the generation of a noun theory of children's movement responses to music. The author besides derived implications of the vii propositions of early children didactics and movement responses to music.

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

Young children's music attitudes and responses do not seem to be based on specific musical characteristics; children may have very idiosyncratic responses and listening styles.

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Vocabulary

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

counterpoint: the art of combining melodies

dynamics: indicates the book of the sound, and the changes in book (e.thousand. loudness, softness, crescendo, decrescendo).

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

homophony: a melody with an accompaniment; east.g., a lead singer and a ring

indigenous groups: people associated with a certain area who formulate their own culture

melody: musical sounds in agreeable succession or system

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

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

notation: how notes are written on the page

pitch: the frequency of a notation'south vibration

polyphony: ii or more than contained voices; eastward.g., a circular of a fugue

psalms and hymns: examples of church music

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

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

rote method: memorization technique based on repetition, specially when material is to be learned quickly

shape notes: notation style used in early singing schools in the U.Due south. where each note 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.e., Do, Re, Mi, Fa, Sol, La, Ti, Do would exist assigned to represent and help hear the major calibration pitches

sound: vibrations travelling through air, water, gas, or other media that are picked upwardly by the homo ear pulsate

tempo: relative rapidity or rate of movement, unremarkably indicated by terms such as adagio, allegro, etc., or by reference to the metronome. As well, the number of beats per minute

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

timbre: the tone colour of each sound; each voice has a unique tone colour (vibrato, nasal, resonance, vibrant, ringing, strident, high, depression, breathy, piercing, rounded warm, mellow, night, vivid, heavy, or light)

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