DOCSLIB.ORG

Sight-Reading Curriculum for Group Piano Class

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Sight-Reading Curriculum for Group Piano Class Running head: SIGHT-READING CURRICULUM FOR GROUP PIANO CLASS SIGHT-READING CURRICULUM FOR GROUP PIANO CLASS: BEGINNER TO INTERMEDIATE LEVEL By STEPHEN DANIEL GEORGER SUPERVISORY COMMITTEE: DR. SANDY B. GOLDIE, CHAIR DR. KEITH THOMPSON, MEMBER A PROJECT IN LIEU OF THESIS PRESENTED TO THE COLLEGE OF THE ARTS OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC UNIVERSITY OF FLORIDA 2015 SIGHT-READING CURRICULUM FOR GROUP PIANO CLASS 2 Abstract The purpose of the project is to review what research has been done on sight-reading at the piano for beginner and intermediate level students and to create a curriculum to help students better their sight-reading skills with regards to melodic reading and rhythmic reading. Two questions have been addressed throughout my research. The first one is: what are the components of effective sight-reading skills (the ability to look ahead in the music, reading rhythms, understanding keyboard geography)? The second one is: what are the most appropriate teaching strategies and activities to include in an effective sight-reading curriculum for group piano class? This curriculum can be utilized for all beginner to intermediate level piano students at the secondary school or collegiate level. It is designed to incorporate principals of having the ability to look ahead in the music, the ability to recognize common pitch patterns (major chords, scales and arpeggios), the ability to recognize common rhythm patterns, the ability to predict what is coming next in the music and understanding keyboard geography. The curriculum accommodates a fifteen week course that meets two hours per week (two days per week, one hour per day). Fifteen minutes are spent on this curriculum each period. It can be implemented at the beginning of each class and act as a warm-up and sight-reading practice. There are six exercises that the students are to complete each week based on the specific rhythms stated in the objective for that week. SIGHT-READING CURRICULUM FOR GROUP PIANO CLASS 3 Sight-Reading Curriculum for Group Piano Class: Beginner to Intermediate Level Students all over the world and of all ages take piano lessons. Students may take piano as an elective in college and even middle school. We teach music students to learn to read music and to play with feeling, dynamics, articulation, etc. At some point in this students’ lifetime, they are asked to sit down and play something that they have never seen before. This is when the student stands back and utters the words “I can’t.” Why is this? Not enough of our music students know how to sight-read at the piano. According to Mark Olivieri, “In general, students are not sight-reading in their lessons as much as they should” (Personal Communication, November 20, 2014). As music educators, we need to understand a clear definition of sight- reading and determine what it is we need to work on with our students in order for them to better their skills in this area. Kopiez (2006) states, “The unrehearsed performance of music, so-called sight-reading, is a skill required in particular fields of western music culture. It is characterized by great demands on the performer’s capacity to process highly complex visual input (the score) under the constraints of real time without the opportunity or error correction” (p. 97). Mark Olivier believes that sight-reading is an important part of the music education curriculum (M. Olivieri, personal communications, November 20, 2014). After completing a preliminary review of literature, studies indicate that music education needs a curriculum for group piano. “While some music education programs have reduced the emphasis on music reading skills, characteristics of traditional programs written music continues to frequently serve as a starting point in instrumental music instruction” (Gudmundsdottir, 2010, p. 61). Music teachers teach the basic theory of reading music, but when it comes time to reading fluidly, students struggle (M. Olivieri, Personal Communication, November 20, SIGHT-READING CURRICULUM FOR GROUP PIANO CLASS 4 2014). After completing this preliminary review of literature, it is evident that only a certain amount research has been reviewed. There is information on sight-reading on band instruments and some on piano. The research that has been done pertains to students of a more advanced age and level. Each student has a different way of learning and way they approach the piano. As students sit down at the piano, they must have a set of skills that will assist them in learning music. “Sight-reading is an integral part of the musical experience for all musicians. “ A specialized area within the larger domain of cognitive research on sight-reading has focused on the patterns of eye movements discernible in experts” (Brittin, 2005, p. 44). As Brittin (2005) states, music educators are focused on this larger domain and not digging deeper into what music reading actually is. Reading music is much like reading a book. If the students are reading one note at a time with breaks in between, there will be no fluidity and comprehension will be very difficult (L. Jackson, personal communication, November 20, 2014). In a study completed by Zhukov (2014) titled Exploring advanced piano students’ approaches to sight-reading, “the findings emphasize the need for a new approach in the development of sight-reading curriculum for higher education.” There were 74 students surveyed in this study and it was discovered that when students got to the higher educational level, they had little to no experience sight-reading. Purpose The purpose of the project is to review what research has been done on sight-reading at the piano for beginner and intermediate level students and to create a curriculum to help the students better their sight-reading skills with regards to melodic reading and rhythmic reading. Rather than just giving students things to sight-read and monitoring progress, the project reveals what skills the students need to work on within the larger scheme of sight- SIGHT-READING CURRICULUM FOR GROUP PIANO CLASS 5 reading. A series of lessons were created to help students practice the skills that they need to improve to become better sight-readers. A certain amount of research has been done to determine what skills students need to become effective sight-readers. This includes rhythmic and melodic reading. The project will include objectives, goals and assessments. Guiding Questions 1. What are the components of effective sight-reading skills (the ability to look ahead in the music, reading rhythms, understanding keyboard geography)? 2. What are the most appropriate teaching strategies and activities to include in an effective sight-reading curriculum for group piano class? Component Skills of Sight-Reading There are several components of effective sight-reading. The curriculum is designed to incorporate these components that include having the ability to look ahead in the music, the ability to recognize common pitch patterns (major chords, scales and arpeggios), the ability to recognize common rhythm patterns, the ability to predict what is coming next in the music and understanding keyboard geography. Researchers have their own ideas on what skills are the most important for sight-readers to obtain. This curriculum incorporates several of their ideas. Pike (2012) is a firm believer in the idea of “chunking”, which is the idea of taking several small ideas and organizing them in such a way that is easier to remember one large idea verses several small ones. Being able to recognize that a group of four notes organized as a broken pattern that creates a major triad is chunking. This repetition of music (intervals or rhythmic), will give the students a repeated pattern they can recognize. Soon, the students will be able to see Alberti bass in a section of music and will be able to recognize it as a whole instead of reading all of the notes individually. Kostka (2000) determined the amount of hesitation that students demonstrated SIGHT-READING CURRICULUM FOR GROUP PIANO CLASS 6 while looking at music for the first time. She suggests that the students’ ability to recognize notes and intervals at a rapid pace will improve students sight-reading ability. Betts (2000) has done research that supports Kosta. He finds that the ability to harmonize increases one’s ability to sight-read. If the student is able to quickly recognize groups of notes, they will then be able to recognize chords and chord structure. The hierarchy of key signatures also plays a role in the students sight-reading skills. Alexander (2012) finds that the more sharps and flats that are in a piece, the more difficult it will be for the students to sight-read effectively. In my curriculum, I have incorporated a variety of keys with up to two flats and sharps. This way the student gets exposure to a few closely related keys. The ability to predict rhythms is important. Hayward (2009) talks about the prediction of rhythms. If a student looks at the first few measures of music and understands the rhythms, they should be aware that those same rhythms may appear in the rest of the piece. A lot of repetition occurs in music and the students should be able to be aware of repeating measures that may occur. Activities and Strategies to Assist in Effective Sight-Reading Skills Several researchers have looked at the different ways to teach sight-reading to students. It is much more than simply giving a student a book and having them sight-read. Olivieri (2014) suggests that this is one way to approach sight-reading but other researchers suggest differently. Swope (2011) lists a few suggestions to assist in teaching sight-reading.
Load more

Recommended publications
  • Visual Rhythm
    Visual Rhythm • Visual Rhythm is a Principle of Art. • Visual Rhythm is rhythm you receive through your eyes rather than your ears. • Visual Rhythm is created by repeated positive shapes separated by negative spaces. • Visual Rhythm is all around us. FIVE TYPES OF RHYTHM • Regular • Alternating • Random • Flowing • Progressive Regular Rhythm • Regular Rhythms and patterns have identical motifs or visual beats. • They have an equal amount of space between motifs. • Parking spaces are laid out in a regular rhythm. • Bricks on a wall form a regular rhythm. Alternating Rhythm • Alternating rhythm and pattern can be achieved by changing motifs at regular intervals. • Think of the black and white squares on a chess board. • Here the elephants alternate color and direction. Random Rhythm • The motif is repeated in no apparent order. • You can not predict exactly where the next motif will be. • Splashes of paint on a wall would create a random rhythm. • It would be difficult to predict where the next flower would be. Flowing Rhythm • Flowing rhythms are created by repeating wavy lines and curved shapes. Progressive Rhythm • In progressive rhythm there is a change in motif or visual beat each time it is repeated. See if you can identify the type of visual rhythm. Regular Rhythm • The motif stays the same and the distance between the motifs stays consistant. What type of rhythm do you see? Flowing Rhythm • The pattern is made up of curved motifs. What type of rhythm do you see? Regular Rhythm • The motif of the brick and the interval of the mortar are consistant.
    [Show full text]
  • TIME SIGNATURES, TEMPO, BEAT and GORDONIAN SYLLABLES EXPLAINED
    TIME SIGNATURES, TEMPO, BEAT and GORDONIAN SYLLABLES EXPLAINED TIME SIGNATURES Time Signatures are represented by a fraction. The top number tells the performer how many beats in each measure. This number can be any number from 1 to infinity. However, time signatures, for us, will rarely have a top number larger than 7. The bottom number can only be the numbers 1, 2, 4, 8, 16, 32, 64, 128, 256, 512, et c. These numbers represent the note values of a whole note, half note, quarter note, eighth note, sixteenth note, thirty- second note, sixty-fourth note, one hundred twenty-eighth note, two hundred fifty-sixth note, five hundred twelfth note, et c. However, time signatures, for us, will only have a bottom numbers 2, 4, 8, 16, and possibly 32. Examples of Time Signatures: TEMPO Tempo is the speed at which the beats happen. The tempo can remain steady from the first beat to the last beat of a piece of music or it can speed up or slow down within a section, a phrase, or a measure of music. Performers need to watch the conductor for any changes in the tempo. Tempo is the Italian word for “time.” Below are terms that refer to the tempo and metronome settings for each term. BPM is short for Beats Per Minute. This number is what one would set the metronome. Please note that these numbers are generalities and should never be considered as strict ranges. Time Signatures, music genres, instrumentations, and a host of other considerations may make a tempo of Grave a little faster or slower than as listed below.
    [Show full text]
  • Improvisation: an Integral Step in Piano Pedagogy Lauren French Trinity University
    Trinity University Digital Commons @ Trinity Music Honors Theses Music Department 5-17-2005 Improvisation: An Integral Step in Piano Pedagogy Lauren French Trinity University Follow this and additional works at: http://digitalcommons.trinity.edu/music_honors Part of the Music Commons Recommended Citation French, Lauren, "Improvisation: An Integral Step in Piano Pedagogy" (2005). Music Honors Theses. 1. http://digitalcommons.trinity.edu/music_honors/1 This Thesis open access is brought to you for free and open access by the Music Department at Digital Commons @ Trinity. It has been accepted for inclusion in Music Honors Theses by an authorized administrator of Digital Commons @ Trinity. For more information, please contact [email protected]. Improvisation: An Integral Step In Piano Pedagogy by Lauren Ann French A department honors thesis submitted to the Department of Music at Trinity University in partial fulfillments of the requirements for graduation with departmental honors 20 April 2005 ____________________________ _____________________________ Thesis Advisor Department Chair Associate Vice-President for Academic Affairs, Curriculum and Student Issues This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs License. To view a copy of this license, visit <http://creativecommons.org/licenses/by-nc-nd/2.0/> or send a letter to Creative Commons, 559 Nathan Abbott Way, Stanford, California 94305, USA. Table of Contents Abstract Acknowledgments Improvisation Contextualized Improvisation vs. Composition Improvisation in Keyboard Pedagogy Teaching Philosophy of Robert Pace Improvisation in Current Piano Method Books Keyboard Reading Approaches Method Book Review Frances Clark and the Music Tree Faber and Piano Adventures The Hal Leonard Student Piano Library Robert Pace and Musicfor Piano Application of Improvisation in Advanced Repertoire Mozart's Piano Sonata K.
    [Show full text]
  • Chapter 1 "The Elements of Rhythm: Sound, Symbol, and Time"
    This is “The Elements of Rhythm: Sound, Symbol, and Time”, chapter 1 from the book Music Theory (index.html) (v. 1.0). This book is licensed under a Creative Commons by-nc-sa 3.0 (http://creativecommons.org/licenses/by-nc-sa/ 3.0/) license. See the license for more details, but that basically means you can share this book as long as you credit the author (but see below), don't make money from it, and do make it available to everyone else under the same terms. This content was accessible as of December 29, 2012, and it was downloaded then by Andy Schmitz (http://lardbucket.org) in an effort to preserve the availability of this book. Normally, the author and publisher would be credited here. However, the publisher has asked for the customary Creative Commons attribution to the original publisher, authors, title, and book URI to be removed. Additionally, per the publisher's request, their name has been removed in some passages. More information is available on this project's attribution page (http://2012books.lardbucket.org/attribution.html?utm_source=header). For more information on the source of this book, or why it is available for free, please see the project's home page (http://2012books.lardbucket.org/). You can browse or download additional books there. i Chapter 1 The Elements of Rhythm: Sound, Symbol, and Time Introduction The first musical stimulus anyone reacts to is rhythm. Initially, we perceive how music is organized in time, and how musical elements are organized rhythmically in relation to each other. Early Western music, centering upon the chant traditions for liturgical use, was arhythmic to a great extent: the flow of the Latin text was the principal determinant as to how the melody progressed through time.
    [Show full text]
  • Teaching Music with Keyboard Improvisation: a Pedagogical Journey Involving Four Older Adults
    Teaching Music with Keyboard Improvisation: A Pedagogical Journey Involving Four Older Adults by Lisa Tahara A thesis submitted in conformity with the requirements for the degree of Doctor of Musical Arts Faculty of Music University of Toronto © Copyright by Lisa Tahara 2015 Teaching Music with Keyboard Improvisation: A Pedagogical Journey Involving Four Older Adults Lisa Tahara Doctor of Musical Arts Faculty of Music University of Toronto 2015 Abstract The life expectancy of individuals has risen in the twentieth-century, due largely to improvements in health, technology, and nutrition. Accordingly, the older adult population has been increasing rapidly and, as a result, there is a need for greater attention and emphasis to be placed on their wellbeing. Research has shown that the older adult population is interested in music learning programs where they may be given the opportunity to actively create music in group settings. However, music programs have traditionally been based on notation and reading, and this approach may not be optimal for a student entering a music learning program later in life. This research study began as an exploration of how music instruction with improvisation may impact the wellbeing, enjoyment, and confidence levels of older adults. Four older adults between the ages of 83 and 90 participated in a music learning program involving a basic curriculum and improvisation over a period of three months. Qualitative data was collected in the form of audiovisual materials, individual interviews, and through focus group sessions. Quantitative data was gathered using pre and post-test surveys to examine differences in quality of life, musical aptitude, and mood.
    [Show full text]
  • A Comparative Evaluation of Group and Private Piano Instruction on the Musical Achievements of Young Beginners
    A Comparative Evaluation of Group and Private Piano Instruction on the Musical Achievements of Young Beginners Pai-Yu Chiu A dissertation submitted in partial fulfillment of the requirements for the degree of Doctoral of Music and Arts University of Washington 2017 Reading Committee: Craig Sheppard, Chair Donna Shin Steven J. Morrison Program Authorized to Offer Degree: Music © Copyright 2017 Pai-Yu Chiu ii University of Washington Abstract A Comparative Evaluation of Group and Private Piano Instruction on the Musical Achievements of Young Beginners Pai-Yu Chiu Chair of the Supervisory Committee: Craig Sheppard School of Music This study compares the relative influence of group and individual piano instruction on the musical achievements of young beginning piano students between the ages of 5 to 7. It also investigates the potential influence on these achievements of an individual teacher’s preference for either mode of instruction, children’s age and gender, and identifies relationships between these three factors and the two different modes of instruction. Forty-five children between the ages of 5 to 7 without previous musical training completed this empirical study, which consisted of 24 weekly piano instruction and a posttest evaluating their musical achievements. The 45 participants included 25 boys and 20 girls. The participants were comprised of twenty-seven 5- year-olds, nine 6-year-olds, and nine 7-year-old participants. Twenty-two children participated in group piano instruction and 23 received private instruction. After finishing 24 weekly lessons, participants underwent a posttest evaluating: (1) music knowledge, (2) music reading, (3) aural iii discrimination, (4) kinesthetic response, and (5) performance skill.
    [Show full text]
  • The Expressive Role of Rhythm and Meter in Schumannâ•Žs Late Lieder
    Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic Volume 2 Issue 1 Article 9 July 2009 The Expressive Role of Rhythm and Meter in Schumann’s Late Lieder Harald Krebs University of Victoria, [email protected] Follow this and additional works at: https://trace.tennessee.edu/gamut Part of the Music Commons Recommended Citation Krebs, Harald (2009) "The Expressive Role of Rhythm and Meter in Schumann’s Late Lieder," Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic: Vol. 2 : Iss. 1 , Article 9. Available at: https://trace.tennessee.edu/gamut/vol2/iss1/9 This A Music-Theoretical Matrix: Essays in Honor of Allen Forte (Part I), edited by David Carson Berry is brought to you for free and open access by Volunteer, Open Access, Library Journals (VOL Journals), published in partnership with The University of Tennessee (UT) University Libraries. This article has been accepted for inclusion in Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic by an authorized editor. For more information, please visit https://trace.tennessee.edu/gamut. THE EXPRESSIVE ROLE OF RHYTHM AND METER IN SCHUMANN’S LATE LIEDER HARALD KREBS t has long been recognized that Robert Schumann was, along with Beethoven and Brahms, I one of the great pioneers of rhythm and meter in the nineteenth century. From his writings, it is evident that he was interested in these aspects of music from a theoretical standpoint; his frequent comments on rhythm and meter, in his reviews of other composers’ works, show how attentive he was to these aspects.1 But his interest went beyond the theoretical: as his music makes clear, he regarded rhythm and meter as significant expressive elements.
    [Show full text]
  • Empress Tremolo Manual
    tremolo user manual Introduction The Empress Tremolo is an original design built from the ground up to include innovative features without sacrificing tone. The audio signal path is analog, but the tremolo effect is controlled digitally via opto technology. We’ve included features never before seen on a tremolo, including tap tempo and rhythm features, that expand upon the basic effect increasing its functionality and ease of use. To help you get the most out of this product, we’ve put some brief instructional videos on our website: www.empresseffects.com Enjoy, Steve Bragg Quickstart Plug your guitar into the jack on the right side. Plug your amplifier into the jack on the left side. Set the mode switch to “tap tempo” and set the waveform switch to “tube”. Set depth to half, rate to 1:2, rhythm to 1 (all the way counterclockwise), and gain to one half. Now tap the tempo you would like using the tap stomp switch. There’s your standard tremolo. Normal Mode: The rate of the tremolo is controlled by the Controls at a Glance rate knob. Tap Tempo Mode: The rate of the tremolo is set by taping Power: + 9V DC negative on the tap stompswitch twice. The ratio of foot taps to tip 2.1mm jack. 30mA or greater tremolo pulses is set by the rate/ratio knob. The tremolo averages the last 4 intervals tapped, so to get the most accurate tap tempo, tap the tap stompswitch 5 times. Two Speed Mode: There are two separate tremolo rates that can be chosen from.
    [Show full text]
  • A Guide for Sight Reading Piano Music Accurately and Expressively Nerevised Edition
    Sight Reading Skills A Guide for Sight Reading Piano Music Accurately and Expressively NeRevised Edition Faith Maydwell West Australian-born Faith Maydwell has taught piano for more than 30 years. Her complementary activities since completing a Master of Music degree at the University of Western Australia in 1982 have included solo recitals, broadcasts for the Australian Broadcasting Commission, accompanying, orchestral piano with the West Australian Symphony Orchestra, examining for the Australian Music Examinations Board, lecturing at the University of Western Australia and the West Australian Academy of Performing Arts in the areas of keyboard harmony, sight reading and piano pedagogy, adjudicating, and presenting papers at state and national music seminars and conferences. Faith’s university piano studies were under the tutelage of David Bollard (a student of Ilona Kabos and Louis Kentner), a founding member of the Australia Ensemble. In 1978 Faith won the Convocation Prize (UWA) for the best student of any year in the Bachelor of Music course and in 1979 she was a state finalist in the Australian Broadcasting Commission’s Young Performers Awards competition. She has published a book, Piano Teaching: A Guide for Nurturing Musical Indepen- dence (See inside back cover for details). Sight Reading Skills A G uide for Sight Reading Piano Music Accurately and Expressively Revised Edition Faith Maydwell THE NEW ARTS PRESS OF PERTH AUSTRALIA New Arts Press of Perth 31B Venn Street North Perth 6006 Western Australia Copyright © 2007 by Faith Maydwell All rights reserved, including the right of reproduction in whole or in part in any form. The New Arts Press of Perth and colophon are trademarks of The New Arts Press of Perth, Inc.
    [Show full text]
  • 11.2020-Hawaiʻi-MTNA-Competition
    Hawaiʻi MTNA Competition Junior Piano CONTESTANTS: Sola Bando, Justin Chan, Sophie Chan, Jannik Evanoff, Isabella Liu, Anderson Mao, Aya Okimoto TEACHERS: Steven Casano, Monica Chung, Joyce Shih, Annu Shionoya, Wendy Yamashita, Thomas Yee Contestant #1 Piano Sonata No. 16 in C Major, K. 545 W.A. Mozart I. Allegro Waltz in D-flat Major, Op. 64, No. 1 Frédéric Chopin Contestant #2 Sonata in B minor No. 47, Hob. XVI/32 Franz Joseph Haydn I. Allegro moderato The Lark Glinka arr. Bakakirev If I Were a Bird (Si Oiseau J'etais), Op. 2, No. 6 George Martin Adolf von Henselt Six Romanian Folk Dances, Sz. 56 Béla Bartók Contestant #3 Italian Concerto in F Major, BWV 971 Johann Sebastian Bach I. Allegro Nocturne in C-sharp Minor, Op. posth. Frédéric Chopin Three Preludes George Gershwin III. Allegro ben ritmato e deciso Sonata in C-sharp Minor, Op. 27, No. 2 Ludwig van Beethoven III. Presto agitato Contestant #4 Sonata in F Minor, Op. 2, No. 1 Ludwig van Beethoven I. Allegro II. Adagio Seven Morceaux de Salon, Op. 10 Sergei Rachmaninoff II. Valse III. Barcarolle Contestant #5 Italian Concerto in F Major, BWV 971 Johann Sebastian Bach III. Presto Milonga, Op. 3 Alberto Ginastera Impromptu No. 1 in A-flat major, Op. 29 Frédéric Chopin Contestant #6 Rondo a Capriccio, Op. 129 Ludwig van Beethoven Impromptu in G-flat major, Op. 90, No. 3 Franz Schubert Wedding Day at Troldhaugen, Op. 65, No. 6 Edvard Grieg Six Dances in Bulgarian Rhythm from ‘Mikrokosmos’ Béla Bartók No. 2 & 6, Sz. 107/6/149 and 153 Contestant #7 Scherzo No.
    [Show full text]
  • Basic Rhythm Recognition
    Electrocardiographic Interpretation Basic Rhythm Recognition William Brady, MD Department of Emergency Medicine Cardiac Rhythms Anatomy of a Rhythm Strip A Review of the Electrical System Intrinsic Pacemakers Cells These cells have property known as “Automaticity”— means they can spontaneously depolarize. Sinus Node Primary pacemaker Fires at a rate of 60-100 bpm AV Junction Fires at a rate of 40-60 bpm Ventricular (Purkinje Fibers) Less than 40 bpm What’s Normal P Wave Atrial Depolarization PR Interval (Normal 0.12-0.20) Beginning of the P to onset of QRS QRS Ventricular Depolarization QRS Interval (Normal <0.10) Period (or length of time) it takes for the ventricles to depolarize The Key to Success… …A systematic approach! Rate Rhythm P Waves PR Interval P and QRS Correlation QRS Rate Pacemaker A rather ill patient……… Very apparent inferolateral STEMI……with less apparent complete heart block RATE . Fast vs Slow . QRS Width Narrow QRS Wide QRS Narrow QRS Wide QRS Tachycardia Tachycardia Bradycardia Bradycardia Regular Irregular Regular Irregular Sinus Brady Idioventricular A-Fib / Flutter Bradycardia w/ BBB Sinus Tach A-Fib VT PVT Junctional 2 AVB / II PSVT A-Flutter SVT aberrant A-Fib 1 AVB 3 AVB A-Flutter MAT 2 AVB / I or II PAT PAT 3 AVB ST PAC / PVC Stability Hypotension / hypoperfusion Altered mental status Chest pain – Coronary ischemic Dyspnea – Pulmonary edema Sinus Rhythm Sinus Rhythm P Wave PR Interval QRS Rate Rhythm Pacemaker Comment . Before . Constant, . Rate 60-100 . Regular . SA Node Upright in each QRS regular . Interval =/< leads I, II, . Look . Interval .12- .10 & III alike .20 Conduction Image reference: Cardionetics/ http://www.cardionetics.com/docs/healthcr/ecg/arrhy/0100_bd.htm Sinus Pause A delay of activation within the atria for a period between 1.7 and 3 seconds A palpitation is likely to be felt by the patient as the sinus beat following the pause may be a heavy beat.
    [Show full text]
  • Musical Meter, Rhythm and the Moving Body: Designing Methods for the Analysis of Unconstrained Body Movements
    En Music, Mind, and Embodiment. 11th International Symposium, CMMR 2015. (Suiza): Springer International Publishing. Musical Meter, Rhythm and the Moving Body: Designing Methods for the Analysis of Unconstrained Body Movements. Naveda, Luiz, Martínez, Isabel Cecilia, Damesón, Javier, Pereira Ghiena, Alejandro, Herrera, Romina y Ordás, Alejandro. Cita: Naveda, Luiz, Martínez, Isabel Cecilia, Damesón, Javier, Pereira Ghiena, Alejandro, Herrera, Romina y Ordás, Alejandro (2016). Musical Meter, Rhythm and the Moving Body: Designing Methods for the Analysis of Unconstrained Body Movements. En Music, Mind, and Embodiment. 11th International Symposium, CMMR 2015. (Suiza): Springer International Publishing. Dirección estable: https://www.aacademica.org/alejandro.pereira.ghiena/40 Esta obra está bajo una licencia de Creative Commons. Para ver una copia de esta licencia, visite http://creativecommons.org/licenses/by-nc-nd/4.0/deed.es. Acta Académica es un proyecto académico sin fines de lucro enmarcado en la iniciativa de acceso abierto. Acta Académica fue creado para facilitar a investigadores de todo el mundo el compartir su producción académica. Para crear un perfil gratuitamente o acceder a otros trabajos visite: http://www.aacademica.org. Richard Kronland-Martinet Mitsuko Aramaki Sølvi Ystad (Eds.) Music, Mind, LNCS 9617 and Embodiment 11th International Symposium, CMMR 2015 Plymouth, UK, June 16–19, 2015 Revised Selected Papers 123 Lecture Notes in Computer Science 9617 Commenced Publication in 1973 Founding and Former Series Editors: Gerhard Goos, Juris Hartmanis, and Jan van Leeuwen Editorial Board David Hutchison Lancaster University, Lancaster, UK Takeo Kanade Carnegie Mellon University, Pittsburgh, PA, USA Josef Kittler University of Surrey, Guildford, UK Jon M. Kleinberg Cornell University, Ithaca, NY, USA Friedemann Mattern ETH Zurich, Zurich, Switzerland John C.
    [Show full text]