Kindergarten

Total Page：16

File Type：pdf, Size：1020Kb

Kindergarten Lesson 1: If You’re Happy and You Know It: https://youtu.be/oXMc2aAxh-0 - Tell me if you enjoyed this song! Lesson 2: Lesson 3: The p stands for soft. The f stands for loud. 1st Grade Lesson 1: Make Your Own Egg Shaker: https://youtu.be/g8BA-SOr384 - Submit a photo of your egg shaker! We will use them in the future. Lesson 2: Students in the first grade are learning about quarter notes (ta) and quarter rest (no sound/ think ‘rest’ in your head). Each of these types of notes gets one beat. Below, create three lines that have four total beats in them, one beat per box. Practice the four beat rhythm, saying the above syllables for each type of note. Do one line at a time. Quarter Note- TA Quarter Rest- REST Example TA REST TA REST Lesson 3: Check VLA for your assignment 2nd Grade Lesson 1: Fast & Slow: https://youtu.be/fTyD2pfAsaI - What does largo mean? - What does presto mean? Lesson 2: Students in the second grade are learning about quarter notes (ta), pair of eighth notes (ti-ti) and quarter rest (no sound/ think ‘rest’ in your head). Each of these types of notes gets one beat. Below create four lines that have four total beats in them, one beat per box. Practice each lines rhythms saying the above syllables for each type of note. Quarter Note- TA Quarter Rest- REST Pair of Eighth Notes-TI-TI Example TA REST TA TI-TI Lesson 3: Listen to these two songs. Then draw a picture and write a sentence about your favorite one. https://www.youtube.com/watch?v=1prweT95Mo0 https://www.youtube.com/watch?v=ppAvj_x4DxY 3rd Grade Lesson 1: Rhythm Review: https://youtu.be/CzNhiyXLH30 - How many sounds in “Ta”? - How many sounds in “Ti-Ti”? Lesson 2: Sound out the words to determine how many sounds/syllables it has. Lesson 3: Sound out the words. How many sounds/syllables does the word have? Even though some have one sound and others have two sounds, they ALL get 1 musical beat. 4th Grade Lesson 1: String Family: https://youtu.be/oFk21jitcDs - True or False- The violin is the smallest of the string family? - True or False- The string or double bass is the largest of the string family? Lesson 2: Woodwind Family: https://www.youtube.com/watch?v=7O1RX9OzD_c - Name two instruments that are included in the Woodwind family. Lesson 3: Color the instruments of the family worksheets. They are on the next two pages. .

Copy Link

Recommended publications

Significance of Beating Observed in Earthquake Responses of Buildings
SIGNIFICANCE OF BEATING OBSERVED IN EARTHQUAKE RESPONSES OF BUILDINGS Mehmet Çelebi1, S. Farid Ghahari2, and Ertuğrul Taciroǧlu2 U.S. Geological Survey1 and University of California, Los Angeles2 Menlo Park, California, USA1 and Los Angeles, California, USA2 Abstract The beating phenomenon observed in the recorded responses of a tall building in Japan and another in the U.S. are examined in this paper. Beating is a periodic vibrational behavior caused by distinctive coupling between translational and torsional modes that typically have close frequencies. Beating is prominent in the prolonged resonant responses of lightly damped structures. Resonances caused by site effects also contribute to accentuating the beating effect. Spectral analyses and system identification techniques are used herein to quantify the periods and amplitudes of the beating effects from the strong motion recordings of the two buildings. Quantification of beating effects is a first step towards determining remedial actions to improve resilient building performance to strong earthquake induced shaking. Introduction In a cursory survey of several textbooks on structural dynamics, it can be seen that beating effects have not been included in their scopes. On the other hand, as more earthquake response records from instrumented buildings became available, it also became evident that the beating phenomenon is common. As modern digital equipment routinely provide recordings of prolonged responses of structures, we were prompted to visit the subject of beating, since such response characteristics may impact the instantaneous and long-term shaking performances of buildings during large or small earthquakes. The main purpose in deploying seismic instruments in buildings (and other structures) is to record their responses during seismic events to facilitate studies understanding and assessing their behavior and performances during and future strong shaking events.
[Show full text]
Helmholtz's Dissonance Curve
Tuning and Timbre: A Perceptual Synthesis Bill Sethares IDEA: Exploit psychoacoustic studies on the perception of consonance and dissonance. The talk begins by showing how to build a device that can measure the “sensory” consonance and/or dissonance of a sound in its musical context. Such a “dissonance meter” has implications in music theory, in synthesizer design, in the con- struction of musical scales and tunings, and in the design of musical instruments. ...the legacy of Helmholtz continues... 1 Some Observations. Why do we tune our instruments the way we do? Some tunings are easier to play in than others. Some timbres work well in certain scales, but not in others. What makes a sound easy in 19-tet but hard in 10-tet? “The timbre of an instrument strongly affects what tuning and scale sound best on that instrument.” – W. Carlos 2 What are Tuning and Timbre? 196 384 589 amplitude 787 magnitude sample: 0 10000 20000 30000 0 1000 2000 3000 4000 time: 0 0.23 0.45 0.68 frequency in Hz Tuning = pitch of the fundamental (in this case 196 Hz) Timbre involves (a) pattern of overtones (Helmholtz) (b) temporal features 3 Some intervals “harmonious” and others “discordant.” Why? X X X X 1.06:1 2:1 X X X X 1.89:1 3:2 X X X X 1.414:1 4:3 4 Theory #1:(Pythagoras ) Humans naturally like the sound of intervals de- ﬁned by small integer ratios. small ratios imply short period of repetition short = simple = sweet Theory #2:(Helmholtz ) Partials of a sound that are close in frequency cause beats that are perceived as “roughness” or dissonance.
[Show full text]
Neural Tracking of the Musical Beat Is Enhanced by Low-Frequency Sounds
Neural tracking of the musical beat is enhanced by low-frequency sounds Tomas Lenca, Peter E. Kellera, Manuel Varleta, and Sylvie Nozaradana,b,c,1 aMARCS Institute for Brain, Behaviour, and Development, Western Sydney University, Penrith, NSW 2751, Australia; bInstitute of Neuroscience (IONS), Université Catholique de Louvain, 1200 Woluwe-Saint-Lambert, Belgium; and cInternational Laboratory for Brain, Music, and Sound Research (BRAMS), Département de Psychologie, Faculté des Arts et des Sciences, Université de Montréal, Montréal, QC H3C 3J7, Canada Edited by Dale Purves, Duke University, Durham, NC, and approved June 28, 2018 (received for review January 24, 2018) Music makes us move, and using bass instruments to build the content (8, 9). Bass sounds are also crucial in music that en- rhythmic foundations of music is especially effective at inducing courages listeners to move (10, 11). people to dance to periodic pulse-like beats. Here, we show that There has been a recent debate as to whether evolutionarily this culturally widespread practice may exploit a neurophysiolog- shaped properties of the auditory system lead to superior tem- ical mechanism whereby low-frequency sounds shape the neural poral encoding for bass sounds (12, 13). One study using elec- representations of rhythmic input by boosting selective locking to troencephalography (EEG) recorded brain responses elicited by the beat. Cortical activity was captured using electroencephalog- misaligned tone onsets in an isochronous sequence of simulta- raphy (EEG) while participants listened to a regular rhythm or to a neous low- and high-pitched tones (12). Greater sensitivity to the relatively complex syncopated rhythm conveyed either by low temporal misalignment of low tones was observed when they tones (130 Hz) or high tones (1236.8 Hz).
[Show full text]
Thomas Young the Man Who Knew Everything
Thomas Young The man Who Knew Everything Andrew Robinson marvels at the brain power and breadth of knowledge of the 18th-century polymath Thomas Young. He examines his relationship with his contemporaries, particularly with the French Egyptologist Champollion, and how he has been viewed subsequently by historians. ORTUNATE NEWTON, happy professor of natural philosophy at childhood of science!’ Albert the newly founded Royal Institution, F Einstein wrote in 1931 in his where in 1802-03 he delivered what foreword to the fourth edition of is generally regarded as the most far- Newton’s influential treatise Opticks, reaching series of lectures ever given originally published in 1704. by a scientist; a physician at a major London hospital, St George’s, for a Nature to him was an open book, quarter of a century; the secretary of whose letters he could read without the Admiralty’s Board of Longitude effort. ... Reflection, refraction, the and superintendent of its vital Nauti- formation of images by lenses, the cal Almanac from 1818 until his mode of operation of the eye, the death; and ‘inspector of calculations’ spectral decomposition and recom- for a leading life insurance company position of the different kinds of in the 1820s. In 1794, he was elected light, the invention of the reflecting a fellow of the Royal Society at the telescope, the first foundations of age of barely twenty-one, became its colour theory, the elementary theory foreign secretary at the age of thirty, of the rainbow pass by us in and turned down its presidency in procession, and finally come his his fifties.
[Show full text]
Large Scale Sound Installation Design: Psychoacoustic Stimulation
LARGE SCALE SOUND INSTALLATION DESIGN: PSYCHOACOUSTIC STIMULATION An Interactive Qualifying Project Report submitted to the Faculty of the WORCESTER POLYTECHNIC INSTITUTE in partial fulfillment of the requirements for the Degree of Bachelor of Science by Taylor H. Andrews, CS 2012 Mark E. Hayden, ECE 2012 Date: 16 December 2010 Professor Frederick W. Bianchi, Advisor Abstract The brain performs a vast amount of processing to translate the raw frequency content of incoming acoustic stimuli into the perceptual equivalent. Psychoacoustic processing can result in pitches and beats being “heard” that do not physically exist in the medium. These psychoac- oustic effects were researched and then applied in a large scale sound design. The constructed installations and acoustic stimuli were designed specifically to combat sensory atrophy by exer- cising and reinforcing the listeners’ perceptual skills. i Table of Contents Abstract ............................................................................................................................................ i Table of Contents ............................................................................................................................ ii Table of Figures ............................................................................................................................. iii Table of Tables .............................................................................................................................. iv Chapter 1: Introduction .................................................................................................................
[Show full text]
The Concept of the Photon—Revisited
The concept of the photon—revisited Ashok Muthukrishnan,1 Marlan O. Scully,1,2 and M. Suhail Zubairy1,3 1Institute for Quantum Studies and Department of Physics, Texas A&M University, College Station, TX 77843 2Departments of Chemistry and Aerospace and Mechanical Engineering, Princeton University, Princeton, NJ 08544 3Department of Electronics, Quaid-i-Azam University, Islamabad, Pakistan The photon concept is one of the most debated issues in the history of physical science. Some thirty years ago, we published an article in Physics Today entitled “The Concept of the Photon,”1 in which we described the “photon” as a classical electromagnetic field plus the fluctuations associated with the vacuum. However, subsequent developments required us to envision the photon as an intrinsically quantum mechanical entity, whose basic physics is much deeper than can be explained by the simple ‘classical wave plus vacuum fluctuations’ picture. These ideas and the extensions of our conceptual understanding are discussed in detail in our recent quantum optics book.2 In this article we revisit the photon concept based on examples from these sources and more. © 2003 Optical Society of America OCIS codes: 270.0270, 260.0260. he “photon” is a quintessentially twentieth-century con- on are vacuum fluctuations (as in our earlier article1), and as- Tcept, intimately tied to the birth of quantum mechanics pects of many-particle correlations (as in our recent book2). and quantum electrodynamics. However, the root of the idea Examples of the first are spontaneous emission, Lamb shift, may be said to be much older, as old as the historical debate and the scattering of atoms off the vacuum field at the en- on the nature of light itself – whether it is a wave or a particle trance to a micromaser.
[Show full text]
PSYCHOACOUSTICS: Software Package for Psychoacoustics
Acoust. Sci. & Tech. 41, 1 (2020) #2020 The Acoustical Society of Japan INVITED REVIEW PSYCHOACOUSTICS: Software package for psychoacoustics Aleksander P. Se˛k1;Ã and Brian C. J. Moore2;y 1Institute of Acoustics, Faculty of Physics, Adam Mickiewicz University, Poznan´, Poland 2Department of Experimental Psychology, University of Cambridge, Downing Street, Cambridge CB2 3EB, United Kingdom Abstract: Current research in the field of psychoacoustics is mostly conducted using a computer to generate and present the stimuli and to collect the responses of the subject. However, writing the computer software to do this is time-consuming and requires technical expertise that is not possessed by many would-be researchers. We have developed a software package that makes it possible to set up and conduct a wide variety of experiments in psychoacoustics without the need for time-consuming programming or technical expertise. The only requirements are a personal computer (PC) with a good- quality sound card and a set of headphones. Parameters defining the stimuli and procedure are entered via boxes on the screen and drop-down menus. Possible experiments include measurement of the absolute threshold, simultaneous and forward masking (including notched-noise masking), comodu- lation masking release, intensity and frequency discrimination, amplitude-modulation detection and discrimination, gap detection, discrimination of interaural time and level differences, measurement of sensitivity to temporal fine structure, and measurement of the binaural masking level difference. The software is intended to be useful both for researchers and for students who want to try psychoacoustic experiments for themselves, which can be very valuable in helping them gain a deeper understanding of auditory perception.
[Show full text]
Musical Acoustics Timbre / Tone Quality I
Musical Acoustics Lecture 13 Timbre / Tone quality I Musical Acoustics, C. Bertulani 1 Waves: review distance x (m) At a given time t: y = A sin(2πx/λ) A time t (s) -A At a given position x: y = A sin(2πt/T) Musical Acoustics, C. Bertulani 2 Perfect Tuning Fork: Pure Tone • As the tuning fork vibrates, a succession of compressions and rarefactions spread out from the fork • A harmonic (sinusoidal) curve can be used to represent the longitudinal wave • Crests correspond to compressions and troughs to rarefactions • only one single harmonic (pure tone) is needed to describe the wave Musical Acoustics, C. Bertulani 3 Phase δ $ x ' % x ( y = Asin& 2π ) y = Asin' 2π + δ* % λ( & λ ) Musical Acoustics, C. Bertulani 4 € € Adding waves: Beats Superposition of 2 waves with slightly different frequency The amplitude changes as a function of time, so the intensity of sound changes as a function of time. The beat frequency (number of intensity maxima/minima per second): fbeat = |fa-fb| Musical Acoustics, C. Bertulani 5 The perceived frequency is the average of the two frequencies: f + f f = 1 2 perceived 2 The beat frequency (rate of the throbbing) is the difference€ of the two frequencies: fbeats = f1 − f 2 € Musical Acoustics, C. Bertulani 6 Factors Affecting Timbre 1. Amplitudes of harmonics 2. Transients (A sudden and brief fluctuation in a sound. The sound of a crack on a record, for example.) 3. Inharmonicities 4. Formants 5. Vibrato 6. Chorus Effect Two or more sounds are said to be in unison when they are at the same pitch, although often an OCTAVE may exist between them.
[Show full text]
The Perception of Pure and Mistuned Musical Fifths and Major Thirds: Thresholds for Discrimination, Beats, and Identification
Perception & Psychophysics 1982,32 (4),297-313 The perception ofpure and mistuned musical fifths and major thirds: Thresholds for discrimination, beats, and identification JOOS VOS Institute/or Perception TNO, Soesterberg, TheNetherlands In Experiment 1, the discriminability of pure and mistuned musical intervals consisting of si multaneously presented complex tones was investigated. Because of the interference of nearby harmonics, two features of beats were varied independently: (1) beat frequency, and (2) the depth of the level variation. Discrimination thresholds (DTs) were expressed as differences in level (AL) between the two tones. DTs were determined for musical fifths and major thirds, at tone durations of 250, 500, and 1,000 msec, and for beat frequencies within a range of .5 to 32 Hz. The results showed that DTs were higher (smaller values of AL) for major thirds than for fifths, were highest for the lowest beat frequencies, and decreased with increasing tone duration. Interaction of tone duration and beat frequency showed that DTs were higher for short tones than for sustained tones only when the mistuning was not too large. It was concluded that, at higher beat frequencies, DTs could be based more on the perception of interval width than on the perception of beats or roughness. Experiments 2 and 3 were designed to ascertain to what extent this was true. In Experiment 2, beat thresholds (BTs)for a large number of different beat frequencies were determined. In Experiment 3, DTs, BTs, and thresholds for the identifica tion of the direction of mistuning (ITs) were determined. For mistuned fifths and major thirds, sensitivity to beats was about the same.
[Show full text]
Discovery of Beat Cepheids in the Small Magellanic Cloud and the Effect of Metallicity on Pulsation
Astron. Astrophys. 321, L5–L8 (1997) ASTRONOMY AND ASTROPHYSICS LETTER Letter to the Editor EROS VARIABLE STARS: Discovery of Beat Cepheids in the Small Magellanic Cloud and the effect of metallicity on pulsation J.P. Beaulieu1;2, M. Krockenberger3, D.D. Sasselov3, C. Renault4, R. Ferlet1, A. Vidal-Madjar1, E. Maurice5,L.Prevot´ 5, E. Aubourg4, P. Bareyre4, S. Brehin4, C. Coutures4, N. Delabrouille4,J.deKat4,M.Gros4, B. Laurent4, M. Lachieze-Rey` 4, E. Lesquoy4, C. Magneville4, A. Milsztajn4, L. Moscoso4, F. Queinnec4, J. Rich4 ,M. Spiro4, L. Vigroux4, S. Zylberajch4, R. Ansari6, F. Cavalier6, M. Moniez6,C.Gry7 The EROS Collaboration 1 Kapteyn Laboratorium, Postbus 800 9700 AV Groningen, The Netherlands 2 Institut d’Astrophysique de Paris, CNRS, 98bis Boulevard. Arago, F-75014 Paris, France 3 Harvard-Smithsonian Center for Astrophysics, 60 Garden St., Cambridge, MA 02138, USA 4 CEA, DSM/DAPNIA, Centre d’etudes´ de Saclay, F-91191 Gif-sur-Yvette, France 5 Observatoire de Marseille, 2 place Le Verrier, F-13248 Marseille 04, France 6 Laboratoire de l’Accel´ erateur´ Lineaire´ IN2P3, Centre d’Orsay, F-91405 Orsay, France 7 Laboratoire d’Astronomie Spatiale CNRS, Traversee´ du siphon, les trois lucs, F-13120 Marseille, France Received 10 January 1997 / Accepted 7 February 1997 Abstract. We report the discovery of eleven beat Cepheids in be used to make the Fourier analysis to show a clear beating of the Small Magellanic Cloud, using data obtained by the EROS two modes. Therefore, this kind of studies are very difficult. microlensing survey. Four stars are beating in the fundamental Over the past five years, a great effort has been made to ob- and first overtone mode (F/1OT), seven are beating in the first tain light curves of millions of stars in the Magellanic Clouds and second overtone (1OT/2OT).
[Show full text]
Demonstration of Acoustic Beats in the Study of Physics
Journal of Multidisciplinary Engineering Science and Technology (JMEST) ISSN: 2458-9403 Vol. 4 Issue 6, June - 2017 Demonstration Of Acoustic Beats In The Study Of Physics Aleksei Gavrilov Department of Cybernetics Division of Physics Tallinn University of Technology Tallinn, Ehitajate tee 5, Estonia e-mail: [email protected] Abstract ― The article describes a device for equals to the difference of frequencies of the added demonstration of acoustic beats effect at the oscillations. To eliminate these inconveniences, two lecture on physics separate generators of low frequency oscillations, an audio amplifier and a loudspeaker are often used. In Keywords—beating; acoustics; device; this article, we describe a small-sized and convenient demonstration; physics device, which combines all these functions. II. Construction of the device I. Introduction Schematically the device is quite simple (see Addition of two harmonic oscillations with close Fig.1). It consists of a stabilized power supply, two frequencies creates so-called beats. Oscillations must identical audio frequency generators and an amplifier occur in the same direction. Beats in this case are with a loudspeaker at the output. From the generator periodic changes in the amplitude of the oscillations outputs the sound frequency voltage is connected [1]. With acoustic waves, these are periodic simultaneously to the input of the amplifier. The oscillations of the sound intensity. Usually this effect is frequency of one of the generators can be slightly demonstrated by means of two tuning forks [2]. changed by a regulator in relation to the frequency of However, the volume level at such a demonstration is the other generator.
[Show full text]
The Sounds of Music: Science of Musical Scales∗ 1
SERIES ARTICLE The Sounds of Music: Science of Musical Scales∗ 1. Human Perception of Sound Sushan Konar Both, human appreciation of music and musical genres tran- scend time and space. The universality of musical genres and associated musical scales is intimately linked to the physics of sound, and the special characteristics of human acoustic sensitivity. In this series of articles, we examine the science underlying the development of the heptatonic scale, one of the most prevalent scales of the modern musical genres, both western and Indian. Sushan Konar works on stellar compact objects. She Introduction also writes popular science articles and maintains a Fossil records indicate that the appreciation of music goes back weekly astrophysics-related blog called Monday Musings. to the dawn of human sentience, and some of the musical scales in use today could also be as ancient. This universality of musi- cal scales likely owes its existence to an amazing circularity (or periodicity) inherent in human sensitivity to sound frequencies. Most musical scales are speciﬁc to a particular genre of music, and there exists quite a number of them. However, the ‘hepta- 1 1 tonic’ scale happens to have a dominating presence in the world Having seven base notes. music scene today. It is interesting to see how this has more to do with the physics of sound and the physiology of human auditory perception than history. We shall devote this ﬁrst article in the se- ries to understand the specialities of human response to acoustic frequencies. Human ear is a remarkable organ in many ways. The range of hearing spans three orders of magnitude in frequency, extending Keywords from ∼20 Hz to ∼20,000 Hz (Figure 1) even though the sensitivity String vibration, beat frequencies, consonance-dissonance, pitch, tone.
[Show full text]