Elements of Music

Total Page:16

File Type:pdf, Size:1020Kb

Elements of Music Elements of music LESSON: Elements of Music OBJECTIVE: Students will: • identify the basic principles of music, including melody, harmony, and rhythm and put them into practice • recognize the use of dynamics within the context of a piece of music • create a melody • utilize musical notation to practice basic mathematical concepts. TEKS Music Standards: 117. 12, 15, 18 (B) 1b, 2a, 3a, 3b, 3c, 4a, 4b, 6a TEKS Science Standards: 112.16 (B) 2c, 3c TEKS Math Standards:111.7 (B) 3a, 4b MATERIALS: Vary by exercise Overview A composer is like a musical architect who “builds” music out of basic materials. Instead of using bricks, concrete, or wood, a composer uses the elements of music: rhythm, melody, and harmony to create music. These elements are used in many different combinations, including different tempi (speeds), different keys and modes (scales). A basic element like pitch, for instance, can be used to build melody, while at the same time combined with other pitches (notes) to create harmony. Once other elements are mixed in - things like rhythm, tempo, and form - we have a simple form of music. The following sections will give more detail on each of these elements and how they play important roles in music. ELEMENTS OF MUSIC DYNAMICS Lesson: Dynamics is the term used to indicate the loudness or softness of musical sounds, or volume. A few different symbols tell the musician when to play loud or soft, or when to change from one to the other. Music can range from a whisper (pianissimo) to a scream (fortissimo). Here is a list of dynamics symbols used in music, ranging from softest to loudest: pp - pianissimo very soft p - piano soft mp - mezzo piano medium soft mf - mezzo forte medium loud f - forte loud ff - fortissimo very loud Sudden changes in volume: In addition to the basic symbols listed above, there is sforzando, (pronounced like Schwartz, with an ‘f’ instead of a ‘w’ sound) indicating a strong, sudden accent and seen as (sf or sfz.) Also, (fp or sfp), which means to follow sforzando immediately with a piano (p). Gradual changes in volume: Sometimes a composer may want the music to get gradually louder or softer. The two most common terms are crescendo, meaning “get gradually louder,” and decrecendo or diminuendo, meaning “get gradually softer.” Here is how crescendo and decrescendo or diminuendo usually appear in music: Crescendo Decrescendo or Diminuendo EXERCISE 1: DYNAMICS IN PRACTICE Materials: 4. Have students write down each symbol, • 8-index cards for each student including crescendo and decrescendo, on • Recording of In the Hall of the Mountain King the front of each flash card. On the back, students write the Italian word associated Instructions: with each symbol. 1. Play In the Hall of the Mountain King, 5. Speak words or sing melodies at the and ask students to observe different correct dynamic level associated with each volume levels in the piece. card, in order and then at random, and 2. Once finished, ask students to describe have the students echo. what they heard, volume wise (it was soft 6. Bring back In the Hall of the Mountain King. at the beginning and loud at the end). This time as the students listen, they will 3. Now, introduce students to the basic show their flash cards as they hear each concepts of dynamics, symbols included, dynamic level occur. (pp to ff). as well as the Italian words associated 7. Optional: Choose a simple children’s song with each symbol. for the class to sing at different dynamic levels. ELEMENTS OF MUSIC MELODY Lesson: Melody is a group of pitches (or notes) put into a certain order. Rhythm, or how long each pitch lasts, is an important part of the melody. Even when the pitches are the same, if the rhythm is changed, it is no longer the same melody. The melody is the tune of the music. It is what we can sing, whistle, or hum, and is the easiest part of music to remember. EXERCISE 1: MELODY AND THE KALENDAR PRINCE Preface: A) Scheherazade’s Theme (0:00 - 1:03) Melody is frequently used to identify • Introduced by the violin characters, places, and things. B) The Prince’s Theme (1:03 - 1:47) • Introduced by the bassoon Materials: C) The Sulatan’s Theme (4:15 - 5:30) • Recording of The Kalendar Prince by • Fanfare in the strings and brass Rimsky-Korsakov 3. Ask students to describe the differences between each melody, and more Instructions: specifically, what kind of emotions or 1. Introduce information on the element of characters they associate with each melody. Discuss how melody can melody. represent characters, like Romeo or 4. Play the piece again in its entirety and Goliath. have students raise there hand when they 2. Play the three themes that students will think they recognize one of the three hear in The Kalendar Prince: major themes. EXERCISE 2: PHONE NUMBER MELODIES Preface: 2. Double the lowest ‘C’ with the number 9, It’s difficult to come up with a good melody. so the numbers 1 and 9 play the same Beethoven worked on the ODE TO JOY for note, just like the numbers 8 and 0. almost ten years before he got it just right. 3. Write a phone number on the board like 867-5309, and play the notes that Materials: correspond with the numbers • Random phone numbers (for privacies sake) (C,A,B,G,E,C,C) • A Keyboard instrument of some kind, • 867-5309 actually turns out to be a whether it be one piano or a classroom full pretty good melody! of student sized bells or xylophones. You 4. Have students then analyze their own can also use an online keyboard here. phone numbers, whether on a keyboard of their own or by having you play them. Instructions: 5. Students then critique each melody and 1. Make a chart on the board of a ‘C’ scale suggest certain ways to make it better. (C,D,E,F,G,A,B,C) and assign each note • For instance, ending on 0,1,8, or 9 a successive number (C=1,D=2,E=3, etc.) always gives a sense of completion. until you get to 8. 6. Choose the best melodies out of the group. ELEMENTS OF MUSIC HARMONY Lesson: Harmony is produced when two or more notes (pitches) sound at the same time. The way those two or more notes sound together produces harmony. Harmony is also the design, progression, and relationship of chords. Chords are a combination of two or more notes used together. Harmony is just as important as melody because it can change the entire mood of a piece of music. Major and minor keys are a good example of this. Major chords and keys usually sound ‘happy’ or ‘bright,’ where as minor keys and chords sound ‘dark’ and ‘sad.’ • If possible, try to demonstrate the difference between playing Major scales and chords versus minor scales and chords, and see if students can hear the difference. If all of the pitches ‘agree’ with one another, we would say a chord is consonant, for instance, the notes (C,G). However, some notes simply don’t agree (C,F#), these we refer to as dissonant. EXERCISE 1: HARMONIES IN SCIENCE 1. Fill each bottle with the following amount of Preface: liquid: 1: (G) 20.7 oz/420 mL 5: (D) 7.1 oz /218 mL Students will learn how to make simple 2: (A) 12.4 oz/372 mL 6: (E) 4 oz /125 mL chords using a Major scale. 3: (B) 10 oz /300 mL 7: (F#) 4.3 oz /130 mL 4: (C) 9 oz /272 mL 8: (G) 3.8 oz /112 mL Materials: 2. Now that you have completed your water • (6) 20 oz. Sobe juice bottles, and (2) xylophone, demonstrate a melody (one note Don't have 12 oz. IZZE bottles per group. played at a time), by hitting the sides of the these brands? Do not worry, • Divide into many groups bottles with the spoon. just make sure • Lots of tap water! • Try “Merry Had a Little Lamb,” with the you have 20oz Food Coloring (7 Colors) and 12oz glass • following combination bottles. • Labels and a Marker 3,2,1,2,3,3,3 / 2.2.2 / 3,5,5 / • Measuring cup 3,2,1,2,3,3,3 / 2,2,3,2,1 • Three Metal Spoons for each group 3. Now, introduce harmony by playing the • Towels for possible messes. following bottles together: Instructions: • Major chords (1,3,5) (4,6,8) (5,7,2) 1. Label the bottles 1-8. 1-6 should be • Minor chords (2,4,6) (3,5,7) (6,8,3) the 20 oz bottles, while 7 and 8 are • Can you hear the difference? the 12 oz bottles. 4. Have students come up with their own 2. Add a different food coloring to every combinations of chords, write down each bottle, except 1 and 8, which should combination, and note whether each be the same color. combination is major or minor, and consonant or dissonant. ELEMENTS OF MUSIC RHYTHM Lesson: Rhythm is the basis of music just as numbers are the basis of math. When you play a few different notes together, or even repeat the same note, you create something called rhythm. Over the years, different symbols have been created to tell how long a note should last. The simplest looking note, with no stems or flags, is a whole note. All other note lengths are defined by how long they last compared to a whole note.
Recommended publications
  • Music Analysis: an Annotated Bibliography. INSTITUTION Southwest Regional Library for Educational Research and Development, Los Alamitos, Calif
    DOCUMENT RESUME ED 067 359 SO 004 665 AUTHOR Fink, Michael TITLE Music Analysis: An Annotated Bibliography. INSTITUTION Southwest Regional Library for Educational Research and Development, Los Alamitos, Calif. REPORT NO TR-43 BUREAU NO BR- 6-2865 PUB DATE 1 Aug 72 NOTE 25p. EDRSPRICE MF-$0.65 HC-$3.29 DESCRIPTORS *Annotated Bibliographies; *Applied Music; Elementary Education; Higher Education; Music; Musical Composition; Music Appreciation; *Music Education; Music Techniques; *Music Theory; Secondary Education ABSTRACT One hundred and forty citations comprise this annotated bibliography of books, articles, and selected dissertations that encompass trends in music theory and k-16 music education since the late 19th century. Special emphasis is upon writings since the 19501s. During earlier development, music analysts concentrated upon the elements of music (i.e., melody, harmony, rhythm, and form). Since 1950, varying viewpoints on the teaching of music analysis have emerged, producing a surge of various analytical trends and philosophies derived from other than musical contexts. Information theory, phenomenology, and the application of computers have made the strongest impact upon music theory in recent years. Classified headings in the listing cover:1) general discussions of music analysis, 2)the analysis of specific elements of music (melody, harmony, etc.),3)principal trends and approaches to the subject, and 4)samples of analytic models. The headings reflect the evolution of trends within the subject. Author entries are alphabetically arranged under headings. Whief descriptive annotations are provided. (Author/SJM) ibie ks!) 1 I5A) SOUTHWEST REGIONAL LABORATORY FOR EDUCATIONAL RESEARCH & DEVELOPMENT Music Analysis: An AnnotatedBibliography Tit 431 August 1972 I U.S.
    [Show full text]
  • The Elements of Music
    KSKS35 The elements of music Anna Gower was by Anna Gower a secondary music teacher and head of music for 18 years. She now works as a consultant for Trinity College London INTRODUCTION and Musical Futures International, as well The elements of music. DR P SMITH or MAD T SHIRT; posters on the walls of your classroom; a handy checklist as with various MEH for writing a model answer to a GCSE question; or a guide to development in an A level composition. and organisations in the UK and overseas. The elements of music have long been an important component of KS3 music, whether they’re taught as a stand- alone unit or topic, or threaded through performing, composing or listening activities in a topic-based curriculum. Often described as the ‘building blocks’ of music, the However, the elements of music are really just a set of labels and concepts under which sits a wealth of musical elements of music understanding, and a heap of vocabulary and musical language that can help to hone student responses to may have slightly music that they hear, play, sing or compose from the very start of their music education. different labels that vary from school to school. But they It’s that further layer beneath the label and concept that’s much harder to measure, and which weaves through each come with all good music learning and teaching. It’s about crafting an understanding of what makes music a medium a label or name (pitch, rhythm, through which to be expressive, to make sense of sound, and to arrange it into meaningful musical experiences etc), a concept that allow students to demonstrate their learning in ways other than a listening test or performance assessment.
    [Show full text]
  • An Introduction to Music Studies Pdf, Epub, Ebook
    AN INTRODUCTION TO MUSIC STUDIES PDF, EPUB, EBOOK Jim Samson,J. P. E. Harper-Scott | 310 pages | 31 Jan 2009 | CAMBRIDGE UNIVERSITY PRESS | 9780521603805 | English | Cambridge, United Kingdom An Introduction to Music Studies PDF Book To see what your friends thought of this book, please sign up. An analysis of sociomusicology, its issues; and the music and society in Hong Kong. Critical Entertainments: Music Old and New. Other Editions 6. The examination measures knowledge of facts and terminology, an understanding of concepts and forms related to music theory for example: pitch, dynamics, rhythm, melody , types of voices, instruments, and ensembles, characteristics, forms, and representative composers from the Middle Ages to the present, elements of contemporary and non-Western music, and the ability to apply this knowledge and understanding in audio excerpts from musical compositions. An Introduction to Music Studies by J. She has been described by the Harvard Gazette as "one of the world's most accomplished and admired music historians". The job market for tenure track professor positions is very competitive. You should have a passion for music and a strong interest in developing your understanding of music and ability to create it. D is the standard minimum credential for tenure track professor positions. Historical studies of music are for example concerned with a composer's life and works, the developments of styles and genres, e. Mus or a B. For other uses, see Musicology disambiguation. More Details Refresh and try again. Goodreads helps you keep track of books you want to read. These models were established not only in the field of physical anthropology , but also cultural anthropology.
    [Show full text]
  • Glossary for Music the Glossary for Music Includes Terms Commonly Found in Music Education and for Performance Techniques
    Glossary for Music The glossary for Music includes terms commonly found in music education and for performance techniques. The intent of the glossary is to promote consistent terminology when creating curriculum and assessment documents as well as communicating with stakeholders. Ability: natural aptitude in specific skills and processes; what the student is apt to do, without formal instruction. Analog tools: category of musical instruments and tools that are non-digital (i.e., do not transfer sound in or convert sound into binary code), such as acoustic instruments, microphones, monitors, and speakers. Analyze: examine in detail the structure and context of the music. Arrangement: setting or adaptation of an existing musical composition Arranger: person who creates alternative settings or adaptations of existing music. Articulation: characteristic way in which musical tones are connected, separated, or accented; types of articulation include legato (smooth, connected tones) and staccato (short, detached tones). Artistic literacy: knowledge and understanding required to participate authentically in the arts Atonality: music in which no tonic or key center is apparent. Artistic Processes: Organizational principles of the 2014 National Core Standards for the Arts: Creating, Performing, Responding, and Connecting. Audiate: hear and comprehend sounds in one’s head (inner hearing), even when no sound is present. Audience etiquette: social behavior observed by those attending musical performances and which can vary depending upon the type of music performed. Benchmark: pre-established definition of an achievement level, designed to help measure student progress toward a goal or standard, expressed either in writing or as an example of scored student work (aka, anchor set).
    [Show full text]
  • Musicology of Kyiv
    TCHAIKOVSKY NATIONAL MUSIC ACADEMY OF UKRAINE R.GLIER KYIV INSTITUTE OF MUSIC MUSICOLOGY OF KYIV Collected articles Issue number 50 Kyiv 2014 UDC 78.01 LBC 85.31 E d i t o r i a l b o a r d : Rozhok V. I., Doctor of Arts, professor, People’s Artist of Ukraine (editor in chief). Humeniuk T. K., Doctor of Philosophy, professor. Tyshko S. V., Doctor of Arts, professor. Zilberman Y.A., Doctor of Philosophy, professor. Posvaliuk V. T., Doctor of Arts, professor, Honored Artist of Ukraine. Berehova O. M., Doctor of Arts, acting professor. Cherkashina-Hubarenko M. R., Doctor of Arts, professor, Honored Artist of Ukraine. Zinkevych O. S., Doctor of Arts, professor. Moskalenlo V. H., Doctor of Arts, professor. Kokhanik I.M., Doctor of Philosophy, Associate Professor. Mudretska L.H., Doctor of Philosophy, Associate Professor. Timchenko-Bykhun I.A., Doctor of Philosophy, Associate Professor The next collection issue continues the series of publications, which is the result of the scientific research of young music experts of Ukraine. The articles of this publication cover a wide variety of actual problems of Ukrainian and foreign music culture, theory and history of music, music psychology and music sociology, music performance and pedagogics. The collection is addressed to the specialists in the sphere of music arts and culturology, a big number of musicians-practisers, teachers and students of the higher and secondary educational institutions of culture and arts. Recommended for publication by the Academic Council of the R.Glier Kyiv Institute Of Music (protocol № 1 from 29 august 2014). The edition’s website: www.glierinstitute.org/ukr/digests According to the decree of the Presidium of the Higher Attestation Commission of Ukraine from 14 september 2009 under № 1–05/4 «Musicology of Kyiv» has been included into the list of academic journals of Ukraine in the field of culturology and art studies.
    [Show full text]
  • 500928 Music-Music Theory MS
    Kentucky Department of Education - Course Standards Course Standards Course Code: 500928 Course Name: Music- Music Theory Grade Level: 6-8 Upon course completion students should be able to: 6th Grade 7th Grade 8th Grade MU:Cr1.1.6 MU:Cr1.1.7 MU:Cr1.1.8 Generate simple rhythmic, Generate rhythmic, melodic, Generate rhythmic, melodic melodic, and harmonic and harmonic phrases and and harmonic phrases and phrases within AB and ABA variations over harmonic harmonic accompaniments forms that convey expressive accompaniments within AB, within expanded forms intent. ABA, or theme and variation (including introductions, forms that convey expressive transitions, and codas) that intent. convey expressive intent. MU:Cr2.1.6 MU:Cr2.1.7 MU:Cr2.1.8 a. Select, organize, construct, a. Select, organize, develop a. Select, organize, and and document personal and document personal document personal musical musical ideas for musical ideas for ideas for arrangements, arrangements and arrangements, songs, and songs, and compositions compositions within AB or compositions within AB, within expanded forms that ABA form that demonstrate ABA, or theme and variation demonstrate tension and an effective beginning, forms that demonstrate unity release, unity and variety, middle, and ending, and and variety and convey balance, and convey convey expressive intent. expressive intent. expressive intent. b. Use standard and/or iconic b. Use standard and/or iconic b. Use standard and/or iconic notation and/or audio/ video notation and/or audio/ video notation and/or audio/ video recording to document recording to document recording to document personal simple rhythmic personal simple rhythmic personal rhythmic phrases, phrases, melodic phrases, and phrases, melodic phrases, and melodic phrases, and two-chord harmonic musical harmonic sequences.
    [Show full text]
  • Music Is Made up of Many Different Things Called Elements. They Are the “I Feel Like My Kind Building Bricks of Music
    SECONDARY/KEY STAGE 3 MUSIC – BUILDING BRICKS 5 MINUTES READING #1 Music is made up of many different things called elements. They are the “I feel like my kind building bricks of music. When you compose a piece of music, you use the of music is a big pot elements of music to build it, just like a builder uses bricks to build a house. If of different spices. the piece of music is to sound right, then you have to use the elements of It’s a soup with all kinds of ingredients music correctly. in it.” - Abigail Washburn What are the Elements of Music? PITCH means the highness or lowness of the sound. Some pieces need high sounds and some need low, deep sounds. Some have sounds that are in the middle. Most pieces use a mixture of pitches. TEMPO means the fastness or slowness of the music. Sometimes this is called the speed or pace of the music. A piece might be at a moderate tempo, or even change its tempo part-way through. DYNAMICS means the loudness or softness of the music. Sometimes this is called the volume. Music often changes volume gradually, and goes from loud to soft or soft to loud. Questions to think about: 1. Think about your DURATION means the length of each sound. Some sounds or notes are long, favourite piece of some are short. Sometimes composers combine long sounds with short music – it could be a song or a piece of sounds to get a good effect. instrumental music. How have the TEXTURE – if all the instruments are playing at once, the texture is thick.
    [Show full text]
  • Understanding Music Past and Present
    Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Dahlonega, GA Understanding Music: Past and Present is licensed under a Creative Commons Attribu- tion-ShareAlike 4.0 International License. This license allows you to remix, tweak, and build upon this work, even commercially, as long as you credit this original source for the creation and license the new creation under identical terms. If you reuse this content elsewhere, in order to comply with the attribution requirements of the license please attribute the original source to the University System of Georgia. NOTE: The above copyright license which University System of Georgia uses for their original content does not extend to or include content which was accessed and incorpo- rated, and which is licensed under various other CC Licenses, such as ND licenses. Nor does it extend to or include any Special Permissions which were granted to us by the rightsholders for our use of their content. Image Disclaimer: All images and figures in this book are believed to be (after a rea- sonable investigation) either public domain or carry a compatible Creative Commons license. If you are the copyright owner of images in this book and you have not authorized the use of your work under these terms, please contact the University of North Georgia Press at [email protected] to have the content removed. ISBN: 978-1-940771-33-5 Produced by: University System of Georgia Published by: University of North Georgia Press Dahlonega, Georgia Cover Design and Layout Design: Corey Parson For more information, please visit http://ung.edu/university-press Or email [email protected] TABLE OF C ONTENTS MUSIC FUNDAMENTALS 1 N.
    [Show full text]
  • A Slide Rule for the Study of Music and Musical Acoustics
    878 L. E. WAD1) INGTON materials will often be determined by such it produceseffective isolation and the thickness, factors as the rate of aging or deterioration under pressure,and type of felt are not at all critical. the action of oil, water, solvents, ozone, and The authors wish to expresstheir appreciation range of operating temperatures. lo the Western Felt Works for permission t• Althoughfelt is not effectivei• vit•ration isola- publish the results of the tests mid to Dr. H. A. tioii for exciting frequenciesl)elow 40 1o 50 c.t).s., l,eed•• for initiating lhe investigation and e• :•I highel' fre(tt•en•'iesa•l i]/ the :t•dible ra•lgC COl.'agi• the w•rk lhn•t•14h•n•lthe t•roje•-I, THE JOURNAl. OF TIlE ACOUSTICAL SOCIETY OF AMERICA VOLUME 19, NUMBER 5 SI,•P I'IœMBk'R, 1947 A Slide Rule for the Study of Music and Musical Acoustics L. E. WADDINGTON* Miles Laboratories, Inc., Elkhart, Indiana (Received May 25, 1947) Musicians are seldom concerned with the mathematical background of their art, but ail understandingof the underlyingphysical principles of musiccan be helpful in the study of music and in the considerationsof problemsrelated to musical instrument design.Musical data and numericalstandards of the physicsof musicare readily adaptable to slide-rulepresentation, sincethey involve relationshipswhich are the samefor any key. This rule adjustsrelative vibration rates,degrees of scale,intervals, chord structures, scale indications, and transposition data, againsta baseof the pianokeyboard. It employsand relatesseveral standard svslems of fre•!•ency level spe('itication. acousticsand the art of music possesscommol• HEin termstheory ofof scales,music intervals,is commonly andthought harmonicof interests.
    [Show full text]
  • Part II - Improvisation Rob Mackillop©
    ~ Some introductory remarks on 19th-century guitar performance practice ~ Part II - Improvisation Rob MacKillop© We have already noted that Fernando Sor was proficient in figured bass reading, which is a form of improvisation, and one that leads to a good grounding for composition. I shall contribute a paper to the subject in the not too distant future. Aguado contributes two other aspects of the improviser’s art: decoration of the written score, and the improvised prelude. I will discuss each in turn. Decoration “There is another kind of ornament which consists in varying the mechanism of some melodies; this should be simple so as not to distort the main idea, and like all types of ornament must be dictated by good taste. In the following example from Sor’s Fantasia, opus 7, the second bar has been varied in five ways.”i 1 Very few of today’s players – even so-called early-music performers – are willing to take the plunge into this kind of decoration, yet an even cursory reading of the various books on stylistic practice would reveal that it was quite a normal, everyday thing to do, which is possibly why Aguado barely mentions it. Compare also Aguado’s ‘version’ of Sor’s ‘Grand Solo’. The underlying technical approach used in these instances by Aguado can best be learned through a study of his Preludes. Prelude Improvisation in 19th-century guitar performance practice is a very large topic. Later I shall discuss the improvised cadenza, but here I limit myself to a few passing comments by Aguado, and begin a study of the improvised prelude.
    [Show full text]
  • CRPH106 URBANA 66 Oec410e.105 EMS PRICE MF $O,45 HC...$11,60 340P
    N080....630 ERIC REPORT RESUME ED 013 040 9..02..66 24 (REV) THE THEORY OFEXPECATION APPLIEDTO MUSICAL COLWELL, RICHARD LISTENING GFF2I3O1 UNIVERSITYOF ILLINOIS, CRPH106 URBANA 66 OEC410e.105 EMS PRICE MF $O,45 HC...$11,60 340P. *MUSIC EDUCATION, *MUSIC TECHNIQUES,*LISTENING SKILLS, *TEACHING METHODS,FIFTH GRADES LISTENING, SURVEYS, ILLINFrLS,URSAMA THE PROJECT PURPOSES WERE TO IDENTIFY THEELEMENTS IN MUSICUSED BY EXPERT LISTENERS INDETERMINING THE ARTISTIC DISCOVER WHAT VALUE OF MUSICS TO MUSICAL SKILLS ANDKNOWLEDGES ARE NECESSARY/ LISTENER TO RECOGNIZE FOR THE THESE ELEMENTS, ANDTO USE THESE CMIPARiSON WITH A FINDINGS IN A SPECIFIC AESTHETICTHEORY. ATTEMPTSWERE PACE TO DETERMINE WHETHERTHESE VALUE ELEMENTSARE TEACHABLE, LEVELS AT WHICH IF SOS THE AGE THEY ARE TEACHABLE,THE CREATION OF EVALUATE RECOGNITION MEASUREMEN7S TO OF THESE ELEMENTS,AND THE SKILLS AND KNOWLEDGES USED* THE TWO PROBLEMSSTUDIED WERE (1) THE KNOWLEDGES A STUDENT SKIMAS AND WOULD NEED TO PARTICIPATEIN THE MUSICAL EXPERIENCE AS DESCRIBEDBY MEYER S THEORY WHETHER THESE OF EXPECTATIONAND (2) PROBLEMS COULD BETAUGHT WITHIN A 2 FIFTH GRADE CHILDREN* YEAR PERIOD TO THE TOTAL LIST OFSKILLS AND KNOWLEDGES (APPROPRIATE FORMUSICAL LISTENINGAND GATHERED FROM EXPERTS) WAS OBVIOUSLY THE MUSICAL MUCH TOO EXTENSIVEAND DIFFICULT TOUTILIZE IN A ONE YEARGRADE SCHOOLCOURSE. TWENTY SEVEN WERE USED IN FIF=TH GRADE CLASSES INTERPRETING THERESULTS OF THE STUDYAND DRAW FROM THEM*APPROXIMATELY 10 PERCENTOP THE TESTSMEW THESE CLASSESWERE HIGHLYCOMMENDABLE, WITH MELODIES, CONTRASTING CADENCES, PHASESS PARTS, TIMBRE, ANDCI IMAXES ALLCORRECTLY IDENTIFIED AND MARKED.TWO VIEWPOINTS RESULTED FROM THESTUDV...(1) DESIRABILITY OF ANEARO,Y START ININTENSIVE MUSICAL THE IMPRACTICABILII"E LEARNING AND (2) OF TEACHING ADEQUATEMUSICAL SKILLS AND KNOWLEDGES WITHINTHE EXISTING ELEMENTARY MUSICFRAMEWORK BECAUSE OF LIMITED TIME ALLOWED,(GC) U.
    [Show full text]
  • Twelve-Tone Serialism: Exploring the Works of Anton Webern James P
    University of San Diego Digital USD Undergraduate Honors Theses Theses and Dissertations Spring 5-19-2015 Twelve-tone Serialism: Exploring the Works of Anton Webern James P. Kinney University of San Diego Follow this and additional works at: https://digital.sandiego.edu/honors_theses Part of the Music Theory Commons Digital USD Citation Kinney, James P., "Twelve-tone Serialism: Exploring the Works of Anton Webern" (2015). Undergraduate Honors Theses. 1. https://digital.sandiego.edu/honors_theses/1 This Undergraduate Honors Thesis is brought to you for free and open access by the Theses and Dissertations at Digital USD. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of Digital USD. For more information, please contact [email protected]. Twelve-tone Serialism: Exploring the Works of Anton Webern ______________________ A Thesis Presented to The Faculty and the Honors Program Of the University of San Diego ______________________ By James Patrick Kinney Music 2015 Introduction Whenever I tell people I am double majoring in mathematics and music, I usually get one of two responses: either “I’ve heard those two are very similar” or “Really? Wow, those are total opposites!” The truth is that mathematics and music have much more in common than most people, including me, understand. There have been at least two books written as extensions of lecture notes for university classes about this connection between math and music. One was written by David Wright at Washington University in St. Louis, and he introduces the book by saying “It has been observed that mathematics is the most abstract of the sciences, music the most abstract of the arts” and references both Pythagoras and J.S.
    [Show full text]