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| slower tempo; opposite of allegro |
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| pose in which working leg is extended with a straight knee directly behind the body |
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| pose modeled after the statue of te winged Mercury by Giovanni Bologna |
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| contained movement around an axis of the body |
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| dance is primary and nonfunctional with emphasis on boyd mastery for expressive and communicative purposes |
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| leap from one leg to another in which working leg is kicked or thrown away from body and into air |
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| grand jete en tournan (tour jete) |
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| dancere turns halfway in midair to land facing the direction in which the movement started |
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| arrangement of head, shoulders, arms, torso, legs while dancing |
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| creative dance involving specialized movement techniques emphasis on expression and communication |
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| sequences, motifs, and phrases developed as the choreo dance |
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| a step for two in classical ballet, by two dancers together |
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| passing position in which the foot passes by th knee of the supporting leg. |
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| 1960s, Cunningham, Graham, Humphrey, Limon, Taylor |
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| adagio movement which dancer pivots completely around on one foot while maintaing a pose with the working leg |
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| 1820-1870 ballet supernatural subject matter long white tutus dancing on the toes, theatrical innovationsdimming lights |
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| focusing eyes on one point in distance to keep balance while turning |
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| combination of tones that produces relaxation |
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| based on short theme called subject, both rhythmic and melodic motifs; one voice along; a second voice restates the subject; thir and fourth carrying the subject |
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| recurring group of notes, fifth symphony |
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| large section of a lengthy composition |
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| major orchestral piece with solo voices and chorus |
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| strings, woodwinds, brass, percussion |
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| main feature is the return to the main theme which alternates with secondary themes |
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| multimovement instrumental work for solo keyboard or keyboard and another instrument |
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| structure of a song in whic the first section of a simple ternary form is repeated (e.g.: AABA, ABA) |
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| elaborate musical composition 20-45 min |
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| rhythmic effect produced when the expected pattern is deliberately upset |
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| set of 5 lines and 4 spaces; higher the note, higher the pitch |
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| symbol in beginning of each staff indicating pitch or range of sounds |
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| vertical lines on the staff and containsa set of number of beats as determined by the time signature |
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| top # denotes the # of beats and bottom denotes type of note will receive the beat |
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| succession of notes arranged in an ascending order |
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| 6 categories of instruments |
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string
woodwind
brass
percussion
keyboard
electronic |
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guitar-plucked
viola, violin-high pitch
bass, cello-low pitch
harp-plucked |
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| 5 wind instruments (reed) |
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bassoon
oboe
sax
clarinet
flute |
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french horn
trombone
trumpet
tuba |
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cymbals
brass drum
snare drum
triangle
timpani
piano
xylophone |
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| 4 reasons to teach kids music |
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auditory skills-attentive listening, develop aural acuity-children must be able to hear and reproduce the tones of music in their minds when no sound is actually being produced
translative skills-reading/writing music, notation-develop cognitive associations of meaning, link visuals w music, learning in conjunction w music
creative skills
performance skills |
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| kids, music, performance skills |
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singing-develop interpretive skills and understanding of the structure and elements of music
instruments-understanding concepts of sound, pitch, ryhthm
body movement-promotes acuity of perception
conducting-fosters sensitivity
musical analysis-compare listening to exercises |
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| Implications for teaching music in classroom |
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-build active listening skills
-shape cognitive and mental processes
-its own forms, time periods, cultural characteristics
-enhance other subject areas-visual art
-extends beyond knowledge and skills
-form of therapy medium for self-expression
-instruments created from material from environment |
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| traditional theater, clear & simple plotting & characters, intellectual, little spectacle. Play should have 3 units (main action, unity of one physical space, and one of time), be written in 5 acts, avoid violence, don't mix comedy & tragedy |
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| commercial model, 19th century, after WWII, $, very long runs, star performers |
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| students improvise scenes for their own growth and edification, not that of an audience, to learn about theater |
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| traditional dramatic theory, portion of action that immediately follows the climax of a play. ties up loose ends. balancing harmony |
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| playwriting device of providing info for audience, retrospective exposition |
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| Elizabethan theatre, one of a tier of alcoves surrounding the interior of the yard where in enclosed boxes and on benches, those who could afford sat |
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| 1st in chain of events called rising action, throws the world of the play into disequilibrium (destroying stasis) |
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| plan of stage showing location of each lighting instrument, its size, characters, area of stage where light falls |
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| good are very good, bad are very bad, in between drama & tragedy, serious in tone, major figures in great jopardy |
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| Renaissance writers attempted to recapture glory of ancient Greece and Roman, 17th-18th Century, unities, rigid verse forms, concern for decorum on stage |
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| extinct genre of play, Italian Ren., countryside of numphs, styrs, shepherds, wandering knights, upbeat in tone, indulge in chance to dress up as peasants, singing, dancing, Recapture the Greek Satyr play |
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| some part of stage extends into and is surrounding by audience |
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| comedy-English restoration 1660-1700, glittering language, salacious plots, debauched characters |
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| Western, an opening in wall between 2 rooms: stagehouse and auditorium |
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| fairly narrow array of audiences, keeping them in front of center of arch |
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| tunnels allo audience to enter and exit the large theaters with ease |
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| French Impressionist, Water Lillies, patterns of water lilies floating on a pond |
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| heavy in light, curved or straight, positive and negative, formal or informal |
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| representing 3-d on flat surface, Ranaissance based on math, realistic appearance, converging lines give illusion of depth, Basilica di San Lorenzo, Florence, Italy-vanishing point at end of alter |
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| create depth and dimension, overlapping, color, size, contrast, darker objects appear closer when using lighter and duller colors for distant objects. lighter objects lose focus and clariy as the appear farther away |
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-middle ages
-renaissance
-baroque
-classical
-romantic
-modern |
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| christianity, crusades, universities, longest period, influenced by Islam, sacred music, monophonic syle, secular song performed by troubadours |
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| end of feudalism, humanism, scientific advances, patronage, keyboard, lute, printing press, harmony |
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| science, new world, Monteverdi, Handel, Bach (composers), ornate style, counterpoint, melodic line, homophonic style (chords), theme and variation, court composers, OPERA, orchestra, ballet, sonato |
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| industrial revolution, age of reason/enlightenment, ORCHESTRA, flutes/oboes, trombones, piano, Rococo style, elegance, grace, string quartet (two violins, viola, cello), Mozart, Beethoven, Haydn |
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| European Nationalism, new social orders, intense emotion, Poe in literature, Chopin, Liszt, Berlioz, Mendelssohn, Schumann, expressive style, folk music used to express cultural identity, concert overture, symphonic poem, virtuoso performers. |
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| Rebellion, nationalism, folk idiom, Copland's Appalachian Spring, widening gap between art and popular music (Beetles), Polytonality (playing two keys at once), Puccini Operas (Madonna Butterfly, La Boheme), Debussy & Impressionism, Stravinsky, blues, jazz, country, hiphop, folk, R&B, Rock&Roll |
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-Ancient Greek
-Roman
-Medieval
-Renaissance/Reformation
-Elizabethan
-Restoration England
-Eighteenth Century
-Nineteenth Century
-Twentieth Century |
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-intent
-structure
-effectiveness
-worth |
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| amphitheaters, Sophecles (tragedy plays), influence of gods, violence took place offstage, Thespis was first actor, Dionysus Festivals (tragedies, comedies, satire), plots from legends, masks were used to show age and emotion, woman were barred from acting |
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| less influence by religion, subplot, women were minor parts, Spectacles of the Coliseum, Mass appeal/impressive theaters, raised stage replaced Greek semicircle, Christian later disapproved of low comedy and pagan rituals |
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| theater buildings not permitted, minstrels, traveling groups, jugglers, open stage, Latin/Bible stories, allegory, Passion, Miracle plays, town guilds |
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| Rebirth of Classical Greek & Roman art, culture, literature, professional actors, emphasis on performer, State licensed official theater companies, acting groups, situational comedy, improvisation,moving away from Catholic church |
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| Chrisopher Marlow, Ben Johnson (playwrights), patronage, raucous, open-air theater, satire, educated language, Shakespeare (late 1500-early 1600) |
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| 1642 Parliament closed theaters in England, French new technology for scenery changes, Proscenium Stage, enclosed arches, scene changes slid, Racine and Moliere influenced playwrighting, woman appeared onstage as boys |
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| acting mimic real life, acting was prominent, dealt with ordinary people, commercial theater evolved, changes in society led direction in theater |
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| industrial revolution, gas lighting changed to electrical, melodrama, actor predominated over author, Shaw, Ibsen, Chekhov stood out, serious drama, playhouses in major cities in USA, Golden Age of American Theater-1420 touring companies, moving away from hero characters/vaudeville, mass appeal, sophisticated plots and staging |
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| social upheaval after WWI & II, realism, naturalism, symbolism, impressionism, follies, commercial theaters, Oklahoma, Phantom, Actor's Studio (Kazan & Strasberg), Experiential Theater (against naturalism), community & ensemble group theater, comedy playwright-Neil Simon |
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