Term
Saxophone parts are written in D
What are the horns written in? |
|
Definition
|
|
Term
| In a jazz piece with improvisation, what remains constant? |
|
Definition
| The underlying harmonic progression |
|
|
Term
| During the eighteenth and nineteenth centuries, which of the following typically involved improvisation as part of the performance? |
|
Definition
|
|
Term
1.Which of the following publications is most appropriate for a teacher to consult when seeking consensus-based recommendations concerning what students should know and be able to do in music in grades 4, 8, and 12?
(A)Handbook of Research on Music Teaching and Learning
(B)National Standards for Arts Education
(C)Opportunity-to-Learn Standards for Arts Education
(D)Strategies for Teaching: Guide for Music Methods Classes |
|
Definition
|
|
Term
| What instrument is used in the Kodaly Method? |
|
Definition
|
|
Term
| What instrument is used in the Orff method? |
|
Definition
|
|
Term
|
Definition
|
|
Term
Which of the following course offerings best reflects Reimer’s philosophy of aesthetic education?
(A)Private instrumental or vocal instruction for any interested student
(B)General music courses that involve listening, composing, and performing for all students
(C)Performance-driven courses that prepare students for giving instrumental and vocal concerts
(D)General music courses that focus on training students in aural and performance skills |
|
Definition
| The correct answer is (B). Reimer’s philosophy advocates that all students be actively involved in the music activities of listening, composing, and performing. |
|
|
Term
| Which of the following is best described as an affective student response to a performance of a jazz piece? (A)The student identifies the mode of the piece.(B)The student analyzes the form of the piece.(C)The student recognizes the performer.(D)The student asks to hear the piece again |
|
Definition
| The correct answer is (D). Asking to hear the piece again is the only affective student response given |
|
|
Term
| Best composer for high school madrigal choir? |
|
Definition
|
|
Term
| Beginning brass players often play with a tight throat and oral cavity to compensate for.... |
|
Definition
| beginning students learning to play brass instruments commonly restrict the throat and oral cavity to compensate for poor breath support, and thus produce a weak, thin sound. |
|
|
Term
| the arrangers Hall Johnson, William Dawson, and Jester Hairston are associated with which of the following genres? |
|
Definition
|
|
Term
Which of the following has the richest instructional potential for an integrated arts unit?
(A)Electronic music (B)Musical theater (C)Program music (D)Oratorio |
|
Definition
| (B). Musical theater provides integrated arts learning opportunities for students to study drama, dance, costume and set design, as well as music. |
|
|
Term
Which of the following statements best describes musical instrument digital interface (MIDI) ?
(A)The computer language that enables computers and electronic musical instruments to communicate with each other
(B)A hardware device connected to a computer that stores large amounts of audio information
(C)An electronic library of virtual instruments |
|
Definition
| (A). MIDI is a standardized digital communication protocol |
|
|
Term
Which of the following gives the most essential minimum requirements of an elementary school music program?
(A) Vocal classes for all students(B)General music classes for all students and elective programs and performance groups for interested students(C)Keyboard classes for all students and string and instrumental groups for interested students(D)Music appreciation and instrumental classes for all students |
|
Definition
| (B). General music classes for elementary students, especially for grades K–4, establish an important foundation for further specialized studies at later grade levels. Vocal classes, keyboard classes, and instrumental groups are valuable experiences that are best started after students have been introduced to music through a quality general music curriculum |
|
|
Term
| A student is asked to identify the features of a piece of music that indicate its style period. In which of the following domains is this task best categorized?(A)Cognitive (B)Affective (C)Attitude (D)Psychomotor |
|
Definition
| (A). The options given relate to Bloom’s taxonomy, originally outlined in the 1950s to describe three domains, or categories, of educational behavior: cognitive, affective, and psychomotor. Identifying the features and style period of a piece of music requires applying knowledge, and is therefore a cognitive task |
|
|
Term
| Which of the following statements is LEAST consistent with a contemporary approach to teaching harmony? (A)Aural recognition of harmonic techniques should begin with conceptualization of chordal spellings and progressions. (B)Rock and ethnic folk music offer students an opportunity to analyze and perceive basic harmonic progressions. (C)Perception of chord changes and progressions can be developed as early as the primary grades. (D)Aural recognition of modulation can be developed in early middle school students. |
|
Definition
| (A). Conceptualization of harmonic structure prior to aural training is the least in keeping with a contemporary approach to teaching harmony. Edwin Gordon, for example, contends that introducing students to theoretical understanding before they can discriminate music aurally can hinder development of abilities such as improvising and performing with proper intonation and rhythm. (B) would be dependent upon the particular rock or ethnic folk music that was being used. (C) and (D) relate to the issue of readiness, rather than to the approach or sequence to be used. |
|
|
