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7/27/2019 S_R Workshop Rhythm
http://slidepdf.com/reader/full/sr-workshop-rhythm 1/13
Music LiteracyRhythm
Carol J. Krueger
Director of Choral Activities
Emporia State University
“Musical literacy is as universally
possible as linguistic literacy and the
development of such literacy is an
obligation of the schools.”
Lois Choksy
Pedagogy
• Based on: – Johann Heinrich Pestalozzi’s Sound-Before-Sight-Before Theory – Zoltan Kodàly’s four-step learning process Prepare—Present—Practice—Prove – Edwin Gordon’s Music Learning Theory
Music is an aural art.
• Sound – Hear, sing/chant through imitation before reading and writing
• Sign – Sound + verbal association (syllable)
• Symbol – Visual representation of the sound/sign
• Theory – Give principles and theory only after practice and as they become relevant
Music Educator must…..• be committed to improving the literacy level;• communicate enthusiastically the importance of music
literacy;
• believe in your students’ ability to learn to hear, chant/sing,
read, write and create music.
Literacy ProcessSound before Sight
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Tools
Methods for Reading Rhythm
Rhythm Syllables in Simple Meter
Gordon du du de du da di du ta de taTakadimi ta ta di ta ki da ta ka di mi
Kodály ta ti ti tri o la ti ka ti ka
McHose-Tibbs 1 2 te 3 la le 4 ta te ta
Rhythm Syllables in Compound Meter
Gordon du du da di du de du ta da ta di taTakadimi ta ta ki da ta di ta va ki di da maKodály ta ti ti ti ti ti ti ka ti ka ti ka McHose-Tibbs 1 2 la le 3 te 4 ta la ta le ta
Teach Physical ResponseInternal Feeling of Pulse
Simple Meter
• Beat (macro) – Walk in place – Down-Up patsch
• Beat division (micro) – Down-up Principle
• Beat subdivision – Two on down beat – Two on upbeat
• Borrowed Beat – Circular motion
Compound Meter
• Beat (macro) – Walk in place – Circular motion patsch
• Beat division (micro) – Circular patsch – Down-up-up patsch
• Beat subdivision – Two on each part of
division• Borrowed beat
– Down-up Principle
Teach Physical ResponseInternal Feeling of Meter
• Duple Meter – Patsch—Touch
• Triple Meter – Patsch—Touch—Touch
• Quadruple Meter – Patsch—Touch—High Patsch—Touch
SIMPLE METER
BEAT LEVEL DIVISION SUBDIVISION
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TIES & EXTENSION DOTS
BEAT LEVEL DIVISION SUBDIVISION
TAKADIMI-SYNCOPATION
BEAT LEVEL DIVISION SUBDIVISION
TAKADIMI-COMPOUND METER
BEAT DIVISION SUBDIVISION
TAKADIMI—COMPOUND METER
• TIES & EXTENSION DOTS • SYNCOPATION
Musical Literacy Procedure
• Phase I—Reading Readiness or Preparation• Phase II—Symbolic Association• Phase III—Melodic Reading
– Integrating Tonal and Rhythm
Phase I Reading Readiness or Preparation
• Train the ear –
“In the ear and out the mouth”
• Process centers around rote learning (imitation)
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Phase IA: Aural-Oral Skill Development “ In the ear and out the mouth”
• Rhythm Procedure – Teacher chants rhythm patterns on neutral syllable
while patsching the beat. – Students echo on neutral syllable while patsching the
beat.
Phase IB: Verbal Association
• Rhythm Procedure – Teacher chants rhythm patterns on rhythm syllables
while quietly patsching or walking (heel march) to the
beat; – Students echo on rhythm syllables while quietly
patsching or walking (heel march) to the beat. Simple Meter: Beat division use down-up motion.
Phase IC: Generalization
• Rhythm Procedure – Teacher chants rhythm patterns on neutral
syllable; – Students echo on rhythm syllables while
patsching the beat.• Application to Literature
– Aurally recognize rhythm patterns in familiarpieces of music
National StandardStudents should sing alone and with others.
• Teaching Technique—Edwin Gordon – Teaching Mode: Teacher performs pattern in duet with student or
three to five students simultaneously echo pattern.
– Evaluation Mode: Teacher chants pattern and student echoes the
pattern alone.
Pattern SequenceLevel I
Level II
Rhythm and Phrasing • Not every downbeat
has the same weight – 1 → 2, 3, 4 – 1, 2 → 3, 4 – 1, 2, 3 → 4 – 1, 2, 3, 4 → 1
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Rhythm and Phrasing
• Long time values can
NOT be static; they
need direction.• Similar options for
phrasing.
Rhythm and Phrasing
• Shorter times values are always
weak and create forward
motion: – Both eighth notes move forward (A); – Both eighth notes move away (B); – Combination ( C)
• In dotted rhythms, the shorter
notes belong to the next note
Phase I Activities
• Aurally differentiate between: – Beat vs Rhythm – Meter: Simple vs Compound – Tempo: Fast vs Slow – Same vs Different Rhythm Patterns
• Play “Ball Game” – Catch and Pass
• Play “Family Feud” – Aural / Oral – Verbal Association – Generalization
•
Improvise using rhythm patterns
Phase I Activity: Beat/Anacrusis
• W W W W W W W W • W W W W W W W C • W W W W W W C C • W W W W W C C C • W W W W C C C C • W W W C C C C C • W W C C C C C C • W C C C C C C C W = WALK C = CLAP
• C C C C C C C C • C C C C C C C W • C C C C C C W W • C C C C C W W W • C C C C W W W W • C C C W W W W W • C C W W W W W W • C W W W W W W W
Phase I Activity: Poly-Metric
1 2 3 4
2 3 4 13 4 1 2
4 1 2 3
Phase II: Symbolic Association
• Visually associate symbols (notation) with the sign(syllables + sound)
• Read patterns learned during the “reading readiness” phase• Read exercises
– Drill – Silent Reading, Audiation, Canon, Retrograde Canon – Error Detection
• Dictation• Create and compose
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Notation of RhythmAssociate Sign (Sound + Syllable) with Symbol
• Notes
• Rests
Parts of a Note
Reading-Rhythm• Rhythm Pattern: Determine meter, set an appropriate tempo, establish
meter, chant pattern. Silently patsch beat with dominant hand.
• Rhythm Exercise
Audiation Skills
• Silent Reading
• Ensemble Exercise or Exercise for One Persona.
b.
Ensemble Exercise or Exercise for One Person a.
b.
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Apply Skills to Literature
•
Read rhythm only in literature
Angel Song Mary Goetze, AMP 0439
• Retention is dependent upon immediate and consistent use of skill.
Apply Skills to Literature
• Read rhythm only in literatureO Music, Thou Most Lovely Art Johann Jeep (1532-1650)
• Retention is dependent upon immediate and consistent use of skill.
Phase II Rhythm Activities
• Use Rhythm Flash Cards• Identify Rhythm Patterns
• Rhythm Tap – Rhythm is tapped on
student’s back; studentechoes pattern on rhythmsyllables;
– Rhythm is tapped onstudent’s back; studentwrites rhythm in shorthandand then chants on syllables
– Student read rhythm fromcard, taps rhythm on nextstudent’s shoulder; useprocess above.
• Rhythm Bingo
• Tic-Tac-Toe Rules for Treble Trek
• Divide class into 2 teams• Teacher sings/chants patterns; a
student from each team notatespattern.
• 1st student correct, team moves2 spaces
• 2nd student correct, team
moves 1 space.• Only 1 student correct, team
moves 3 spaces.• Only 2 chances per round.• If no one is correct, each team
moves back one space.• Class should read correctly
notated pattern
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Jeopardy
“Some
En’chanted
Evening”
“The Long
and
Short of It”
“Short
Lived”
“Do You
Hear What
I Hear?”
“Terms of
Endearment”
100 100 100 100 100
200 200 200 200 200
300 300 300 300 300
400 400 400 400 400
500 500 500 500 500
Concentration
Flashcard
#1A
Flashcard
#3B
Flashcard
#4A
Flashcard
#5B
Flashcard
#2A
Flashcard
#1B
Flashcard
#5A
Flashcard
#4B
Flashcard
#3A
Flashcard
#2B
Flashcard
#6A
Flashcard
#6B
Use Game Format for Bulletin BoardAural Skills
• Error Detection – Include “negative ear training” exercises
Musical Memory Skills
• Students echo rhythm in canon one measurelater;
• Game: Add a two-beat rhythm pattern
• Four measure rhythm, erase one measure
after each repetition.
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• Musical Memory Skills • Musical Memory Skills
• Musical Memory Skills • Musical Memory Skills
Rhythm Dictation—Option 1
• Popsicle Sticks
Rhythm Dictation—Option 2
• 3 X 5 Cards—Simple Meter
œ
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Rhythm Dictation—Option 2
• 3 X 5 Cards: Simple Meter œ œ
jœ ‰ ‰ j
œ
œ
jœ
jœ
Rhythm Dictation—Option 2
• 3 X 5 Cards—Compound Meter
œ œ œ œjœ
jœ œ
.˙.œ
Rhythm Dictation—Option 3
• Dictation ShorthandRhythm Dictation—Option 3
• Dictation Shorthand—Multi-Meter
Rhythm Dictation—Option 3
• Dictation Shorthand—Compound Meter
• Compound Multi-Meter
Composition/Writing Skills
• Rhythm—Phase II• 3 X 5 Cards• Popsicle Sticks
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Composition/Writing Skills
• Select four of the patterns and then create your own composition.
Composition
44
˙ œ œ
44w
44
œ œ ˙
44
˙ ˙
44
œ Œ œ œ
44 Œ œ œ œ
44
Phase I Assessment
Listen as two patterns areperformed and then determine if they are the same or if they aredifferent. 1. Same Different2. Same Different3. Same Different4. Same Different5. Same Different
Listen as a rhythm pattern isperformed and then determine if the pattern contains an upbeateighth note or a downbeat eighthnote.1. ⇑ beat e ⇓ beat e
2. ⇑ beat e ⇓ beat e 3. ⇑ beat e ⇓ beat e 4. ⇑ beat e ⇓ beat e
5. ⇑ beat e ⇓ beat e
Phase II Assessment (Visual Only)
• Matching: Match the rhythm notation to the corresponding syllablesNotation Rhythm Syllables
___1. a. Too –oo (Shh) Ta___2. b. Too-oo Ta Ta___3. c. Ta (Shh) Too -oo___4. d. Ta (Shh) (Shh) Ta
44
˙ œ œ
44
œ Œ ˙
44
œ Œ Œ œ
44
˙ Œ œ
Phase II Assessment (Visual Only)
• Matching: Match the rhythm notation to the corresponding shorthand.Notation Rhythm Shorthand
___1. a.
___2. b.
___3. c.
___4. d.
44
˙ œ œ
44
œ Œ ˙
44
œ Œ Œ œ
44
˙ Œ œ
R
R
R R
Phase II Assessment (Visual Only)
• Complete each of the missing sections.Notation Rhythm Syl lables Short Hand
1.
2. Tah - Tah - Too-oo
3.
4.
44
˙ œ œ
44
˙ Œ œ
R
Phase II Assessment (Symbol & Aural-oral)
• Listen as a pattern is performed on a neutral syllable. Circle the letter
of the music notation that corresponds to the pattern performed.
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Literacy ProcessSound before Sight
Musicianship Skills Choral Ski lls
Vocal Skills
Musicianship Skills Choral Ski lls
Vocal Skills
Literature
J’aime La Galette
Lift Up Your Voice and Rejoice Sanctus
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Zither, Zinga, Zing! Fare Ye Weel
DomaredansenFrom Where I Stood
• Super Triplets – Page 11, measure 43
Progressive Sight Singing Oxford University Press
Companion Website
http://www.oup.com/us/krueger E-Mail
Workshops
January 17: Des Moines, IA
January 18: Overland Park, KS
February 21: Memphis, TN May 5-7: Santa Monica, CA
June 6-10: Morningside College, Sioux City, IA
June 13-15: Winchester, VA
June 20-24: Emporia State University, Emporia, KS
June 27-29: Meredith College, Raleigh, NC
http://www.ncmusicworkshop.com/