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    Reports of Rudiments of Music

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    Download as pdf
    463 views20 pages

    Rudiments of Music

    Uploaded by

    Era Gy
    Reports of Rudiments of Music

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
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    Download as pdf
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    Rudiments of Music 1 Staff, Bars, and Ledger Lines Staff This is a musical symbol having five parallel lines and four spaces. The lines and Spaces constituting the staff are referred to as “staff degrees”. Each line and space is considered to’ be a degree of the staff. Pitches are Tepresented by lines and spaces on the staff. E =| Bars are classified into two. These are the following: 1. Single Bar. A vertical line dividing the staff into measures. Bars - g = { a ef { iF 2. Double Bar. These are two vertical lines at the end of the staff which signify the end of the music. = double bar lines measure? bar lines Rudiments of Music 11 Ledger Lines ese are short lines drawn above and below the staff to provide notes outside the staff for continuity in reading music. notes are therefore called “ledger notes”. LEDGER LINES { —_ 4 = = “==. } LEDGER LINES Notation 3, Notes Notes are musical characters or symbols placed on the staff to Genote certain tones to be sounded. Notes may have one, two ee Or more parts which are the head, stem, and-hook or ooks. Notes have different shapes to determine their exact value; ie., their relative length or duration. The pitch of the depends on the position of the note-head on the lines and paces of the staff. - Whole Note — an open head without stem. — Half Note —an open eae head with stem. — Quarter Note — a closed note head with stem. Eighth Note — a closed note head with stem and one hook.* two hooks.* — Thirty-second Note — a closed note head with stem and three hooks.* — Sixty-fourth Note — a closed note head with stem and four hooks.* * 2 — Sixteenth Note —a closed note head with stem and 12 MUSIC I = FUNDAMENTALS OF MUSIC — Notice that an additional hook to the stem of a closed note decreases the value of the note to one-half of its original value. > Parts of a Note a head J stem 2 hook oD flag Notes and Their Corresponding Rests Notes. Notes determine the duration of tones to be sounded (played or sung) while rests denote silence. Notes and rests of the same kind have the same value. Rest, A rest denotes silence in the staff and its duration is the same as its corresponding note. Example — If it takes four beats to sing or play a whole note, the corresponding whole rest will also command four beats. In the following, notice the similarity in the construction of the whole rest and the half rest. Their only difference lies in the location of the bar. It is below the line in the case of the whole rest and above the line in the case of the half rest. Whole Half Quarter Note 0 d d 2 a Eight i Sixteenth Thirty-second Sixty-fourth LNGNG Nv | Rudiments of Music 13 Notes Classified ending Notes. A group of notes successively increasing trary Moving Notes. When notes go in opposite directions. as ated Notes. Term is self-explanatory. = | Tit spend a pen-ny of it, TU keep an-oth-er , Ne Notes. Tie notes are two or more notes of the same pitch he tie sign. Only the first note is sung or played. 14 MUSIC I — FUNDAMENTALS OF MUSIC Slur. Slur are two or more notes of different pitches with the tie sign. All notes are sung or played. Dotted Notes And Dotted Rests Single Dot A dot after a note or rest receives one half the value of the note or test it follows. In the following examples, the number of beats of the dotted notes‘and dotted rests on the left side is equal to the number of beats of the notes on the right side. Ina 3/4 time signature for example, a quarter note receives one beat. Therefore, a dotted quarter note will receive one plus one-half or one and a half beats. ome Ld Ye 7 =f Te ER Ww d ee ws ms 18 MUSIC I - FUNDAMENTALS OF MUSIC G—Clef And F-Clef Clef is a symbol placed at the beginning of each staff which in- dicates what. pitches are to be Tepresented by the lines and spaces. The first seven letters of the alphabet (A, B, C, D, E, F, and G) are used to represent what Pitches are to be used on the lines and spaces of the staves. G—Clef 2 G—Clef fixes the pitch on the second line of the staff. It is also called treble clef. 1. G—Clef or Treble Clef Staff 2. The pitch names of the notes located on the lines of the staff in a G—Clef may best be remembered by the first letters of the sentence, “Every Good Boy Does Fine”. 3. The pitch names of the notes located on the spaces of the staff form the letters of the word, FACE Rudiments of Music 27 Time Signature efinition Rhythm — Rhythm is the systematic division of musical jeas. Rhythm is any aspect of the rate of musical flow from s basic meter to the pattern of accents over a whole work. Time Signature — Time signature indicates the particular ‘thm to follow in a musical piece. There are two numbers ina 2e signature: one above the other. The upper number indicates number of beats in the measure and the lower number notes the kind of note that receives one beaty Example:% me signature means that there are three beats to a measure and i every quarter note receives one beat. %4 time signature s also written coah el yd edladaee | cl a eedaee| eee ee lee doe OL e Lda | 28 MUSIC I - FUNDAMENTALS OF MUSIC Symbols Affecting Time Signature A. Shape of Notes ies Rule: Whole note. When a stem is added to a whole note, it becomes a half note. The half note receives one-half of the duration of the whole note. The stem is placed to the right of the note when pointing upward and to the left when pointing downward. I o-ddef P . Half note, When the half note is blackened, it becomes a quarter note which then receives one-half the dura- tion of the half note. r 4 a Quarter note. When a flag is added to the quarter note, it becomes an eight note which will receive one — half the duration of the quarter note. d due Eight note. When another flag is added to the eight note, it becomes a sixteenth note which will receive one-half the duration of the eight note. aoe The addition of another flag, reduces to one-half the duration of the succeeding note. The numeri- cal name of the note is doubled as a flag is added. Eight/ sixteenth/ thirty second/ sixty fourth = 2 sixteenth notes Jee = 2 thirty second notes a = 2 sixty fourth notes = 2 one hundred twenty ae eight notes Areas of Music Instruction 2 ‘Music and children are synonymous. Before a child enters _ he has accumulated a fund of memorable music ex- ence through playing, moving, and most especially, through Unconciously, the child hums to the rhythm orimelody ounds that come his way. Singing is the child’s outlet of his emotions and energy. i: ss his natural means of recording the ideas and events that come his way. The Role of the Teacher The teacher is the epitome of joy and affection in the class- -som. Her smile and humanistic approach bring peace and con- S:dence in the minds of the children, especially to the so-called “not musically inclined’ - The teacher should strive to produce the correct quality for the particular songs she teaches. Example: 1. March should be bright, vigorous- . . Ballad should be gay, full of surprises because a * pallad is a story-telling song. 3. Folksong should amplify strong rhythmic character. f 4. Anthem should be symbolic of pride of one’s country. Waltz should be dainty. Caroll should exude joy. ( 7. Hymns should be solemn. an 4l 42 MUSIC I — FUNDAMENTALS OF MUSIC 1. y Classification of Voices Female Voices a. Soprano — the highest female veice Coloratura Soprano — a soprano with light agile yoice Specializing in elaborate music Lyric Soprano — the lighter timbre of soprano voice b.. Mezzo Soprano — voice Tange between the soprano and the alto c. Alto —the lowest female voice Male Voices a. Tenor — the highest adult male voice b. Baritone — voice Tange between tenor and bass ¢. Bass — the lowest male voice + No two children are alike even though they are of the same 1. The uncertain singers. Uncertain singers are confused in their singing due to lack of experience. This group needs varied singing experiences. 2. Children who are young for their years. This group is too immature to adapt to the singing standard set by the majority of their classmates. The immature child should be given opportunity to make adjustments ut his own speed. . 3. Indifferent singers. Indifferent singers lack interest. They may be ‘over-entertained or overfed or they may have been dulled by poverty and malnutrition. Tact and resourcefulness on the part of the teacher will be of great help in arousing and capturing the child’s musical growth. 4. Children with emotional disturbance. They may be retarded, non-singers, tone-deaf, and monotones. Their unfavorable attitude towards singing comes from fear, jealousy, or plain shyness. Sometimes the parents, without the least intention, cause these emotional wn Areas of Music Instruction 43 disturbances. They frighten their children saying, “Do not sing loud, your voice is not beautiful”. A thought- less remark in the presence of other people, even if they happen to be the child’s own classmates, make deep and lasting impression on the sensitive child. The teacher at times gives unsavory remarks and compares one’s singing with another with a pleasing voice. This brings about a hostile attitude on the part of the child toward singing. The téacher should, in her most diplomatic ways, give each child the opportunity to develop in his own way. The child must have the teeling of belonging, of being able to contribute, and + of being wanted by the group. ' Children with physiological handicaps‘ Children with clef palate, malformation of the tongue, dental arches, and other structural irregularities. While medical and speech experts are needed to help the children’s mus- cular coordination, the teacher can provide musical responsiveness without strain or tension ‘on their vocal expressions. Specially gifted children. This group comprises the more precocious boys and girls who are usually ahead of their group so that the ordinary songs given to the class seem babyish to the exceptional child. This group can be assigned by the enterprising teacher to lead in the class, to help the less gifted, to make researches, and to assist the teacher in functions within their ability. The child — be he talented or less talented, in- terested or less interested — has various idiosyncracies. The teacher must be cognizant of the implications that deal with the child’s musical growth and development. Dr. A. H. Chapman, a famous psychiatrist of the Uni- versity of Kansas advocates the use of the “three L’s love, limitations, and let-them live” in the up- bringing of children. 44 MUSIC I— FUNDAMENTALS OF MUSIC , Criteria In The Selection Of Songs 1, Musical value. The seven notes plus its term and sym- bols (lasting appeal) in formulating diversified sounds on the lines, spaces, and ledger lines bring astonishing impressions on the value of music. Suitability to the grade level. Aurally and visually, the songs are within the reading and singing capability of children. Suitability to the occasion. Songs prescribed for. the day and month sustain interest of and apgeal to child- Ten. Proper range. Songs within the vocal capacity of the children are not strenuous to learn. Research show that the average compass and pitch of the singing tones cf young children lie between the middle C and fifth- ‘line on the treble staff. Children acquire self-confidence} when singing songs within their vocal range. Beauty of tone. Melody is artistic and beautiful. Songs stir mood and rhythmic vitality in various ways: carole — joy waltz — daintiness lullaby — serenity march — pride jazz — activity anthem— nationalism Basic Activities in Singing alco PmorIAA Sing short, simple songs Sing dialogue songs (question/answer type) Sing individually phrases of songs Identify parts of song sang by the teacher, other class- mates, or from tape recordings Recognize similar, dissimilar, and repeated phrases Distinguish figures, motives, section, phrase, period Learn songs from note to rote and vice versa Sing rounds of three or more parts Observe musical symbols for tempo, dynamics, color Areas of Music Instruction 45 10. Conduct class contests for solo singing 11. , Sing as duet, trio, quartet, etc. se 12. Participate in school groups. ~~ Ee aA dR fethods of Rote Singing i. Whole — Entire 1. Teacher sings whole song. 2. Teacher calls for pupils’ reaction to the beauty and meaning of the song. 3. Teacher sings whole song two or more times, empha- sizing difficult parts. 4. Children repeat. Phrase or Part 1. Teacher sings whole song and explains its meaning. 2. Pupils comment on the melody, rhythm, form as guided by the teacher’s questions. 3. Teacher sings phrase one, pupils repeat after her. 4. Procedure continue until all phrases are learned. Analytic 1. Teacher sings whole song. 2. Pupils discuss the meaning and beauty of the lyrics. 3. Teacher sings whole song; pupils take note of similar and repeated phrases. 4. Teacher sings first repeated phrase as pupils repeat after her. 5. Procedure continues until all phrases are learned giving emphasis to similar and dissimilar phrases. Rote to Note “Ear to Eye”’ 1. Teacher sings whole song while children read silently with open books, 2. Pupils discuss meaning and beauty of the lyrics. 3. Teacher sings entire song while pupils hum the melody guided by the book. J Listening Music is surrounded by sounds which vary at some spects of time and space. Each person has a different quality * woice. Likewise instruments, whether string, wind, or percus- =. are characterized by the sound each produces. 46 MUSIC I — FUNDAMENTALS OF MUSIC The first school experience with music is listening. Child- ren listen to the teacher’s singing. Listening accelerates good singing habits. Listening stores up impressions and enables the children to enjoy the interesting differences in the mood and style of what they hear. Aural perception or listening is inherent in each phase of activity that contributes to musical growth. Listening goes hand in hand with all music activities. It cannot be separated nor segregated from other musical experiences. As in’ language communication, the two-way process of hearing and interpret- ing, and responding and expressing goes on. There are several levels of listening: 1. Passive or receptive listening — The listener is listening by circumstance. He may be in a dinner establish- ment where music is played to enhance eating and conversing. It is suggested that the teacher plan the kind of music to be listened to for the children to create a sense of expectation. Exploratory listening — A wide variety of music will arouse curiosity and interest of children. Different countries present different styles in music. The teacher should give pointers on listening to musical presenta- tions on television, radio, public concerts, private recitals, or school and community presentation. 3. Inner listening.— The listener makes a visual image from the music he hears or reads on notation. The movement of the notes may be running as water current, the chirping of the bird, or carefree as folksongs. 4. Normative listening — Normative listeners are evaluative of how the song was sung, played, interpreted. Is there a need for improvement? Is the musical piece, vocal or instrumental suited for dramatization and other rhythmic movements? The teacher should provide the norms or standard criteria for correct interpretation and expression of the music. 5. Interpretative listening — Interpretation can enrich listening. While it is non-musical, a piece of music can be dramatized. Likewise a verse, short poem or a picture may go with a piece of music. nN Areas of Music Instruction 47 6. Analytic listening — This is vocal or instrumental analysis. The listener recognizes the components of music and their organization (structural). Each component must be analyzed at a time. Remembered listening — This is self-explanatory. When listening is remembered, the music becomes more vivid and memorable to the listener. This is indicative of progressive musical growth, that is, the listener has graduated from the newest to the most advanced level of listening. . Physical comfort. The room must be spacious enough to bring about friendly atmosphere among the listeners. Permissive approaches. Attentive listening is almost always the teacher’s goal but the children can stand it only up to a certain time) Long sitting without activity is boring to children. Attention span is short and desire for action is long. On certain occasions, children should be allowed to hum the melody, to clap with the rhythm, to ask questions, or to comment on the music. 3. Example of the teacher. The teacher sings the song to give the children a first hand information on the activity. This is the most influential factor in con- ditioning children to sensitive and discriminative listen- ing. The most beautiful form of sound is music. The tadio, tape recorder, phonograph are just instruments which cannot operate independently, but the teacher’s example helps in effective listening. to Basic Activities Recognize tempo of song style — march, lullaby, waltz Feel strong and weak accents Identify like and unlike phrases Recognize song forms AB, ABA, AABB Recognize sound of instruments from each family (string, 48 MUSICI— FUNDAMENTALS OF MUSIC wind, percussive) Recognize repeated rhythmic melodies |dentify melodic movement Enjoy recitals, TV programs, concefts Experiment with different sounds heard in the streets, factories, blowing of horns of vehicles 10. Listen to tempo, recordings of folksongs of other countries s yl Listen to the singing of a group of classmates of songs learned in the classroom ss 12. Listen to melodies taught by their respective lolo and lolas 13. Recognize mood, tempo, different sounds of different instruments a 14, Gain acquaintance listening to folksongs of other countries Sel Distinguish | style of composition — kundiman, waltz {and fandanggo 16. Identify sound of individual rondalla instruments — guitar, octavina, laud, panduria 17. Listen to choral and instrumental recordings 18. Listen to music of different countries ,19. Feel the tempo — slow/fast 20. See live concerts and recitals at the Luneta Park, Pace Park, Jefferson Center, Goethe House. Cultural Cente of the Philippines. Folk Arts Theatre, Philam Life Audi torium, and other cultural venues —C. Moving Children sing, dance, and play to recreate their feelin: for every moving experience. They love to put into action tl memorable aspects and events that happen jn their dai experience. Just as the voice and instrument are used to effe music, dancing is translated and transmitted into musi expression. Dancing originated in the church as a physi response to deep emotion. Likewise, 2 floor pattern and desi for the feet is planned just as the organizational plan for mu is accomplished. Choreography is the arrangement of a tt to relate to formalized dance sequence. Through the use notes, various movements express the creative energies SO) 90) 1 OX Areas of Music Instruction 49 children in their daily existence. Unknowingly, musical experi- are going on without any formalities and hard effort. les of these are: Ordinary walking uses the quarter note A ea . i 2. Running is a faster movement, so the use of eight notes ai i ie 3. Galloping is horselike movement ie de oa 4. Hopping and skipping may use one foot at a time so the use of irregular movement 5 al aie 5, 5. Marching is moving evenly in walking notes 3 oy Holding requires long duration whole O O notes or sustaining with the use of fermata <7 . 7. Resting is silence with the use of rests § *T

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