Music Its Role and Importance in Our Lives Chapter 5 Review Answers

Music: Fundamentals and Educational Roots in the U.S.

Students volition be able to define music as a subject.
Students volition be able to explicate seven basic music elements.
Students will be able to talk over music educational activity and pedagogy in the U.S., which provides the foundation of the subject field of music.
Students will be able to learn ways to teach basic music vocabulary.

Chapter Summary: The first half of this chapter attempts to define music as a subject and offers perspectives on music, including basic vocabulary and what you should know well-nigh music in guild to incorporate it in your piece of work with children. The 2nd half gives a brief overview of music education and didactics in the U.S., which provides the foundation of the discipline for the book.

Defining Music

"Music" is 1 of the most hard terms to define, partially because beliefs near music have changed dramatically over time just in Western culture lone. If we await at music in different parts of the earth, we find even more than variations and ideas almost what music is. Definitions range from applied and theoretical (the Greeks, for instance, divers music as "tones ordered horizontally every bit melodies and vertically as harmony") to quite philosophical (according to philosopher Jacques Attali, music is a sonoric outcome between dissonance and silence, and according to Heidegger, music is something in which truth has set up itself to work). In that location are as well the social aspects of music to consider. As musicologist Charles Seeger notes, "Music is a system of advice involving structured sounds produced by members of a community that communicate with other members" (1992, p.89). Ethnomusicologist John Blacking declares that "nosotros can go further to say that music is sound that is humanly patterned or organized" (1973), covering all of the bases with a very broad stroke. Some theorists even believe that there can be no universal definition of music because information technology is and so culturally specific.

Although we may find it difficult to imagine, many cultures, such as those found in the countries of Africa or among some indigenous groups, don't have a word for music. Instead, the human relationship of music and trip the light fantastic toe to everyday life is then shut that the people accept no need to conceptually separate the two. According to the ethnomusicologist Bruno Nettl (2001), some North American Indian languages have no word for "music" as singled-out from the word "song." Flute melodies too are labeled as "songs." The Hausa people of Nigeria take an extraordinarily rich vocabulary for discourse most music, only no single word for music. The Basongye of Zaire accept a broad formulation of what music is, simply no respective term. To the Basongye, music is a purely and specifically homo product. For them, when you are content, you sing, and when y'all are angry, yous make noise (2001). The Kpelle people of Liberia have 1 give-and-take, "sang," to describe a movement that is danced well (Stone, 1998, p. vii). Some cultures favor certain aspects of music. Indian classical music, for case, does not contain harmony, but but the three textures of a melody, rhythm, and a drone. Even so, Indian musicians more make upwards for a lack of harmony with complex melodies and rhythms not possible in the West due to the inclusion of harmony (chord progressions), which require less circuitous melodies and rhythms.

What we may hear as music in the Westward may not be music to others. For example, if we hear the Qur'an performed, information technology may audio similar singing and music. We hear all of the "parts" which we call up of as music—rhythm, pitch, melody, class, etc. However, the Muslim understanding of that sound is that it is really heightened spoken language or recitation rather than music, and belongs in a dissever category. The philosophical reasoning behind this is complex: in Muslim tradition, the idea of music as amusement is looked upon every bit degrading; therefore, the holy Qur'an cannot be labeled as music.

Activity 2A

Listen

Qur'an Recitation, 22nd Surah (Chapter) of the Qur'an, recited by Mishary Rashid Al-'Efasi of Kuwait.

Although the verbal definition of music varies widely even in the West, music contains melody, harmony, rhythm, timbre, pitch, silence, and form or structure. What we know nigh music so far…

Music is comprised of sound.
Music is fabricated up of both sounds and silences.
Music is intentionally made fine art.
Music is humanly organized sound (Bakan, 2011).

A working definition of music for our purposes might be every bit follows: music is an intentionally organized fine art course whose medium is sound and silence, with cadre elements of pitch (melody and harmony), rhythm (meter, tempo, and articulation), dynamics, and the qualities of timbre and texture.

Beyond a standard definition of music, in that location are behavioral and cultural aspects to consider. As Titon notes in his seminal text Worlds of Music (2008), we "make" music in ii dissimilar ways: nosotros make music physically; i.e., we bow the strings of a violin, we sing, we press down the keys of a piano, we blow air into a flute. We also brand music with our minds, mentally constructing the ideas that we have about music and what we believe about music; i.e., when information technology should be performed or what music is "skillful" and what music is "bad." For example, the genre of classical music is perceived to have a college social status than popular music; a rock band's lead vocalizer is more valued than the drummer; early on blues and rock was considered "evil" and negatively influential; we label some songs every bit children'south songs and deem them inappropriate to sing later a certain age; etc.

Music, higher up all, works in sound and time. Information technology is a sonic event—a advice merely like speech communication, which requires united states to listen, process, and respond. To that end, it is a role of a continuum of how we hear all sounds including noise, speech communication, and silence. Where are the boundaries between noise and music? Between racket and speech? How does some music, such equally rap, claiming our original notions of speech and music by integrating oral communication as office of the music? How practise some compositions such as John Cage's 4'33'' challenge our ideas of artistic intention, music, and silence?

Activity 2B

Imagine the audience'due south reaction equally they experience Cage's iv'33" for the get-go fourth dimension. How might they react afterwards fifteen seconds? thirty? One minute?

Basic Music Elements

Sound (overtone, timbre, pitch, aamplitude, duration)
Melody
Harmony
Rhythm
Texture
Structure/grade
Expression (dynamics, tempo, articulation)

In order to teach something, we demand a consensus on a basic list of elements and definitions. This list comprises the bones elements of music as nosotros sympathize them in Western culture.

1. Audio

Overtone: A key pitch with resultant pitches sounding above it co-ordinate to the overtone series. Overtones are what give each note its unique sound.

scout this throat-singing

Timbre: The tone colour of a audio resulting from the overtones. Each voice has a unique tone color that is described using adjectives or metaphors such as "nasally," "resonant," "vibrant," "strident," "high," "low," "breathy," "piercing," "ringing," "rounded," "warm," "mellow," "dark," "bright," "heavy," "light," "vibrato."

Pitch: The frequency of the note'due south vibration (annotation names C, D, E, etc.).

Amplitude: How loud or soft a sound is.

Duration: How long or brusque the audio is.

two. Melody

A succession of musical notes; a series of pitches frequently organized into phrases.

3. Harmony

The simultaneous, vertical combination of notes, usually forming chords.

four. Rhythm

The organization of music in fourth dimension. Also closely related to meter.

5. Texture

The density (thickness or thinness) of layers of sounds, melodies, and rhythms in a piece: e.one thousand., a complex orchestral limerick will have more possibilities for dense textures than a vocal accompanied only past guitar or piano.

Most common types of texture:

Monophony: A single layer of sound; e.yard.. a solo voice
Homophony: A tune with an accompaniment; e.1000., a lead singer and a band; a vocalist and a guitar or piano accompaniment; etc.
Polyphony: Two or more independent voices; e.grand., a round or fugue.

watch this Musical Texture

half-dozen. Construction or Form

The sections or movements of a piece; i.eastward. verse and refrain, sonata course, ABA, Rondo (ABACADA), theme, and variations.

7. Expression

Dynamics: Volume (aamplitude)—how loud, soft, medium, gradually getting louder or softer (crescendo, decrescendo).

Tempo: Beats per minute; how fast, medium, or wearisome a piece of music is played or sung.

Articulation: The way in which notes are played or words pronounced: e.g., long or curt, stressed or unstressed such every bit short (staccato), shine (legato), stressed (marcato), sudden emphasis (sforzando), slurred, etc.

What Practice Children Hear? How Practice They Answer to Music?

At present that we have a list of definitions, for our purposes, let's refine the definition of music, keeping in heed how children perceive music and music'southward constituent elements of audio (timbre), melody, harmony, rhythm, structure or course, expression, and texture. Children'southward musical encounters tin can be cocky- or peer-initiated, or teacher- or staff-initiated in a classroom or daycare setting. Regardless of the type of encounter, the basic music elements play a significant part in how children reply to music. One of the most important elements for all humans is the timbre of a audio. Recognizing a sound's timbre is meaning to humans in that it helps us to distinguish the source of the sound, i.e. who is calling us—our parents, friends, etc. Information technology also alerts u.s.a. to possible danger. Children are able to discern the timbre of a audio from a very young historic period, including the vocal timbres of peers, relatives, and teachers, too every bit the timbres of different instruments.

Studies show that fifty-fifty very immature children are quite sophisticated listeners. As early as two years of historic period, children respond to musical mode, tempo, and dynamics, and even show preference for certain musical styles (e.g., pop music over classical) beginning at historic period five. Metz and his peers affirm that "a mutual competence found in young children is the enacting through movement of the music'southward most constant and salient features, such equally dynamics, meter, and tempo" (Metz, 1989; Gorali-Turel, 1997; Chen-Hafteck, 2004). On the aggregate level, children physically respond to music's beat out, and are able to motility more than accurately when the tempo of the music more than clearly corresponds to the natural tempo of the child. As nosotros might wait, children answer to the dynamic levels of loud and soft quite dramatically, irresolute their movements to match changing book levels.

The fact that children seem to respond to the expressive elements of music (dynamics, tempo, etc.) should not come as a surprise. Most people answer to the same attributes of music that children practice. We hear changes in tempo (fast or slow), changes in dynamics (loud or soft), nosotros physically answer to the rhythm of the bass guitar or drums, and we heed intently to the melody, particularly if there are words. These are among the well-nigh ear-communicable elements, along with rhythm and tune.

This is what we would wait. Notwithstanding, there are other studies whose conclusions are more vague on this subject. According to a study by Sims and Cassidy, children's music attitudes and responses do not seem to be based on specific musical characteristics and children may have very idiosyncratic responses and listening styles (1997). Mainly, children are not-discriminating, reacting positively to almost whatever blazon of music (Kim, 2007, p. 23).

Activity 2C

What type of music might children best respond to given their musical perceptions and inclinations? Is in that location a detail genre of music, or detail song or ready of songs? How might you lot get them to respond actively while engaging a loftier level of cerebral composure?

Music Didactics Vocabulary

After familiarizing yourself with the bones music vocabulary list in a higher place (east.g., tune, rhythm), familiarize yourself with a practical teaching vocabulary: in other words, the music terms that you might use when working in music with a lesson for children that represent to their natural perception of music. For nigh children, the basics are easily conveyed through concept dichotomies, such equally:

Fast or Slow (tempo)
Loud or Soft (dynamics)
Short or Long (articulation)
High or Depression (pitch)
Steady or Uneven (beat)
Happy or Sad (emotional response)

Interestingly, three pairs of these dichotomies are found in Lowell Mason'southward Manual for the Boston Academy of Music (1839).

For slightly older children, more avant-garde concepts can be used, such equally:

Duple (2) or Triple (3) meter
Melodic Contour (melody going up or down)
Rough or Smooth (timbre)
Verse and Refrain (form)
Major or Minor (scale)

Music Fundamentals

The emotive aspects of music are what most people respond to start. However, while an important part of music listening in our culture, simply responding subjectively to "how music makes yous feel" is similar to an Olympic judge maxim that she feels happy when watching a gymnast's vault. It may very well be true, but it does not assistance the guess to understand and evaluate all of the elements that go into the execution of the gymnast's practice or how to gauge it properly. Studies bear witness that teachers who are familiar with music fundamentals, and peculiarly note reading, are more than comfortable incorporating music when working with children (Kim, 2007). Even but knowing how to read music changes a teacher's confidence level when it comes to singing, so it's important to have a few of the basics nether your chugalug.

Preparation for Learning to Read Music

Formal note reading is not required in order to understand the basics of music. Younger children can learn musical concepts long before learning written notation. Applying some of the vocabulary and concepts from in a higher place volition help you lot begin to discern some of the inner workings of music. The skilful news is that whatsoever type of music tin can be used for practice.

Melodic Management. Just beingness able to recognize whether a tune goes up or downwards is a large step, and an of import auditory-cognitive process for children to undergo. Imagine the melody of a vocal such as "Row, Row, Row Your Boat." Sing the song dividing it into ii phrases (phrase 1 begins with "row," phrase 2 begins with "merrily"). What is the direction of phrase i? Phrase ii? Draw the direction of the phrase in the air with your finger as y'all sing.
Timbre. Practice describing different timbres of music—play different types of music on Pandora, for case, and endeavor to describe the timbres you hear, including the vocal timbre of the singer or instrumental timbres.
Expression. At present practice describing the expressive qualities of a vocal. Are there dynamics? What blazon of articulation is there? Is the tempo fast, dull, medium?

Learning Notation: Pitch

Information technology sounds uncomplicated, but notes or pitches are the building blocks of music. Just being able to read simple notation will help build your conviction. Learning notes on a staff certainly seems dull, but coming up with mnemonics for the notes on the staff tin really be fun. For example, nigh people are familiar with:

Every Good Boy Deserves Fudge to signal the treble clef line notes
F A C E to signal the treble clef space notes
Good Boys Deserve Fudge Ever for the bass clef line notes
All Cows Eat Grass for the bass clef space notes
Only allowing children to develop their own mnemonic device for these notes can a creative way to have them ain the notes themselves. How about Grizzly Bears Don't Fly Airplanes for the lines of the bass clef, or Empty Garbage Earlier Dad Flips or Elephants Get Big Muddied Anxiety for the lines of the treble clef?

Notes of the Treble Staff

Notes of the Bass Staff

Annotation Review: Spell Words with Notes

Learning Notation: Rhythm

Rhythm concerns the system of musical elements into sounds and silences. Rhythm occurs in a melody, in the accessory, and uses combinations of short and long durations to create patterns and entire compositions. Rests are every bit important to the music as are the sounded rhythms considering, simply like linguistic communication, rests use silence to assist organize the sounds so we can better empathize them.

Notes and rests

Whole notation	Whole residuum
Dotted half note	Dotted one-half remainder
One-half annotation	One-half rest
Quarter note	Quarter rest
Eighth notation	8th rest
Sixteenth note	Sixteenth residuum

Rhythm Practice: Label each rhythm

Learning Notation: Meter

Meter concerns the organization of music into strong and weak beats that are separated by measures. Having children feel the stiff beats such as the downbeat, the first beat in a measure, is relatively easy. From there, it's a affair of counting, hearing and feeling how the strong vs. weak beats are grouped to create a meter.

Duple Meters

In duple meter, each measure contains groupings of ii beats (or multiples of two). For example, in a two/4 time signature, there are two beats in a mensurate with the quarter note receiving i beat or 1 count. In a four/iv time signature, there are four beats in a measure, and the quarter note also receives one beat or count.

Examples of 2/4 Rhythms

Examples of 4/4 Rhythms

Triple Meters

In triple meter, each measure contains three beats (or a multiple of three). For example, in a 3/4 time signature, there are three beats in a measure and the quarter notation receives one beat.

Examples of 3/4 Rhythms

Chemical compound Meters

Both duple and triple meter are known as uncomplicated meters—that means that each beat can exist divided into two 8th notes. The time signature 6/8 is very common for children's rhymes and songs. In 6/eight, there are six beats in a measure out with each eighth note receiving one beat. 6/8 is known every bit a compound meter, pregnant that each of the two principal beats tin can be divided into iii parts.

Examples of 6/8 Rhythms

Learning Annotation: Dynamics

Learning some basic concepts of dynamics and tempo will allow you meliorate access to involve children in music listening and making.

The 2 basic dynamic indications in music are:

p, for pianoforte, meaning "soft"
f, for forte, meaning "loud" or actually, with force, in Italian

More subtle degrees of loudness or softness are indicated by:

mp, for mezzo-piano, meaning "moderately soft"
mf, for mezzo-forte, meaning "moderately loud"

There are also more farthermost degrees of dynamics represented by:

pp, for pianissimo and significant "very soft"
ff, for fortissimo and meaning "very loud"

Terms for irresolute volume are:

Crescendo (gradually increasing volume)
Decrescendo (gradually decreasing book)

Crescendo

Decrescendo

Dynamics Practise

Fill in the blanks below using the post-obit terms: fortissimo, pianissimo, mezzo-forte, mezzo-piano, crescendo, decrescendo, forte, piano

1. p

2. f

iii. ff

iv. mp

6. mf

7. pp

Learning Notation: Tempo

Tempo is the speed of the music, or the number of beats per infinitesimal. Music's tempo is rather infectious, and children respond physically to both fast and ho-hum speeds. The following are some terms and their beats per minute to help y'all guess dissimilar tempi. The terms are in Italian, and are listed from slowest to fastest.

Larghissimo: very, very slowly (19 beats per minute or less)
Grave: slowly and solemnly (twenty–xl bpm)
Lento: slowly (twoscore–45 bpm)
Largo: broadly (45–fifty bpm)
Larghetto: rather broadly (50–55 bpm)
Adagio: slow and stately (literally, "at ease") (55–65 bpm)
Andante: at a walking pace (the verb andare in Italian means to walk) (73–77 bpm)
Andantino: slightly faster than andante (78–83 bpm)
Marcia moderato: moderately, in the manner of a march (83–85 bpm)
Moderato: moderately (86–97 bpm)
Allegretto: moderately fast (98–109 bpm)
Allegro: fast, quickly and bright (109–132 bpm)
Vivace: lively and fast (132–140 bpm)
Allegrissimo: very fast (150–167 bpm)
Presto: extremely fast (168–177 bpm)
Prestissimo: even faster than presto (178 bpm and to a higher place)

Terms that refer to changing tempo:

Ritardando: gradually slowing down
Accelerando: gradually accelerating

Scales

Scales are sets of musical notes organized by pitch. In Western civilization, nosotros predominantly use the major and minor scales. Nonetheless, many children'due south songs utilise the pentatonic scales (both major and pocket-sized) likewise.

The major scale comprises seven dissimilar pitches that are organized by using a combination of one-half steps (i annotation on the piano to the very next annotation) and whole steps (two half steps together). The major scale looks as follows: Whole Whole Half Whole Whole Whole Half or West W H West Westward Due west H.

A minor scale uses the following formula: Due west H W West H W Due west.

Pentatonic scales, found in many early on American and children's songs, only apply five pitches, hence the moniker "pentatonic." At that place are many types of major pentatonic scales, only one of the most pop major pentatonic calibration is similar to the major scale, merely without the fourth or 7th pitches (Fa or Ti). I of the common minor pentatonic scales is like to the small-scale scale, simply also without (Fa or Ti).

Major, modest (natural), and pentatonic scales

Major Scale (C Major)

Minor Scale (A Minor)

Major Pentatonic (C)

Minor Pentatonic (A)

Scale Practise

Label the half steps and whole steps for the C major calibration.

Do writing your own C major calibration.

Characterization the half steps and whole steps of the A small-scale calibration.

Practice writing your own A pocket-size calibration.

Resource for Further Learning

There are numerous websites that cover the fundamentals of music, including the staff, notes, clefs, ledger lines, rhythm, meter, scales, chords, and chord progressions.

Music Theory

www.musictheory.net

musictheory.cyberspace is a music theory resource from basic to complex. It contains active definitions for musical terms; music lessons regarding the meanings of musical note; and exercises designed to further understanding of musical notes, chords, and many other musical aspects. This site also includes a pop-upwardly piano and adventitious calculator specifically to assistance users acquire and practice their developing musical skills. It also features a products page with apps people can buy to practice and use music on the go via their smartphones. The site would exist appropriate for people ages 12 and upwards, and is extremely user friendly.

http://www.musictheoryvideos.com/

Musictheoryvideos.com was designed by Stephen Wiles in the hope to make music theory an active role of music learning. The site includes music theory lessons for students betwixt grades 1 and 5 in the form of tables, lists, and videos to help the student better understand the many parts of music. In that location are videos about the importance and difference of treble and bass clefs; there is a listing of music terms and what they mean, and the site even contains videos entailing the transposition of music. It would be a great resource for teachers to offer students, especially those who could do good from some extra information outside of form. The site contains data that would accept a student step by pace through the basics of music theory through uncomplicated short videos, complete with British-accented narrations.

www.childrensmusicworkshop.com/musictheory/index.html

Childrensmusicworkshop.com contains several different slideshows designed to teach students the dissimilar parts of music such as the clefs, time signatures, keys, and how to read different notes on the staff. The site likewise includes a link to print off unlike types of sheet music, including SATB (soprano, alto, tenor, bass), piano, blank, and custom canvas music. The site is designed to help teach students about music, but information technology could be helpful for teachers equally well if they need new ways to help reinforce the material.

www.mymusictheory.com

Mymusictheory.com includes helpful lessons for students grades 1 through 6, every bit well as helpful links for teachers when information technology comes to pedagogy music theory. For the teachers, they provide music flashcards, lesson plans, music-reinforcing give-and-take searches, and many other helpful resources, all in one location. The site is broken downwardly by grade level, with each level containing exercises and do exams for the material learned during each lesson.

www.8notes.com

8notes.com is a big website full of music lessons for several instruments, including merely not limited to piano, guitar, vocal, and percussion. Free canvas music is available for the different instruments, as well as music from unlike popular movies. An online metronome, guitar tuner, bare sheet music, music theory lessons, and music converters are all available at 8notes.com. This site would be helpful to those learning new instruments, likewise as experienced musicians who are just looking for some new music to play.

Note Reading

http://readsheetmusic.info/index.shtml
http://library.thinkquest.org/15413/theory/note-reading.htm
http://world wide web.teoria.com/tutorials/reading/12-notes.php
http://vicfirth.com/speed-note-reading-tutor/

Keyboard Skills

Many classroom teachers have pianos in their rooms and don't know how to use them or underutilize them. Learning to play a bones tune on a piano or keyboard or even put a few chords to them is a bang-up confidence builder, and the children love to sing to a piano accompaniment!

http://world wide web.howtoplaypiano.ca/
http://world wide web.pianobychords.com/

Notes on a keyboard

Music Education in America

Music pedagogy does not exist isolated in the music classroom. It is influenced past trends in general education, society, culture, and politics.

—Harold Abeles, Critical Problems in Music Teaching, 2010

How did music teaching develop into its current form? Did music specialists always teach music? What were classroom teacher'due south musical responsibilities? Well, to answer these questions, we need to look to the past for a moment. Initially, music and educational activity worked hand in manus for centuries.

Early Music Teaching

18th century: Singing schools and their tune books

Before at that place was formal music pedagogy in the United States, there was music and pedagogy, primarily experienced through religious education. Music teaching in the U.S. began afterwards the Pilgrims and Puritans arrived, when ministers realized that their congregation needed assist singing and reading music. Several ministers developed tune books that used iv notes of solfege (Mi, Fa, Sol, La) and shape notes to railroad train people in singing the psalms and hymns required for proper church building singing. By 1830, singing schools based on the techniques found in these books began popping up all over New England, with some people attending singing school classes every day (Keene, 1982). They were promised that they would learn to sing in a month or get music teachers themselves in three months.

Some consider the hymn music of this fourth dimension to be uniquely American—borrowing styles from Ireland, England, and Europe, only using dance rhythms, loose harmonic rules, and complex song parts (counterpoint) where each voice (soprano, alto, tenor and bass) sang its own unique melody and no one had the chief tune. Original American composers such equally William Billings wrote hundreds of hymns in this style.

19th century

Johann H. Pestalozzi (1746–1827)

Pestalozzi was an educational reformer and Swiss philosopher born in 1746. He is known as the begetter of mod education. Although his philosophies are over 200 years old, yous may recognize his ideas as sounding quite contemporary. He believed in a child-centered education that promoted understanding the earth from the child's level, taking into business relationship private development and physical, tactile experiences such every bit working directly with plants, minerals for science, etc. He advocated instruction poor equally well as rich children, breaking down a subject area to its elements, and a broad, liberal education along with teacher grooming. In the U.S., normal schools would take off by the end of the 19th century, and advocates of Pestalozzi'south educational reform would put into identify a system of teacher training that influences united states to this day.

Lowell Mason (1792–1872) and the "Better Music" movement

Lowell Mason, considered the founder of music education in America, was a proponent of Pestalozzi's ideas, particularly the rote method of teaching music, where songs were experienced and repeated first and concepts were taught afterwards. Mason authored the kickoff series book based on the rote method in 1864 called The Song Garden.

Mason was highly critical of both the singing schools of the day and the compositional mode. He was horrified at the promises that singing schools made to their students—namely that they could be qualified to teach after only a few months of lessons, and the general limerick techniques used at the fourth dimension. Bricklayer felt that the music, including the piece of work of composers such equally Billings, was "rude and crude." To change this, he promoted simplified harmonies that made the melody the most prominent aspect of the music, and downgraded the importance of the other vocal parts to support the melody. He achieved this through the institution of shape note singing schools, which carried out his musical vision. The consequence was that the original hymn way became the purview of the shape note singing schools, mostly in the South, where they flourished for many years. The most famous shape-annotation book is called Sacred Harp.

Nether the title "New Britain", "Amazing Grace" appears in a 1847 publication of Southern Harmony in shape notes

The songs in Sacred Harp were religious hymns. "Amazing Grace" was one of the songs published in this book.

Amazing Grace

John Newton (1779), Sacred Harp Songbook (1844)

sentry this Shape Note Singing

picket this Sacred Harp Shape Note Singing

Music and the normal school

Normal schools in the 19th century grew out of a need to educate a burgeoning young American population. These schools were teacher training courses, commonly with access to model schools where teachers in training could observe and practice teach. Music was a meaning function of education. The Missouri Land Normal School at Warrensburg stressed the importance of music in their catalog from 1873–74:

Vocal Music—the importance of music as 1 of the branches of education is fully recognized. Song music is taught throughout the entire course…and teachers are advised to go far a part of the course of instruction in every school with which they may be connected (Keene, 1982, p. 204).

Music and education in America: 20th century

Music supervisors, who oversaw the work of classroom teachers, received additional grooming in music. Music education in the early 20th century continued under the purview of the music supervisor, while classroom teachers were trained to teach music to their students. Gradually, a specialization process began to occur and music became a regular subject with its own certification, an educational tradition that continues to this 24-hour interval. By the 1920s, institutions in the U.S. began granting degrees in music education and, along with groups such equally the Music Supervisor's Conference (after the Music Educator's National Briefing and currently the National Association for Music Educators or NAfME), supported the apply of qualified music teachers in the schools. Somewhen, the arts bankrupt into dissimilar specialties, and the carve up part of music teacher as nosotros know it was created.

Ironically, there was great business organisation at the time regarding these special music teachers. Because music was no longer in the hands of the classroom teachers, great attempt was made to "bring music in as shut a relation to the other work as is possible nether the nowadays arrangement of a special music teacher" (Goodrich, 1901, p. 133).

Contemporary Music Educational activity

Instructional methods

The role of music in the U.S. educational organization is perpetually under discussion. On one hand, many see structural bug inherent in music's connection to its history and the glaring stardom between the prevalence, importance, and function of music'due south role in everyday life and its embattled role in the classroom Sloboda (2001). On the other, increased advocacy is required in social club to justify music's existence and terms of benefits to the kid amidst the threat of constant budget cuts. Given this, it is important to remember music education'due south history, origin and deep roots in the American educational activity experience.

The outset of the 20th century was an heady time for music education, with several significant instructional methods existence developed and taking hold. In the United states, music pedagogy developed around a method of instruction, the Normal Music Form, the remnants of which are adhered to fifty-fifty today in music classrooms. The books used a "graded" curriculum with successively more complex songs and exercises, and combined author-composed songs in these books with folk and classical material. An online copy of the New Normal Music Course (1911) for fourth and 5th graders is attainable via Google Books.

In Europe and Asia, four outstanding and very different music instruction methods developed: the Kodály Method, Orff Schulwerk, Suzuki, and Dalcroze all played significant roles in furthering music educational activity away and in the U.S., and were methods based on folk and classical genres (see Chapter 4 for further give-and-take about these methods). In contrast to the early music books for the Normal School, for which there was "a paucity of vocal material prompting the authors of the original course to chiefly use their own song material" (Tufts & Holt, 1911, p. iii), Kodály and Orff in detail used authentic music in their methods, and authentic music direct related to children'southward lives (see Affiliate 4 for more on this).

nunezagnal2001.blogspot.com

Source: https://guides.hostos.cuny.edu/edu107/2-5