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Orff Schulwerk
The Orff Schulwerk, or simply the Orff Approach, is a developmental approach used in music education. It combines music, movement, drama, and speech into lessons that are similar to a child's world of play. It was developed by the Germany, German composer Carl Orff (1895–1982) and colleague Gunild Keetman during the 1920s. Orff worked until the end of his life to continue the development and spread of his teaching method. The Orff Approach is now used throughout the world to teach students in a natural and comfortable environment. The term ''Schulwerk'' is German for (literally) ''school work'' or ''schooling'', in this regard in the area of music. Foundations The Orff Approach of music education uses very rudimentary forms of everyday activity for the purpose of music creation by music students. The Orff Approach is a "child-centered way of learning" music education that treats music as a basic system like language and believes that just as every child can learn language wi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Music Education
Music education is a field of practice in which educators are trained for careers as primary education, elementary or secondary education, secondary music teachers, school or music conservatory ensemble directors. Music education is also a research area in which scholars do original research on ways of teaching and learning music. Music education scholars publish their findings in peer-reviewed journals, and teach undergraduate and Graduate school, graduate education students at university education or music schools, who are training to become music teachers. Music education touches on all learning domains, including the domain (the development of skills), the cognitive domain (the acquisition of knowledge), and, in particular and the affective domain (the learner's willingness to receive, internalize, and share what is learned), including music appreciation and sensitivity. Many music education curriculums incorporate the usage of mathematical skills as well fluid usage and und ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Paraphony
Paraphony is a term which has three distinct meanings in the field of music. In musical theory Paraphony is a term used in musical vernacular to refer to consonances which rely upon intervals of fifths and fourths. This terminology can be traced to ancient Greece and sources such as Theon of Smyrna. In electronic music Completely unrelated to the above sense, a synthesizer is called paraphonic if it can play multiple pitches at once, but those pitches share part of their electronic signal paths. For example, the Roland RS-202 string machine could play several dozen pitches at once, but only with a single shared volume envelope, requiring the collective chord to swell and diminish as a single cohesive whole. Similarly, the Korg Poly-800 had 8 oscillators and could produce 8 voices, but had just one filter circuit shared by all of them. Other examples include the Roland VP-330 vocoder and the Moog Sub 37. Demonstration Non-paraphonic polyphony The following example ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Recorder (musical Instrument)
The recorder is a family of woodwind musical instruments in the group known as ''internal duct flutes'': flutes with a whistle mouthpiece, also known as fipple flutes, although this is an archaic term. A recorder can be distinguished from other duct flutes by the presence of a thumb-hole for the upper hand and seven finger-holes: three for the upper hand and four for the lower. It is the most prominent duct flute in the western classical tradition. Recorders are made in various sizes with names and compasses roughly corresponding to various vocal ranges. The sizes most commonly in use today are the soprano (also known as descant, lowest note C5), alto (also known as treble, lowest note F4), tenor (lowest note C4), and bass (lowest note F3). Recorders were traditionally constructed from wood or ivory. Modern professional instruments are almost invariably of wood, often boxwood; student and scholastic recorders are commonly of moulded plastic. The recorders' internal and ext ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Metallophone
A metallophone is any musical instrument in which the sound-producing body is a piece of metal (other than a metal string), such as tuned metal bars, tubes, rods, bowls, or plates. Most frequently the metal body is struck to produce sound, usually with a mallet, but may also be activated by friction, keyboard action, or other means. Metallophones have been used in music in Asia for thousands of years. There are several different types used in Balinese and Javanese gamelan ensembles, including the gendèr, gangsa and saron. These instruments have a single row of bars, tuned to the distinctive pelog or slendro scales, or a subset of them. The Western glockenspiel and vibraphone are also metallophones: they have two rows of bars, in an imitation of the piano keyboard, and are tuned to the chromatic scale. In music of the 20th century and beyond, the word ''metallophone'' is sometimes applied specifically to a single row of metal bars suspended over a resonator box. Metallo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Glockenspiel
The glockenspiel ( ; or , : bells and : play) or bells is a percussion instrument consisting of pitched aluminum or steel bars arranged in a Musical keyboard, keyboard layout. This makes the glockenspiel a type of metallophone, similar to the vibraphone. The glockenspiel is played by striking the bars with Percussion mallet, mallets, often made of a hard material such as metal or plastic. Its clear, high-pitched tone is often heard in Orchestra, orchestras, Concert band, wind ensembles, Marching band, marching bands, and in popular music. Terminology In German, a carillon is also called a , and in French, the glockenspiel is sometimes called a . It may also be called a () in French, although this term may sometimes be specifically reserved for the keyboard glockenspiel. In Italian, the term () is used. The glockenspiel is sometimes erroneously referred to as a xylophone. (The xylophone has wooden bars, unlike the glockenspiel which has metal bars.) The Pixiphone, a type of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Marimba
The marimba ( ) is a musical instrument in the percussion family that consists of wooden bars that are struck by mallets. Below each bar is a resonator pipe that amplifies particular harmonics of its sound. Compared to the xylophone, the marimba has a lower range. Typically, the bars of a marimba are arranged chromatically, like the keys of a piano. The marimba is a type of idiophone. Today, the marimba is used as a solo instrument, or in ensembles like orchestras, marching bands (typically as a part of the front ensemble), percussion ensembles, brass band, brass and concert bands, and other traditional ensembles. Etymology and terminology The term ''marimba'' refers to both the traditional version of this instrument and its modern form. Its first documented use in the English language dates back to 1704. The term is of Bantu languages, Bantu origin, deriving from the prefix meaning 'many' and meaning 'xylophone'. The term is akin to kongo languages, Kikongo and Swahili ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Xylophone
The xylophone (; ) is a musical instrument in the percussion family that consists of wooden bars struck by mallets. Each bar is an idiophone tuned to a pitch of a musical scale, whether pentatonic or heptatonic in the case of many African and Asian instruments, diatonic in many western children's instruments, or chromatic for orchestral use. The term ''xylophone'' may be used generally, to include all such instruments such as the marimba, balafon and even the semantron. However, in the orchestra, the term ''xylophone'' refers specifically to a chromatic instrument of somewhat higher pitch range and drier timbre than the marimba, and these two instruments should not be confused. A person who plays the xylophone is known as a ''xylophonist'' or simply a ''xylophone player''. The term is also popularly used to refer to similar instruments of the lithophone and metallophone types. For example, the Pixiphone and many similar toys described by the makers as xylophones have b ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mixolydian
Mixolydian mode may refer to one of three things: the name applied to one of the ancient Greek ''harmoniai'' or ''tonoi'', based on a particular octave species or scale; one of the medieval church modes; or a modern musical mode or diatonic scale, related to the medieval mode. (The Hypomixolydian mode of medieval music, by contrast, has no modern counterpart.) The modern diatonic mode is the scale forming the basis of both the rising and falling forms of Harikambhoji in Carnatic music, the classical music form of southern India, or Khamaj in Hindustani music, the classical music form of northern India. Greek Mixolydian The idea of a Mixolydian mode comes from the music theory of ancient Greece. The invention of the ancient Greek Mixolydian mode was attributed to Sappho, the poet and musician. However, what the ancient Greeks thought of as Mixolydian is very different from the modern interpretation of the mode. The prefix ''mixo''- (-) means "mixed", referring to its resembl ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lydian Mode
The modern Lydian mode is a seven-tone musical scale formed from a rising pattern of pitches comprising three whole tones, a semitone, two more whole tones, and a final semitone. : Because of the importance of the major scale in modern music, the Lydian mode is often described as the scale that begins on the fourth scale degree of the major scale, or alternatively, as the major scale with the fourth scale degree raised half a step. This sequence of pitches roughly describes the scale underlying the fifth of the eight Gregorian (church) modes, known as Mode V or the authentic mode on F, theoretically using B but in practice more commonly featuring B. The use of the B as opposed to B would have made such piece in the modern-day F major scale. Ancient Greek Lydian The name Lydian refers to the ancient kingdom of Lydia in Anatolia. In Greek music theory, there was a Lydian scale or " octave species" extending from ''parhypate hypaton'' to ''trite diezeugmenon'', equival ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tonic (music)
In music, the tonic is the first scale degree () of the diatonic scale (the first note of a scale) and the tonal center or final resolution tone that is commonly used in the final cadence in tonal (musical key-based) classical music, popular music, and traditional music. In the movable do solfège system, the tonic note is sung as ''do''. More generally, the tonic is the note upon which all other notes of a piece are hierarchically referenced. Scales are named after their tonics: for instance, the tonic of the C major scale is the note C. The triad formed on the tonic note, the tonic chord, is thus the most significant chord in these styles of music. In Roman numeral analysis, the tonic chord is typically symbolized by the Roman numeral "" if it is major and by "" if it is minor. These chords may also appear as seventh chords: in major, as M7, or in minor as 7 or rarely M7: The tonic is distinguished from the root, which is the reference note of a chord, rathe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Phrygian Mode
: The Phrygian mode (pronounced ) can refer to three different musical modes: the ancient Greek ''tonos'' or ''harmonia,'' sometimes called Phrygian, formed on a particular set of octave species or scales; the medieval Phrygian mode, and the modern conception of the Phrygian mode as a diatonic scale, based on the latter. Ancient Greek Phrygian The octave species (scale) underlying the ancient-Greek Phrygian ''tonos'' (in its diatonic genus) corresponds to the medieval and modern Dorian mode. The terminology is based on the '' Elements'' by Aristoxenos (fl. ), a disciple of Aristotle. The Phrygian ''tonos'' or ''harmonia'' is named after the ancient kingdom of Phrygia in Anatolia. In Greek music theory, the ''harmonia'' given this name was based on a ''tonos'', in turn based on a scale or octave species built from a tetrachord which, in its diatonic genus, consisted of a series of rising intervals of a whole tone, followed by a semitone, followed by a whole tone. : In ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
