Margot de Bruyn

57232695

PST210G

Assignment 02
698225

Table of Contents

TOPIC PAGE NUMBER

1) Field objectives for music 3
1.1) Performance and composition of 3
music
1.1.a) Singing and understanding musical 3
principles
1.1.b) Notation 3
1.1.c) Playing instrumentals and body 3
percussion
1.1.d) Composition 4
1.1.e) Improvisation 4
1.2) Listening to and appreciating music 4
1.2.a) Different periods 4
1.2.b) Introduction to the instrument 4
families of the orchestra
1.2.c) Pop music 4
1.2.d) Ethnic African music 4-5
2) Listening to Music and practical hints 6
which apply to listening to music
2.1) Listening to music 6
2.2) Practical hints 6-7
3) The symphony orchestra with special 8
reference to woodwind instruments and
the brass family.
3.1) Woodwind Instruments 8-9
3.2) Brass 9
4) The development of music through the 10
different style periods with special
reference to: Classical Period, Pop music
and African music
4.1) Classical Period (1750-1810) 10
4.2) Pop music 10-11
4.3) African music 11
Bibliography 12

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1) Field Objectives for music

When teaching, the educator must know what he/she wants to achieve in a specific
amount of time. It therefore helps to have aims and objectives to guide you in the right
direction. Field objectives are more specific, short term goals than general aims (which
is long term) in that they deal with specific aspects of teaching a lesson (Jacobs, 2003:
13). Essentially, the field objectives are there to eventually attain the general aims.
There are two main field objectives that must be attained: the performance and
composition of music: listening to and appreciation of music. It is important to integrate
all aspects as to avoid learners compartmentalising and fragmenting what they are
being taught.

1.1) Performance and composition of music

a) Singing and understanding musical principles

Throughout the senior primary level (grades4-7) we should build up a repertoire for the
learners that represent various cultures and languages and progress in difficulty, as their
music knowledge progresses. Teaching singing and musical principles (phrasing and
stylistic elements) should be presented in creative ways. Keeping learners interested
requires strategic lesson planning. The way we as educators present the subject directly
impacts the way learners will receive it (Cunningham, 2016).

It is important to observe whether learners are progressing in their overall intonation,

hearing and diction. As they grow in their general music formation we should see growth
in their desire to sing (Jacobs, 2003: 15).

b) Notation

The basic reading of music starts off with teaching learners how to follow the direction of
the notation. They therefore have to learn from graphic sheet music. Getting learners to
learn note values, rhythm and metre works best with incorporated with games and flash
cards. (Jacobs, 2003: 15)

c) Playing instrumentals and body percussion

South Africas current schooling system does not allow learners to learn the basic
principles of at least one instrument, as there is insufficient time and facilities at our
disposal. The use of non-pitched percussion is more accessible and can assist in the
acquisition of basic reading skills. Educators can allow learners to make their own
percussion instruments and bring it to class. However, the best and most important
instrument that we have is our own body. Learners can experience tempo, rhythm and
mood by moving to the music. Body percussion can be used in all the aspects of music
education. Learners may also bring along their own instruments and to participate in
school concerts. (Jacobs, 2003: 16)

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d) Composition

In this section we focus on the vast use of the voice: how to produce different and
interesting sounds to create contrast and mood. Learners also get to discover various
musical structures/forms such binary, ternary, rondo, etc. Learners will have to be able
to transfer their compositions into notation, which should be clear enough for others to
interpret it (Biddle & Dolby 1996: 14).

e) Improvisation

Improvisation can be seen as the basis of composition as it allows learners to

experiment with musical ideas. A good way of creating an organised improvisation
lesson is with the use of themes (eg. Waltz, march) and variations (eg. Sad, happy).

1.2) Listening to and appreciating music

a) Different periods

The main music history periods that the learners should pay attention to are the
Baroque, Classical, Romantic and twentieth century periods. They should pay attention
to the main stylistic elements as well as the main composers of each era (Jacobs, 2003:
16). Learning the different music periods congruently with what has happened in history
can help link the two and create better understanding of why the music is the way it is.

b) Introduction to the instrument families of the orchestra

The four basic instrument families are the string, woodwind, brass and percussion
instruments. The aim is for learners to know which instrument belongs in which family,
what they sound like and where they are positioned in the orchestra set-up. Each
instrument has a distinctive sound. Educators should discuss how each instrument
produces sound and what role they play in the orchestra. Learners should reach a level
where they are able to identify specific instrument sounds and decide which instruments
are best suited for a particular style. (Jacobs, 2003: 17)

c) Pop music

We should discuss and evaluate the popular music that the learners listen to. We need
to listen critically and take note of the musical aspects and contents of their music.
(Jacobs, 2003: 17)

d) Ethnic African music

Learners should be familiar with the instrumentation and its usage, rhythms and styles
of traditional South African music. (Jacobs, 2003: 17)

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Educators should know the difference and importance of both the general aims and field
objectives, and how they are interlinked. We need to know the two field objectives and
their subsections to efficiently plan lessons and make sure all aspects of the syllabus is
covered. If there is no direction then the lesson is almost guaranteed to be
unsuccessful. We need to make sure that we are familiar with the content we are
teaching so that we can present lessons in fun and interesting ways. Learners should
always look forward to music lessons and should see it as insightful and not separate
from their other school subjects. When taught well, they will be able to integrate their
other subjects with music.

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2) Listening to Music and practical hints which apply to listening to music

2.1) Listening to music

Hearing and listening are two different concepts. While hearing simply entails being
aware of the sounds around you, active listening means complete focus and intensity,
without diverting attention to any other activity (Elder, 2016). Our aim as educators is to
achieve active participation from the learners in music listening classes. Active
participation sparks more involvement and enjoyment and creates a relaxed and
pleasant atmosphere. (Jacobs, 2003: 57)

Listening to music is an acquired skill. Learners need to be taught effectively how to

listen and what they should listen for. In order to achieve effective listening, learners
need to know and understand concepts such as tempo, dynamics, melody, rhythm,
pitch and timbre. Effective listening only improves by repetition and variety. Listening
examples can include programme music (music that tells children the idea or story of
the music; includes interesting everyday sounds like weather, toys, machinery and
animals.) and mood music (music titles that can be presented/depicted using visual
aids.). (Jacobs, 2003: 58)

When having to listen to music that the learners might not enjoy and that they classify
as old, it is our enthusiasm and presentation that will spur the excitement on in the
learners. When it comes to abstract music, it is best to teach the learners what to listen
to. We achieve greater results when we know whom we are teaching to, what their likes
and dislikes are and to keep the lesson short and concise.

2.2) Practical hints

Learners have various learning styles. By appealing to all of them at some point in the
lesson ensures that each learner has been captivated at some point. For auditory
learners, play the music that is going to be discussed while they enter the classroom.
For visual learners, having eye-catching posters with relevant information on them
appeals to them greatly and sets a good atmosphere in the classroom. Setting up an
exhibition relating to the lesson will gain the interest of the learners. For example: for
Romantic music, set up pictures of the composers, other relevant happenings in history
that happened around that time and some information about how it came about (prior
knowledge). (Jacobs, 203: 59)

Changing seating/grouping arrangements helps to achieve what is needed in a specific

lesson. If group discussion are requires for the lesson then arrange learners into groups
before commencing with the lesson. This can only be done if efficient lesson planning
has been done. Lesson planning also allows for continuity of lessons so that learners
can make sense of the flow of the content.

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When it comes to listening examples, it is important to choose a set few listening pieces
that can be used throughout the year- works that will be suitable for the whole year and
cover many aspects. Make sure to also include live performances in the year planning.
This can be in the form of outings to a symphony concert. Preparing a worksheet that
allows them to identify instruments and orchestra layout, music form and style can help
them see how what they have learnt is being executed practically. Live music could also
take the form of the more talented learners performing for the class and then having a
discussion about the work that has been played. Refrain from talking too much. Allow
listening to music to be the primary focus and take up the most time. (Jacobs, 2003: 59)

Never leave the class during a listening session. Besides the learners needing guidance
on gaining impressions of the work being listened to, the discipline is almost guaranteed
to get out of hand when the educator leaves. Having visual aids during listening is very
helpful. It helps learners associate something visual with what they are listening to.
Having it on a poster, overhead projector or individual pages per person can work.

During listening, let the learners analyse the music using a listening guide. Guides can
be set out as a questionnaire, a multiple-choice worksheet, information containing the
development of the piece or analysing as the song is being listened to. (Jacobs, 2003:
60-63)

These hints are useful to ensure that lessons are being effective and have direction.
The main aim is to guide learners to become critical in their listening and being able to
distinguish between tasteful music from distasteful music. It also allows learners to
appreciate music that they might have previously thought was old and boring.
Creating a well-rounded listener takes one who is also appreciative of all music genres.
Therefore it is important as the educator to also regularly practice truly listening to
music, and not just merely hearing it. This will allow us to appreciate all types of music
and eventually pass that on to those that we teach. (Rossi, 1963: 32-34)

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3) The symphony orchestra with special reference to woodwind instruments and
the brass family.

A symphony orchestra comprises between 50 to 100 members. For most of them, this is
their full-time job. They rehearse together daily and have many performances. Each
orchestra has a concertmaster, who is usually the principal violinist and acts as the
orchestra leader. The conductor is the person who guides the orchestra to play
according to what is written by the composer, and makes sure that everyone plays in
sync. Each section has its own set of music to follow. However, the conductor has the
entire orchestras music, which is known as the conductors score. The symphony
orchestra consists of three basic groups: strings (players use a bow or pluck the
strings), wind instruments (requires breath to produce sound) and percussion (needs to
be struck). The wind instruments can be divided further into woodwinds and brass
instruments. (Jacobs, 2003: 66-67) In this essay I will expand on the wind instruments
(woodwind and brass).

3.1) Woodwind Instruments

The term woodwind refers to the fact that these instruments, at some point, used to be
made of wood. Today some of them are made of metal, but retain the woodwind term.
All of these instruments operate using the same principal: long, hollow pipes with holes.
These holes can be opened and closed to produce various pitches. Air flows through
the hollow pipe, creating a vibration. The air column is lengthened/shortened by
opening/closing the holes. The longer the vibrating air column, the lower the pitch. The
shorter the vibrating air column, the higher the pitch.

a) The flute is easily distinguished in an orchestra as it is silver in colour and is the only
instrument that the player holds horizontally across his/her face. The mouthpiece is at
the top of the instrument and is not covered entirely by the players mouth. The sound of
the flute is described as melancholic, except when it is played fast. The piccolo is a
small flute. It is half the length of a flute and because of its shorter air column it plays
higher than the flute (an octave higher). It is the highest-pitched woodwind instrument
with a very bright sound that is hardly heard playing on its own. (Jacobs, 2003: 69)

b) The oboe has metal keys, a conical bore and a flared bell. Sound is produced with air
that flows through a double-reed mouthpiece that is placed in the players mouth. The
air flows through the mouthpiece into the conical air column and causes vibration.

c) The clarinet has a straight cylindrical tube with a flared bell. It has a deeper sound
than the flute and the oboe and produces a rich low sound and brilliant high sound. The
mouthpiece is similar to that of an oboe, except that it has a single reed instead of a
double reed.

d) The bassoon is a relatively large instrument with many curves. The mouthpiece
consists of a double reed and produces a warm, dark and reedy tone. Another family

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member of the bassoon is the double bassoon, which is slightly longer than the bassoon
and sounds an octave lower.

3.2) Brass

Brass instruments are made of brass with a brass mouthpiece. The brass tube of the
instrument is longer than the woodwinds pipes and are usually curled or curved. The
vibration of the players lips in the mouthpiece, which is either cone or cup-shaped,
produces sound. The vibration of the lips in the mouthpiece causes the air to vibrate in
the brass pipes, creating a sound.

a) The trumpet plays the highest of all the brass instruments and produces a bright and
brilliant sound. The trumpet can produce a different effect when a mute is inserted into
the bell of the instrument. This causes the instrument to produce a thin, far-away sound
when blown softly (Jacobs, 2003: 70).

b) The French horn is the most curved and the longest instrument of the brass family
(Jacobs, 2003: 70). The sound produced is much rounder and warmer than that of the
trumpet. Due to its unique tone, it is used more than any other brass instrument in small
ensemble works.

c) The trombone is a fairly long brass instrument and is the only one with two u-shaped
tubes that slide over each other. By sliding the one pipe, the player lengthens and
shortens the other pipe to produce different pitches. The trombone is part of the lower-
pitched brass instruments and is well known for its sliding (glissando) effect.

d) The tuba is the lowest instrument in the brass family (Jacobs, 2003: 70). Its main
role is to provide a bass line in the music, as it cannot play agile melodies due to its
large size. The tuba is most known for its use in marching bands.

Together, the wind instrument section forms a vital part of the symphony orchestra.
Their timbres are needed to create various atmospheres in the music. It simply would
not be a symphony orchestra if this section was is not a part of it.

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4) The development of music through the different style periods with special
reference to: Classical Period, Pop music and African music

Music has developed throughout the centuries, along with other art forms and
developments in history. One cannot look at the development of music as an entity on
its own. A comprehensive understanding of music comes with understanding the music
of the past and how each era influenced the next. There are four main periods that we
deal with in music: Baroque, Classical, Romantic and Modern.

4.1) Classical Period (1750-1810)

Prior to the Classical period, Baroque music was based primarily on the organ and was
characterised by ornamentation, just like the buildings during that time. But in contrast
to Baroque music, the Classical period was characterised by a sense of order.

During this period, one of the bloodiest revolutions took place: the French Revolution.
Members of the aristocracy were persecuted and beheaded (Jacobs, 2003: 76). In
England the Industrial Revolution started and machinery started becoming more
developed and advanced all over the world. This was also the time when fashion was at
its most elegant.

European composers had to compose under strict laws due to the political climate at the
time. Dances were structured simply with simple passages (Jacobs, 2003: 77). Two
very important music forms were developed during the Classical period: Sonata (a piece
with three or four movements composed for one or two instruments.) and the Symphony
(three or four movements composed for a symphony orchestra.). The most important
composers of the Classical period were Wolfgang Amadeus Mozart and Franz Joseph
Haydn.

4.2) Pop music

The Romantic Period was when composers had more liberty with their music and how it
affected people. Nature and fantasy became a big inspiration for compositions. As time
progressed, music of the twentieth century became like that of the advancement in
technology in the world. It was all about the development of machinery, new inventions
and materialism. Music reflected the rushed pace of the lifestyle being lived. Various
noises, sounds, rhythmic emphasis and silence became an important part in
compositions.

Pop music generally reflects what the writer is going through and their specific
influences. Often times pop music is judged at first listen. But when one actually puts
in the effort to do some background research about the song, the song puts on a whole
new meaning.

Rhythms became broken and syncopated while the underlying beat stays the same. An
increase in volume and acceleration of tempo has a direct influence on our psyche

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Jacobs, 2003: 84) and doesnt allow us to function normally, as it causes emotional
tension.

Statistics have shown that when Rock and Roll became a major influence in the USA,
suicide increased by 50% among teenagers and illegitimate children statistics increased
by 57% (Jacobs, 2003: 98). Lyrics of some of the Beatles songs ignited the initiation of
revolution, murder and violence. Pop music record sales increased while the purchase
of classical music dwindled dramatically. Punk rock protested against society resulting
in a generation of unemployed young men and women who dressed in a sloppy, untidy
way.

4.3) African music

Music is an imperative part in the African community. It is used in every aspect of

African life. It is a social activity in which everyone participates (Jacobs, 2003: 85). The
level of musical training varies between highly learned musicians to those who only do it
recreationally. Most of the music is not notated due to the high level of illiteracy.

There is a close connection between music and dance, therefore rhythm and
percussion is highly emphasised. Various rhythmic patterns are played simultaneously,
resulting in polyrhythms played on ostinati. Body percussion is very common, with bells
and rattles being tied to the musicians feet and hands to add more rhythmic elements.

Most common African melodies are short phrases that are repeated with different
words. Call and response patterns are well-known vocal elements of African singing.
Melodies can be both homophonic and polyphonic. The simultaneous singing of
different melody lines creates the effect of parallel chords.

African instruments consist of pitched and non-pitched idiophones. The most common
are scrapers, rattles, drums, bells and xylophones. They are shaken, plucked or struck.
The xylophone and mbira are the pitched idiophones. Membranophones consists of
drums that are covered by animal skin. They are usually played in groups of three or
four. The drums are pitched differently and each drum follows his own set rhythmic
pattern, which produces complex rhythms when played simultaneously. It is usually only
the lead drummer who gets to improvise.

Flutes made from bamboo, sugar cane or wood are the common woodwind instrument
used in African music. Horns and trumpets are also used and made from animal horns
and teeth.

Plucking instruments consisted of a string stretched over a bow and was either plucked
or struck with a stick. They used various materials as resonators, including the players
mouth.

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Bibliography

Jacobs, S. 2003. Professional Studies: Intermediate and Senior Phase. Arts and
Culture: Class Music. Pretoria: University of South Africa.
Rossi, N. 1963. Music Listening in the General Music Class. Music Educators
Journal, 49(3): 32-34.
Cunningham, G. 2016. New Teachers Companion [Online]. Available at:
http://www.ascd.org/publications/books/109051/chapters/Lesson-Plans-and-Unit-
Plans@-The-Basis-for-Instruction.aspx [Accessed: 03 September 2016].
Elder, W. 2016. What Everybody Ought to Know About Active Music Listening
[Online]. Available at: http://wiltonelder.com/what-everybody-ought-to-know-
about-active-music-listening [Accessed: 04 September 2016].

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