MOVEMENT
Movement is an integral part of music for students. Watching students as they sing or listen to
music, one may observe hands clap, feet tap, and bodies sway to the beat. From preschool to highschool levels, it is possible to use this natural response to develop aspects of musical potential.
Through games and dances, students experience, directly and joyously, the elements of rhythm,
melody and form.
Forward to 120 Singing Games and Dances
Active participation in singing games and dances fosters the development of rhythmic
movement. This movement greatly enhances the understanding of music; students become
physically involved with their understanding of beat/meter/rhythm as they "feel" the stressed and
unstressed beats, the inner pulses within the beat, and the coordination of beat and rhythm patterns.
Movement deserves a high priority in the intermediate music class.
Musical Objectives
Singing games and dances:
! reinforce beat and meter
! sharpen listening skills
! prepare for cognitive learning
! reinforce phrasing and form
! provide an experience for cooperation among students
! provide unique musical and kinesthetic experiences for the teacher and the students
! develop sequencing and memory skills
! provide movement vocabulary for movement improvisation
! explore the cultural heritage of other cultures (international folk dances, music, instruments,
musical style)
! pass on important aspects of Newfoundland's cultural heritage
! provide variety in the daily program
! can generate enthusiasm that will carry over into all other areas of musical learning
! contain the "kernels" of adult folk dances, the basic steps presented in a sequential hierarchy
with only one new step in each game or dance
Non-Musical Objectives
Singing games and dances:
! involve the WHOLE person (physical, mental, social, and spiritual)
! create an awareness of one's own body and its potential for movement
! develop coordination of gross and fine motor skills
! develop an understanding of the role of folk song and dance (how it functions and serves
the needs of the people)
! help students discover ways to move their feet and determine the type of movement which
best suits each song
! offer the opportunity for genuine human contact and community exchange
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!
!
!
provide a joyous setting for fun, relaxation and change of pace
increase the potential for sensitivity and discrimination in the development of aesthetic
judgement
broaden horizons and bring the world closer to one's doorstep
Perhaps the most important benefit of games and dances is the SHARING which occurs: sharing
the dances of people around the world which were created for communal celebration and sharing
with classmates regardless of how skilled they may be. Folk dancing provides the opportunity for
students to come together in a spirit of joy and relaxation. An appreciation of the cultural heritage
of other groups can be important to the future well-being of the student as it can be entertaining and
educationally stimulating.
In order for students to be successful in the performance of games and dances, movement skills,
sequenced from simple to complex, must be taught. This is best achieved by progressing from
movement in action songs singing games (line and circle) to contra dances, square dances, and
international dances that are a part of the cultural heritage of North America.
It is recommended that the following sequence of activities for movement development through
games and dances be followed:
Grade 7
Grade 8
Grade 9
Action Songs
Singing Games
! Line Games containing contra dance steps
! Circle Games containing square dance steps
International Folk Dances
Newfoundland Folk Dances
! Square Dance
! Lancer
Action Songs
Action songs are appropriate for all ages as long as the lyrics suit the age of the learner. These
songs concentrate on coordinating movement with the beat.
"My Landlord"
"Four White Horses"
"Oreo"
"Stella ella a la"
"Norwegian Folk Dance"
"Sodio"
"Vive l'amour"
"Dance the Oro"
"The Drunken Sailor"
(120 Singing Games and Dances, 180)
(Kodály Context, 233)
(Appendix A)
(Appendix A)
(MMYO 4, 152)
(Musicanada 5, TE, 32-33)
(Musicanada 5, TE, 94-95)
(Musicanada 6, TE, 182-183)
(Musicanada 6, TE, 44-45)
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(Silver Burdett Music 7, 47 - hand jive)
Generally, intermediate students move their hands better than their feet. Therefore, it is
advisable to use activities stressing feet movement prior to teaching dances.
The written actions, which usually follow the beat, may be altered to include rhythmic patterns
from the songs or separate ostinati.
Singing Games
Singing games involve cooperative activities which require low organizational strategies and yet
provide readiness activities for folk dances. These games are best played in a large circle/line
formation using all students in the class. Sequential steps and rules must be followed to insure
success. Each game introduces a new basic square dance step and often reinforces steps introduced
in other games.
The value of singing games in developing reading skills must not be overlooked. They must not
be used only as an end in themselves or as a "step" in the dance step hierarchy, but also to provide
excellent reading/reinforcing material as found in the actual songs. One should take opportunity of
this potential and work only with the song itself in addition to playing the game.
Singing games can:
! provide another musical opportunity for practising the beat
! provide opportunities for solo singing as well as improvisation
! unconsciously prepare new elements
! provide opportunities for practising known elements
! teach/reinforce phrasing and form
! provide a "reward" for accurate singing and concentration during the lesson
When To Use Singing Games
Singing Games and Folk Dances can be scheduled in a lesson when:
! students have been practising an element (rhythmic or melodic) which can be found and
identified in the song
! the song itself was used for reading or practising an element
! The song which goes with the game prepares a new element or the next activity in the lesson
! a period of relaxation or change of pace is required after a period of concentration
If the students are familiar with the game which accompanies a song, the game should be played
at some point during the lesson. It is not a good idea to tease the class by using a game song and
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then not playing the game. The game may be held until the end of the lesson as a reward, but it
should be played.
Ways To Teach and Use Singing Games
! The song may be introduced at the end of a lesson as a brief listening experience. The students
are required only to listen and identify some element (form, characteristic melodic or rhythmic
pattern, scale or mode)
! The song can be taught in a variety of ways:
• simple rote song procedure
• read from hand signs, solfa ladder or staff notation
• extract known rhythmic or melodic elements for practice
• extract rhythmic and/or melodic elements which are being prepared for echo-clapping or
echo-singing.
! When the song is known and can be sung well in tune by the class, the game may be taught. If
the song is not well sung before the game is taught, it will not be improved with the playing of
the game. Be certain that the class knows the song extremely well, as their concentration will
be on the game once they commence playing it.
! The song may be used as a "mystery melody", with the game as a reward for identifying it
correctly from handsigns, stick notation, staff notation, clapping rhythm, hearing it played on a
recorder, piano or xylophone.
! Singing games are a preparation for part-work as students will be doing more than one thing at
one time. Often they are tapping a rhythm or keeping the beat while playing and singing.
! Remember that instruction should always start with the known and move toward the unknown,
even in presenting games and dances.
The Singing Games below are recommended for teaching specific steps and skills.
Circle Game
Skills Involved
Source
"John Kanaka"
do-si-do
Games and Movement, 36
"Old Brass Wagon"
circle left/right
Games and Movement, 49
"Shake Them Simmons"
corners, promenade
Games and Movement, 61
"Goin' Down to Cairo"
grand right and left
Games and Movement, 25
"Turn the Glasses Over"
wring the dishrag
Games and Movement, 65
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"Roll That Brown Jug"
allemande right/left
Circle Game
Skills Involved
120 Singing Games and
Dances, 101
Source
"Great Big House"
daisy chain
Games and Movement, 26
"Sailing on the Ocean"
double circles moving in
opposite directions
Games and Movement, 59
"Coffee Grows on White
Oak Trees"
varsouvienne position
Games and Movement, 15
Line Game
Skills Involved
Sources
"Amasee"
right arm swing (partner)
Games and Movement, 7
"Lead Through That
Sugar and Tea"
left arm swing (partner)
Games and Movement, 38
"I Wonder Where Maria's
Gone"
sashay
Games and Movement, 35
"O Belinda"
cast off/peel the orange
120 Singing Games and
Dances, 145
"Alabama Gal"
Virginia reel
Games and Movement, 4
dip and dive,
right/left hand star
120 Singing Games and
Dances, 155
"The Ryans
Pitmans"
and
the
Many other singing games and dances may be found in the following sources:
Bronner, Simon. American Children's Folklore: A Book of Rhymes, Games, Jokes, Stories,
Secret Languages, Beliefs and Camp Legends. Little Rock, Arkansas: August House,
1988.
Chase, Richard. Singing Games and Playparty Games. New York: Dover, 1967 (1949).
Choksy, Lois and David Brummitt. 120 Singing Games and Dances for Elementary Schools.
Englewood Cliffs, N.J.: Prentice-Hall, 1987.
94
Erdei, Peter. 150 American Folk Songs to Sing, Read and Play. New York: Boosey &
1974.
Hawkes,
Fowke, Edith. Sally Go Round the Sun: 300 Songs, Rhymes, and Games of Canadian
Toronto: McClelland and Stewart, 1969.
Children.
_____. Ring Around the Moon: 200 Songs, Tongue Twisters, Riddles and Rhymes of
Children. Toronto: McClelland and Stewart, 1977.
Canadian
Fulton, Eleanor and Pat Smith. Let's Slice the Ice: A Collection of Black Children's Ring
Games and Chants. Saint Louis, Mo.: Magnamusic-Baton, 1978.
Kenney, Maureen. Circle Round the Zero: Play Chants & Singing Games of City Children.
Saint Louis, Mo.: Magnamusic-Baton, 1983.
Kerlee, Paul. Wake Up the Earth (Morris Dances). Published privately.
_____. Son of Wake Up the Earth (Morris Dances). Published privately.
Locke, Eleanor G. Sail Away: 155 American Folk Songs to Sing, Read and Play. New Y o r k :
Boosey & Hawkes, 1988.
Melamed, Lanie. All Join Hands. Published privately - Lanie Melamed, 494 Victoria
Montréal, Québec, H3Y 2R4.
Avenue,
Newell, William Wells. Games and Songs of American Children. New York: Dover,
(1883).
1963
Opie, Iona and Peter. The Singing Game. London: Oxford University Press, 1985.
Quigley, Colin. Close to the Floor: Folk Dance in Newfoundland. Memorial University,
Folklore Department, 1985.
Weikart, Phyllis. Teaching Movement & Dance: A Sequential Approach to Rhythmic Movement.
Ypsilanti, Michigan: High/Scope Press, 1982.
Rhythmically Moving 1-9: recordings for the folk dances described in Phyllis Weikart's book,
Teaching Movement & Dance. These are also available from High/Scope Press or Addison-Wesley
(Canada).
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Folk Dances (International and Newfoundland)
These dances involve activities of a higher organizational level. They consist of specific
formations and movements which require high levels of coordination and memory. Folk dances are
appropriate for intermediate students who have been introduced to basic dance movements through
action songs and singing games/dances, whether in primary/ elementary school or the grade 7 music
program.
At this level, not all movements will be done to the student's own singing. Although
traditionally, there have been singing quadrilles and play-party games, there are also many folk songs
that use instrumental accompaniment only. Many square dances, jigs, reels, horas, troikas, etc., all
over the world use an instrumental accompaniment only. To eliminate folk dances with accordion
and fiddle accompaniments would be to deprive students of part of the cultural heritage.
Procedures for Teaching Folk Dances
! The teacher must know the dance thoroughly in order to teach with assurance.
!
The teacher must find a position in the room where all students can see the demonstration. It
is important to be conscious of the fact that students who face the teacher might become
confused by seeing the mirror image. It is often better to have the students in a semi-circle with
the teacher's back to the students so they can imitate accurately and without confusion.
!
A demonstration is more successful than an oral explanation.
!
The dance should be broken down into digestible learning units, usually based on the form of
the dance.
!
Complicated steps such as polka, waltz, or step dance should be taught separately before
attempting the actual dance.
!
The teacher must be aware of individual learning styles. Some students will learn by watching
the teacher, others by watching the person next to them; some like to count while others never
count; some learn instantly, others take longer to coordinate their feet, hands, and the music.
!
It is best to avoid counting out the steps and encourage the students to listen to the music to
recognize changes in the music which indicate a change in dance steps.
!
The teacher should allow time for self-discovery and problem-solving so that the students can
discover what is not working and modify their steps or timing accordingly.
!
Intermediate students may be self-conscious about socializing with members of the opposite
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sex. "Choose somebody standing next to you for a partner" or simply "take partners" is often
enough to get the students organized. In dances where the footwork for males and females is
different, it is necessary to distinguish one from the other. Numbers are a good substitute for
"boys and girls". Partner choosing should always take place before the dance is taught so the
group will be ready to get started immediately.
!
Specific instructions for teaching steps:
• watch right and left instruction
• coordinate hand movements with feet movements
• use simplified step-by-step instruction
• demonstrate for students (teacher)
• perform all steps without music first
• match movements and counted phrases to music
• identify patterns and repeated sections in the music and in the dance
• make certain that stamps and accents match-up
• select a group of students to walk through the dance steps and then to demonstrate matching
the steps to the music
• avoid looking at one's feet
Sources of Recorded Music
A. Recorded Examples Available in Textbooks Already in Most Schools
"I's d' B'y"
Musicanada 4, 150-151
"Constant Billy" (morris dance)
Musicanada 5, 240-241
"What Child Is This?" (court dance)
Musicanada 6, 121
"Water Come-a-me Eye" (limbo)
Musicanada 6, 191
"Hava Nagila" (hora)
Musicanada 6, 236
"Let's Go Dancing" (hora)
Sound, Beat and Feeling, 6
"Havah Nagilah" (hora)
Sound, Beat and Feeling, 182-183
"Beside the Sea" (Ba-o dance)
MMYO 6, 158-159, Appendix
"Samoan Drill Dance" (Sasa)
MMYO 6, 154-155, Appendix
"Gathering Peascods" (English Country Dance)
MMYO 6, 50-51
"Tzena, tzena" (hora)
MMYO 6, 132-133
"Korobushka" (korobushka)
MMYO 6, 124
"The Polka" (jessie polka)
MMYO 6, 80, Appendix
"Tinikling" (tinikling)
MMYO 6, 157, Appendix
"Nani Wale Na Hala" (puili dance)
MMYO 5, 189
"Wanderer's Song" (schottische)
MMYO 5, 152, Appendix
"English Country Dancer"
MMYO 5, 37
"Mexican Folk Dance"
MMYO 5, 196
"Hill an' Gully" (Hully Gully dance)
MMYO 5, 203, Appendix
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MMYO 4, 115, Appendix
MMYO 4, 97, Appendix
MMYO 4, 159, Appendix
MMYO 5, 19, Appendix
"Weggis Song" (schottische)
"Juliette" (polka)
"Petroushka" (Russian dance)
"Turkey in the Straw" (square dance)
B.
Commercial Suppliers of Folk Dance Recordings
High/Scope Press
High/Scope Educational Research Foundation
600 North River Street
Ypsilanti, Michigan 48198
Available in Canada from Addison-Wesley Publishers
Can-Ed Media Limited
185 Spadina Avenue
Toronto, ON
M5T 2C6
Polysons, Incorporated (distribute for Folkraft Recordings)
6405 rue St. Herbert
Montréal, PQ
H2S 2L9
Country Dance and Song Society of America
505 Eighth Avenue
New York, NY 10018
Folk Arts Centre of New England
595 Massachusetts Avenue
Boston, MA 02139
Festival Records
2769 West Pico Boulevard
Los Angeles, CA 90006
Worldtone Music Incorporated
230 Seventh Avenue
New York, NY 10011
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INTERNATIONAL FOLK DANCES
Dance: HORA
Music: "Let's Go Dancing" Sound, Beat and Feeling, p. 6.
Circle formation: holding hands, boy/girl alternating.
(A - Fast)
Phase 1 On "Let's go dancing" step the beat to the music counterclockwise, stamping the foot
harder on beat one.
Phase 2 On "Let's go dancing" turn counterclockwise and on Phase 4 turn clockwise.
(B - Slower)
In rhythm with "Ye-lel ..." do a side-step counterclockwise with the left foot placed behind the right
(step) and then with the left foot placed in front of the right (step). Continue with left foot back
(step), left foot front unit (3 phrases). In the repeat, do the same steps clockwise. At the end clap.
(A - Fast)
Return to steps in A.
Dance: RUMANIAN HORA (Circle Dance)
Source: Dance Steps by Huig Hofman from the Jewish Refugees of Rumania and Siberia
Music: Folkraft 45 rpm 010 x 45A
Circle formation: facing centre of the circle
Part A
Take 3 rhythmic walking steps to the right. On the 4th step, stamp and take a turn to do 3 rhythmic
walking steps to the left. On the 4th step, stamp and take a turn to the right. Repeat 8 times (4 left/4
right).
Part B
Side-step the right foot to the right and then bring the left foot over the right foot. Point the right
foot to the front (1), to the side (2) and back in (3) and pause (4). This is repeated 3 more times.
Part C
Place the right foot forward so that the left foot can be placed behind. Balance on the right foot, then
back on the left, forward on the right, back on the left, creating a rocking motion for 8 measures.
Repeat each part until end of record. NOTE: Tempo increases toward the end.
Dance: VE DAVID (Israeli Couple Mixer)
Source: Choreographed by Mme. Rivkah Stuman of Israel. The Chant is taken from the Bible:
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"Ve' David Y' feh Enajim"
Music: Folkraft 1477 - 45 rmp.
Circle formation: boys standing on inside with girls on the outside.
Part A
Boy takes partner's hand (held high in the air). Partners in circle formation take 4 walking steps,
counterclockwise. The boys take 4 steps toward the centre of the circle and then 4 steps backwards
to return to their places.
Part B
The girls take 4 steps toward the centre, while clapping their hands. They turn around, and take 4
walking steps out towards a new partner (the first girl after their own partner). The boys swing their
new partners clockwise with right shoulder adjacent, right arms around each other across in front,
the left arms raised, pivoting with right foot for an eight count "Buzz-step" swing.
Dance begins again.
Dance: DOUBLE CLAP POLKA MIXER (Doubleska Polka) Czechoslovakian Mixer
Music: Folkraft 1413 x 45A
Formation: Couples anywhere around the dance area. Unattached singles will find an
excellent opportunity in Part C to "steal" a partner.
Part A
Polka promenade. Sixteen polka steps with partner in ballroom position.
Part B
Wheel promenade. Couples form one wheel - boy's left hand on shoulder of boy ahead and his right
arm around his partner's waist; girl's left hand will be on her partner's right shoulder. All promenade
counterclockwise sing "la-la-la" with the music.
Part C
Girls leave their partners and turn half around to polka clockwise in a single circle around the boys.
For this previous step the boys turn to face the centre and to each measure of music clap their own
hands twice then extend their arms sideways to clap (simultaneously) once with their left and right
neighbour. Unattached singles can sneak in here. At the end, each boy turns around to find a new
partner and the dance begins again.
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Dance: TROIKA (Russian)
Source: This dance originated from Russia and several versions have been found throughout
Eastern Europe.
Music: Folkraft 1170 x 45A
Formation: Sets of 3 dancers side by side, all facing counterclockwise and holding inside
hands.
Part A
All run lightly forward 8 steps (start on right foot) and then lightly backwards 8 steps (right foot first)
Part B
Keep the hands joined. Dancers on the right go under the arch formed by the other two with 8
running steps and back into original positions. The centre dancer must follow through the arch, the
left hand dancer runs on the spot. Now, as the right hand dancer runs on the spot, the left hand one
goes under the arch formed by the other two and again the centre person must follow. Immediately
all join hands in a circle of three.
Part C
All run lightly to the left with 12 running steps, stamp 3 times, alternating feet, and then run to the
right and stamp 3 times, alternating feet.
Repeat dance from the beginning. To make it progressive, the centre person may move forward for
each repeat of the dance to the two new partners.
Dance: THE MASON'S APRON (American)
Source: A progression mixer of two sets of two's to the tune of "Angus Reel"
Music: Folkraft 1512 x 45B
Formation: Circle of two, alternate groups facing
Circle left once around in circle of 6.
Boy balances (sets) right and left with his right hand partner.
Boy turns his right hand partner with a right elbow turn.
Boy balances right and left with his left hand partner.
Boy turns his left hand partner with a left elbow turn.
Boys do a right hand star from three with his right hand partner and his
opposite right hand lady.
5 - 8: Boys do a left hand star with left hand ladies (finishing in original lines of 3).
1 - 4: Lines of three go forward and back.
5 - 8: Lines of three go forward, pass right should with opposite and progress to
meet new group.
Repeat dance with new group.
Measure:
1 - 8:
1 - 2:
3 - 4:
5 - 6:
7 - 8:
1 - 4:
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Dance: SAVILLA SE BELLA LOZA (Yukoslavian) "Milanova Kolo"
Music: RCA 45-60550
Formation: Lines with 10-15 in each line.
Part A
The head of the line is determined and that person is the leader (pointer). Following the beat, the
whole line, all holding hands, follows the pointer with 19 small steps. On the 20th step the line stops
and turns in the opposite direction (the last person becoming the pointer).
Part B
Beginning with the right foot, walk to the right for 3 beats, then hop on the right foot. Turn and walk
to the left for 3 beats, then hop on the left foot (repeat 4 times).
Part A
Begin again.
Dance: GREEN SLEEVES (English Country Dance)
Music: RCA 45-6173 (41-6175)
Formation: Double circle, partners side by side, girl on the right, with inside hands joined.
Groups of 2 couples each, designated #1 and #2.
Part A
Measures 1 - 8.
Part B
Measures 9 - 12.
Measures 13 - 16.
Part C
Measures 17 - 18.
Measures 21 - 24.
All walk briskly forward 16 steps.
Couple #1 turns back to face #2, all taking the right hand of the opposite
partner for a right hand star and walking 8 steps clockwise.
Turn half-right and change to a left hand star for 8 counterclockwise steps.
On the last step couple #1 turns forward again to take original position.
Couple #2 forms an arch with inside hands, walks forward over #1 while
couple #1 moves backward, all with 4 steps.
Repeat all Part 3 (this style of arch is often called "turning the sleeves inside
out").
Repeat until music ends.
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Dance: THE VIRGINIA REEL
A traditional square dance often done by pioneer families moving westward in the early
years of the United States.
Music: "Old Susanna"
Formation: Two straight lines of six, each with patterns in opposite lines facing each
other.
! Couples in each line come to the centre, bow or curtsy and then return to their places (continuing
to face in the same direction).
! Couples join right arms and swing around and return to their places.
! Couples join left arms and swing around and return to their places.
! Couples join both hands, swing around and return to their places.
! Each person folds both arms in front of the chest and does a do-si-do with his partners (partners
pass right shoulder to right shoulder, back to back, and left shoulder to left shoulder and back
to original places).
! The head couple joins both hands and sashays sideways to the foot of the reel and back to the
head again.
! The head couple hooks right elbows and swings around one and a half times so that the girl's left
elbow is in position to hook the left elbow of the first boy remaining at the head of the boy's line
and so that the boys left elbow (head couple) is in position to hook the left elbow of the first girl
remaining at the head of the girl's line.
! The head couple do an allemande left and right down the entire reel to the foot.
Allemande left and right: the head couple boy hooks left elbows and swings around once with
the girl at the head of the reel line; the head couple boy then extends his right elbow and swings
his partner in the middle once; he then extends his right elbow to hook the left elbow of the
second girl in the reel: after swinging once, he extends his right elbow to join that of his partner
and swings around once. This continues until he has swung every girl in the reel. Meanwhile,
the head couple girl is doing the same thing with the boys, alternately meeting her partner in the
middle with the right elbow and swinging.
! The head couple now joins both hands and sashay sideways to the head of the reel. At the head
of the reel the head couple "peel the orange" - the boy goes behind the boy's line with all the boys
in order following him, and the girl goes behind the girls' lines with all the girls following her.
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! The head couple meets at the front of the reel and forms an upraised arch with their hands. All
the other couples meet their partners and join both hands as they go through the arch formed by
the head couple and form two straight lines. The old head couple is at the foot and a new head
couple at the head. The sequence then starts again and continues until all couples have been the
head couple.
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NEWFOUNDLAND FOLK DANCES
Prior to beginning Newfoundland Folk Dances with students who are not already familiar with
them, it is advisable to have taught numerous International Folk Dances. This will allow the students
to have knowledge of a systematic, descriptive terminology which will facilitate their understanding
of the folk dance floor plan.
As there are so many variants in dance terminology and practice in Newfoundland Folk Dances
(typical of living folk tradition in our Province), couple dances are relatively free of floor plan
elaboration. When describing a folk dance, Newfoundlanders usually give the name of the whole
dance which how it is organized. This figure or dance is then divided into smaller units or bars, each
consisting of several "steps" or "moves" which develop in sequence.
Although different regions of the island vary the steps, there are some basic rules for dance
movements and sequencing:
! All sequence eventually return the dancers to the position from which they began.
! Any movements which are performed by the dancers in one couple of the facing pair will be
repeated by the others either alternately or in sections.
! The duration of the basic movement is flexible.
! The square formation has two couples on each end and side.
Songs which can be used to introduce the dance steps are:
! "Feller From Fortune"
! "I'se the B'y"
! "Old Polina"
! "A Great Big Sea Hove In Long Beach"
! Any Newfoundland or Irish jigs or reels.
NOTE: Dance steps often seem complicated when they are read as a sequence of moves. They
become clearer to see if they are "walked through" before matching them to music.
105
Newfoundland Square Dance
According to the research work done at Memorial University on Newfoundland Dance by Colin
Quigley (1985), the most common Newfoundland dance is the Square Dance. The entire Square
Dance generally consists of five parts (figures) or dances. Each of these will be explained in more
detail.
! Off She Goes
! Dance Up
! Form a Line
! Take Two
! Grand Cut or Ladies In
! Thread the Needle (optional)
The dance is usually performed in a square formation, couples facing with the men always on the
right.
Within the square formation, dancers may:
! cross the set (cross)
! change sides completely (change)
! meet in the centre (meet)
! step dance in place (step dance)
! swing with another dancer (swing) or
! travel around the set (circle)
These actions are the lowest level of dance movements.
The set is the formation in which the dancers begin the dance. For the Square Dance, the set is made
up of pairs of couples facing one another on opposite sides. One pair of sides is labelled "ends" and
the other pair is labelled "sides".
"Corners" refer to couples which may occasionally be formed between the "end and "side" couples
at the corner of the square set, always in multiples of four.
FIGURES
"Off She Goes"
! End couples cross the set as individuals (not holding hands), the women changing places first
and then return similarly to place.
! Partners swing until the end of the phrase.
! Side couples repeat steps 1 and 2 while end couples dance "on the spot" in their own places.
106
"Dance Up"
! End couples meet in the centre, step dance, and return to place.
! The couples cross the set, return to the centre to meet and step dance again.
! The sequence is repeated to return the couples to place and bar ends with partners swinging in
place.
"Form A Line"
! End dancers start
! The first man turns the second woman by the left hand once around in the centre of the square.
NOTE: Because couples are both using left hands, they will be facing opposite directions.
! Then their partners also move to the centre, forming a linked line of four dancers by joining right
hands with their partners. Men will be facing one direction and women facing the other.
! The dancers step dance in this position.
! The first man and second woman move from the centre to her side of the set, while the second
man crosses to join the first woman on her side thus changing partners.
! Having exchanged partners, these couples meet in the centre, step dance and swing.
! The men then cross back to their own sides and repeat the sequence of couples meet, step dance
and swing.
! This entire pattern is repeated for the second man and the first woman.
! Finally it is repeated for the sides.
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"Take Two"
NOTE:
This figure may be left out, depending on the skill and attitude of the class, as it calls
for a solo performance. The teacher may wish to perform the solo step dance.
! Begin with the "Ladies Chain". (See "Grand Cut")
! When step one is finished, the first woman crosses to stand on the second man's left, forming
a group of three who put their arms around each other's backs.
! The first man, now alone, performs a vigorous step dance.
! The second couple crosses to the opposite side and the first man joins his partner in the second
couple's place and both step dance.
! Couples then cross back to place, step dance and swing.
! The entire sequence, including the "Ladies Chain" is repeated, the couples reversing roles.
"Grand Cut"
! All the dancers, both end and side couples, join together in a ring and step dance.
! The ring circles clockwise, once around.
! The set separates into couples, each in their original place of the set, and the end couples (cut)
or side-step across the set and back to place twice, swing, and then perform the "Ladies Chain"
sequence.
"Ladies Chain Sequence"
The women cross the set, swing counterclockwise with the opposite man and return to place. The
opposite couples then dance forward and back and then forward again to meet in the centre, step
dance and swing.
! This is repeated by the side couples.
! The bar then continues with an "exchange partners" figures: (a) line of 4 dances join together
and step dance, (b) corners swing and form new couples; always returning to the woman's
corner.
! The new couples then perform the "Off She Goes" figure, end couples first.
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! This sequence is repeated, exchanging partners each time until the original couples are reunited.
! Conclude with two "join together", step dance, and circle sequences (first left, then right) and
a final "all step dance and partner swing!"
"Ladies In"
! Women meet in the centre and step dance, then return to place.
! Couples dance counterclockwise around the perimeter of the set and exchange partners, women
moving to the next man clockwise around the set.
! The sequence is repeated until original partners are reunited.
"Thread the Needle" (Optional)
! Dancers join together in a circle moving to the left.
! The first man (end starts first) lets go the hand of the woman on his left and moving into the
centre leads the line now following him under the upraised arms of his partner and the man to
her right.
! The first man continues on around behind his partner and back into the centre again to lead the
line of dancers under the next arch, that between the next couple to his right in the set.
! The first man continues in this manner, passing between each pair of dancers.
! To finish either: (a) the last woman may lead the set to her right around the circle, or (b) the first
man may turn immediately under his own arm to start if he wishes, this is repeated until each
man, in turn, leads the figure.
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Newfoundland Lancer
The Newfoundland Lancer is organized similarly to the Newfoundland Square Dance. The
difference is that it is performed in four couple sets rather than two. Like the square dance, it
consists of several major sections.
Part A
! Begin with opposite couples dancing forward and back.
! Opposite couples cross over the set where couple #1 forms an arch and the others pass through.
! Couples swing in that position and then return to their original places by the foot couple forming
an arch, the other couples passing through.
! The side couples then perform this sequence.
Part B
! Head couples dance forward and back, and forward again, the women exchanging places and
returning with the opposite men.
! This sequence is then repeated to bring the women back home.
Part C
! This part consists of three distinctive figures which may be done in any order:
"Star"
! Men join right hands with the opposite man, putting their left arm around their partner.
! All dance forward and the "star" rotates once more.
! All then turn individually and reform the star, men joining left hands, right arms around
partners, to return to place.
"Basket"
! Men cross their arms and link hands with the man next to them.
! The women link their arms with the men's elbows to form a tightly knit circle, which then
rotates twice in each direction.
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"Progressive Longways"
! Performed in lines which would be assumed during a break in the music.
! Partners face each other, the head couples at top and bottom of the set, side couples in
between.
! One head couple begins by swinging together and then progressing down the set, alternately
swinging their partner and each person of the opposite sex in turn.
! Once each couple reaches the bottom of the set they side step to the top and back again to
the bottom.
! All couples face down the set and take four side steps to their right and then back to their
left.
! The lines then pass through one another, the women in front of their partners.
! The line then "casts off" from the bottom, marching up the outside of the set individually
and down again through the top and back to their place.
! From this position the next couple begins the step and the entire sequence is repeated for
each couple.
Part D
! Two figures are performed in this section:
"Right and Left"
! Form a circle, the first man of the head couple chains left hand to partner and right hand to
the next woman and left to the next and so forth.
! After one circle of chaining the men and their partners swing.
! Reverse direction and chain back the other way.
"Thread the Needle"
! Same as in Square Dance
RESEARCH
Students may research the following topics in relation to folk dances taught in class:
!
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Cultural Functions of Dances
Play-Party Games
Contra-dances (Longways)
Clogging
Country of origin (geography, climate, language, flag, etc.)
Instruments
Dance Costumes
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Student groups may be given dances to learn on their own and present to the class. There must be
enough students in each group to successfully perform the dance. Supply the dance instructions and
a copy of the recording. Set deadlines and a date for the demonstration.
Give the students the following guidelines:
! watch right and left instruction
! coordinate hand movements with feet movements
! work out the instructions step by step to simplify
! do everything without music at first
! match movements and phrases to the music
. establish the correct tempo
. identify the beat, phrases, sections
. do the stamps and accents match up?
. did the dance finish when the music finished?
Demonstration
! present brief background of origin
! perform dance
! walk through dance steps with demonstration group
! demonstrate any complicated steps
! teach in sections
! entire class performs the dance
Student Evaluation of Demonstration Group (1-5)
1.
2.
3.
4.
Preparation
Clear and precise instruction to class
Demonstration of dance - matching of dance to music
Did I learn to do this dance?
Plan a Folk Dance Party for the class (see All Join Hands for specific instructions).
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USING RESONATOR BELLS
Resonator bells fall into the instrumental category of "pitched percussion" but, played together,
they become a melodic instrument. They are individual tone bars made of wood or metal that can
be taken from the carrying case, if desired. For example, if students are to compose melodies with
3 or 4 pitches, those particular bars can be removed from the set, placed in order and played.
When students have had opportunities to explore the bells they will make a number of
discoveries:
! long bars sound low pitches
! short bars sound high pitches
! the arrangement of white keys and black keys is the same as for the piano except that the
piano has more keys
! to produce the best tone, one strikes the middle of the bar and draws out the tone
The use of resonator bells may supplement the program in these ways:
! to demonstrate patterns of lower and higher
! to illustrate intervals, scales and chords
! to aid individual or group work
! to accompany singing (or recorder work) with ostinati, descants, or chord roots
! to create introductions, codas and interludes
! to double parts in singing or recorder groups
! to improvise melodic phrases
! to add a canonic part; play behind themselves
! to illustrate chords (block, broken)
! to construct triads
Resonator bells may constitute a highly significant audio visual tool for learning. Students can
see, feel and hear the interval relationships of tone. This can lead to a real comprehension of the
meaning of the notes on the staff, a comprehension frequently lacking with students whose musical
experiences have been confined to a singing approach.
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THE LATE BEGINNER
What can we do with students who have had no previous background in music? According to
Erzsébet Szönyi, Dean of Music at the Franz Liszt Academy of Music in Budapest, "We have to start
with them at any age at the beginning.... We have a responsibility to teach at whatever age and
whatever stage we find our children" (Kodály Concept, p. 57).
Some students do not have the opportunity to study music until the intermediate levels. Others
have not followed a music program designed for sequential learning. Therefore, it is advisable that
teachers conduct diagnostic testing during the first week of school to determine their students'
background. If skills are at a very low level, students should follow a special program for late
beginners.
It is important that in-tune singing be achieved as soon as possible. The first step in the program
is learning by rote a body of songs and games which contain the meters and rhythmic and melodic
patterns needed for the year. Students will learn songs in 2/4, 3/4, 4/4, and 6/8 meter. Concepts of
melody and rhythm can be intellectualized much quicker by students at this level. They do not
require the same preparation as needed at primary/ elementary levels.
Elementary Music: A Teaching Guide (Department of Education, 1985) contains a section
which lists the concepts for the late beginner and a sequence of skills which will lead to concept
development. Suitable songs for elementary students are listed to exemplify skills. Sources include
Musicanada 4, 5, and 6; Games and Movement; The Kodály Context; Elementary Music: A
Teaching Guide; Primary Music: A Teaching Guide.
Short-Term Goals
At the end of one year, students will:
! Distinguish between and perform beat and rhythm for known songs.
! Mark accent in duple and triple meter.
! Identify and perform the comparatives of faster/slower, higher/lower, louder/softer, and
same/different (pitch).
! Read and write rhythms containing
in simple duple and triple meter and
in simple compound meter.
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Distinguish between step, skip, and leap in melodic line.
Sing, read, and write pentatonic songs in C, F, and G key placement.
Apply inner hearing to phrases of known songs.
Memorize rhythms and melodies of 16 beats.
Identify phrases as like and unlike (AABA, AABB, and AABC) and larger forms as AB and
ABA.
Identify major and minor songs with do or la tonal centres.
Accompany songs in major tonality with do and so.
Identify vocal and instrumental timbre.
Improvise and compose phrases using known rhythmic and melodic patterns.
Suggested Song Repertoire for Late Beginners
The Water is Wide
When I'm on my Journey
Shenandoah
Mango Walk
Five Hundred Miles
Joe Turner Blues
Tom Dooley
Poor Wayfaring Stranger
Streets of Laredo
Hey, Ho, Nobody Home
Vive le compagnie
New River Train
Jamaican Farewell
Four Strong Winds
Land of the Silver Birch
Lukey's Boat
Gypsy Rover
Un Canadien errant
Puff, the Magic Dragon
Drunken Sailor
Greensleeves
The Huron Carol
John Henry
Hava Nagila
Perry Merry Dictum
Chairs to Mend
Down by the Riverside
Crawdad Hole
Joshua Fit de Battle of Jericho
My Landlord
John Kanaka
Rock-a my Soul
Scarborough Fair
Waltzing Matilda
All the Pretty Little Horses
Tum Balalaika
This Train
Sloop John B.
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COMPUTER-BASED TECHNOLOGY
We are living in an age of digital arts. Writing, printing, design, animation, entertainment - even music and
dance - have been radically changed by tiny microprocessors and the things they do with software and
associated hardware. Just as musicians have always relied on the conventions of music notation and
performance, today's musician embraces the computer.
It should not be surprising that musicians have developed a symbiosis with modern office appliances.
Throughout history, music has harnessed the available tools of technology, from handmade goatskin drums
to pianos made by robots. In times, past, craftspeople forged musical instruments of wood, brass, steel, and
animal tissues like ivory and horse hair, but in recent years, they depend as much on aluminum, plastic,
glass, and silicon wafers.
Musical instruments have always been machines. Without human hands to give them shape and purpose,
even the most traditional instruments do not occur in nature. Instruments are mechanical contrivances; that
is why they are called "instruments". They have always followed the evolutionary path of machines. The
primitive wooden pipe evolved into the recorder, which spawned the modern flute. Medieval lutes were
gradually replaced by classical guitars, then steel-string guitars, and finally, electric guitars. Music boxes
begat nickelodeons, which eventually led to MIDI sequencers. Music always harnesses whatever technology
is at hand. It is only natural that computers and their offspring are taking such an active part in the music
of our age. Computers are great for organizing things, and what is music but the meaningful organization
of sound?
Geary Y elton, The Music PC
The meaning of music is in the interaction, not the fragmentation, of musical elements and
factors. In selecting computer-based technology activities, it is critical that a gulf is not created
between the educational system and the living creative art of music.
Select software and supportive technology that:
! promotes the development of higher-level cognitive skills
! places students in roles that parallel those normally undertaken by musicians: performer,
composer, improviser, consumer, and critic
! places all musical facts and knowledge within a musical context
! focuses on music, not symbols
! helps students unlock the 'learning process' rather than merely attain a limited collection of
musical facts
! requires the students to make musical decisions and exercise musical judgement
! causes students to respond to music with understanding
! provides opportunities and tools for students to:
• become aware of the interaction of musical elements
• to express their musical thoughts
• to exercise musical judgement
• to start on the path to continued personal discovery and growth
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Computer-Based Technology as a Learning/Personal Tool
Computer-based technology is capable of lessening the skill-intensive nature of the creative
musical process for those who may not possess what are generally regarded as the traditional musical
skills—the ability to play an instrument and to read musical notation - which may usually be
acquired only after several years of musical tuition.
In Western society it is the lack of instrumental performance skills and of music notation/literacy
skills required for the notation and realization of a musical composition which prevents the
development of compositional abilities. A computer-based music sequencer may be used to realize
a complex musical composition which normally would be totally beyond the user's performance
abilities.
By allowing those who lack traditional musical skills the opportunity to directly experience the
results of their creative music-making endeavours through the computing medium, some highly
significant music learning may take place as people try out their musical ideas and amend and refine
them in response to the instantaneous auditory (and visual) feedback provided by the computer.
Student composers should make use of the computer as a musical 'scratch pad'. This means that
a student can immediately consider the results of his musical thought and aural imagination without
waiting for his own or someone else's attempts to realize his ideas on an instrument or instruments.
The ability to employ step-time entry fosters the capacity to 'think musically' by requiring the
student composer to break down the decision-making process of composition into a series of smaller
steps which have to be entered by keying in individual musical elements. Step-time entry, if
correctly carried out, makes significant demands on the pupils' ability to construct and hold an
internalized vision of the composition on which they are working.
At the same time as decreasing the formal musical skills demanded of student composers, a
computer-based compositional environment is also able to greatly empower them musically by
allowing simultaneous control over most, if not all, musical dimensions in the realization of their
own music--that is, by simulating a multi-dimensional, ensemble type performance situation, the
computer enables the user to control not only the most basic dimension of pitch and duration, but
also the expressive and certain high level dimensions such as dynamics, tempo, timbre, texture, form,
etc. This foster multi-dimensional thinking in music on the one hand as well as allowing for
concentration on individual musical elements on the other.
The step-time method of entering musical data into a computer-based 'music composer' system
allows physically-handicapped students access to music making opportunities which would
otherwise be totally denied to them.
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Computer-Based Technology as an Instructional Medium
Aural Training
A concept such as aural interval recognition (identifying the distance in pitch between two notes)
may be explained (and demonstrated) to students by the teacher with reference to the theoretical
basis of interval construction, to the visual representation of intervals, etc., but the actual acquisition
of the psycho-auditory skill of interval perception and analysis is not fully understood. One
acceptable method of teaching these skills is to expose students to the 'aural stimuli' through drilland-practice activities which have traditionally been given in an en masse class instructional setting.
This form of teaching has often been less than satisfactory chiefly because of its inability to
individualize the instruction. Computer-based drill-and-practice does provide a high degree of
individualization.
Advantages over traditional classroom methods for the teaching of individual musical skills such
as aural perception, sightreading, and music theory:
! musical sounds may be reinforced by means of a simultaneous visual representation of the
music (or vice versa). This link between sound and its graphic representation is critical in
fostering the 'sound-symbol' relationship in the music learner.
! individualization of instruction may be provided
! instantaneous and confidential feedback may be given
! immediate positive reinforcement may be given
! drill and practice and/or test items are generally randomly selected, and the judging of
student user responses is totally accurate and impartial
! the level of difficulty may sometimes be adjusted in response to user performance
! data on student performance may be collected for teacher scrutiny
! higher levels of motivation may usually be generated
! student anxiety may be minimized by emphasizing the joy of learning and de-emphasizing
the aspect of peer competition
Despite the fact that many disregard this highly computer-controlled situation, computerassisted-instruction has been usefully employed as a means of teaching these more specialized
musical skills and knowledge and has, in many situations, freed both teachers and students to engage
in the more creative, applied teaching pursuits such as composition, ensemble performance, etc. It
is by no means a universal panacea, but is it an effective and time-efficient means of achieving
student learning in some skill areas which could be thought of as prerequisite to some of the more
creative and more musically meaningful endeavours in music education.
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MIDI INSTRUMENTS
MIDI instruments are electronic sources of musical sounds under the computer's control. They
can be used to enter musical information into a computer. Some MIDI instruments can be picked
up and played like other musical instruments. Other MIDI instruments depend on external MIDI
signals for musical input. It is important that the MIDI instrument be multitimbral. Multitimbral
instruments can produce several different sounds simultaneously and are usually capable of receiving
messages on more than one MIDI channel.
Synthesizers
Synthesizers are electronic instruments that create sounds synthetically. The means for creating
sounds vary from one instrument to another and may be analog, digital, additive, subtractive, FM
L/A, etc. At one time, a user would have to have the knowledge to create sounds from scratch.
Synthesizers now have any number of pre-set sounds that can easily be called up at the touch of a
button. A user has the option of modifying those sounds or creating new ones, but the pre-sets may
be perfectly adequate for the user's purposes.
For those with a knowledge of synthesizer basics, MIDI musicians can easily create their own
unique sounds and not have to rely on the same 'factory' sounds everyone else uses.
Samplers
Samplers are electronic devices that play back "samples", digital recordings of specific sounds.
Samplers are most often used to record and play back the sounds of acoustic instruments, voices, and
sound effects. Almost all samplers are by nature multitimbral, capable of producing as many
different sounds at one time as there are voices.
A sampler's effectiveness is related to its memory size and sampling rate, editing capabilities,
and ease of use. When a sampled sound is in digital form it can be manipulated via MIDI data in
terms of pitch, duration, added modulation, etc.
Drum Machines
In most MIDI systems, drum machines provide the sounds of percussion. Some drum machines
are built into synthesizers and others are free-standing modules. Drums, cymbals, and other
percussion instruments are digitally recorded (sampled) and stored in a drum machine's memory
circuits. Like samplers, drum machines are multitimbral.
MIDI Controllers
Most MIDI instruments have musical keyboards. As the interface between a performer and
his/her instrument, the keyboard is the primary means of musical performance and MIDI input.
Many keyboards are velocity-sensitive and some are pressure-sensitive. Alternative controllers
include drum, wind, and guitar controllers.
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MIDI APPLICATIONS
Sequencer
The term sequencing has come to mean recording data from a MIDI keyboard into a hardware
device that reads and stores MIDI data. Sequencers store, manipulate, and send MIDI data to control
various MIDI devices like synthesizers, samplers, and drum machines. A sequencer's effectiveness
is related to its capacity for memory, the number of tracks it can handle, its editing capabilities, and
its ease of use. In a nutshell, the user can pre-determine a series of musical events, with edit at
his/her leisure (non-realtime editing), and play back the sequence to simulate a realtime performance.
There are two common types of sequencers:
! hardware sequencer - a small dedicated device which is used for music recording only
! software/computer sequencer - usually a microcomputer running a specialized piece of
music software. Many MIDI keyboards have on-board sequencers built right into them.
Sequencers function very similarly to multitrack tape recorders with a number of tracks which
are independent from one another which are controlled by a transport system that looks more-or-less
identical to a tape recorder with buttons such as Play, FF, Pause, etc.
Unlike a tape recorder, however, sequencers do not record sound, but record MIDI information.
Often a different 'instrument' is assigned to each track. These instruments are keep independent by
the use of separate MIDI channels for each track. Another major difference from tape is that once
data is recorded it can be edited and arranged in ways that are impossible with tape.
Data can be entered in two ways:
! step time - a way of entering information into a sequencer in discrete steps. Each note is
type in, or played in, one at a time, with a particular rhythmic value being defined.
! real time - a method of sending data to a MIDI device or computer exactly as it is intended
to be performed. One can play music (and create MIDI data) and have that data sent directly
to a sequencer or computer for storage. The MIDI data can then be sent back to a MIDI
device for playing.
The musical information may be displayed and edited graphically (like a player piano roll),
numerically (best for fine tuning, but harder to read), or notationally (ideal for readers of music).
Events (e.g., note on, note off, velocity, pitch bend, program changes, controller values, etc.) can
be edited individually, either by changing particular numericals values, or by graphically
ltering an image of the event. Editing features such as pitch transpose, shifts in timing, note
duration, or dynamics are basic to any sequencer. With the major editing processes like cut, copy,
and paste, the sequencer is virtually a word processor for music.
Although MIDI is somewhat limited in its ability to describe a performance with all of its
nuances and expressiveness intact, most of the basic musicality is preserved in the following ways:
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!
!
!
!
!
MIDI describes pitch (note number) and dynamics (key-strike velocity)
MIDI describes volume (controller #7) and stereo pan (controller #10)
MIDI describes sustain pedal (controller #64) and portamento (glide)
MIDI describes vibrato (modulation) and pitch bend
MIDI describes timbre of a particular sound through the use of System Exclusive (SysEx)
on most synthesizers
! MIDI describes the timbral change in a sound through velocity-switching and similar
techniques
Notation
There are two fundamental functions of notation software: the manipulation of preexisting
music and the creation of new music. The first category includes publishing, engraving, copying,
arranging, and orchestration. The second category includes composition and musical realization.
Notation software performs a variety of tasks:
! production of a final legible copy for publication or distribution
! extraction of parts required for performance
! creation of new version of existing works in different keys
! rapid creation of a new arrangement via software tools
! easy musical idea manipulation via software tools
! creation of an electronic realization as an instant reference or for 'proofhearing'
! creation of an electronic realization as an end in itself
Possible curricular uses of notation software:
! arranging skills
! basic studies in transposition and meter
! study of chord analysis
! creation of working scores for exams and study sheets
! introduction to desktop publishing as it relates to music
Hypermedia
Hypermedia is a software construction kit for organizing information and stimulating thought.
Its main strength is its flexible use of imagery - imagery that can include words, digitized sound
(both within the computer and from outside sources such as a compact disk), music notation, still
picture, graphic animation, and "real time" video in any combination.
Users can work in a traditional linear fashion, moving through each screen or "card" of
information one by one. More common would be the user that explores information in a non-linear
way, moving in many different directions. The ease with which a user can navigate through
information in a variety of formats make hypermedia ideal for exploring related concepts and
enhancing content by approaching it from numerous perspectives.
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Part of the construction kit's capability is to help construct models and to simulate real
experiences. For instance, using graphic animation and scrolling text, aspects of a musical
composition can be highlighted during the actual sound of the music. Complicated rhythmic layering
can be modeled with actual overlaps of music notation. Conducting gestures can be simulated with
resulting musical effects. Students can see a visual representation of a melodic line while listening
to its sound. All of this can be used in large group instruction, small group activity, or by individuals
in tutorial work.
All MIDI parameters can be accessed through hypermedia so that a single MIDI file could be
played faster, slower, in different keys, using different sounds from the synthesizers, and in amy
other musical ways.
While the commercial examples to date have been music listening programs, centred on
individual compositions, the potential is available for hypermedia software in music theory,
performance, composition, and music teacher training.
Music CD-ROMs
The music CD-ROMSs offer vast amounts of information regarding the composer and the history
of his personal life and the period. They present a detailed analysis of the work with the score on
the screen, isolating instruments and offering histories of these as well. Meanwhile, the music can
be heard, digitally recorded for optimum sound.
Some of the music CD-ROMs now available:
! The Young Person's Guide to the Orchestra
! Beethoven's Ninth Symphony
! Schubert - The Trout Quintet
! Stravinsky - The Rite of Spring
! Beethoven - String Quartet No. 14
! Brahms - A German Requiem
! Mozart - The Magic Flute
! The Great Composers - A Timeline
Multimedia
Multimedia implies the capability to digitize still pictures, moving picture, and high-quality
sound with a personal computer and to edit these materials to produce high-quality interactive
audio/video production. The possibilities for using multimedia for teaching are limited only by our
imaginations.
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SUGGESTED MIDI ACTIVITIES
! Students can create their own rhythmic patterns almost immediately. They can achieve success
quickly and easily, since the machine can quantize their performance to smooth out any
programming errors and allow their compositions to sound like 'real' music. A drum machine
is a good introduction to music technology in that it is simple to operate. It introduces the
concept of time represented by both traditional rhythmic values as well as numeric values. It
allows the student to focus on only the rhythmic aspects of music and allows the manipulation
of the controls of an amplifier such as volume, tone, and stereo balance.
Because drum machines allow for such accurate control of rhythms, they make great teaching
tools for demonstrating rhythmic concepts. Simple or complex musical examples can be
performed and identified. Examples can be generated immediately by the student or teacher and
saved for future use. Ostinato rhythm patterns can be orchestrated and used as accompaniments
for speech or chant or for group/individual improvisation.
! Design a hypermedia stack to introduce your classmates to the instruments of the orchestra. In
addition to providing pictures, range, and a textual description of each instrument in the four
families, let the user hear the instrument in a solo capacity as well as in an orchestral or band
context.
! Create a multitimbral sound collage to represent the complexity, depth and beauty of nature for
use as background for a radio documentary. Select a specific aspect of nature as the subject
matter. Use as many sounds as possible but try to avoid using anything which is similar in sound
to an acoustic instrument.
! Create a composition by 'layering' four voice tracks - bass line, harmony, melody, percussion.
! Sequence a piece to be used as the theme music for Hockey Night in Canada on CBC Television.
The producers are looking for something exciting and flashy to add spice to the opening visual
shots of hockey action. Total length must not exceed 2 minutes and will be subject to fade out
in the actual program.
! Use a standard music notation program to write original melodies, or to modify existing
melodies that have been entered. This provides many opportunities for musical decision-making
as the user is using music notation in a musical context.
! Your new baby sister is not sleeping well at night and so your mother has asked for a cassette
of lullabies to play in the baby's room when she is to be sleeping. Cradle songs are one of the
oldest forms of music and often the first music that a child hears. Traditionally, this style of
music employs 6/8 or 3/4 meter and features 'dotted' rhythms to convey the idea of rocking.
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