Fill - Free fillable Pass the TExES PDF form

Pass the

TExES

Also

available from

Ed Publishing:

Pass the TExES Theatre

FOR TEXAS TEACHERS.

A test prep manual for the TExES

Music EC-12 #177

EXCELLENT CONTENT, WORKSHEETS,

EXERCISES, STUDY TECHNIQUES AND

INTERACTIVE STUDY MODULE

Eighth Edition

by Caia McCullar BME, MM, Ph.D.

and David McCullar BME, MM

with Mark Mentze, M.Ed., M.A.

History 7-12 4th Ed Cover New for website.indd 1 5/4/18 10:28 AM

EC-12

Music

Domain I: Listening • Competencies 1-3

Pass the TExES Music

Domain I:

Listening

Competencies 1-3

(25% of the test)

Music EC-12 Standard I:

The music teacher has a comprehensive visual and aural knowledge of musi-

cal perception and performance.

Music EC-12 Standard III:

The music teacher has a comprehensive knowledge of music notation.

Music EC-12 Standard V:

The music teacher has a comprehensive knowledge of music history and the

relationship of music to history, society, and culture.

Music EC-12 Standard VI:

The music teacher applies a comprehensive knowledge of music to evaluate

musical compositions, performances, and experiences.

Domain I:

Competencies 1-3

Domain I: Listening • Competencies 1-3

Pass the TExES Music

1. Elements

• Recognizes and interprets music symbols and

terms aurally.

• Identifies melodic and harmonic intervals.

• Recognizes scales and pitch collections.

• Identifies and interprets rhythmic and

melodic concepts aurally.

• Describes melodic, harmonic, and textural aspects

of a musical composition.

• Analyzes chordal structures, harmonic

progressions, cadences, and textures.

DESCRIPTOR HIGHLIGHTS

Key Words:

Music Symbols and Terms

Melodic and Harmonic

Intervals

Scales and Pitch

Collections

Rhythm and Meter

Dynamics and Form

Texture and Timbre

Aural Analysis of

Musical Works

Rhythm

Key Descriptors:

____________________________

NOTE: Refer to the bullet points under each Competency

in the NES/SBEC study guide. Analyze each bullet point,

and synthesize it down to a paraphrase that is meaningful

to you, using no more than 5 words. List those phrases in

order on the lines above. It may help to number the bullet

points and the lines above. When complete, record them

again on Worksheet 4 in Appendix I.

Aural skills development is one of the most important

resources used by the music teacher in the classroom on a

daily basis. The ability to aurally recognize and describe

aspects of a musical composition or performance is a nec-

essary requirement for comprehensive musicianship.

The prospective music teacher must show evidence of a

thorough knowledge base of musical styles from the whole

of music history. In addition, the music teacher must have

a keenly developed ear in order to diagnose problems and

prescribe effective solutions related to student perfor-

mance.

A. MELODY - A succession of single pitches.

• Intervals - the distance between two different

pitches

• Scales - the orderly graduated arrangement of

ascending or descending pitches

• Pitch Collections - the use of something other

than complete scales from which a melody or

composition is derived

B. RHYTHM - The organization of music over time

using long and short note and rest values.

• Meter - a systematic grouping of beats and their

divisions in regularly recurring patterns

• Syncopation - the disruption of the normal accent

in a measure by shifting it to an unexpected beat

• Augmentation - the proportional enlargement of

rhythmic values

• Diminution - the proportional reduction of

rhythmic values

• Hemiola - a rhythmic device found in all periods

of Western music; alternation of triple meter at

two different metrical levels, as in juxtaposition

of 6/8 and 3/4

C. TEXTURE - The horizontal and vertical relationship

of musical elements.

• Monophonic - music composed for a single unac-

companied voice or unison choir

• Homophonic - music in which the parts move

more or less together (chordal), or in which

one prominent melody is given a chordal accom-

paniment

• Polyphonic - music with more than one voice part

• Chord Structures - combinations of concurrently

sounding or arpeggiated notes, the identity of

which is understood and named without

accounting for any foreground elaboration (i.e.,

suspensions, appoggiaturas, passing tones, auxil-

iary tones, etc.)

• Chord Progressions - successions of functional

chords proceeding by strong root movements

which may be elaborated by intervening non-

functional chords (auxiliary chord, passing chord,

appoggiatura chord)

• Cadences - a closing pattern or formula that ter-

minates a phrase, section, or complete composition

D. TIMBRE - Tone color or quality: Vocal,

Instrumental, Keyboard, Synthesized Sound.

E. DYNAMICS - Varying degrees of loud and soft.

• Terraced Dynamics - expressive style typical of

some early music, particularly Baroque, in which

volume levels shift abruptly from soft to loud and

back without gradual crescendos and decrescendos

• Crescendo/Decrescendo

F. FORM - The organization and structure of a composition.

• Binary - a 2-part form

• Ternary - a 3-part form

• Twelve Bar Blues - a I, IV, V chord progression,

often used in jazz style, making use primarily of

dominant 7th chords played over twelve bars or

measures

• Rondo - a repeated return of musical material in

phrases and sections interspersed with phrases and

sections of new musical material (ABACADA, etc.)

• Theme and Variations - a style of composition

that first presents a basic theme and then develops

and alters that theme in successive statements

• Sonata Allegro - a multi-sectional form often used

as a first-movement form

• Fugue - a polyphonic procedure involving a specified

number of voices in which a motive (subject) is

exposed, in each voice, in an initial tonic/dominant

relationship, then developed by contrapuntal means

G. SYMBOLS AND TERMS - Interpretive and perfor-

mance markings on a musical score.

• Tempo Markings • Dynamic Markings

• Embellishments • Articulations

Pass the TExES Music

Domain I: Listening • Competencies 1-3

1. Elements

Competency 1:

The teacher applies standard terminology to describe and analyze various elements in a

musical recording.

Pass the TExES Music Domain I: Listening • Competencies 1-3

2. Styles and Genres

Key Words:

Western Influence

Middle Ages

Renaissance

Baroque

Classical

Romantic

Modern (20th - 21st Cen.)

Non-Western Music

U.S. Musical Heritage

Texas Musical Heritage

• Identifies musical styles, characteristics, works,

and composers of Middle Ages, Renaissance,

Baroque, Classical, Romantic, and Modern music

in a recorded example.

• Characterizes and classifies examples of Non-

Western music (Indonesian gamelan, African

drumming, Indian raga, Cuban salsa) by genre,

style, culture, and historical period in a recorded

example.

• Recognizes and describes music that reflects

United States and Texas heritage (folk songs,

work songs, jazz, blues, gospel, Tejano, country,

bluegrass) in a recorded example

DESCRIPTOR HIGHLIGHTS

Key Descriptors:

____________________________

NOTE: Refer to the bullet points under each Competency

in the NES/SBEC study guide. Analyze each bullet point,

and synthesize it down to a paraphrase that is meaningful

to you, using no more than 5 words. List those phrases in

order on the lines above. It may help to number the bullet

points and the lines above. When complete, record them

again on Worksheet 4 in Appendix I.

Pass the TExES Music

Domain I: Listening • Competencies 1-3

2. Styles and Genres

A. TYPES OF COMPOSITIONS

• Middle Ages (c. 500-1400)

Plainchant, Organum, Mass, Isorhythmic motet, Secular songs, Instrumental Dances

Significant Dates Events and Composers

590—604 During this time the Gregorian chant was developed. It is also known as plainchant or plainsong and

named after Pope St. Gregory the Great. This Pope was credited with bringing it to the West.

695 The organum was developed. It is an early form of counterpoint, which eventually led to polypho-

ny. This type of song had a plainchant melody with at least one added voice to enhance the har-

mony. There is no real independent second voice, so, it is not yet considered polyphony.

1000—1100 During this time of liturgical musical drama unfolds throughout Europe. Also, the music of the

troubadour and trouvère, a vernacular tradition of monophonic, secular song is accompanied by

instruments and singers. Guillaume d’Aquitaine was one of the well-known troubadours with most

themes centered around chivalry and courtly love.

1030 It was around this time when a new method to teach singing was invented by a Benedictine monk

and choirmaster named Guido de Arezzo. He is regarded as the inventor of modern musical nota-

tion.

1098—1179 The lifetime of Hildegard von Bingen, a highly regarded abbess who was conferred the title of

“doctor of the church” by Pope Benedict XVI. One of her works as a composer, the “Ordo

Virtutum,” is an early example of liturgical drama and arguably the oldest surviving morality play.

1100—1200 This period is the age of the Goliards. The Goliards were a group of clergy who wrote satirical

Latin poetry to mock the church. Some known Goliards were Peter of Blois and Walter of

Chatillon.

1100—1300 This period was the birth of minnesang, which were lyrics and songs writing in Germany much like

the troubadour tradition of France. Minnesingers mainly sang of courtly love and some known min-

nesingers were Henric van Veldeke, Wolfram von Eschenbach, and Hartmann von Aue.

1200s The spread of geisslerlieder or flagellant songs. The practice of flagellation was practiced by people

whipping themselves with various instruments as a way to repent to God with hopes of ending the

disease and wars of the time. Geisslerlieder music was simple and closely related to folk songs.

1150—1250 The Notre Dame school of polyphony firmly takes root. Rhythmic notation first appears during

this period. Also known as the ars antiqua; it is during this time when the motet (a short, sacred,

choral song) initially developed.

1300s The period of “ars nova”, or “new art,” coined by Philippe de Vitry. During this period, secular

music acquired polyphonic sophistication. The most notable practitioner of this style was

Guillaume de Machaut.

1375—1475 Known composers during this time were Leonel Power, John Dunstable, Gilles Binchois, and

Guillaume Dufay. Dunstable is credited with the contenance angloise, or “English manner,” which

was his stylistic trait of using full triadic harmony. It is a distinctive style of polyphony.

Competency 2:

The teacher recognizes and describes music of diverse genres, styles, and cultures

in a musical recording.

Continued

Pass the TExES Music Domain I: Listening • Competencies 1-3

2. Styles and Genres, cont’d.

• Renaissance (1400-1600)

Ordinary of the Mass (polyphonic settings), Motet, Chanson, Madrigal, Instrumental Dances,

Instrumental Pieces

Significant Dates Event and Composers

1397-1474 The lifetime of Guillaume Dufay, a French and Flemish composer, popular as a leading com-

poser of the early Renaissance. He is known for his church music and secular songs.

1450 - 1550 During this period composers experimented with cantus firmus. Known composers during this

period were Johannes Ockeghem, Jacob Obrecht, and Josquin Desprez.

1500-1550 Experimentation with French chansons. Known composers during this period were Clément

Janequin and Claudin de Sermisy.

1517 Protestant Reformation sparked by Martin Luther. Significant changes occurred to church

music such as the introduction of a chorale. It was also the period when the Psalms of the Bible

were translated into French and then set to music.

1500 - 1540 Composers Adrian Willaert and Jacob Arcadelt were among those who developed the earliest

Italian madrigals.

1525-1594 The lifetime of Giovanni Pierluigi da Palestrina, known as the high Renaissance composer of

Counter-Reformation sacred music. During this period Renaissance polyphony reached its

height.

1550 Catholic Counter-Reformation. The Council of Trent met from 1545 to 1563 to discuss com-

plaints against the church including its music.

1540-1570 In the 1550s, thousands of madrigals were composed in Italy. Philippe de Monte was perhaps

the most prolific of all madrigal composers. Composer Orlando Lassus left Italy and brought

the madrigal form to Munich.

1548-1611 The lifetime of Tomas Luis de Victoria, Spanish composer during the Renaissance who com-

posed mainly sacred music.

1543-1623 The lifetime of William Byrd, leading English composer of the late Renaissance who composed

church, secular, consort and keyboard music.

1554-1612 The lifetime of Giovanni Gabrielli, known composer in Venetian high Renaissance music who

wrote instrumental and church music.

1563-1626 The lifetime of John Dowland,

known for his lute music in

Europe and composed beautiful

melancholic music.

1570-1610 The last period of madrigals was

highlighted by two reforms,

madrigals would take on a lighter

tone incorporating more whimsy,

and madrigals once a small,

intimate performance, would

be concertized. Known composers

were Luca Marenzio, Carlo

Gesualdo, and Claudio Monteverdi.

Monteverdi is also known as the

transitional figure to the Baroque

music era.

Pass the TExES Music

Domain I: Listening • Competencies 1-3

2. Styles and Genres, cont’d.

• Baroque (1600-1750)

Motet (with instrumental accompaniment), Mass (with instrumental accompaniment), Opera,

Cantata, Oratorio, Sonata, Concerto, Fugue, Suite

Significant Years Famous Musicians Description

1573 Jacopo Peri and

Claudio Monteverdi

(Florentine Camerata)

The first known meeting of the Florentine Camerata, a group of musicians

who came together to discuss various subjects including the arts. It is said

that the members were interested in reviving the Greek dramatic style.

Both the monodies and the opera are believed to have come out from their

discussions and experimentation.

1597 Giulio Caccini, Peri,

and Monteverdi

This is the period of early opera which lasts until 1650. Opera is generally

defined as a stage presentation or work that combines music, costumes, and

scenery to relay a story. During the baroque period, operas were derived

from ancient Greek tragedy and there was often an overture at the begin-

ning, with a solo part and both an orchestra and chorus. Some examples of

early operas are two performances of “Eurydice” by Jacopo Peri.

1600 Caccini Start of monody which will last until the 1700s. Monody refers to an

accompanied solo music. Examples of early monody can be found in the

book “Le Nuove Musiche” by Giulio Caccini. The book is a collection of

songs for the figured bass and solo voice, it also included madrigals. “Le

Nuove Musiche” is considered one of Caccini’s most important works.

1650 Luigi Rossi, Giacomo

Carissimi, and

Francesco Cavalli

During this middle baroque era, musicians did a lot of improvisation. The

basso continuo or figured bass is music created by combining keyboard

music and one or more bass instruments. The period from 1650 to 1750 is

known as the Age of Instrumental Music where other forms of music devel-

oped including the suite, cantata, oratorio, and sonata. The most important

innovators of this style were the Romans Luigi Rossi and Giacomo

Carissimi, who were primarily composers of cantatas and oratorios.

1700 Arcangelo Corelli,

Johann Sebastian

Bach, and George

Frideric Handel

Until 1750 this is known as the high baroque period. Italian opera became

more expressive and expansive. The composer and violinist Arcangelo

Corelli became known and music for the harpsichord was also given impor-

tance. Bach and Handel are known as the figures of the late baroque music.

Other forms of music like the canons and fugues evolved during this time.

Continued

Bach

by Carl Jager (1833-1877)

Handel

by Balthasar Denner (1726-1728)

Pass the TExES Music Domain I: Listening • Competencies 1-3

2. Styles and Genres, cont’d.

• Classical (c. 1750-c. 1820)

Mass, Opera, Oratorio, Solo Concerto, String Quartet, Symphony

1750 - Johann Sebastian Bach died. In chamber music, the string quartet (consists

of 2 violins, viola, and cello) was popular. In New York, John Gay’s “The Beggar’s

Opera” was performed.

1751 - In Europe, the minuet was a popular dance.

1752 - The composer and piano prodigy, Muzio Clementi was born.

1753 - Italian composer and violinist, Giovanni Viotti, was born.

1756 - The Austrian composer, Wolfgang Amadeus Mozart, was born.

1757 - The Italian composers Niccolo Pasquali and Domenico Scarlatti

passed away. Johann Stamitz, a German composer died.

1759 - Baroque composer George Frederic Handel passed away.

1761 - Franz Joseph Haydn, an important figure in Classical music history, worked as Kapellmeister for Prince Pál

Antal Esterházy. Haydn was instrumental in establishing the symphony and string quartet.

1762 - Benjamin Franklin improved the glass harmonica. In Charleston, South Carolina, a musical group called St.

Cecilia Society was founded. Now aged 6, music prodigy Wolfgang Amadeus Mozart toured Europe. “Orfeo ed

Euridice” by Christoph Willibald Gluck was created.

1764 - Johann Christian Bach performed in London. Mozart wrote his first symphony.

1767 - German composer Georg Philipp Telemann passed away. CPE Bach succeeded him as director of church music

in Hamburg.

1769 - Junipero Sérra led a group of Franciscan friars on a mission to teach Native Americans polyphony and plainsong.

1770 - German composer Ludwig van Beethoven was born. The New England Psalm Singer, the first collection of

music composed in America, was published by William Billings. In New York, Handel’s “Messiah,” was first per-

formed. Johann Christian Bach published his “6 Concerti for pianoforte,” Op. 7.

1773 - In Vienna, the waltz was popular.

1776 - La Scala, a major opera venue was built in Milan. A book on the history of music was published by Charles Burney.

1778 - Ludwig van Beethoven was presented by his father as a music prodigy. La Scala opened.

1780 - Sebastiano Carezo invented the Spanish dance called “bolero.”

1781 - The great classical musician, Wolfgang Amadeus Mozart, moved to Vienna where he created some of his most

popular works.

1782 - Johann Christian Bach passed away. Italian composer and violinist Niccolo Paganini was born.

1784 - Wilhelm Friedemann Bach passed away.

1786 - In Vienna, Mozart’s “ The Marriage of Figaro,” premiered. German composer Carl Maria von Weber was born.

1787 - Mozart’s father, Leopold, passed away. In Prague, Mozart’s “Don Giovanni,” premiered.

1788 - CPE Bach passed away.

1790 - In Vienna, Mozart’s “Cosi fan tutte,” premiered.

1791 - Austrian composer, Carl Czerny, and German composer, Giacomo Meyerbeer, were born. In Vienna, Mozart’s

“Magic Flute,” was first performed. Mozart also passed away in the same year. Haydn’s first London Symphonies were

performed.

1792 - Haydn becomes Beethoven’s teacher. Italian composer Gioacchino Rossini was born.

1793 - Niccolo Paganini debuted as a violin virtuoso at age 11.

Mozart as a child at the harpsichord.

Painting by Joseph-Siffred Duplessis

Pass the TExES Music

Appendix I: Tips and Study Aids

1. Elements

2. Styles and Genres

3. Evaluation

4. Notation

5. Composition

6. Western Music

7. Culture and Music

8. Vocal Performance

9. Instrumental Performance

10. Conducting

11. Instruction

12. Learning Experiences

in Music

Competency 1:

The teacher applies standard terminology to describe and analyze various elements

in a musical recording.

Competency 2:

The teacher recognizes and describes music of diverse genres, styles, and cultures

in a musical recording.

Competency 3:

The teacher evaluates and critiques musical compositions and performances in a

musical recording.

Competency 4:

The teacher knows how to read, write, and interpret standard music notation.

Competency 5:

The teacher understands methods and techniques of musical composition and impro-

visation and knows how to arrange music for specific purposes and settings.

Competency 6:

The teacher demonstrates a comprehensive knowledge of the history of Western

music.

Competency 7:

The teacher understands music of diverse genres, styles, and cultures and knows

how music can reflect elements of a specific society or culture.

Competency 8:

The teacher demonstrates knowledge of methods and techniques for singing.

Competency 9:

The teacher demonstrates knowledge of methods and techniques for playing musi-

calinstruments.

Competency 10:

The teacher knows how to conduct vocal and instrumental performances.

Competency 11:

The teacher knows how to plan and implement effective music instruction.

Competency 12:

The teacher knows how to provide students with learning experiences that

enhance their musical knowledge, skills, and appreciation.

Domain I

Domain II

Competency Chart

Domain IIIDomain IVDomain V

Copy this chart and carry it with you for easy study.

*Texas Examinations

for Educator Standards

Test Prep for the Bilingual Supplemental!

$36.95

EIGHTH EDITION

Test Prep for the Bilingual Supplemental!

www.passthetexes.com

FAST. This material is straight-to-the-point. You’ll have greater

success faster.

EFFECTIVE. Uses proven methods of study that bring results!

USEFUL. Mastering this material will contribute to your successful teaching career.

This material prepares you for the TExES Music exam #177.

Interactive PowerPoint

study module for Mac or PC.

Excellent content, worksheets, study tools, resources, test-taking strategies, and exercises.

Includes seminar packet.

The focus of this program is on developing and strengthening your analysis and synthesis skills so

that you will choose the best answer on the test. This unique study system is proven. Thousands of

teachers have passed the tests by using the Pass the TExES method of study.

You are a Texas teacher. You have to

take a test...the TExES* test.

How do you best prepare for the exam?

This bo

ok provides the direction you need for success.

*Texas Examinations

for Educator Standards

History 7-12 4th Ed Cover New for website.indd 2 5/4/18 10:28 AM

ISBN 0-9671860-9-9

About the Authors:

DR. CAIA McCULLAR

Caia McCullar is Professor of Church Music

Education at Southwestern Baptist Theological

Seminary in Ft. Worth. As Professor of Music,

she developed and taught the Music ExCET

Review course for the University of Mary

Hardin-Baylor and continues teaching this course

as an adjunct faculty member at Dallas Baptist

University.

MR. DAVID McCULLAR

David McCullar is the Director of Fine Arts for

the Denton Public Schools where he oversees

K-12 programs in elementary and secondary

visual art, elementary music, band, choir,

orchestra, theatre arts, and dance. Mr. McCullar

had a twenty-year career as a public school

choral director and university music professor.

Download
Save PDF to desktop

Email
Email completed PDF

Send for Signing
Email for others to sign

Print
Print document

NAME

Pass the TExES

View Audit Log
Print With Audit Log
Duplicate Document

Fill Online, Printable, Fillable, Blank Pass the TExES Form

Related forms

Fillable Pass the TExES

Fill Online, Printable, Fillable, Blank Pass the TExES Form

Related forms

First 20 documents completely FREE!