Fake Methods Test

1.

Readiness to begin instrumental music instruction is best defined as:

Adequate height and arm length to hold an instrument.

Tonal audiation skills, including the ability to hear pitches, tonal centers, and tonal functions.

Ability to read music notation.

A combination of tonal audiation skills and rhythmic audiation skills.

2.

“Jump Right In” authors describe proper rote song teaching sequence as:

Establish tonality and meter, sing the melody in small component phrases, sing the bass line, have students sing the melody and bass line together.

Establish tonality and meter, sing the bass line, sing the entire melody, have students find DO.

Establish tonality and meter, sing the melody on neutral syllable, if necessary break the melody into component phrases, use an aural cue and have students sing the melody.

Establish tonality, sing the entire melody, sing the bass line while students sing the melody.

3.

An effective sequence for teaching beginning french horn embouchure/buzzing setup is:

Student places mouthpiece below bottom lip, forms “EM” shape with lips, tips mouthpiece up to cover top lip, points mouthpiece slightly downward at 45-degree angle.

Student place mouthpiece on lips with 50% top lip and 50% bottom lip, pulls corners of mouth back, points mouthpiece “straight on” and perpendicular to lips.

Student places mouthpiece on top lip, forms “EM” shape with lips, presses mouthpiece into lips.

Student places mouthpiece below bottom lip, forms “EM” shape with lips, places mouthpiece 2/3 on bottom lip and 1/3 on top lip, points mouthpiece slightly downward at 45-degree angle.

4.

Which of the following options does NOT describe the relationship between air direction and range:

Upper register air is pointed up and at the outer edge of the tone hole on flute, while lower register air is pointed down into the tone hole.

Lower register air is pointed up into the mouthpiece on trombone, while upper register air is pointed down into the mouthpiece.

Lower register air is pointed up and at the outer edge of the tone hole on flute, while upper register air is pointed down into the tone hole.

Differences in air direction are used to approach different registers on the tuba.

5.

The instrumental music triage model includes:

Rhythmic issues, tonal issues, breath support issues.

Rhythmic issues, tonal issues, technical issues.

Tonal issues, body of sound issues, articulation issues.

Technical issues, tonal issues, intonation issues.

6.

Which of the following is true of musical aptitude?

Musical aptitude determines your achievement in instrument music.

Musical achievement determines your developmental music aptitude.

Some students with low musical aptitude achieve at high levels, while some students with high musical aptitude achieve at low levels.

Students with high musical aptitude also have high IQ.

7.

According to Bloom’s taxonomy, which of the following describes the highest level thinking skill as applied to beginning instrumental music instruction:

Students are asked to predict formal elements of an unfamiliar march based on past experiences with American marches.

Students are asked to demonstrate the different fingerings for F-natural and F-sharp.

Students are asked to apply their knowledge of key signature rules to recognize all the keys indicated in an unfamiliar piece of music.

Students are asked to judge the value of including hip-hop music that includes racially-tinged slurs and potentially offensive language in a school music curriculum.

8.

Which of the following is most likely the LEAST important aspect of score study:

Internalizing tempo and meter changes.

Looking through the score part by part to anticipate potential technical challenges.

Creating an aural sound image.

Familiarizing yourself with the composer’s biography.

9.

Music learning theorists recommend private lessons:

When the student has been studying an instrument for at least 3 years.

When the student has a reasonable tonal and rhythmic readiness.

When the student’s musical age corresponds with their chronological age.

When the student can maintain a steady pulse at all tempos.

10.

Which is the LEAST convincing reason to note instrumental music instruction without notation:

Concert performances do not require the set up of lots of music stands.

All students can perform melodies, root melodies, and harmony parts regardless of what instrument they play.

Students have the chance to develop the necessary audiation skills to make eventual notation more meaningful.

The combination of reading notation and negotiating the technical demands of an instrument can be unduly overwhelming.

11.

Most beginning band method books do NOT emphasize the following philosophy:

Rhythm is best learned from long note values to shorter subdivisions.

Fingerings are best learned one or two at a time.

Students should learn sing and play tunes in a variety of keys and tonalities.

Students should play in primarily play in unison in a limited number of keys.

12.

Which choice below best describes the direct teaching sequence?

Teacher asks for student response; student response occurs; teacher gives positive approval.

Teacher asks for student response; student response occurs; student reflects on experience and self-assesses.

Teacher asks for student response; student response occurs; teacher gives immediate and specific feedback.

Teacher asks for student response; student response occurs; teachers negatively reinforces incorrect behavior.

13.

Which of the following is NOT a national standard that secondary band teachers largely ignore in their classes?

Understanding relationships between music, the other arts, and disciplines outside the arts.

Composing and arranging music within specific guidelines.

Singing, alone and with others, a varied repertoire of music.

Performing alone and with others, a varied repertoire of music.

14.

Which of the following options BEST describes the purpose of a pedagogical “bubble map”?

The bubble map is a graphic organizer for plotting out a harmonic analysis of a piece of music.

The bubble map is a way to holistically approach a piece of music through brainstorming concepts and teaching strategies.

The bubble map serves as a lesson plan for a daily rehearsal.

The bubble map shows the relationships between performance goals and knowledge goals.

15.

Which of the following options BEST describes the purpose of a pedagogical analysis?

A pedagogical analysis makes it less necessary to plan daily lessons.

A pedagogical analysis allows the teacher to better control classroom behavior.

A pedagogical analysis allows the teacher to draw on their music theory knowledge and skills.

A pedagogical analysis allows the teacher to anticipate student difficulties.

16.

Which of the following options is the LEAST descriptive of how most band teachers approach aural prioritizing?

Teachers should address pulse before phrasing.

Teachers should address correct fingerings and rhythms before ensemble balance.

Teacher should address articulation before forward motion.

Teacher should address interpretive decisions before note releases.

17.

What is the biggest challenge associated with rote teaching of pop songs?

Many pop songs do not have a steady beat.

Many pop songs feature nuanced syncopation and atypical harmonic progressions.

Many pop songs feature offensive/objectionable lyrics.

18.

Which of the following is MOST true of beginning instrumentalists:

Beginning clarinetists squeak primarily because of incorrect reed strength.

Beginning percussionists need to read notation in order to understand sticking patterns.

Beginning woodwind instruments are easier to play than other band instruments.

Beginning trombonists have more difficulty finding and producing correct pitches than beginning saxophonists.

19.

A band teacher whose class is working on “Toccata for Band” uses the piece to discuss the historically technique-driven toccata genre, plays a recording of Bach’s “Toccata and Fugue in G Minor,” and assigns a fugue composition project based on class improvisations. Which of the following best describes this learning environment?

Traditional

Aesthetic

Comprehensive

Arts-Integrated

20.

According to Eugene Corporon, the implementation stage of the “Quantum Conductor” process is characterized by:

Developing an ideal sound image of the piece.

Long-term and short-term rehearsal planning.

Recreating the composer’s intentions through rigorous rehearsal.

Performing the piece with integrity.