Module in PE Elective 102.pdf

Module in PE Elective 102 Music and Arts in K – 12 Curriculum Course Description: This course shall equip the pre-service teachers with technological, pedagogical and content knowledge to have an adequate musicianship necessary to teach music effect...

Module in PE Elective 102 Music and Arts in K – 12 Curriculum Course Description: This course shall equip the pre-service teachers with technological, pedagogical and content knowledge to have an adequate musicianship necessary to teach music effectively to diverse learners. In this course, elements in music and arts which form part of the curriculum content of Music and Art Education, the appropriate teaching strategies and assessment methods will be given emphasis. Carrying out a music education program, organizing performing groups, skill and artistry in teaching, finding and utilizing appropriate musical resources, planning and teaching a lesson to an entire class shall form part of the authentic and experiential activities of the course. No musical background is required or expected, although students with such a background may find certain material in the course to be less challenging. Everyone will be expected to participate in class discussions and projects. Units: 3 units Pre-requisites: None Requirements of the Course: Quizzes, Activities, Performance Tasks (Teaching Demo), and Major Examinations Course Learning Outcomes: At the end of the course, the students should be able to: KNOWLEDGE and SKILLS 1. Master the standards of learning in Music and Arts from Kinder to Grade 12. 2. Identify the legal bases of teaching music and arts in K – 12 curricula. 3. Demonstrate content knowledge on the philosophies and values of music and art education. 4. Demonstrate pedagogical content knowledge fundamental in music and art education responsive to learner’s diverse strengths, interests, experiences and abilities. 5. Select teaching methods, learning activities and instructional materials or resources appropriate to the learners and aligned to the objectives of the lesson. 6. Design, select, organize and use appropriate and varied assessment strategies consistent with the curriculum requirements. 7. Demonstrate a lesson applying all the necessary considerations in teaching music and art in the K– 12 level. 8. Select teaching methods, learning activities and instructional materials or resources appropriate to the learners and aligned to the objectives of the lesson. 9. Design, select, organize and use appropriate and varied assessment strategies consistent with the curriculum requirements and use the assessment data as feedback in teaching and learning practices. 10. Establish a lesson applying all the necessary considerations in  teaching music in the K – 12 level. 11. Demonstrate deep understanding of the fundamental elements in music and art, through performing, creating, listening and responding. VALUES 1. Instill patriotism by performing some cultural songs and dances. 2. Promote inclusivity and diversity by creating lessons that are accessible and welcoming to people of all backgrounds and abilities. 3. Develop an aesthetic sense for the inner refinement of one’s personality. 4. Use music to promote unity, peace and 5. Foster a culture of respect and collaboration among team members, participants, and stakeholders to build positive and productive relationships. GRADING SYSTEM a. Midterm Class Standing (.60) + Midterm Exam Rating (.40) b. Final Class Standing (.60) + Final Exam Rating (.40) (a). Midterm Grade + (b). Final Grade (Raw) = Final Grade 2 60%- Class Standing: *Quizzes *Recitation *Seatwork *Reflection Activities/Assignments 40% - Major Examination/ Teaching Demonstration  Study Schedule Week No. Lesson Week1 College Mission and Vision Week 2 Philosophy and Values in Music Education a. Music and Its Functions -What is Music b. Its Functions in Human Society Entertainment Worship Celebrations Therapeutic Effects Emotional Expression Transmission of Culture Dance Republic Act No. 4723 Weeks 2 - 3 The Music Teacher a. Quality and ego b. Grooming and appearance c. Speaking voice and quality d. The importance of being yourself e. Personal efficiency Week 4 Five Facets of Music Teaching a. Singing b. Listening c. Creative Work d. Instrumental Work e. Movement Music Processes Listening Reading Imitating (re – creating) Responding  Creating Performing (including movement) Evaluating Analyzing critically Applying (transference) Weeks 4 - 5 Review of Elements of Music Rhythm Melody Form Timbre Week 5 Continuation of basic Reference for Music Content: Dynamics Tempo Texture Harmony Week 6 Strategies in Music Teaching a. Competencies of the Music Teacher b. Music Environment c. Areas of Musical Experience d. Kodaly Approach e. Hand Signal Chart Assessment in Music a. Performance-based Assessments b. Rubrics Week 7 Scope and Sequence of Music for Grades 1 -12  Grades 1 & 2. Fundamentals of Music Grades 3 & 4. Musical Notation Grades 5 & 6. The Elements of Music Grades 7 & 8. Musical Instruments Grades 9 & 10. The Expressive Elements of Music Grades11 & 12. Musical Analysis through the different Musical Styles Week 8 Demonstration Teaching a. Micro teaching b. Team teaching c. Individual teaching Week 9 Mid Term Exam Week 10 Philosophy and Objectives of Art Education a. What is Art a.1 Foundation of Art a.2 Meaning of Art Legal Basis of Art Education in the Philippines R.A 7536 Week 11 Values of Art Education a. Understanding one of the art elements b. Painting Mediums of Painting Oil Acrylic Alkyds Tempera Watercolor Gouache Enamel  Latex Encaustic c. Sculpture Modeling Cast Sculpture Carving Assembling d. Architecture 3. Elements of Art a. Space b. Color - Properties of Color Hue Value Intensity - Classification of Color Primary Colors Secondary Colors Intermediate Colors Tertiary Colors Warm and Cool Colors - Color Harmony - Color Scheme Contemporary Color Scheme Analogous Color Scheme Triadic Color Scheme Split Complementary Tetradic Color Scheme Square Color Scheme Week 12 Methods of Teaching Art Education a. Art and the Teacher b. Strategies in teaching art c. The well-conducted art class d. Development stage e. Contest and competition f. Art Experiences -Conducting the art lesson -Art Activities Clay Collage Crayon Drawing  Mosaics Murals Paintings Week 13 Competencies of an art Teacher a. Quality and ego b. Grooming and appearanceScope and Sequence of Arts for Grades 1-12 c. d. Grades 1 & 2. Introduction to art e. and drawing f. Grades 3 & 4. Visual arts activities g. Grades 5 & 6. Drawing and h. multi-cultural art i. Grades 7 & 8. Art lesson Medium and Technique j. Grades 9 & 10. Exploring Emotions and colors in art k. Grades 11 &12. Art and Life learning adventure l. Speaking voice and quality m. The importance of being yourself Personal efficiency Week 14 Scope and Sequence of Arts for Grades 1-12 Grades 1 & 2. Introduction to art and drawing Grades 3 & 4. Visual arts activities Grades 5 & 6. Drawing and multi-cultural art Grades 7 & 8. Art lesson Medium and Technique Grades 9 & 10. Exploring Emotions and colors in art Grades 11 & 12. Art and Life learning adventure. Week 15 Suggested Art Activities for Different Grade Levels and Quarters:  Grades 1 & 2. Line and Shapes Grades 3 & 4. Color Mixture Grades 5 & 6. Pattern drawing and painting Grades 7 & 8. Drawing Adventure Grades 9 & 10. Scribble art Grade 11 & 12. Recycling sculpture and collage making 8. Assessment in Art a. Performance-based Assessments b. Rubrics Week 16 - 17 Demonstration Teaching a. Micro teaching b. Team teaching c. Individual teaching Week 18 Final Examination  Week 1 CCA Vision CCA envisions itself as an Institution of Hope, a thought leader in its area of operation, and the preferred service provider in the Metro Angeles area CCA Mission City College of Angeles is committed to offer quality education for the holistic development of competitive and technically capable professionals with deep sense of excellence, resiliency, stewardship and patrimony. Institute Vision The Institute of Education, Arts and Sciences envisions itself as a leader in local and regional higher education institution in Angeles City. It offers programs that meet local and global needs, support excellence in teaching and learning, and work with the community to develop intellectual, cultural, economic, and human resources. Institute Mission Offering challenging learning opportunities in a supportive and diverse environment; Creating and supporting research, scholarship, and inquiry in education; Producing leaders, thinkers, doers, and citizens who will rise to this century’s challenges; and Serving the community through collaborative relationships; and working with schools, agencies and communities to offer programs that prepare professionals who work competently, collaboratively, and ethically to improve educational outcomes for all.  Oh City College College of Angeles! You inculcate faith in ourselves Testament to our undying will To earn wisdom of paramount quality Hail our Alma Mater, our sanctuary! You always call us to seek excellence Yet beacon of humility and resilience For hope's alive in us as our passion To steward with kindness and compassion Hail CCA, our shelter and protection! Forever we'll hold fond memories In molding us as paragons of greatness Never we'll forget, in all times of glory To give thanks to God and our community Hail CCA, our beloved Alma Mater!  Philosophy and Values in Music Education The Utilitarian Music Philosophy in Advocacy: Today this philosophy is alive and well, and is used by NAfME, VH1 Save the Music, and NAMM. We see it on posters, on bulletin boards, and doors: Music is Math LangUage HiStory ReadIng SCience As music teachers, the message we are trying to convey is that music education is important because it has a positive impact on many other subject domains or content areas. If you view yourself as a teacher aligned with utilitarian philosophy, you might highlight how students are working through mathematical, linguistic, or scientific concepts through your music lessons. A few key ideas of utilitarian music education: In 1838, for the purposes of improving singing in Christian church congregations, music was added to the public school system in Boston. Further, the school board agreed that adding music in schools would promote Christian morals, improve physical health, and increase students’ intellectual capabilities. In other words, music was included in schools to achieve a very practical purpose. This is the practical music philosophy we refer to as “Utilitarian.” The Aesthetic Philosophy of Music Education A few key ideas in Aesthetic Education: Music for music’s sake When studying music, students should engage in developing musical skills and understandings In other words, when studying music, students should learn  music. Instead of learning music so we can be competent in other areas, we should learn music so we get better at music itself. The aesthetic philosophy is not primarily concerned with what functional value music offers. Instead, it views music itself as the value. Feelings-based experiences In the Aesthetic philosophy, when we hear music, we’re engaging in a feelings-based experience. Our feelings are subjective, but they can be traced back to specific structures or expressive elements in a musical work. When we study music, we are studying expressive sonic properties that convey an emotional message. High-quality musical products Music is something that expresses emotion. It is a thing, it is an output. A musical product is the vehicle we use to have these feelings-based experiences. Therefore, only the highest quality music should be included in a music curriculum. A Very Quick History of the Aesthetic Philosophy: As funding in schools moved away from music in the 1900s, the profession responded with a new focus of music instruction, one that centered on music itself. Bennett Reimer from Northwestern University was a key music philosopher in the development of Aesthetic philosophy. He believed that music education needed one unifying philosophy of teaching, learning, and advocacy so we could better position the role of music education in schools. The Aesthetic Philosophy In Advocacy: Followers of this philosophy would explain that music is an essential part of a child’s education because emotional and aesthetic education are essential to the human experience. When we study music, we form self-knowledge and gain deeper access to our emotional lives. This kind of education that promotes an understanding of beauty, emotion, and expression is only possible through music. If you, your administration, and your community value the aesthetic education students get through music education, your data may include qualitative evidence (like written student responses) of how students connected to beauty during distance learning. Some questions to consider before using this approach: ​ Do I believe music’s core value is inside the music itself? ​ What are the qualities of beautiful music? Who (which culture, historical period, musical authority) decides? ​ Are aesthetic experiences valued by my administrator or school board? The Praxial Philosophy of Music Education The Praxial philosophy of music education is centered around the idea that music both artistic and social. A Few Key Ideas of the Praxial Philosophy: Music is the actualization (praxis) of a person’s belief systems and motivations The practice - improvise, listen, perform, compose, arrange, or conduct - of music is where the value of music education lies. At their core, these are human activities. Human lives, thoughts, and actions are inherently valuable. Therefore, music is inherently valuable because it is the result of humans’ actionable beliefs. Music is multi-dimensional. It uses the cultural background of the piece, the musical traditions of a people, and the student’s own performance or listening interpretation. Music is both a process and a product “Music” is the thing we output as a complete work (product). Think about our description of “a piece of” music. It is also something we do, a process we experience, whether listening, performing, composing, arranging, or conducting. For example, in the case of musical performance, music happens both before a note is produced, as the producer imagines the sound. It happens in the moment the sound is made. It happens after the sound is produced as the producer critically reflects on the music. When music is process-oriented, students think, plan, make, and reflect on music holistically. Music lives in a cultural and social context  Across cultural and historical contexts, music has meaning. This meaning is valuable in and of itself without superimposing standards of Western European art music. When we examine music from a wide range of cultural, social, and historical contexts, we are better positioned to recognize the value and meaning music brings. A Very Quick History of the Praxial Philosophy: The praxial philosophy is still quite new. In the 1990s, David Elliot (a former student of the key aesthetic advocate, Bennett Reimer) proposed that music is a human activity, not a purely aesthetic product. Elliot’s position was that the aesthetic philosophy is limiting, since music education at the time focused primarily on Western art music, and excluded global or popular music traditions. He also advocated for a music philosophy that included more participation rather than observation. In addition to Elliot, music thinkers like Philip Alperson, Christopher Small, and Thomas Regelski have also impacted this approach to music education. The Praxial Philosophy in Advocacy: Music is worthy of study because human thoughts, voices, beliefs, and actions are worthy of study. When we study music, we teach students to become holistic problem-solvers, thinkers, and artists as they explore the process of musicing, and celebrate the resulting product. They are placed at the center of their own learning, as inventors, producers, and critics. Equally important, they learn how to invent, produce, and critique their peers in a way that honors the beliefs, value systems, and practices of our shared history, and the global community. No other subject synthesizes the value of the human experience, the process of learning, and the context of art in the way music does. If your philosophy is praxial, you could collect artifacts (like videos or compositions) that highlight the process of learning music holistically. Some Questions to Consider Before Using this Approach: ​ Whose music should be included in the curriculum? ​ Should music be taught as a noun or a verb? ​ In an American classroom, what are the implications of teaching music as a an expression of the values, beliefs, and traditions of a people? Reference: Boler, V. (2020, July 13). Three philosophies of music education. Victoria Boler. https://victoriaboler.com/blog/three-philosophies-of-music-education What is Music? - an art of sound in time that expresses ideas and emotions in significant forms through the elements of rhythm, melody, harmony, and color. - the tones or sounds employed, occurring in single line (melody) or multiple lines (harmony), and sounded or to be sounded by one or more voices or instruments, or both. (“Music.” Merriam-Webster.com Dictionary, Merriam-Webster, https://www.merriam-webster.com/dictionary/music. Accessed 12 Aug. 2024.) the science and art of ordering tones or sounds in succession, in combination, and in temporal relationships to produce a composition having unity and continuity. ( https://www.dictionary.com/browse/music#google_vignette) The science and arts of arranged sounds and silence that aims to express beauty. Functions of Music in the Human Society Emotional expression. Aesthetic enjoyment. Entertainment. Communication. Symbolic representation. Physical response. Enforcing conformity to social norms. Validation of social institutions and religious rituals. Skills and qualities of a Music Teacher Knowledge of music theory. The ability to play an instrument or sing to a high standard.  The ability to encourage, motivate and inspire students. Patience and understanding. Communication and organization skills. Observational and evaluation skills. THE FIVE (5) FACETS OF MUSIC A. SINGING - An activity which is common in a music classroom. It is therefore necessary for the music teacher to know the proper way to sing so that his singing may be the example to the children in his class. - The core of the music education program. - Every child is a potential singer but, sometimes, we come across children who, for one reason or another, do not sing in exact tunes. These children are not really monotones but just unturned, like instruments which are not tuned correctly. Rote-Song - A song to be taught by rote, or by frequent repetition to the learner, as a child before it is able to read. Preparing Children for Part Singing The use of instruments may be a device not only for the musical growth of the children but also for their enjoyment and understanding of music. The first instrument experiences of the children may be with toy or rhythm band instruments. Some children are not prepared to sing part songs and therefore, are unable to participate in choral activities. The music teachers may be able to help the children develop part singing readiness by the use of the following singing activities: 1. Singing songs with chording, that is, singing the bass do, sol or fa together with the song depending on the harmonic character of the song.  2. Singing songs with a chant: A chant is a figure or phrase sung repeatedly with the phrases of a song. The chant is used, therefore, with songs that have only one harmony throughout. The four main vocal ranges: Soprano – is a type of classical female singing voice and has the highest vocal range of all voice types. Alto – (Italian: “high”) the alto is the second highest vocal range of a female. Tenor – it is the highest natural adult male voice. Bass – the lowest vocal range of a male. B. LISTENING Definition The ability to accurately receive and interpret messages in the communication process. It is the key to all effective communication. Without the ability to listen effectively, messages are easily misunderstood. If there is one communication skill you should aim to master, then listening is it. The Need for Teaching Children How to Listen The world of music is unfolded to children through varied experiences in singing, playing instruments, rhythm and dancing, and creative activities. Children do not usually develop with excellence among these lines, but it is hoped that each one may find at least one phase of the work which can provide enrichment in his life not only in his childhood, but also in adulthood, perhaps only few will develop into skillful performers (singers, dancers, or composers) but a good number, all can become discriminating and sensitive listeners. As a matter of fact, it is through listening rather than active participation or performance that a big majority of the people enjoy music. Active Listening: Teaching with Music Active listening similarly requires students to engage with and think about what they hear. In other words, active listening is listening with a purpose. You see, but you do not observe. The distinction is clear. - Sherlock Holmes THREE TYPES OF LISTENING 1. Affective Listening This type of listening is perhaps the most basic. Useful questions for this type of listening typically prompt students to voice their observations on a basic level: What instruments do you hear? What genre of music is this? What emotions does this evoke? How fast or slow is it? (For those with musical training, this might also include more targeted questions to draw out observations about tempo, meter, rhythm, range, etc.) 2. Dialogic Listening This type of listening is perhaps the most complex and time-consuming, yet also the most fruitful and potentially rewarding. As the name implies, this type of listening places a musical example in dialogue with external elements—generic conventions, other musical pieces, artwork, texts, objects, etc.2. Piliin mo Ang Pilipinas Performance is an example of which function of music? Teaching with music does not preclude using texts or visuals as well. If your piece has lyrics, include them (and if those lyrics are not in your students’ native language, provide a translation as well). It often helps to complement listening with other ways of engaging with musical examples by using other types of media. 3. Structural Listening This type of listening approaches a musical example almost like a sculpture or a painting, in which you point students toward particular moments and see the ways in which those moments are the culmination of particular trajectories. As such, structural listening often means comparing different moments from within a  particular piece. Questions might include: How does the artist or composer move from one idea to another? Why? And etc. How Music Helps Us Be More Creative? C. CREATIVE WORK A manifestation of creative effort such as artwork, literature, music, paintings, and software. Creative work have in common a degree of arbitrariness, such that it is improbable that two people would independently create the same work. ✓ A new study suggests that listening to happy music promotes more divergent thinking— a key element of creativity. BY JILL SUTTIE | NOVEMBER 17, 2017 RHYTHMIC MOVEMENT - An interesting way of interpreting music. - It may be performed in the following forms: the fundamental bodily movements such as walking, running, or skipping; rhythmic activities like swaying or clapping the hands or dangling. ✓ There are two kinds of bodily movements – locomotor movements which are progressive movements like stepping, hopping, jumping, etc. there are several directions in which locomotor movements may be done, e.g, forward or backward, in a circle or se111mi-circle, slow or fast, long or short, light or heavy or smooth. Locomotor movements may be executed in different meanings. Axial movements which are performed in space like swinging the hands, rotating the arms, or falling. The axial skills are performed in standing, kneeling or lying positions. CREATIVE MOVEMENTS ✓ May be approached from different means: ✓ After the discussion of the meaning of a familiar song, the children may be led to create different types of actions to depict different movements suggested in the song. INTERPRETATIVE MOVEMENTS ✓ It may be suggested by the sound made by animals or objects; of jingles, rhymes, or of selling calls; and greeting and farewells. ✓ Music heard or performed may suggest varied movements. Dance steps can be adapted to different moods of music. D. INSTRUMENTAL WORK - A process of instrument learning or a method of training in which the reinforcement is made contingent on the occurrence of the response. Rhythm Band ✓ The use of instruments may be a device not only for the musical growth of the children but also for their enjoyment and understanding of music. The first instrumental experiences of the children may be with toy or rhythm band instruments. ✓ The objectives for using the rhythm band instruments are: To utilize the instruments as a means of interpreting music. To develop the ability to recognize one color and to learn to use it for musical interpretation. To develop mental and physical coordination through the manipulation of the instruments. To develop musical memory and use this is meaningful ensemble work. To develop the basic skills and fundamentals of music through enjoyable instrumental activities. Classifications of Instruments Chordophones - These are the instruments with strings which may be bowed or plucked or strummed. Examples include the violin, the violoncello or cello, viola, and the contrabass or bass viola. Aerophones - Instrument made to sound by blowing air into the tube by means of the mouth pressed against the mouthpiece of embouchure, or blowing through the lips or the nose, or blowing air by putting the mouthpiece and its vibrating reeds inside the mouth. Examples are cornet, trumpet, trombone, horn, tuba, sousaphone (all of which are made brass) the flute, clarinet, oboe, and bassoon (all of which are made of wood). Membranophones - The third group of instruments are the membranophones which are so called because they have a piece of membrane or similar material stretched over a hollow end of a cylinder which is made to sound by beating with the drumstick. Examples of membranophones are the different kinds of drums and the timpani or kettle drums. Idiophones - The fourth group of instruments include the triangle, xylophones or glockenspiel, marimba, castanets, and cymbals. Idiophones are played by hitting, shaking, and rubbing. E. MOVEMENT Incorporating music and movement into early childhood education can help young children with development, social interaction and language growth. In regards to that, music, for children is something they can associate with through movement. When they hear it, they sway to it, dance to it, they react to it with movements that they want. It is an important part of their learning experience. Exploring Movement Music leads to movement. It's hard to listen to music without moving in some way, even if it's just moving your toes, head, or fingertips! Movement is how we interact with our environment and define the space we occupy in the world. We move to explore. Crawling leads to walking, and walking leads to hopping, skipping, and jumping. Importance of Music & Movement in the Education of Young Children by Meg Brannagan Early Childhood  Early childhood education, for children 8 years of age and younger, is the beginning of a student's academic experience. This is an important time of learning and brain development for children in preparation for the rest of their education. Playing music and moving to a beat provides stimulating experiences for young children and fosters learning at home or in the classroom. Parents and early childhood teachers can incorporate music and movement into daily routines. Brain Development According to the Early Childhood Music and Movement Association, 85 percent of brain development occurs by the time a child reaches 3 years. As children grow, they need to learn specific activities that are important for development. For example, very young children begin to scoot and crawl for movement and while these activities are part of eventually learning to walk, they are also essential for brain development. Additionally, patterned activities at home or in the preschool classroom, such as clapping to music or jumping in time to a beat stimulate brain function and help the brain to organize thoughts and behaviors. Language Language has its own tempo; speaking a language fluently involves regular pauses, stops and starts in appropriate places. For example, most people do not speak in a constant, running diatribe of words; rather they insert pauses between phrases, they use accents and they increase or decrease the overall speed of speech. Music has a tempo and teaching young children songs that have rhythms and beats or learning to march in time to a tune can help students to learn the rhythm of speaking and improve their communication skills. References: https://prezi.com/p/hmznamggbh8r/beed1-five-facets-of-music-teaching-group4-teac h-elem-123/ Elements of Music  What Is Rhythm in Music? Rhythm is the pattern of sound, silence, and emphasis in a song. In music theory, rhythm refers to the recurrence of notes and rests (silences) in time. When a series of notes and rests repeats, it forms a rhythmic pattern. In addition to indicating when notes are played, musical rhythm also stipulates how long they are played and with what intensity. This creates different note durations and different types of accents 7 Elements of Rhythm in Music Several core elements comprise the fundamentals of musical rhythm. ​ 1. Time signature: A musical time signature indicates the number of beats per measure. It also indicates how long these beats last. In a time signature with a 4 on the bottom (such as 2/4, 3/4, 4/4, 5/4, etc.), a beat corresponds with a quarter note. So in a 4/4 time (also known as "common time"), each beat is the length of a quarter note, and every four beats form a full measure. In 5/4 time, every five beats form a full measure. In a time signature with an 8 on the bottom (such as 3/8, 6/8, or 9/8), a beat corresponds with an eighth note. ​ ​ 2. Meter: Standard Western music theory divides time signatures into three types of musical meter: duple meter (where beats appear in groups of two), triple meter (where beats appear in groups of three), and quadruple meter (where beats appear in groups of four). Meter is not tied to note values; for instance, a triple meter could involve three half notes, three quarter notes, three eighth notes, three sixteenth notes, or three notes of any duration. Musicians and composers regularly mix duple and triple meter in their work; Igor Stravinsky's "The Rite of Spring" is a textbook example of such a technique. ​ ​ 3. Tempo: Tempo is the speed at which a piece of music is played. There are three primary ways that tempo is communicated to players: beats per minute, Italian terminology, and modern language. Beats per minute (or BPM) indicates the number of beats in one minute. Certain Italian words like largo, andante, allegro, and presto convey tempo change by describing the speed of the music. Finally, some composers indicate tempo with casual English words such as “fast,” “slow,” “lazy,” “relaxed,” and “moderate.” ​ ​ 4. Strong beats and weak beats: Rhythm combines strong beats and weak beats. Strong beats include the first beat of each measure (the downbeat), as well as other  heavily accented beats. Both popular music and classical music combine strong beats and weak beats to create memorable rhythmic patterns. ​ ​ 5. Syncopation: Syncopated rhythms are those that do not align with the downbeats of individual measures. A syncopated beat will put its emphasis on traditional weak beats, such as the second eighth note in a measure of 4/4. Complex rhythms tend to include syncopation. While these rhythms may be more difficult for a beginning musician to pick up, they tend to sound more striking than non-syncopated rhythmic patterns. ​ ​ 6. Accents: Accents refer to special emphases on certain beats. To understand accents, think of a piece of poetry. A poetic meter, such as iambic pentameter, may dictate a specific mixture of stressed syllables and unstressed syllables. Musical accents are no different. Different rhythms may share a time signature and tempo, but they stand out from one another by accenting different notes and beats. ​ ​ 7. Polyrhythms: To achieve a particularly ambitious sense of rhythm, an ensemble may employ polyrhythm, which layers one type of rhythm on top of another. For instance, a salsa percussion ensemble may feature congas and bongos playing 4/4 time, while the timbales concurrently play a pattern in 3/8. This creates a dense rhythmic stew and, when properly executed, it can yield incredibly danceable rhythm patterns. Polyrhythms originated in African drumming, and they’ve spread to all sorts of genres worldwide, from Afro-Caribbean to Indian to progressive rock, jazz, and contemporary classical. Reference: https://www.masterclass.com/articles/understanding-rhythm-in-music  Melody A succession of musical notes; a series of pitches often organized into phrases. PITCH or NOTE or TONE: when referred to in melody, these are the individual sounds that comprise a melody. When you hum or sing or play a melody, you are performing a series of pitches/notes/tones in succession. SCALE: a pattern of notes used to create a melody (this is what keeps melodies sounding comfortable, familiar, and predictable rather than random and unpredictable). Most musical scales are in MAJOR (sound happy) or MINOR (sound sad or maybe angry or scary). MELODIC CONTOUR: refers to the shape of the melody - like drawing an arrow to accompany the direction of the melody. Melodies can go up or down or stay flat and repeat the same note. When you sing along to a song, you’re creating a melodic contour with your voice - a visual representation (drawing a line higher as the melody goes higher, or lower as the melody drops lower) is a great way to communicate a lot of information about the piece of music quickly. STEPWISE MOTION: is when melodies go one note up or down a scale. This sounds simpler, easier, and more stable. LEAP MOTION: is when melodies go multiple notes up or down a scale. This sound more unexpected, energized, and dramatic. Harmony The relationship of pitches as they sound simultaneously. - Harvard Dictionary of Music For harmony to exist, there needs to be more than one note sounding at once. INTERVAL: two notes sounded at once and the distance between them. CHORD: three or more notes sounded at once. Chords create a musical mood by the interactions of all the intervals within them. TRIAD: most classical and popular music uses triadic harmony - harmony developed by the use of three-note chords. Harmony can sound CONSONANT, meaning the pitches sound pleasant together, or DISSONANT, meaning the pitches sound unpleasant together. Composers write music with both in mind to help paint a mood and tell a story through music. Timbre (pronounced TAM-ber) The character of a sound distinct from its pitch, length, or intensity; tone color. - Harvard Dictionary of Music If two or more voices or instruments are performing the exact same melody, how do you tell them apart? Their timbre/tone color. Timbre is the result of the following factors: MATERIAL OF INSTRUMENT: wood, metal, animal skin, plastic, vocal cords, other materials. How hollow or solid, thin or thick, how large or small? The materials play the biggest factor in timbre. ATTACK/ARTICULATION: what does the beginning of the note sound like? What is the instrument struck or played with? Is the attack soft or hard? SUSTAINED PITCH: what does the note sound like after the attack? Intensity of sound? Is there the presence of VIBRATO (a rapid variation of pitch adding richness to a sound)? Describe Timbre with adjectives you might use to describe color, temperature, consistency, or the human voice … Abrasive, Booming, Brassy, Breathy, Bright, Brilliant, Brittle, Buzzy, Clear, Coarse, Cool, Cutting, Dark, Delicate, Distorted, Dry, Dull, Edgy, Ethereal, Flat, Focused, Full, Grating, Guttural, Harsh, Heavy, Hoarse, Hollow, Husky, Intense, Light, Lush, Mellow, Metallic, Muddy, Murky, Muted, Nasal, Penetrating, Piercing, Pure, Raspy, Reedy, Resonant, Rich, Ringing, Rough, Round, Scratchy, Shallow, Sharp, Shimmery, Shrill, Silky, Silvery, Smoky, Smooth, Strained, Strident, Strong, Subdued, Thick, Thin, Throaty, Thundering, Tremulous, Unfocused, Velvety, Vibrant, Warbling, Warm, Wheezy, Whispered, Wooden Dynamics The aspect of music relating to degrees of loudness. - Harvard Music Dictionary Enjoy Gustav Holst’s First Suite in E-flat for Military Band, Movt. II “Intermezzo” while listening for dynamics. Notice it starts piano, crescendos to forte, then jumps back to piano again multiple times, finishing with a very drawn out diminuendo to the end. Dynamics (volumes) are described in music with Italian words: FORTISSIMO (ff) - very loud FORTE (f) - loud MEZZO FORTE (mf) - medium loud MEZZO PIANO (mp) - medium soft PIANO (p) - soft PIANISSIMO (pp) - very soft CRESCENDO (cresc.) - gradually loudening DIMINUENDO (dim.) - gradually softening TEXTURE The pattern of sound created by the interaction of musical voices. - Harvard Dictionary of Music https://www.aboutmusictheory.com/music-texture.html MONOPHONY: a single line of music occurring at a given time. This may be a SOLO (single performer) or performed in UNISON (multiple performers on the same line of music). Different instruments and voices can perform in monophony even if they are performing the lines in different octaves - think about a group all singing “Happy Birthday” together on the same note at the same time. HETEROPHONY: almost like unison - except one voice will do a little more than the others - think of a solo gospel singer ornamenting/decorating the melody that the rest of the choir is singing. HOMOPHONY: two or more voices - one voice is the melody and the other voice(s) serve in support roles. This is the texture most Western Classical and popular music falls into - but many world music traditions do not adhere to this format. CHORDAL: all voices move with the same rhythm (like in church hymns) MELODY-ACCOMPANIMENT: melody usually has most interesting rhythm, other voices perform backgrounds with more simple/repetitive rhythm (like in pop songs) POLYPHONY: two or more voices moving independently from one another at the same time; also known as COUNTERPOINT. This can sound dissonant - with the two independent voices clashing - or it can sound consonant, with the musicians performing lines that interlock well with each other even though they’re very different from each other. Form The shape of a musical composition as defined by new and repeated segments; the musical roadmap. - Harvard Dictionary of Music Find pattern and repetition between the different sections of the music Each section receives a new letter name: A, B, C, D, etc. When the same music shows up again, it gets the same name as before: A, B, C, D, A … COMMON FORM TYPES Binary: A B Ternary: A B A Song Form: A B A B (most pop music - verse, chorus) Modified Song Form: A A B A Strophic: A A A A A A (most folk music) Rondo: A B A C A D A Theme & Variation: A A’ A’’ A’’’ A’’’’ etc. Accounting for variation: When a section repeats but is slightly modified from its original format, it is referred to as PRIME. So section “A” becomes “A Prime,” “A Double Prime,” and so forth to distinguish each new variation of A that is not the same as the original. It is written out with an apostrophe (see Theme & Variation above) for each new variation of the section. https://www.classicfm.com/discover-music/humour/music-theory-oreos/music-theory-oreos-7/ What are music teacher skills? Music teacher skills can broadly be divided into two categories: hard skills and soft skills. Hard skills are specific, teachable, and typically measurable abilities such as music theory knowledge, playing an instrument, or understanding of rhythm and melody. Soft skills are less tangible and more about your personality, helping create a conducive learning environment for your students. Music teacher soft skills Music teacher soft skills represent your ability to connect with your students, adapt to different learning styles, and manage your classes effectively. Below is a list of essential music teacher soft skills: Patience Patience is arguably one of the most important skills for a music teacher. Understanding that each student progresses at their own pace and being patient with their learning process can foster a positive learning environment. Communication For a music teacher, being an effective communicator goes beyond just delivering lessons. It's about explaining complex musical concepts in an easy-to-understand manner, offering constructive feedback, and encouraging open and frequent dialogue with your students. Creativity As a music teacher, you inspire your students and make learning exciting. This might involve using innovative teaching methods, integrating technology into your lessons, or simply encouraging students to experiment and discover their own unique musical style. Empathy Understanding your students' struggles and successes, sympathizing with their challenges, and celebrating their victories help to establish a meaningful connection with them. This can create a positive and supportive learning environment where students feel free to express their doubts and anxieties. Music teacher hard skills While soft skills shape your approach to teaching, hard skills are the tangible abilities that form the foundation of your career as a music teacher. Below is a list of essential music teacher hard skills: Instrument proficiency As a music teacher, you're proficient in at least one instrument, preferably more. Your ability to play an instrument allows you to provide practical demonstrations of musical concepts and impart essential tips and techniques. Knowledge of music theory A thorough understanding of music theory, including aspects such as scales, harmony, pitch, rhythm, and melody, can be fundamental to your role as a music teacher. This knowledge enables you to explain musical concepts to your students and provide them with a comprehensive learning experience. Curriculum development Having the capability to design and implement a comprehensive music curriculum is another required skill for music teachers. This involves engineering lesson plans that are both intellectually challenging and engaging for different student skill levels. Reference: https://ca.indeed.com/career-advice/resumes-cover-letters/music-teacher-skills Areas of Musical Experience 1. Flexible Pedagogy and Instructional Design 2. Culturally Responsive Teaching 3. Nurturing Creativity 4. Musical Versatility 5. Joining a Scholarly and Musical Community Kodaly Teaching Techniques Kodály believed learning music should be a social and cultural experience. For young children, he believed music is best introduced in a group setting where they can experience music first-hand through creativity and collaboration. Here are some of the core principles of Kodály’s teachings: Learning by immersion. Kodály believed students learn best through kinesthetic, auditory and visual immersion. Students should be soaked in music Using the singing voice. Kodály believed singing should be central in every person’s music education and it should be a mong the first steps to learning a song. Singing helps students develop inner hearing and musical memory. Students should first learn how to feel and connect to music by using their voice. Developing music literacy with solfège and rhythm. After developing their ear through singing, students learn by using relative solfa, solfège hand signs, and rhythm words. Teaching music from the student’s mother tongue. Kodály firmly believed students should be exposed to the best music from the beginning. Students should first learn the music of their native culture through familiar folk tunes. Folk tunes usually have memorable lyrics and use repetitive patterns that can be easy to remember and play. What are advantages and disadvantages of using Kodály techniques? Kodály’s teachings give students a rich music education. Students who learn music under Kodály’s teaching develop a strong inner ear. From the first lesson, students are connecting with their singing voice and making associations between patterns, notes, and pitch. Students are more versatile in how they understand music because they are able to do more than read notes on a page. With the use of solfège, students understand relationships between notes not just in one key but in multiple keys. Truthfully, there aren’t a lot of disadvantages to the Kodály method. One disadvantage could be if a student is learning in the Kodály method but they’re receiving a different music education in school. The two different systems of learning could confuse a student. For example, if the student is learning different rhythm words in music class at school than in other music lessons, it would be hard to keep the two systems of rhythm words separate. However, this isn’t a disadvantage with Kodály’s teachings itself. Rather, it would be a disadvantage of learning from multiple systems of music at once. What are Kodály method activities? One Kodály method activity, which is used by Hoffman Academy, is the heartbeat mat! The heartbeat mat visually and kinesthetically teaches students about rhythm. Students feel rhythm by singing a song they know while tapping the beat of the song on heartbeats drawn on the mat. Students can also see how notes fit into beats and are taught how to speak the rhythm using rhythm words like ta, ti-ti, and tiki-tiki. This activity makes students conscious of beats in a fun, visual way. To learn more about how the heartbeat mat is used, watch Mr. Hoffman dictate the rhythm of Hot Cross Buns using the heartbeat mat. Another teaching tool used in the Kodály method is the use of hand signs. A hand sign is assigned to each degree in solfège and provides a visual for students learning new songs. Students are able to see the height of each pitch and how they relate to each other. You can see the use of hand signs in Units 1 and 2. In this video, Mr. Hoffman teaches Hot Cross Buns with the use of hand signs. Along with hand signs, the Kodály method uses moveable-do solfège. Solfège assigns syllable names to scale degrees (do, re, mi, fa, so, la, ti, do) and helps students understand relationships between pitches in a scale. Moveable-do solfège quite literally means the position of do can move depending on the key. In C major, do would be on C. In D major, do would then move to D. In this video, Mr. Hoffman explains how the solfège in C major can also move to D major. How do you teach the Kodály philosophy? To teach the Kodály philosophy, you need to first learn and understand Kodály’s practices. Read about Kodály’s teachings and become educated in his techniques. Then, start practicing the techniques yourself. Once you become comfortable with the techniques, think of ways to integrate the teachings into your own studio. Certain activities like the heartbeat mat can be brought in easily. However, other techniques, like moveable-do Solfège and singing, will take more thought and time to smoothly integrate into a lesson. Courses from the Kodály Music Institute certify teachers in Kodály’s teachings and they also offer degree programs with an emphasis in Kodály’s approach. In the future, Hoffman Academy will also implement a teacher training program that teaches the techniques listed above and certifies music teachers in the Hoffman method.  Music Department Instrumental Music Performance-Individual Rubric Category 4 3 2 1 Tone is consistently Tone is focused, Tone is often The tone is often not 1. Tone Quality focused, clear, and clear, and centered focused, clear, and focused, clear, or centered throughout through the normal centered, but centered regardless the range of the playing range of the sometimes the tone of the range being instrument. Tone instrument. is uncontrolled in played, significantly has professional Extremes in range the normal playing detracting from the quality. sometimes cause range. Extremes in overall performance. tone to be less range are usually controlled. uncontrolled. The beat is secure The beat is secure The beat is The beat is usually 2. Rhythm and the rhythms are and the rhythms are somewhat erratic. erratic and rhythms accurate for the style mostly accurate. Some rhythms are are seldom accurate, of music being There are a few accurate. Frequent detracting played. duration errors, but or repeated significantly from duration these do not detract errors. Rhythm the overall from the overall problems performance.  performance. occasionally detract from the overall performance. Virtually no errors. An occasional Some accurate Very few accurate 3. Pitch Pitch is very isolated error, but pitches, but there or secure pitches. are accurate. most of the time frequent and/or pitch is accurate and repeated errors. secure. Dynamic levels are Dynamic levels are Dynamic levels Attention to 4. Dynamics obvious, consistent, typically accurate fluctuate but can be dynamic levels is and an accurate and consistent. discerned. not obvious. interpretation of the style of music being played. Phrasing is always Phrasing is usually Phrasing is usually Phrasing is rarely 5. Phrasing consistent and consistent and consistent and consistent and/or sensitive to the style sensitive to the style occasionally rarely sensitive to of music being of music being sensitive to the musical style. style played. played. of music being played.  Performs with a Typically performs Sometimes Rarely 6. Expression performs demonstrates and Style creative nuance and with nuance and with nuance and expression and style. style in response to style that is style that is Just plays the notes. the score and limited indicated in the indicated in the coaching. score or which is score or which is suggested by suggested by instructor or peer. instructor or peer. 3 2 1 Category 4 Notes are An occasional A few inaccurate Wrong notes 7. Note Accuracy consistently inaccurate note notes are played, consistently accurate. is played, but detracting detract from the does not detract somewhat from the performance. from overall overall performance. performance. Secure attacks. Attacks are Attacks are rarely Few secure 8. Articulation Markings usually secure, secure, but makings attacks. Markings (staccato, though there are often executed are typically not legato, slur, might be an accurately as executed accents, etc.) isolated error. directed by the accurately. are executed Markings are score and/or the accurately as executed conductor. directed by the accurately as score and/or the directed by the score and/or conductor. the conductor.  All style Most style Failed to play Little or no attention 9. Style Markings marking were markings were several style was given to style played well played well and markings markings. Style of and accurately. May accurately. Style of piece was not accurately. have missed piece was barely recognizable. Made music one or two, but recognizable. more than did not distract notes and from overall rhythm. style. 90-100% of 75-89% of the 50-74% of the Less than 50% 10. Memorization the piece was piece was piece was of the piece was memorized memorized memorized and memorized and and played and played played accurately. played accurately. accurately. accurately. Rubistar 4 Teachers, 2006 July 21, 2006  Singing Rubrics Points/ Category Poor Fair Good Exce 1 point 2 Points 3 Points 4 Po Pitch Accuracy Most pitches are Many of the pitches are Sings most of the Confidently sings all pitc sung incorrectly sung incorrectly, but pitches correctly and student is not student tracks well in with few errors and able to track within musical score. tracks well in musical score. musical score. Rhythmic Most of the Some basic rhythms are Most of the Confidently rhythms in musical performed correctly; rhythms performs all Accuracy score are owever, h as challenges with are rhythms correctly. performed ome t rhythms in performed incorrectly. pecific measures. correctly, with few errors. Style/Interpretati The style and Some parts of the piece Most of the piece is The performance of the interpretation of are performed using both performed using executed with both app on the piece is not style and interpretation. correct style and interpretation. executed during interpretation. performance. Musicianship No dynamics. No Some dynamics are Most of the Student performs the p use of articulation. observed. Some dynamics are dynamics, phrasings, an Most phrases are articulation is performed. followed, and most performed Some phrases are of the articulation incorrectly. complete and musically signs are observed. accurate. Most phrases are performed correctly. What is Art? the expression or application of human creative skill and imagination, typically in a visual form such as painting or sculpture, producing works to be appreciated primarily for their beauty or emotional power. Art is the expression of ideas and emotions through a physical medium, like painting, sculpture, film, dance, writing, photography, or theater. Element 1 - Line Line is the most basic element of art. Without line the other elements couldn’t exist so let's start here and then we will gradually go more advanced. A line can be thought of as a moving dot. If the dots overlap, it’s a solid line, if they don’t it’s a dotted line. A line has a beginning and an end and by its existence, creates an edge. If a line joins up it forms an outline (also called a contour). An outline creates a shape. Lines can be: Long or short Thick or thin A thick line gives emphasis and advances while a thin line recedes. Straight Straight lines on the other hand are more mechanistic and dynamic and rarely found in nature. Curved Curved lines change direction gently with no sharp angles and suggest comfort and ease to the viewer. Curved lines most often relate to the natural world. Zigzag Zigzag lines alter direction fast and create feelings of unrest, turmoil and movement. Diagonal Diagonal lines, give movement and dynamism to a composition. Horizontal Horizontal lines create the feeling of stability and calm. Vertical Vertical lines give the impression of height and strength and often have a spiritual connotation. Imaginary Lines can be imaginary or implied; for example line of sight can be a very strong albeit invisible line along which the viewer’s eye travels. Also a pointing finger can send the viewers eye on a journey through the painting. Three Dimensional Lines alone can also be used to create a three dimensional effect, (depth, in a 2-dimensional artwork. Hatching lines (straight or curved) are used to turn shape into form using value as seen the works of the masters like Rembrandt. In summary lines can: Describe 2-dimensional shapes and 3-dimensional forms Create feelings of movement and emotion Create value and thereby show the direction of light Change 2-dimensional shapes into 3-dimensional forms with value Depict texture Element 2 - Shape When a line meets up to enclose a space, a shape is formed. Shapes can be: Geometric or organic. Shapes are 2-dimensional, i.e. they have height and width but no depth e.g. a square. The best way to remember the shape element is to think of an outline. Positive or Negative Shapes The object you draw on your page is a shape enclosed in a frame. This frame may be a box you drew to designate the edges of your drawing area or the edge of the page if you didn’t draw a box. The object you draw is the positive shape. The rest of the space in your box (or if you didn’t draw a box then the rest of the page) is called negative shape. Element 3 - Form Form is the next step up from shape as we now add depth to it to create a three dimensional form. A square (shape) vs a cube, a triangle vs a cone etc. etc. Form encloses volume i.e. height, width as well as depth. In drawing and painting form can only be implied because they are 2-dimesional (flat) media. Artists must use tricks to fool the viewer’s eye so as to create the illusion of the third dimension i.e. depth. This is known as Trompe l’oeil and is achieved using tools like value (shading), colour and contour lines. Here you can see how shading has been used to create the illusion of 3-dimensional objects on a flat wall: Like shapes, forms can be geometric or organic. Organic forms are common in nature while geometric forms are more characteristic of architecture and man-made items. Nature however also uses geometric forms on occasion. Examples are crystals and honeycombs. Element 4 - Space Space is what lies between, around or within an object. To show space in a 2-dimensional medium the artist must use techniques to create the illusion of space between items that are in reality on a flat surface. How do artists create this feeling of space between objects? Overlapping When an object is drawn or painted on top of another object the viewer’s eye interprets this as one object being in front of another implying there must be a space between them. Placement Objects higher up in the picture plane will seem to the viewer’s eye to be further away than objects placed low down in the picture frame. Size Smaller objects look as if they are further away than larger objects. Notice how much smaller the house is in relation to the flowers. Detail The further away an object, the less detail is visible to the viewer. By purposely reducing the amount of detail in an object it will appear further away than an object with greater detail. Colour and Value Objects in the distance usually appear cooler (bluer) and lighter in colour. Close up objects appear warmer and darker in value. Perspective Can be used to create the feeling of depth on a 2-dimensional surface. The most commonly used perspective types are linear and 2-point perspective. Negative Space Space can be either positive or negative in the same way as shapes can. Negative space is all around the object, which is the (positive space) subject of the painting. Negative space is very important and an artist must plan the negative space as carefully as the main subject. Is there enough negative space to give the subject room to “breathe” or does it appear boxed in? Negative space can be cut to a minimum or eliminated entirely for a very close up and intimate focus on the subject. It can be greater on one side than the other, or greater at the top or bottom. All choices which will affect how the viewer sees the overall composition. Element 5 - Value Value is how light or dark something is. There is a scale of light and dark from pure white through to pitch black. The value of a colour depends on how light or dark it is compared to the value scale. Getting the values right is more important than getting the colours right in painting. Value is what makes it possible to show 3-dimensional forms in a 2-dimensional surface. By increasing differences in value, contrast is increased as well. A highlight will look brighter when surrounded by a dark value. Decreasing contrast will make objects visually recede into the picture plane and draw less attention. The focal point of a painting is where you want to add the most contrast as this high contrast automatically draws the viewer’s eye. If a painting is done on the lower (darker) edge of the value scale it is called a “low key” painting. Low key paintings give rise to a heavy, mysterious, dramatic, sometimes brooding feeling in the viewer. By contrast “high key” paintings take their range of values from the upper end of the value scale and create emotions of lightness, quickness, spirituality etc. Most paintings however use the full range of values from light to dark. Value is what artists use to portray light and form. The further from the light the darker the value. How value changes determines the form of an object. If there’s a gradual transition in value it conveys to the viewer that the surface is gently rounded. This is called a soft edge. If however there is a rapid transition between values it means there is an edge. This is called a hard edge. Value is also used to create shadows which show light direction and anchor the object, preventing it from appearing as though it is floating. Element 6 - Colour Colour is created when light is reflected into the viewer’s eye. In art, colours are arranged on a colour wheel. The colour wheel was developed by Isaac Newton who took the colour spectrum and bent it into a circle. The colour wheel shows primary colours, (colours that can’t be mixed), secondary colours (made by mixing two primaries) and tertiary colours (made by mixing a primary and secondary colour). Colour theory helps the artist to mix desired colours from primary colours. It’s only a theory and can’t be proven but it is nevertheless useful to the artist. Colour theory is based on the colour wheel, colour value and on which colours work well together - also called colour schemes. There are various colour schemes which define the primaries. The most common is the Red, Yellow, Blue model. Another popular scheme uses Cyan, Magenta and Yellow as the primaries. There are several other and each works well in different situations. Colour is described by its hue – red, green etc. (Hue the name we give a colour.) A colour has intensity called chroma, also known as saturation, brightness or purity. The more pure the colour is (less of other colours mixed in), the more intense or saturated it is. In painting only small amounts of saturated colours are usually used as accents. Too much saturated colour can give a garish result. The chroma of a colour is not the same as its value. Colours also have value. Value is how light or dark the colour is, as discussed in Element 5 above. Each colour falls on the value scale from light to dark. Yellow would be near the top (light end) of the scale while purple would be found near the bottom end. To change the value of a colour you follow the Colour Mixing Rules. Art supply stores sell interactive colour wheels which are essential to the artist working with colour. I recommend this Color Wheel. Element 7 - Texture Actual texture is the way an object feels to the touch. Drawing or painting texture on a 2–dimensional, flat surface is a challenge for artists. The artist must instead convey the illusion of the actual texture to the viewer on the flat surface. How this is done is by the careful use of value and specific marks / brush strokes which then mimic the actual texture. Every textured surface reflects light in a very particular way. Think of the difference in texture between a chrome ball and a concrete ball. The artist, through careful observation and the use of light and dark values, recreates this actual texture visually on the picture plane. You can follow our tutorial in Drawing Weathered Textures to get a feel for how this is done. It is possible to create actual 3D texture on a flat surface by the addition of texturing compounds which create a raised surface. Impasto paste is one way or you could even add sand etc. to the paint. Even thick paint will leave the texture of the brush marks for the viewer to see. You can follow our tutorial on Texture Painting Techniques to see how you can add texture to your canvas. It is also possible to create patterns by the repetition of shapes that creates 2D texture. This is often used in Op Art. (Optical Art).