Georgia teacher certification tests, field 12: music, objectives and assessment characteristics [June 1992]

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Werner Rogers State Superintendent of Schools Georgia Department of Education

Georgia Teacher Certification
Tests
Field 12: Music
Objectives and Assessment
Characteristics
Produced by Georgia Assessment Project
Georgia State University
For Georgia Department ofEducation
Division of Assessment Atlanta, Georgia
Objectives effective June 1990 First printing March 1990
First revised printing June 1992

2
The Georgia Assessment Project (GAP) at Georgia State University has prepared this set of objectives for the Georgia Department of Education (GDE). The content and professional knowledge required by these objectives have been verified as important and required for certification in Music. The objectives defined in this document are based on an extensive job analysis carried out by the Georgia Assessment Project. Approximately 900 music educators statewide provided judgments on a comprehensive set of instructional tasks. Then, working with the guidance of GAP and GDE staff, groups of highly skilled content specialists--musicians, supervisors and music educators--examined the tasks and developed detailed descriptions of the knowledge that an educator must possess in order to perform those tasks competently. Over one hundred content specialists participated in this process. The objectives described in this publication, and their relative weighting on the examination, reflect the consensus of these educators. The objectives and assessment characteristics in this document are given to specially trained Georgia content specialists who write the actual test items. The items are then reviewed to ensure that they accurately assess the objective for which they are written and that they do not contain any element that will unfairly penalize the members of any group. The purpose of providing these objective specifications is to define the content and professional knowledge required of an applicant for certification in this field. The information contained in this guide will assist you in preparing for the test. We encourage applicants to study these materials to enhance their understanding of the requirements of the field and to allow realistic and confident expectations about the nature of the Georgia Teacher Certification Tests. Along with these materials go hopes for a productive and rewarding career in education. If you have questions or desire further information, please contact:
Teacher Assessment Unit Division of Assessment
Georgia Department of Education 1866 Twin Towers East Atlanta, Georgia 30334 (404) 656-2556
Werner Rogers State Superintendent of Schools
Ttl 12

3
Introduction
This guide is designed for those individuals who are preparing to take the Georgia Teacher Certification Test (TCT) in Music. Musicians from across the state of Georgia participated in the preparation of these objectives. These objectives became effective with the June 1990 administration of the TCT in Music.
When preparing for the TCT, you should review each objective. content component. and indicator. Carefully read the assessment characteristics and sample items that accompany them. The assessment characteristics and sample items are designed to show you how each objective will be assessed on the test. You should be aware that
1. The music test will have both a written and an aural component. Approximately 35% of the test will be listening. Content from all objectives is represented in the listening items.
2. TCT items are multiple-choice with four possible answers. Each multiple-choice item has only one correct answer.
3. There are no penalties for guessing.
4. While you will be given 3t hours of actual test time. you may request up to one hour of
additional time if needed.
5. There are different numbers of test questions for each objective. Look carefully at the content weighting information given with each objective statement on page 7 to see how important each objective is. The distribution of content across objectives is based on recommendations of content experts and practitioners. The distribution will remain the same in each edition of the test.
6. In order to pass the TCT, you do not have to pass each objective. The test score is determined by the number of correct answers on the total test.
Read the directions carefully before attempting to answer an item. Be sure you know what the item is asking you to do.
If you need assistance in test-taking strategies or dealing with test anxiety, please seek help through a college or university counseling center.
Information About Listening Items
There are two general types of listening questions:
One type requires the examinee to recognize some type of musical element or feature. instrumentation, style of music, or composer. This type of listening question is most often played one or two times, depending on the length or complexity of the test question requirement. Either taped instructions or a notation within the test question will prepare the examinee.
Another type of listening question requires error detection skills. These listening questions represent only Objectives 05 and 06 and will be grouped together on the tape. In most cases. the score of the taped examples will be printed in the test booklet. Some scores may be as long as three pages.
I (1 II

4 Taped and written instructions will advise examinees that they have approximately 25 seconds to prepare for the question by reviewing the score and reading the question itself. The aural examples are typically repeated twice, with 10 seconds between the repetitions and 10 seconds before the next question is announced. If an example is repeated three times, there will be a note beside the individual test question.
Acknowledgements
The Georgia Department of Education wishes to express its appreciation to the group of Georgia music educators who volunteered their time and expertise to develop these objective specifications. Special thanks go to the performing groups who were willing to record selections with specific errors added for the error-detection items on the listening test.
Ie T 12

5
Using The Objective Specifications
Objective specifications define and describe the test content for a given certification field and are used to develop test items that will appear on the Georgia Teacher Certification Test for that field. Each objective is described in two ways. Objectives are first defined in a section called Assessment Characteristics. The assessment characteristics establish parameters for item development and describe items for that objective. A second section provides several sample test items for the objective. Statement of the Objective
Objectives have been constructed so that each statement contains three parts: a response term (e.g., identifies, recognizes, selects); a content term (e.g., historical trends); and a context (e.g., application).
An objective might read, "The music educator recognizes historical trends in music in an academic or instructional context." Assessm~nt Characteristics
Assessment characteristics define what an objective is intended to test, that is, the acceptable range of content to measure an objective. The characteristics may include definitions, limits to the complexity of item types, or rules that specify which content can or cannot be used to assess the objective.
A content component further defines content within an objective (e.g., within Objective 01, "0110 musical notation" is a content component). An indicator describes content within a content component (e.g., in objective 01, "pitch notation" and "rhythmic notation" are two of the indicators under that component. Some content components have no indicators to subdivide them.) Examples
Sample test items illustrate possible item content and formats used to assess each content component or indicator of an objective. Examples are offered as suggestions, not as restrictive guides. Each sample test item in this document is labeled with a number and a descriptive phrase. Answers for sample items are indicated by bold italics.
To illustrate listening items, a note will describe what would be heard on the tape. For instance, if the examinee is to determine whether there is a performance error, the Objectives and Assessment Characteristics will show the score, with a note specifying what would have been performed differently on the tape.
Sample scores in this document represent the kind of art work used in the test form. If your copy of this document has been photocopied from an original, the musical art work may have deteriorated in quality. That is not an indication of the quality to expect in the test itself.
TCT 12-

6

Using the Objective Reference Numbers
The objective reference number is a six-digit code that identifies pertinent information about any test item. Objective reference numbers are used to designate test items by the objective. content component. indicator. and context for which they are written.
Prospective examinees should use the objective reference numbers only as a way of relating sample items to the content component or indicator which they illustrate or to determine the context in which an item is asked. Candidates should not concern themselves with learning the objective reference numbering system.
Each digit of the six-digit reference number contains specific information about a test item:

- The first two digits (042001) identify the objective for which the item has been written.
Objective 04 deals with ~Itural influences on music.

The third digit (042001) indicates a specific content component within an objective. All

objectives have at least one content component. Content component 2 for this objective refers to

international music.

-

The fourth digit (011 ~01) refers to an indicator, if there is one within a content component. If
9. there are no indicators for the content component, the fourth digit is (e.g., 042201).

The fifth digit (03129,1 or 031212) denotes whether the test question has an aural component.
o written format

aural format

The sixth digit denotes the context in which a problem situation is presented (031201, 0310~, 03120~. The contexts may apply to either written or aural formats.

1 Academic Items require the educator to identify concepts that relate to a specific
objective.

2 Application Items require the educator to apply information and concepts.

3 Instructional - Items require the educator to apply concepts in an instructional setting.

reT 12

7
Field 12: Music Objectives
Objective 01: The music educator demonstrates basic musicianship in an academic or application context. This objective accounts for approximately 5-11 percent of the items on the test.
Objective 02: The music educator identifies the elements of music in an academic or application context. This objective accounts for approximately 15-21 percent of the items on the test.
Objective 03: The music educator recognizes historical trends in music in an academic, application, or instructional context. This objective accounts for approximately 15-21 percent of the items on the test.
Objective 04: The music educator recognizes cultural influences on music in an academic application, or instructional context. This objective accounts for approximately 1016 percent of the items on the test.
Objective 05: The music educator demonstrates a knowledge of skills necessary to design and implement a choral music program in an academic, application, or instructional context. This objective accounts for approximately 10-16 percent of the items on the test.
Objective 06: The music educator demonstrates a knowledge of skills necessary to design and implement an instrumental music program in an academic, application, or instructional context. This objective accounts for approximately 10-16 percent of the items on the test.
Objective 07: The music educator demonstrates a knowledge of skills necessary to design and Implement a general music program in an academic, application, or instructional context. This objective accounts for approximately 10-16 percent of the items on the test.
H T 12

-ZLDl
8

9
Teacher Certification Tests Field 12: Music
Objective 01: The music educator demonstrates basic musicianship in an academic or application context.
Assessment Characteristics
Content Component 0110 musical notation
Notation will include symbols commonly found in Western music. Indicator 0111 pitch notation Some examples of pitch notation that may be included are the grand staff; ledger lines; treble, bass, alto, and tenor clefs; sharps, flats. naturals, double sharps. and double flats. Indicator 0112 rhythmic notation Some examples of rhythmic notation that may be included are note and rest symbols, modifiers such as dots and ties, meter signatures. and tempo indications.
Content Component 0120 musical terminology
These items test knowledge of expressive. interpretive, and directive terms, abbreviations, and symbols. Only Italian terms will be used. Expressive and interpretive symbols, terms, and abbreviations may include symbols that relate to dynamics, articulation, phrasing, and ornamentation. Directive symbols may include repeat signs, D.C., D.S., and coda signs. Directive terms (e.g., segue. attacca) may also be included. Other musical terms and symbols (e.g., hemiola, ornamentation) could be asked under other objectives.
TCT 12 - .

10
Examples for Objective 01: 011102 pitch notation

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f-
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,

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Which are the first three pitches of the viola part? (A) A, F, C (B) Bb, G, D (C) C, A, Eb (0) G, Eb, Bb

011101
pitch notation
ra~--
When the C clef is in this position, it is also known as the
(A) alto clef. (B) tenor clef. (C) soprano clef. (0) bass clef.

TeT 12

Examples for Objective 01: 011202 rhythmic notation The correct answer is (D). Which is NOT a correct measure of rhythm in ~ time?
(A)
(B)
(C)
(0)
012001 musical terminology
Meno mosso means (A) faster. (B) moderate. (C) without change. (0) slower.

11
~.
TCT 12

12

Examples for Oblective 01:

011202

musical terminology

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,v " ..........w u- -...u-

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IV

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The interpretive marking above the flute line in measures 3-4 instructs the performer to
(A) play the notes in legato style. (8) play the notes in marcato style. (C) decrescendo and then crescendo. (0) crescendo and then decrescendo.

TCT 12

13
Examples for Objective 01: 012001 musical terminology
Cantabile refers to a (A) march-like style. (B) singing style. (C) mournful style. (D) forceful style.
012002 musical terminology

1

2

3

4

In what sequence would the above measures be performed?
(A) 1 2 3 4 1 2 4 (B) 1 2 3 4 (C) 1 2 1 2 3 4 (D) 1 2 3 1 2 4

TCT 12

14

Examples for Objective 01: 012002 musical terminology

:0.... .. ,I t. ~. , t' JI~... I I , .......

p"ma,

::~;::;~

Viol.

'""~:t::10!~~~ C.B.

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ff

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[!!] The dynamic marking for the violins at
indicates these instruments should play with
(A) a strong accent. (B) a loud sustaining quality. (C) no accent and then gradually get softer. (0) a strong accent and then immediately get
softer.

012002 musical terminology

G!J Which bowing technique is used by the violins

at

?

(A) detache (B) tremolo (C) spiccato (0) legato

reT 12-

lS
Teacher Certification Tests Field 12: Music
Objective 02: The music educator identifies the elements of music in an academic or application context.
Assessment Characteristics
Items for this objective assess knowledge of the elements of music, as presented in notated and aural examples of instrumental and vocal music. Test items may include excerpts from any historical periods / genres, both Western and non-Western.
Content Component 0210 acoustical properties of sound
Items test knowledge and application of the basic principles of sound (e.g., the longer the length of the vibrating medium, the lower the sound). Basic terms, such as frequency, overtones, amplitude, and wave form may also be assessed. Items may deal with basic acoustical properties and their physical effects, such as
frequency ~pjtch amplitude =+Ioudness overtones =+ timbre wave forms (combinations of overtones)
Content Component 0220 melody
Items test knowledge of melodic and harmonic intervals, scales, keys and key signatures, and the relationship among pitches (including tetrachords and serial techniques). Scales are limited to major; natural, harmonic, and melodic minor; chromatic; pentatonic; and whole-tone. Presentation of five common church modes (Dorian, Phrygian, Aeolian, Lydian, and Mixolydian) will require only written identification. Only the following ornaments will be tested: turn, mordent, trill, and grace note(s).
TCT 12 - "

16
Content Component 0230 rhythm and meter
Rhythmic patterns and devices are limited to syncopation, augmentation, rhythmic subdivision, diminution, ostinato, and hemiola. Items regarding meter identification will be limited to simple and compound meters in duple and
triple groupings, as well as irregular meters such as 5/4, 7/8, etc. Meter recognition may be
evaluated through notated and aural items. Items dealing with rhythmic symbols are included under Objective 1. Items dealing with rhythms or meters that exemplify various dance forms or historical eras are included under Objective 3. When items focus on rhythmic devices that exemplify various cultural representations. they are presented under Objective 4.
Content Component 0240 harmony
. Items include consideration of chord structures. chord progressions, modulations. and cadences.
Chords are limited to major, minor, augmented, and diminished triads, and 7th and 9th chords, in root and inverted forms. Chord progressions are those consistent with traditional 18th and 19th century harmonic practice. Tonality, atonality and polytonality will be assessed in this component. Assessment of non-harmonic tones is limited to passing and neighboring tones, suspensions, apoggiaturas. escape tones, anticipation, and pedal points.
Content Component 0250 texture
Identifications are limited to the distinction among the commonly occurring textures (e.g. monophonic. homophonic, and polyphonic). When textures are used to identify a specific historical period or form. the item will be considered under Objective 3.
TCT 12-

17
Content Component 0260 timbre
Items require the music educator to identify distinctive timbre of vocal and instrument examples. Instruments include brasses, woodwinds, strings (fretted and unfretted), and percussion; keyboard instruments (limited to piano. harpsichord, and organ). Voices include soprano, alto, tenor, bass. Knowledge of traditional ethnic or folk instruments is assessed under Objective 4.
Content Component 0270 form
Vocal and instrumental forms tested are limited to binary, ternary, canon, strophic song form, theme and variations, fugue, rondo, and sonata (Le., first movement) form. Variations of these forms may be asked. When forms or genres are used in reference to historical periods, they are assessed under Objective 3 (e.g., symphony, opera, cantata). Components of larger forms (e.g., introduction, exposition, coda) as well as melodic structure (e.g.motifs, phrases. sequences, periods, themes, and episodes) will be assessed.
Content Component 0280 Interrelationships among the elements
Items will address the interrelationship of the above elements within a musical example.
TeT 12

18
Examples for Objective 02 : 021001 acoustical properties of sound
When overtones are altered, a sound will change in (A) duration. (B) intensity. (C) pitch. (0) timbre.
022002 melody
This example is written in (A) E minor. (B) E major. (C) E Dorian. (0) E Prygian.
022012 melody (aural example: example would be in melodic minor, and several measures long)
This melody is based on which scale?
(A) major (B) melodic minor (C) chromatic (0) pentatonic
TCT 12-

.~

Examples for Objective 02 : 022002 melody

RUe! _ _

A risc! _ _

A rise!

Rise!
fi Wake
~ Wake

_

A rise!

_

A rise!

~J
ye, a . n.se.I

~
Life is greet iog thee.

~j
yl', a . rise!

~
Ev . er watch lui be.

This song is in the key of
(A) C.
(8) A minor.
(C) o minor.
(0) F.

022002 melody
Which is an example of a major scale?
(A) 8 0 0 E F" G A" 8 (8) Db Eb F Gb Ab Sb C Db (C) A 8 C 0 E F G A (0) F G A 8N C 0 E F

19
TeT 12

20
Examples for Objective 02 : 022002 melody (aural example: D E F G A Bb C D; D C Bb A G FED, played twice)
Which type of scale is being played?
(A) natural minor (B) melodic minor (C) harmonic minor (0) whole-tone

024002

harmony

The correct answer is (D).

Which example demonstrates all four kinds of triads?

(A)~ ~ I gggt:&b

ma].

Dl111.

auC.

dim.

(B) t:'3l i I .~ @iJlI I b5~ II

maj. min.

auc.

dim.

(C)~ I b07~

maj.

min.

aug.

dim.

f?' (0) =E&~j I ~~~ ~

maj. min.

auC

dim.

TCT 12-

21
Examples for Objective 02 : 024002 harmony
a.n-caiDC

A1lD't'ftIaIa- .~~~Jjij~~~~~~5~~~~~~
",,~~~~I.~.~~~~~~~i~
. .'t'ftIaIa-~~t!~~~.5~~~~~~~!
VialiD I VioIiD II
Viola
Which is the harmony of the first measure? (A) C (B) C7 (C) G (0) G7

TeT 12-

22 Examples for Objective 02 : 022002 melody
Which is the enharmonic key signature of Gb major? (A) E major (B) f# major (C) G major (0) F major
023012 rhythm and meter (aural example: example will be played twice with a rhythmic error in measure 3)
The correct answer is (C).
~!~.~
Which measure was incorrectly performed'?
(A) 1 (B) 2 (C) 3
(0) 4
TCT 12

Examples for Objective 02 : 023001 rhythm and meter
Which best describes syncopation? (A) No two rhythms are identical. (B) Strong and weak beats alternate.
(C) The weak beat or part of the beat is
emphasized. (0) The strong beat or part of the beat is
emphasized.
023002 rhythm and meter
The correct answer is (D).
Hi yo, hi yo, ip si ni yah, hi yo,

Hi yo ip si ni _ yah, hi _ yo, Hi yo ip si
~ ni yah. hi _ yo. Hi yo ip si ni yah.
~ Ip si oi yah!

Which is the meter?

(A) 98

(B)

3
4

(C)

6 8

(0) 42

23
TeT 12 -

24

Examples for Oblective 02 : 024002 harmony

1'\ I
I4

l

I

I

I~ I.J 1 j

r-.. .-.o'!l I
JJ~

Which harmonic device appears in this excerpt?
(A) suspension (B) modulation (C) deceptive cadence (0) dominant seventh chord

024002 harmony (aural example: example would be 4 chords, played twice)

Which chord progression was played?

(A) I (B) I (C) I (0) I

IV V V VT vi IV I V VI V

025001 texture
A vertically aligned, four-part chorale is an example of
(A) heterophony. (B) homophony. (C) polyphony. (0) monophony.

TeT 12-

25

Examples for Objective 02 : 025002 texture

- - - - ....-- Moderato (J '.-HI

A

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Which describes the texture of the excerpt?
(A) mondic (8) monophonic (C) polyphonic (0) homophonic

026002
timbre
(aural example: operatic aria, played about 15 seconds, played once)
The voice part represented in this example is
(A) baritone. (8) bass. (C) profunda. (0) tenor.

TCT 12-

26

Examples for Objective 02 :

027002

. - form

'E 7

~>=='E ~.

r:".
~

Rise!

_

A . riSC!

_

A - rise!

~ r- ;:=r p (&100)

>

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~

~

r:".

f p~=~ =. =~

Rise!

_

A rise!

_

A rise!

~ Wake

~~
yeo a rise!

~~
Life is greet ing thee.

~ Wake

~~
ye. a . rl.'i<'"!

~~
Ev . cr watch . ful be.

~~~

Moth er GoJ of. Lite,

She is c-.ul ing' thee!

Which describes the form of this song?
(A) A 8 C (8) A A B B C (C) A A 8 C (0) A 8 8 C C

reT 12-

27 Examples for Objective 02: 027002 form
(aural example: example would be up to 20 seconds long, played once.)
Which compositional device can be found in this example?
(A) canon (8) monody (C) sequence (0) variation
TCT 12

28
Teacher Certification Tests Field 12: Music
Objective 03: The music educator recognizes historical trends in music in an academic, application, or instructional context.
Assessment Characteristics
Items for this objective assess the educator's ability to recognize styles and forms of specific historical periods; musical, historical, or social factors that contributed to new developments; relationship of music to other art forms (e.g., dance, visual arts, drama) during various historical periods; and important composers or works associated with specific periods. Items will not require identifying the title or composer of a specific work. The intent of the questions is to associate a composer with a stylistic period and the historical significance of his/her contribution. Items may require the educator to identify style, period, instrumentation, or probable composer of a given work based on the characteristic features of that work. Items dealing with Medieval music will be based on written examples only; music of later periods may be presented in either notated or aural form. Stylistic periods range from the Medieval to the present. Items will assess major types of compositions and the evolutionary process which caused their existence. The pieces selected will be those particularly characteristic of a period, even though the stylistic features may be present to a lesser degree in music of other periods. Several transitional composers (e.g., Monteverdi, Beethoven) will be treated as such.
Content Component 0310 Medieval
Items require recognizing only monophonic texture major forms and genres limited to Gregorian chant, "mass, and motet
Content Component 0320 Renaissance
Items require recognizing only stylistic and textural features(e.g., polyphonic texture) major forms and genres (e.g., madrigal) characteristic instruments (e.g., lute, recorder, viola da gamba) major composers (e.g., Palestrina, Byrd, Morley, Gabrielli, Monteverdi j
"Monteverdi is viewed as a transitional composer.
TCT 12-

29
Content Component 0330 Baroque
"
Items require recognizing
stylistic and textural features (e.g., harmonically-based polyphonic texture, ornamentation, terraced dynamics);
major composers (e.g., Bach, Handel); major forms and genres (e.g., oratorio, opera, fugue, concerto grosso, solo sonata;
cantata; suite; overture); characteristic instruments (e.g., harpsichord, organ, continuo)
Content Component 0340 Classical
Items require recognizing
major works by composers (e.g., Mozart, Haydn, early Beethoven*, Gluck) major forms and genres (e.g., overture, opera. symphony, string quartet, solo concerto,
sonata (i.e. first movement) form) stylistic and textural features (e.g., frequent cadences, cadenzas. instrumentation,
homophonic texture) characteristic instrumentation of the period
Content Component 0350 Romantic
Items require recognizing
major works by composers (e.g., Beethoven, Mendelssohn, Liszt. Tchaikovsky, Berlioz. Wagner. Brahms, Schumann, Schubert. Chopin)
major forms and genres (e.g., symphonic poem. opera, art song. piano character pieces)
stylistic and textural features (e.g., leitmotif and idee fixe; chord structure and dynamic nuances; program music; expanded harmonic vocabulary)
characteristic instrumentation of the period
Beethoven is viewed as a transitional composer between the Classical and Romantic periods.
Content Component 0360 Impressionism
Items require recognizing
major works by composers (e.g. Debussy, Ravel) stylistic and textural features (e.g., non-Western influences. expanded chromaticism.
color harmony) characteristic instrumentation of the period
TCT 12-

30 Content Component 0370 20th Century
Items require recognizing major works by Western composers (e.g., Schoenberg, Stravinsky, Bartok, Hindemith) major works by U.S. composers (e.g., Ives, Copland, John Cage, Bernstein, Gershwin. Hanson, Barber, Babbitt, William G. Still) major forms, genres, and other systems (e.g., serialism and 12-tone techniques, neoClassicism, electronic music) stylistic and textural features (e.g., expanded instrumentation, innovative harmonic treatments) characteristic instrumentation of the period
Items will consider music up to the present day. Jazz will be considered under Objective 4.
TeT 12

31
Examples for Objective 03:

Ky

ri

e

e-

Ie - i-son

~~~~

Chri - ste

e-

Ie - i- son

031002
Medieval
The texture shown in this excerpt is common to which period?
(A) Medieval (B) Renaissance (C) Baroque (0) Rococo

032002
Renaissance
How would the standard texture of a Renaissance madrigal be described?
(A) four-part homophonic texture with the melody in the top voice
(B) four or five voice lines of similar character and equal importance
(C) three-part homophonic texture with the melody in the tenor
(0) four or five voice lines. each of a different character and rhythm

TeT 12-

32

Examples for Objective 03:
032001
Renaissance
In Orfeo, Monteverdi enlarged the orchestra, used recitative accompagnoto, and heightened dramatic interest.
Monteverdi's contribution was to
(A) establish the oratorio. (B) revive the madrigal cycle form. (C) solidify the beginnings of opera. (0) abandon the Florentine Camerata tradition.

035001
Romantic
The art song (or lied) in the 19th century is most associated with
(A) Berlioz. (B) Chopin. (C) SChubert. (0) Wagner.

033001
Baroque
A multiple movement choral work often based on a Baroque chorale is a(n)
(A) cantata. (B) mass. (C) liturgical drama. (0) oratorio.

033001
Baroque
The four most common dances in the Baroque suite are the
(A) gavotte. polonaise. sarabande. and passepied. (B) minuet, bouree, gigue. and allemande. (C) allemande, courante, sarabande, and
gigue. (0) sarabande. minuet, waltz. and loure.

TeT 12-

Examples for Objective 03:
"..,.,

33
-

ViO'"

034002*
Classical
Which identifies this Classical movement as a minuet?
(A) instrumentation (B) time signature (C) 6-measure phrases (0) dynamic markings

034002*
Classical
The instrumentation of this symphony excerpt exemplifies which period?
(A) Renaissance (B) Baroque (C) Classical (0) Romantic

"These items approach the same content from different perspectives. They would not appear on the same test form.

TeT 12

34
Examples for Objective 03:

Piccolo
~ ~
e::t.riMla ill C
s-
CGavu-
a.a.iIlC TnaaIpMa ill C
A1to~
- r - 'I'mmboae
[ - , s..~
TimpUIi in C, G

Vioiin[ Vioiin II
Viola Cello
s..

035002* Romantic

035002* Romantic

This is from a (n) (A) violin concerto. (B) piano concerto. (C) opera aria. (0) symphony.

The use of which instruments shows that this work is Romantic rather than Classical?
(A) two timpani (B) two clarinets in C (C) horns and trumpets (0) piccolo and trombones

"'These questions assess similar cuntcnt (rom two perspectives. They would not appear on the same test (orm.

TeT 12 _

35

Examples for Objective 03:

~ ..........,u". ~'1

--
--.....~

["""iT

-

.L
,.

......, ....r'I
-..-7

- - Ct.

-

loT ",.

""

.......

..

-

.~..

I ..

I'"

c. .,

..=-
":"h:

--

I'"

-- ~.ll - ... -

.

'-'l.O IIn~~:~""..dC)

~"
I'" ""i"

I rio

II,. L

.

:d.

;

.

-

c...,.I.........
...

.

(........-.a

""Jlji'

-l'

- ." -

i - -_-Iii ,. ._~

"

-!---
,.

--,~ . .

I

--,r,-

I

-I -

-

I
.. - - .J:to:
T I =I =- ::::=- f1
L

..... -
1 . J .J: ',!.. 1:

::::--

L

j,

L

.

. ..

= :::-

..-.1
I

-
::-=-

036012
Impressionism
This piece was probably composed by
(A) Mahler. (B) Debussy. (C) Schoenberg. (0) Stravinsky.

036002
Impressionism
Which style does this piece represent?
(A) Impressionism (B) Romanticism (C) Nationalism (0) Serialism

TeT 12

36

Examples for Oblectlve 03: 037002 20th Century

Moderato t.J ...-H'

, ----- I A

~

\ ~ "!f I

,_ I
----

----

---
""""-

....
- ..,..-
-

(- - - ... - -

I

. ...~ 11._. ~

I

' -....

..... ~ .~

~.

In which period was this work written?
(A) Baroque (B) Rococo (C) Classical (0) 20th Century

037012
20th Century
(aural example: Webern, Concerto, Op. 24, about 20-25 seconds, played once)
Which style does this piece represent?
(A) Impressionism (B) Romanticism (C) Nationalism (0) Seria/ism

rer 12

37
Teacher Certification Tests Field 12: Music
Objective 04: The music educator recognizes cultural Influences on music In an academic, application, or Instructional context.
Assessment Characteristics
Items for this objective focus on types of music that are typical of specific sociologically defined cultures. Content of items may include instruments, musical forms. styles that are particular to cultural influences. or the relationship of music to other art forms (e.g., dance, visual arts, drama). Items may ask about the functions of certain types of music within a culture or about the relationships between the music and the culture. 'tems would not require Identifying the titie or composer of a specific work. The intent is to match composers or works to periods or styles. Items may require the educator to identify style, period, instrumentation, or probable composer of a given work based on the characteristic features of that work.
Content Component 0410 American music
Items deal with types of music arising from the American culture at large (e.g., Sousa and marches) or those which are characteristic of a specific ethnic or cultural segment of America (e.g., Native American, Appalachian) Items may test the educator's knowledge of stylistic features of the music as well as specific works, composers, or performers. Recognition of some better known ethnic instruments (e.g., dulcimer, banjo) will be covered under this objective. Other topics that may be covered include
jazz folk music ethnic / minority contributions musical theater
TeT 12

38

Items may include references to such figures as

William Grant Still
Duke Ellington



Leontyne Price Jessye Norman Billie Holiday B. B. King



Louis Armstrong Ruth Crawford Seeger Miles Davis

Dizzie Gillespie
Charlie Parker

John Coltrane

Marian Anderson

Content Component 0420 International music
European African Asian South American

TeT 12

Examples for Objective 04:
041012
American music
(aural example: Slow Drag from "Treemonisha")
Which type of jazz is being played?
(A) ragtime (8) swing (C) bebop (D) free form

39

041001

American music

Blue notes result when which scale degrees are

lowered?

.

(A) 3rd. 6th (B) 4th, 6th (C) 3rd, 7th (D) 4th, 7th

041012
American music
(aural examele: "Foggy Mountain Breakdown')
Which is featured in this example?
(A) banjo (B) guitar (C) autoharp (D) mandolin

041001 American music
Which style was popularized by Scott Joplin?
(A) boogie-woogie (B) Dixieland (C) bebop (D) ragtime

041001
American music
The use of syncopated rhythms in American music can be traced to which cultural influence?
(A) American Indians (B) African slaves (C) Spanish settlers (D) French explorers

041001
American music
Which instrument is identified chiefly with Appalachian mountain music?
(A) guitar (B) dulcimer (C) recorder (D) banjo

TCT 12

40

Examples for Objective 04:
042001 international music (Asian)
The koto, a 7 to 13-stringed instrument, is most popular in which country?
(A) Germany (B) India (C) Japan (0) Kenya

042001
International music (Asian)
Which instrument best represents the AsianIndian cultures?
(A) balalaika (B) banjo (C) guitar (0) sitar

042001 international music (Irish) The correct answer is (B).
An Irish jig would typically be written in which meter?
(A) 2 4
(B) 6 8
(C) 4 4

042001
International music
(aural example: play 20-25 seconds ofa bolero)
Which culture does this selection represent? (A) African (B) Brazilian (C) Greek (0) Spanish

(0)

TCT 12-

41
Examples for Obiectlve 04: 0420013 international music (Israeli)

Zwn

p . Ii

.. - Ii,

p . Ii,

Zwn

p . Ii

Ii,

Fine'Y[!]

ZwD

. . Ii

. . p Ii, p Ii,

Zwn

p . Ii

p - Ii.

~

. 1. Pi o JU!eJ'll
2. AM they la

work bor
~

bard all

on the land, day_ I....

. ---

'!l

D.C. aJ Fine

MvD and wom . en
'nwy_ lift their
~

work hand in hand.

voice

in _ _ song.

This song could be used to demonstrate
(A) Dorian mode. (B) binary form. (C) syncopation. (D) subdivision of the beat.

reT 12-

42

Teacher Certification Tests Field 12: Music

Objective 05:

The music educator demonstrates a knowledge of skills necessary to design and implement a choral music program In an academic, application, or Instructional context.

Assessment Characteristics

Items for this objective assess the knowledge necessary for instructing students in choral music. Items may include terms and techniques used to rehearse and perform choral music.
Terms such as aria. operetta. and scene would be covered in Objectives 2 and 3. Recognizing simple vocal forms is covered in Objective 2.

Content Component 0510 vocal techniques
physiology of the voice posture breathing vocal production diction

Content Component 0520 performance ensembles

Indicator 0521 voice classifications

general range of voices voice identification . audition techniques

Indicator 0522 types of ensembles

SATS



SSA SA TISS SAC

madrigal groups

quartets

other ensembles

TeT 12-.

43
Indicator 0523 arranging Items may require demonstrating skills needed to adapt music scores for particular choral ensembles and singer characteristics (e.g., sopranos can sing from middle C to A above the treble clef staff).
Content Component 0530 conducting and rehearsal techniques
Indicator 0531 rehearsal planning score analysis sight reading skills distribution of rehearsal time (Time management issues will involve setting of priorities for activities.) psychological factors (e.g., motivation) environmental factors (e.g., lighting, ventilation)
Indicator 0532 conducting techniques Items may require identifying standard conducting patterns and techniques. Indicator 0533 problem identification and solution Items for this indicator are primarily aural, with scores printed to match what is heard on the tape. Performers for these excerpts were college choral groups. These items will be grouped together on the listening portion of the test. The examples range in length from several measures to 3-page excerpts of a score. Most examples will be repeated twice, with some shorter examples repeated three times. A note by the test question will indicate this change. The taped instructions remind examinees that they will have about 25 seconds to review the score and question, about 10 seconds between repetitions, and about 10 seconds before the next item is introduced. Sample problems may include:
accuracy of pitch and rhythm tone quality balance and blend articulation / diction interpretive elements phrasing
Content Component 0540 literature and materials
Items will require students to identify appropriate literature and materials for a particular group or situation.
TCT 12-

44
Examples for Objective 05 : 051003 vocal techniques
Which is LEAST likely to affect intonation in singing?
(A) poor posture (B) inadequate breath control (C) improper vowel placement (0) poor consonant articulation

053103
rehearsal planning
In the beginning stages of sight reading for a middle school chorus, which is the LEAST important skill to be emphasized?
(A) rhythm (B) line-space movement (C) key signatures (0) intervals

052213 types of ensembles (aural example: choral ensemble)
Which describes the choral ensemble?
(A) SArB (B) SSA (C) SAB (0) TIBB

0533303
rehearsal planning
(10 measures ofa Bach chorale would be shown with this item)
Mr. Romaine is a high school choral director and would like to develop an aesthetic musical awareness.
Which point would he emphasize in the performance of this Bach chorale?
(A) emphasize the ending consonant of each word of text
(B) emphasize the rhythmic motion of the text (C) sustain the long notes with a feeling of
diminuendo
(0) sustain the long notes with a feeling of
crescendo

TCT 12-

45

Examples for Objective 05 :

052103

voice classifications

1
I
/~
(

2

3

/ /u

Which range would be appropriate to use for changing voices?

(A) (B) 2
(C) 3 (0) 4

4
/u

052313

arranging

fI

.-

.,

tell - ing the glo - ry of God;

The won-der of His work,

"

.., - ., tell - ing the glo

ry 01. God;

~......

.

_.
-

The

glo - ry 01. God,

1 - - fI ~. v.


I

-...

.. The won - der,the won-der of His work,

The

.~~ ~

.... .J.

J

~ .. t

... ..

--...I

--......

To suit the range of the voices in the choir, the director decides to transpose this piece to the key of D.

To accomplish this transposition, the director would raise every pitch by a

(A) minor second. (8) major second. (C) minor third. (0) major third.

TCT 12

46

Examples for Objective 05 :
0533~3
problem Identification and solution (aural example: sopranos would sing error listed in distractor we".)
Which is the performance error?

1

2

3

..I ". WOQ-der of B18 wort,

4

5

cI18 - pia,. the fir-ma-

~

.- ...

. Tbe woa-der 01 Bia work -

wOIl-der ~ Bts wort, The woa-der 01 m. WOI'k

.... " J.

~

I

- - ~

.......

~ . ..

- dt8 - pia,. tile ftr-ma-
.
. .. dta - pia,. the fir-maII - [1 J r

(A) Altos sing f sharp in measure 3. beat 3.
(8) Sopranos sing c natural in measure 4.
(C) Sopranos sing c sharp in measure 5, beat 3.
(0) There are no performance errors.

reT 12-

47
Teacher Certification Tests Field 12: Music
Objective 06: The music educator demonstrates a knowledge of skills necessary to design and implement an instrumental music program in an academic, application, or instructional context.
Assessment Characteristics
Items for this objective assess the knowledge necessary for instructing students in instrumental music. Items may include terms and techniques used to rehearse and perform instrumental music.
Content Component 0610 instrumental techniques
embouchure bowing /pizzicato breathing posture fingering and positions (Specific notes or positions on string instruments would not be
asked.) tone production articulation instrument characteristics clefs
Content Component 0620 performance ensembles
Indicator 0621 instrument classification ranges transpositions (i.e., key of each instrument relative to concert pitch)
Indicator 0622 types of ensembles woodwind quintet brass quintet wind ensemble concert (symphonic) band orchestra string quartet other standard chamber ensembles
TCT 2

48
Indicator 0623 arranging Items may require demonstrating skills needed to arrange or adapt music scores for particular instrumental ensembles.
Content Component 0630 conducting and rehearsal techniques
Indicator 0631 rehearsal planning score analysis -phrasing -interpretive elements -balance and blend -bowing/articulation -difficult passages -climactic points
sight reading skills distribution of rehearsal time (Time management issues will involve setting of priorities
for activities.) psychological factors (e.g., motivation) environmental factors (e.g., lighting, ventilation) Indicator 0632 conducting techniques Items may require identifying standard conducting patterns and techniques.
Indicator 0633 problem identification and solution Items for this indicator are primarily aural, with scores printed to match what is heard on the tape. Performers for these excerpts were college wind ensemble and string groups. These items will be grouped together on the listening portion of the test. The examples range in length from several measures to 3-page excerpts of a score. Most examples will be repeated twice, with some shorter examples repeated three times. A note by the test question will indicate this change. The taped instructions remind examinees that they will have about 25 seconds to review the score and question, about 10 seconds between repetitions, and about 10 seconds before the next one is introduced. Sample problems might include
accuracy of pitch and rhythm tone quality balance and blend articulation I bowing interpretive elements phrasing
Content Component 0640 literature and materials
Items will require identifying appropriate literature and materials for a particular group or situation.
TCT 12-

Examples for Oblectlve 06: 061001 Instrumental techniques
Which produces a proper tone on the flute?
(A) regulating the speed of the air column (B) splitting the air column (C) positioning of the tongue (0) buzzing the lips

49
062102
instrument classification
When tuning a saxophone choir, which pair of saxophones is NOT tuned in the same key?
(A) soprano and baritone (B) soprano and tenor (C) alto and baritone (0) tenor and bass

062103 instrument classification
The correct answer is (B).
Which would be the sounding pitch for this notation on an alto saxophone part?

062201
types of ensemble
What is the instrumentation for a standard string quartet?
(A) two violins. cello, string bass (B) violin, viola. cello. string bass (C) two violins, viola, cello (0) violin. two violas. cello

062201
types of ensembles
The commonly accepted instrumentation of a woodwind quintet is flute, oboe, clarinet. bassoon. and
(A) French horn. (B) bass clarinet. (C) English horn. (0) alto saxophone.

D.~~IJij

TeT 12- --

so

Examples for Objective 06:

062302

062302

arranging

arranging
A string teacher entered a middle school teaching situation and found that the string class consisted of twelve violinists, four cellists, two string bassists, and no violists.
To create a balanced string ensemble. the teacher should transpose the viola part to
(A) bass clef and assign two cellists to play it. (B) treble clef and assign four violinists to
play it. (C) tenor clef and assign one cellist and one
bassist to play it. (0) alto clef and assign four violinists to play it.

Ms. Oliver does not have a bassoon in her middle school band.
Which instrument could she rescore the part for?
(A) clarinet (B) trumpet (C) tenor saxophone (0) baritone horn
062303 arranging
The correct answer is (C).

062301
arranging
Which could most easily play a typical soprano voice part?
(A) cello (B) oboe (C) bassoon (0) French horn

For students unable to execute the clarinet part with facility, which would be the best substitute rhythm?
A.tmn :mn

m B. ;--nrnm

cn n n n

ornrnrnrn

TCT 12-

51

Examples for Objective 06:

063102

rehearsal planning

AU~ra non lrappo (J : 1t~J
...... ",a_:,+

..... ~ J ,

~-

:>-'

~

,- ,.

:. ~
!!

~J

. .-' ' -

~

7

.0-.r 101 1.1

- 1 -
".z.
1- .'

-.....;::I
I~.

J
~

. '-'

-- -

-

~

7

- -

,

I~ J ,

l~ r
-"'0-. I- f"!" i~

t:. _ . e -
Ir.

oI!'
i.
",2.',

I

.J '
......
I

J,
I .

,

.

. ..'

..
.. ,

-

,>
-r

-.I:

"!

,'"

.u.

~.

..r

-

~

. ---- .

~

~
.- -

..

7

~

.

~ y-
--
~,
..
-
r
--
--
-

.,"'!' ~
t~



,.

..- .
p

~

~

7
.
!. ':

bj .J-.I: ~
5. . . .
1
J r-T"""!

T: ~

-

---. ,

-,-

.,
..-

~- h

Pi ,i=j

. '!' "!' . .."r'
t-
i. t

IJ.A-~J,
J: .

"~
-, . .

~

I

..2""-
' ..

...

I

l~

. ,~
. _._-

.,;., 1fJ&.- .;:.......

......

-

-

. .;...

~ -

~

1 . ._ -

- .........

....

. 7

7

~
.
... ....
"!" ~

,
~.
2' ...~
-r

~

-...

&!

,

":

!

~

,.

,.

7

7

.

''t!"' .--t
-
r-r-T
v "

-.t
~
1 ;--,
I'
>

TCT 12

52
Examples for Objective 06: 063102 rehearsal planning (cont.)
There are no key signatures in this full score because the (A) music is in C major. (B) music is in A minor. (C) instrumental parts are not transposed (C score). (0) instrumental parts are transposed but not the key signatures.
063313 problem identification and solution (aural item: Haydn string quartet. On recorded example, the cello plays incorrect pitches in measures 3 and 4. Example is played 3 times.)
VIo1lllo1 VIolJnoD
Viola
Vlo/oMello ~
/'
In which instrument do pitch errors occur? (A) violin I (B) violin II (C) viola
(0) cello
TCT 12 _.';

53

Examples for Objective 06: 063313 problem Identification and solution (aural item: Mozart Picmo Concerto. On recorded example, the fiute plays staccato in measure 5 and legato in measure 6.)

12

34

56

7

Which is the performance error? This item will be played three times.
(A) The violin enters forte in measure 1. (B) The bassoon rushes in measures 3 and 4.. (C) The flute does not follow the given
articulation in measures 5 and 6. (0) There are no performance errors.
TeT 12

54
Examples for Objective 06:
063313 problem Identification and solution
.P.68
aITJrrJlJJ
This pattern would be conducted in (A) twos. (8) threes. (C) sixes. (D) twelves.
TeT 12-

55

Teacher Certification Tests Field 12: Music

Objective 07:

The music educator demonstrates a knowledge of skills necessary to design and Implement a general music program In an academic, application or Instructional context.

Assessment Characteristics
Items for this objective assess those skills required in teaching any general music course found in the K12 curriculum. Items will assess knowledge of which concepts are appropriate to be taught, when and how concepts can be taught, and sequence of musical development.
Content Component 0710 developmental readiness and music learning
Items test the educator's understanding of educational psychology as it relates to music and the
needs of special learners psychology and interest level of the student physical development of the student
Content Component 0720 scope of music elements
Items assess knowledge of pedagogy of
science of sound melody rhythm and meter harmony texture timbre form expression (tempo, style, dynamics) interrelationship among these elements

TCT 12-

56

Content Component 0730 development of skills
singing listening playing moving creating / composing music reading

Content Component 0740 methods and materials

Indicator 0741 methods Items will require identifying methods and appropriate applications.

Kodaly
Orff Dalcroze Gordon (Edwin)

Suzuki Mary Helen Richards
eclectic MMCP (Manhattan Music Curriculum Project) CM (Comprehensive Musicianship)

Indicator 0742 materials

Items will require evaluating textbooks, audio-visual equipment, software /hardware as well as knowledge of the uses of classroom instruments.

The focus is on criteria used to make curricular decisions rather than knowledge of any specific texts or series.

Indicator 0743 literature

Items will require knowledge of listening literature and song literature.

Content Component 0750 evaluation techniques
observation performance evaluation (in general music setting) teacher-made tests standardized tests

TeT 12-

Examples for Oblectlve 07:
072003 scope of music elements (melody)
Which best incorporates visual and aural modality to teach high and low pitch discrimination?
(A) step bells (B) xylophone (C) recorder (D) guitar

57
072003 scope of music elements
Which is most suitable for teaching the pentatonic; scale?
(A) autoharp (B) drum (C) piano (D) ukulele

072003

072003

scope of music elements (harmony)

scope of music elements

Marlow, a student teacher under Mr. Langston, uses Which would represent the best listening experience to

a three-part song to introduce the concept of

teach all instrument families and the distinctive sound of

harmony to his elementary chorus.

various instruments?

Mr. Langston corrects this choice of music by suggesting that Marlow begin with
(A) rounds. (B) unison songs. (C) four-part songs. (D) partner songs.

(A) Barber's "Adagio for Strings"
(B) saintSains' "Carnival of the Anima/sn
(C) Chavez's "Toccata for Percussion" (D) Dvorak's "New World Symphony"
074001

development of skills

072003
scope of music elements
Which property of sound can be demonstrated through the use of a tuning fork?
(A) amplitude (B) melody (C) resonance (D) vibration

I.l I.ll.ll.l I.ll.l QI] I II s S S F M S O'R' M'M' M'R' 0'
Which music reading method does this notation represent?
(A) Dalcroze (B) Guido (C) Kodaly (D) Orff

reT 12

58
Examples for Objective 07: 072002
scope of music elements

Wf t

... t' Risel __
~(


Risel

_

i-=f t]'1Jf-'

A risel

_

A rise!

~~.

;:::$ ~ f=ij~ ~fi~

A rilel

_

A risel

:=;j

Wake

ye.f rile!

a

Wake

yeo f rilel

~J~

~~
Life is greet lng tbee.
~~
Ev er watch fu1 be.
~~

The first two phrases of this song could reinforce the teaching of
(A) sequence. (B) steps and skips. (C) dynamics. (0) harmony.

TeT 12

59

Examples for Objective 07: 074203 materials
Orff instrumentation would most likely include
(A) alto xylophones. (B) song flutes. (C) song bells. (0) guiros.

075003
evaluation techniques
Which evaluation tool is commonly used in determining a
student's aptitude for beginning band?
(A) standardized test (B) teacher observation (C) marching to a steady beat (0) demonstrating breath control

074313

materials
(aural example: Third movement ofConcerto for Horn No.3 in E -fIat Major by Mozart, about 20-25 seconds)
This music could be used to teach children which type of form?

075003
evaluation techniques
The teacher asks first-grade students to move to tho following rhythms:

(A) rondo (B) binary (C) ternary (0) sonata allegro

Drum ~ ~

I~

I~

>

>

>

Ratt1I e~n n In n In rJ

074003
methods
Which methodology focuses on instrumental improvisation?
(A) Oalcroze (B) Kodaly (C) Ortt (0) Rubank

The evaluation technique would measure a child's understanding of
(A) music for walking and running. (B) music in twos or threes. (C) even or uneven meters. (0) rhythm of a gavotte.

TeT 12

60
T
Federal law prohibits discrimination on the basis ofrace, color or national origin (Title VI ofthe Civil Rights Act of1964); sex (Title IX ofthe Educational Amendments of1972 and Title II ofthe Vocational Education Amendments of 1976); or handicap (Section 504 ofthe Rehabilitation Act of1990) in educational programs or activities receiving federal financial assistance. Employees, students and the general public are hereby notified that the Georgia Department ofEducation does not discriminate in any educational programs or activities or in employment policies. The following individuals have been designated as the employees responsible for coordinating the department's effort to implement this nondiscriminatory policy.
Title II - Billy Tidwell, Vocational Equity Coordinator Title VI - Bill Gambill, Associate State Superintendent ofSchools, Coordinator Title IX -Ishmael Childs, Coordinator Section 504 - Wesley Boyd, Coordinator Inquiries concerning the application of Title II, Title IX or Section 504 to the policies and practices of the department may be addressed to the persons listed above at the Georgia Department of Education, Twin Towers East, Atlanta 30334; to the Regional Office for Civil Rights, Atlanta 30323; or to the Director, OffICe for Civil Rights, Education Department, Washington, D.C. 20201.
T( I 12

Division of Research, Evaluation and Assessment Georgia Department of Education 1866 Twin Towers East Atlanta, Georgia 30334-5030
FIRST CLASS
Division of Research, Evaluation and Assessment Georgia Department of Education Atlanta, Georgia 30334-5030 (404) 656-2556
Werner Rogers State Superintendent of Schools 1992