BC MOEST - Fine Arts K-7

Fine Arts K-7: Glossary and Approaches to Instruction

elaboration An image-development strategy used to add detail or decoration to some or all of the components in an artwork.

element See drama elements, elements of movement, expressive elements of music, and visual elements.

elements of movement The elements of body, space, time, dynamics, and relationship. The number of possible combinations and permutations of these elements is virtually endless.

emphasis A principle of art and design concerned with making one or more elements stand out in such a way as to appear more important or significant.

environment The created place and mood for a work, including any or all of the following: sound, levels, material, light, space.

exaggeration An image-development strategy used to magnify, intensify, and make abnormal some or all of the components in an image.

expression An indication of feeling, spirit, or character; bringing out the meaning or beauty of something read, spoken, played, sung, painted, danced, and so on.

expressive elements of music The interrelated elements of rhythm, tempo, melody, harmony, texture, timbre, articulation, and dynamics.

focus Concentration of attention on a specific person, object, or event.

focus point See point of focus.

form

In dance, the way in which the choreography is structured. Choreographic form may be defined as "narrative" or "pattern."
Narrative--follows a story line (introduction, rising action, climax, resolution) and conveys specific meaning through that story.
Pattern--structured around repetition of the elements of movement. Pattern forms may be abstract rather than always following a concept or an idea. Pattern choreographic forms may be based on the form of the music. Examples of pattern forms include:

AB--consists of two distinct, self-contained sections that share either a character or a quality (e.g., same tempo, style). The A part represents a phrase of specified length, the B part a different phrase of specified length. The A and B phrases complement and enhance one another but may deal either with two parts of the same theme or with two different themes.
ABA--an extension of the AB choreographic structure. After the B phrase, the piece returns to an altered version of the A phrase, which can be manipulated by changing the tempo, rhythm, length, or dynamics of the movement or by fragmenting, repeating, or changing the order of the sequence.
Call and response--one soloist or group performs, and the second soloist or group enters in response to the first.
Canon--groups perform the same single theme or sequence but begin at different times so that they overlap.
Rondo--similar to ABA, but can continue indefinitely (ABA CA DA, and so on). The A phrase can be repeated or varied.

In drama, see drama structures.
In music, the way a work is structured. For example:

AB--consists of two distinct, self-contained sections that share either a character or a quality (e.g., same tempo, style). The A part represents a phrase of specified length, the B part a different phrase of specified length. The A and B phrases complement and enhance each other but may deal either with two parts of the same theme or with two different themes.
ABA--an extension of the AB structure. After the B phrase, the piece returns to the A phrase or an altered version of the A phrase.
Call and response--one soloist or group performs, and the second soloist or group enters in response to the first.
Canon--the same melody sung or played by two or more parts, beginning one after another, possibly with harmonic variations. All parts end together.
Rondo--similar to ABA, but can continue indefinitely (ABA CA DA, and so on). The A phrase can be repeated or varied.
Round--usually vocal, the same melody sung by two or more parts, beginning one after another. All parts sing at the same pitch.
Theme and variations--a melody or idea is established and then repeated with various modifications. The theme may be repeated between the variations.
Verse and chorus, verse-chorus-bridge--usually used in vocal music with lyrics, in which the verse represents a constant melody but the lyrics change, and the chorus maintains the same melody and lyrics (as in BACADA). The bridge section represents a third melody and lyric and is usually used only once--between two verses, two choruses, or a verse and a chorus.

In visual arts, the element of art and design that pertains to an actual or implied 3-D shape of an image.

found instruments Everyday objects used as classroom instruments to create music (e.g., PVC piping, pots and pans, kitchen utensils, saws, garbage cans, plastic bags).

found objects Everyday objects recycled or incorporated into an artwork.

found sounds Sounds taken out of context to create a music composition (e.g., found instruments, traditional instruments, voices, natural sounds, synthetic sounds, technology).

fragmentation An image-development strategy used to detach, isolate, or break up some or all of the components in an image.

freeze An instructional strategy--a sudden and immediate stoppage in action and motion that creates a tableau during a dramatic or dance work. A variation of this is slow motion, in which movements are done at a reduced tempo to emphasize shape and form.

gallery walk An instructional strategy for brainstorming and exploring a range of responses to a given image or idea. Also called a carousel, a gallery walk consists of a set of images (e.g., drawings, photos, displays) set up around a room or a space within a room. They are posted with no explanation, but one or two focus questions are provided with each. Students working in small groups travel from picture to picture, discuss what they think is happening (in response to the focus questions), and record their responses on the paper provided. Each group builds on the previous groupsź responses.

general space The space in which the whole group works; the space encompassing all individuals' personal space.

graphics The collective term for 2-D images produced by processes such as printmaking, photography, and computer graphic applications.

guided response sheet An instructional strategy used to record and focus responses to listening or viewing experiences. Usually in the form of previously prepared handouts, guided response sheets can be used for in-class, home, or community experiences with the arts. Questions on a response sheet are aimed at having students identify given characteristics of a presentation (e.g., medium and materials, emotional responses, use of form and design, use of stagecraft). For younger or ESL students, response sheets can take the form of circles, or "blank faces," which students fill in according to emotional responses to the dance, drama, music, or visual arts experience.

harmony

In music, the simultaneous occurrence of pitches in a way that is musically significant.
In visual arts, a principle of art and design concerned with using one or more of the elements to create an effect of balance, symmetry, and a composed appearance in an image, without strong contrasts.

Hoop-La In a large room, divide the class into groups of four and give each group two large hoops (A and B). Each group creates a reason and a context and chooses roles for moving from one end of the room to the other. The hoops represent their modes of escape (e.g., boat or raft, stepping stones, bridge). Groups in role start at one end of the gym and move to the other end, as quickly as possible. Groups stand in hoop A and place hoop B as far toward the destination as possible. Students enter hoop B in role, then place hoop A toward the destination, alternating hoops and maintaining the dramatic context.

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Revised: July 8, 1998

BC Ministry of Education Home Page

elaboration	An image-development strategy used to add detail or decoration to some or all of the components in an artwork.
element	See drama elements, elements of movement, expressive elements of music, and visual elements.
elements of movement	The elements of body, space, time, dynamics, and relationship. The number of possible combinations and permutations of these elements is virtually endless.
emphasis	A principle of art and design concerned with making one or more elements stand out in such a way as to appear more important or significant.
environment	The created place and mood for a work, including any or all of the following: sound, levels, material, light, space.
exaggeration	An image-development strategy used to magnify, intensify, and make abnormal some or all of the components in an image.
expression	An indication of feeling, spirit, or character; bringing out the meaning or beauty of something read, spoken, played, sung, painted, danced, and so on.
expressive elements of music	The interrelated elements of rhythm, tempo, melody, harmony, texture, timbre, articulation, and dynamics.
focus	Concentration of attention on a specific person, object, or event.
focus point	See point of focus.
form	In dance, the way in which the choreography is structured. Choreographic form may be defined as "narrative" or "pattern." Narrative--follows a story line (introduction, rising action, climax, resolution) and conveys specific meaning through that story. Pattern--structured around repetition of the elements of movement. Pattern forms may be abstract rather than always following a concept or an idea. Pattern choreographic forms may be based on the form of the music. Examples of pattern forms include: AB--consists of two distinct, self-contained sections that share either a character or a quality (e.g., same tempo, style). The A part represents a phrase of specified length, the B part a different phrase of specified length. The A and B phrases complement and enhance one another but may deal either with two parts of the same theme or with two different themes. ABA--an extension of the AB choreographic structure. After the B phrase, the piece returns to an altered version of the A phrase, which can be manipulated by changing the tempo, rhythm, length, or dynamics of the movement or by fragmenting, repeating, or changing the order of the sequence. Call and response--one soloist or group performs, and the second soloist or group enters in response to the first. Canon--groups perform the same single theme or sequence but begin at different times so that they overlap. Rondo--similar to ABA, but can continue indefinitely (ABA CA DA, and so on). The A phrase can be repeated or varied. In drama, see drama structures. In music, the way a work is structured. For example: AB--consists of two distinct, self-contained sections that share either a character or a quality (e.g., same tempo, style). The A part represents a phrase of specified length, the B part a different phrase of specified length. The A and B phrases complement and enhance each other but may deal either with two parts of the same theme or with two different themes. ABA--an extension of the AB structure. After the B phrase, the piece returns to the A phrase or an altered version of the A phrase. Call and response--one soloist or group performs, and the second soloist or group enters in response to the first. Canon--the same melody sung or played by two or more parts, beginning one after another, possibly with harmonic variations. All parts end together. Rondo--similar to ABA, but can continue indefinitely (ABA CA DA, and so on). The A phrase can be repeated or varied. Round--usually vocal, the same melody sung by two or more parts, beginning one after another. All parts sing at the same pitch. Theme and variations--a melody or idea is established and then repeated with various modifications. The theme may be repeated between the variations. Verse and chorus, verse-chorus-bridge--usually used in vocal music with lyrics, in which the verse represents a constant melody but the lyrics change, and the chorus maintains the same melody and lyrics (as in BACADA). The bridge section represents a third melody and lyric and is usually used only once--between two verses, two choruses, or a verse and a chorus. In visual arts, the element of art and design that pertains to an actual or implied 3-D shape of an image.
found instruments	Everyday objects used as classroom instruments to create music (e.g., PVC piping, pots and pans, kitchen utensils, saws, garbage cans, plastic bags).
found objects	Everyday objects recycled or incorporated into an artwork.
found sounds	Sounds taken out of context to create a music composition (e.g., found instruments, traditional instruments, voices, natural sounds, synthetic sounds, technology).
fragmentation	An image-development strategy used to detach, isolate, or break up some or all of the components in an image.
freeze	An instructional strategy--a sudden and immediate stoppage in action and motion that creates a tableau during a dramatic or dance work. A variation of this is slow motion, in which movements are done at a reduced tempo to emphasize shape and form.
gallery walk	An instructional strategy for brainstorming and exploring a range of responses to a given image or idea. Also called a carousel, a gallery walk consists of a set of images (e.g., drawings, photos, displays) set up around a room or a space within a room. They are posted with no explanation, but one or two focus questions are provided with each. Students working in small groups travel from picture to picture, discuss what they think is happening (in response to the focus questions), and record their responses on the paper provided. Each group builds on the previous groupsź responses.
general space	The space in which the whole group works; the space encompassing all individuals' personal space.
graphics	The collective term for 2-D images produced by processes such as printmaking, photography, and computer graphic applications.
guided response sheet	An instructional strategy used to record and focus responses to listening or viewing experiences. Usually in the form of previously prepared handouts, guided response sheets can be used for in-class, home, or community experiences with the arts. Questions on a response sheet are aimed at having students identify given characteristics of a presentation (e.g., medium and materials, emotional responses, use of form and design, use of stagecraft). For younger or ESL students, response sheets can take the form of circles, or "blank faces," which students fill in according to emotional responses to the dance, drama, music, or visual arts experience.
harmony	In music, the simultaneous occurrence of pitches in a way that is musically significant. In visual arts, a principle of art and design concerned with using one or more of the elements to create an effect of balance, symmetry, and a composed appearance in an image, without strong contrasts.
Hoop-La	In a large room, divide the class into groups of four and give each group two large hoops (A and B). Each group creates a reason and a context and chooses roles for moving from one end of the room to the other. The hoops represent their modes of escape (e.g., boat or raft, stepping stones, bridge). Groups in role start at one end of the gym and move to the other end, as quickly as possible. Groups stand in hoop A and place hoop B as far toward the destination as possible. Students enter hoop B in role, then place hoop A toward the destination, alternating hoops and maintaining the dramatic context.