Final Practical Work Didactics
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ScribdTranslationsFinal Practical Work Didactics
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ScribdTranslationsDidactic sequence "The Musical Intervals"
Contextualization:
We designed this teaching sequence to apply it within the framework of higher education.
university and non-university. It is aimed at students in the leveling cycle, with little
prior knowledge of the topic to be addressed, in an age range that goes from 16 years old,
from now on.
Foundation:
The concept of 'musical interval' is a fundamental pillar for the understanding of reading-
writing of music, as it allows for addressing more complex structures of
knowledge, both in the theoretical aspect and in the analytical and practical. Understanding what is
musical interval, allows us to make a conscious analysis of the historical development of language
musical and also reflects the theoretical, ideological, and aesthetic support of musical practice.
In addition to this theoretical importance, the musical interval is fundamental for understanding, and
create a melody, whether sung or performed. It is an essential tool for making
music without reading and exercising the ear.
We understand the musical interval as the distance between two sounds, whether in a way
melodic or harmonic, which must be combined with the rhythmic aspect, to give rise to the melody
and the implicit harmony in it.
This didactic sequence aims to introduce and familiarize students with the premises.
basic elements of the western music reading-writing system, with the aim of recognizing
audibly the different types of intervals and analyze them in different contexts.
Objectives:
● Audibly recognize the different types of intervals: minor/major 2nd, 3rd.
minor/major, perfect fourth, augmented fourth/diminished fifth, perfect fifth, minor/major sixth
7th minor/major, 8th perfect. Complementary intervals and special cases.
● Analyze intervals in new works belonging to different periods.
Contents:
Musical intervals
Relationship between the different intervals
Analysis of them in different situations
Auditory recognition
Teaching proposals:
Start from auditory experimentation and use didactic dialogue to build the
definition of interval.
Explain the importance of the interval as a structural principle of the musical system.
expose the classification of them and articulate it with the criteria of dissonance and
consonance, and with the harmonic-melodic aspects. For this, use exemplification.
auditory and pentagram board as visual support.
● Listen to intervals and discuss together: What work or everyday sound does it resemble?
each one?
Analyze different examples of intervals, isolated and present in works of various
periods and composers. Recognize in famous works the intervals that make up the
melody, critical intervals, and motifs, not long melodies. (5th of Beethoven, Rice with
milk, etc.)
Singing different intervals 'filling them in', that is, singing the intermediate notes between
those that make it up.
● Mark each interval with a different and characteristic sign while it is sung, at
style of the Kodály method. For the second minor hand rotation, for the second
make a small jump with the arm, etc. In case a signal is unclear, it
will think one with the group.
Perform dictations or auditory recognitions starting from intervals more
simple ones, for example 5th J 8th J and 4th J, and then adding the others, 7th 2nd,
3ras 6tas.
These activities will be carried out in 3 classes of 1 hour each. For them, the following will be needed: a
keyboard, piano or another musical instrument; an audio player and a staff board.
Evaluation:
To evaluate these contents, a group practical work will be carried out, no more than three.
members, where the first intervals of the melody of 10 songs/works are analyzed
election. They will have to be classified and outlined on a staff
