{"id":11680,"date":"2021-02-13T11:44:13","date_gmt":"2021-02-13T11:44:13","guid":{"rendered":"http:\/\/Enoteprime.com\/?p=11680"},"modified":"2021-02-13T11:44:50","modified_gmt":"2021-02-13T11:44:50","slug":"cca-Enote-jss-1-third-term","status":"publish","type":"post","link":"https:\/\/enoteprime.com\/cca-Enote-jss-1-third-term\/","title":{"rendered":"CCA Enote JSS 1 Third Term"},"content":{"rendered":"\n

E-Note<\/strong> on Cultural and Creative Arts (CCA) JSS 1 Third Term<\/h2>\n\n\n\n

SCHEME OF WORK<\/strong> CULTURAL AND CREATIVE ARTS<\/strong> J SS1<\/strong><\/p>\n\n\n\n

WEEK 1<\/strong>.                    COSTUME IN DRAMA.<\/strong><\/p>\n\n\n\n

       \u2018\u2019   2.                   MOSAIC<\/strong><\/p>\n\n\n\n

      \u2018\u2019    3.                   THEORY OF MUSIC<\/strong><\/p>\n\n\n\n

     \u2018\u2019     4.                    INTRODUCTION TO CHOREOGRAPHY<\/strong><\/p>\n\n\n\n

     \u2018\u2019     5.                   MAKE UPS IN DRAMA<\/strong><\/p>\n\n\n\n

     \u2018\u2019 6-7.                    CONSEQUENCES OF USING FAKE AND ADULTRATED GOODS<\/strong><\/p>\n\n\n\n

   \u2018\u2019     8.                      BEAD WORKS<\/strong><\/p>\n\n\n\n

   \u2018\u2019     9.                      AFRICAN MUSICAL INSTRUMENTS.<\/strong><\/p>\n\n\n\n

   \u2018\u2019    10.                    TIE \u2013 DYE.<\/strong><\/p>\n\n\n\n

   \u2018\u2019    11.                    PLAYING OF MUSICAL INSTRUMENTS<\/strong>.<\/p>\n\n\n\n

\u00a0\u00a0 \u2018\u2019\u00a0\u00a0\u00a0 12.<\/strong>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 REVISION AND EXAMINATION<\/strong>.\u00a0\u00a0<\/p>\n\n\n\n

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Enoteprime.com enote<\/a><\/h4>\n\n\n\n

CLASS;J S S 1\u00a0\u00a0\u00a0\u00a0 <\/strong><\/p>\n\n\n\n

WEEK\u00a0\u00a0 1<\/strong>\u00a0\u00a0\u00a0 <\/p>\n\n\n\n

TOPIC; COSTUME IN DRAMA.<\/strong><\/p>\n\n\n\n

Costume<\/strong><\/p>\n\n\n\n

\"https:\/\/upload.wikimedia.org\/wikipedia\/commons\/thumb\/6\/6c\/A.D._800%2C_Franks_-_027_-_Costumes_of_All_Nations_%281882%29.JPG\/220px-A.D._800%2C_Franks_-_027_-_Costumes_of_All_Nations_%281882%29.JPG\"\/<\/figure>\n\n\n\n

<\/a><\/p>\n\n\n\n

 Examples of a range of costumes suitable for specific individuals at a particular epoch.<\/p>\n\n\n\n

Costume<\/strong> is the distinctive style of dress of an individual or group that reflects their class, gender, profession, ethnicity, nationality, activity or epoch.<\/p>\n\n\n\n

The term also was traditionally used to describe typical appropriate clothing<\/a> for certain activities, such as riding costume<\/a>, swimming costume<\/a>, dance costume<\/a>, and evening costume<\/a>. Appropriate and acceptable costume is subject to changes in fashion<\/a> and local cultural norms.<\/p>\n\n\n\n

This general usage has gradually been replaced by the terms “dress”, “attire” or “wear” and usage of “costume” has become more limited to unusual or out-of-date clothing and to attire intended to evoke a change in identity, such as theatrical, Halloween, and mascot costumes.<\/p>\n\n\n\n

Before the advent of ready-to-wear apparel, clothing was made by hand. When made for commercial sale it was made, as late as the beginning of the 20th century, by “costumiers”, often women who ran businesses that met the demand for complicated or intimate female costume, including millinery<\/a> and corsetry<\/a>.<\/p>\n\n\n\n

Theatrical costume<\/strong><\/h3>\n\n\n\n
\"https:\/\/upload.wikimedia.org\/wikipedia\/commons\/thumb\/5\/54\/Samurai_actors.jpg\/220px-Samurai_actors.jpg\"\/<\/figure>\n\n\n\n
\"https:\/\/upload.wikimedia.org\/wikipedia\/commons\/thumb\/c\/c6\/Yakshagana_vesha.jpg\/220px-Yakshagana_vesha.jpg\"\/<\/figure>\n\n\n\n
\"https:\/\/upload.wikimedia.org\/wikipedia\/commons\/thumb\/8\/83\/Purpledoublet.jpg\/220px-Purpledoublet.jpg\"\/<\/figure>\n\n\n\n

<\/a>  <\/a>  <\/a><\/p>\n\n\n\n

Costumed performers from the 2006 Bristol Renaissance Faire<\/a><\/p>\n\n\n\n

“Costume” often refers to a particular style of clothing worn to portray the wearer as a character or type of character at a social event in a theatrical<\/a> performance<\/a> on the stage<\/a> or in film or television. In combination with other aspects of stagecraft, theatrical costumes can help actors portray characters’ and their contexts as well as communicate information about the historical period\/era, geographic location and time of day, season or weather of the theatrical performance. Some stylized theatrical costumes, such as Harlequin<\/a> and Pantaloons<\/a> in the Commedia dell’arte<\/a>, exaggerate an aspect of a character.<\/p>\n\n\n\n

National costume<\/strong><\/h3>\n\n\n\n
\"https:\/\/upload.wikimedia.org\/wikipedia\/commons\/thumb\/d\/da\/King_Jigme_Khesar_Namgyel_Wangchuck_%28edit%29.jpg\/200px-King_Jigme_Khesar_Namgyel_Wangchuck_%28edit%29.jpg\"\/<\/figure>\n\n\n\n
\"https:\/\/upload.wikimedia.org\/wikipedia\/commons\/thumb\/e\/ea\/Bhutanese_women_at_festival_wearing_Kira_and_Tego.jpg\/222px-Bhutanese_women_at_festival_wearing_Kira_and_Tego.jpg\"\/<\/figure>\n\n\n\n

<\/a>    <\/a><\/p>\n\n\n\n

King of Bhutan in traditional dress and Bhutanese Women in traditional dress<\/p>\n\n\n\n

National costume<\/a> or regional costume expresses local (or exiled<\/a>) identity<\/a> and emphasizes a culture’s unique attributes. They are often a source of national pride. Examples include the Scottish<\/a> kilt<\/a> or Japanese<\/a> kimono<\/a>.<\/p>\n\n\n\n

In\u00a0Bhutan<\/a>\u00a0there is a traditional national dress prescribed for men and women, including the monarchy. These have been in vogue for thousands of years and have developed into a distinctive dress style. The dress worn by men is known as\u00a0Gho<\/a>\u00a0which is a robe worn up to knee-length and is fastened at the waist by a band called the\u00a0Kera<\/a>. The front part of the dress which is formed like a pouch, in olden days was used to hold baskets of food and short dagger, but now it is used to keep cell phone, purse and the betel nut<\/a>\u00a0called\u00a0Doma<\/em>. The dress worn by women consist of three pieces known as\u00a0Kira<\/a>,\u00a0Tego<\/a>\u00a0and\u00a0Wonju<\/a>. The long dress which extends up to the ankle is Kira. The jacket worn above this is Tego which is provided with Wonju, the inner jacket. However, while visiting the\u00a0Dzong<\/a>\u00a0or monastery a long scarf or stoll, called\u00a0Kabney<\/a>\u00a0is worn by men across the shoulder, in colours appropriate to their ranks. Women also wear scarfs or stolls called\u00a0Rachus<\/a>, made of raw silk with embroidery, over their shoulder but not indicative of their rank.<\/p>\n\n\n\n

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Enoteprime.com enote<\/a><\/h4>\n\n\n\n

CLASS;JSS1 <\/strong><\/p>\n\n\n\n

WEEK 2<\/strong>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 TOPIC; <\/strong><\/p>\n\n\n\n

\u00a0MOSAIC.<\/strong><\/p>\n\n\n\n

Mosaic<\/strong><\/h2>\n\n\n\n

Mosaic<\/strong> is the art<\/a> of creating images with an assemblage of small pieces of colored glass<\/a>, stone, or other materials. It is a technique of decorative art<\/a> or interior decoration<\/a>. Most mosaics are made of small, flat, roughly square<\/a>, pieces of stone or glass of different colors, known as tesserae<\/em><\/a>; but some, especially floor mosaics, may also be made of small rounded pieces of stone, and called “pebble mosaics”<\/p>\n\n\n\n

Mosaic has a long history, starting in Mesopotamia<\/a> in the 3rd millennium BC. Pebble mosaics were made in Tiryns<\/a> in Mycenaean<\/a> Greece; mosaics with patterns and pictures became widespread in classical times, both in Ancient Greece<\/a> and Ancient Rome<\/a>. Early Christian basilicas<\/a> from the 4th century onwards were decorated with wall and ceiling mosaics. Mosaic art flourished in the Byzantine Empire<\/a> from the 6th to the 15th centuries; that tradition was adopted by the Norman<\/a> kingdom in Sicily<\/a> in the 12th century, by eastern-influenced Venice<\/a>, and among the Rus<\/a> in Ukraine. Mosaic fell out of fashion in the Renaissance, though artists like Raphael<\/a> continued to practice the old technique. Roman and Byzantine influence led Jews to decorate 5th and 6th century synagogues in the Middle East with floor mosaics.<\/p>\n\n\n\n

Mosaic was widely used on religious buildings and palaces in early Islamic art<\/a>, including Islam’s first great religious building, the Dome of the Rock in Jerusalem<\/a>, and the Umayyad Mosque<\/a> in Damascus<\/a>. Mosaic went out of fashion in the Islamic world after the 8th century.<\/p>\n\n\n\n

Greek and Roman<\/strong>.<\/strong><\/strong><\/h3>\n\n\n\n

Bronze age<\/a> pebble mosaics have been found at Tiryns<\/a>; mosaics of the 4th century BC are found in the Macedonian<\/a> palace-city of Aegean<\/a>, and the 4th-century BC mosaic of The Beauty of Durres<\/a> discovered in Durres<\/a>, Albania<\/a> in 1916, is an early figural example; the Greek figural style was mostly formed in the 3rd century BC. Mythological subjects, or scenes of hunting or other pursuits of the wealthy, were popular as the Centre pieces of a larger geometric design, with strongly emphasized borders. Pliny the Elder<\/a> mentions the artist Souses of Pergamum<\/a> by name, describing his mosaics of the food left on a floor after a feast and of a group of doves drinking from a bowl. Both of these themes were widely copied.<\/p>\n\n\n\n

Greek figural mosaics could have been copied or adapted paintings, a far more prestigious art form, and the style was enthusiastically adopted by the Romans so that large floor mosaics enriched the floors of Hellenistic<\/a> villas<\/a> and Roman dwellings from Britain to Dura-Europe<\/a>. Most recorded names of Roman mosaic workers are Greek, suggesting they dominated high quality work across the empire; no doubt most ordinary craftsmen were slaves. Splendid mosaic floors are found in Roman villas across North Africa<\/a>, in places such as Carthage<\/a>, and can still be seen in the extensive collection in Bardo Museum<\/a> in Tunis<\/a>, Tunisia<\/a>.<\/p>\n\n\n\n

There were two main techniques in Greco-Roman mosaic: opus vermiculatum<\/em><\/a> used tiny tesserae<\/em><\/a>, typically cubes of 4 millimeters or less, and was produced in workshops in relatively small panels which were transported to the site glued to some temporary support. The tiny tesserae<\/em> allowed very fine detail, and an approach to the illusionism of painting. Often small panels called emblematic<\/em> were inserted into walls or as the highlights of larger floor-mosaics in coarser work. The normal technique was opus tessellatum<\/em><\/a>, using larger tesserae, which was laid on site.[6]<\/sup><\/a> There was a distinct native Italian style using black on a white background, which was no doubt cheaper than fully coloured work.<\/p>\n\n\n\n

Christian mosaic<\/h2>\n\n\n\n

Early Christian art<\/strong><\/strong><\/h4>\n\n\n\n

With the building of Christian\u00a0basilicas<\/a>\u00a0in the late 4th century, wall and ceiling mosaics were adopted for Christian uses. The earliest examples of Christian basilicas have not survived, but the mosaics of\u00a0Santa Constanza<\/a>\u00a0and\u00a0Santa Pudenziana<\/a>, both from the 4th century, still exist. The winemaking putti in the\u00a0ambulatory<\/a>\u00a0of Santa Constanza still follow the classical tradition in that they represent the feast of\u00a0Bacchus<\/a>, which symbolizes transformation or change, and are thus appropriate for a mausoleum, the original function of this building. In another great Constantine basilica, the\u00a0Church of the Nativity<\/a>\u00a0in Bethlehem\u00a0the original mosaic floor with typical Roman geometric motifs is partially preserved. The so-called\u00a0Tomb of the Julii<\/a>, near the crypt beneath\u00a0St Peter’s Basilica<\/a>, is a 4th-century vaulted tomb with wall and ceiling mosaics that are given Christian interpretations. The\u00a0Rotunda of Galerius<\/a>\u00a0in\u00a0Thessaloniki<\/a>, converted into a Christian church during the course of the 4th century, was embellished with very high artistic quality mosaics. Only fragments survive of the original decoration, especially a band depicting saints with hands raised in prayer, in front of complex architectural fantasies.<\/p>\n\n\n\n

Enoteprime.com enote<\/a><\/h4>\n\n\n\n

CLASS;JSS1<\/strong><\/p>\n\n\n\n

WEEK 3<\/strong><\/p>\n\n\n\n

\u00a0\u00a0 TOPIC; THEORY OF MUSIC<\/strong><\/h2>\n\n\n\n

Sight Singing: A Beginner\u2019s Guide<\/p>\n\n\n\n

Meghan Nixon<\/a>5 Comments<\/a><\/p>\n\n\n\n

March 11, 2016<\/p>\n\n\n\n

\"sight<\/figure>\n\n\n\n

 0<\/strong><\/p>\n\n\n\n

Have you always wanted to learn to sight sing\/read music? If you learn how to sight sing, you\u2019ll be able to pick up a piece of music you\u2019ve never seen or heard before and sing it on the spot.<\/p>\n\n\n\n

I\u2019ve put together a beginner\u2019s tutorial on sight singing to get you started. All of these concepts have much deeper levels that we will explore in future posts. For now, I\u2019m going to teach you the basics of what you need to know to start sight singing some simple melodies TODAY!<\/p>\n\n\n\n

Sight Singing Step #1<\/strong><\/p>\n\n\n\n

The first step to becoming a good sight singer is to know your way around the major scale. You should be able to sing it a capella and in tune on solfege syllables. If you need some help with this, check out this video & article \u2013  How To Sing And Play The Major Scale<\/a><\/p>\n\n\n\n

\"solfege<\/figure>\n\n\n\n

Sight Singing Step #2<\/strong><\/p>\n\n\n\n

The second step is learning the names of the notes on the staff<\/a> (treble clef most importantly). Most vocal music (other than baritone and bass parts in choral music) is written in treble clef.<\/p>\n\n\n\n

\"sight<\/figure>\n\n\n\n

Lines- E<\/strong>very G<\/strong>ood B<\/strong>oy D<\/strong>eserves F<\/strong>udge<\/p>\n\n\n\n

Spaces- FACE<\/strong><\/p>\n\n\n\n

Sight Singing Step #3<\/strong><\/p>\n\n\n\n

The third step is learning basic rhythmic values. When you read music, the notes on the page represent pitch as well as rhythm.<\/p>\n\n\n\n

\"sight<\/figure>\n\n\n\n

Audio Player<\/p>\n\n\n\n

Rests are periods of silence in music. <\/strong>They work the same way that notes do, except they represent silence instead of sound. For example, a quarter note is a pitch that lasts for 1 beat. A quarter rest is silence that lasts for 1 beat.<\/p>\n\n\n\n

\"music<\/figure>\n\n\n\n

Sight Singing Step #4<\/strong><\/p>\n\n\n\n

Time signatures and Key signatures. For now, we are going to keep it simple and focus only on  4\/4 time and the key of C Major.<\/strong><\/p>\n\n\n\n

(I will be posting full tutorials on time signatures and key signature in the near future.)<\/p>\n\n\n\n

What is a time signature?<\/em><\/strong><\/p>\n\n\n\n

\"time<\/figure>\n\n\n\n

You can find the time signature at the beginning of a piece of music. It looks like a fraction- two number stacked on top of each other. The top number in the time signature tell you how many beats are in each measure of music. A song with a time signature of 4\/4 has four quarter note beats per measure.<\/p>\n\n\n\n

 Example-<\/p>\n\n\n\n

\"sight<\/figure>\n\n\n\n

What is a key signature? <\/em><\/strong><\/p>\n\n\n\n

\"sight<\/figure>\n\n\n\n

A key signature is a set of sharp or flat symbols placed together on the music staff. You can find the key signature at the beginning of a piece of music- right between the clef sign and the time signature. The key signature tells you what key the piece of music is in and what notes are sharp or flat in that particular key.<\/p>\n\n\n\n

Examples of other key signatures-<\/p>\n\n\n\n

\"key<\/figure>\n\n\n\n
\"sight<\/figure>\n\n\n\n

Key signatures might seem complicated, but really it\u2019s just memorization. The goal is to be able to look at a key signature and think \u201cAh yes- I see three flats in that key signature. This song is in the key of Eb Major.\u201d Here is a link to a great tutorial on key signatures.<\/a><\/p>\n\n\n\n

Sight Singing Step #5<\/strong><\/p>\n\n\n\n

Practice! Here are some sight singing exercises to get you started.<\/p>\n\n\n\n

Your first note is C-<\/p>\n\n\n\n

Audio Player.<\/p>\n\n\n\n

Basic Music Theory<\/h2>\n\n\n\n

Ever wondered why music theory didn’t make sense?<\/strong> The key to learning basic music theory is to learn and use the same systems that all musicians use.<\/p>\n\n\n\n

Music is a language. It has parts that make up the whole, and those parts are made of even smaller parts. This sentence is made of words, and these words are made of letters. To learn how to make the sentence as a whole, you have to learn the letters of the alphabet, and learn how to put them into words. Then you have to learn certain words, and learn how to put them into sentences.<\/p>\n\n\n\n

Music works the same way. You learn the alphabet then put those pieces together to make musical phrases, then put those together to make a song.<\/p>\n\n\n\n

Alphabet<\/strong><\/a> 
The music alphabet is like the English alphabet. It is a system of letters that are assigned to represent sounds in music that we call notes. This is the simplest part to learn, and everything else will be based on this, so start here!<\/p>\n\n\n\n


Scales<\/strong><\/a> 
Scales are just a linear arrangement of notes. If notes are actual pitches, then scales are those pitches in a certain order. (ex. A B C D E F G) because scales or pieces of scales are used in just about every song ever written, they are a huge piece of basic music theory.<\/p>\n\n\n\n


Intervals<\/strong><\/a> 
An Interval is the distance from one note to another. Whether it’s B to C (a Second) or G# to Eb (a Sixth), every interval has its own name. This stuff is really useful in figuring out harmonies. 

Chords<\/strong> <\/a>
Chords are certain members of a scale combined into one sound. (For instance “C + E + G = CMaj” or “D + F + A = DMin”.) Chords give structure, organization, and shape to a song. They make the song “sound” a certain way. Even if you are strictly a lead player, you NEED to know this. Even as a violinist, I use chords all the time to talk about the songs. I’ll play that fill after the G7 chord.<\/em><\/p>\n\n\n\n


Key Signatures<\/strong><\/a>\u00a0
Key signatures tell us the tonality or “key” of a song. It also tells us which notes the song will be using. The more you work with these, the more familiar you get with the range and scale of particular keys. Unless you want all of your songs to sound the same, PLEASE study these.<\/p>\n\n\n\n

Enoteprime.com enote<\/a><\/h4>\n\n\n\n

CLASS; J S S 1\u00a0\u00a0<\/strong><\/p>\n\n\n\n

WEEK 4<\/strong><\/p>\n\n\n\n

TOPIC;<\/strong> <\/strong>INTRODUCTION TO CHOREOGRAPHY<\/strong><\/h2>\n\n\n\n

Choreography<\/strong><\/h3>\n\n\n\n
\"Choreographed<\/figure>\n\n\n\n

<\/a><\/p>\n\n\n\n

Choreography<\/strong> is the art<\/a> or practice of designing sequences<\/a> of movements of physical bodies (or their depictions) in which motion<\/a>, form<\/a>, or both are specified. Choreography<\/em> may also refer to the design<\/a> itself.<\/p>\n\n\n\n

A choreographer<\/strong> is one who creates choreographies by practicing the art of choreography, a process known as choreographing<\/em>. Choreography is used in a variety of fields, including cheerleading<\/a>, cinematography<\/a>, gymnastics<\/a>, fashion shows<\/a>, ice skating<\/a>, marching band<\/a>, show choir<\/a>, theatre<\/a>, synchronized swimming<\/a>, cardistry<\/a>, video game production and animated art. In the performing arts<\/a>, choreography applies to human movement and form. In dance<\/a>, choreography is also known as dance choreography<\/a> or dance composition<\/em>.<\/p>\n\n\n\n

The word choreography<\/em> literally means “dance-writing” from the Greek words (circular dance, see chorea<\/a>) and (writing). It first appeared in the American English dictionary in the 1950s, and “choreographer” was first used as a credit for George Balanchine<\/a> in the Broadway show On Your Toes<\/em><\/a> in 1936. Prior to this, stage credits and movie credits used phrases such as “ensembles staged by”, “dances staged by”, or simply “dances by” to denote the choreographer.<\/p>\n\n\n\n

Choreography (dance)<\/strong><\/h3>\n\n\n\n

In dance, choreography<\/strong> is the act of designing dance<\/a>. Choreography<\/em> may also refer to the design<\/a> itself, which is sometimes expressed by means of dance notation<\/a>. A choreographer<\/em> is one who designs dances. Dance choreography<\/a> is sometimes called dance composition<\/em>.<\/p>\n\n\n\n

Aspects of dance choreography include the compositional use of organic unity<\/a>, rhythmic or non-rhythmic articulation, theme and variation, and repetition. The choreographic process may employ improvisation<\/a> for the purpose of developing innovative movement ideas. In general, choreography is used to design dances that are intended to be performed as concert dance<\/a>.<\/p>\n\n\n\n

The art of choreography involves the specification of human movement and form in terms of space, shape, time and energy, typically within an emotional<\/a> or non-literal context. Movement language is taken from the dance techniques of ballet<\/a>, contemporary dance<\/a>, jazz dance<\/a>, hip hop dance<\/a>, folk dance<\/a>, techno<\/a>, k pop<\/a>, religious dance, pedestrian movement, or combinations of these.<\/p>\n\n\n\n

Techniques<\/strong><\/p>\n\n\n\n

Dances are designed by applying one or both of these fundamental choreographic methods:<\/p>\n\n\n\n

Principles of Choreograph a Dance<\/a><\/h3>\n\n\n\n

Choreographing a dance requires creativity, patience, and hard work! Before you piece together the perfect routine, let the music and genre inspire you. Be confident in your steps and the skills of your performers. Most importantly, have fun! Rehearse and perform your piece with confidence.<\/p>\n\n\n\n

1<\/strong><\/strong><\/p>\n\n\n\n

Spend some time thinking about your routine.<\/strong> Is there a specific message you wish to get across or a mood you hope to convey. Keep track of your thoughts and ideas in a journal, on your computer, or in a notes app on your phone. As you begin choreographing, refer to these early brainstorming sessions for inspiration and direction.<\/p>\n\n\n\n