CSET Multiple Subjects

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CSET Multiple Subjects
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  1. ABDUCTION
    Moving part of the body away from the axis or middle of the body
  2. ADDUCTION
    Moving part of the body toward the axis or middle of the body
  3. ASTHMA
    A controllable, chronic disorder characterized by sudden attacks of coughing and difficulting breathing
  4. BIOMECHANICAL PRINCIPLES
    The forces governing the interaction of the body with the natural universe. Force projection and force absorption
  5. BODY COMPOSITION
    The ratio of fat tissue to muscle and other lean tissues in the body
  6. CARDIO-RESPIRATORY ENDURANCE
    The ability of the circulatory and respiratory systems to continue supplying oxygen to the body during prolonged exercise
  7. DIABETES
    A controllable, chronic disorder, requiring insulin treatment and dietary monitoring to maintain stable blood sugar levels
  8. FINE MOTOR SKILLS
    Movements using small muscle groups
  9. FLEXIBILITY
    The ability of a joint to move in a range of motion
  10. FREQUENCY
    In relation to exercise, how often exercise is performed (daily, weekly)
  11. LYRE
    An ancient harp
  12. MOTIF
    A recurring group of notes
  13. MOVEMENT
    A large section of a lengthy composition
  14. OPERA
    A drama, either tragic or comic, this is sung to an orchestral accompaniment. It is often based on biblical stories.  it is typically a large scale composition with vocal soloists, a chorus, and orchestra
  15. OPUS
    A work, usually identified by a number
  16. ORATORIO
    A major orchestral piece with solo voices and chorus
  17. RONDO
    A musical form whose main feature is the return of the main theme, which alternates with secondary themes (Simple: ABABA, 2nd ABACA, 3rd ABACABA)
  18. SONATA
    Typically, multimovement instrumental work for solo keyboard, or keyboard and another small chamber ensemble
  19. SONG FORM
    A structure of a song in which the first section of a simple ternary form is repeated. For example, AABA
  20. SATYR PLAY
    • ancient Greek form of tragicomedy. 
    • They always featured a chorus of satyrs and were based in Greek mythology and contained themes of, among other things, drinking, overt sexuality (often including large phallic props,) pranks, and general merriment
  21. STAGE LEFT
    the part of the stage on the actor's left as the actor faces the audience
  22. STAGE RIGHT
    the part of the stage on the actor's right as the actor faces the audience
  23. STEREOTYPED CHARACTER
    a character who thinks or acts according to a certain pattern based on presuppositions about race, social group, or gender
  24. STOCK COMPANY
    In the 18th and 19th and early 20th centuries, a form of resident company in which actors were hired according to lines of work and a large number of plays were prepared very quickly, "summer stock" used now is similar.
  25. STORYBOARD
    Representation of what each screen of a multimedia project will look like and how the screens are linked; often hand-drawn sketches
  26. TEMPO
    The speed with which incidents that make up the action take place
  27. THRUST STAGING
    At least some parts of the state extends into, or is surrounded by the audience
  28. UPSTAGE
    at or toward the rear of the stage
  29. VOMITORIA
    • In Roman times, these were tunnels that allowed the audience to enter and exit large theatres easily. 
    • In contemporary theatres, the tunnels allow the actors to reach the downstage portions of a thrust stage by passing through the audience
  30. CONVENTIONAL LEVEL
    A level of moral development during which a child focuses on what one is supposed to do and begins to understand social order
  31. FORMAL OPERATIONAL STAGE
    A stage of cognitive development during which a child enters into the world of abstract thought
  32. LEARNING DISABILITIES
    Treatable conditions suffered by many students
  33. META-COGNITION
    Thinking about thinking
  34. MULTIPLE INTELLIGENCES
    One of the eight distinct types of intelligence developed by Howard Gardner
  35. OBJECT PERMANENCE
    The concept that a seen object still exists after being hidden from sight
  36. PRE-CONVENTIONAL LEVEL
    A level of moral development during which a child avoids wrongdoing only to evade punishment
  37. PRE-OPERATIONAL STAGE
    A stage of cognitive development during which a child is trapped in an egocentric perspective, but is still mastering language skills
  38. SELF-CONCEPT
    How a child thinks about himself
  39. SELF-ESTEEM
    A child's feelings about himself
  40. GROSS MOTOR SKILLS
    Movements using large muscle groups
  41. INTENSITY
    In relation to exercise, how difficult an exercise session is
  42. LOCOMOTOR MOVEMENT
    Movement that results in location change
  43. MUSCULAR ENDURANCE
    The ability of a muscle to perform repetitions of a task
  44. MUSCULAR STRENGTH
    The ability of a muscle to exert force on an object
  45. NONLOCOMOTER MOVEMENT
    Movement that does not result in a locating change
  46. OPPOSITION
    When throwing a ball, the foot opposite the throwing hand steps forward
  47. OVERLOAD
    In relation to fitness, the concept that the only way to progress is to increase level of difficulty
  48. PROGRESSION
    In relation to fitness, the concept that the level of difficulty should be gradually increased, beginning at a difficulty level corresponding to the initial fitness level
  49. SPECIFICITY
    In relation to fitness, the concept that specific types of exercise are appropriate to increase specific types of fitness
  50. HYPOGLYCEMIA
    Using up blood glucose can cause this problem for diabetics
  51. SKILL RELATED FITNESS
    Balance, power, agility, reaction time, speed, coordination
  52. MOTOR UNIT
    Basic functional structure of the neuromuscular system
  53. ANAEROBIC
    Utilization of phosphagen and lactic acid by the athletes body, allowing them to perform brief, near maximum muscular activity
  54. NONLOCOMOTOR
    Stretching is an example of
  55. THREE
    The motion of a kick can be divided into how many phases
  56. AEROBICALLY
    This is how energy is derived when oxygen is utilized to metabolize substraits obtained from food, and delivering energy to working muscles
  57. FLEXIBILITY TRAINING
    Helps balance muscle groups that might be overused during exercise or physical activity or as a result of bad posture
  58. HOW A CHILD GETS ALONG WITH OTHER CHILDREN
    Single best predictor of a child and adult adaption
  59. LOW SOCIO-ECONOMIC STATUS
    Chronic delinquency is most often linked to
  60. PASTORAL PLAY
    based in a pasture; based on love, centered around shepherds, nymphs, and refined satyrs
  61. PIT
    In the Elizabethan theater, the portion of the theater directly in front of the stage.  Lowest admission fee, and patrons had to stand during the play.  Today it is the orchestra
  62. PLAYSCRIPT
    the manuscript of a play, especially as prepared for use by actors in rehearsals
  63. PLOT
    The series of incidents that make up the action of a play
  64. PROSCENIUM ARCH
    an opening in a wall that stands between the stage and the house that becomes the frame through which the audience sees the play
  65. PROSCENIUM STAGING
    The form of physical configuration between the actor and the audience encouraged by the proscenium arch
  66. PROTAGONIST
    the leading character, hero of a drama
  67. RESTORATION COMEDY
    English comedy of the period of the Restoration, stressing manners and social satire.  Glittering language, salacious plots, and frequently debauched characters
  68. REVOLVING STAGE
    stage which turns in a circle
  69. RISING ACTION
    In traditional dramatic structure, the portion of the plot that begins with the inciting incident and continues until the climax.  Expected to be built on intensity and frequency, often alternating good and bad news, in such a way to increase suspense.
  70. TIME
    In relation to exercise, for how long an exercise is performed in a single session
  71. BASS CLEF
    Musical notes played with the left hand on a piano, having deeper sound than the bass clef
  72. CHORD
    Three or more harmonious notes played together.  Instruments with multiple strings can play chords (guitar, piano)
  73. COLLAGE
    An artwork composed of various materials
  74. COLOR
    What we see as a result of the reflection or absorption of light off any surface. Its main characteristics are hue, intensity, and value
  75. DIALOGUE
    Exchange of lines between actors in theatrical production
  76. DYNAMICS
    In a piece of music, the variation between louder and softer sections
  77. FORCE/ENERGY
    A dancer's transformation and release of potential energy into kinetic energy; how dancers move
  78. FORM
    Shape, structure, or organization in a piece of music
  79. HARMONY
    When a note of a different pitch on a musical scale sounds good when played simultaneously with a piece's melody
  80. INTERVAL
    The distance between notes on a musical scale
  81. LEVELS
    The series of horizontal planes rising one above the other, from the performance surface, through which dancers move
  82. LINE
    In visual art, the movement of a point through space. Described in terms of width, length, flow, direction, and curvature
  83. MEASURE (BAR)
    A grouping of a specified number of musical beats located between two consecutive vertical lines on a staff
  84. MELODY
    The tune of a piece of music
  85. MONOLOGUE
    A dramatic speech performed by one actor
  86. PAGEANT
    A series of tableaux performed on stage
  87. PHRASING
    How long the melody of a piece of music is performed, defined by when a breath is taken
  88. PITCH
    Wavelengths or frequencies of sound
  89. THEME
    The reason a work of art is completed
  90. TIMBRE
    The distinctive quality of a particular sound
  91. TIME
    In dance, formally measured meter or informally the rhythms of a dancer's body movements
  92. TIME SIGNATURE
    Musical notation indicating the number of beats per bar and the type of note that gets a beat
  93. TREBLE CLEF
    Musical notes played with the right hand on a piano, having a higher sound than the bass clef
  94. ACCOMODATAION
    The process by which a child incorporates new experience into the previous understandings, and modifies those existing concepts to include new information
  95. ASSIMILATION
    The process by which a child interprets a new experience in terms of their previous understandings
  96. ATTACHMENT THEORY
    States that a child who has formed secure attachments to others is confident in exploring her physical environment, forms friendships easily, and possesses a sense of compentency.  The opposite has not formed secure attachment to others
  97. AUTONOMY
    Acceptance of responsibility of ones behavior
  98. CONCRETE OPERATIONAL STAGE
    A stage of cognitive development during which a child acquires reasoning skills and is able to differentiate between her viewpoints and others
  99. PROSCENIUM
    The most common type of performance space, named for the proscenium arch which frames the actors
  100. RYTHYM
    In music, the pattern of stressed and unstressed beats, measured units of time
  101. SHAPE
    In visual art, 2D equivalent of form
  102. SPACE
    • In dance, the immediate spherical area surrounding the dancer's body, extending in all directions.
    • in visual art, absense of shape or form
  103. STAFF
    The group of lines on which notes are written
  104. SYMMETRY
    In art, a type of visual balance, where if an imaginary line is drawn down the middle, each side mirrors the other
  105. TABLEAU
    In theater, the silent deception of a static scene
  106. TEMPO
    The rate at which musical beats follow one another, speed
  107. TEXTURE
    The tactile quality of a work of art
  108. SENSORI-MOTOR STAGE
    A stage of cognitive development during which a child learns to differentiate between herself and the external world, become aware of object permanence
  109. ABSTRACTION
    The essence of an idea applied to the art of movement
  110. ADAGIO
    in music, slower tempo. The opposite of allegro. It is also a set of exercise practice in class consisting of extensions and balances
  111. ALIGNMENT
    The way in which various parts of the dancers body are in line with on another while the dancer is moving
  112. ALLEGRO
    in music, quick or lively movements
  113. ARABESQUE
    A pose in which the working leg is extended with a straight knee directly behind the body
  114. ATTITUDE
    A pose modeled after the statue of the winged Mercury by Giovanni Bologna in which the working leg is extended behind the body with the knee bent; it can also be held in front of the body
  115. BARRE
    A round rail attached to the wall horizontally, about three and a half inches off the floor.  For dancers to hold during the first half of technique class.  Also used for stretching the legs by placing the or legs on it
  116. BODY MOVEMENT
    • Included locomotor and axial
    • Locomotor (moving from one place to another)
    • Axial (contained movement around an axis of the body)
  117. CHOREOGRAPHY
    The steps of a dance put together for performance or the art of composing dance
  118. ACTION
    In a character-character interaction, the total array of purposeful activity, both external (physical) and internal (psychological). Characters attempt to achieve their objective
  119. ANTAGONIST
    the character who works against the protagonist in the story
  120. ARENA STAGING
    Arena, or theatre-in-the-round, staging needs only an open place with room for actors and audience.  The playing space, surrounded by the audience, may be a circle of 15 or 20 feet in diameter or a square or rectangle of comparable size.  The actors use the aises for entrance or exit
  121. ARISTOTELIAN THEATRE
    • Traditional theatre thought to be espoused by Aristotle.
    • Clear simple plotting; strong characters; high levels of intellectual content, a minimum of spectacle.
    • Plays should include three unities, (unity of one main action, unity of one physical space, and unity of time) to be written in five acts, avoid violence, and not mix comedy and tragedy
  122. BLOCK
    To decide upon the gross movements of actors on stage; assign the physical relationship of actors
  123. BROADWAY THEATRE
    • Oldest professional theatre. 
    • Plays performed in large theatres located in a few blocks NYC. 
    • Productions sold to investors, with substantial return on investment. 
    • Long runs of a single play, frequent use of star performers
  124. CENTER STAGE
    The middle of the stage area
  125. CHORUS
    a company of actors who comment (by speaking or singing in unison) on the action in a classical Greek play
  126. CHRONOLOGICAL TIME
    • Time as a linear experience related to cause and effect.
    • Leave out unimportant passages of time to capture essence of story.
    • Later developed Flashback and Flash-forward
  127. CLIMAX
    the decisive moment in a novel or play
  128. KINESTHETIC AWARENESS
    Feeling the dance movements of others in one's own muscles
  129. LIFTS
    A part of pas de deux in which one dancer is lifted off the ground by another
  130. LINE
    The arrangement of head, shoulders, arms, torso, and legs while dancing
  131. MODERN DANCE
    • Type of creative dance involving specialized movement techniques;
    • emphasis is on expression and communication
  132. MOVEMENT MATERIALS
    Sequences, motifs, and phrases developed as the choreographed dance
  133. PAS DE DEUX
    • Literally a "step for two"
    • Any section of a dance performed by two dancers together
  134. PASSE
    A "passing" position in which the foot passes by the knee of the supporting leg
  135. PIROUETTE
    • "The twirl or spin"
    • A turn on one foot that can be executed outward (away from the body) or inward (toward the body)
  136. POINTE
    Dancing on the toes
  137. POSTMODERN DANCE
    A term coined in the 1960's by those who wanted to create movement outside the influences of any of the then traditional modern dance pioneers, such as Cunningham, Humphrey, Limon, Graham, and Taylor
  138. COMEDY
    A story that ends happily. More serious than a farce. Characters less developed than in a drama
  139. COMPANY
    All the people associated with the production
  140. CONFLICT
    The central feature of dramatic action; the arrangement of the objectives of two or more strong characters in such a way that those objectives are competing and mutually exclusive
  141. CONNOTATIVE MEANING
    • The meaning conveyed by connotative symbols.
    • Symbols that are vague in the terms of strict definition, but rich in poetic meaning.
    • Evokes emotion rather than intellectual response
  142. CONTENT
    • What is portrayed in theatre, namely the interaction of another character or something in the environment.
    • If interaction is with another person, it is character-character interaction
  143. CONVENTIONS
    Rules for performers specific  to culture, styles, and individual production
  144. CREATIVE DRAMA
    Students improvise scenes for their own growth, not for an audience
  145. DENOUEMENT
    the final resolution of the main complication of a literary or dramatic work
  146. DIRECTOR
    • Someone who supervises the actors and directs the action in the production of a show.
    • Provide artistic meaning to the experience
  147. DOWNSTAGE
    the part of the stage closest to the audience
  148. PROMENADE
    An adagio movement in which the dancer pivots completely around on one foot while maintaining a pose with the working leg
  149. ROMANTIC ERA
    • A period from about 120 to 1870 in which ballet was characterized primarily by supernatural subject matter
    • Long white tutus, dancing on the toes, and theatrical innovations that permitted the dimming of the house lights for theatrical illusion
  150. SPOTTING
    Focusing the eyes on one point in the distance in order to keep balance while turning
  151. CHAMBER MUSIC
    Music played by one to twenty performers
  152. CONSONANCE
    The combination of tones that produces of quality of relaxation
  153. DISSONANCE
    The combination of tones that produces a quality of tension
  154. FUGUE
    • Based on a short theme called a subject. It contains both the rhythmic and melodic motifs.
    • The opening is announced by one voice alone. A second voice then restates the subject
  155. LIED
    A type of German song
  156. DRAMA
    A dramatic work intended for performance by actors on a stage
  157. DRAMATIC CRITICISM
    Discriminating, often scholarly, interpretation and analysis of the play
  158. DRAMATIC QUESTIONS
    The central question that lingers on the audience's mind at the end of each scene. Based on the plot events that have unfolded on stage, the audience is wondering how these events will affect the future of the play
  159. ENVIRONMENTAL STAGING
    the stage surround the audience
  160. EXPOSITION
    introduces the characters, setting, and basic situation
  161. FLASHBACK
    a transition to an earlier event or scene that interrupts the normal chronological development of the story
  162. FORM
    The relationship of all parts of plays of certain type considered apart from any single example of that type
  163. FULL-LENGTH PLAY
    • A single play that typically fulfills the expectation for a complete theatrical experience.
    • The play has 3-5 acts, usually 2-4 hours
  164. ILLUMINATION
    The act of casting light upon an otherwise darkened stage
  165. SYMPHONY
    • An elaborate musical composition, many of which are between 20-45 in length. 
    • Consists of four movements that are intended to stir up emotions though contrasts in tempo and mood.
  166. SYNCOPATION
    • A rhythmic effect produced when the expected rhythmic pattern is deliberately upset
    • In music, an uneven pattern of stressed beats
  167. SIX
    How many phases can throwing/pitching a ball be divided into
  168. 20 MINUTES
    When exercising with asthma, how many minutes should one take to warm up
  169. PHASE 3
    In motor development, what phase is striking "striking skills"
  170. CEPHALOCAUDLE PRINCIPLE
    Development proceeds from the head downward
  171. LAND ON BALLS OF FEET AND BEND KNEES
    Landing in a vertical jump activity
  172. MANIPULATION
    Using scissors
  173. CLASSICAL
    Refers to the lexicon of dance as taught in the original academies; this is also used in reference to ballets as created during the Imperial Russian days
  174. CREATIVE MOVEMENT
    Dance movement that is primary and nonfunctional, with emphasis on body mastery for expressive and communicative purposes
  175. DANCE
    All-inclusive term meaning the aesthetics of movement. It is organized moves with a beginning, middle, and end in sequential form
  176. DANCE-POINTE
    On the ball of the foot or half toe
  177. ELEVATION
    The ability to get up into the air and remain there long enough to perform various movements or poses
  178. EXTENSION
    Raising the leg to a straightened position with the foot very high above the ground; the ability to life and hold the leg in position off the ground
  179. GRAN JETE
    A leap from one leg to the other in which the woring leg is kicked or thrown away from the body and into the air
  180. GRAND JETE EN TOURNAN
    In this leap, the dancer turns halfway in midair to land facing the direction which the movement is started
  181. IMPROVISATION
    • Movement without previous planning
    • Acting without script or prepared text
    • Spontaneous movement and speech to create a character
  182. INCITING INCIDENT
    • The first incident in a chain of events called the "rising action."
    • It is the incident that throws the world of play into disequilibrium.
    • The remainder of the play is trying to reestablish the balance.
  183. KABUKI
    • A popular type of Japanese drama combined with music and dance
    • Played by all men
  184. LIGHTING PLOT
    • The plan of the stage showing the location of each lighting instrument
    • Its size and characters and the area of the stage that the light will fall
  185. MELODRAMA
    • Genre of drama placed between tragedy and drama.
    • Largely serious, but saved from destruction in the end
  186. MOOD
    In lighting, the use of elements of stage lighting to support emotional states in the audience of a play
  187. MULTIPLE PLOTS
    • Theatre plotting in which more than one story line is presented, usually simultaneaously.
    • Plots are kept separate, until the end of the play, at which point they often intersect
  188. NEOCLASSIC DRAMA
    • Plays of the neoclassic period
    • Renaissance writers attempt to recapture of the glory in the Greek and Rome times.
  189. ONE-ACT PLAY
    A play of short duration (less than an hour) that can be presented without an intermission or major changes in the scenery.
  190. ORCHESTRA
    • In ancient Greek times, there was an open dancing area.
    • In modern use, the orchestra is the lowest and usually most expensive seats directly in front of the stage.
    • An instrumental ensemble composed of strings, woodwind, brass, and percussion

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