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    Audiation and Music Moves For Piano

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    João Pedro Reigado
    This document provides an overview of developing audiation skills in piano students. It discusses teaching music as an aural art by developing rhythm and tonal audiation through body movement, singing, and sound before sight. Key principles for teaching include practicing before theory, preparatory audiation, asking what, why, when and how about teaching material, and learning through whole-part-whole discrimination and inference learning. The goal is for students to become musically literate by developing audiation skills to improvise, compose, analyze, discuss, listen, learn, and read and write music.

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    Audiation and Music Moves For Piano

    Uploaded by

    João Pedro Reigado
    84 views1 page
    This document provides an overview of developing audiation skills in piano students. It discusses teaching music as an aural art by developing rhythm and tonal audiation through body movement, singing, and sound before sight. Key principles for teaching include practicing before theory, preparatory audiation, asking what, why, when and how about teaching material, and learning through whole-part-whole discrimination and inference learning. The goal is for students to become musically literate by developing audiation skills to improvise, compose, analyze, discuss, listen, learn, and read and write music.

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    audiation and music moves for piano

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    This document provides an overview of developing audiation skills in piano students. It discusses teaching music as an aural art by developing rhythm and tonal audiation through body movement, singing, and sound before sight. Key principles for teaching include practicing before theory, preparatory audiation, asking what, why, when and how about teaching material, and learning through whole-part-whole discrimination and inference learning. The goal is for students to become musically literate by developing audiation skills to improvise, compose, analyze, discuss, listen, learn, and read and write music.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    84 views1 page

    Audiation and Music Moves For Piano

    Uploaded by

    João Pedro Reigado
    This document provides an overview of developing audiation skills in piano students. It discusses teaching music as an aural art by developing rhythm and tonal audiation through body movement, singing, and sound before sight. Key principles for teaching include practicing before theory, preparatory audiation, asking what, why, when and how about teaching material, and learning through whole-part-whole discrimination and inference learning. The goal is for students to become musically literate by developing audiation skills to improvise, compose, analyze, discuss, listen, learn, and read and write music.

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    © All Rights Reserved
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    of 1

    INTRODUCTION: OVERVIEW TO KEEP IN MIND AS WE EXPLORE AUDIATION

    AND MUSIC MOVES FOR PIANO - 2014, Updated


    Marilyn Lowe, marilyn@musicmovesforpiano.com

    This workshop explores ways to develop audiation skills with piano/instrumental students. We will examine in depth the
    sequenced “parts” of music/piano study, one at a time: rhythm, tonal, keyboard skills, and reading and writing music
    notation. Improvisation activities are included in each category.

    I. Music is an aural/oral art. Audiate. Learn how to audiate. Understand music.


    Music is in the mind. We visualize scenes. We think thoughts. We audiate music.
    Body movement develops rhythm audiation. Singing develops tonal audiation.

    II. One of Gordon’s “rules.” Teach sound before sight.


    Suzuki said, “You don’t need notation to learn how to play an instrument.”
    Schumann Quote: “The most important thing is to cultivate the sense of hearing……”

    III. The second of Gordon’s “rules.” Teach practice before theory. This is one of the American educator
    Lowell Mason’s public school curriculum guidelines for how to teach music.

    IV. Preparatory Audiation: Readiness for learning music (for any age student):
    Acculturation – Imitation – Assimilation

    V. Questions the teacher should ask/answer about teaching material:


    A. What am I teaching (content)?
    B. Why am I teaching it (rationale for the content)?
    C. When am I teaching it (sequence)?
    D. How I am teaching it (curriculum)?

    VI. How do we learn? Basic principles:


    A. Gestalt: Whole-Part-Whole. The second whole has new meaning.
    B. Discrimination Learning: Teach the student. Demonstrate/Answer.
    C. Inference Learning (Generalization): Students use their knowledge. Improvisation.
    D. Explore same/different. Use contrast and variety.
    E. Learn one new thing at a time.

    VII. Compare the “language learning model” with learning music (listen, speak, read, write):
    A. Functional rhythm and tonal patterns are the foundation for learning how to audiate.
    B. Build a large music pattern vocabulary.
    C. Use labels (names) and terminology.
    D. CONTEXT is essential for understanding: Tonal context and rhythm context.

    VIII. Teacher skills - How to teach/help students to learn:


    A. “Hybrid” or “group” instruction. Individualize instruction. Easy Moderate Difficult.
    B. Pattern instruction. Achieve flow. Breathe.
    C. Rote solos. Songs to sing.
    D. Improvisation activities.

    IX. Students/Lessons:
    A. Age and experience of students.
    B. Differences in aptitudes: strength and weakness.
    C. Student groupings: pairs, three, overlap, hybrid instruction, age.
    D. Activity oriented lessons. Movement is important for learning to take place.
    Students learn through “doing.” Use everything learned for improvisation.

    X. The goal is for students to become musically literate through developing and applying audiation
    skill to music learning, listening and performing. During the audiation learning process, students
    improvise, compose, analyze, discuss, listen with understanding, learn new music, perform with
    comfort in both solo and ensemble, and read and write music notation. It takes time and patience
    to learn how to audiate. Follow the sequenced curriculum. Focus on a long-term view.

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