The document discusses five facets of music teaching: singing, listening, instrumental work, creative work, and movement. It provides details on each facet, including definitions, objectives, examples of activities and instruments. For singing, it describes rote singing, preparing children for part singing, and the four main vocal ranges. For listening, it discusses the need to teach children how to listen and different types of listening like active listening. For instrumental work, it covers rhythm band and different instrument groups. For movement, it discusses exploring movement through music and the importance of music and movement in early childhood education.
The document discusses five facets of music teaching: singing, listening, instrumental work, creative work, and movement. It provides details on each facet, including definitions, objectives, examples of activities and instruments. For singing, it describes rote singing, preparing children for part singing, and the four main vocal ranges. For listening, it discusses the need to teach children how to listen and different types of listening like active listening. For instrumental work, it covers rhythm band and different instrument groups. For movement, it discusses exploring movement through music and the importance of music and movement in early childhood education.
The document discusses five facets of music teaching: singing, listening, instrumental work, creative work, and movement. It provides details on each facet, including definitions, objectives, examples of activities and instruments. For singing, it describes rote singing, preparing children for part singing, and the four main vocal ranges. For listening, it discusses the need to teach children how to listen and different types of listening like active listening. For instrumental work, it covers rhythm band and different instrument groups. For movement, it discusses exploring movement through music and the importance of music and movement in early childhood education.
The document discusses five facets of music teaching: singing, listening, instrumental work, creative work, and movement. It provides details on each facet, including definitions, objectives, examples of activities and instruments. For singing, it describes rote singing, preparing children for part singing, and the four main vocal ranges. For listening, it discusses the need to teach children how to listen and different types of listening like active listening. For instrumental work, it covers rhythm band and different instrument groups. For movement, it discusses exploring movement through music and the importance of music and movement in early childhood education.
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LOUISE DOROTHY C.
PARAISO INSTRUCTOR
FIVE FACETS OF MUSIC TEACHING TEACHING MUSIC IN THE ELEMENTARY GRADES • MOTIVATION – BEFORE WE START THE DISCUSSION, WE'LL HAVE FIRST SOME WARM UP ACTIVITY SINGING ROTE-SONG
• AN ACTIVITY WHICH IS COMMON IN A MUSIC
CLASSROOM. IT IS THEREFORE, NECESSARY FOR THE MUSIC TEACHER TO KNOW THE PROPER WAY TO SING SO THAT HIS SINGING MAY BE THE EXAMPLE TO THE CHILDREN IN HIS CLASS. ROTE-SONG • A SONG TO BE TAUGHT BY ROTE, OR BY FREQUENT REPETITION TO THE LEARNER, AS A CHILD BEFORE IT IS ABLE TO READ. • EVERY CHILD IS A POTENTIAL SINGER BUT, SOMETIMES, WE COME ACROSS CHILDREN WHO, FOR ONE REASON OR ANOTHER, DO NOT SING IN EXACT TUNES. THESE CHILDREN ARE NOT REALLY MONOTONES BUT JUST UNTURNED, LIKE INSTRUMENTS WHICH ARE NOT TUNED CORRECTLY. PREPARING CHILDREN FOR PART SINGING
• THE USE OF INSTRUMENTS MAY BE A DEVICE NOT ONLY
FOR THE MUSICAL GROWTH OF THE CHILDREN BUT ALSO FOR THEIR ENJOYMENT AND UNDERSTANDING OF MUSIC. THE FIRST INSTRUMENT EXPERIENCES OF THE CHILDREN MAY BE WITH TOY OR RHYTHM BAND INSTRUMENTS. PREPARING CHILDREN FOR PART SINGING
• SOME CHILDREN ARE NOT PREPARED TO SING PART SONGS
AND THEREFORE, ARE UNABLE TO PARTICIPATE IN CHORAL ACTIVITIES. THE MUSIC TEACHERS MAY BE ABLE TO HELP THE CHILDREN DEVELOP PART SINGING READINESS BY THE USE OF THE FOLLOWING SINGING ACTIVITIES: PREPARING CHILDREN FOR PART SINGING
• SINGING SONGS WITH CHORDING, THAT IS, SINGING THE BASS DO, SOL OR FA TOGETHER WITH THE SONG DEPENDING ON THE HARMONIC CHARACTER OF THE SONG. • SINGING SONGS WITH A CHANT: A CHANT IS A FIGURE OR PHRASE SUNG REPEATEDLY WITH THE PHRASES OF A SONG. THE CHANT IS USED, THEREFORE, WITH SONGS THAT HAVE ONLY ONE HARMONY THROUGHOUT. FOUR MAIN VOCAL RANGES • SOPRANO– IS A TYPE OF ALTO IS THE SECOND HIGHEST CLASSICAL FEMALE SINGING VOCAL RANGE OF A FEMALE. VOICE AND HAS THE HIGHEST • TENOR– IT IS THE HIGHEST VOCAL RANGE OF ALL VOICE NATURAL ADULT MALE VOICE. TYPES. • BASS– THE LOWEST VOCAL • ALTO– (ITALIAN: “HIGH”) THE RANGE OF A MALE. LISTENING DEFINITION • THE ABILITY TO ACCURATELY RECEIVE AND INTERPRET MESSAGES IN THE COMMUNICATION PROCESS. • IT IS THE KEY TO ALL EFFECTIVE COMMUNICATION. WITHOUT THE ABILITY TO LISTEN EFFECTIVELY, MESSAGES ARE EASILY MISUNDERSTOOD. IF THERE IS ONE COMMUNICATION SKILL YOU SHOULD AIM TO MASTER, THEN LISTENING IS IT. THE NEED FOR TEACHING CHILDREN HOW TO LISTEN • THE WORLD OF MUSIC IS UNFOLDED TO CHILDREN THROUGH VARIED EXPERIENCES IN SINGING, PLAYING INSTRUMENTS, RHYTHM AND DANCING, AND CREATIVE ACTIVITIES. CHILDREN DO NOT USUALLY DEVELOP WITH EXCELLENCE AMONG THESE LINES, BUT IT IS HOPED THAT EACH ONE MAY FIND ATLEAST ONE PHASE OF THE WORK WHICH CAN PROVIDE ENRICHMENT IN HIS LIFE NOT ONLY IN HIS CHILDHOOD, BUT ALSO IN ADULTHOOD, PERHAPS ONLY FEW WILL DEVELOP INTO SKILLFUL PERFORMERS (SINGERS, DANCERS, OR COMPOSERS) BUT A GOOD NUMBER, ALL CAN BECOME DISCRIMINATING AND SENSITIVE LISTENERS. AS A MATTER OF FACT, IT IS THROUGH LISTENING RATHER THAN ACTIVE PARTICIPATION OR PERFORMANCE THAT A BIG MAJORITY OF THE PEOPLE ENJOY MUSIC. ACTIVE LISTENING: TEACHING WITH MUSIC
• ACTIVE LISTENING SIMILARLY REQUIRES STUDENTS TO
ENGAGE WITH AND THINK ABOUT WHAT THEY HEAR. IN OTHER WORDS, ACTIVE LISTENING IS LISTENING WITH A PURPOSE.
• YOU SEE, BUT YOU DO NOT OBSERVE. THE DISTINCTION IS CLEAR.
- SHERLOCK HOLMES AFFECTIVE LISTENING • THIS TYPE OF LISTENING IS PERHAPS THE MOST BASIC. USEFUL QUESTIONS FOR THIS TYPE OF LISTENING TYPICALLY PROMPT STUDENTS TO VOICE THEIR OBSERVATIONS ON A BASIC LEVEL: WHAT INSTRUMENTS DO YOU HEAR? WHAT GENRE OF MUSIC IS THIS? WHAT EMOTIONS DOES THIS EVOKE? HOW FAST OR SLOW IS IT? (FOR THOSE WITH MUSICAL TRAINING, THIS MIGHT ALSO INCLUDE MORE TARGETED QUESTIONS TO DRAW OUT OBSERVATIONS ABOUT TEMPO, METER, RHYTHM, RANGE, ETC.) DIALOGIC LISTENING • THIS TYPE OF LISTENING IS PERHAPS THE MOST COMPLEX AND TIME-CONSUMING, YET ALSO THE MOST FRUITFUL AND POTENTIALLY REWARDING. AS THE NAME IMPLIES, THIS TYPE OF LISTENING PLACES A MUSICAL EXAMPLE IN DIALOGUE WITH EXTERNAL ELEMENTS—GENERIC CONVENTIONS, OTHER MUSICAL PIECES, ARTWORK, TEXTS, OBJECTS, ETC. TEACHING WITH MUSIC DOES NOT PRECLUDE USING TEXTS OR VISUALS AS WELL. IF YOUR PIECE HAS LYRICS, INCLUDE THEM (AND IF THOSE LYRICS ARE NOT IN YOUR STUDENTS’ NATIVE LANGUAGE, PROVIDE A TRANSLATION AS WELL). IT OFTEN HELPS TO COMPLEMENT LISTENING WITH OTHER WAYS OF ENGAGING WITH MUSICAL EXAMPLES BY USING OTHER TYPES OF MEDIA. STRUCTURAL LISTENING • THIS TYPE OF LISTENING APPROACHES A MUSICAL EXAMPLE ALMOST LIKE A SCULPTURE OR A PAINTING, IN WHICH YOU POINT STUDENTS TOWARD PARTICULAR MOMENTS AND SEE THE WAYS IN WHICH THOSE MOMENTS ARE THE CULMINATION OF PARTICULAR TRAJECTORIES. AS SUCH, STRUCTURAL LISTENING OFTEN MEANS COMPARING DIFFERENT MOMENTS FROM WITHIN A PARTICULAR PIECE. QUESTIONS MIGHT INCLUDE: HOW DOES THE ARTIST OR COMPOSER MOVE FROM ONE IDEA TO ANOTHER? WHY? AND ETC. CREATIVE WORK CREATIVE WORK • A MANIFESTATION OF CREATIVE EFFORT SUCH AS ARTWORK, LITERATURE, MUSIC, PAINTINGS, AND SOFTWARE. CREATIVE WORK HAVE IN COMMON A DEGREE OF ARBITRARINESS, SUCH THAT IT IS IMPROBABLE THAT TWO PEOPLE WOULD INDEPENDENTLY CREATE THE SAME WORK. • A NEW STUDY SUGGESTS THAT LISTENING TO HAPPY MUSIC PROMOTES MORE DIVERGENT THINKING — A KEY ELEMENT OF CREATIVITY. BY JILL SUTTIE | NOVEMBER 17, 2017 RHYTHMIC MOVEMENT
• AN INTERESTING WAY OF INTERPRETING MUSIC.
• IT MAY BE PERFORMED IN THE FOLLOWING FORMS: THE FUNDAMENTAL BODILY MOVEMENTS SUCH AS WALKING, RUNNING, OR SKIPPING; RHYTHMIC ACTIVITIES LIKE SWAYING OR CLAPPING THE HANDS OR DANGLING. • THERE ARE TWO KINDS OF BODILY MOVEMENTS – LOCOMOTOR MOVEMENTS WHICH ARE PROGRESSIVE MOVEMENTS LIKE STEPPING, HOPPING, JUMPING, ETC. THERE ARE SEVERAL DIRECTIONS IN WHICH LOCOMOTOR MOVEMENTS MAY BE DONE, E.G, FORWARD OR BACKWARD, IN A CIRCLE OR SEMI-CIRCLE, SLOW OR FAST, LONG OR SHORT, LIGHT OR HEAVY OR SMOOTH. LOCOMOTOR MOVEMENTS MAY BE EXECUTED IN DIFFERENT MEANINGS. AXIAL MOVEMENTS WHICH ARE PERFORMED IN SPACE LIKE SWINGING THE HANDS, ROTATING THE ARMS, OR FALLING. THE AXIAL SKILLS ARE PERFORMED IN STANDING, KNEELING OR LYING POSITION. INTERPRETATIVE MOVEMENTS • IT MAY BE SUGGESTED BY THE SOUND MADE BY ANIMALS OR OBJECTS; OF JINGLES, RHYMES, OR OF SELLING CALLS; AND GREETING AND FAREWELLS. • MUSIC HEARD OR PERFORMED MAY SUGGEST VARIED MOVEMENTS. DANCE STEPS CAN BE ADAPTED TO DIFFERENT MOODS OF MUSIC. INSTRUMENTAL WORK INSTRUMENTAL WORK
• A PROCESS OF INSTRUMENT LEARNING OR A METHOD
OF TRAINING IN WHICH THE REINFORCEMENT IS MADE BY CONTINGENT ON THE OCCURRENCE OF THE RESPONSE. RHYTHM BAND • THE USE OF INSTRUMENTS MAY BE A DEVICE NOT ONLY FOR THE MUSICAL GROWTH OF THE CHILDREN BUT ALSO FOR THEIR ENJOYMENT AND UNDERSTANDING OF MUSIC. THE FIRST INSTRUMENTAL EXPERIENCES OF THE CHILDREN MAY BE WITH TOY OR RHYTHM BAND INSTRUMENTS. RHYTHM BAND • THE OBJECTIVES FOR USING THE RHYTHM BAND INSTRUMENTS ARE: • TO UTILIZE THE INSTRUMENTS AS A MEANS OF INTERPRETING MUSIC. • TO DEVELOP THE ABILITY TO RECOGNIZE ONE COLOR AND TO LEARN TO USE IT FOR MUSICAL INTERPRETATION. • TO DEVELOP MENTAL AND PHYSICAL COORDINATION THROUGH THE MANIPULATION OF THE INSTRUMENTS. • TO DEVELOP MUSICAL MEMORY AND USE THIS IS MEANINGFUL ENSEMBLE WORK. • TO DEVELOP THE BASIC SKILLS AND FUNDAMENTALS OF MUSIC THROUGH ENJOYABLE INSTRUMENTAL ACTIVITIES. CHORDOPHONES
• THESE ARE THE INSTRUMENTS WITH STRINGS WHICH
MAY BE BOWED OR PLUCKED OR STRUMMED. EXAMPLES INCLUDE THE VIOLIN, THE VIOLONCELLO OR CELLO, VIOLA, AND THE CONTRABRASS OR BASS VIOLA. AEROPHONES • INSTRUMENT MADE TO SOUND BY BLOWING AIR INTO THE TUBE BY MEANS OF THE MOUTH PRESSED AGAINST THE MOUTHPIECE OF EMBOUCHURE, OR BLOWING THROUGH THE LIPS OR THE NOSE, OR BLOWING AIR BY PUTTING THE MOUTHPIECE AND ITS VIBRATING REEDS INSIDE THE MOUTH. • EXAMPLES ARE CORNET, TRUMPET, TROMBONE, HORN, TUBA, SOUSAPHONE (ALL OF WHICH ARE MADE BRASS) THE FLUTE, CLARINET, OBOE, AND BASSOON (ALL OF WHICH ARE MADE OF WOOD). MEMBRANOPHONES • THE THIRD GROUP OF INSTRUMENTS ARE THE MEMBRANOPHONES WHICH ARE SO CALLED BECAUSE THEY HAVE A PIECE OF MEMBRANE OR SIMILAR MATERIAL STRETCHED OVER A HOLLOW END OF A CYLINDER WHICH IS MADE TO SOUND BY BEATING WITH THE DRUMSTICK. EXAMPLES OF MEMBRANOPHONES ARE THE DIFFERENT KINDS OF DRUMS AND THE TYMPANI OR KETTLE DRUMS. IDIOPHONES
• THE FOURTH GROUP OF INSTRUMENTS INCLUDE THE
TRIANGLE, XYLOPHONES OR GLOCKENSPIEL, MARIMBA, CASTANETS, AND CYMBALS. IDIOPHONES ARE PLAYED BY HITTING, SHAKING, AND RUBBING. MOVEMENT MOVEMENT • INCORPORATING MUSIC AND MOVEMENT INTO EARLY CHILDHOOD EDUCATION CAN HELP YOUNG CHILDREN WITH DEVELOPMENT, SOCIAL INTERACTION AND LANGUAGE GROWTH. • IN REGARDS TO THAT, MUSIC, FOR CHILDREN IS SOMETHING THEY CAN ASSOCIATE WITH THROUGH MOVEMENT. WHEN THEY HEAR IT, THEY SWAY TO IT, DANCE TO IT, THEY REACT TO IT WITH MOVEMENTS THAT THEY WANT. • IT IS AN IMPORTANT PART OF THEIR LEARNING EXPERIENCE. EXPLORING MOVEMENT • MUSIC LEADS TO MOVEMENT. IT'S HARD TO LISTEN TO MUSIC WITHOUT MOVING IN SOME WAY, EVEN IF IT'S JUST MOVING YOUR TOES, HEAD, OR FINGERTIPS! MOVEMENT IS HOW WE INTERACT WITH OUR ENVIRONMENT AND DEFINE THE SPACE WE OCCUPY IN THE WORLD. WE MOVE TO EXPLORE. CRAWLING LEADS TO WALKING, AND WALKING LEADS TO HOPPING, SKIPPING, AND JUMPING. IMPORTANCE OF MUSIC & MOVEMENT IN THE EDUCATION OF YOUNG CHILDREN BY MEG BRANNAGAN EARLY CHILDHOOD • EARLY CHILDHOOD EDUCATION, FOR CHILDREN 8 YEARS OF AGE AND YOUNGER, IS THE BEGINNING OF A STUDENT'S ACADEMIC EXPERIENCE. THIS IS AN IMPORTANT TIME OF LEARNING AND BRAIN DEVELOPMENT FOR CHILDREN IN PREPARATION FOR THE REST OF THEIR EDUCATION. PLAYING MUSIC AND MOVING TO A BEAT PROVIDES STIMULATING EXPERIENCES FOR YOUNG CHILDREN AND FOSTERS LEARNING AT HOME OR IN THE CLASSROOM. PARENTS AND EARLY CHILDHOOD TEACHERS CAN INCORPORATE MUSIC AND MOVEMENT INTO DAILY ROUTINES. IMPORTANCE OF MUSIC & MOVEMENT IN THE EDUCATION OF YOUNG CHILDREN BY MEG BRANNAGAN BRAIN DEVELOPMENT • ACCORDING TO THE EARLY CHILDHOOD MUSIC AND MOVEMENT ASSOCIATION, 85 PERCENT OF BRAIN DEVELOPMENT OCCURS BY THE TIME A CHILD REACHES 3 YEARS. AS CHILDREN GROW, THEY NEED TO LEARN SPECIFIC ACTIVITIES THAT ARE IMPORTANT FOR DEVELOPMENT. FOR EXAMPLE, VERY YOUNG CHILDREN BEGIN TO SCOOT AND CRAWL FOR MOVEMENT AND WHILE THESE ACTIVITIES ARE PART OF EVENTUALLY LEARNING TO WALK, THEY ARE ALSO ESSENTIAL FOR BRAIN DEVELOPMENT. ADDITIONALLY, PATTERNED ACTIVITIES AT HOME OR IN THE PRESCHOOL CLASSROOM, SUCH AS CLAPPING TO MUSIC OR JUMPING IN TIME TO A BEAT STIMULATE BRAIN FUNCTION AND HELP THE BRAIN TO ORGANIZE THOUGHTS AND BEHAVIORS. IMPORTANCE OF MUSIC & MOVEMENT IN THE EDUCATION OF YOUNG CHILDREN BY MEG BRANNAGAN LANGUAGE • LANGUAGE HAS ITS OWN TEMPO; SPEAKING A LANGUAGE FLUENTLY INVOLVES REGULAR PAUSES, STOPS AND STARTS IN APPROPRIATE PLACES. FOR EXAMPLE, MOST PEOPLE DO NOT SPEAK IN A CONSTANT, RUNNING DIATRIBE OF WORDS; RATHER THEY INSERT PAUSES BETWEEN PHRASES, THEY USE ACCENTS AND THEY INCREASE OR DECREASE THE OVERALL SPEED OF SPEECH. MUSIC HAS A TEMPO AND TEACHING YOUNG CHILDREN SONGS THAT HAVE RHYTHMS AND BEATS OR LEARNING TO MARCH IN TIME TO A TUNE CAN HELP STUDENTS TO LEARN THE RHYTHM OF SPEAKING AND IMPROVE THEIR COMMUNICATION SKILLS. REFERENCES:
