MUSC145. Introduction to Music
Musician and Teacher: An Orientation to Music Education
Chapter 7. Teaching Music to Children
126 “Children are inherently musical, but it takes well-trained and perceptive music teachers to design and deliver for them a learning environment and the sequential instruction that brings their musicality…”
127 singing, playing, listening, moving and creating - significance?? (also p. 132)
“All children are musical, more or less, and in a myriad of ways.”
Children “socialize through music, making their own communal 'jams'…”
“…children have a musical lore all their own,…” - explain
128 “How do children behave musically, 'naturally,' while at play or leisure, beyond the direct influence of a teacher?” (e.g.: Children's musicality can be recognized “in the ways they move rhythmically.”)
129 preschool: singing spontaneous songs that sometimes span an octave of imprecise pitches.
Kindergarten: conceptualize durations and pitches as same and different high/low, fast/slow, long/short. (singing range of 5th - d-a)
Primary (grades 1-3): begin to understand notation - melodic and rhythmic (singing range of octave and 4th - Bb-Eb)
130 Intermediate (grades 4-6): understanding of smaller divisions of the pulse, can identify aspects of pitch motion (e.g. steps/leaps, sequence, etc.) (singing range of as much as 2 octaves)
Laminated cards, big books, iconic representations of concepts ????
133 Dalcroze eurhythmics - movement-based pedagogy - kinesthetic reactions to music…hear, process and respond through movements to rhythmic phrases, melodic movements, harmonic changes, musical phrases and form.
Kodaly sequence - well-ordered and logical system of materials and techniques that lead students to development of performance skills, hearing and notational literacy. - accent is on singing.
Orff Schulwerk - weaves that natural behaviors of singing, saying, dancing and playing. Four stages: imitation, exploration, literacy, improvisation. Body percussion (patschen, etc.)
134 Curwen hand signs
137 “…children are not mini-adults but playful little people in the process of exploring their world of sonic and expressive possibilities of finding meaning in it,….”
Three cases on pp. 137-142 - identify with one and compare with your own hopes, dreams, plans, etc.
What do we mean by "sound before sight?" Why is this important?