praxis II: instruction

Orff

- 1920s, German - It is a way of introducing and teaching children about music on a level that they can easily comprehend. Musical concepts are learned through singing, chanting, dance, movement, drama, and the playing of percussion instruments. Improvisation, composition, and a child's natural sense of play are encouraged. - "Never music alone, but music connected." - Approach is simple, basic, natural, close to a child's world. IMITATION EXPLORATION LITERACY IMPROVISATION

Gordon

- Audiation - hearing music with understanding - Listen - Imitate - Think - Improvise - Students buidl a foundation of aural and performing skills through singing, rhythmic movement, and tonal and rhythm pattern intsruction before being introduced to notation and music theory.

Suzuki

- Mid 1900s - "Mother-tongue approach" - Early beginning - Saturation of music - No tests - Rote Learning -> Learning by ear rather than reading - Review of previous pieces - repetition - Play in groups a public performance - Parental involvement

Kodaly

- Mid 1900s, Hungarian - Child-Developmental approach - Rhythm syllables - solfege for rhythm - Rhythmic movements - walking, running, marching, clapping - Rhythm sequence and notation - Moveable "do," solfege - Melodic sequence and pentatony - Hand sings - Folk Songs

Dalcroze

- Swiss - Early 1900s - Eurhythmics - music expression through movement; developing musical skills through kinetic exercises. - Solfege - Improvisation (using instruments, movement, and voice)

Theory of Multiple Intelligences

-Howard Gardner -Traditionally defined intelligence does not sufficiently encompass wide variety of human abilities.

The School Music Program: A New Vision

1. All children have musical potential 2. Children bring their own unique interests and abilities to the music learning environment 3. Very young children are capable of developing critical thinking skills through musical ideas 4. Children come to early-childhood music experiences from diverse backgrounds 5. Children should experience exemplary musical sounds, activities, and materials 6. Children should not be encumbered with the need to meet performance goals 7. Children's play is their work 8. Children learn best in pleasant physical and social environments 9. Diverse learning environments are needed to serve the developmental needs of many individual children 10. Children need effective adult models

Bruners Four Features of Learning

1. Exploration, should be encouraged to show curiosity to learn about their world. 2. Info should be easily accessible and comprehensible 3. Order or sequence should be logical and orderly 4. Method of reward should be installed so children are encouraged

Bloom's Taxonomy - Six levels of thinking and learning skills

1. Knowledge 2. Understand 3. Apply 4. Analyze 5. Evaluate 6. Create

Steps of Conducting

1. Preparation 2. Ictus 3. Rebound 4. Penultimate beat placement 5. Final beat placement

Teaching Sequence: General Music

1. Preparation 2. Presentation 3. Practice 4. Execution

Cognitive Developmental Theory of Piaget

1. Sensorimotor 0-2 yrs. Observe their environment through exploration and motor skills. 2. Preoperational 2-7 yrs. Problem solving skills & language growth. Color size, use, and shape of objects. 3. Concrete Operational 7-11 yrs. Expand their knowledge of classification and recognize similarities regarding items of the same height or pitch 4. Formal Operational 12-teenage yrs. Abstract thoughts to solve problems.

Middle and High School Library [Music Learning K-12]

A library of small-ensemble music is provided that contains at least 75 titles. At least 15 new titles are added each year.

Creating an ostinato on barred instruments to accompany a folk song is most closely associated with which of the following approaches? A. Orff B. Kodaly C. Dalcroze D. Gordon

A. Orff The singing of folk songs accompanied by improvised ostinatos on barred instruments is an important component of the curricular approach developed by Carl Orff

Prior to learning about meter, elementary students should be able to demonstrate their understanding of A. Weak and strong beats B. Syncopation C. Subdivision of the beat D. Tempo markings

A. Weak and strong beats Meter, the grouping of beats into repeated sets of two, three, or more beats, depends on the differentiation between weak and stron beats; thus, students must understand this differentiation before they learn about meter.

Acculturation of Preparatory Audiation [ Music Learning K-12]

Absorption - 1st 18 months (inc. listening) Random Response - 1-3 years (involves participation) Purposeful Response - 18mo-3 years (contribute to music)

Froebel

Advocated dance and music in regards to nature as they played outside.

Alexander Technique [Music Learning K-12]

Alexander Technique has a long history of helping instrumentalists and singers to perform with less stress and likelihood of injury. Students learn to identify and change patterns that lead to aches, pains, shallow breathing, and performance anxiety.

Budget [Music Learning K-12]

An annual budget is provided for the replacement of school-owned instruments that is equivalent to at least 5% of the replacement value of the total inventory of instruments.

Software and Materials for the High School classroom [Music Learning K-12]

Aside from the computer centers, the technological music classroom for high school should contain at least different software programs that deal with listening, analyzing, reading, and describing various types of music. Creation, improvisation, and composition software should be available. Students should be encouraged to utilize the technology for practice and performance, while music educators can access different programs for grading, instrument inventory, etc... Other software or internet (with supervision) for research.

Which methodology employs a eurhythmic approach to music instruction emphasizing solfege, movement, and improvisation? A. Orff B. Dalcroze C. Kodaly D. Music Learning Theory

B. Dalcroze

Which of the following course offerings best reflects Reimer's philosophy of aesthetic education? A. Private instrumental or vocal instruction for any interested student B. General music courses that involve listening, composing, and performing for all students C. Performance-driven courses that prepare students for giving instrumental and vocal concerts D. General music courses that focus on training students in aural and performance skills.

B. General music courses that involve listening, composing, and performing for all students

All of the following are important to the pedagogical approach of Shin'ichi Suzuki EXCEPT A. Beginning instruction at an early age B. Reading music at an early age C. Performing in groups D. Parental involvement

B. Reading music at an early age

Which of the following is likely to cause faulty intonation by singers in a high school choir? A. Inadequate rehearsal time B. Unsupported tone C. Singing in a foreign language D. Lack on an instrumental accompaniment

B. Unsupported tone

How do beginning woodwind players often play? [Music Learning K-12]

Beginning woodwind players often play with a closed throat and oral cavity to compensate for inadequate breath support

Synchronzied Movement [Music Learning K-12]

By following a pre-set order of movements to music, children are able to begin to understand a connection between feeling and hearing the music. Children can later apply this connection and develop a steady beat or pulse. There are four standes for young children's understanding the beat of music. 1) Unable to respond to the beat. 2) Responds with too much. 3) Narrow down response to the beat. 4) Able to clap or step to the beat. Using props during synchronized movement helps children to focus on the movements as they relate to the music and create the movements with greater confidence. (ex. scarves, streamers, ribbons, parachute)

Which of the following is an application of Bruner's spiral curriculum theory to music instruction? A. Fifth-grade students learn a song by rote; then they learn the song with syllables by rote; then they learn to read the song in notation. B. Third-grade students sing a song; then they add instrumental accompaniment to the song; then they add movement to the song C. First-grade students learn about up-and-down melodic motion; in third grade they learn about melodic motion by steps and leaps; in fifth grade they learn to distinguish between thirds and fifths in a melodic contour D. First-grade students learn to sing songs less than two minutes long; in fifth grade they learn to sing songs four minutes long; in ninth grade they learn to sing multi-movement works more than nine minutes long

C. First-grade students learn about up-and-down melodic motion; in third grade they learn about melodic motion by steps and leaps; in fifth grade they learn to distinguish between thirds and fifths in a melodic contour

Which of the following is an example of a critical thinking skill? A. Students label the parts of a chord B. Students notate rhythmic patterns in all of the common meters C. Students compare two different recordings of the same work D. Students transpose a trumpet part from written pitch to concert pitch

C. Students compare two different recordings of the same work. In cognitive domain, evaluation represents a high-level thinking skill. When students compare two recordings of the same work, they must use the skill of evaluation.

Rousseau

Children should enjoy the simple joy of true vocal sound to understand about harmony and vocal resonance. Songs with simple and narrow range and no words. Children should dance and make up songs.

Why music educators should model movements in teaching creative movement...[Music Learning K-12]

Children will often watch the movements of those around them. Music educators can show students how to do a particular movement to a song, and then let the children copy what they have seen. Any type of movement should be at the child's developmental level. Music educators can show children how to move faster or slower through music. They can also be introduced to dynamics with loud marching or tiptoeing. Teachers can teach about changes in phrasing by changing direction.

Orff-Schulwerk Approach

Combines music, movement, drama, and speech into lessons that are similar to child's world of play. Four Different Stages withint the Orff-Approach 1. Imitation - the teacher, group leader, or students perform for the class and the class in turn repeats what was played for them. 2. Exploration - Allows students to seek out not only the different musical aspects that the Orff instruments offer but they also explore aural/oral skills and the different motions and expressions that the body is capable of. 3. Literacy - Taught by learning musical notation and becoming familiar with the various forms of music like rondo, and ABA 4. Improvisation - The act of creating something, especially music, without prior preparation.

Comprehensive Musicianship [Music Learning K-12]

Comprehensive musicianship emphasizes the encouragement of students to function in various roles of performer, composer-improviser and listener.

Handbook of Research on Music Teaching and Learning

Convenient collection of current research on music teaching and learning

Creative Movement [Music Learning K-12]

Creative movement involves a child's interpretation of the shong without paying attention to the beat. Children should be familiar with walking, marching, running, galloping, dancing, clapping, sliding, jumping, and hopping to music.

Which viewpoint best represents Reimer's Philosophy of Music Education? A. Referentialism B. Formalism C. Pragmatism D. Aboslute Experessionism

D. Absolute Expressionism

Which of the following is a well-known, prolific researcher in music education, author of several standard texts on music education topics, and a coeditor of The New Handbook of Research on Music Teaching and Learnin? A. Lowell Mason B. Bennett Reimer C. Edwin E. Gordon D. Richard Colwell

D. Richard Colwell Richard Colwell is a prolific music education researcher and author.

Which of the following is most important in Zoltan Kodaly's method of elementary music education? A. Recorders B. Xylophones C. Unpitched percussion D. Voices

D. Voices

Music Learning Theory is an approach developed by

E. Gordon

What is the Music Educator's Role? [Music Learning K-12]

Educators are responsible for making music a positive influence on students. All teachers should seek out ways to prepare for curriculum planning and designing instructions that are appropriate for the child's particular education level. Music combines with all developmental, cognitive, language, physical, emotional, and social arenas of education and places the music educator in an important, multifacted role. Music educators should be able to guide children in their musical experiences and encourage progress as it occurs.

How often does music class meet in Middle and High School? [Music Learning K-12]

Every music course meets at least every other day for at least 45 minutes in Middle and High School.

Elementary Music Library [Music Learning K-12]

For band, orchestra, and chorus, a library of music is provided that includes at least 40 titles for each type of group. At least 15 titles for each type of group are added each year.

Froebel

Founder of Kindergarten. Advocated dance and music in regards to nature as they played outside. 1844 - Wrote Mother Play and Nursery Songs with tunes "Ring-Around-Rosies" and "If You're Happy"

Erik Erikson

Freudian psychology. Believed each stage of children's development offers tasks that a child can be challenges with possibility of failure. Teachers should recognize that children's self worth is wrapped in their definition of success. Music should offer a personal sense of success.

1844 - Wrote Mother Play and Nursery Songs with tunes "Ring-Around-Rosies" and "If You're Happy"

Froebel

Founder of Kindergarten

Froebel

Theory of Multiple Intelligences

Gardner; Differentiates intelligence into specific modalities: musical-rhythmic, visual-spatial, verbal-linguistic, logical-mathematical, bodily-kinesthetic, interpersonal, intrapersonal, naturalistic; Little evidence by way of studie sto support model.

Grade 8

General music is required of all students trhough grade 8

Jerome Bruner

His ideas are based on categorization (3 modes of fact-gathering for children). 1. Physical manipulation 2. Pictoral representation 3. Symbolic Understanding

Hornbostel - Sachs System of Musical Instruments Classification

Idiophones, membranophones, chordophones, aerophone, electrophone

Contemporary Music Project

Implemented during the Ford administration, gave schools exposure to contemporary music

Lev Vygotsky

Importance of culture in a child's development with awareness taht parents and older children affect child's behavior. Teacher or parent can assist a child in defining problem to be solved and then dividing into worksable sections using verbal isntruction and encouragement.

How long should elementary students receive music instruction? [Music Learning K-12]

In elementary school, each student receives general music instruction each week for at least 90 minutes, excluding time devoted to elective instrumental or choral instruction. Music is woven into the curriculum throughout the day.

Conducting: Quality

Indicated by the shape of the preparation

Conducting: Dynamics

Indicated by the size of the preparation

Conduction: Attack

Indicated by the speed of acceleration and force of the ictus

Beginning Instruction: Strings & Woodwinds [Music Learning K-12]

Instruction on string instruction begins no later than 4th grade. Instruction on wind & percussion instruments begins no later than 5th grade. For the 1st year of instrumental study, students are taught at least part of the time in homogenous instrumental groupings.

Manhattanville Music Curriculum Project

Integrated music into the social studies curriculum

Publisher Resources

J.W. Pepper, Carl Fischer, Hal Leonard, Alfred Music

Comenius

Johann Amos Comenius believed that the education of children should begin immediately so that the child could learn about faith, cognizance of moral actions, and familiarity with arts and language. Comenius felt that music education was instinctual for children who first learn to make sound through vocalizations.

Johann Amos Comenius [Music Learning K-12]

Johann Amos Comenius believed that the educator of children should begin immediately so that the child could learn about faith, cognizance of moral actions and familarity with arts and language. Comenius felt that music education was instinctual for children who first learn to make sound through vocalizations.

K-4 Vocal Range [Music Learning K-12]

K-4 vocal range is about an octave starting with Middle C (C4)

Creative and Synchronized Movement [Music Learning K-12]

Movements that are associated with msuc and performed as dances or exercise by young children are classified as either creative movement or synchronized movement. Creative movement gives children freer expression and allows them to improvise and enjoy the act itself. Synchronized movement follows an established routine and is choreographed to the rhythm and beat of the selected music. Creative movement allows children to freely express themselves to song, while synchronized movement helps children to freely express themselves to song, while synchronized movement helps children work as a group and realize the importance of teamwork.

Perceptive Listening [Music Learning K-12]

Music is best appreciated by listeners who are attentive, and music educators can help students learn how to listen. Perceptive listening allows students not only to hear the notes but to understand the structure and movement of the phrasing.

Music Sequencing and its effect on Music Education [Music Learning K-12]

Music sequencing is similar to linguistic structuring as it relates to the audience member: patterns of melody, harmony, and rhythm work together better with appropriately defined tone, key and chord structures. Infants are able to approximate tone and young children can reproduce short or limited contours with some discrepancy in pitch. Early childhood music education opportunities to learn to produce pitches accurately and distinguish between scale and key structure.

Jerome Bruner

New Material ---> ICONIC to Symbolic representation. -Suggests that a learner even of a very young age is capable of learning any material so long as the instruction is Bruner (1960) adopts a different view and believes a child (of any age) is capable of understanding complex information: 'We begin with the hypothesis that any subject can be taught effectively in some intellectually honest form to any child at any stage of development.' (pg. 33) -Importance of language for coding -Spiral curriculum - information being structured so that complex ideas can be taught at a simplified level first, and then re-visited at more complex levels later on organized appropriately, in sharp contrast to the beliefs of Piaget and other stage theorists.

Involvement of Parents [Music Learning K-12]

Parents should always be encouraged to become more active in their child's education and musical development. Music educators should make an effort to include parents in discussions of instruments or musical practice. Parents are teachers first and a full support from them will help the child learn the importance of education. Music educators should always seek out ways to keep parents involved, such as through band suppor programs or fund-raisig.

Peter and the Wolf [Music Learning K-12]

Peter and the Wolf (Prokofiev), is a piece most appropriate for introducing the instruments of the orchestra to Elementary General Music Students.

General music courses involve listening, composing, and performing for all studnets

Reimer

Wrote - A Philosophy of Music Education

Reimer

Working wiht rhythm in instruments in the classroom [Music Learning K-12]

Rhythm insturmentals such as shakers, cowbells, drums, and tambourines are the easiest to work with when instruction children about rhythm, beat, and tempo since they are small, and children can easily be taught to use them correctly. Children should be introduced to these instruments and how they work to produce sound before being taught simple melodies. Once students are familiar, they can be instructed to incorporate those sounds in their exercises.

How can beat, rhythm, and tempo be explored? [Music Learning K-12]

Rhythm is the pattern of long and short sounds. Music educators can explore beat by clapping each syllable of a simple song. Beat is the pulse of the music which may speed up or slow down during the course of the music. Music educators should have students practice grouping beats together. Tempo is the speed of the music. Music education should help students learn the distinction between slow, moderate, and fast tempos by speeding or slowing down the music.

Why is singing and chanting important with young children? [Music Learning K-12]

Rhythmic songs and chants are important for children to understand the combination of sounds and beats and aplly the process to their own sensory perceptions. When music educators participate in the singing or chanting, they can interact with the children, and show them how much fun moving to music and creating music can be for all ages. Music educators can teach songs in small segments, through repetition, or through example.

Yale Seminar on Music Education

Seminar that discussed problems in music education and how to fix them; revamp the music curriculum in schools to promote a public that was musically literate

Beginning instruction at an early age

Shin'ichi Suzuki

Parental involvement

Shin'ichi Suzuki

Performing in groups

Shin'ichi Suzuki

School Music Program: A New Vision K-4

Sing on pitch and rhythm, steady tempo, ostinatos, rounds, partner songs, improvise simle ostinato accompaniments, improvise short songs, use body and nontraditional sounds to make music, create and arrange music to accompany readings, create short songs, read whole, half, dotted half, quarter, eighth notes, rests in 2/4, 3/2, 4/4 meter, Use system (syllables, numbers, letters) reading simple pitch notation, Navajo, Arabic, Latin American music, Evaluate music

School Music Program: A New Vision 5-8

Sing with breath control, alone and in small and large ensembles, sing with expression vocal lit. on a difficulty level of 2 including songs from memory, two and three parts, improvise simple harmonic accompaniments, simple rhythmic and melodic variations on given pentatonic melodies and major keys, erad whole, half, quarter, eighth, sixteenths, and dotted notes and rests in 2/4, 3/4, 4/4, 6/8, 3/8 and alla breve. SR music with difficulty of 2, recognize jazz, mariachi, gamelan

School Music Program: A New Vision 9-12

Sing with expression and technical accuracy, large and varied repertoire of vocal literature difficulty of 4 on scale on 6, sing 4 parts with and without accompaniment, improvise stylistically appropriate harmonizing parts, improvise in pentatonic, major and minor keys, compose in several distinct styles, evovle criteria for making informed critical evaluations of teh quality, compose, arrange, improvise, Baroque, Sub-Saharan, African, Korean, sing, broadway musicals, blues

Gordon's Music Learning Theory

Teaching methods help teachers establish sequential curricular objectives in accord with their own teaching styles and beliefs.

How should Music Educators introduce music instruments? [Music Learning K-12]

The music educator should give instruction on each instrument, how to use the instrument, and then allow the child to replicate that instruction and then to improvise. Music educators should respond positively to a studetn's efforts.

Conduction: Ictus

The point of the rebound

Tanglewood Symposium

The purpose was to discuss and define the role of music education in contemporary American society and to make recommendations to improve the effectiveness of music instruction

Conduction: Preparation

The space between the ictus of one beat and the ictus of the next

Sound Exploration Areas [Music Learning K-12]

Young children need a place to experiment with musical instruments and sounds that is separated from other groups taht may be involved in more directed study. Children should be free to work with instruments such as the bells, shakers, claves, drums, tambourines, and castanets as loudly as the child chooses. All sound exploration should be hands on.

Hornbostel-Sachs

____ System of Music Instrumentas Classification - Idiophones Membranophones, Chordophones, Aerophones, Electrophones

[Music Learning K-12] Orff Methodology

_______ employs a eurhythmic approach to music instruction emphaszing solfege-movement-improvisation. More of an elemental style and learn through experience/movement. Approach encourages improvisation and discourages adult pressures and mechanical drill, fostering student self-discovery considers the whole body a percussive instrument.

[Music Learning K-12] Reimer's Philosophy of Music Education

_______ represents the viewpoint of Absolute Expression. The values of music are gained through direct experiences with its meaningful sounds, remains intact, but is explained and applied in broader, more inclusive scope, with a synergistic philosophical stance as the basis. General music courses involve listening, composing, and performing for all students.

[Music Learning K-12] Bruner's Sprial Curriculum Theory

_______ uses the same concept taught in different grades. His concept in music is: 1) Strategy - presents framework for introducing musical concept. 2) Composing/Rehearsing - Student solve musical problem in group compositional projects by developing a hypothesis and testing it. 3) Performance - Performance takes place 4) Critical Evaluation - After performance they discuss and evaluate themselves. 5) Listening - Students listen to music for please or as a resource.

[Music Learning K-12] Howard Gardner's Theory of Multiple Intelligences

________ implies music is taught as a core subject in the curriculum. Musical Rhythmic Intelligence: the capacity to think in music; to be able to hear patterns, recognize them, and perhaps manipulate them. People who have strong musical intelligence don't just remember music easily, they can't get it out of their minds, it's so omnipresent

[Music Learning Theory] Music Learning Theory

________ was developed by E. Gordon. It is a stage specific learning of how students learn music and how it should be taught. 1) Audiation 2) Music Aptitude 3) Methodology 4) Learning Sequence Activities 5) Classroom Activities 6) Early Childhood 7) Instructional Applications 8) Types and Stages of Audiation