MUS 463 Class Notes January 8, 2014-Why Music Education?

ion? Music Aptitude: everyones born with the ability to learn music o Decreases if not used o Stabilizes at age 9 Music develops similar to language o Kids should listen to a variety of music Then begin to develop a melodic sense Brain Synapses o If music synapses arent used then they are used for something else 9 National Standards for Music Education 1. Singing, alone and with others, a varied repertoire of music. 2. Performing on instruments, alone and with others, a varied repertoire of music. 3. Improvising melodies, variations, and accompaniments. 4. Composing and arranging music with specified guidelines. 5. Reading and notating music. 6. Listening to, analyzing, and describing music. 7. Evaluating music and music performances. 8. Understanding relationships between music, the other arts, and disciplines outside of the arts. 9. Understanding music in relation to history and culture. January 15, 2014-Audiation, Aptitude, Music Learning, Expressive Qualities, Listening Dandelions (from Experimental Songs & Chants Book 1) o Continuous, fluid movement Allows people to feel the space between the beats o Resting tone What the song is based off of o Body awareness Move the bean bag on each body part o Body control Buggy Ride (from Experimental Songs & Chants Book 1) o Exposure to unusual meter o Flow with pulsations Rio Grande (folk song) o Move to macrobeats/microbeats o Resting tone o Figured out triple meter (3 small beats per 1 big beat)

A History of Music Education Lowell Mason o Father of music education

o Lived in Boston in 1837 o Emphasized the importance of vocal performance Post WW1 & band o More bands became really popular during the war o Schools started to have bands Space race (Sputnik, 1957) o Music started to get cut Goals 2000: Education America Act (1994) o Created National Standards for Music 3 Domains of Teaching o Cognitive (intellectual learning) o Psychomotor (physical skills) o Affective (feelings/emotion) Music covers all of the domains Music instruction should begin as soon as possible!

Music Aptitude Aptitude vs. achievement o Everyone has music aptitude o Normal distribution (multiple music aptitudes) o Developmental (before age 9) vs. stabilized (after age 9) Audiation Hearing & comprehending of music in the mind Involves a sense of tonal/rhythm syntax Ability to think IN musical sound Involves predication o You can predict where the last pitch is Audiation to music is what thought is to language Sequential Music Learning Music/language parallels o Listening, speaking, reading, and writing o Informal learning before formal Language development o Started with simple words Then begin to read name Then begin to read sight words Music development o Music babble o Kids move out of babble with unstructured & structured play activities We learn something is based on what it is not!! o Major is most popular tonality o Duple & triple are most common meters o Should expose students to different tones & meters o Musical words are called patterns

What Should We Teach? National Standards for Music Education Elements of Music o Building blocks/tools we use 1. Expressive qualities 2. Harmony 3. Melody 4. Rhythm 5. Form Expressive Qualities Tempo: speed of the beat o Can focus on opposites (fast/slow) or gradual change (speeding up/slowing down) Dynamics: volume o Can focus on opposites (loud/soft) or gradual changes (crescendo/decrescendo) Timbre: sound color/quality Listening Allows kids to absorb the music & build their music vocabulary Helps kids become acculturated to the music in western culture & other cultures All kids experience what you voice can do Helps them become critical listeners Good listening example o Instrumental (preferred over vocal) o If vocal: no lyrics or in another language o Variety of styles o Dynamics: loud, soft, or sudden contrasts o Tempo: fast, slow, or sudden contrasts o Length: 60-90 seconds for young kids; 2-3 minutes for older kids What are Kids Doing During Listening? Passive: background music, close eyes & listen, move & freeze Active: listen for specific elements/concepts, movements focused on specific movement or musical element, listening maps to focus attention on musical elements

January 29, 2014-Rhythm & Movement Timbre: the combination of qualities of a sound that distinguishes it from other sounds of the same pitch & volume o Everything about a tune that is NOT pitch or volume Rhythm Elements Beat: steady pulse of music o Can change tempo o 2 layers: macrobeat & microbeat o Children tend to feel microbeat before macrobeat o Spider fingers o Teach by rote (a LOT) before having students find o Discrimination learning (teacher has to give answer) vs. inference learning (students makes inferences on their own) Meter: layering of micro/macrobeats o Determined by how macrobeats are divided o Macros divided into 2s=duple meter o Macros divided into 3s=triple meter o Macros divided into 2s & 3s=combined meter o Uneven macros=unusual meters Rhythm: long & short duration and the organization of sounds & silences in time o Involves time/timing o Rhythm patterns=rhythmic words o Can use rhythm syllables o Melodic rhythm=rhythm of the melody (what you sing) Gordans 3 layers of rhythm o Melodic rhythmMicrobeatsMacrobeats Song or Chant? Songs are sungchants are chanted Both have rhythm & meter Songs have pitch & tonality o Chants do not Importance of Movement Contributes to physical development Aids in understanding musical concepts (esp. rhythm) Helps develop musical sensitivity/expression Helps develop creativity/imagination Move is DIFFERENT than dance! Body Awareness Is my body moving or still? What part(s) of my body is/are moving

Laban Movement Elements Created by Rudolf Van Laban All 4 elements are on a continuum & all relate o Flow (free-bound) o Space (many aspects) o Weight (strong-gentle) o Time (quick-sustained) Flow: free, fluid, uninterrupted, smooth movement o Aka continuous, fluid movement (CFM) o Readiness for beat! o Flowing first=keep tempo constant o Ex. give an object a ride on hand/other body parts (smooth, circular pathways) o Free=relaxed, loose, difficult to stop Ex. swimming o Bound=stiff, difficult to keep moving Ex. spaghetti noodles-cooked or uncooked Weight (strong-gentle) o Strong: feel body weight (not just stomping) Ex. pass heavy snowball around o Gentle: floating feeling Ex. eggs on the floor o Both/alternate Ex. tip-toe & stomp eggs Space o Self/shared Self: have your own space Ex. freeze like a statue Shared: share with a friend Ex. freeze like a statue with a friend o Open/closed space Ex. balloon & M is for Mary o Levels-high, medium, low o Locomotor/stationary Locomotor: moving around Stationary: stand still Must do stationary first o Direct/indirect pathways Direct: straight pathway Indirect: curved pathway Time (quick-sustained) o Quick: freeze quickly into a statue o Sustained: slo-mo statuses o Both: bubble-gum (slow blowing up, then fast pop) Safe Environment

 Create safe environment both emotionally & physically! Things to Remember Less talking is better Modeling is best Give clear, concise directions Have a signal to end

February 5, 2014-Early Childhood Intro Rhythmic improvision: give certain rhythm & have students respond with different sound but same rhythm Body percussion: have students use body parts as drums Early Childhood Music What is it important for children to be exposed to music as early as possible? o Brain development o Music aptitude o Music/language learning parallels How do young children learn music? o Preparatory audiation Stages everyone goes through before achieving audiation Requires proper guidance and exposure to music Occurs in 3 stages 1. Acculturation Preparatory audiation stage 1 Approximately birth to age 2-4 o Music age vs. chronological age Divided into 3 sub-stages 1. Absorption: kids listen and observe Songs without words & no piano-kids tune into melody Some key/tonality/meter/tempo each time the same song is sung or chanted Lots of vocal inflection Recorded music: dynamic, timbre contrasts but with a consistent tempo 2. Random response: moves & babbles in response to but with no relation to the music 3. Purposeful response: tonal/rhythm babble Child has no idea that their response is incorrect Teacher exposes child to tonal/rhythm patterns after songs/chants o They will response more, once theyve heard more songs/chants Teacher imitates child response & then performs correct patterns Audiation range: D-A

2. Imitation Preparatory audiation stage 2 Approx. age 2-4 to age 3-5 Divided into 2 sub-stages 1. Shedding egocentricity: audition stage 2. Breaking the code: child imitates with some precision 3. Assimilation -Preparatory audiation stage 3 -Approx. age 3-5 to age 4-6 -Divided into 3 stages 1.Introspection: child recognizes a lack of coordination between their performance & teachers 2. Coordination: can sing & chant with breath and movement Early Childhood Classroom Environment Informal guidance vs. formal instruction o Informal guidance: very laid back; go with the flow o Formal instruction: structured Menu of activities (lots of activities) No expectations of specific child responses Very little talking o If there are directions, they should be sung Pattern instruction o After song or chant Tonal & rhythm o Tonal & rhythm are separate o Must teach them separately

February 12, 2014- Early Childhood cont., Melody, Singing Voice Development, Choosing Appropriate Music Music babble o Person is in music babble until they can sing in tune or move with consistent tempo o Two dimensions Tonal Rhythm Not related Tonal babble o One prevalent pitch o Different pitches for different songs o Expands from monotone to patterns in songs o Out of tonal babble when child sings familiar & unfamiliar songs in tune Rhythm babble o Movements unrelated to music o Patterns emerge that are consistent but still dont relate to the music o Movement patterns become consistent=consistent tempo o Out of rhythm babble when child moves consistently with beat & rhythm Aural/Oral o Aural=listening vocabulary o Oral=singing/chanting vocabulary o Basis of audiation o Enhanced by informal music activities Early Childhood Curriculum Song instruction o Coordination/movement instruction o Chant instruction o Tonal pattern instruction o Rhythm pattern instruction o Listening o Establish tonality o Always sing in same key, tonality, meter, & tempo Movement instruction

o Bilateral arms/legs o Alternating arms/legs o Stationary before locomotor Chant instruction o Establish meter o Consistent meter & tempo Pattern instruction o Tonal patterns o Rhythm patterns o Informal= dont expect response Listening o Instrumental o Variety of style o Changes in timbre o Contrasting dynamic sections o Unusual tonalities/meters Elements of Music: Melody Melody: succession of pitches that make up the tune of the song Aspects of Melody o Contour o High/low o Up/down/same o Skips/steps/leaps/repeats o Tonality Major/minor/others Relationships around a pitch center Give tonal flavor Solfege as a tool; happy/ sad as a hint Scales= series of half/whole steps Half step: from key to key Whole step: always skips a key Singing Voice Development Roots of music education in U.S. is singing Singing teaches students to use the instrument they already have Mechanics of the voice o Posture is important o Breathing is essential o Tension is bad o Audiation is necessary o Learning to sing depends on: Developing audiation Finding your singing voice Finding singing voice o Sirens o Owl hoots

o Train whistle o Slides/rollercoaster Presenting a good vocal model o Demonstrate good posture o Dont use vibrato o Sing in appropriate range for kids o Men: sing in your range, but give kids their starting pitch o Sing TO kids, not WITH them o Give opportunities for kids to sing alone Stages of Elementary Singing Development K-1st grade vocal range: D-A (above middle C) 2nd-3rd grade: B (below middle C) to D (above high C) 4th-5th: A (below middle C) to F (above high C) Choosing Appropriate Music for Singing Correct range (look at the notes) Does the melody jump around? Preferably without words o You can sing your favorite song on bum Folk songs are very appropriate

February 19, 2014-Form & Rote Song Procedure Form: how music is structured o Form phrase = section of music Call & response o Contrasting: response changes, call stays the same o Identical: call & response are the same Phrase: a musical thought Sections: use letters to indicate sections o Binary (AB form): use to show section A & B which are different Rig a Jig Jig March during A, sway during B o Ternary (ABA): two As are the same & B is different Hello, Hello, Hello, Hello Macro for A, Micro for B o Rondo (ABACADA): all are different except for As Viennese Musical Clock Activity Theme & variation: main them is presented in one way & then its manipulated Rote Song Procedure Give yourself the starting pitch and sing the song a neutral syllable (bum) Move to macrobeat-heels or sway Move to microbeat-spider fingers Simultaneous macro/micro Pause and sing resting tone during song Tell students they will hear song once more, then will audiate. Give yourself the starting pitch and sing the song Give vocal cue; students audiate song, touching chin when done Give vocal cue, then preparatory gesture/breath. Students sing the song. Assess the students performance and remediate if necessary Rote Chant Procedure Perform the chant Move to macrobeat-heels or sway Move to microbeat-spider fingers

Simultaneous macro/micros Students figure out meter Simultaneous macro/micros once more Tell students they will hear chant once more, then will audiate. Perform the chant. Give vocal cue; students audiate chant, touching chin when done. Give vocal cue, then preparatory gesture/breath. Students perform chant. Assess the students performance and remediate if necessary Things for Students to Do While Listening Macrobeat/microbeat Meter Tonality Resting tone Singing/keeping beat, moving Lyrics Things You Will Want to Practice Vocal cues Preparatory gesture/breath Starting pitch/range

March 19, 2014- Harmony, Classroom Instruments Harmony: different pitches sounding at the same time o Unison (melody) vs. harmony o Rounds are NOT a good place to start o Need to first develop a sense of harmonic underpinnings Resting tone o Exposure (sing So-Do, leave out last pitch of song, sing direction on r.t., play r.t. on instruments) o Beanbag drops & sings r.t. o Resting tone button-r.t. drone o Ingredients in soup-r.t. exploration o Dinosaur Diet= pass beanbag, sing r.t. in solo Ostinato o Resting tone ostinato (Sally Go Round the Sun) o Tonic/dominant (Do-So) ostinatio (My Pony Bill) o Melodic ostinato (Are You Sleeping?) Chord Roots & Tones o Also called Bassline o Provides basic sense of harmonic underpinnings o Neutral syllables first (Rig & Jig) o Expand chord roots to full chords (chord tones) Partner Songs o Songs with same chord root structure/same harmonic underpinnings o Skip to My Lou o This Train/ Oh When the Saints Rounds o Singing the same song but starting at different times o Works only with songs that have the same pattern of chord roots for each phrase Unpitched Percussion

o Ex: rhythm sticks, egg shakers, drums, maracas, triangles, sand blocks, etc. o If instrument can only play rhythms then its unpitched Pitched Instruments o Ex. xylophones, glockenspiels, recorders, ukuleles o If the instrument can play song or melody then its pitched How Can Instruments Be Used? Exploratory play Practice specific concepts o Ex. steady beat, tonal/rhythm patterns) Express a story/poetic ideas Creating (improvising/composing) Exploratory Play Chance to see, touch, & hear the sounds of instruments, connect look/feel to sound Exposure to timbre Specific Concepts Body/voice BEFORE instruments Instrument-extension of audiation o If you can hear/sing/ feel it, you can play it

March 19, 2014- Music and Special Learners, Assessment, Benefits of Education

Music

Music & Special Learners Special education law o IDEA (individuals with disabilities education act) Passed in 1990 o Students deserve the least restrictive environment o IEP (individualized education program) Team that includes parents, classroom teachers, sometimes specialists Unique plan to meet individualized students needs Inclusion/mainstreaming o Include special education students or put in regular classroom Accommodations: when child is capable of the same work but needs more time Modification: change standard for students Helping Students with Cognitive impaired o Attention: state goals clearly, use precise language with concrete examples, one task at time o Memory: repetition, keep patterns short, break tasks into steps, visual cues o Organization: teach by rote (not note), use iconic or create notation o Mental vs. chronological age: work with a buddy, dont baby down Learning disabilities o For student specifically with auditory processing problems: Multiple opportunities for repetition Pair with visual cues

 Pair with movement cues Visual impairments o Preferred seating o Tactile examples/manipulatives o Enlarged visuals/notation o Movement-might do with extra personal space or with a buddy Hearing impairments o Wear the microphone o Preferred seating o Visuals Physical impairments o Modifications to musical instruments o Mallet & recorder adaptations o Modifications to activity Autism o Visuals o Be aware of volumes & timbres o Pair with a buddy o Provide opportunities but dont force (physical interactions, visualizations, etc.) Gifted & talented o May not be gifted & talented in music o Opportunities to play more challenging parts o Opportunities to compose & improvise o Individual projects o Student leaders Assessment in Music Education Authentic assessment: assessing individually o Must measure a particular musical behavior/skill o Requires actual performance in authentic setting Standards-based o Part of everyday class o Turns in games Two types: o Continuous rating scale 4-exceeds expectations, 3-meets expectations, 2-working towards expectations, 1-has a long way to go Can be 3-5 ratings long o Additive ratings scale A list of qualities that are or are not present at time of performance Ex. recorder performance Are There Extra Musical Benefits? Psychosocial: o Increased self-esteem

o Increased enjoyment of school o Increased engagement in learning when music is used o Effective management device o Increased self-expression/emotional outlet Cognitive: o Music is excellent mnemonic device Linguistic: o Music can help those who are language delayed o Can be beneficial in early literacy instruction for ELL students

March 26, 2014- Musical Element Review Melody o Tonality (major, minor) o Scales o Contour o Different pitches Form o How music is structured/organized o Call & response o Binary, ternary, rondo Harmony o Different pitches at same time o Difference between harmony & melody o Resting tone & melody BEFORE harmony o Patterns of harmony (tonic, dominant) Approaches in Music Education Dalcroze o Created by Jacques Dalcroze o Centered on internalizing musical concepts through physical experience o 3 branches: Eurhythmics: based on experience of rhythms/dynamics through movement Ex. running, walking, swimming Sulfege: fixed DO system The goal is absolute pitch

Improvisation: teacher can follow/lead students movements

Kodaly o Created by Zolton Kodaly o Emphasis on national heritage (folk songs) o Vocal approach to music literacy o So-Fa teaching Stresses skills of music reading/writing Solfege: movable Do Progression of pitches learned (So-mi, do) Use of hand signals to reinforce pitch relationships o Rhythms: ta & tis Orff o Created by Carl Orff o Elemental music-music, movement, & speech are inseparable o Progression: speech, rhythm/chant, song o Childrens musical development parallels growth of music history: rhythm, melody, harmony o Concepts introduced as speech patterns & then studied in musical context o Characteristics of Orffs philosophy Speech patterns Elemental music-chants/calls, pitches introduced one by one Pentatonic first (5 pitches that dont class) Instruments (xylophones) Ostinato patterns & borduns as accompaniment Emphasis on improvisation (of a certain KIND) Music Learning Theory o Created by Edwin Gordon o Main goal = audiation o Importance of sequential learning o Pattern instruction o Movable Do/La-based minor o Rhythm syllables: based on beat function o Variety of tonalities & meters o Importance of movement o Individualization of instruction (aptitude, pattern instruction)

April 2, 2014- Arts Integration Instructional goals need to be established for both music & other subject Music should be more than just a tool for learning other subjects 2 approaches in integration o Thematic: focus on theme/topic o Parallel concepts: focus on common concepts Social Studies Expose students to music of different cultures Have students make up history song Math Rap times tables Integrating Music & Childrens Literature Books that are songs o Down by the Station o The Crabfish o She be Coming Round the Mountain Songbooks o Frog Went a-Courtin o Wee Sing o Imanis Music Books about composer, pieces of music, or musicians o The Composers Books o The Carnival of Animals o Childrens Book of Music

Books about instruments or other musical concepts o M is for Melody o Zin, Zin, Zin! A Violin! o Tubby the Tuba Books with a natural rhythm (with strong patterns or rhythmic sense) o The Remarkable Farkle McBride Books in which aspects of music are included but not the focus o The Jazz Fly o Abiyoyo o Freddie Frog and the Flying Jazz Kitten o Theo and the Blue Note Books not directly connected to music but associate with musical pieces of ideas o Peter and the Wolf Books that could use instruments to tell a story o The Little Old Lady Who Wasnt Afraid of Anything o Pete the Cat The Power of Chant Why use chant? o To improve oral fluency and reading comprehension Similarities between language arts and chant? o Timing-rhythm o Pacing-tempo o Flow of language-beat/meter Ways of using childrens literature to integrate chant: o Book with text as an existing chant o Book with text that alternates between stanza and refrain Modifying a text to create chants o Teacher modifies o Student modifies Chanting with existing text (Ex. Brown Bear, Brown Bear) o Model the beat and ask students to follow you o Chant the entire book so the flow is uninterrupted o Cue the students so they know when to begin (Ex. 1,2,ready, go!) o Practice the book until all students can follow along with the words (Big books work well) o Possible extensions: Identify animal names/color, pick out nouns/verbs/etc., add movements o Other examples: I Went Walking, Sing-Song Sid Alternating between stanza and refrain (Ex. The Pout Pout Fish) o Teach refrain o Create movement to show beat that goes with the text o Cue the students o Allow students to practice their part without the book

o Add the book! o Other examples: Were Sailing to Galapagos, Shake dem Halloween Bones Modifying Texts to Create Chant (Ex. Barn Dance) o Read story o Create a class chant: Select the text you want to use; write on board Identify number of phrases and beats per phrase Add or subtract words Decide which words will get emphasis How will students perform? (Unison, echo, call & response) When will this occur in the story? (Once, at certain points, after every page?)

April 16, 2014-Integrating Movement Used 4 basic elements of dance o Body o Energy: how we move o Space: where to move o Time: how to move Life cycle of a plant Musically Moving Math Music math cards o Exploring one-to-one correspondence, external & internal counting o Exploring simple addition sentences o Multiplication line dance o Steady beat multiplication maze o Shapes & angles Line: horizontal, vertical, diagonal Angles: right, acute, obtuse 2-D shapes 3-D shapes Science & Dance Action word warm-up Simple machines