Week 3 Notes (01/29)

4/2/2014 3:27:00 PM

-Timbre: Combo of qualitie of a sound that distinguishes it from other sounds of the same pitch and volume everything about a tone that is NOT pitch or volume Elements of Music Expressive qualities Form Rhythm Melody Harmony Rhythm Long and short durations and organization of sounds and silences in times Involves timing Rhythm patterns= rhythmic words Can use rhythm syllables Melodic rhythm = rhythm of the melody (what you sing) o Beat Steady pulse of music Can change tempo 2 layers macro and micro beat children tend to feel microbeat before macrobeat teach with spider fingers teach by rote before having students find (i.e, discrimination v. inference learning)

o Meter Involves layering of macro/microbeats Determined by how macro beats are divided Macros divided by 2 = duple meter Macros divided by 3 = triple meter Macros divided by 2 and 3 = combined meter Uneven macrs = unusual meter o Gordans 3 layers of rhythm Melodic rhythm Microbeats Macrobeats Songs v. Chant

 Songs are sung, chants are chanted Both have rhythm and meter Songs have pitch and tonality Importance of movement Contributes to physical development Aids in understanding musical conceptions, expression, and musical sensitivity Helps develop creativity and imagination Laban Movement Created by Rudolf Laban All 4 elements are on a continuum and all relate to each other o Flow (free-bound) Free: fluid, uninterrupted smooth movement AKA continuous fluid movement Readiness for beat Flowing first=keep tempo consistent Ex: give object a ride on hand/other parts (smooth, circular pathways) Bound: stiff, difficult to keep moving o Space (many aspects) Self/shared Open/closed shapes Levels (high, medium, low) Locomotor/stationary Direct/indirect straight, curvy pathways o Weight (strong-gentle) Strong= feel body weight (not stomping) Gentle: floating feelings (eggs on floor) o Time Safe environment Space Skills Modeling (quick-sustained) Quick: freeze quickly into a statue Sustained: slo-mo statues Both: bubble gum

Support Classroom norm/expectations

Week 4 Notes (02/05)

4/2/2014 3:27:00 PM

Early childhood music Why is it important for children to be exposed to (and begin learning) 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 sufficient exposure to music Occurs in three stages/types

Acculturation Preparatory Audiation Stage 1 Approximately birth to age 2-4 o Musical age v. chronical age Divided into 3 sub-stages o Absorption o Random response o Purposeful response (tonal/rhythm babble) Absorption o Kids listen and observe Songs without words/ no piano kids tune into the melody Same key/tonality/meter/tempo each time the song is sung or chanted Lots of vocal inflection Recorded music: dynamic, timbre contrasts but with a consistent tempo o Random Response Moves and babbles in response to, but with no relation to the music o Purposeful Response Tonal Rhythm Babble Child has no idea their response is incorrect

Teacher exposes child to tonal/rhythm patterns after songs/chants-they will respond more once theyve heard more songs and chants Teacher imitates child response and then performs correct pattern Audiation range: D-A

Imitation Preparatory Audiation Stage 2 Approximately age 2-4 and 3-5 Divided into two sub-stages o Shedding egocentricity audiation stare o Breaking the code Child imitates with some precision, just not consistently Assimilation Preparatory Audiation Stage Approximately age 3-5 and 4-6 Divided into two substages o Introspection Child recognizes a lack of coordination between their performance and the teachers Usually is missing the breath o Coordination Child coordinates singing and chanting with breathe movement Early Childhood Classroom Environments Informal guidance v. formal instruction Menu of activities No expectations of specific child response Very little talking Pattern instruction o Tonal and rhythm

Week 5 (02/12)

4/2/2014 3:27:00 PM

Music Babble A person is in music babble until he/she can sing in tune or move with consistent tempo Two dimensions o Tonal o Rhythm o Not related to each other Tonal Babble One prevelant pitch Different pitch for different songs Rhythm Expands from monotone to patterns in song Out of tonal babble when child sings familiar and unfamiliar songs in tune Babble Movements unrelated to music Patterns emerge that are consistent but still dont relate to music Movement patterns become consistent = consistent tempo Out of rhythm babble when child comes consistently with the beat of the music and performs rhythms correctly

Aural/Oral Aural=listening vocabulary Oral- singing/chanting vocabulary Basis of audiation Enhanced by informal music activites o Varied activities Early childhood curriculum Song instruction Coordination/Movement Instruction Chant instruction Tonal pattern instruction Rhythm pattern instruction Listening Song instruction Establish tonality Always sing in same key, tonality, meter, and tempo Movement instruction

 Bilateral arms/legs Alternating arms/legs Stationary before locomotor Chant Instruction Establish meter Consistent meter and tempo every time Pattern Instruction Tonal patterns Rhythm patterns Informal= do not expect a response Listening Instrumental Variety of styles Changes in timbre Contrasting dynamic sections Unusual tonalities/meters Elements of Music Element 3: Melody o Succession of pitches that make up the tune of a song o Has different aspects o Aspects of melody Contour High/low Up/down/same Skip/steps/leaps/repeats Tonality Major/minor/others Relationships around a pitch center Gives tonal flavor Solfege as a tool happy/sad as a hint Scales=series of of half/whole steps HALF step- from key to key (no keys in between) WHOLE step-always skip a key (one key in between) Singing Voice Development

Why is it important? o Roots of music education in US are singing o Singing teaches students to use the instrument they already have and can take anywhere! Mechanics of the voice o Posture 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 o Different ways of singing voice This is my __ voice

Presenting a good vocal model o Demonstrate good posture o Do not USE vibrato o Sing in appropriate range for children o Men: sing in your range (octave lower) but give children their starting pitch o Sing to children, not with children o Give opportunities for children to sing Stages of Elementary Singing Development K-1 vocal range: D-A (above middle C) 2-3 vocal range: B (below middle C) to D (above high C) 4-5 voal range: A (below middle C) to F (above high C) Choosing appropriate music for singing Correct range look at notes Does the melody jump around? Preferably without words o You can sing your song on bum

Folk songs are very appropriate

Week 6 Notes (02/19)

4/2/2014 3:27:00 PM

Musical Element 4: Form How music is organized The structure of music o Required listening for chunks, repetition o Can be on a small or large scale Call and Response o Alternates between one person/group doing a part and another person/group answering back o Contrasting call and response The call changes but the response stays the same every time Ex: Old John the Rabit o Identical call and response Call and response are the same Ex: Che Che Kule Phrase o Musical thought/musical sentence Ex: my pony bill Sections o Larger scale o Using letters label/represent large sections o AB Binary rig a jig two distinct sections o ABA ternary Hello, Hello, Hello o Rondo Once section recurs, alternating with different sections in between (ABACA..) There was an only lady who swallowed chick Theme and Variation o Main theme presented and then is manipulated in various ways (changing tempo, rhythm, meter, tonality, range, timbre,etc.) Rote Song and Procedure (Pure) exact steps Give starting pitch and sing song on neautral 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 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 Song procedure modified Students listen for or demonstrate something specic in the song. Give yourself the starting pitch and sing the song. Students listen for or demonstrate something else. Give yourself the starting pitch and sing the song. Repeat step 2 as necessary, depending on the difculty of the song. Tell students they will hear song once more, then will audiate. Give yourself 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 ngers Simultaneous Macro/micros Students gure 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 Macro/micro Meter Tonality Resting tone Singing/keeping beat, moving Lyrics

Week 9 (03/12)

4/2/2014 3:27:00 PM

Musical Element 5: Harmony Different pitches sounding at the same time Unison (melody) vs. harmony Rounds are NOT a good place to start Need to first develop a sense of harmonic underpinnings Resting Tone Exposure: (Sing So-Do, leave out last pitch of a song, sing directions on r.t, play r.t on instruments) Beanbag drop and sing r.t resting tone button r.t drone ingredients in soup- r.t exploration dinosaur diet pass bean bag, sing r.t in solo Ostinato Resting tone ostinato sally go round the sun Tonic/Dominant Ostinato (My pony bill) Melodic Ostinato Chord roots and chord tones Also called the bassline Provides basic sense of harmonic underpinnings Partner Neutral syllables first (rig a jig jig) Expand chord roots to full chord (chord tones) Songs Songs with same chord root structure/ same harmonic underpinnings

Rounds Singing the same song but starting at different times Works only with songs that have the same pattern of chord roots for each phrase Classroom instruments (unpitched) Unpitched percussions o Rhythm sticks, egg shakers, drums, maracas, triangles, sand blocks o If it only plays rhythms, its unpitched How can instruments be used? Exploratory play

o Chance to see, touch, and hear the sounds of instruments, connect look/feel to sound o Exposure to timbre Practice Specific Concepts o Body/voice BEFORE instruments o Instrument=extension of audiation o Beat and Ostinato=rhythm sticks clackity clack Express a story/poetic ideas o Pete the cat Creating (improvising/composing)

o Canoe song-improvise rhythms on drum in between song repetitions, pass to the next person during the song Classroom instruments (Pitched) Examples: xylophones, glockenspiels, boomwhackers, recorders, ukeleles If the instrument can play harmony, melodyit is pitched Creating Creating a melody o Echoing melodic patterns o o o o o Creating answers to questions phrases Creating questions to phrases Pairs take turns with questions and answers Can you replicate it/do it the same way each time?

Week 10 Notes (03/19)

4/2/2014 3:27:00 PM

Music and Special Learners Special education law IDEA o Individuals with disabilities act o Students deserve the least restrictive environment IEP o Individualized Education Program o Team that includes parents, classroom teacher, sometimes specialists o Unique plan to meet individual students needs Music and Special learners Inclusion/mainstreaming Accommodations v. modifications o Accommodations: when a child is capable of the same work but needs more time, different modes of responding, different formats, etc. o Modifications: a change in the standard for participation for success. A difference in the educational goals for a student Helping students with Cognitive Impairments o Attention: state goals clearly, use precise language with concrete examples, one task at a time o Memory: repetition, keep patterns short, break down task into steps, visual cues o Organization of ideas/abstract: teach by rote, use iconic or created notation o Mental v. chronological age: work with a buddy, dont baby down Learning disabiities o For students specifically with auditory processing problems Multiple opportunities for repetition Pair with visual cues Pair with movement cues o Visual impairments Preffered seating Tactile examples/manipulatives

Enlarged notations/visuals Movement-might do with extra personal space or with a buddy o Hearing impairments Wear a microphone! Preffered seating Visuals Physical Impairments o Modifications to musical instruments o Mallet and recorder adaptations o Modifications to the activity Autism spectrum disorder o Visuals o Be aware of volume levels and timbres o Pair with a buddy o Provide opportunities but dont force Gifted and talented label o may not mean gifted and talented in music o opportunites to play more challenging parts

o opportunities to compose or improvise o individual projects o student leaders Assessment in music education Authentic assessment o Must measure a particular musical behavior/skill o Requires actual performance in an authentic setting o Standards based o Part of every day class o turns in a game Two types o Continuous rating scale 4-exceeds expectations, 3-meets expectations, 2working towards expectations, 1-has a long way to go can be a 3-5 rating scale o Additive rating scale

a list of qualities that are or are not present at the time of the performance Extra musical benefits Psychological 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 an excellent mnemonic device if you choose to use it that way Linguistic o There is evidence that music education can help those who are language delayed with their communication skills and that singing can improve many speech disorders o Use of music in the classroom can beneficial in early literacy instruction and for students who are English language learners

Week 11 (03/26)

4/2/2014 3:27:00 PM

Approaches in music education Four main methodologies o Dalcroze Created by Jacques Dalcroze (1865-1950) Centered by internalizing musical concepts through physical experience Three branches 1. Eurhymics: based on experience of rhythm/dynamics through body movement e.g., walking, running, skating, galloping 2. Solfege-Fixed do system goal is absolute pitch 3. Improvisation (teacher at the piano) so that the teacher can follow/lead students movement

o Kodaly Created by Zoltan Kodaly Emphasis on national heritage (folk songs) Vocal approach to music literacy So-fa teaching stresses skills of music reading/writing solfege: movable do progression of pitches learned use of hand signs to reinforce pitch relationships

o Orff-Schulwerk Created by Carl Orff (1895-1982) Elemental Music-music, movement, and speech are inseparable Progression: speech, rhythm/chant, song Childrens musical development parallels growth of music history: rhythm, melody, harmony Concepts introduced as speech patterns and then studied in musical context Characters of Orffs Philosophy (and materials) Speech patterns

Elemental music-chants/call, then pitches introduced one by one Pentatonic first (5 pitches that dont clash) Instruments Ostinato patterns and borduns as accompaniment Emphasis on improvisation o Music Learning Theory Created by Edwin Gordon Main goal=developing audition Importances of sequential learning Pattern instruction Movable do/la based minor Rhythm syllable: based on beat function Varieties of tonalities and meters Importance of movements (Laban) Individualization of instruction (aptitude, pattern instruction)

Week 12 (04/02)

4/2/2014 3:27:00 PM

Article-Johnson & Memmot -Design: -Group 1 with state mandadted music programs with exemplary teaching -Group 2 with state mandated music programs with poor teaching grades were 3, 4, and 5 -Results: correlation but no causation schools with exemplary music programs did perform better but too many variables to control -there may be a relationship between the two but cannot be proven given the lack of control of the situation Arts integration: Howard Gardner: Multuple intelligences o Verbal/linguistic (word smart) o Logical/mathematical (number smart) o Visual/spatial (picture smart) o Musical/rhythmic (music smart) o Body/kinesthetic (body smarts) o Interpersonal (person smart) o Naturalist (nature smart) o Existentialist (spiritually smart) Instructional goals need to established for both music and other subjects. o Music not just a tool but for its own growth as well Music should be more than just a tool for learning other subjects. A valid integrative experience should deepen the understanding of music as well as that of the other discipline(s) involved. Two approaches to integration o 1. Thematic approach: focuses on a theme/topic o 2. Parallel Concepts approach: focuses on common concepts Science Integrative Lessons: o Sound for energy o Lesson on lungs (human anatomy) Breathing o Frequency with music (waves)

o Bones song o Thematic lessons: Water cycle Body parts rap o Design experiments using music o Relating motion with tempo o Newton laws of motion o Music and language development Literacy o Books singing

o Bring in music to relate to context o Helping with fluency and expression o Poetry and rhythms Math: o Rapping times tables o Songs for memorization Integrative Portfolio Need objectives for both science and music Have to demonstrate meaningful learning in both subjects Integrating Music and Childrens Literature Books that are songs to begin with o 1. Down by the Station o 2. The Crabfish o 3. Shes coming around the mountain Songbooks o Frog went a-courtin o Wee Sing: Childrens songs and fireplays o Imanis music Books about composers, pieces of music, or musicians o Composers books (Dr. Celenzas) o Carnival of animals o Childrens book of music Books about instruments of 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 patters or rhythmic sense) o The Remarkable Farkle McBride (John Lithgow) 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 that could use instruments to tell a story o The little old lasy who wasnt afraid of anything o Pete the cat

Exam:

65 question exam (multiple choice) o 3 fill in the blank -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 literature to integrate chant o Book with text as an existing chant o Book with text that alternates between stanza and refrain o Modifying a text to create chant o Alternating between stanza and refrain Teach refrain Create movement to show beat that goes with the text Cue the students Allow students to practice their part without the book Add the book o Brown Bear Model the beat and ask students to follow you Chant the entire book so the flow is uninterrupted Cue the students so they know when to begin

Practice the book until all students can follow along with the words Possible extensions: Identify animal names/color, pick out nouns/verbs/etc., add movements Other examples (I went walking, sing-song sit o Modifying texts to create a chant Read story Create a class chant Select the text you want to use; write on board o 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?

Week 14 (04/16)
Integrating movement with early childhood curriculum Uses for basic elements (of dance) o Body awareness o Energy o Space levels (where to move) o Time how we move Life Cycle of a plant o incorporates movement Musically moving math music math cards

4/2/2014 3:27:00 PM

o exploring one-to-one correspondence, external and internal counting o can also explore number sentences that correlate movements to number sentences multiplication line dance o keeping a steady beat Steady beat multiplication maze Shapes and Angles o Line: horizontal, vertical, diagonal

o Angles: right acute, obtuse o Two dimensional shapes o Three dimensional shapes Integrating Science and Dance Action word warm-up Simple machines o Choreograph a dance based on simple machine movement Science music o www.resa.net/sciencemusic