Samantha Ragusin

MUSE 258/Voice Techniques

Citation
Sound Connections, Chapter 5
Don Ester 2010

Summary Outline
It is important to realize that we, as educators, must set the prerequisite soundscape for
our students. Exposing young ears to music that utilizes learned rhythm and tonal
patterns introduces and reinforces patterns. Even when students have progressed to
advanced literature, introductory patterns can be found throughout those more
challenging pieces. As we approach pattern learning, we find the three echoing stages:
neutral echoing, syllable echoing, and echotranslation. When we approach leading these
echoing activities, there are three main aspects that are of the utmost importance to
ensure student success. Leadership of the patterns should be accurate, the educator
should clearly establish and maintain meter or tonality, and nonverbal gestures should
be utilized to lead activities. When establishing tonality, utilize a combination of solfege
and “echo me” or “this is home.” Similarly, when establishing meter, Takadimi syllables
or the word “beat” can be used to present information. Finally, it is important to utilize
nonverbal gestures, as these do not interfere with the processes of listening and
responding. The reinforcement and application of pattern learning can be done within a
rehearsal or lesson. It can be included in vocal technique exercises or integrated into
elementary games and activities.

Discussion
When considering how to approach music literacy, the feat and pedagogy can seem
daunting. Sound Connections, however, not only lays out a specific approach but
provides valuable resources, ideas, and tools to help facilitate music literacy education.
As is stated in this and previous chapters, music literacy most assuredly does not need
to take up a great deal of valuable lesson and rehearsal time. Instead, the introduction
and review of tonal and rhythm patterns should take less than 10 minutes. Furthermore,
repertoire or content being studied within the various music classes can be used in
tandem with developing music literacy skills. For instance, an elementary general music
teacher could integrate Orff instruments with developing familiar tonal patterns. By
limiting the available notes, young students could become familiar with tonality through
LDM and DMS patterns. Additionally, rhythm patterns could be played on hand drums or
Latin instruments. The options are endless when it comes to integration of content and
music literacy processes.