Integrated Methods for the Elementary School:
Music
(FINA 125) LECTURE
NOTES
FINA 125 01
Reference text (not required)
William M. Anderson and Joy E. Lawrence, Integrating Music into the
Elementary Classroom, 5th ed. (Belmont, CA: Wadsworth/Thomson
Learning, 2001)
Musical Participation assignment
As noted on the syllabus in week 9, a demonstration
of
recorder, guitar, or piano technique
Due to time restraints we will break into trios for
presentation
to the class
The purpose of this exercise is to acquire some
instrumental
performance proficiency in front of a class
If you are already proficient on guitar or piano,
OK,
otherwise think recorder
Musical materials are to be picked by you subject to
my approval
Particular individuals who would like to form a
little
trio on their own are welcome to do so
I want to know pre-formed trios
next
week, and I will assign the remaining next week
All classroom lecture material is subject to quizzing--take notes
A goal is to foster the skills necessary for future classroom teachers,
not music specialists, in making music "a central part of the
elementary
school curriculum"
Prospective classroom teachers bring several possible areas of
expertise
and interest concerning music into the classroom
Some are proficient on an instrument
Some have vocal/choral/choir experience
Some are intimately familiar with various
repertoires
through their listening experiences
Some are regular concert goers
Some of you may be dancers
Some may be interested in the multicultural
ramifications
which different types of music can reflect
Music is relevant to mathematics and physics, can be written about in
prose,
has applications in medicine (music therapy)
Clearly, there is a vast potential for relating
music with various aspects of the overall
curriculum
What is the value of an integrative approach
If different areas of knowledge and experience can
be shown to interrelate, then one might use skills and understanding
from one area in order to better understand and experience another area
This is the advantage to a holistic approach--it
fosters a comprehensive understanding and feel for the relevance of
particular branches of knowledge and experience
The more different ways one can experience music, the more fully
developed an understanding and appreciation they
will have
And since children learn
in different ways, tactiley, visually, aurally
--music should be presented and experienced in as many ways as possible
to
be effectively taught
Active learning is
important--
singing, playing, clapping, dancing, etc.
HOW CHILDREN LEARN
Basic types of learning
Psychomotor
learning--learning
that involves mental processes that control muscular activity
Singing,
playing,
moving
Children should be encouraged to
respond
physically in some way to heard music
Clapping,
marching, singing, showing appropriate physical movements to high and
low
sounds, etc.
Regular practice of these
activities,
on a daily rather than once or twice a
week,
basis is
important for developing these skills
Hence, the
obvious repsonsibility of the classroom teacher who sees them every day
High freqency
of
lessons is good for maintaining continuity
Cognitive
learning--learning
that deals with the acquisition of knowledge
Issues
Tieing musical
information with musical experience
Communicating
in
a language appropriate to students
Affective
learning--"concerns
itself with a feeling response to music" (8)
How is music expressive of
emotional
states?
Learning approaches
Teacher-Centered
Lecture style like what I am
doing
now
Child-Centered
Presentation of a problem which
must be solved by the students (with teacher-led exploration, of course)
For young children,
child-centered
is particularly effective
Structure of musical learning
Meaningfulness
Listening to pieces which are
associated
with something relevant in their lives
Sequential organization
of material
Step-by-step presentation of
material
Experience
Experience with the musical
concept
necessary before labeling
Conceptual learning
Organize the musical experience
by concept: melody, harmony, rhythm, dynamics, timbre, etc.
Spiral learning
Involves a "systematic return to
concepts
at increasing levels of sophistication"
Multisensory learning--touched
on earlier
Multicultural approach
Deepens our understanding of
others
and consequently ourselves
Familiarizes the student with a
greater
variety of musical experiences
Positive reinforcement
Emphasize intrinsic as well as
extrinsic
rewards
Teach for transfer
Musical concepts can be
transferred
into other areas of learning
Build connections and
interrelationships
among different areas
Retention of information is more
likely
Cooperative learning among students of
varying abilities is valuable because it challenges slower students in
working with more advanced, and more advanced benefit by helping the
slower
Learning should be inclusive
Challenges to consider
and
be accomodated
Physical
Visual
Hearing
Gifted
Mentally
(text deals
with
this in detail on pp. 16-17)
Take advantage of instructional technology
CDs, audio tapes, video tapes,
computers (CAI and internet)
GUIDELINES FOR TEACHING MUSIC
Identify long and short-term goals
Examples of long-term
goals
Sightsinging proficiency
Appreciation of jazz
Instrumental performance
experience
Examples of short-term
goals
Learning solfege (give brief
explanation)
Identifying the various
intstruments
as they solo in a jazz quintet
Recorder lessons
Decide on the concepts
to be taught
State clear objectives
to the students as to what they are to do to demonstrate their learning
Choose appropriate musical
materials and activities
Assess capabilities
Incorporate their interests and fun
Preliminary acitivities relating
general concept as it applies to their everyday lives is included
here (e.g.,
contrast issues)
Integrate into their other activities
Frequency and duration of lessons loose guidelines
K-3: 20-25 minutes daily
4-6: 30-40 minutes daily
Bring closure to the learning experience
An activity which ties together the concepts which
were
taught
E.g. singing a song with attention to the
concepts
taught
Assessment issues
Importance of feedback to students to provide sense
of
accomplishment
Potential tools
Singing
evaluations
Playing evaluations
Movement evaluations
Notation evaluations
Quizzes in which they
identify
concepts such as high, low, duple, triple, loud, soft, etc.
Music Educators National Conference (MENC) National
Standards in Music Education
Students should (from p. 25)
1.
Sing, alone and with others, a varied repertoire of music
2.
Perform on instruments, alone and with others, a varied reprtoire
3.
Improvise melodies, variations, and accompaniments
4.
Compose and arrange music within specified guidelines
5.
Read and notate music
6.
Listen to, analyze, and describe music
7.
Evaluate music and musical performances
8.
Understand relationships among music, the other arts, and
disciplines
outside the arts
9. Understand
music
in relation to history and culture
FINA 125 02
With respect to the video we watched, how about some topics that can
be
integrated with the blues?
Slavery/history
Mississippi Delta/geography
Subject matter of the blues
The Son-House set and audio
production
Cotton plantations/agriculture
Accelerando in the Leadbelly song
Women's roles as
performers
Ma Rainey
Bessie Smith/film
Soundtrack throughout the video
Scientific developments:
Booker T. Washington
Has anybody heard Ledbetter Blues by Pearljam?
Jenny Jenkins
Objective: discrimination between melody
and harmony and loud and soft
Sing and play them the first verse
Explain that when you sing, one note at a
time,
that's a melody; a
And what you strum, when
you
hear more than one note at a time, that's harmony
Teach first line to them and make them sing it
back
Loud on everything except
the
"I'll buy me" part which should be soft
Now add colors and make them make up verses
Have color props to prompt
them
and to think about things
Encourage them to first
think of rhyming words with the colors to help them compose lyrics
Do this all
with
paper, crayons, scissors, and tape stuff to board
Go through perhaps yellow (jello, fellow),
beige,
green (mean), blue (shoe)
Then we'll sing all the verses we have and you
give them the punch line
Well what did we accomplish
Active
learning
Singing
Writing
lyrics
Identifying
melody and harmony and loud and soft dynamics
Now, can someone come up to the piano, or
xylophone, sing, or whatever and demonstrate a melody for
me
One they already know or
make
one up using only black keys
Tell me what makes it a
melody
Now can someone come up and demonstrate
harmony
on the piano?
What makes it harmony?
Can you make it sound
better
(if necessary)?
Musical Participation assignment
Particular individuals who would like to form a
little trio, who are you?
Assign the remaining
QUIZ 1
FUNDAMENTALS
Music's basic elements
Melody, harmony, rhythm,
texture,
tone color (timbre), dynamics, and form
Recall that this is the conceptual learning talked
about
last week
We will organize the musical
experience
by the concepts listed above
Play Tchaik Pathetique Love Theme on piano (p. 220 in black K&P
workbook)
Melody is the label
It is important that students have the musical
experience
before labeling
Definition of melody: "a
succession of musical sounds that are perceived as belonging together"
Key elements
of
this definition are "succession" and "perceived"
Discuss
My experience with melody is that
it is a gestalt of successive notes
Melody is composed of its
elements as well which are what? Prod them on this while you play
portions of the Pathetique
again
Pitch
Perception of high and low sounds here
Put up part of the melody and discuss interval,
conjunct,
and disjunct
"A Melody is Based on a Set of Pitches"
Usually can
be organized to reflect
a particular scale which is identified with the key (more about
key
later)
Scale is
conventionally ascending
depiction of the pool of pitches used with the "tonic"
bounding it
Demonstrate
tonicness
Rhythm
(duration)
Timbre (play
it
on guitar as opposed to piano)
Dynamics
Therefore we
can demonstrate some of music's basic elements with this melody
Other
important elements associated with melody are contour, range, phrase
Range--Play CD "Star-Spangled Banner"
Phrase--Play CD "Shenandoah"
Some more
details
Major and minor scales and their associated interval
patterns (along with their transpositionality)
Put up patterns on the board of major and all three minors in terms of
whole
steps and half steps
(after telling them a
whole step is two piano keys) and ask non-piano folks to come up
and
play
these examples given a tonic (turn piano around)
Put up solfege
syllables and ask class to sing
(briefly outline importance of solfege)
Minor examples--Play CD "Wayfaring Stranger" and "Go
Down, Moses"
There are other types of scales
Demonstrate diatonic pentatonic and demonstrate it on the black keys
Accidentals
Demonstrate
Key
Key--Play CD "Zum Gali Gali" and
emphasize
tonic
Explain it
Show how to get the name of the
key from the "
key signature"
We talked about harmony in the Jenny Jenkins song
Again an example
Play just the chords to
Pathetique
after playing the melody again
Further considerations of rhythm
Play them "Funky Music" riff on guitar
Ask them what aspect of the sound stands out to them
Rhythm? Has to do with durations of rests and
notes
Put up all the notes and rests
listed
on p. 65
Put up rhythm on p. 65 top and ask them to play,
vocalize
percussion, and/or clap to it
Point out bea
t
Discuss tempo
in relation to beat
Tempo is "The
speed with which the beat recurs in music" (61)
Clap again and notice which claps
seem emphasized
That is
meter--" The accenting of specific pulses
establishes a pattern of strong and weak beats called
meter
" (62)
Explain the
meter
(time) signature
Describe the tempo of the two pieces "The Elephant"
and "Birds" in Saint-Saens's Carnival of the Animals
Syncopation
Sing to them without syncopation
first
verse of Five Little Frogs on p. 61
Then sing it to them with
syncopation
Do it again straight and they clap
Do it again syncopated and they
clap
Have them sing and clap it both
ways and ask them to notice how the two versions line up with their
clapping
Definition from New Harvard: "
A momentary contradiction of the prevailing meter or pulse"(827)
Let's read and play some more rhythms
Using percussion, clapping,
vocalizing
percussion, whatever
Put up the four rhythms on bottom
of p. 65
Divide into 4 instrumental
groupings
and go over each rhythm individually
Then put it all together
Add some syncopation with ties
and
try it again
Play and ask them to note the differences in texture in the following
examples--"
Texture refers to the
number of lines of music being performed and to the
relationship
among different musical lines"(66)
Conduct and have them sing the first phrase of
"America"
Monophonic
--define
Play and sing one verse of Jenny Jenkins again
Homophonic
--define
Play CD of J.S. Bach Fugue in D Minor
Polyphonic
--define
Tone color (timbre) we already have been
experiencing
and discussing earlier--it's the sound quality a
particular instrument or how
it
is played makes
Dynamics is the softness and loudness of the
music
Some important terms
pp
through
ff
crescendo
and decrescendo
Form--a conception of how the music is organized
usually
with respect to sections which are compared as
being similar or contrasting
Recall our discussion of Rondo
form last week with the shapes
Other forms and shapes that might be used to
characterize
them
Binary
Ternary
--Play CD, "We Wish You a Merry Christmas"
Rondo
Theme and
variations may be better described by letters:
A A' A''
A''' etc.
My closure for this chapter takes the form of a list of concepts with
which
to be familiar
Large general conceptual categories
Melody,
harmony,
rhythm, texture, tone-color, dynamics, form
More specialized conceptual categories
Pitch,
conjunct, disjunct, scale, key, tonic, duration, contour, range,
phrase, solfege, pentatonic,
accidentals, key
signature, atonal, serial, tempo, meter, meter or time signature,
syncopation,
monophonic, homophonic, polyphonic, pp through ff, crescendo,
decrescendo, binary, ternary, rondo,
theme and variations
FINA 125 03
POTENTIAL EXAM ITEMS
Major and minor
scales and their associated interval
patterns
Demonstrate diatonic pentatonic and demonstrate it
on
the black keys
Accidentals
Show how to get the name of the key from the "
key signature"
Rhythm? Has to do with durations
Put up all the notes and rests
listed
on p. 69 of text
Tempo--"The speed with which the beat
recurs
in music"
Meter--"The accenting of specific pulses
establishes
a pattern of strong and weak beats called meter"
Explain the meter (time)
signature
Syncopation--definition
from New Harvard: "A momentary contradiction of the prevailing meter or
pulse"
"Texture refers to the number of lines of
music being performed and to the relationship among different
musical lines"
pp through ff
crescendo and decrescendo
Binary, ternary, rondo
This HO (23-4) gives some specific objectives for each grade
HO (37) lists options that are helpful for those who are unsure of
their
singing or musical ability in general
HO (36) listing "Reminders for Planning and Teaching Lessons"
TEACHING MUSIC THROUGH SINGING
Songs are an incredibly useful resource for culture, history,
geography, nature, and religion as well as for the basic
musical concepts which they teach
Important characteristics of children’s voices
Often not more than an octave
in range (explain)
Girls at around 15 start developing mature voice of
woman
with true soprano or alto qualities
Boys begin to develop fullness and power from 9
until
it starts to change
An outline of musical expectations HO (81-3)
“It is generally agreed that, if they are to be confident singers as
adults, children must learn to match pitches and sing short musical
phrases before the age of nine” (91 ff)
Sample vocal exercises (85)
This is my re voice
This is my mi-re voice
This is my fa-mi-re voice
This is my so---------voice
This is my pret-ty voice, la-ti-do
Now put a little of this into practice with the tone-matching songs
Developing specific concepts of pitch can be aided by activities which
demonstrate metaphors for highness and
lowness
For example: showing pictures which demonstrate the
concepts of high and low
Discovering patterns in music is an important analytic activity
It aids in memorization, understanding, and
interpretation
Use analogs for explaining patterns
“Examine repeated patterns on
fabric
or wrapping paper”
“Show pictures with patterns that
occur more than once”
Patterns can be found in the various basic musical
elements
Pick a song we all know
Let’s identify some of the
patterns
in it
“Preparing to Teach a Song” HO (93)
Analyze a song before teaching it
Elements to consider: expressiveness of text,
melody,
rhythm, formal organization, texture, harmony
As with the analytic activity of discovering
patterns, analysis aids in in memorization, understanding, and
interpretation
Before we actually teach the song consider the section on “Leading a
Song”
(97-8)
Three ways to teach songs to children
Rote
Non-conceptual
Learning by
imitation
(some motions included to aid memory
Conceptual
Draw
students attention to a particular salient basic element (contour,
rhythm, range, etc.)
Rest same as
non-conceptual—but movement can now reflect the basic element being
demonstrated
Rote-note
Basically a
simplified
form of notation is created
Note
Goal is to read music notation (5-6th grade)
RECORDER LESSON 1 STUFF
Hand out music (pp. 224-5 HO)
Go over notes B, A, G
Go over each notational item
After teaching them, accompany them on guitar
Assign lesson for the next week (we will do recorder
every week for the moment)
Master songs on pp. 225
FINA 125 04
TEACHING MUSIC THROUGH SINGING (CONT.)
Sample Lesson: “Tinga Layo” HO (94-6)
The organization of the lesson plan is how I want you to organize your
own
teaching project
A concise general version of lesson plan layout (28)
1. What is
the
activity?
2. Whom
is
the lesson for ? (grade level)
3. What
concepts
do you want to teach?
4. What
do
you want to do (objectives)
5. How
are
you going to do it? (procedures)
6. How
will
you tie everything together? (closure)
7. What
materials
do you need?
8. How
will
you assess yourself and students?
Specific preliminaries in teaching a song
How will you present it?
How will you find the starting
pitch?
Meter
Anacrusis?
Elements necessary for an
expressive
interpretation
Specific procedure
Check their posture and attention
Present entire song
Give starting pitch(es) and in
tempo
begin, “1, 2, ready, sing” or whatever is appropriate
Raise arm to breathe at same time
Go over conducting patterns
“Map” the melody with your hands
if
necessary
Have a clear ending signal
Be supportive and suggestive
Use imaginative singing
Show your own pride in
presentation
Teaching part singing
Seldom attempted before third grade
Canon is a form of early part singing
Canon definition (found in book,
114)—“a contrapuntal (imitative) musical composition sung by two or
more groups in
which the melody is imitated
exactly and completely by the successive voices, though
not always at
the same pitch.” (round is at the same pitch and perpetual)
Remind them of different ways to
teach
it: rote, rote-note, note
QUIZ 2--discuss the questions for them to study
INTEGRATING SONGS WITH OTHER SUBJECTS AND ACTIVITIES
“Music should be an integral part of a child’s daily life” (135).
Integrative categories for elementary-age children include the
following: action, animals, circus, geography,
history, holidays, patriotic songs, getting
acquainted, human relationships and emotions, language arts,
mathematics,
science, seasons, transportation
If time, do the sample lesson “Circus Parade” (pp. 150 ff.)
Materials needed
Pictures of circuses
Score of song for each student
Xylophone, resonator bells, drums
Two colors of construction paper,
each marked A and B (duplicates of each also)
What did we accomplish by teaching “Circus Parade”?
Active learning
Movement, singing, playing
Integrative learning
Conceptual-rote combined with note learning (howso?)
FINA 125 05
Discuss salsa video
What's Tito do?
What is the culture?
What is the music?
What characterizes this music? (rhythm, energy, the
street,
dancing)
Piano used very percussively
Social issues
South Bronx
Review of some POTENTIAL EXAM ITEMS
We will go over notational fundamentals at class' end
Be able to notate a C major scale; be able to notate an a
minor scale
Be able to draw and name sharp, flat, and natural
Know names and durations of whole, half,
quarter notes
What does p mean?
What does f mean?
Be able to match the form concepts binary, ternary,
rondo
with AB, ABA, ABACA diagrams
QUIZ 2
TEACHING MUSIC THROUGH PLAYING CLASSROOM INSTRUMENTS
Recorder lesson
They should have prepared songs
on
pp. 225
Closure
In Week 2, I demonstrated how one could teach music
through
singing
Today's demonstration was how once could teach music
through playng an instrument
Next week will be about teaching music through
listening
Talk about QUIZ 3
Do fundamentals--have them come up and demonstrate these things at the
board
Staff, treble clef, names of notes on staff
Time signature, durations of notes and rests
Advanced concepts
Accidentals
Major scale interval pattern
Minor scale interval pattern for
each
type
Review tempo, dynamics, timbre, form
FINA 125 06
Teaching Music Through Listening
NO CORRECTIONS ON QUIZ 2
NO MORE CORRECTIONS ON QUIZ 1
Chain of events in a musical expression
Composer
Performer
Listener
Three main classifications of instruments: strings, winds
(woodwinds
and brass), percussion
Instruments and voices can be classified as to range
Soprano, alto, tenor, bass
Note on board from chart on p. 278 how principal
orchestral instruments group into these ranges (know
what instrument belongs where)
HO provides a list of songs, many popularly known, that appear in
larger
musical compositions
May be a good source for teaching demos
Musical Participation assignment
I want e-mailed by next week what each group intends
to do
QUIZ 4--some things to know
Know how to find any pitch on the keyboard
Be able to match orchestral instruments with their
families
(strings, percussion, woodwinds, brass)
QUIZ 3
RECORDER LESSON HO
P. 226
Accompany them on guitar
Recorder assignment for next week are exercises and
songs
on pp. 226-7
Review
A future reference item: Schumann. "The Wild Rider,"
No. 8 from Album for the Young.
This is a good example of ABA
Can someone describe the form of
the piece by diagramming on the board, representational or abstract
symbols?
Closure
In Week 2 demonstrated how one could teach music
through
singing
Last week's demonstration was how once could teach
music
through playng an instrument
Today's was about teaching music through listening
FINA 125
07
MUSICAL PARTICIPATION DEMOS to be done in Week 9
I want e-mailed by next week what
each group intends to do
I will
fine-tune
them myself
Separate parts
required
Teaching Music Through Movement
Quote from bottom of p. 325, third paragraph down
What this topic is about: "It is based
on the premise that a child's body, mind, and emotions are integrated
into natural rhythmic expression and that through guided experiences
involving movement children will learn to identify what they hear with
what they do, thus stuimulating their interest in and developing their
skill with every facet of musical learning"
(325).
Our short term goal with this topic is to "generate ideas and
techniques for musical learning experiences
through rhythmic bodily response
activities" (325).
First, we have to get kids to move freely and uninhibitedly through
space
Two types of activites contribute to this skill
Locomotor--moving from one place
to
another
Non-locomotor--movement from
within
a stationary location
Let's demonstrate ("The People on the Bus," 328)
Sing and play whole song for them first
Learn first verse by rote (guitar accompanies)--then
choose someone to come up and draw a mnemonic
picture of the subject of that
verse
Learn second verse by rote--etc.
Learn third verse by rote--etc.
Learn fourth verse by rote--etc.
Make class get in a big circle and walk, clap, and
sing
Teach motions
"Up and down" for the first verse
"Swish" for the second verse
"Round" for the third verse
Recorders on Gs, As whole notes
in
appropriate spots for the fourth verse
Get in a circle and march in tempo and do the song
now
with motions
Do same but count off in 4s and have only 1s motion
verse
1; 2s, verse 2; etc.
Discuss what was learned
Active learning
Rote-note
Peformance (on recorders)
Eurhythmics (rhythm, movement)
Vocalizing
Integration with transportation
concepts,
counting
BREAK
QUIZ 4
Give them recorder lesson
Songs on pp. 227
Accompany them on guitar
Recorder assignment for next time is song on p. 228
HO
QUIZ 3
Pass back and go over answers
Closure
Week 2's class was about how one could teach music
through
singing
Week 5's class was how once could teach music
through
playng an instrument
Week 6's class was about teaching music through
listening
This week's class was about teaching music through
movement
Other classes were about background to teaching music
If needed: do "Sorcerer's Apprentice" exercise 285-7
Show appropriate section in Fantasia
Have them draw (take crayons, posterboard, sticky
things)
pix suggested on p. 287
Tape their pix to blackboard and then just play the
music
Have them ID what parts of the
music
correspond with what pictures
FINA 125
08
MUSICAL PARTICIPATION DEMOS
We'll do them next week
Recorder lesson
Song on p. 228 HO
Accompany them on guitar
Add the other parts with
available
instruments shown on page
Recorder assignment for next time is p. 230 HO
Discuss QUIZ 4--will be administered next week
BREAK
MIDTERM
FINA 125
09
Do MUSICAL PARTICIPATION DEMOS
BREAK
Creative Experiences with Music
Composition begins with an idea
Examples:
A rhythm, a poem or story,
movement,
different timbres or instruments, scales (pentatonic)
Becomes unified and coherent when based on
guidelines,
either self-imposed or directed by the teacher
Carl Orff (1895-1982)
German composer/educator
Carmina burana
Agreed with Dalcroze that "rhythm is a foundation of
musical growth" (372)
Elements of his approach
Movement
Voice and instruments
Improvisation, which is a
creative
musical experience and is our topic today
Improvisation "involves creating something spontaneously at a given
moment"
(372)
MEMORIZE: improvisation with rhythm
Get them to clap in duple
Clap first phrase of each of the following and have
them
imitate you as you keep pulse
This Old Man, Jingle Bells,
America,
Hahvah Nahgeelah
Then clap first phrase of each and then improvise a
second phrase and ask them to imitate while you take
over the pulse
Speech patterns are "An excellent way to introduce
children
to rhythm" 373
Improvising with melody (375)
This would be something that you should allow a lot
of time for and requires that the students already be
able to match
pitches and sing in rhythm
Composition with ostinati
"An ostinato is a melodic or rhythm patten that is
repeated throughout a song or larger musical
composition" (376)
Demonstrate with the "This Old Man" lesson (376)
Get the instruments out
Use two
xylophones
for the xylophone part
Use piano for
the
Glockenspiel
Drum
How about
adding
some recorder parts
Rest of class sing it
Now can we create our own ostinati for another
song:
how about "Row, Row, Row Your Boat"?
Composition with vocal sounds
Here is an example of a piece that children could
easily
compose
Do round ("Follow the Leader") after discussing the
piece
and its sounds HO
Composition with instrumental sounds
Play the Banshee but don't tell them what the
instrument
is until they guess
Cowell. The Banshee. entire. actual
recording.
Talk about its sound production techniques
Discuss Teaching Projects
Will be in-class during weeks 13 and 14
Ideas can be gotten from the various exercises we have done in class
Recall: Jenny Jenkins, 5 Little Pumpkins, Circus Parade, The
People
on the Bus
Limit to 5 minutes [or whatever is appropriate to class size]
Some more specific teaching ideas
Music fundamentals
Durations
Tempo
Form with shapes, colors, etc.
Performance
Tone-matching songs
Teaching part singing (rounds)
Recorder lesson
Rhythm with percussion instruments
Analysis
Finding patterns in music
Integration of music with extra-musical concepts
Circus, math, literature, geography, action,
animals, history, holidays, patriotic songs, getting acquainted,
human
relationships and emotions, language arts, science, seasons,
transportation
A concise general version of lesson plan layout was presented in Week
4--we
can review it
Use that as the basic components of your lesson plan
Organize those basic components as demonstrated in
the
various text examples
Provide me with a hard copy of your lesson plan at
the
time of your presentation
It will comprise a significant
portion
of your grade
Recall specific objectives for each grade HO given in Week 3
Recall the week 3 HO that features options that are helpful for those
who are unsure of their singing or
musical
ability in general
An outline of musical expectations was also a week 3 HO
FINA 125 10
QUIZ 5
Integrating Music with the Study of Peoples,
Places,
and Cultures
Deals with examples and teaching strategies for musics from all over
the
world
Also integrated with the associated cultures--items
to
consider:
Food, religion, dress, language,
dance, geography (rivers, mountains, etc.), art (sculpture, painting,
crafts),
musical instruments associated with that culture
For QUIZ 6 next week
Bring in a
particular piece which can be associated with one of the above in an
African, Latin
American, Native American,
Oriental,
or Middle Eastern culture
We are already familiar with non-native American and
European musics
If it's simple
enough, just the music will do and we can play it in class; otherwise a
recording
View "Fiddler"
Remind them about TEACHING PROJECTS during weeks 13 and 14
I encourage you to talk to me about your TEACHING PROJECTS way
ahead of time and for me to monitor your progress
all along
FINA 125 11
Also for next week I'd like to see lesson plans for TEACHING PROJECTS
A concise general version of lesson plan layout was
given
in Week 4
Use that as the basic components
of
your lesson plan
Organize those basic components
as
demonstrated in the various exercises and discussions
Review HO that lists wonderful
reminders
and options listed about teaching music lessons
Review HO that gives some
specific
objectives for each grade
Review HO that feature options
that are helpful for those who are unsure of their singing or musical
ability in general
Review HO of musical expectations
QUIZ 6
Bring in a particular piece which can be associated
with one of the items listed last week (food, religion,
dress,
language, dance, geography, art, musical instruments) in an African,
Latin American, Native
American,
Oriental, or Middle Eastern culture
We are already familiar with non-native American and
European musics
If it's simple enough, just the music will do and we
can play it in class; otherwise a recording
BREAK
Recorder lesson
Song on p. 230
Accompaniment on guitar, piano (glock part), and
xylophones
EXPERIENCES WITH MUSIC AND OTHER ARTS
Recall that a main theme of the course is integration
Our topic is to facilitate integration among the arts in the classroom
There are basic elements in every art form
In music, these elements are
Melody
Rhythm
Texture
Tone color (timbre)
Form
We have discussed these elements before--let's have
different
people recap them briefly for us
We can draw parallels among the basic elements of
different art forms by considering the principles
common to all of the art forms
Repetition
Contrast
Unity
Balance
Ways in which to organize this integration
Association of analogous concepts (the principles
mentioned
above) among the arts
Common themes in all the arts
Historical approach which considers what happened in
each of the arts during a particular period
Cross-cultural: what are the art forms and
their
characteristics within a particular culture
Examples
Repetition among the arts--analogous concepts
"Row, Row, Row Your Boat"
Warhol's Campbell Soup Cans HO
(453)
The Bells by Poe--read it to them
See picture of Roman Colosseum HO
(455)
Common themes--e.g. nature
Winter (Vivaldi): on CD
(Great
Classical Masters)
Durand's Scene from Thanatopsis
(466)
HO
"Snow Fell Until Dawn" haiku
(483),
read it to them
Historical--The Age of the American Revolution
Mozart Menuetto K. 525 from A
Little
Night Music on CD (Great Classical Masters)
Declaration of Indedependence
painting
(478) HO
Sculpture of Washington (480) HO
Age of the Englightenment (French
Philosophers, etc.)
Cross-cultural approach in relating music and the
arts--we just did a quiz on that [ACTUALLY THIS
WILL BE QUIZ 6
STUFF]
Closure points
Musical participation
Integration of music with other cultures
Integration of music with other arts
If time, view part of "Fiddler"
FINA 125 12
Continue with Week 11 notes.
FINA 125 13
Teaching Projects
FINA 125 14
Teaching
Projects
Finish up TEACHING PROJECTS
Final Review
Study all quizzes, midterm, and notes
Essay
In devising a lesson plan at the elementary school
level,
discuss elements which should be considered.
Think about the following general
topics and discuss them in their particulars:
Goals and/or
objectives
Types of
learning
Types of
teaching
Examples of keywords and key
phrases to demonstrate your understanding and utilize in your discussion
Matching
pitches
Rote
Non-conceptual
Conceptual
Rote-note
Note
Locomotor
Non-locomotor
Eurhythmics
Improvisation
Multicultural
Integration
Analogous concepts
Common themes
Historical approach
Cross-cultural
Including
items
from lectures, text, quizzes, exams, etc.
END OF LECTURE NOTES FOR INTEGRATED METHODS FOR THE ELEMENTARY SCHOOL:
MUSIC