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2016 Elem GM Methods

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carlos abril

on 20 March 2017

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Transcript of 2016 Elem GM Methods

GOALS
learn about and how to teach singing
improve flexibility as a teacher
expand comfort and confidence working with children
find creative and effective ways to engage children in music
write effective lesson plan
apply knowledge in the classroom
communicate effectively with children

Songs We Know and Can Teach

Viva La Musica (German canon) 4/4
Funga Alafia (W African greeting song) 2/4
I Met a Bear
My Bonnie
Lil Liza Jane
Get on Board
Down the River (Anglo American)
Draw a Bucket of Water (African American game song)
Jingle at the Window (Anglo American)
Sleep Baby Sleep (lullaby)
A Lost the Farmer's Dairy Key (American farming song)
Se, Se, Se (Japan)
Sun, Sun, Sun (Afro-Cuban call response song)
Che, Che Kule (Ghana)
Round and Round the Earth
Checki Morena (Puerto Rico)
Yo Mama Yo (Mozambique)
Kaeru No Uta (frog song from Korea)
Zui Zui Zukkorbashi (Japan)
Johnny Works with One Hammer
Debajo de un Boton (Latin American)
I've Got Peace Like A River (Hymn)
Old Abrahm Brown (round)
Ghost of John (round)
Ho Ta Ru Koi


TEACHING and LEARNING MUSIC
in CHILDHOOD

What we VALUE, THINK, BELIEVE, ASSERT
philosophy

Doug Goodkin
What we can DO
TEACH
PERSONAL GOALS
2013
WHY WE TEACH MUSIC
What we IMAGINE
BE THE MUSIC TEACHER YOU WISH
YOUR OWN CHILDREN WOULD HAVE
What is the VALUE of Music Education?
Richard Gill
Teaching through MUSIC and ARTS
PLAN
exposure versus immersion
musical experience
musically educative experience

education is not preparation for life. it is life itself--John Dewey
doing music is the most com
divergent vs convergent
What we RECOMMEND
Loren recommends
standards
National
State
District
WHY Have MUSIC in elementary School?

universal
in cultures around the world
why do you need it if it is there already anyway?
builds confidence and
social skills
provides one of
myriad experiences
in school
to know what options are available
tool for
expression and feelings

acculturate
connects with other subjects in substantive, meaningful ways

formal education
guided by a teacher
when young
Music for music's sake?
Music for both musical and extra musical purposes?
part by part is not the only way to teach a song
goals
objectives
AIMS
common core
21st century
sunshine state standards
NAfME National Standards
Lesson Planning
objectives
goals
procedures
Engage/motivate
Present/develop
Apply
Conclude
standards
National Standards in Music Education
& 21st Century Skills
assessment
reflect
extend
OBSERVE
well behaved/behavior
environment
structured
jazz, musicals, world music
circle
lesson plan & realization
musical modeling
vocabulary
music
materials
rapport
engaged
TEACHER
CONTENT
LEARNERS
assessment
notated rhythm
sequence
CONTEXT
OBSERVE
(objectively)
INFER
(evaluation, suppose, assume, predict, judge)
Abril recommends
through SONG
What we KNOW
enculturation
transmission
lifespan
perspective
phases
types of learning
How we KNOW someone KNOWS
Assessment
What does it mean to know?
authentic assessment-is an assessment in which students are asked to perform, create, problem solve, etc, in as "real world" a setting or situation as possible
recall
application
evaluation/judgement
skills
concepts
attitudes/dispositions
SELECT
PREPARE
TEACH
REFLECT
SELECT

RELEVANT
Is the topic/theme relevant and connected to unit or lesson?

APPROPRIATE
Is the song age/developmentally appropriate?

MUSICAL
Is the song musically interesting?

VALUED
Is this song of value to you or members of some cultural group?

VOCAL RANGE

SONG TYPE

MUSICAL ELEMENTS

LYRICS


TOPIC/THEME


PREPARE

CONTEXT

What children can do and know

immersion = just hearing it over and over and over
learning more
whole song is the real music!
making student model or teacher or conductor
ask question to listen for something
flexibility
scaffolding sequencing
break down to teach
lyrics
rhythm
pitch
starting pitch
engage from start
Bruner
Three phases of cognitive progression
1. enactive--learning through actions
2. iconic--learning through images and graphs, learning from a mental picture
3. symbolic--learning through an agreed upon coding system such as the written word or standard notation
Learning Modalities
1. Tactile & 1.5. Kinesthetic
2. Aural
3. Visual

PITCH
PITCH/SINGING short-term goals by grade level
PreK-K
identify and use voices
explore voice
participate/observe
sing many songs
1-2nd grade
explore and control
pitch matching
extend range
participate
expand repertoire
3-5th grade
control voice
pitch matching
extend range
harmony (rounds, two part)
read/interpret notation
expand repertoire
CONCEPTS
register
high-low
contour
movement/direction
upward
downward
same
intervals
wide-narrow
specific intervals
harmony
notation on staff
intonation
Dalcroze
movement based approach to teaching music
expression of physical movement
three types of movement/performance
(1) arrhythmic-not musical, disjointed
(2) errhythmic-mechanical
(3) eurthyhmic-musical


DALCROZE: TEACHING FOR MUSICALITY
EVERY movement has:
anacrusis-preparation
crusis-arriving
metacrusis-after taste
RHYTHMS in SPACE
clap whole, half, quarter, eighth
become aware of time, space, and energy
use space
quick reaction

WALKING CIRCLE GAME
sit in a circle
one volunteer walks around at his/her tempo
teacher improvises to the tempo
class keeps the beat
in same circle
one volunteer moves in his/her own way
teacher improvises to the style of movement
class mimics sound on body percussion

NAME GAME
say name in rhythm
leader points to person
mix up the order to a steady beat
add conducting gesture to suggest changes in dynamics, pitch, accent...
PASSING BEAT GAME
class in circle
pass the ball around a circle to a steady beat
teacher plays piano or other instrument
say "change" and direction changes
non-verbal communications eye contact
pass the clap instead of the ball
pass with the rhythm of a familiar song
each student takes one note
sing it as you pass it


METER GAME
bounce ball in 4, 3, 2
pass ball in 4, 3, 2
leader calls one of the numbers
mix the numbers to experience mixed meter

RHYTHMIC CONCEPTS

What RHYTHMIC CONCEPTS to develop and when?
Compound Duple Meter (6/8, 6/4. 12/8)
Simple Duple (2/4, 4/4)
Simple Triple (3/4)
Compound Triple (9/8)
Asymmetric Meter (5/4, 7/8...)
basic 5 in duple
basic 8 in triple
Rhythm Concepts to Teach
by Grade
K-1
beat
meter-strong/weak
2/4, 4/4, 3/4, 6/8
duration
melodic rhythm
free rhythm
fermata
syncopation
patterns
ostinato
2-3
continue with concept above +
unequal beat divisions
representing rhythm
reading/notating
barlines
downbeat/upbeat
4-5
mixed meter
compound meter
time signature
constructivism
scaffolding
Zone of Proximal Development
Lev Vygotsky
Teaching for Musical Understanding
Jackie Wiggins
schema
METER
3 parts of DALCROZE METHOD
MOVEMENT/EURHYTHMICS
IMPROVISATION
SOLFEGE/EAR TRAINING
New Directions and Progressive Approaches
in General Music

composition clubs
listening lounges
rock bands
METHODS and APPROACHES
Kodaly
Orff
Dalcroze
Eclectic
Informal-Popular Music
World Music
Children's Books to Spark the Musical Imagination
Ayers, W. (2001). To teach: The journey of a teacher.
Kidder, T. (1990). Among school children.
Kozol, J. (1992). Savage inequalities
Wong, H. & Wong, R. (1998). The first days of school: How to be an effective teacher.


formative= an assessment for learning that is designed to help students improve and grow over time
summative =an evaluation of learning at a particular point in time that usually results in a score/grade.
online
paper pencil

home
class


Where?
How?
With Whom?
solo
duo
team

informal
formal


LISTENING
diverse ways of listening
appreciation
keen and receptive listening
emotions
expression
sensuous experience
WHY?
is it realistic to do with children?
YES
gives student opportunity to voice opinion
confidence in ability to formulate opinion
learn more about themselves
it's what we do with music in our lives
develop habit of stopping to LISTEN
MELODY
sing/play melody
identify melody
discriminate between melody and
accompaniment
compose a melody
improvise a melody
listen for a melody
evaluating or judging melodies
FORUM on Philosophy
Share what is most important to you as articulated in your philosophy statement

How thinking about a philosophy has guided you in your teaching

actions versus beliefs and values
give answers than questions
give question to answer
What does it mean to teach music?
Can you TEACH music?
What is it that we teach?
Why do WE teach
Why do we TEACH
What role do we want music to play in our culture or in the lives of students?
Why do children need to learn music?
What is
GROUPS
PANEL IDEA
Listening "Hear & Tell"
WHAT?
HOW?
WONDER and ASK
WHY?
FOR WHOM?
YOU
PHILOSOPHICAL DOING
ABOUT TEACHING

What does it mean to teach music?
Can we teach music?
Should we teach music in schools?
What is the difference between teaching and training?


ABOUT LEARNING

What does it mean to learn?
Can we learn without being taught?
Why do children need to learn music?
Should schools require music instruction?
QUESTIONS and POSITIONS
can't be answered through testing
big
difficult
dangerous

SYSTEMATIC INQUIRY
conceptual engineering
application of reason & logic
critical reflection
examination of assumptions, beliefs, values, meanings

ABOUT OUR ART FORM

What is music?
What is music's purpose in our lives?
Why does music matter?
ABOUT TEACHING

What does it mean to teach music?
Can we teach music?
Should we teach music in schools?
What is the difference between teaching and training?

probe
clarify
be skeptical
analyze
believe
THINK, DISCUSS, ARGUE
ABOUT LEARNING

What does it mean to learn?
Can we learn without being taught?
Why do children need to learn music?
Should schools require music instruction?
THE PROFESSION
GENERAL PUBLIC
UNDERSTANDING

GUIDES ACTIONS

REVEALS MEANINGS

QUESTION ASSUMPTIONS

MAPS OUT A TERRAIN
Practice without theory is BLIND
Theory without practice is POINTLESS
help students grow

facilitator = point in a direction
guide to help point
provides the environment
absorbed in a less obvious way
experiment more
more active on the learner's part



instructor = here's what you do. drilled


balanced approach--some direct teaching and some open-ended experience

what does it mean to teach-- going beyond the subject or
Makng sound together
answering questions about life




MUSIC EDUCATION FORUM
Reflect
HO HO HO TA RU KOI
AT CHINO MI ZU WA
NI

GAIZO
KOT CHINO MI ZU WA
A MAIZO
HO HO HO TA RU KOI
Lessons from the Field
Procedures
assigning instruments/groups
be clear
outline expectations beforehand
Group vs. Independent Work
Telling students vs. Asking students
Pacing
keep lesson going
minimize space between activities
Making connections/integrating
with other subjects
personally
between lessons
Assessing students
give specific feedback
don't say "good" if it was not
Making connections from what you have learned in class
theories (i.e., Bruner)
Exciting students/Keeping student interest
CREATE A CURRICULUM UNIT
Overview/Rationale
Scope and Sequence
Lesson Plans
Materials
long term
connected lessons
themes
cultural group
rivers in song around the world
musical genre/time period
baroque
jazz
rock
instruments
recorder
musical concepts
rhythm
melody
music as a form of communication
musical roles
composer
performer
listener
contemporary role (producer/mixer)

GOAL/AIM
BECOMING PERFORMER
DEEPENING UNDERSTANDING OF
MUSIC THROUGH LISTENING
WHAT IS MEANS TO BE A COMPOSER
UNDERSTANDING HOW GENRES MUSICAL STYLES DIFFER
HOW MUSIC RELATES TO HISTORY
FACETS MODEL
Barrett, McCoy, Veblen, 1997
Literature as a Springboard Model for Curriculum
Abril, 2008
skills
concepts
attitudes
repertoire

http://ly.glenview34.org/classpages/finearts/gwendt2/Music_Home/Music_Home_Page.html
Smithsonian folkways
What do you want students to
KNOW
DO
FEEL???

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