1. "Improvisation at a beginning level allows children to play with sounds and with musical syntax (or putting those sounds together)" (pg. 253). I strongly believe that whether they are aware of it or not, children are always improvising one way or another. It is a child's natural process to discover the world around him/her. What does the marimba sound like? What does the snare drum sound like? What do recorders sound like? I remember when I was a child, I used to play everything I could get my hands on. Even children who appear to be less musical find it enjoyable to have opportunities to play around on instruments. One of my first real musical instruments was this really cheap synthesizer (complete with two and one-half octaves). I would spend day after day coming up with my own melodies and discovering new beats and rhythm patterns. I even composed my very first pieces by listening to the sound I was creating. It was a marvelous experience, and as music educators, we need to make sure that all children get this same experience.
2. "Improvisation can play several valuable roles in the creative process" (pg. 255). In my experience with the synthesizer, I not only learned about the notes on the keyboard, I learned valuable concepts like melody, rhythm, timbre, meter, and harmony, just to name a few. Maybe I didn't know the name of these terms at such a young age. But somewhere deep in my brain and in my soul, I was completely aware of them. Whether children are improvising formally or informally, they will discover ideas from one another that will inspire them to be creative not only in music, but also in the other arts. Their brains might also develop to think about things differently in math and science. We know how valuable improvisation is because many of the greatest composers who ever lived were all well-trained in the art of improvisation. It is truly a tool that will help to develop the creative mind.
3. "Once children have a sense of the compositional process through creating aural plans, the use of notation can be introduced" (pg. 261). Although I strongly believe that the creation of aural plans can be an effective tool in getting students started to understand musical lines, I don't think that it's imperative that we teach them aural plans before the standard system of notation. I never learned about aural plans as a child. In fact, I can remember being taught the standard notation system at an early age, and I turned out okay. Please understand, I don't want to take away from their usefulness in the classroom. I've been very impressed with a lot of aural plans that I have seen. I just don't think we should delay teaching students about standard notation in favor of something completely abstract. Some of the youngest children may turn out to be all-stars in their Suzuki classes!
Wednesday, September 29, 2010
Wednesday, September 22, 2010
9/22/10 - 3 Points of Interest on Chapter 9
1. "The auditory sense develops early and is remarkably keen in most children" (pg. 223). I think it is fascinating that the auditory sense develops so early in children. I also think it is remarkable that as children, all five senses (hearing, touching, smelling, tasting, and seeing) seem to develop at different rates. It is wonderful to think that we have so many ways of comprehending the world around us. And through the ability to hear sounds, our brains can begin to map out sounds that go together and eventually assemble the sounds as "music." I truly feel sorry for those who are not able to ever have the ability to hear. A lot of children are born deaf, or with decreased capacities to hear certain sounds. Other children can only hear at a certain volume. Many will one day lose their hearing until they can hardly hear at all. As someone who enjoys his hearing and respects the ear, I think that all of us who have been blessed with the ability to hear should protect our hearing. This means watching how loud we listen to music, and making sure we are doing all we can to use proper noise-reducing ear-plugs and other devices.
2. "Young children from preschool through the age of eight are usually remarkably open to all kinds of music" (pg. 224). I think that there is a lot of truth in this statement. I remember being open to a lot of music during this period of my life. However, I strongly favored music that had a strong beat and was fun to listen to. I tended to shy away from classical music and really all of western concert music. I simply thought it was boring and was for older, intellectual people. I didn't really discover or like classical music until I was in high school. However, once I was old enough, I found this to be the more pleasing music (though I still love popular music). I think children in general will react to music that is fun, and easy to listen to.
3. "Active listening to recorded music means involving more than the ears and the mind" (pg. 228). I know that this is true, especially for the younger student just being introduced to music. For example, teaching aids always seem to be helpful to teach children music, especially if the music is hard or complex. For example, I really liked what Vanessa did at "The Music Settlement" the other day. I liked the "road map" she used to teach the students the main melody from "The Moldau." The kids really responded well to this activity, and they learned more about the phrasing of music. The kids even used movement to respond to the "peaks" and "valleys" of the music. Using these "active" techniques really helped the children to learn the music at a faster pace. I think it also will help them to recall the music in the future.
2. "Young children from preschool through the age of eight are usually remarkably open to all kinds of music" (pg. 224). I think that there is a lot of truth in this statement. I remember being open to a lot of music during this period of my life. However, I strongly favored music that had a strong beat and was fun to listen to. I tended to shy away from classical music and really all of western concert music. I simply thought it was boring and was for older, intellectual people. I didn't really discover or like classical music until I was in high school. However, once I was old enough, I found this to be the more pleasing music (though I still love popular music). I think children in general will react to music that is fun, and easy to listen to.
3. "Active listening to recorded music means involving more than the ears and the mind" (pg. 228). I know that this is true, especially for the younger student just being introduced to music. For example, teaching aids always seem to be helpful to teach children music, especially if the music is hard or complex. For example, I really liked what Vanessa did at "The Music Settlement" the other day. I liked the "road map" she used to teach the students the main melody from "The Moldau." The kids really responded well to this activity, and they learned more about the phrasing of music. The kids even used movement to respond to the "peaks" and "valleys" of the music. Using these "active" techniques really helped the children to learn the music at a faster pace. I think it also will help them to recall the music in the future.
Sunday, September 19, 2010
9/20/10 - 3 Points of Interest on Chapter 13
1. "Music teachers who anticipate a formal evaluation of their program and teaching need to be proactive in communicating their vision and clear goals to their administrator early in the school year" (pg. 328). Since I have never been a licensed teacher, this is a difficult one for me to respond on primarily because I lack practical experience. All I can comment on is what I have heard other (more experienced) colleagues say on the matter. There is a lot of chatter when it comes to a basic "disconnect" between teachers and their administrators. This disconnect has become quite apparent to me because so many teachers are always talking to one another and arguing about it! I'm almost pessimistic about my future experiences with administrators. This pessimism has been forged by years of overhearing students and teachers complain that the administration is "out of touch" with students' needs and with various visions certain teachers have from time to time. This is really something I could use your feedback on, and I look forward to discussing it in class.
2. "In many ways, music educators have always used authentic assessments, particularly of performance" (pg. 330). I have no problems with authentic assessments of performance, as long as they are done in private. In every level of band, (grade school, middle school, high school, college), teachers love to test students in front of their peers. I know for sure that many of these students were not able to perform as well as they would have liked due to the added pressure that was placed on them. But maybe there is something to be said for this method of assessment? After all, don't students need to be able to perform in front of their peers because part of being able to succeed in music revolves around one's ability to play effortlessly in front of people? I think this is a valid point, but I also think that they start testing kids in class too early. As a matter of fact, my 5th grade band teacher used to say, "After you are done with your test, come up to the grade book and see what grade you received. In fact, look and see what all the other kids got as well!" I found that to be a little much for 5th grade.
3. "Another way to involve students in real-world assessment in music is to have them critique the work of their peers. Teachers are often afraid to open to this possibility because they do not want children to be negative" (pg. 337). I think that, generally speaking, this is a positive way to assess students. It is always great to receive feedback from your peers, and I don't think that children are generally hurt by what others have to say. From time to time, there might be a negative comment here and there, but most mature children know how to be nice and give positive feedback that doesn't destroy an individual's self-esteem. This is a practice that I would use sparingly, however. I would also wait until the later years to employ it in the classroom. Younger students aren't as mature and more likely to say whatever is on their mind. This can often present a difficult situation for everyone involved because even though children are usually very honest, brutal honesty can be hurtful at a young age. I would try to teach my students to make positive, constructive statements. I would also teach them how to critique each other in positive, uplifting ways. (They do exist after all!)
2. "In many ways, music educators have always used authentic assessments, particularly of performance" (pg. 330). I have no problems with authentic assessments of performance, as long as they are done in private. In every level of band, (grade school, middle school, high school, college), teachers love to test students in front of their peers. I know for sure that many of these students were not able to perform as well as they would have liked due to the added pressure that was placed on them. But maybe there is something to be said for this method of assessment? After all, don't students need to be able to perform in front of their peers because part of being able to succeed in music revolves around one's ability to play effortlessly in front of people? I think this is a valid point, but I also think that they start testing kids in class too early. As a matter of fact, my 5th grade band teacher used to say, "After you are done with your test, come up to the grade book and see what grade you received. In fact, look and see what all the other kids got as well!" I found that to be a little much for 5th grade.
3. "Another way to involve students in real-world assessment in music is to have them critique the work of their peers. Teachers are often afraid to open to this possibility because they do not want children to be negative" (pg. 337). I think that, generally speaking, this is a positive way to assess students. It is always great to receive feedback from your peers, and I don't think that children are generally hurt by what others have to say. From time to time, there might be a negative comment here and there, but most mature children know how to be nice and give positive feedback that doesn't destroy an individual's self-esteem. This is a practice that I would use sparingly, however. I would also wait until the later years to employ it in the classroom. Younger students aren't as mature and more likely to say whatever is on their mind. This can often present a difficult situation for everyone involved because even though children are usually very honest, brutal honesty can be hurtful at a young age. I would try to teach my students to make positive, constructive statements. I would also teach them how to critique each other in positive, uplifting ways. (They do exist after all!)
Tuesday, September 14, 2010
9/15/10 - 3 Points of Interest on Chapter 8
1. "Children of all ages are players of musical instruments, or they would like to be" (pg. 190). I have not found this to be true in my life. I would say that every child I have ever met certainly likes some kind of music. But liking music and having sincere aspirations to play musical instruments are two different things. I have three younger brothers, and none of them were ever inclined to learning an instrument (much to my dismay). I even tried to introduce them to various kinds of instruments and encouraged them to choose one, but they had no desire to learn. My brothers were always very athletic, and even though they liked music very much, none of them had any special passion for learning an instrument. My brothers are not alone. There are many children who simply do not want to learn how to play a musical instrument. I'm completely okay with this because I would rather spend my time teaching those who are interested in music, then spending my time trying to force someone to do something that they have little or no interest in.
2. "The recorder is among the most common melody instruments played by children in the elementary grades today" (pg. 209). I love the fact that students begin to learn how to play the recorder around third grade. I remember when I was in third grade and began to play the recorder. I was very excited to get a special musical instrument of my very own. I was also comforted by the fact that all the kids in my class seemed to enjoy playing the recorder as much as I did. The recorder is fairly easy to play and master, and it is a perfect instrument to start children on. They can master the basic rudiments of music such as melody, rhythm, time signature, key signature, meter, dynamics, and range. They can also develop dexterity in their fingers and muscle memory by learning the correct fingerings and learning how to properly blow into the tone hole. I think that the recorder was a great precursor to the saxophone, which I learned in fifth grade.
3. "Checklists of exercises and specific phrases, scales, and songs learned can be posted to the classroom wall or stapled to the back of the instrumental manuals, to be filled in by the teacher for each individual student as he or she meets the requirements" (pg. 218). I'm not a huge advocate of checklists, especially those posted in the classroom for everyone to see. Children are sensitive and if a child is struggling to master a piece of music or even play basic tones on an instrument like the recorder, it can be traumatic to see your name on a list with no "stickers" or "stars." This is precisely what happened to me. I came from a very non-musical family, and I had very little help by way of instruction on the recorder. It seemed like I was always behind in general music, and there were definitely no "stickers" or "stars" next to my name. I just became frustrated with music and wanted to quit. If it weren't for experiences I had later on in life, I would have never become a musician. I know the "checklist" backfired for me, and I don't like teaching tools that openly compare a student's private progress to another.
2. "The recorder is among the most common melody instruments played by children in the elementary grades today" (pg. 209). I love the fact that students begin to learn how to play the recorder around third grade. I remember when I was in third grade and began to play the recorder. I was very excited to get a special musical instrument of my very own. I was also comforted by the fact that all the kids in my class seemed to enjoy playing the recorder as much as I did. The recorder is fairly easy to play and master, and it is a perfect instrument to start children on. They can master the basic rudiments of music such as melody, rhythm, time signature, key signature, meter, dynamics, and range. They can also develop dexterity in their fingers and muscle memory by learning the correct fingerings and learning how to properly blow into the tone hole. I think that the recorder was a great precursor to the saxophone, which I learned in fifth grade.
3. "Checklists of exercises and specific phrases, scales, and songs learned can be posted to the classroom wall or stapled to the back of the instrumental manuals, to be filled in by the teacher for each individual student as he or she meets the requirements" (pg. 218). I'm not a huge advocate of checklists, especially those posted in the classroom for everyone to see. Children are sensitive and if a child is struggling to master a piece of music or even play basic tones on an instrument like the recorder, it can be traumatic to see your name on a list with no "stickers" or "stars." This is precisely what happened to me. I came from a very non-musical family, and I had very little help by way of instruction on the recorder. It seemed like I was always behind in general music, and there were definitely no "stickers" or "stars" next to my name. I just became frustrated with music and wanted to quit. If it weren't for experiences I had later on in life, I would have never become a musician. I know the "checklist" backfired for me, and I don't like teaching tools that openly compare a student's private progress to another.
Monday, September 13, 2010
9/13/10 - 3 Points of Interest on Chapter 16
1. "Also, although it is tempting to focus on the possible therapeutic values of musical involvement for exceptional children, general music teachers are rarely trained as music therapists" (pg. 400). I don't think that music teachers necessarily need to be trained as music therapists to be able to assist children with disabilities. The general music teacher will have to be in control of the entire classroom, and will have many responsibilities relating to all the students. If they are trained in the basic rudiments of how to teach, nurture, and encourage exceptional students to do the best they can despite their disabilities, then they will be effective teachers. Additional training may be beneficial, but I don't think it is necessary to be a good, well-rounded teacher.
2. "The key to success is the willingness of the teachers to adapt instruction to meet the needs of exceptional children" (pg. 403). I think that this is a very important thing for teachers to do, but not at the expense of the other students. Sometimes I have been in a classroom when the teacher will direct all of their attention to the students with special needs. This was frustrating to me, and I quickly became bored and lost interest and excitement in the class. I have needs too. I think the best scenario would be a teacher who structured the class for the average student, and then focused on specific lesson plans for exceptional students. Teachers also have an obligation to provide special lesson plans for gifted and talented students.
3. "As with learning disabilities, many children with ADHD have normal intelligence" (pg. 407). I don't understand why more people don't accept this fact as being true. There are many disabilities that children, teenagers, and adults have that have nothing to do with their intelligence or capacity to do well in the course. The book mentions ADHD and other disorders, but teachers should know about these and other disabilities that children suffer from. Many children also suffer from depression, anxiety disorder, OCD, and social autism. These children are clearly as intelligent as the rest of the students, if not more intelligent. Teachers, in general, should not try to treat these students any differently, unless the student specifically asks for extra help. They will be able to be great students on their own. Some of them might even be the most talented in the class.
2. "The key to success is the willingness of the teachers to adapt instruction to meet the needs of exceptional children" (pg. 403). I think that this is a very important thing for teachers to do, but not at the expense of the other students. Sometimes I have been in a classroom when the teacher will direct all of their attention to the students with special needs. This was frustrating to me, and I quickly became bored and lost interest and excitement in the class. I have needs too. I think the best scenario would be a teacher who structured the class for the average student, and then focused on specific lesson plans for exceptional students. Teachers also have an obligation to provide special lesson plans for gifted and talented students.
3. "As with learning disabilities, many children with ADHD have normal intelligence" (pg. 407). I don't understand why more people don't accept this fact as being true. There are many disabilities that children, teenagers, and adults have that have nothing to do with their intelligence or capacity to do well in the course. The book mentions ADHD and other disorders, but teachers should know about these and other disabilities that children suffer from. Many children also suffer from depression, anxiety disorder, OCD, and social autism. These children are clearly as intelligent as the rest of the students, if not more intelligent. Teachers, in general, should not try to treat these students any differently, unless the student specifically asks for extra help. They will be able to be great students on their own. Some of them might even be the most talented in the class.
Tuesday, September 7, 2010
9/8/10 - 3 Points of Interest on Chapter 6, and 3 Points of Interest on Chapter 11
Chapter 6
1. "Teachers with years of successful experience assume that movement is the means for leading children to singing and playing instruments more musically, to composing and improvising in meaningful ways, and to showing evidence of listening with a clear understanding of music's structures and sonic flow" (pg. 120). If all this is true, then I would certainly like to see the evidence of it. How can the author say something so objectively and then have no research to back up these assertions? Perhaps one or more of these statements are true, but the author is insinuating that just based on "movement," all children will sing, play, compose, improvise, and listen at a higher level. I think that such a theory is absurd and ludicrous. Why are we having little children composing and improvising based solely on movement anyway?
2. "How does movement teach a musical concept? How does a musical concept motivate movement" (pg. 125)? These are fascinating questions, especially for someone like myself who doesn't have any background in eurhythmics or dance. I think of my experiences in elementary music education when the teachers would demonstrate high notes and low notes by getting taller and getting shorter. My best conductors have always been able to associate some type of movement with the type of sound they are looking for. I know that this has been a very effective means of communication. I even know of some conductors who have studied with mimes to learn different expressions they could use on the podium.
3. "At times, recorded music can be used to stimulate movement, but the live and partly spontaneous music played by the teacher on piano or percussion instrument is best" (pg. 137). I completely agree with the spontaneous act of creating music. It is altogether more captivating and inspiring than some old recording. However, I must take issue with the fact that only the piano and other percussion instruments are the best. I remember when I was about 3 or 4 years old, and in preschool. There was a woodwind player who came into the classroom to put together and play for us the flute, the oboe, the clarinet, and the saxophone. I remember that this experience had a huge effect on me, and I was never quite the same afterward. But the piano, for instance, never did a whole lot for me inside or outside of the classroom.
Chapter 11
1. "The ability to motivate and manage students is one of the most necessary skills of good teachers" (pg. 273). I know this to be true from the limited amount of teaching experience that I have. No matter the age or grade level, students will look to be inspired and motivated either inside the classroom or outside the classroom. How infinitely important than is it to have good, qualified teachers who are passionate and excited about what they do. Sure, they will not reach everyone in the class. But they will do a world of good for the vast majority of the students. Student management is also very important. The best teachers really don't have to try very hard to manage their students because their students are naturally inclined to participate. When teachers are prepared for class and generally excited about what they do, they tend to have a certain glow about them. This glow is contagious, and the students will naturally respond in a positive manner.
2. "Competition can sometimes be a source of motivation, but it can also backfire" (pg. 279). I think some healthy competition can often be a good thing for teachers and students alike. But when the competition becomes the main focus rather than the music itself, it not only can backfire, it will. I tend to like self-competition a lot better than competing one against another, but this too can backfire. In high school I always loved preparing for "Solo & Ensemble" competition in the winter. This was a chance for me to do an independent project, get performance experience, and then have the chance to be evaluated. In a sense it wasn't competitive because I was competing against myself. This was a healthy way to see what kind of job I was doing on my instrument. But if this was to ever become an obsession for me, I wouldn't have gained anything from it. Likewise if I started to compare myself to others playing the same piece as me, I might lose the spirit of what I was doing.
3. "There are many ways to divide the class into groups" (pg. 283). When I was a kid, almost every teacher I had let the class members divide themselves into their own groups. This almost always backfired for me, as I was frequently the "odd man out." I personally don't like putting kids in this position. Sure, I'm obviously biased and sensitive to this subject, but any student in a similar situation will feel awkward, shy, embarrassed, unsure of themselves, and ultimately, unhappy. As the book suggests, I highly recommend picking groups by chance or by using simple mathematics. Creative teachers will no doubt find endless ways of creating meaningful groups. When "chance" methods are employed, children are more likely to be exposed to people outside of their heritage, culture, race, and background. If nothing else, it is a good way to meet new friends.
1. "Teachers with years of successful experience assume that movement is the means for leading children to singing and playing instruments more musically, to composing and improvising in meaningful ways, and to showing evidence of listening with a clear understanding of music's structures and sonic flow" (pg. 120). If all this is true, then I would certainly like to see the evidence of it. How can the author say something so objectively and then have no research to back up these assertions? Perhaps one or more of these statements are true, but the author is insinuating that just based on "movement," all children will sing, play, compose, improvise, and listen at a higher level. I think that such a theory is absurd and ludicrous. Why are we having little children composing and improvising based solely on movement anyway?
2. "How does movement teach a musical concept? How does a musical concept motivate movement" (pg. 125)? These are fascinating questions, especially for someone like myself who doesn't have any background in eurhythmics or dance. I think of my experiences in elementary music education when the teachers would demonstrate high notes and low notes by getting taller and getting shorter. My best conductors have always been able to associate some type of movement with the type of sound they are looking for. I know that this has been a very effective means of communication. I even know of some conductors who have studied with mimes to learn different expressions they could use on the podium.
3. "At times, recorded music can be used to stimulate movement, but the live and partly spontaneous music played by the teacher on piano or percussion instrument is best" (pg. 137). I completely agree with the spontaneous act of creating music. It is altogether more captivating and inspiring than some old recording. However, I must take issue with the fact that only the piano and other percussion instruments are the best. I remember when I was about 3 or 4 years old, and in preschool. There was a woodwind player who came into the classroom to put together and play for us the flute, the oboe, the clarinet, and the saxophone. I remember that this experience had a huge effect on me, and I was never quite the same afterward. But the piano, for instance, never did a whole lot for me inside or outside of the classroom.
Chapter 11
1. "The ability to motivate and manage students is one of the most necessary skills of good teachers" (pg. 273). I know this to be true from the limited amount of teaching experience that I have. No matter the age or grade level, students will look to be inspired and motivated either inside the classroom or outside the classroom. How infinitely important than is it to have good, qualified teachers who are passionate and excited about what they do. Sure, they will not reach everyone in the class. But they will do a world of good for the vast majority of the students. Student management is also very important. The best teachers really don't have to try very hard to manage their students because their students are naturally inclined to participate. When teachers are prepared for class and generally excited about what they do, they tend to have a certain glow about them. This glow is contagious, and the students will naturally respond in a positive manner.
2. "Competition can sometimes be a source of motivation, but it can also backfire" (pg. 279). I think some healthy competition can often be a good thing for teachers and students alike. But when the competition becomes the main focus rather than the music itself, it not only can backfire, it will. I tend to like self-competition a lot better than competing one against another, but this too can backfire. In high school I always loved preparing for "Solo & Ensemble" competition in the winter. This was a chance for me to do an independent project, get performance experience, and then have the chance to be evaluated. In a sense it wasn't competitive because I was competing against myself. This was a healthy way to see what kind of job I was doing on my instrument. But if this was to ever become an obsession for me, I wouldn't have gained anything from it. Likewise if I started to compare myself to others playing the same piece as me, I might lose the spirit of what I was doing.
3. "There are many ways to divide the class into groups" (pg. 283). When I was a kid, almost every teacher I had let the class members divide themselves into their own groups. This almost always backfired for me, as I was frequently the "odd man out." I personally don't like putting kids in this position. Sure, I'm obviously biased and sensitive to this subject, but any student in a similar situation will feel awkward, shy, embarrassed, unsure of themselves, and ultimately, unhappy. As the book suggests, I highly recommend picking groups by chance or by using simple mathematics. Creative teachers will no doubt find endless ways of creating meaningful groups. When "chance" methods are employed, children are more likely to be exposed to people outside of their heritage, culture, race, and background. If nothing else, it is a good way to meet new friends.
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