Transcript Approaches to Teaching Music

Approaches to Teaching Music
Suzuki
• Developed by viloinist Shinichi Suzuki
• Stems from idea that children can learn
music similar to the way they learn to
speak
• Called the “mother-tongue approach”
Parental involvement
• One parent is expected to learn how to
play
• Parents work with teacher
• Parents serve as “home teachers”
Approach
• Uses listening & repetition
• Encouragement
• Interaction with other children in group
lessons
• Use of repertoire for learning (not
exercises)
• Notation introduced later
Dalcroze
• Is not dance
• Has 3 components:
– Eurhythmics
– Ear training
– Improvisation
– Basis is on listening & responding to music
history
• Founded by Emile Jaques-Dalcroze (1865-
1950)
• Was a response to his students lack of
musical understanding
• Being musical = connections between ear,
brain and body
Kinesthetics
• Respond to music through locomotor or
non locomotor movement
• Singing is accompanied by movement
Kodaly
• “music belongs to everyone”
• Developed out of a need for music
instruction to be built on the existing
repertoire of children’s music
• Goal is literacy
History
• Hungarian composer & ethomusicologist
Zoltan Kodaly (1882-1967)
• Changed pedagogy to reflect singing, use
of solfege, literacy of notation, and use of
folk melodies
“Americanized” Kodaly
• Uses pentatonic songs
• Curwin hand signs
• Ear training used to develop “inner
hearing”
• Movable “do”
• Use of rhythm syllables
Orff-Schulwerk
• Translated: Orff – School work
• Stems from “elemental” music
• Games, chants, and songs
History
• Grew out of ideas from Carl Orff (1895-1982)
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and Dorothee Gunther
Together, they founded the Guntherschule which
incorporated music, dance & theatre
School was destroyed in WWII, and Gunild
Keetman partnered with Orff to restore music &
movement training to children
The Schulwerk method developed from this, and
has since spread
Key elements
• Use of imitation and exploration
• Ideas build from student’s contribution
• Use of pitched and non-pitched percussion
instruments
• Literacy stems from experiences
• Improvisation & composition
Gordon’s Music Learning Theory
• “audiation” is goal
• Sound before symbol approach
• Based on a hierarchy of skills
Discrimination Learning
• Aural & oral
• Verbal association
• Partial synthesis
• Symbolic association
• Composite synthesis
Inference learning
• Generalization
• Creativity and improv
• Theoretical understanding
Manhattanville Music Curriculum
Project
• Funded in 1960’s
• Learning is connected from one level to
the next, progressively advancing
Key ideas
• Student generated sounds
• Includes:
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MMCP Strategies
Student recitals
Listening to recordings
Research reports
Guest recitals
Skill development
Group singing