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Music for Everyone: Songs, Games, Dances, and Learning Activities to Meet the Needs of a Diverse Population Berta Hickox – Alice Hammel.

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Presentation on theme: "Music for Everyone: Songs, Games, Dances, and Learning Activities to Meet the Needs of a Diverse Population Berta Hickox – Alice Hammel."— Presentation transcript:

1 Music for Everyone: Songs, Games, Dances, and Learning Activities to Meet the Needs of a Diverse Population Berta Hickox – Alice Hammel –

2 El Florón

3 1. Sitting, circle gets smaller 2. Standing, knee down or stay on your dot 3. Standing, beer fest

4 El Florón Musical goals achieved 1. beautiful song 2. mrd prep for older beginners 3. harmony 4. triple microbeat 5. AB macro form 6. singing game from Puerto Rico

5 El Florón Potential issues & modifications/adaptations for success Sensory a. Start with greater restrictions to increase comfort level b. Give student another role (singing/playing harmony)

6 El Florón Potential issues & modifications/adaptations for success Physical a. Provide alternative movements and roles in game

7 El Florón Potential issues & modifications/adaptations for success Behavioral/Emotional a. Provide very clear directions and parameters for behavior b. Provide an out for students who are not able to participate fully

8 El Florón Potential issues & modifications/adaptations for success Communication a. Singing while playing game b. Singing solfa i. use of clicker ii. show body signs or hand signs iii. play on pitched percussion or piano

9 Five Domains For Learning 1.Communication 2.Cognition 3.Physical 4.Behavioral/Emotional 5.Sensory

10 Music Aptitude Music aptitude is ones potential to achieve in music. Music aptitude is innate, but not inherent.

11 Music Aptitude Music aptitude is developmental until age 9, and can fluctuate until about age nine according to the richness and diversity of musical experiences the child undergoes. Music aptitude stabilizes after age 9. One cannot expect to achieve in music beyond the limit of ones stabilized music aptitude.

12 Music Aptitude Administer a valid and reliable test such as the Primary Measures of Music Audiation (PMMA) or the Intermediate Measures of Music Audiation (IMMA) to measure each students music aptitude.

13 Music Aptitude It is NOT the purpose of aptitude testing to identify students for inclusion or exclusion in music activities.

14 Music Aptitude Because many students with high music aptitude have not had the opportunity to achieve in music, a music aptitude test can reveal musical potential that might otherwise remain unknown to those students and their teachers.

15 Music Aptitude Use the scores to differentiate each students instruction. Scores will be normally distributed in a population; they will fall in a bell curve.

16 Music Aptitude Students with low music aptitude will need many more opportunities to listen, echo patterns, decode, and read than those with average or high music aptitude. Students with high music aptitude will learn faster and need more challenges than those with average or low aptitude.

17 Music Aptitude A students scores in tonal aptitude and rhythm aptitude will likely differ: a student with high tonal aptitude could have a below average rhythm aptitude. Therefore, the teacher is challenged to teach to each students individual differences.

18 Creative Movement Heavyland/Lightland Free and Bound Flow Bach Activity

19 Creative Movement Can support communication goals 1.Comparatives (high/low, fast/slow) 2.Melodic direction 3.Phrasing 4.Solfa 5.Self-leveling activities

20 Creative Movement Assessment Informal: Observation Formal: Rating Scale move at appropriate time freeze at appropriate time move quickly move slowly -move smoothly

21 Singing Teaching a rote song/how to repeat a song for increased success with cognitive challenges 1. sing 4x, c. sings 2. fill in a word 3. ask questions 4. # of phrases 5. highest/lowest pitch 6. resting tone 7. form

22 Singing Potential issues 1. Sensory – too loud a. plug ears, smaller groups perform 2. Communication a. demonstrate with gross motor 3. Behavioral/Emotional a. recognize the inherent emotional elements in music and acknowledge these differences

23 Goodnight

24 Bate, Bate

25 The Gallows Pole

26 Phoebe in Her Petticoat

27 SNACK TIME!!!

28 Literacy

29 Aural Decoding a.Play game – if anyone gets hurt, the game is over b. Aural decoding - melodic i. Sensory – game ii. Physical – game iii. Behavioral/Emotional – game iv. Communication – decoding v. Cognitive – decoding p. 134

30 Sol-Mi Notation Presentation Stage Non-Modified or Adapted Curricular Goals Modified Curricular Goals Adapted Curricular Goals Students will sing sol-mi patterns using neutral syllables. Student will approximate higher and lower pitches following individual prompt by teacher. Student will sing sol-mi patterns using neutral syllables at a tempo of his choosing Students will derive quarter-eighth patterns from chants that are well-known to them. Student will tap the rhythm with words to chants that are well- known to him Student will derive quarter-eighth patterns using popsicle sticks given as much time as necessary

31 Sol-Mi Notation Presentation Stage Non-Modified or Adapted Curricular Goals Modified Curricular Goals Adapted Curricular Goals Students will show higher and lower with their hands and with the use of icons. Student will show higher and lower through any modality he prefers. Student will demonstrate higher and lower using icons and/or body motions. Students will discover the two pitches (sol and mi) and their similarities as noted in several folk songs well-known to them. Student will sing folk songs that contain sol- mi with other students. Student will discover sol-mi in at least one folk song well-known to him.

32 Sol-Mi Notation Presentation Stage Non-Modified or Adapted Curricular Goals Modified Curricular Goals Adapted Curricular Goals Students will apply new rhythm syllables to chants well-known to them. Student will chant rhymes that contain quarter/eighth patterns with other students. Student will chant using rhythm syllables at a tempo of his choosing. Students will apply new solfege syllables to chants well-known to them. Student will apply new solfege syllables to at least one chant well- known to him.

33 Literacy

34 Tideo a. Aural decoding – rhythmic b. Adapted sequence p. 146

35 Aural Decoding Assessment Solo assessment:1. By phrase or pattern with modifications (different content – smd only) 2. With adaptations (fewer patterns)

36 Reading Rhythm Use many means to the same end for variety and repetition R ladder R flashcards beach ball King of the Mountain Sinking Ship Match titles to rhythm patterns

37 Reading Rhythm Beat Flashcards Who Has This Rhythm? Read Backwards Rhythm Card Game Rhythm-Go-Round

38 Reading Rhythm Differentiate for intellectually gifted high musical aptitude needs more repetition (cognitive and low musical aptitude)

39 Reading Melody Use many means to the same end for variety and repetition tone ladder tone set finger staff (read from teachers) body signs hand signs magnetic noteheads

40 Writing Rhythm Use many means to the same end for repetition and as modifications popsicle sticks rhythm flashcards + flyswatter fill in the missing rhythms class set of rhythm cards beat flashcards

41 Writing Melody Use many means to the same end for repetition and as modifications felt staffs finger staff magnetic noteheads melodic flashcards transfer stick notation to staff transpose from one staff placement to another

42 Reading/Writing Assessment 1. small group performance if student is unable to sing solo 2. assess individuals within a group (Rhythm-go-Round, felt staffs) 3. rubric with modifications (quarter note, eighth notes, quarter rest, half note only)

43 Reading/Writing Assessment 4. Rubric with adaptations (perform at own tempo, assess fewer examples, choose own patterns to read)

44 Rhythm Sequence ECHO Neutral Syllable Transfer neutral to syllable

45 Rhythm Sequence IDENTIFY In a rhyme or song - aurally Visually

46 Rhythm Sequence DERIVE From a rhyme or song CREATE New rhythms that contain

47 LUNCH TIME!!

48 Folk Dancing Seven Jumps Chimes of Dunkirk Heel & Toe Polka Sasha! Sashay the Donut Haste to the Wedding (Sicilian circle and contradance)

49 Folk Dancing Potential issues 1. Sensory (desensitization) 2. Physical tempo 3. Cognitive – cant remember the order of the calls 4. Behavioral/Emotional working with partners

50 Folk Dancing Modifications/Adaptations 1. Assign a buddy who is a strong dancer 2.Teacher demonstrates the dance with a student who needs extra repetition, a slower tempo, to experience the dance without music 3.Some students choose partners first

51 Folk Dancing 4. Allow an individual to observe as necessary; rotate in 5. Teacher chooses partners 6. Partner chain (random choice of partners)

52 Four Primary Teaching Practices Size Color Pacing Modality

53 Sample Folk Dance Sequence Seven JumpsRM2 Les SalutscircleMB BarnereinlenderNorwegianFDM AgaduIsraeliFDM Yesh Lanu Tayishlongways setFDM (also as play-party in Roots and Branches) Sneaky Snakeline danceRM4

54 Sample Folk Dance Sequence Chimes of Dunkirklongways setCH Heel & Toe PolkacircleCH Sweets of Maylongways setCH Rural Felicitylongways setSD Galopedelongways setCH Kings and Queenslongways setSD

55 Sample Folk Dance Sequence Irish StewcircleRM2 (Rakes of Mallow) Pepperell StompcircleSD (Irish Reel) Bridge of Athlone longways setMB (Blarney Pilgrim) La BastringuecircleCH Blaydon RacescircleCH Sasha!SD

56 Sample Folk Dance Sequence Jubilee Raglongways setMB Simple SquaresquareCH Sashay the Donutdouble circleSD Black JokeSicilian circleCH Zemer AtikIsraeliRM4 Haste to the Wedding Sicilian circleCH

57 Sample Folk Dance Sequence Haste to the WeddingcontradanceCH Dip for the OysterSicilian circleCH Lucky SevencircleCH MariposaSicilian circleMB Jefferson & LibertycontradanceCH

58 Sample Folk Dance Sequence Close Encountersdouble circleRM4 (California Dreaming) Circle Waltz MixercircleSD

59 Teachable Moments through Folk Dance 1. Dance until the music is finished 2. Partner chain or May I please have this dance? (the answer is yes) 3. Clap for the music at the end of the dance AND say thank you for this dance to your partner

60 Resource Guide for Folk Dances Used in Sequence FDMFolk Dance Music for Kids and Teachers (Sanna Longdens CD No.1) MBListen to the Mockingbird RM2Rhythmically Moving 2 (Phyllis Weikart) RM4Rhythmically Moving 4 (Phyllis Weikart) CHChimes of Dunkirk SDSashay the Donut

61 Part Work Types Canon Ostinato (rhythm, melodic, spoken, played) Root melody/implied bass line Partner songs Countermelody/descant 2-part music sing + reading/conducting/beat and beat division/ball-bouncing

62 Part Work Potential issues 1. Communication 2. Cognitive 3. Physical - beat + beat division, conducting, playing ostinato

63 Part Work

64 Teachers create other parts (with or without instruments) to be performed with song Students choose what is comfortable to perform = self-leveling

65 Part Work Instruments 1. another avenue for communication 2. size 3. modality

66 SNACK

67 Singing Games

68

69

70

71 Potential issues 1. Sensory desensitization 2. Cognition when to meow 3. Communication vary modalities 4. physical 5. behavioral/emotional

72 Q&A

73 General Ideas Use a predictable/standard lesson plan Many tasks in a single music class = Opportunity to give positive feedback Regarding each students strength Sequence! Break down each task and sequence

74 General Ideas Identify carefully what you want to assess Offer multiple opportunities to learn and Reinforce skills/concepts so kids have Opportunities to learn what you want to assess Seek incremental improvement for each student

75 Einstein Quote Everyone is a genius. But if you judge a fish on Its ability to climb a tree, it will live its whole life believing it is stupid.

76 Double Dream Hands The Big Finish! Dip for the Oyster


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