1. Approaches to Teaching Music

2. Suzuki Developed by viloinist Shinichi Suzuki Developed by viloinist Shinichi Suzuki Stems from idea that children can learn music similar to the way they learn to speak Stems from idea that children can learn music similar to the way they learn to speak Called the “mother-tongue approach” Called the “mother-tongue approach”

3. Parental involvement One parent is expected to learn how to play One parent is expected to learn how to play Parents work with teacher Parents work with teacher Parents serve as “home teachers” Parents serve as “home teachers”

4. Approach Uses listening & repetition Uses listening & repetition Encouragement Encouragement Interaction with other children in group lessons Interaction with other children in group lessons Use of repertoire for learning (not exercises) Use of repertoire for learning (not exercises) Notation introduced later Notation introduced later

5. Dalcroze Is not dance Is not dance Has 3 components: Has 3 components: –Eurhythmics –Ear training –Improvisation –Basis is on listening & responding to music

6. history Founded by Emile Jaques-Dalcroze (1865- 1950) Founded by Emile Jaques-Dalcroze (1865- 1950) Was a response to his students lack of musical understanding Was a response to his students lack of musical understanding Being musical = connections between ear, brain and body Being musical = connections between ear, brain and body

7. Kinesthetics Respond to music through locomotor or non locomotor movement Respond to music through locomotor or non locomotor movement Singing is accompanied by movement Singing is accompanied by movement

8. Kodaly “music belongs to everyone” “music belongs to everyone” Developed out of a need for music instruction to be built on the existing repertoire of children’s music Developed out of a need for music instruction to be built on the existing repertoire of children’s music Goal is literacy Goal is literacy

9. History Hungarian composer & ethomusicologist Zoltan Kodaly (1882-1967) Hungarian composer & ethomusicologist Zoltan Kodaly (1882-1967) Changed pedagogy to reflect singing, use of solfege, literacy of notation, and use of folk melodies Changed pedagogy to reflect singing, use of solfege, literacy of notation, and use of folk melodies

10. “Americanized” Kodaly Uses pentatonic songs Uses pentatonic songs Curwin hand signs Curwin hand signs Ear training used to develop “inner hearing” Ear training used to develop “inner hearing” Movable “do” Movable “do” Use of rhythm syllables Use of rhythm syllables

11. Orff-Schulwerk Translated: Orff – School work Translated: Orff – School work Stems from “elemental” music Stems from “elemental” music Games, chants, and songs Games, chants, and songs

12. History Grew out of ideas from Carl Orff (1895-1982) and Dorothee Gunther Grew out of ideas from Carl Orff (1895-1982) and Dorothee Gunther Together, they founded the Guntherschule which incorporated music, dance & theatre 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 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 The Schulwerk method developed from this, and has since spread

13. Key elements Use of imitation and exploration Use of imitation and exploration Ideas build from student’s contribution Ideas build from student’s contribution Use of pitched and non-pitched percussion instruments Use of pitched and non-pitched percussion instruments Literacy stems from experiences Literacy stems from experiences Improvisation & composition Improvisation & composition

14. Gordon’s Music Learning Theory “audiation” is goal “audiation” is goal Sound before symbol approach Sound before symbol approach Based on a hierarchy of skills Based on a hierarchy of skills

15. Discrimination Learning Aural & oral Aural & oral Verbal association Verbal association Partial synthesis Partial synthesis Symbolic association Symbolic association Composite synthesis Composite synthesis

16. Inference learning Generalization Generalization Creativity and improv Creativity and improv Theoretical understanding Theoretical understanding

17. Manhattanville Music Curriculum Project Funded in 1960’s Funded in 1960’s Learning is connected from one level to the next, progressively advancing Learning is connected from one level to the next, progressively advancing

18. Key ideas Student generated sounds Student generated sounds Includes: Includes: –MMCP Strategies –Student recitals –Listening to recordings –Research reports –Guest recitals –Skill development –Group singing