MUS 463 NOTES

Rhythm and Movement

Musical Element 2: Rhythm Beat Meter Rhythm

Understanding Beat Beat = steady pulse of music Can change tempo 2 layers of beat: Macrobeat and Microbeat Children tend to feel microbeat before macrobeat Spider fingers! Teach by rote (a LOT) before having students find o Discrimination learning vs. Inference learning

Understanding Meter Involves the layering of macrobeats/microbeats Determined by how the macrobeats are divided o Macros divided into 2s = DUPLE METER o Macros divided into 3s = TRIPLE METER o Macros divided into 2s and 3s = COMBINED METER o UNEVEN Macros = UNUSUAL METER

Understanding Rhythm Rhythms = long and short durations and the organization of sounds and silences in time Involves time/timing Rhythm patterns = rhythmic words Can use rhythm syllables Melodic rhythm = rhythm of the melody (what you sing)

Gordons 3 Layers of Rhythm Melodic Rhythm Microbeats

Macrobeats

Song or Chant? Songs are SUNG chants are CHANTED BOTH songs AND chants have rhythm/meter Songs have pitch/tonality, but chants do NOT Examples: o Noble Duke of York o Scrubba Dubba

MOVEMENT Importance of Movement Contributes to physical development (body awareness/coordination) Aids in understanding musical concepts (especially rhythm!) Helps develop musical sensitivity/expression Helps develop creativity/imagination

MOVEMENT is different from dance! Body Awareness Is my body moving or still? What part(s) of my body is(are) moving? Examples o Go and Stop awareness of moving or not, ways we can move our bodies o Popcorn Macro/Micro, isolating body parts

Laban Movement Elements Created by Rudolf van Laban All 4 elements are on a continuum and all relate to each other

Flow (Free-Bound) Space (MANY aspects) Weight (Strong- Gentle)

FLOW -

Time (Quick- Sustained)

Free, fluid, uninterrupted, smooth movement AKA Continuous, fluid movement (CFM) Readiness for beat! (Flow, flow=pulse) Flowing first = keep tempo consistent Example: give an object a ride on hand/other parts (smooth, circular pathways)

Free Flow- Bound Flow Free= relaxed, loose, difficult to stop o Example: swimming Bound = stiff, difficult to keep moving o Example: superhero muscles Both/alternate between o Example: spaghetti noodles uncooked or cooked o Ex.: swim in oil, peanut butter

WEIGHT (Strong Gentle) Strong = feel body weight (not just stomping) o Ex.: big heavy snowball pass around the circle Gentle = floating feeling o Ex.: eggs on floor- walk without breaking! Both o Ex.: dont crack the eggs! DO crack the eggs!

SPACE Self/Shared o Ex.: freeze like a statue in self space and shared space Open/Closed shapes o Ex.: Balloon o Ex.: M is for Mary Levels High, Medium, Low o Ex.: statues in levels Locomotor/Stationary o Ex,: popcorn Direct/Indirect straight, curvy pathways

TIME (Quick Sustained) Quick: Freeze quickly into a statue Sustained: Slo-mo statues Both: Bubble Gum slow blowing up, then fast pop

Safe Environment What do CHILDREN need to feel safe in order to do movement? What do TEACHERS need to do in order to facilitate a safe environment?

Things to remember Less talking is better Modeling is best Give clear, concise directions Have a signal to end, if needed

Rhythm & Movement (review), Peer teaching, Early Childhood Music intro
A Little More About Rhythm Meter Identification! Rhythm Syllables Finding Rhythms in Songs Rhythmic Improvisation! Body percussion

MOVEMENT PEER TEACHING Early Childhood Music Why is it important for children to be exposed to (and begin learning) music as early as possible? o Brain development o Music aptitude o Music/language learning parallels

How do young children learn music? Preparatory Audiation o Stages everyone goes through before achieving audiation o Requires proper guidance and sufficient exposure to music

o Occurs in three stages/types Acculturation Preparatory Audiation Stage 1 Approximately birth to age 2-4 o Musical age vs/ chronological age! Divided into three sub-stages o Absorption o Random Response o Purposeful Response (Tonal/Rhythm babble) Absorption o Kids listen and observe Songs without words/no piano- kids tune into the melody Same key/tonality/meter/tempo each time the same song is sung or chanted Lots of vocal inflection Recorded music: dynamic, timbre contrasts but with a consistent tempo Random Response o Moves and babbles in response to but with no relation to the music Purposeful Response o Tonal/rhythm babble Child has no idea that their response is incorrect Teacher exposes child to tonal/rhythm patterns after songs/chants they will respond more once theyve heard more songs/chants Teacher imitates child response and then performs correct pattern Audiation range: D-A

Imitation Preparatory Audiation Stage 2 Approximately age 2-4 to age 3-5 Divided into two sub-stages o Shedding egocentricity Audiation stare o Breaking the Code Child imitates with some precision, just not consistently

Assimilation Preparatory Audiation Stage

Approximately age 3-5 to age 4-6 Divided into two sub-stages o Introspection Child recognizes a lack of coordination between their performance and the teachers Usually is missing the breath o Coordination Child coordinates singing and chanting with breath/movement

E.C. Classroom Environment Informal guidance vs. Formal instruction Menu of activities No expectations of specific child responses Very little talking! Pattern instruction o Tonal and rhythm

Early Childhood (continued) Musical Element 3: Melody

Early Childhood Review Music Babble Stages Informal o Child teaches him/herself o Responds to the tonal/rhythm syntax of music

Music Babble A person is in music babble until they can sing in tune or move with consistent tempo Two Dimensions: o Tonal o Rhythm o Not related to each other

Tonal Babble One prevalent pitch

Different pitch for different songs Expands from monotone to patterns in songs Out of tonal babble when child sings familiar and unfamiliar songs in tune

Rhythm Babble Movements unrelated to music Patterns emerge that are consistent but still dont relate to the music Movement patterns become consistent = consistent tempo Out of rhythm babble when child moves consistently with the beat of the music and performs rhythms correctly

Aural/Oral Aural = Listening Vocabulary Oral = Singing/chanting Vocabulary Basis of audiation Enhanced by informal music activities o Varied activities

Early Childhood Curriculum Song instruction Coordination/movement instruction Chant instruction Tonal pattern instruction Rhythm pattern instruction Listening

Song Instruction Establish Tonality Always sing in same key, tonality, meter and tempo

Movement Instruction Bilateral arm/legs Alternating arms/legs Stationary before locomotor

Chant instruction Establish meter

Consistent meter and tempo every time

Pattern instruction Tonal patterns Rhythm patterns Informal = do not expect a response

Listening Instrumental Variety of styles Changes in timbre Contrasting dynamic sections Unusual tonalities/meters

Element 3: Melody Succession of pitches that make up the tune of a song Has different aspects

Aspects of Melody Contour High/low Up/down/same Skips/steps/leaps/repeats

Tonality o o o o o Major/minor/others Relationships around a pitch center Gives tonal flavor Solfege as a tool; happy/sad as a hint Scales= series of half/whole steps HALF step from key to key (NO keys in between) WHOLE step always skips a key (ONE key in between)

Singing Voice Development Why is singing voice development important?

o Roots of music education in U.S. are singing o Singing teaches students to use the instrument they already have and can take anywhere! Mechanics of the Voice Posture is important Breathing is essential Tension is bad Audiation is necessary Learning to sing depends on: o Developing audiation o Finding your singing voice

Finding Singing Voice Sirens Owl hoots Train whistle Slides/rollercoaster Different ways of using voice o This is my _______ voice

Presenting a good vocal model Demonstrate good posture Do NOT use vibrato Sing in an appropriate range for children Men: sing in your range (octave lower), but give children their starting pitch Sing TO children, not WITH children Give opportunities for children to sing alone

Stages of Elementary Singing Development K-1st grade vocal range: D-A (above middle C) 2nd-3rd grade vocal range: B (below middle C) to D (above high C) 4th-5th grade vocal range: A (below middle C) to F (above high C)

Choosing Appropriate Music for Singing Correct range (look at the notes) Does the melody jump around?

Preferably without words o You can sing your favorite song on bum! Folk songs are very appropriate

Melody (Review) Musical Element 4: Form Rote Song Teaching Procedures

Melody (review) Its the tune! High/Low Moving up/down Steph/skip/leap/repeat Tonality Major vs. Minor

Music Element 4: Form How music is organized The structure of music o Required listening for chunks, repetition o Can be on a small or large scale

Form: Call and Response Alternates between one person/group doing a part and another person/group answering back Contrasting call and response o The call changes, but the response stays the same every time Identical call and response o Call and response are the same Example Che Che Kule

Form: Phrase Musical thought/musical sentence

Form: Sections Larger scale Using letters to label/represent large sections

Form: AB (Binary) Two parts: an A part and a B part Alternate back and forth, repeat Rig a Jig Jig o March during A, sway during B

Form: ABA (Ternary) Hello, Hello, Hello, Hello o Macro for A, Micro for B

Form: Rondo One section recurs, alternation with different sections in between (ABACA) There Was an Old Lady Who Swallowed a Chick

Form: Them and Variation Main theme presented and then is manipulated in various ways (changing tempo, rhythm, meter, tonality. range, timbre, etc.)

Rote Song Procedure- Pure Exact steps Give yourself the starting pitch and sing the song on a neutral syllable (bum) Move to Macrobeat heels or sway Move to Microbeat spider fingers Simultaneous macro/micro Pause and sing resting tone during song Tell students they will hear song once more, then will audiate. Give yourself starting pitch and sing the song Give vocal cue; students audiate song, touching chin when done Give vocal cue, then preparatory gesture/breath. Students sing the song Assess the students performance and remediate if necessary

MOST IMPORTANT INFO! The point is

Prepare the students for their job Vocal cue Preparatory gesture/breath Lets try it

Things for students to do while listening Macrobeat/microbeat Meter Tonality Resting tone Singing/keeping beat, moving Lyrics Use your imagination!

Element 5: Harmony Classroom Instruments

Musical Element 4: Form How music is organized Structure of music o Listening for chunks/repetition o Can be small or large scale

Examples of Form Call and Response Phrases AB (Binary) Form ABA (Ternary) Form ABACADA (Rondo) Form Theme and Variations

Musical Element 5: Harmony

Different pitches sounding at the same time Unison (melody) vs. Harmony Rounds are NOT a good place to start Need to first develop a sense of harmonic underpinnings

Resting Tone Exposure (sing So-Do, leave out last pitch of song, sing directions on r.t, play r.t. on instruments) Beanbag drop and sing r.t.

Ostinato Resting tone ostinato (Sally Go Round the Sun) Tonic/Dominant (Do-So) ostinato Melodic ostinato (Are You Sleeping? Ding ding dong, Are you Sleeping?)

Chord Roots and Chord Tones also called the bassline provides basic sense of harmonic underpinnings neutral syllables first expand chord roots to full chords (chord tones)

Partner Songs Rounds Singing the same song but starting at different times Works only with song that have the same pattern of chord roots for each phrase Are you Sleeping? songs with same chord root structure/same harmonic underpinnings Skip to My Lou/ Bow Belinda This Train/ Oh When the Saints

Unpitched Percussion Examples o Rhythm sticks, egg shakers, drums, maracas, triangles, sand blocks

How Can Instruments Be Used? Exploratory Play

Practice Specific Concepts o (steady beat, tonal/rhythm patterns) Express a story/poetic ideas Creating (improvising/composing)

Exploratory Play Chance to see, touch and hear the sounds of instruments, connect look/feel to sound Exposure to timbre o Jam Session

Specific Concepts Body/voice BEFORE instruments Instrument extension of audiation o If you can hear/sing/feel it, you can play it! Beat: Clackety Clack- rhythm sticks

Pitched Instruments Examples o Xylophones, glockenspiels, Boomwhackers, recorders, ukuleles

Musical Element Review

Approaches in Music Education Four main methodologies o Dalcroze o Kodaly o Orff-Schulwerk o Music Learning Theory

Dalcroze Approach Created by Jacques Dalcroze (1865-1950) Centered on internalizing music concepts through physical experience Three branches:

o Eurhythmics: based on experience of rhythm/dynamics through body movement Walking, running, skating, galloping o Solfege: fixed Do system The goal is absolute pitch o Improvisation (teacher at the piano) so that the teacher can follow/lead students movements Kodaly Approach Created by Zoltan Kodaly (1882-1967) o Emphasis on national heritage (folk songs) Vocal approach to music literacy So-Fa Teaching o Stresses skills of music reading/writing Solfege: movable Do o Progression of pitches learned (so-mi, *d) o Use of hand signs to reinforce pitch relationships Rhythm syllables: tas and ti-tis

Orff Approach Created by Carl Orff (1895-1982) Elemental Music music, movement, and speech are inseparable! Progression: speech, rhythm/chant, song Childrens musical development parallels growth of music history: rhythm, melody, harmony Concepts introduced as speech patterns and then studied in musical context

Characteristics of Orffs philosophy (and materials) Speech patterns Elemental music chants/calls, then pitches introduced one by one Pentatonic first (5 pitches that dont clash) Instruments (xylophones) Ostinato patterns and borduns as accompaniment Emphasis on improvisation (of a certain kind)

Music Learning Theory Created by Edwin Gordon o Main goal = developing audiation

Importance of sequential learning Pattern instruction Movable Do/La-based minor Rhythms syllables: based on beat function Variety of tonalities/meters Importance of movement (Laban) Individualization of instruction (aptitude, pattern instruction)

Music and Special Learners Assessment in Music Education Benefits of Music Instruction

Applying the Elements What could you say about this music in terms of o Expressive qualities o Rhythm o Melody o Harmony o Form

Special Education Law IDEA o o IEP o o o

Individuals with Disabilities Education Act (1990) Students deserve the least restrictive environment Individualized Education Program Team that includes parents, classroom teachers, sometimes specialist Unique plan to meet individual students needs

Music and Special Learners Inclusion/Mainstreaming Accommodations vs. Modifications

o Accommodations: when a child is capable of the same work but needs more time, different modes of responding, different format, etc. o Modifications: a change in the standard for participation or for success; a difference in the education goals for the student Helping students with Cognitive Impairments o Attentions: state goals clearly, use precise language with concrete examples, one task at a time o Memory: repetition, keep patterns short, break down tasks into steps, visual cues o Organization of Idea? Abstract: teach by rote (not note), use iconic or created notation o Mental vs. Chronological age: work with a buddy, dont baby down

Helping students with Learning Disabilities For student specifically with auditory processing problems: o Multiple opportunities for repetition o Pair with visual cues o Pair with movement cues

Helping students with Visual Impairments o Preferred seating o Tactile examples/manipulatives o Enlarged visuals/notation o Movement-might do with extra personal space or with a buddy

Helping students with Hearing Impairments o Wear the microphone! o Preferred seating o Visuals

Helping students with Physical Impairments

o Modifications to musical instruments o Mallet and recorder adaptations o Modifications to the activity Helping students with Autism Spectrum Disorder o Visuals o Be aware of volume levels and timbres o Pair with a buddy o Provide opportunities but dont force (physical interactions, vocalizations, etc.)

Helping students with Gifted and Talented Label o May not mean gifted and talented in music o Opportunities to play more challenging parts o Opportunities to compose or improvise o Individual projects o Student leaders

Assessment in Music Education Authentic Assessment o Must measure a particular musical behavior/skill o Requires actual performance in an authentic setting Standards-based Part of everyday class Turns in games Two Types o Continuous Rating Scale 4- Exceeds expectations, 3- meets expectations, 2- working towards expectations, 1- has a long way to go Can be a 3-5 ratings long o Additive Rating Scale A list of qualities that are or are not present at the time of performance Ex.: recorder performance

So, ARE there extra musical benefits??? Psychosocial:

o Increased self-esteem (mixed results) o Increased enjoyment of school o Increased engagement in learning when music is used o Effective management device o Increased self-expression/emotional outlet Cognitive o Music is an excellent mnemonic device if you choose to us it that way Linguistic o There is evidence that music education can help those who are language delayed with their communication skills and that singing can improve many speech disorders o Use of music in the classroom can be beneficial in early literacy instruction and for students who are English Language Learners

Benefits of Music Education in the classroom: Integrating with other subjects

Arts integration: Howard Gardner: Multiple Intelligences Verbal/linguistic (word smart) Logical/mathematical (number smart) Visual/spatial (picture smart) Musical/rhythmic (music smart) Bodily/kinesthetic (body smart) Interpersonal (person smart) Intrapersonal (self-smart) Naturalist (nature smart) Existentialist (spirituality smart)

Art Integration Instruction goals need to be established for both music and other subjects Music should be more than just a tool for learning other subjects. A valid integrative experience should deepen the understanding of music as well as that of the other discipline(s) involved.

Two approached in integration o Thematic approach focuses on a theme/topic o Parallel Concepts approach focuses on common concepts

The Power of Chant Why use chant? o To improve oral fluency and reading comprehension Similarities between language arts and chant? o Timing rhythm o Pacing tempo o Flow of language beat/meter Ways of using childrens literature to integrate chant: o Book with text as an existing chant o Book with text that alternates between stanza and refrain Modifying a text to create chants o Teacher modifies o Student modifies