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Madeleine Carabo-Cone has appeared as guest violinists with such orchestras as the Chicago Symphony and

has been presented in innumerable concerts and recitals throughout the United States, including New Yorks
Carnegie and Town Hall. Also, she was the pioneer woman in the first violin section of the Cleveland Orchestra.
She held many scholarship awards including a Julliard Graduate School Fellowship and the Frederick Stock
Award. Her musical training was under the direction of Enesco, Mischakoff, Adolfo Betti and Carl Friedburg.
Among her other achievements was a first New York performance of sonatas by Charles Ives, Henry Cowell and
Roy Harris as well as a performance of the entire cycle of Beethoven sonatas in a series of three concertos at
Columbia University.
In Carabo-Cone Concepts for Strings, she offers to all string students the essence of her own distinguished
schooling and professional experience.
Sensory-Motor Approach (acc. To the book The Playground As Music Teacher, How to Help Children Learn
totally involving the childs physical, psychological, and innate intellectual powers used especially in the
primary education.
Carabo-Cone Music Method Amanda Lovell
March 13, 2012
MUED 560 Sensory-Motor Approach Sensory-Motor Approach Developed by violinist Madeline Carabo-Cone

Who studies this method? Colleges, Elementary Schools, Kindergartens, and Pre-schools

Where? The United States, Japan, China, Brazil, and Israel Who teaches? 1. Trained Music Teachers 2. Team
Teachers 3. Regular Classroom Teachers 4. Musical Group Leader 5. Parents General Music Classes
Private Musical Instruction
Neighborhood Centers
Homes ...and where? Theories and Methodologies
for TEACHERS Utilized in specialized instruction-Pre Academic, Special Education, and Pre-Instrumental

Methodology - Involves Physical Powers, Psychological Powers, and Innate Intellectual Powers

Promotes Academic Achievement- Musical Foundation and Intellectual Stimulation
Seven Dominant Elements 1. The Child 2. The Materials 3. Immediate Vocal and Instrumental Realization 4.
Academic Preparation- Development of Visual and Auditory 5. Perception
6. Advantages for the Disadvantaged Child 7. Development of Rhythmic Coordination and Control
8. CREATIVITY Materials for Instruction Wall Charts Grand Staff Tablecloth Floor Staff Black Paper Notes
Grand Staff Box Identification Cards "Note Hats" Line and Space Sticks PIANO Focal Point of Reference

Basic knowledge of whole and half steps

Used for study in voice and all other instruments
Music Fundamentals Identification with Self Dramatization Proprietary Interest Translation of Abstract into the
Tangible and Personal
Being a Musical Element Musical Alphabet Hand Is A Staff A Song A Conductor An Interval A Time Value A
Measure Toe Becomes A Conductor A Phrase A Sharp, Flat, or Natural A Keyboard A Chromatic Scale A
Major or Minor Key A Chord Child Psychologists Piaget Bruner A Psychologist's Perspective 1. Structured
Cognitive Learning
2. Introduced to Pre-Schools
3. Translated into actions and environment
4. Grand Staff- Environment in which the child is born

Carabo-Cone, Madeline. 1982. Carabo-Cone Concepts for Strings: Violin, Viola, and Cello. Scarsdale, NY: The
Carabo-Cone Method Foundation.

Carabo-Cone, Madeline. 1974. A Sensory-Motor Approach to Music Learning. New York: MCA Music

Carabo-Cone Method
This early-childhood approach sometimes referred to as the Sensory-Motor Approach to Music was
developed by the violinist Madeleine Carabo-Cone. This approach involves using props, costumes, and
toys for children to learn basic musical concepts of staff, note duration, and the piano keyboard. The
concrete environment of the specially planned classroom allows the child to learn the fundamentals of
music by exploring through touch.
Principle of the pendulum, the children are ready for the Grandfather Clock Game. Whispering tick-tock,
tick-tock, each child swings his right arm like a pendulum to the accompaniment of victrola records of
Principle of steady tempo. Tempo must remain steady- and the tom-toms can help it so- bringing out the
principle that one need not get faster as one gets louder.
Principle of rhythm as a pulsation. The expansion and contraction of the heart, the undulation of the
waves, the ebb and flow of the tide, the strong and weak beats of poetry, the succession of solids and
voids in architecture-all bear witness to the underlying principle of rhythm as a pulsation.