Grayson Parker

MUED 271

Dr. Maynard

28 September 2020

Chapter Four Reflection

I was immediately intrigued from the beginning by the section about methods and how

to define it exactly. I was very interested to notice that I knew some of the methods that

Sarrazin was discussing in chapter four. For example, I was a part of an “Orff Ensemble” in

fourth and fifth grade where we met three times a week after school to learn more about orff

instruments and even Orff Schulwerk himself. My teacher, Ms. Laviana, did just what the

chapter said. We used these instruments to learn so many things about music, and it truly

helped us all take the next step into our music careers. Even as kids that young, this method set

us apart from the kids who didn’t participate.

I also have had lots of experience with the Kodály method. Not only did I use this

method in middle and high school, but I continue to use it here at JMU. I even find it so helpful

that I did my teaching without talking assignment on his re-adapted hand signs and solfege. I as

a early music student found this to be extremely helpful, so I too wanted to teach it. I have also

used Gordon’s method of audiation, but I never studied it along with him. We always discuss

audiation, but never put his name along with it. It was interesting to be able to do so now. We

all have used Dalcroze’s method before. As children, or teachers of young children, movement

tends to be a key element of the majority of the songs that stick with children the most. I have

never directly used the Emilia or Suzuki methods to my knowledge, but I can tell that the ideas
from both of this people have been used throughout my education thus far. I can guarantee

you that every last one of these methods will be used in my classroom. These methods and

fantastic people shaped my education, and I will make sure they do the same to those students

that enter my classroom in the future.