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T1 - Review of Collins, Irma H., Dictionary of Music Education. AU - McAulay, Karen. PY - 2015. Y1 - 2015. N2 - Review of a small, single-volume dictionary covering a wide subject. AB - Review of a small, single-volume dictionary covering a wide subject. KW - Book review. KW - Music. KW - Education. KW - Teaching. KW - Pedagogy
Nov 30, 2011 · The methods of the Dalcroze approach to music education—eurhythmics, solfège, and improvisation—have had a profound influence on modern music education. In particular, the overt training in kinesthetic abilities, and the assertion that the relationship between music and movement is an intimate one, is at the heart of Dalcroze’s approach to instruction.
- William Todd Anderson
- 2012
Active listening to music has great potential to develop critical skills, individual growth, and social transformation. Nevertheless, the differences and disagreements between the theories of music education and music listening show the significance of developing active listening as an inherent part of music.
- Philosophy
- The Orff Instrumentarium
- Patterned Accompaniments
- Orff as Arts Integration
- The Orff Process
- Applying The Orff Approach Developmentally
- Orff Improvisation
- Modes
- Adding Music to Drama
- Kodály’s Philosophy
The Orff Schulwerk method is the only approach that is not a systematic “method” per se, although it does entail fostering creative thinking through improvisational experiences. Rather than a system, Schulwerk combines instruments, singing, movement, and speechto develop children’s innate musical abilities. There are four stages of teaching: 1. Imi...
In early 20th century Germany, there were few instruments accessible to children. Orff began by buying recorders, which were rare at the time. Since no one knew how to play them, Dorothée Gunther created instructional books to teach recorder to children. No one knew how to play them, so Dorothée Gunther created instructional books to teach them. C...
Orff believed that one of the easiest ways to encourage student participation in music while also contributing to beautiful music-making is to have them play a simple accompaniment on a xylophone. By second grade, most students will be able to keep a steady beat, with a fair number able to do so by first grade. Below are some basic accompaniment pa...
One of Orff Schulwerk’s major contributions is its emphasis on arts integration. Orff includes language (stories, poetry, rhythmic speech), movement (dance, improvisation), and drama as well as music.
The American adaptation of Orff Schulwerk utilizes four stages to organize the process of teaching music: imitation, exploration, improvisation, and composition. These four stages establish the fundamental building blocks for children to develop musical literacy. They are similar to Bloom’s taxonomy, in that they begin by introducing a very basic s...
Schulwerk understands that to be an excellent musician, the art form must be highly familiar and internalized to the point of being second nature. Through the practice of imitation, exploration, improvisation, and composition, students learn what music is by performing. Before playing instruments, Schulwerk requires that all sounds be internalized,...
Schulwerk’s elemental music is based on both experimentation and improvisation, allowing children to explore the tones, rhythms, and timbres of music from their own abilities and creative perspectives. To this end, Orff created frameworks or pathways to help children experiment without pressure or stress. The easiest way to experiment on the Orff i...
Orff also made use of modes, which are types of scales with non-musical characteristics. The Greeks used modes such as Lydian (F to F on the white keys of a piano), Dorian (D to D on the white keys), Aeolian (A to A on the white keys or the natural minor scale), and Mixolydian (G to G on the white keys).
Taking a story and adding sound effects, leitmotifs, instruments, vocal sounds, body percussion, and actors and/or a narrator also brings literature to life. The goal of a leitmotif is to help the listener identify a main character or theme in the story. For example, characters and themes are given a short musical pattern, and every time that chara...
The Kodály philosophy of music education supports music’s role in the intellectual, emotional, physical, social, and spiritual development of every child. A central tenet of the Kodály approach is that music belongs to everyone—that an education in music is the right of every human being and cannot be left to chance. Zoltán Kodály (1882–1967) was ...
Music learning theory (MLT), which was developed by Edwin Gordon, provides a theoretical framework for teaching music. At its core is the goal of developing audiation skills so that students can become musically independent.
Oxford Handbooks Online, 2012. download Download free PDF. View PDF chevron_right. The Science and Psychology of Music Performance: Creative Strategies for Teaching and Learning, edited by Richard Parncutt and Gary E. McPherson. Oxford: Oxford University Press, 2002. xii + 388 pp, 37.50 hardback. Jonathan Dunsby.
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At U of T Music Education, we emphasize knowledge creation skills through music making, teaching and learning. Our intellectually comprehensive approach educates the whole person. It prepares students for music leadership roles in diverse teaching and learning circumstances. With instruction incorporating philosophical, educational, political ...
