Teaching Music in the Twenty-First Century

by Choksy, Lois; Abramson, Robert M.; Gillespie, Avon E.; Woods, David; York, Frank

• ISBN13: 9780130280275
• ISBN10: 0130280275
• Edition: 2nd
• Format: Hardcover
• Copyright: 2000-08-02
• Publisher: Pearson

Summary

Unique in both content and approach, this book offers a single-volumeauthoritativecomparison of the four most popular music education methods used in North AmericaJacques-Dalcroze, Kodaly, Orff, and Comprehensive Musicianship. Its in-depth examination of the methods and underlyingphilosophiesof each method--and its suggested lessons for each method at each grade level--will help readers make knowledgeable curricular choices among methods. Both the New National Standards (MENC) and the use of technology in the study of music are described and discussed in relation to all four methods.Method in North American Music TeachingThe Beginning. Influences on Methods, Approaches, and Philosophies of Teaching Music. Technology and Music Education. The Approach of Jacques-Dalcroze. The Kodaly Method. The Orff Approach. Comprehensive Musicianship: An American Technique and Philosophy for Teaching Music. Achieving Goals and Objectives in School Music Programs Via the Principles of Jacques-Dalcroze, Kodaly, Orff, and Comprehensive Musicianship. Grades K-1-2. Grades 3-4-5. Grades 6-7-8. Method in Music for Older Students. Which Methods?For music educators.

Table of Contents

Preface	ix
Method in North American Music Teaching: The Beginnings	1	(11)
What is Method?	2	(1)
Looking Back	2	(9)
The Contributions of Horace Mann	2	(2)
Introduction of Music Into Public Schools	4	(1)
The Influence of Lowell Mason	5	(6)
Looking at the Present	11	(1)
Influence on Methods, Approaches, and Philosophies of Teaching Music	12	(12)
The Woods Hole Conference	12	(1)
The Young Composers Project	13	(1)
The Yale Seminar	13	(3)
Music Materials	14	(1)
Music Performance	14	(2)
The Manhattanville Music Curriculum Program	16	(1)
The Tanglewood Symposium	16	(1)
The Go Project	17	(1)
Goals 2000: Educate America Act	18	(1)
The National Standards	18	(1)
The Ann Arbor Symposium	19	(2)
The Mountain Lake Colloquium	21	(1)
The Getty Education Institute for the Arts	21	(1)
Summary	22	(2)
Technology and Music Education	24	(16)
Introduction	24	(1)
Electronic Musical Instruments	25	(2)
Technology as a ``More Capable Other''	27	(1)
Computers and Information Technology	28	(1)
Interactive Multimedia	29	(1)
Music Notation Software	30	(2)
Music Sequencing	32	(1)
Computer Assisted Instruction	33	(1)
Accompaniment Software	34	(1)
Conferencing	35	(1)
The Internet and the World Wide Web	36	(2)
The World Wide Web: A Teaching-Learning Tool	38	(1)
Conclusion	39	(1)
The Approach of Emile Jaques-Dalcroze	40	(41)
The Educational Philosophy of Jaques-Dalcroze	42	(6)
The Reasons for Training in Rhythm	44	(1)
The Birth of Eurhythmics: First Experiences and Discoveries	44	(2)
Kinesthesia: The Missing Link	46	(2)
Techniques of Eurhythmics	48	(4)
The Use of Improvisation in Eurhythmics Classes	49	(1)
The Use of Movement in Eurhythmics	49	(3)
The Development of Inner-Hearing	52	(1)
Content of Eurhythmics	52	(1)
The Thirty-Four Jaques-Dalcroze Elements of Rhythm	53	(8)
Jaques-Dalcroze's Contribution to Rhythmic Theory	61	(2)
Solfege-Solfege-Rythmique and Improvisation	63	(2)
Solfege	63	(2)
Musical Interpretation	65	(8)
Phrasing, Nuance, and Expression	65	(1)
Numbered Melodies	66	(1)
Scales, Tonalities, Intonation, and Hearing	67	(2)
Syllables and Numbers	69	(1)
Solfege, Tonality, Nuance, Phrasing	69	(3)
Solfege-Rythmique	72	(1)
Improvisation	73	(6)
Beginning Keyboard Improvisation	77	(2)
Improvisation and the Printed Page	79	(1)
Conclusion	79	(2)
The Kodaly Method	81	(22)
Objectives of Kodaly Musical Training	83	(18)
A Child-Developmental Approach	83	(1)
The Tools of the Kodaly Method	83	(5)
Sequencing for Learning	88	(1)
Some Possible Kodaly Sequences in Rhythm, Melody, Form, and Harmony	89	(12)
Combining the Elements	101	(1)
Summary and Conclusions	101	(2)
The Orff Approach	103	(12)
The Origins of Schulwerk	103	(4)
The Orff Process	107	(2)
Exploration of Space	107	(1)
Exploration of Sound	107	(1)
Exploration of Form	108	(1)
Imitation to Creation	108	(1)
Individual to Ensemble	109	(1)
Musical Literacy	109	(1)
Support Systems for the Process: Orff Instruments	109	(4)
Voice and Body	109	(2)
The Instrumentarium	111	(2)
The Musical Materials	113	(1)
Summary	114	(1)
Comprehensive Musicianship: An American Technique and Philosophy for Teaching Music	115	(9)
The Young Composers Project	116	(1)
The Contemporary Mu`sic Project	116	(1)
The Comprehensive Musicianship Approach	117	(6)
Common Elements	119	(1)
Musical Functions	120	(1)
Educational Strategies	121	(2)
Summary and Conclusions	123	(1)
Achieving Goals and Objectives in School Music Programs via the Principles of Jaques-Dalcroze, Kodaly, Orff, and Comprehensive Musicianship	124	(36)
National Standards for Arts Education	124	(1)
National Standards for Music	124	(2)
Physical Settings, Equipment Needs, lesson Planning, and Teaching Styles	126	(1)
Jaques-Dalcroze	126	(11)
Teaching Style	126	(2)
Space, Equipment, and Clothing	128	(1)
Musical Materials	128	(1)
Lesson Planning	128	(3)
Exercise and Game Plans	131	(2)
Three Types of Lesson Plans	133	(2)
The Process of Eurhythmics	135	(2)
Kodaly	137	(7)
Lesson Planning	139	(1)
Pedagogical Process	140	(3)
Musical Materials	143	(1)
Orff	144	(7)
Lesson Planning	145	(4)
Musical Materials	149	(1)
Physical Setting	150	(1)
Comprehensive Musicianship	151	(8)
Classroom Objectives	151	(1)
Role of the Teacher	151	(2)
Planning for Musical Learning	153	(2)
Application of CM in the Upper Elementary Grades and in the Junior High School General Music program	155	(2)
Application of CM in Secondary Performing Ensembles	157	(2)
Conclusions	159	(1)
Grades K-1-2	160	(44)
Introduction: The National Standards	160	(1)
Jaques-Dalcroze	161	(14)
Preschool	161	(1)
Nursery School through Grade 2	162	(2)
Lesson for Primary Grades	164	(11)
Kodaly	175	(11)
Lesson for an Early Stage	175	(6)
Lesson for the End of Grade 2	181	(5)
Conclusion	186	(1)
Orff	186	(9)
Movement	187	(1)
Voice	187	(1)
Form	187	(1)
Suggested Orff Experiences	188	(7)
Comprehensive Musicianship	195	(8)
Learning Objectives	195	(1)
Lesson Plans	196	(6)
Summary	202	(1)
Incorporating Technology into the Music Lesson	203	(1)
Conclusions	203	(1)
Grades 3-4-5	204	(52)
Introduction: The National Standards	204	(1)
Jaques-Dalcroze	205	(16)
Rhythmics	205	(1)
Lesson Plan	206	(15)
Conclusion	221	(1)
Kodaly	221	(15)
Lesson for Grade 3	221	(7)
Lesson for Grade 5	228	(8)
Orff	236	(9)
Movement	237	(1)
Voice	237	(1)
Form	237	(1)
Instruments	238	(2)
Lesson Cycle	240	(5)
Comprehensive Musicianship	245	(10)
Learning Objectives	245	(1)
The Organization of Pitch, Duration, Intensity, and Timbre	246	(1)
Lesson Plans Emphasizing the Comprehensive Musicianship Approach to Teaching in the Intermediate Grades	247	(7)
Summary	254	(1)
Incorporating Technology into the Music Lesson	255	(1)
Conclusions	255	(1)
Grades 6-7-8	256	(41)
Introduction: The National Standards	256	(2)
Jaques-Dalcroze	258	(11)
Lesson on Group Improvisation	259	(10)
Conclusion	269	(1)
Kodaly	269	(8)
Lesson for Twelve- and Thirteen-Year-Olds	270	(7)
Conclusion	277	(1)
Orff	277	(8)
Movement	277	(1)
Voice	277	(1)
Organization and Materials of Music	278	(1)
Instruments	278	(1)
Evaluation	279	(1)
Lesson Cycle	280	(5)
Conclusion	285	(1)
Compherhensive Musicianship	285	(11)
Learning Objectives	285	(1)
The Organization of Pitch, Duration, Intensity, and Timbre	286	(1)
Lesson Plans	287	(8)
Summary	295	(1)
Incorporating Technology Into the Music Lesson	296	(1)
Conclusion	296	(1)
Method in Music for Older Students	297	(37)
Introduction: The National Standards	297	(2)
Jaques-Dalcroze	299	(15)
Lessons on Solfege and Solfege-Rhythmique	299	(15)
Conclusion	314	(1)
Kodaly	314	(9)
Lesson, Example 1	316	(4)
Conclusion	320	(1)
Lesson, Example, 2	320	(3)
Conclusion	323	(1)
Orff	323	(6)
Lesson Cycle	324	(5)
Conclusion	329	(1)
Comprehensive Musicianship	329	(3)
Learning Objectives	329	(1)
The Organization of Pitch, Duration, Intensity, and Timbre	330	(1)
Lesson Plans	330	(1)
Summary	330	(2)
Incorporating Technology into the Music Lesson	332	(1)
Conclusion	333	(1)
Which Method?	334	(8)
History	334	(1)
Comparing Methods	335	(1)
Goals	336	(1)
Musical Functions	336	(4)
Creating	336	(1)
Moving	337	(1)
Singing and Playing	338	(1)
Musical Reading and Writing	338	(1)
Performing and Listening	339	(1)
Inferences	340	(2)
Conclusion	342

Excerpts

PrefaceI originally chose to write this book in order to provide an authoritative comparison among the four most commonly practiced methods found in music classrooms. The concept was that such a book could not be written by one author, but must be written by a group, each with impeccable credentials in the method about which he or she was writing. I chose for my co-authors three music educators, each an authority in the approach about which he was to write.Robert Abramson, then professor of Music at the Manhattan School of Music, and now at the Julliard School of Music was an obvious choice for the Jaques-Dalcroze chapters. Abramson spent two years at the Jaques-Dalcroze Institute in Geneva, where he obtained the highest level of certification possible in the field, and he has practiced Jaques-Dalcroze techniques successfully in the United States for many years.Avon Gillespie, then Associate Professor of Music at North Texas State University, formerly taught at the Orff Institute in Salzburg. In many conversations with him over the years he displayed a remarkably clear vision of the Orff Approach. When I asked him to contribute to the book, he wrote to me "... there is a real need for this philosophy to be elusive and abstract ...." Fortunately I was able to convince him that his writing would not be molded into any "pattern" and he agreed to write the Orff chapters. His untimely death prevented him from contributing to this second edition. When I consulted with our co-authors as to whether I should invite another Orff practitioner to contribute, or to retain the original Orff chapters, they unanimously opted to retain the original chapters. We believe that Gillespie's exposition of Orff to be a model of clarity. He presents the Orff Approach in both an uncompromised and uncompromising way.My choice for the Comprehensive Musicianship sections was a long time friend, David Woods, who has been involved with this approach since its earliest days. Dr. Woods is presently Dean of the School of Music, Indiana University and was formerly Dean of the School of Music, Oklahoma University.With my background of study in Hungary and publication of several books on the Kodaly Method, I was in a position to write the Kodaly chapters as well as to coordinate the whole project.The assembling of the project was not easy. The first edition was five years in the making. Each of us had a natural bias for his or her own way of teaching, and to describe that way without expressing a bias was difficult. However, we believe that we succeeded in doing so.When the first edition appeared we thought it unlikely that it would ever require revision. After all, the philosophies and practices associated with Jaques-Dalcroze, Kodaly, Orff, and Comprehensive Musicianship were immutable. Superficial techniques might change but the principles would remain unchanged. However, two factors have made this second edition advisable.First, the exponential development of technology is changing forever the ways in which knowledge is acquired and disseminated. In the face of the increasing use of technology in music education, it became imperative to examine just what it could offer and how it could be used appropriately to enhance musical learning. For the new sections on technology in this book we were joined by Frank York of James Cook University in Townsville, Australia. York is involved in Distance Education and has made extensive use of technology in his teacher education programs.Second, the Music Education National Conference (MENC) has brought forward a definitive set of National Standards for the Arts in Education, and particularly for the teaching and leaning of music in the schools. These excellent guidelines, the culmination of years of work, have, to an extent never realized before, established Music Education as a legitimate subject for serious study--a subject in which there ar