9780130280275

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.

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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

What is included with this book?

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The Used, Rental and eBook copies of this book are not guaranteed to include any supplemental materials. Typically, only the book itself is included. This is true even if the title states it includes any access cards, study guides, lab manuals, CDs, etc.

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

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Teaching Music in the Twenty-First Century

Teaching Music in the Twenty-First Century

0130280275

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