COURSENOTES

COURSE TITLE: MUSIC FOR YOUNG CHILDREN

COURSE CODE: ECLE3213

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 TOPIC 1: INTRODUCTION TO MUSIC FOR YOUNG CHILDREN

8.1 Introduction

As a music teacher, it is proper to possess the ability to compose songs. By learning the music theory, we must be able to
arrange a chain of melodies until it becomes a complete song. As a music teacher, we will not rely on existing songs and
arrangements. We must possess the desire to compose and consequently
arrange music for classroom activities. Our experience in organising the process of teaching music and musical activities will
inspire us to prepare the music composition.

To become a composer, we do not necessarily need to have an in-depth knowledge in composition and music theory. We have
witnessed many composers who are able to produce their compositions even without formal music learning. Composers of folk
songs and traditional songs, for example, did not learn music professionally but were able to compose evergreen songs. Songs
like „Wau Bulan, „Suriram, „Tepuk Amai-amai, „Rasa Sayang, „Jong-jong Inai and others have become our folklore songs since
the early days.

However, as a music teacher, we need to understand the basic concepts of music composition to help us in teaching music
effectively. Many agree that composing a song requires us to have a good knowledge of music theory. Consequently, we who
specialise in the field of composition and music arrangement.

Previously, you may have learnt how to compose songs in one voice or as one melodic line. This topic will give you some
knowledge on the methods of composing melodies and songs in two voices.

8.2 History Of Music in The 20th Century

Rapid technological developments in the 20th century have made an impact on the development of music universally. Our
perception on music has changed since the existence of the phonograph invented by Edison in 1877. Until now, the music
technology has evolved up to the compact discs and sophisticated digital audio recording technologies. With the modern
technology, various music performances like opera, rock concerts, symphonic performances, gamelan from Bali or even
„Gregorian Chant‰ from the mid-century can be preserved through
recordings and we can listen to these recordings anytime. At the same time, this has lessened our active involvement in music
because out of convenience we can just turn on the radio or tape recorder to listen to the music without attending a live music
concert.

Since music technology makes listening to music accessible to us, a situation known as „noise inflation‰ occurs. This directly or
indirectly changes our focus in listening to music. Even though we are used to the music played on television, radio and cassette
players, we seldom listen with full attention. Thus, music becomes a background activity for us. Music lovers in the past listened
to music actively. They cherished the music as unique and extraordinary. They treated the activity of listening to music as
precious as if the music would not be presented at another time. Listeners nowadays regard music casually as they know that
they can listen to it repeatedly.

Developments in recording technology and sound production have changed our expectations in listening to music. Nowadays,
we can correct intonation errors, sound balancing or articulation found in a certain performance. Through the process of digital
recording, a sound can be shaped until it became perfect. This means that recorded music and live music have qualities that are
early similar and difficult to differentiate.

8.3 Features Of The 20th Century music

Features of the 20th Century music comprises:

(a) Features different from other eras; and

(b) Techniques that are challenging, unique and full of experimentations, and

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 with different tone colours.

(i) Melody
Melody is short and shaped by small pieces or fragments in contrast to the long, flowing, angular and branched
melodies of the Romantic Period. Melodic pitches of this period have large intervals and leap with chromatic effects and
dissonant intervals. Glissando effects from one pitch to another or the use of micro tones can also be found in the
melodies of this period. Components that can be found in the melodies form aspects that are less important in this
period. At times, they are forgotten.

(ii) Harmony
Harmony is a full assortment of discord, dissonant sounds that are
very significant; note clusters are used. Music is frequently produced
in different keys (polytonal) played simultaneously or without
specific keys (atonal).

 Polytonality
This means that two or more tonal centres are sounded simultaneously. The 11th chord in C Major is F. As in the
score section below, CEG is the first triad and FAC is the second triad. This brings a new approach to the
harmony whereby chords can be stacked becoming layers.

 Quartal Harmony
It is one of the approaches in harmony where the use of triads does not involve all notes in the triad. It places the
4th note above the tonic base. It forms a dissonance.

 Cluster
Chords can be built by using major or minor seconds. This produces a very dissonant cluster sound where the
specific pitch cannot be identified.

 Alternative Scale
As an alternative to the traditional tonal system, some composers apply scales and modes from various cultures
into the melody and harmony of their works. Thus, this results in a distinctive compositional style.

 Pentatonic Scale
This scale comprises five notes that can be found in the traditional and folk music all over the world. If you play
the black keys on a keyboard or piano, you will find that they are in the pentatonic scale.

 Whole Tone Scale

The scale starts with the major scale and is then built using whole tone series without half tones and comprises
six tones only. This scale is usually used by French composer, Debussy and jazz pianist, Thelonious Monk.

 Atonality
A work that has atonal qualities means it has no tonal centre. In addition, the work cannot be mentioned in a major
or minor key. All the 12-tone or notes have the same importance and functions. Among the composers of this era
who did a lot of experiments using this technique was Schoenberg (1874ă1951). The work of Pierrot Lunaire
(1912) was composed with a modern music language without triads, chords, scales and key. Thus, it only
contains a melody and motif that are dissonant.

 Twelve-tone Series
Schoenberg has shaped atonality by using a new system called 12- tone. In this approach, he took a 12-tone
from the chromatic scale and put them in a specific sequence. He applied this system on his compositions. Every
tone had the same focus and all twelve tones were played following a sequence or order before returning to the
original tone. Here, there is no tonal centre and notes cannot be repeated. This sequence of tones is called tone
row or tone set.