LOUISE DOROTHY C.

PARAISO
INSTRUCTOR

FIVE FACETS OF
MUSIC TEACHING
TEACHING MUSIC IN THE ELEMENTARY GRADES
• MOTIVATION – BEFORE WE START THE DISCUSSION,
WE'LL HAVE FIRST SOME WARM UP ACTIVITY
SINGING
ROTE-SONG

• AN ACTIVITY WHICH IS COMMON IN A MUSIC

CLASSROOM. IT IS THEREFORE, NECESSARY FOR THE
MUSIC TEACHER TO KNOW THE PROPER WAY TO SING SO
THAT HIS SINGING MAY BE THE EXAMPLE TO THE
CHILDREN IN HIS CLASS.
ROTE-SONG
• A SONG TO BE TAUGHT BY ROTE, OR BY FREQUENT REPETITION TO
THE LEARNER, AS A CHILD BEFORE IT IS ABLE TO READ.
• EVERY CHILD IS A POTENTIAL SINGER BUT, SOMETIMES, WE COME
ACROSS CHILDREN WHO, FOR ONE REASON OR ANOTHER, DO NOT
SING IN EXACT TUNES. THESE CHILDREN ARE NOT REALLY
MONOTONES BUT JUST UNTURNED, LIKE INSTRUMENTS WHICH
ARE NOT TUNED CORRECTLY.
PREPARING CHILDREN FOR PART SINGING

• THE USE OF INSTRUMENTS MAY BE A DEVICE NOT ONLY

FOR THE MUSICAL GROWTH OF THE CHILDREN BUT ALSO
FOR THEIR ENJOYMENT AND UNDERSTANDING OF MUSIC.
THE FIRST INSTRUMENT EXPERIENCES OF THE CHILDREN
MAY BE WITH TOY OR RHYTHM BAND INSTRUMENTS.
PREPARING CHILDREN FOR PART SINGING

• SOME CHILDREN ARE NOT PREPARED TO SING PART SONGS

AND THEREFORE, ARE UNABLE TO PARTICIPATE IN
CHORAL ACTIVITIES. THE MUSIC TEACHERS MAY BE ABLE
TO HELP THE CHILDREN DEVELOP PART SINGING
READINESS BY THE USE OF THE FOLLOWING SINGING
ACTIVITIES:
PREPARING CHILDREN FOR PART SINGING

• SINGING SONGS WITH CHORDING, THAT IS, SINGING THE BASS DO,
SOL OR FA TOGETHER WITH THE SONG DEPENDING ON THE
HARMONIC CHARACTER OF THE SONG.
• SINGING SONGS WITH A CHANT: A CHANT IS A FIGURE OR PHRASE
SUNG REPEATEDLY WITH THE PHRASES OF A SONG. THE CHANT IS
USED, THEREFORE, WITH SONGS THAT HAVE ONLY ONE HARMONY
THROUGHOUT.
FOUR MAIN VOCAL RANGES
• SOPRANO– IS A TYPE OF ALTO IS THE SECOND HIGHEST
CLASSICAL FEMALE SINGING VOCAL RANGE OF A FEMALE.
VOICE AND HAS THE HIGHEST
• TENOR– IT IS THE HIGHEST
VOCAL RANGE OF ALL VOICE NATURAL ADULT MALE VOICE.
TYPES.
• BASS– THE LOWEST VOCAL
• ALTO– (ITALIAN: “HIGH”) THE RANGE OF A MALE.
LISTENING
DEFINITION
• THE ABILITY TO ACCURATELY RECEIVE AND INTERPRET
MESSAGES IN THE COMMUNICATION PROCESS.
• IT IS THE KEY TO ALL EFFECTIVE COMMUNICATION. WITHOUT
THE ABILITY TO LISTEN EFFECTIVELY, MESSAGES ARE EASILY
MISUNDERSTOOD. IF THERE IS ONE COMMUNICATION SKILL
YOU SHOULD AIM TO MASTER, THEN LISTENING IS IT.
THE NEED FOR TEACHING CHILDREN HOW TO
LISTEN
• THE WORLD OF MUSIC IS UNFOLDED TO CHILDREN THROUGH VARIED EXPERIENCES IN
SINGING, PLAYING INSTRUMENTS, RHYTHM AND DANCING, AND CREATIVE ACTIVITIES.
CHILDREN DO NOT USUALLY DEVELOP WITH EXCELLENCE AMONG THESE LINES, BUT IT IS
HOPED THAT EACH ONE MAY FIND ATLEAST ONE PHASE OF THE WORK WHICH CAN
PROVIDE ENRICHMENT IN HIS LIFE NOT ONLY IN HIS CHILDHOOD, BUT ALSO IN
ADULTHOOD, PERHAPS ONLY FEW WILL DEVELOP INTO SKILLFUL PERFORMERS (SINGERS,
DANCERS, OR COMPOSERS) BUT A GOOD NUMBER, ALL CAN BECOME DISCRIMINATING
AND SENSITIVE LISTENERS. AS A MATTER OF FACT, IT IS THROUGH LISTENING RATHER
THAN ACTIVE PARTICIPATION OR PERFORMANCE THAT A BIG MAJORITY OF THE PEOPLE
ENJOY MUSIC.
ACTIVE LISTENING: TEACHING WITH MUSIC

• ACTIVE LISTENING SIMILARLY REQUIRES STUDENTS TO

ENGAGE WITH AND THINK ABOUT WHAT THEY HEAR. IN OTHER
WORDS, ACTIVE LISTENING IS LISTENING WITH A PURPOSE.

• YOU SEE, BUT YOU DO NOT OBSERVE. THE DISTINCTION IS CLEAR.

- SHERLOCK HOLMES
AFFECTIVE LISTENING
• THIS TYPE OF LISTENING IS PERHAPS THE MOST BASIC. USEFUL
QUESTIONS FOR THIS TYPE OF LISTENING TYPICALLY PROMPT
STUDENTS TO VOICE THEIR OBSERVATIONS ON A BASIC LEVEL: WHAT
INSTRUMENTS DO YOU HEAR? WHAT GENRE OF MUSIC IS THIS? WHAT
EMOTIONS DOES THIS EVOKE? HOW FAST OR SLOW IS IT? (FOR THOSE
WITH MUSICAL TRAINING, THIS MIGHT ALSO INCLUDE MORE
TARGETED QUESTIONS TO DRAW OUT OBSERVATIONS ABOUT TEMPO,
METER, RHYTHM, RANGE, ETC.)
DIALOGIC LISTENING
• THIS TYPE OF LISTENING IS PERHAPS THE MOST COMPLEX AND TIME-CONSUMING,
YET ALSO THE MOST FRUITFUL AND POTENTIALLY REWARDING. AS THE NAME
IMPLIES, THIS TYPE OF LISTENING PLACES A MUSICAL EXAMPLE IN DIALOGUE WITH
EXTERNAL ELEMENTS—GENERIC CONVENTIONS, OTHER MUSICAL PIECES,
ARTWORK, TEXTS, OBJECTS, ETC. TEACHING WITH MUSIC DOES NOT PRECLUDE
USING TEXTS OR VISUALS AS WELL. IF YOUR PIECE HAS LYRICS, INCLUDE THEM
(AND IF THOSE LYRICS ARE NOT IN YOUR STUDENTS’ NATIVE LANGUAGE, PROVIDE A
TRANSLATION AS WELL). IT OFTEN HELPS TO COMPLEMENT LISTENING WITH OTHER
WAYS OF ENGAGING WITH MUSICAL EXAMPLES BY USING OTHER TYPES OF MEDIA.
STRUCTURAL LISTENING
• THIS TYPE OF LISTENING APPROACHES A MUSICAL EXAMPLE ALMOST
LIKE A SCULPTURE OR A PAINTING, IN WHICH YOU POINT STUDENTS
TOWARD PARTICULAR MOMENTS AND SEE THE WAYS IN WHICH THOSE
MOMENTS ARE THE CULMINATION OF PARTICULAR TRAJECTORIES. AS
SUCH, STRUCTURAL LISTENING OFTEN MEANS COMPARING DIFFERENT
MOMENTS FROM WITHIN A PARTICULAR PIECE. QUESTIONS MIGHT
INCLUDE: HOW DOES THE ARTIST OR COMPOSER MOVE FROM ONE IDEA
TO ANOTHER? WHY? AND ETC.
CREATIVE
WORK
CREATIVE WORK
• A MANIFESTATION OF CREATIVE EFFORT SUCH AS ARTWORK,
LITERATURE, MUSIC, PAINTINGS, AND SOFTWARE. CREATIVE WORK HAVE
IN COMMON A DEGREE OF ARBITRARINESS, SUCH THAT IT IS
IMPROBABLE THAT TWO PEOPLE WOULD INDEPENDENTLY CREATE THE
SAME WORK.
• A NEW STUDY SUGGESTS THAT LISTENING TO HAPPY MUSIC PROMOTES
MORE DIVERGENT THINKING — A KEY ELEMENT OF CREATIVITY. BY JILL
SUTTIE | NOVEMBER 17, 2017
RHYTHMIC MOVEMENT

• AN INTERESTING WAY OF INTERPRETING MUSIC.

• IT MAY BE PERFORMED IN THE FOLLOWING FORMS: THE
FUNDAMENTAL BODILY MOVEMENTS SUCH AS WALKING,
RUNNING, OR SKIPPING; RHYTHMIC ACTIVITIES LIKE
SWAYING OR CLAPPING THE HANDS OR DANGLING.
• THERE ARE TWO KINDS OF BODILY MOVEMENTS – LOCOMOTOR
MOVEMENTS WHICH ARE PROGRESSIVE MOVEMENTS LIKE
STEPPING, HOPPING, JUMPING, ETC. THERE ARE SEVERAL
DIRECTIONS IN WHICH LOCOMOTOR MOVEMENTS MAY BE DONE, E.G,
FORWARD OR BACKWARD, IN A CIRCLE OR SEMI-CIRCLE, SLOW OR
FAST, LONG OR SHORT, LIGHT OR HEAVY OR SMOOTH. LOCOMOTOR
MOVEMENTS MAY BE EXECUTED IN DIFFERENT MEANINGS. AXIAL
MOVEMENTS WHICH ARE PERFORMED IN SPACE LIKE SWINGING THE
HANDS, ROTATING THE ARMS, OR FALLING. THE AXIAL SKILLS ARE
PERFORMED IN STANDING, KNEELING OR LYING POSITION.
INTERPRETATIVE MOVEMENTS
• IT MAY BE SUGGESTED BY THE SOUND MADE BY ANIMALS
OR OBJECTS; OF JINGLES, RHYMES, OR OF SELLING CALLS;
AND GREETING AND FAREWELLS.
• MUSIC HEARD OR PERFORMED MAY SUGGEST VARIED
MOVEMENTS. DANCE STEPS CAN BE ADAPTED TO
DIFFERENT MOODS OF MUSIC.
INSTRUMENTAL
WORK
INSTRUMENTAL WORK

• A PROCESS OF INSTRUMENT LEARNING OR A METHOD

OF TRAINING IN WHICH THE REINFORCEMENT IS MADE
BY CONTINGENT ON THE OCCURRENCE OF THE
RESPONSE.
RHYTHM BAND
• THE USE OF INSTRUMENTS MAY BE A DEVICE NOT ONLY
FOR THE MUSICAL GROWTH OF THE CHILDREN BUT
ALSO FOR THEIR ENJOYMENT AND UNDERSTANDING OF
MUSIC. THE FIRST INSTRUMENTAL EXPERIENCES OF
THE CHILDREN MAY BE WITH TOY OR RHYTHM BAND
INSTRUMENTS.
RHYTHM BAND
• THE OBJECTIVES FOR USING THE RHYTHM BAND INSTRUMENTS ARE:
• TO UTILIZE THE INSTRUMENTS AS A MEANS OF INTERPRETING MUSIC.
• TO DEVELOP THE ABILITY TO RECOGNIZE ONE COLOR AND TO LEARN TO USE IT
FOR MUSICAL INTERPRETATION.
• TO DEVELOP MENTAL AND PHYSICAL COORDINATION THROUGH THE
MANIPULATION OF THE INSTRUMENTS.
• TO DEVELOP MUSICAL MEMORY AND USE THIS IS MEANINGFUL ENSEMBLE WORK.
• TO DEVELOP THE BASIC SKILLS AND FUNDAMENTALS OF MUSIC THROUGH
ENJOYABLE INSTRUMENTAL ACTIVITIES.
CHORDOPHONES

• THESE ARE THE INSTRUMENTS WITH STRINGS WHICH

MAY BE BOWED OR PLUCKED OR STRUMMED.
EXAMPLES INCLUDE THE VIOLIN, THE VIOLONCELLO
OR CELLO, VIOLA, AND THE CONTRABRASS OR BASS
VIOLA.
AEROPHONES
• INSTRUMENT MADE TO SOUND BY BLOWING AIR INTO THE TUBE BY
MEANS OF THE MOUTH PRESSED AGAINST THE MOUTHPIECE OF
EMBOUCHURE, OR BLOWING THROUGH THE LIPS OR THE NOSE, OR
BLOWING AIR BY PUTTING THE MOUTHPIECE AND ITS VIBRATING
REEDS INSIDE THE MOUTH.
• EXAMPLES ARE CORNET, TRUMPET, TROMBONE, HORN, TUBA,
SOUSAPHONE (ALL OF WHICH ARE MADE BRASS) THE FLUTE,
CLARINET, OBOE, AND BASSOON (ALL OF WHICH ARE MADE OF WOOD).
MEMBRANOPHONES
• THE THIRD GROUP OF INSTRUMENTS ARE THE
MEMBRANOPHONES WHICH ARE SO CALLED BECAUSE THEY
HAVE A PIECE OF MEMBRANE OR SIMILAR MATERIAL
STRETCHED OVER A HOLLOW END OF A CYLINDER WHICH IS
MADE TO SOUND BY BEATING WITH THE DRUMSTICK.
EXAMPLES OF MEMBRANOPHONES ARE THE DIFFERENT
KINDS OF DRUMS AND THE TYMPANI OR KETTLE DRUMS.
IDIOPHONES

• THE FOURTH GROUP OF INSTRUMENTS INCLUDE THE

TRIANGLE, XYLOPHONES OR GLOCKENSPIEL,
MARIMBA, CASTANETS, AND CYMBALS. IDIOPHONES
ARE PLAYED BY HITTING, SHAKING, AND RUBBING.
MOVEMENT
MOVEMENT
• INCORPORATING MUSIC AND MOVEMENT INTO EARLY CHILDHOOD
EDUCATION CAN HELP YOUNG CHILDREN WITH DEVELOPMENT, SOCIAL
INTERACTION AND LANGUAGE GROWTH.
• IN REGARDS TO THAT, MUSIC, FOR CHILDREN IS SOMETHING THEY CAN
ASSOCIATE WITH THROUGH MOVEMENT. WHEN THEY HEAR IT, THEY SWAY
TO IT, DANCE TO IT, THEY REACT TO IT WITH MOVEMENTS THAT THEY
WANT.
• IT IS AN IMPORTANT PART OF THEIR LEARNING EXPERIENCE.
EXPLORING MOVEMENT
• MUSIC LEADS TO MOVEMENT. IT'S HARD TO LISTEN TO MUSIC
WITHOUT MOVING IN SOME WAY, EVEN IF IT'S JUST MOVING
YOUR TOES, HEAD, OR FINGERTIPS! MOVEMENT IS HOW WE
INTERACT WITH OUR ENVIRONMENT AND DEFINE THE SPACE
WE OCCUPY IN THE WORLD. WE MOVE TO EXPLORE.
CRAWLING LEADS TO WALKING, AND WALKING LEADS TO
HOPPING, SKIPPING, AND JUMPING.
IMPORTANCE OF MUSIC & MOVEMENT IN THE
EDUCATION OF YOUNG CHILDREN BY MEG
BRANNAGAN
EARLY CHILDHOOD
• EARLY CHILDHOOD EDUCATION, FOR CHILDREN 8 YEARS OF AGE AND YOUNGER,
IS THE BEGINNING OF A STUDENT'S ACADEMIC EXPERIENCE. THIS IS AN
IMPORTANT TIME OF LEARNING AND BRAIN DEVELOPMENT FOR CHILDREN IN
PREPARATION FOR THE REST OF THEIR EDUCATION. PLAYING MUSIC AND MOVING
TO A BEAT PROVIDES STIMULATING EXPERIENCES FOR YOUNG CHILDREN AND
FOSTERS LEARNING AT HOME OR IN THE CLASSROOM. PARENTS AND EARLY
CHILDHOOD TEACHERS CAN INCORPORATE MUSIC AND MOVEMENT INTO DAILY
ROUTINES.
IMPORTANCE OF MUSIC & MOVEMENT IN THE
EDUCATION OF YOUNG CHILDREN BY MEG
BRANNAGAN
BRAIN DEVELOPMENT
• ACCORDING TO THE EARLY CHILDHOOD MUSIC AND MOVEMENT ASSOCIATION, 85 PERCENT
OF BRAIN DEVELOPMENT OCCURS BY THE TIME A CHILD REACHES 3 YEARS. AS CHILDREN
GROW, THEY NEED TO LEARN SPECIFIC ACTIVITIES THAT ARE IMPORTANT FOR
DEVELOPMENT. FOR EXAMPLE, VERY YOUNG CHILDREN BEGIN TO SCOOT AND CRAWL FOR
MOVEMENT AND WHILE THESE ACTIVITIES ARE PART OF EVENTUALLY LEARNING TO WALK,
THEY ARE ALSO ESSENTIAL FOR BRAIN DEVELOPMENT. ADDITIONALLY, PATTERNED
ACTIVITIES AT HOME OR IN THE PRESCHOOL CLASSROOM, SUCH AS CLAPPING TO MUSIC OR
JUMPING IN TIME TO A BEAT STIMULATE BRAIN FUNCTION AND HELP THE BRAIN TO
ORGANIZE THOUGHTS AND BEHAVIORS.
IMPORTANCE OF MUSIC & MOVEMENT IN THE
EDUCATION OF YOUNG CHILDREN BY MEG
BRANNAGAN
LANGUAGE
• LANGUAGE HAS ITS OWN TEMPO; SPEAKING A LANGUAGE FLUENTLY INVOLVES
REGULAR PAUSES, STOPS AND STARTS IN APPROPRIATE PLACES. FOR EXAMPLE,
MOST PEOPLE DO NOT SPEAK IN A CONSTANT, RUNNING DIATRIBE OF WORDS;
RATHER THEY INSERT PAUSES BETWEEN PHRASES, THEY USE ACCENTS AND THEY
INCREASE OR DECREASE THE OVERALL SPEED OF SPEECH. MUSIC HAS A TEMPO AND
TEACHING YOUNG CHILDREN SONGS THAT HAVE RHYTHMS AND BEATS OR
LEARNING TO MARCH IN TIME TO A TUNE CAN HELP STUDENTS TO LEARN THE
RHYTHM OF SPEAKING AND IMPROVE THEIR COMMUNICATION SKILLS.
REFERENCES:

• HTTPS://PREZI.COM/P/HMZNAMGGBH8R/BEED1-FIVE-FACETS-OF-MUSIC-TEACHIN
G-GROUP4-TEACH-ELEM-123/