Texas Music Educators Association 2017 Clinic/Convention San Antonio, Texas 9-12 February 2017

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Texas Music Educators Association 2017 Cinic/Convention San Antonio, Texas 9-12 February 2017 Create and Pay the Day Away.

Texas State University With Rebecca Juarez and the students from Huebner Eementary Schoo NEISD and Meredith Riggs Hart Eementary Schoo AISD Graduates of the TSU Kodáy Certification

tacka@miersvie.edu Contact Kodáy Certification Program patricia.h.moreno@austinisd.org Katherine Johns kjohns@fisd.

1 Texas Music Educators Association 2017 Cinic/Convention San Antonio, Texas 9-12 February 2017 Create and Pay the Day Away. Singing Games for the Upper Eementary Music Cassroom Mícheá Houahan and Phiip Tacka Department of Music, Miersvie University of Pennsyvania Kodáy Certification Program Facuty, Texas State University With Rebecca Juarez and the students from Huebner Eementary Schoo NEISD and Meredith Riggs Hart Eementary Schoo AISD Graduates of the TSU Kodáy Certification Program Join us on Facebook Houahan & Tacka & Kodáy Studies Contact Information for Workshops: Contact Kodáy Certification Program Katherine Johns Excerpted from Kodáy Today: A Cognitive Approach to Music Education, Kodáy in the First Grade Cassroom, Kodáy in the Second Grade Cassroom by Michea Houahan and Phiip Tacka (Oxford University Press 2015). The copyright for the curricuum sequence and ideas in these handouts is property of Houahan and Tacka. 1

2 Songs Pizza, Pizza Daddy-O San Serafin de Monte Fed My Horse 2

3 Hogs in the Cornfied Ida Red Chickaieeo Teaching Strategy for High do (d ) Teaching Strategy for High d Eement Concept Focus Song Present Syabes Theory Traditiona Notation Practice Additiona Songs 3

4 A pitch a skip higher ( minor third) than a Hogs in the Cornfied d Octave; extended pentatonic scae do on different staff pacements Interna Upbeat Liza Jane; Circe Round the Zero; I ve Lost the Farmer s Dairy Key; Riding in a Buggy; Tideo; John Kanaka; Pourquoi Cognitive Phase: Preparation Internaize Music Through Kinesthetic Activities 1. Sing Hogs in the Cornfied with an ostinato 2. Sing Hogs in the Cornfied and point to a representation of the meodic contour of phrase two at the board. 3. Sing Hogs in the Cornfied and show the meodic contour for the target phrase, phrase two. 4. Sing Hogs in the Cornfied with rhythm syabes whie showing the meodic contour. Describe What You Hear 1. Review the kinesthetic awareness. 2. Sing phrase two on oo whie keeping the beat before asking each question. 3. Determine the number of beats. T: Andy, how many beats did we tap? (four) 5. Determine which beat has the owest pitch and highest pitch. T: Andy, which beat had the highest pitch? (beat 1) T: Andy, which beat has the owest pitch? (beat 4) 6. Determine the sofège syabe of the fina pitch? T: Andy, what is the sofège syabe of the fina pitch? (d) 7. Determine the sofège syabes for beats 3 and 4. T: Cass, et s sing the pitches on beats 3 and 4. T: Andy, sing that in sofège. (m-r-r d-d) 8. Determine the sofège syabes for beats 1 and 2. T: Let s sing the first three pitches T: Andy, how woud you describe the first pitch? T: Andy, sing high for the first note and sing the rest in sofège. ( high - s-s-s) T: Andy, sing the whoe phrase with hand signs. ( high - s-s-s m-r-r d-d) Create a Visua Representation of What You Hear 1. Assess kinesthetic and aura awareness by aowing the cass to perform severa of the kinesthetic and aura awareness activities. 4

5 2. The instructor hums the target phrase with a neutra syabe and asks students to create a visua representation of the meody of the target phrase. Students may use manipuatives. T Pick up what you need to recreate what you heard. Or Draw what you heard. T assesses students eve of understanding. 3. Students share their representations with each other. 4. The instructor invites one student to the board to share their representation with the cass. If necessary corrections to the representation can be made by reviewing the aura awareness questions. 5. Students sing the second phrase of Hogs in the Cornfied with a neutra syabe and point to their representation, then sing with known eements high s s s m r r d d. 6. Determine the rhythm of the song and sing it with rhythm syabes. Associative Phase: Presentation Labe the Sound T wi present new sofège syabes. 1. Assess the kinesthetic and aura awareness and visua awareness activities with the focus song Hogs in the Cornfied. 2. T: "When we hear a sound a skip above we ca it high d." The instructor shows the hand sign. U 3. T sings phrase two of Hogs in the Cornfied, with sofège syabes and students echo sing. (d s s s m r r d d ) 4. T echo sings with at east 8 individua students. 5. Identify the interva d - as a skip. Notate What You Hear T wi present notation for new pitch. 1. Present the position of high d on the steps. Identify the interva d as a skip of a third. 2. Present the target phrase of Hogs in the Cornfied in stick notation. 2$sd xsd \sxc sd\ d ss s m rr d d Write the target meody with traditiona rhythmic notation and sofège. Individua students sing and point to the meody on the board as the cass sings the song with sofège syabes and hand signs Designate the Rue of Pacement. If d is in a space, is in the space beow; if d is on a ine, is on the ine beow. 3. Show the second phrase of Hogs in the Cornfied on staff. 5

6 Write the target meody on the staff. Individua students sing and point to the meody on the board written on the staff as the cass sings the song with sofège syabes and hand signs Assimiative Phase: Practice Music Skis Aura Practice Singing T sings known meodies with words and S echo sing with sofège syabes. T: I sing the words, you sing the hand signs. T: Te them pretty gas I m coming over. S: d s s s m r r d d. T: Oh Eiza, itte Liza Jane. S: d s s m m r d. T: Do, do et me out I m in some ady s garden. S: d d s m d r m s r m d d. T: Who moans for me? Who moans for me? S: d d m s d m s. T hums known meodies and S echo sing with sofège syabes. S sing known meodies containing high do with sofège syabes and hand signs S sing known meodies containing high do with sofège syabes and conducting T hums motifs from known songs and students sing back with sofège syabes and hand signs T hums do extended pentatonic and a extended pentatonic motifs and S sing back with sofège and hand signs. Listening On the Trai Grand Canyon Suite by Ferde Grofé ( ). Ecce Gratum from Carmina Burana by Car Orff ( ). For Chidren, Vo 1. No. 5 by Beá Bartók ( ) Sight Reading Materias Micheá Houahan and Phiip Tacka. Sound Thinking: Music for Sight-Singing and Ear Training Vo. 2 (New York: Boosey & Hawkes) pp Lesson Pan High do Grade 3: Unit 7 high do, Lesson 1 Outcome Warm Up Preparation: Internaizing a pitch, high d that is a skip above a Practice: Reading songs which contain interna upbeats INTRODUCTORY ACTIVITIES Body Warm Up Beat Activity Fossis, from Carniva of the Animas, Camie Saint-Saëns ( ) Breathing: Students practice bowing a baoon and watch how air is reeased when defating the baoon Resonance: Expore a cow sound using a ow and high voice. Make sure that the students are inhaing and exhaing correcty with the support musces. Posture: Remind students of the correct posture for singing 6

7 Sing Known Songs Deveop Tunefu Singing Tone Production Diction Expression Review Known Songs and Meodic Eements King Kong Kitchie CSP: F S sing the song with an ostinato 2$qq\Aaq> Cedar Swamp CSP: A S sing the song; S continue the ostinato (2$qq\Aaq>) Riding in the Buggy CSP: D S sing the song S may briefy pay the game S sing the first phrase at a sow tempo and pat the beat S sing ony the pitches that fa on the beat S identify, dictate and sing the pitches which fa on the beat 4$qqqq\qqqq d d m m r r m m Use this motif as a tunefu singing exercise. Sing using vowes sounds Kodáy Chora Library Let Us Sing Correcty: No. 47 Dance Josey CSP: D S sing the song and continue the ostinato S with sofège syabes and hand signs T sings phrases of Jim Aong Josie, Phoebe in Her Petticoat, Od Mr. Rabbit and/or other known songs that use the sofège syabes s m r d, and s,; S echo sing using sofège syabes and hand signs CORE ACTIVITIES Teach a New Song Deveop Knowedge of Music Literacy Concepts Internaize Music Through Kinesthetic Activities The Joy Mier CSP: C T sings the song whie S continue the ostinato T sings the song and S show the phrases with their body T and S sing and pay the game After approximatey two to three additiona cyces, S must sing the song without assistance to continue the game S read an ostinato from the board 4$xxxcqxxxcq> Ø S continue the rhythmic ostinato into the next song (4$xxxcqxxxcq>) Hogs in the Cornfied CSP: D S sing the song S sing the song and pat the beat S sing the song and draw phrases in the air S sing phrase two and show the meodic contour S sing song and point to a representation of the contour 7

8 S sing the rhythm syabes of phrase two whie showing the contour Creative Movement Practice Music Performance and Literacy Skis Reading I Lost the Farmer s Dairy Key CSP: D S sing the song and continue the ostinato S sing and pay the game Od Mr. Rabbit CSP: F S sing the song and conduct. S sing the song with rhythm syabes and conduct. S read the song from the board with rhythm syabes and tap the rhythm. 2$qsd\qa a\sdsd\qa a\sdsd\qa a\sdsd\sdq T transforms the song into the rhythm of Bye Baby Bunting and students read Summary Activities Review Lesson Outcomes Review the New Song The Joy Mier Pease join our Facebook Group Houahan & Tacka & Kodáy Studies where we a share ideas, successes, activities, songs, programs, movement activities, and where we a fee comfortabe asking for hep and ideas to spark our own programs 8

Texas Music Educators Association 2017 Clinic/Convention San Antonio, Texas 9-12 February 2017

Texas Music Educators Association 2017 Clinic/Convention San Antonio, Texas 9-12 February 2017 Sticking it to the Beat: Singing with Bars and Unpitched Percussion Mícheál Houlahan and Philip Tacka Department