DCM Leadership Training. Presented by Kalani, MT-BC

Transcription

1 DCM Leadership Training Presented by Kalani, MT-BC

2 What is DCM? Developmental Community Music is an approach to facilitating a creative group process using music as the primary modality. DCM incorporates a variety of media, experiences, strategies, and techniques that together encourage self-expression, confidence, selfesteem, socialization, sharing, peer support, community building, stress reduction, fun, and a general sense of well being. DCM is applied across a range of clinical and educational professions. DCM encourages successful music making as a means to bringing about positive personal and social change. The DCM approach was created by Kalani, a professional musician, certified Orff-Schulwerk (music and movement for children) educator, and Board-Certified Music Therapist (MT-BC). DCM is available for anyone to use and expand upon.

3 Who is a DCM Leader? A DCM Leader is someone who: is committed to music, movement, and art making. loves meeting and working with people from all walks of life. enjoys their work - and life in general. is welcoming of new ideas, even if they conflict with old ones. works to gain new skills and knowledge, especially when it s challenging. is respectful of others opinions and views, even when they disagree. uses all available resources to best serve his/her clients. is comfortable asking for help and not knowing it all. trusts their intuition and the creative process.

4 Essential Qualities Leader (Guidance) - Provides a clear path to follow. Dictates activities and actions. Example: Plays a steady beat and invites everyone to choose an instrument and join in. Teacher (Knowledge) - Identifies and shares knowledge in order to expand and improve skills. Example: Explains how to hold & play a drum or percussion instrument. Story Teller (Expression) - Talks about the past, present, and future activities of the group. Example: Summarizes the experience of a session and talks about what they might do in the future. Guardian (Safety) - Maintains healthy boundaries and limits activity when needed. Example: Sets, explains and enforces rules for participation, such as taking away sticks when used inappropriately. Follower (Support) - Supports others efforts through aligning with an action or idea. Example: Hears someone playing a rhythm pattern and joins by playing the pulse. Student (Curiosity) - Asks relevant questions in order to clarify meaning and elicit sharing. Example: Asks a participant to share how they relate to a particular instrument or rhythm. Observer (Reception) - Uses all senses to assess the current strengths and needs of the group. Example: Takes time to watch people s facial expressions and assess their emotional state. Friend (Empathy) - Offers physical, intellectual, and emotional support through active and passive means. Example: Sits next to someone and reflects their playing while maintaining open body posture.

5 Leader Guardian Teacher Story Teller Observer Student Friend Follower

6 Developmental Community Music

7 The DCM Curriculum Musical Movement Process Program Elements Aspects Presentation Design Pulse Personal Awareness Rapport Building Goals Tempo Interpersonal - Leadership Objectives Rhythm Patterns Awareness Facilitation Program Melody, Harmony Phrasing Instruments Voice Laughter Texture Form & Arranging Spatial Awareness Free-Form Movement Dance Body Language Gesture Conducting Methods Types Strategies Procedures Exercises Techniques Outlines Applications Client Knowledge Marketing

8 Three Core Concepts Inclusion Cooperation Appreciation

9 Core Concepts Inclusion Cooperation Appreciation Creating a welcoming environment. Finding ways to help people introduce themselves. Making social connections. Helping people be seen and see others. Creating opportunities to work together towards a common goal. Providing options for multiple levels of participation. Guiding participants towards successful outcomes. Acknowledging everyone s unique gifts and contributions. Providing time for personal reflection and group celebration. Creating appropriate rituals that promote a sense of gratitude.

10 Process Presentation Process Presentation refers to the steps a facilitator takes to present a specific activity. This includes information, style, musical and social content and connections. A facilitator may choose to present an activity in a number of different ways depending on the abilities and needs of his/her clients or the specific goals and objectives of the session (musical, social, developmental, recreational, etc.). Process refers to the progression of steps while presentation refers to the general demeanor and effectiveness of the facilitator. Affect, Gesture, and Body Language Affect - Facial expressions that indicate a general mood. (i.e., normal, blunted, or bright) Gesture - An action to express and idea or feeling. (i.e., hand, eye, mouth, and arm movement) Body Language - Non-verbal communication through movements and relative body position. (i.e., closed, such as folding arms, crossing legs, turning away from, and open, such as facing or leaning towards someone, opening, etc.)

11 Method Key Terms One of four types of musical experiences. 1) Improvised, 2) Re-Creative, 3) Compositional, 4) Receptive. Approach A philosophical orientation or way of addressing something or someone. Procedure A sequence of specific steps designed to reach a goal or objective. Strategy A plan or policy for reaching a particular goal or objective. Technique An in-the-moment action taken to produce a specific outcome.

12 Goal Key Terms con t A general area of functioning, often described in terms of increasing or decreasing. Objective An observable, measurable state that relates to a goal. Referential Actions or expressions that relate to an external thing or concept. Aesthetic Actions or expressions that relate to an internal process or sense. Developmental That which helps to reach a goal or objective.

13 Autonomy Key Terms con t A sense of self-determination. The ability to determine one s actions. Facilitation Making something easier to do, often through increasing ability or lowering requirements. Conduction The in-the-moment use of conducting actions, such as verbal and gestural cues. Experience A personal or group process, often perceived as having a beginning, middle, and end. Program A series of experiences designed to help participants reach a variety of objectives and goals.

14 Four Timbre Groups Drums Wood Shakers & Scrapers Metal

15 Four Types of Media Music Visual Word Movement

16 Four Instrument Types Percussion Native Flute Ukulele Singing

17 Instrumental Types Benefits Feature Percussion Ukulele Singing Flute Type Drums & Perc. String Vocal Air Orientation Rhythmic Harmonic Melodic Melodic Role Energizing Organizing Centering Expanding Function Organizing Supportive Expressive Expressive Personal Grounding Tactile Emotional Intellectual Genres Most Folk - Pop All Many Group Size Any Small - Medium Any Solo - Medium Accessibility Progressive Basic Skills Open Basic Skills

18 TYPES OF EXPERIENCES

19 Traditional Drumming based on codified musical traditions includes specific techniques and rhythms uses specific instrumentation includes songs, dances, & cultural context requires musical skills and knowledge.

20 Drum Play focused on play outcomes rather than music outcomes. helpful as an entry point for music making. examples of the non-technical use of instruments often referential (referring to something else), rather than purely aesthetic. generally requires less skill to participate.

21 Rhythm Games based on play rules and structure. outcome oriented activities, rather than improvisations. useful as cooperative activities and to create metaphors. often less challenging than playing music. often entered into as vocal or body percussion experiences, which can stand alone or serve as a pre-instrumental step in a procedure.

22 Drum Circles (Improvised Group Drumming) uses non-directive techniques. focuses on creating aesthetically pleasing music. focuses on using musical cues, rather than verbal or visual. providing instruction and guidance only when needed. invites input from all members of the group. requires a basic musical skill set. follows a cyclical process that repeats several times throughout the session.

23 Guided Interactive Drumming "top-down" and directed by the leader(s). suited for populations who require structure and guidance. centered in the use of unified play. often used to promote a sense unity and excitement. generally requires a full rhythm-based musical skill set to lead. linear in nature, moving from one point to another, following a procedure.

24 Song Leading bring a community together. give a voice to the group. pass along lessons, stories, and folklore. provide a connection to the breath and body. complement instrumental play and dance. provide a platform for self-expression and communication.

25 Movement Experiences share a community experience. express thoughts, feelings, and ideas. develop personal and spatial awareness. develop timing and coordination skills. develop conducting and leadership skills. represent, through movement, that which exists in another media type.

26 Mixed Media Improvisation provide multiple options for participation. expose participants to new forms of expression. connect media types. increase appreciation for other disciplines. develop leisure skills. provide participants with more autonomy and a sense of self-determination (choices).

27 INTERACTIVE DRUMMING

28 Groove Pass Procedure 1. During a full circle groove, cue 1/4 of the group to CONTINUE. 2. Stop the other part of the group and reinforce the playing group. 3. Invite the non-playing group to clap or move to the groove. 4. PASS the GROOVE to an adjacent Arc by counting down then stopping the playing group, and starting the waiting group at the same time. 5. Continue to pass the grooving role around the circle. Try reducing the length of the playing group in equal phrases over time. End up with each sub-group playing one beat, then segue back to a full-circle groove.

29 Adding Timbre Groups Procedure 1. During a full circle groove, use a STOP CUE to bring play to an end and continue to show the pulse through gesture and movements. 2. Verbally invite a specific timbre group, such as the blocks or scrapers, to enter. 3. Continue to bring in different timbre groups over time. There include (metal sounds, shakers, wood sounds, small drums, large drums, tuned percussion, voices, etc.) During a time when only a portion of the instruments are playing, invite participants to explore other media or modes of play. This includes moving, singing, toning, chanting, as well as exchanging instruments. Instrument exchange can take place by moving the players to the instruments (changing seats) or by moving the instruments to the players (passing instruments).

30 Procedure Groove & Echo 1. Cue part of the circle to CONTINUE. 2. Stop the other part and reinforce the playing part (groove). 3. Play simple rhythms for the stopped group to echo (imitate). 4. After a few phrases, cue the echoing group to groove and continue. 5. Repeat the echo process with the other side. Echo verbally or with body percussion. Select participants to lead the echo side. Try dancing, songs, and other forms of imitation or synchronization over the groove. Try three or four sections, each doing something different (i.e., grooving, moving, singing, body percussion, resting.)

31 Orbit Echo Procedure 1. During a groove, give a STOP CUE then play a short phrase for the group to echo. Repeat the play-echo process several times. 2. Choose someone to take over the Leader role (let them know beforehand). 3. In Round Robin fashion, participants take turns playing a short phrase for the group to echo (imitate). 4. Try with Vocal sounds, body percussion, movement, and other media. Try with part of the group playing a groove Groove and Orbit Echo.

32 UKULELE

33 About the Ukulele The ukulele is a user-friendly string instrument that is ideal for providing a harmonic ground for singing and instrumental play. With a long history in folk music, benefits of the ukulele include: low cost and high availability. technically accessible and easy to learn. portable and small enough to use anywhere. approachable for clients of any age. world-wide community of players. rich musical history, both as a folk and popular instrument. easy to play in the key of C, like many educational and recreational instruments.

34 C and F Chords C G C E A F G C E A Finger Legend: 1=index, 2=middle, 3=ring

35 G7 Chord G7 G C E A Finger Legend: 1=index, 2=middle, 3=ring

36 C7 Chord C7 G C E A 1 Finger Legend: 1=index, 2=middle, 3=ring

37 D7 and Am Chords D7 G C E A Am G C E A Finger Legend: 1=index, 2=middle, 3=ring

38 SONGS

39 About Song Leading DCM Leaders can provide guidance and support for group singing. The use of songs has many benefits. Some of these include: Providing familiar and accessible material for music making. Eliciting memories, desirable feelings and emotional responses. Structuring a musical experience (providing rhythm, phrasing, and form) Providing text for consideration and discussion. Providing information and instruction through lyrics and pantomime. Providing opportunities for composing via lyric replacement. Providing an alternative means of expression.

40 Mary Ann (Chorus) All day and all night Mary Ann Down by the sea side - sifting sand. Even little children love Mary Ann Down by the sea side - sifting sand

41 You Are my Sunshine You are my sunshine, my only sunshine. You make me happy when skies are grey. You ll never know dear, how much I love you. Please don t take my sunshine away.

42 This Little Light of Mine This little light of mine, I m gonna let it shine. This little light of mine, I m gonna let it shine. This little light of mine, I m gonna let it shine. Let it shine, let it shine, let it shine. (F) (C)

43 The Aloha Song by Kalani Aloha. Aloha. It s how we say hello. Aloha. Aloha. It s how we say hello. (C7) [ name ] says [ _?_ ] (repeat 3x) That s how they say hello.

44 The Never-ending Song by Kalani If I gave you some wings would you start to fly? If I gave you some wings would you start to fly? Start to fly! (G7) Start to fly! (G7)

45 I Had a Rooster (Waltz) I had a rooster and my rooster pleased me. And I fed my rooster by the old oak tree. [And my little rooster said cock-a-doo-dle-doo ] dee doodle-dee-doodle-deedoodle-dee-do. (Add different animals and sounds and repeat the section between [ ] for each in a cumulative process, adding each)

46 NATIVE AMERICAN FLUTE

47 Flute Play 1. Anatomy 2. Breath Types 3. Placing the Fingers 4. Playing the top 2 notes 5. Playing the bottom 3 notes

48 About Flute Play DCM Leaders can provide a melodic element in addition to, or in place of, singing to complement other instruments and add to the overall richness of the experience. Some of the benefits of providing and teaching flute play include: Providing a melodic element to complement non-pitched instruments. Substituting flute for voice and other pitched instruments to teach a melody. Using flute melodies within dialoguing techniques to elicit musical communication and expression. Adding melodic richness to fix-tuning instruments, such as kalimba, Orff instruments, HAPI drum, Boomwhacker tubes, etc. Expanding one s personal musical abilities and helping others to expand theirs. Using flute play in one s personal self-care, such as for breathing & relaxation.

49 Parts of the Flute Bird Flu Sound Holes Body Mouthpiece A G E D C A Notes on the A Flute (when hole is covered) Bore Spirit Flute C A G E D C

50 MUSICAL GAMES

51 Procedure Where s Froggy? 1. Explain that froggy likes to hide in the room and that the group will work together to help someone find him. (Use a small wooden frog or similar.) 2. Choose someone to be the seeker. They leave and are called back in when froggy is hidden. (Create a musical or verbal cue, such as three unison sounds.) 3. Someone hides froggy in the room, showing everyone where he is. 4. The seeker is called back into the room and the game begins. 5. Players get louder and softer as the seeker moves closer to and away from froggy, eventually guiding the seeker towards their goal. Rotate hiders and seekers. Try with two seekers. Try changing other elements of music.

52 Rumble Ball Procedure 1. Explain that you will be using a magic ball that creates an amazing sound. Use a physical or imaginary ball. (Small foam balls are suited for indoors) 2. Bounce, Toss, and Roll the ball as you invite the group to synchronize their playing with the motions of the ball. 3. Differentiate the three types of movement by asking the group to describe the qualities of each (i.e., the bounce is sudden, heavy, hard, etc.) 4. Associate specific instruments with each type of the three ball motions (i.e., Drums and blocks play for bounces because they share the same qualities.) 5. Play with the new sounds. Invite others to take over the conduction roll. Try multiple leaders. Add more movements and sound types.

53 Flocks in Socks Procedure: 1. Explain that everyone will be following a leader and that leaders will self-select. 2. Play rules: Anyone may begin an action and everyone else will synchronize with that action. 3. An action continues until someone in the group stops, at which point everyone freezes.

54 Clapandele (Fast Clap) Procedure 1. In a circle, model clapping hands in different ways (loud/soft, changing timbre, etc.) 2. Explain that each person will toss the clap to another in the circle, not repeating anyone until everyone has had a turn. 3. Convey that the goal is to toss the clap it as fast as possible. 4. Ask the group about strategies to pass it from person to person, even faster (Brain storm). 5. If not suggested, remind the group that they can rearrange themselves into a circle. 6. Add other sounds and gestures and you pass around, changing direction with a special cue and trying different things to pass around (sounds, gestures, looks,??)

55 Drum Call Procedure 1. Invite players to echo you as you say and/or play one- and two-note cues. 2. Reverse the cue so they play 2 when you play 1 and vice versa. 3. In Round Robin fashion, participants say or play one- or two-note cues in a steady rhythm as the group echos. 4. Try cues of different types, such as visual or in other languages. 5. Vary pitch, dynamics, tempo, play rules, and number (add three and four). 6. Add other types of verbal cues, such as math (2+1) or knowledge (legs on a chair). Remind participants to use clear language. Challenge them with other topics, such as geometry, biology, etc.

56 Procedure Pieces of Eight 1. Using a variety of timbres and pitches, invite participants to choose one number from one to eight. 2. Explain that they will make one sound on their number and that you will count from one to eight as they repeat the cycle. 3. Begin counting out loud, supporting the beat if needed, from one to eight. 4. Invite participants to notice who else is playing on their number and to listen to the melody that results. Vary tempo, dynamics, and playing technique. Add more numbers. Add a movement or vocal sound. Form groups of like numbers and arrange those groups in circular order.

57 Let s All Play Our Drum! Procedure 1. Model four levels of body percussion (snap, clap, pat, stamp) as you precede each sound with the phrase Let s all [clap] our [HANDS]. 2. Vary the tempo and dynamics of the cue phrase to elicit response. 3. Invite participants to lead one action in Round Robin fashion. 4. Transfer to instruments using the cue Let s all play our DRUM! 5. Over time, reduce the cue by removing the beginning words (i.e., All play our... and Play our...) Continue changing tempo and phrasing. 6. Invite participants to take turns leading the group by changing the tempo of the cue. Ask them to identify which variation they will be using. (i.e., 4, 3, or 2 notes)

58 Day at the Museum Procedure 1. Divide into small groups of three-four participants. 2. Explain that each group will get to choose a specific number and type of instruments, and accessories. (You can decide depending on what is available). 3. Explain that each group will have a certain amount of time to create a sculpture. (You might offer a theme, concept, referent, or limitation). 4. Help and monitor groups as they create their sculptures. 5. When time is up, play some background music as everyone visits the museum. Remind participants of proper etiquette (i.e., no talking.) 6. Invite each group to tell the others about their work (name, theme, what it represents, etc.) Option: Invite people to draw, write about, play, or move to each sculpture.

59 MUSIC FACILITATION TECHNIQUES

60 About Facilitation 1. Use Facilitation Techniques for any spontaneous music making. 2. Applications: Drum Circles, Flute Circles, Song Circles. 3. Use with or without Conduction (verbal and visual cues). 4. Use Music Facilitation techniques when you want to keep participants focused on their own music and the music of the group as a whole. 5. Facilitation Techniques help to foster autonomy among group members and encourage individual contributions. 6. Facilitation Techniques use the power of Music to facilitate interpersonal relationships such as peer support, leadership, followership and friendship.

61 Procedure Grounding 1. Listen to the music of your partner or group. 2. Determine the underlying pulse, using accents, repetition, and cycles as indicators. 3. Play a steady beat (Rhythmic Ground) that aligns with and supports the music. 4. Continue to ground the rhythm and any changes that might take place during group play, including sudden or gradual changes. In Tonal Grounding, the facilitator provides a stable tonality, over which musical explorations may take place. In Harmonic Grounding, the facilitator creates a harmonic or key center, over which melodic exploration may take place.

62 Procedure Synchronizing 1. Listen to the music of your partner or group. 2. Using the same dynamics, timbre, rhythm, phrasing and other musical elements, align your playing exactly with that of your partner. 3. Continue to follow the music of your partner without influencing it. In uni-modal synchronizing, the facilitator uses the same instrumentation as the participant - or as close as is available. In cross-modal synchronizing, the facilitator uses a different instrument and even a different media in the process, such as synchronizing movements to music, for example.

63 Procedure Matching 1. Listen to the music of your partner or group. 2. Using similar dynamics, timbre, rhythm, phrasing and other musical elements, play in a way that approximates that of your partner. 3. Continue to match the music of your partner without influencing it. In uni-modal matching, the facilitator uses the same instrumentation as the participant - or as close as is available. In cross-modal matching the facilitator uses a different instrument and even a different media in the process, such as matching movements to music, for example.

64 Procedure Imitating (echoing) 1. Listen to the music of your partner or group. 2. Using the same dynamics, timbre, rhythm, phrasing and other musical elements, play exactly what your parter played, after they play it. 3. Continue to imitate the music of your partner without influencing it. In uni-modal imitation, the facilitator uses the same instrumentation as the participant - or as close as is available. In cross-modal imitation, the facilitator uses a different instrument and even a different media in the process, such as imitating movements to music, for example.

65 Interjecting & Spaces Procedure 1. Listen to the music of your partner or group. 2. If spaces are present in the music, interject music that is congruent with that of your partner. 3. Create spaces in your playing as an invitation for your partner to interject. Employ eye contact, affect, and gesture to elicit play. Spaces may also be created by lowering one s volume or simplifying and thinning one s playing.

66 Repeating Procedure 1. Play a motif or theme that is short enough to easily identify. 2. Repeat the theme several times at the same tempo and dynamic level. 3. Continue to repeat the theme until other players join in.

67 Intensifying & Calming Procedure 1. Listen to the music of your partner or group. 2. Intensify the music by gradually increasing the volume and/or tempo of the music in such as way that your partner or the group is able to synchronize with these elements. Intensification may also include timbre. 3. Calm the music by gradually decreasing the volume and/or tempo of the music in such as way that your partner or the group is able to synchronize with these elements. Calming may also include playing less (simplification).

68 Procedure Fading 1. Listen to the music of your partner or group. 2. Increase the autonomy and leadership role of your partner or group members by taking a less active role. This includes playing less, lowering your volume, and eventually fading into the background or completely out. Note: Fading, although in some ways similar to Calming, is done to increase the role of your partner or the other players, not to decrease musical elements. Use affect, gesture and body language to indicate that the other players are to take a more active role in shaping the music. This may include using visual and verbal cues (conduction) if needed.

69 Modeling Procedure 1. Play in a way that demonstrates a desired behavior. 2. Use repetition, eye contact, facial expressions, and body language to support. 3. Reinforce desired behavior through verbal, visual, tactile, and musical feedback.

70 DISCUSSION TECHNIQUES

71 Discussion Techniques Summarizing: Recalling events and stating them concisely. Helps to: - identify highlights and themes. - get final reactions form participants. Probing: Asking questions or making requests to elicit information from the client. Helps to: - increase for sharing thoughts/feelings. - increase self-disclosure between participants. Self-disclosure: Sharing personal thoughts/feelings/information to enhance a relationship. Helps to: - take pressure/spotlight off of individuals. - show empathy and understanding. Restatement of Content: Summarizing the content of the client s statement. Helps to: - demonstrates that you have heard what was said. - offer opportunity to provide different or additional information. Clarification: Asking questions to verify information previously offered. Helps to: - promote sharing greater detail and information. - increase your understanding of what was communicated. Feedback: Describing how someone might appear, sound, or feel to another person. Helps to: - provide information that could be helpful. - provide insights into the effects of someone s actions/behaviors. - bring out issues between participants.

72 SELF-INVESTMENT OPPORTUNITIES

73 DCM University Access to Original Online Resources. Full DVD-quality courses. Unlimited Access. New content added at no extra cost. Only $39.95 per year. Enroll at PlaySingLaugh.com

74 ProRhythms Specialized Training for Healthful Outcomes. Music-Supported Group Experiences. For Adults in Wellness and Business Settings. Leadership and Teacher Certification. ProRhythms.com

75 DCM Certification Meet the Requirements for Certification Pay Certification Fee $200 Attend a DCM course for Evaluation Get listed as a DCM Leader on Website Get job referrals, discounts, & more DCM CERTIFIED See the playsinglaugh.com site for details. Contact Kalani to begin.

76 Stay Connected Join the PlaySingLaugh.com website. Join the DCM Google Group. your fellow DCM leaders. Enjoy discounts on DCM courses. Strive for DCM Certification.