Primary Music Foundation in Teaching and Learning L2: Year 3 & 4 Music Play to Learn and Learn to Play This workshop is presented on behalf of KMEIA For more information visit the website www.kodaly.org.au Workshop Notes - Deb Brydon, Friday 10th July, 2015 Resources used in this handout 1. Rocky Mountain activities from Music Masters CD Level 2 45 black line masters of worksheet activities 2. Taba Naba video from Middle Years Music Education DVD package 3. Wake Snake video from KMEIA s upcoming Year 3-4 DVD package 4. Youtube clip used in responding activities Kurt s Pachelbel s Canon on Cellphone http://www.youtube.com/watch?v=umg34qb07bc 1
Philosophy The Kodály concept was inspired by the philosophies of the Hungarian composer and educator, Zoltan Kodály (1882 1967). Throughout Kodály s writings are the notions that a person cannot be complete without music and that music serves to develop a person on all levels emotionally, spiritually and intellectually. Kodály believed that every person has musical aptitude and that, ideally, a music education should begin as early as possible in a person's life - firstly at home and then later within the school curriculum. Kodály believed that singing should be the foundation of all music education. "It is a long accepted truth that singing provides the best start to music education; moreover, children should learn to read music before they are provided with any instrument even the most talented artist can never overcome the disadvantages of an education without singing" (Kodaly, 1974). The use of the voice is one of the most defining features of the Kodály approach. The voice is the most accessible of all instruments and this makes it most suitable for musical instruction and can lead to a highly developed musical ear. By focusing on learning through engaging with music, singing, playing, moving and enjoying, music becomes part of the natural learning process. Developmental, Sequential, Cumulative and Continuous Music Education Kodály believed that musical instruction should reflect the way that children learn naturally. Through singing games, fun and play the child discovers the musical elements as they are presented sequentially and has the opportunity to enter the world of music through the creative development of the ear and the eye. Prepare Present Practise Concepts and skills are presented sequentially and their introduction is prepared so students are ready to understand the new concept or skill. They are presented or made conscious and then practised. Hear Feel (sing/play) See (read) It is important to experience concepts before reading and writing with them. It is equally important to progress from experiencing concepts to working with them, reading and writing and creating. Write To teach a child an instrument without first giving him preparatory training and without developing singing, reading and dictating to the highest level along with the playing is to build upon sand. (Zoltan Kodály) 2
Curriculum Australian Curriculum www.australiancurriculum.com.au Content descriptions Develop aural skills by exploring, imitating and recognising elements of music including dynamics, pitch and rhythm patterns. Practise singing, playing instruments and improvising music, using elements of music including rhythm, pitch, dynamics and form in a range of pieces, including in music from the local community. Create, perform and record compositions by selecting and organising sounds, silence, tempo and volume. Identify intended purposes and meanings as they listen to music, using the elements of music to make comparisons, starting with Australian music, including music of Aboriginal and Torres Strait Islander Peoples. Achievement standard By the end of Year 4, students describe and discuss similarities and differences between music they listen to, compose and perform. They discuss how they and others use the elements of music in performance and composition. Students collaborate to improvise, compose and arrange sound, silence, tempo and volume in music that communicates ideas. They demonstrate aural skills by singing and playing instruments with accurate pitch, rhythm and expression. Example Knowledge and Skills Rhythm Pitch Dynamics and expression Form Timbre Texture Skills, ; Compound time - + rests; tempo changes (faster and slower) pentatonic patterns, melodic shape, recognising steps and leaps, treble clef, staff pianissimo, fortissimo, crescendo, decrescendo, smoothly, short and detached Question & answer, call & response, repeat signs, binary (AB) & ternary (ABA) forms recognising familiar instrumental timbres in isolation and combination combining two or more rhythmic or melodic patterns which occur simultaneously in different voices matching pitch and showing the direction of a tune with gesture or drawings recognising the differences between notes moving by steps and skips discriminating between rhythm and beat demonstrating beat and tempo changes matching and varying dynamics varying instrumental timbres to create expressive effects using instruments and voices safely and correctly in the classroom taking on different roles in group music making, for example, accompaniment, lead using technology as a tool for music making and performance 3
Planning My ideas. 1. Become familiar with Australian Curriculum 2. Compare with current school plan 3. Make decisions about what will change and what to keep 4. Check still meeting the achievement standards from the Australian Curriculum and covering the content descriptions My plan Knowledge and Skills - Deb s plan (highlighted elements are changes to Australian Curriculum Rhythm Pitch Dynamics and expression Form Timbre Texture Skills, ; Compound time - + rests; tempo changes (faster and slower) pentatonic patterns (do, re, mi, so, la), melodic shape, recognising steps and leaps, treble clef, staff (E GABC D) recorder/xylophone/boomwhackers pianissimo, fortissimo, crescendo, decrescendo, smoothly, short and detached Question & answer, call & response, repeat signs, binary (AB), ternary (ABA) rondo (ABACA) forms recognising familiar instrumental timbres in isolation and combination combining two or more rhythmic or melodic patterns which occur simultaneously in different voices matching pitch and showing the direction of a tune with gesture or drawings recognising the differences between notes moving by steps and skips discriminating between rhythm and beat demonstrating beat and tempo changes matching and varying dynamics varying instrumental timbres to create expressive effects using instruments and voices safely and correctly in the classroom taking on different roles in group music making, for example, accompaniment, lead using technology as a tool for music making and performance aurally and visually identifying, creating with and performing known rhythm, solfa and treble clef notes reading staff notation and playing on recorder and xylophone performing in 2 part ensembles 4
YEAR THREE KNOWLEDGE AND SKILLS Deb s plan Elements TERM ONE TERM TWO TERM THREE TERM FOUR Rhythm Rhythms Prac MC Prep MC Prac Metre Prac MC Prac Pitch In tune singing Prac Solfa Prac sml prep do MC do prep re MC re MC pent.scale Prac Treble clef Treble clef E G A Dynamics Prac p/f MC cres/decres Form Same/ different prac Timbre Instrument families MC prac voices prac Texture Canon Melodic 2 part prac Rhythmic 2 part Ostinatos Prac rhythmic Intro melodic Prac Skills matching pitch and showing the direction of a tune with gesture or drawings recognising the differences between notes moving by steps and skips discriminating between rhythm and beat demonstrating beat and tempo changes matching and varying dynamics varying instrumental timbres to create expressive effects using instruments and voices safely and correctly in the classroom taking on different roles in group music making, for example, accompaniment, lead using technology as a tool for music making and performance aurally and visually identifying, creating with and performing known rhythm, solfa and treble clef notes reading staff notation and playing on recorder and xylophone performing in 2 part ensembles 5
YEAR FOUR KNOWLEDGE AND SKILLS Deb s plan Elements TERM ONE TERM TWO TERM THREE TERM FOUR Rhythm Rhythms Prac known MC Prep MC Metre Prac MC Prep MC Pitch In tune singing prac Compare simple and compound Solfa MC high do Prac Prac Prep ext. pent. (low so and la) Treble clef Prac EGA MC B MC C MC D Prac Dynamics Prac p/f/cresc/decresc pp/ff Form MC repeat sign, revise form binary, ternary, rondo Timbre Instruments focus on strings focus on brass focus on percussion focus on woodwind Texture Canon/ partner Prac 2 part intro 3 part songs Ostinatos prac Ostinatos while singing Skills matching pitch and showing the direction of a tune with gesture or drawings recognising the differences between notes moving by steps and skips discriminating between rhythm and beat demonstrating beat and tempo changes matching and varying dynamics varying instrumental timbres to create expressive effects using instruments and voices safely and correctly in the classroom taking on different roles in group music making, for example, accompaniment, lead using technology as a tool for music making and performance aurally and visually identifying, creating with and performing known rhythm, solfa and treble clef notes reading staff notation and playing on recorder and xylophone performing in 2 and 3 part ensembles. 6
Responding Achievement standard - By the end of Year 4, students describe and discuss similarities and differences between music they listen to, compose and perform. They discuss how they and others use the elements of music in performance and composition. Responding is more than talking about how music makes us feel and whether we like it or not. Responding goes deeper than this and requires an understanding of the elements of music and an ability to detect these in music. Students need to practise responding and be taught how to do it. Elements cards Similarities and differences. Using the language of music. Analysing music aural and visual. Visually analysing music is something we do every time we read music. We can take this a step further and compare two pieces of music and discuss them using the elements of music. Repertoire and Activities I moustache you a question rhythm game Teachers pay teachers. Wake Snake Paw Paw Patch 7
Who s That? Chicken in the Fencepost London s Burning Taba Naba 8
Assessment I am a strong believer in gathering evidence of learning throughout the term checklists are my friend! A written activity in class that is marked can easily be added to the ongoing assessment. This not only contributes to the end of Semester result but also informs my teaching and planning as the term progresses. Examples from Music Masters Level 2 Some other simple ongoing assessment items I like to use are rhythmic/ melodic dictation identify the rhythm/ melody from 3 given perform a rhythmic/ melodic flashcard transfer from stick to staff notation (or staff to stick) play a song we have been learning in class sing in canon in a small group perform a known song with an ostinato (rhythmic or melodic) identify elements of music in a song (aural or written) Summative assessment examples Composing In a group of 3 or 4 compose some music Use rondo form Create the A section together o 4 beats long o use B A and G o finish on G. Create the B, C, D or E section by yourself o 4 beats long o Use B A and G Put the parts together in rondo form (ABACADAEA) Performing In a group of 3 or 4 perform your rondo composition on recorder/xylophone. Responding Listen to two pieces of music and describe similarities and differences using the elements of music. Choose at least two elements of music (listed on the board) and write a sentence or two comparing the two pieces of music. E.g. Pachelbel s canon on Cellphone Kurt. Another traditional version of Pachelbel s canon. 9