Music should at least start either in Kindergarten or 1st grade because it helps students build literacy as stated in the Kodaly Method. The Kodaly Method, named after the Hungarian composer Zoltan Kodaly, teaches students to become literate musicians, mainly through singing, learning folk songs, and how to do solfege. Kodaly also believes that every person owns an instrument, which is the voice. The Kodaly Method is the excellently sequenced curriculum for learning pitches, rhythm, meters, and form, taught in three stages: preparation, presentation, and practice.
Music teachers and educators must be as magnetic as possible in everything they do. In order to do that, music teachers and educators need to make a sturdy, personable impression
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(Tillman)” Motivation plays a pivotal role essential in the Music Education in terms of finding ways to teach at a pace where it benefits every student, even those with disabilities. Teaching students how to play, count, or sing at perfect rate is an exceptional motivational tool using to instill in them as it will force them to practice on a daily routine. In addition to making them practice on a daily routine, the instructor should hand out a printed guide explaining how to practice, what to practice, and how long to …show more content…
In music classes, failures occurs every day, which instructors and other class members don’t notice. These failures may be the minor frustrations that a student feels when he or she can’t answer questions, missing notes, or negative reinforcement from teachers. If a student continues to experience constant failure to excel at a rate in which he or she is capable of, boredom starts to drop in like mail, resulting in poor practice habits, poor productivity, disciplinary infractions, or dropping the course altogether. Failure, regardless of what type or the cause of it, is the number one obstacle in achieving motivation and higher education. The solution to combating failure or to prevent it is finding a level at which the student excels at. Personalized instruction is a great route to go because it allows the instructor to re-allocating his or her present time priorities in order to get to know each student on a more personal level. This will allow teachers to limit failures from students and finding different ways to motivate by pointing out his or her positive or successful points and proceed from
When asked to choose skills, I selected performing arts, problem solving, and speaking, all of which I would use in a career as a music educator. I also selected creativity, independence and prestige as the most important values to me. Again, these values are all applicable in a career in music education.
With around 70,000 special education students with hearing losses in the US it is no wonder that teaching these students the art of music has become an important opportunity within their education (U.S. Department of Education). According to Darrow and Heller (1985) as well as Solomon (1980) the history of education for students with hearing loss extends over a hundred and fifty years. These students have every right to music education classes and music instructors need to understand their unique learning differences and similarities to those of the average typical (mainstreamed) student to ensure these students have a successful and comprehensive learning experience. Despite this, there are still plenty of roadblocks, one of which may be some music instructor’s lack of effective practices and methods to successfully teach to the student’s more unique needs. Alice Ann-Darrow is a Music Education and Music Therapy Professor at Florida State University. Darrow’s article “Students with Hearing Losses” focuses not only on the importance of music education for these students but it is also a summarized guide of teaching suggestions containing integral information for the unique way these students learn.
Richard Colwell, Carol Richardson. The New Handbook of Research on Music Teaching and Learning: A Project of the Music Educators National Conference. Oxford: Oxford University Press, 2002.
As a musician you are exposed to many different types of terminology, ideas, debates and concepts most people are not. There are Interest and topics that we find appealing like the different language that we use to communicate with each other, are very different from someone that is heavily invested in other activities likes sports or even knitting . With these differences we have formed our own social group. The definition of an music educator is a field that touches on all domains of learning, including the psychomotor domain, the cognitive domain, and, in particular and significant ways, the affective domain, including music appreciation and sensitivity In our community we strive to achieve the goals set in this definition and also to move forward in our advancement of music in the world
The topic I am choosing to write about is the Suzuki style of music education, or better known as the Suzuki method. It was brought to my attention by the lessons teacher the different methods of teaching flute and other instruments. She preferred to teach me music from the Suzuki method book and after doing some of my own research I realized what a good method the Suzuki style is for teaching children, especially children at a young age.
There have been many studies done to find how music influences a child’s development. The College Entrance Examination Board discovered that students who took music appreciation classes had higher verbal and math scores than those who did not take the classes. (Stephens 2003) The U.S. Department of Education found that in 25,000 secondary schools, students who were highly involved in the music program did much better in math than any other students. (Stephens 2003) These studies and more have found that involvement in music increases chi...
Steven, Kelly, N. (2002). A Sociological Basis For Music Education. International Journal of Music Education. 43. Pp. 40-49
The job of a music educator is to foster an environment where everyone can succeed in music. Students have the ability to grow and to be a part of a team through their participation in group activities. We must encourage the growth of students within our music education program, not just as musicians but also as individuals.Instrumental Music For Special Learners
Like anything that has to do with music, it will take time for the student’s embouchure to develop and happen without outside assistance. A teacher should always be on the lookout for errors that th...
Educators are set in place to guide us through a thorough understanding of a subject, and give us enough information to suffice without their immediate guidance. In piano class, our Professors have been taught to use specific methods on breaking down the skills to becoming a pianist. From scales to score reading, all of the lessons are used to gain a sustainable amount of self knowledge to plunk out notes for our future choirs or assist our own rehearsals in a practice room. Guido of Arezzo, musical therapist, pedagogue and author of Micrologus suggested a lack of common knowledge is one of the main causes for an individual to not put forth the appropriate efforts to achieve a perfect understanding of the task.
My main philosophy of music education is not only helping the student become a great musician, but a great, well-rounded, person as well. But in order to do that there are multiple aspects that have to be carefully thought out and planned. Such aspects can be, who I can teach, what shall I teach, the type of environment I want my class to partake in and concrete ideas of specific pedagogies to be applied. Who shall we, as teachers, teach is a very simple question, that has a simple response to go along with it.
Even when children learn music they able to listen, sing, dance, create movement. Listening to music draw out emotions, and playing music can be just like communicating emotions. Some people find this a very powerful experience. “ Music enriches the lives of students and should be considered a necessary part of education.”
Friedrich Nietzsche once said, “Without music, life would be a mistake”. Music is almost as old as the human race and is as much a part of it as anything. So why would anyone choose to get rid of it? An Increasing number of schools across the nation are deciding to cut music education programs. This includes band, orchestra, choir, and general music classes. In 1991, 55.4 percent of public school eighth-graders took part in music classes at school. In 2004, this figure was just 49.1 percent. Money plays a huge role in this statistic: “...when funds are scarce, arts courses are usually the first to be dropped from a school’s curriculum” (“Arts Education”). While many argue that music education is an unnecessary cost for schools, it improves student’s overall well being.
In performance-based courses such as band or choir, the key to teacher musicality is the synthesis and delivery of those elements into an expressive, meaningful, and worthwhile performance outcome. Good lesson planning and preparation should already account for musical readiness in relation to teaching the instructional unit. Simply knowing information about history or harmony does not necessarily equate to successful teaching. Delivery and structure will have a significant impact on student retention, motivation, and cooperation. Assuming that planning and preparation are secure, music teachers should share their lesson plans at the beginning of each class (in Merrion, 1991 and Jones & Jones, 1995).
After great practice, Josh Clark learned to spell his last name. This may not seem like a grand accomplishment, but for Josh, it is. Josh has down syndrome. He attends weekly music therapy sessions and his parents are seeing great progress. Mother said, “Within a week, he learned how to spell ‘Clark’. Without music therapy, it would have taken several weeks or several months. So how does music help Josh to learn at a faster rate than without music? Josh’s music therapist knew that Josh was accustomed with the song “Twinkle Twinkle Little Star,” so she used that to help him learn. Josh listened to her sing each letter of his last name to the familiar tune. His mom thinks, “Music therapy helps him to focus. He loves it. He’s always loved music.” It is true that music is a large part of everyone’s lives, whether it is listening to it or playing it. Josh also loves playing the maracas, so his music therapist uses the maracas as a reward for spelling his name. To the average person spelling a name is no big deal, but to Josh’s family and friends, it is much more than that. “He takes a lot longer to learn, but there are a lot more small triumphs,” his mom says (AMTA 2014). This family has seen great results from the music therapy and they are not the only ones. As more people with various therapeutic needs begin to see the benefits of music healing, it has become one of the best forms of treatment.