Chapters
- Page ID
- 73388
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\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)- 1.1: Perspectives and Approaches
- Children are inherently musical. They respond to music and learn through music. Music expresses children’s identity and heritage, teaches them to belong to a culture, and develops their cognitive well-being and inner self-worth. As professional instructors, childcare workers, or students looking forward to a career working with children, we must continuously search for ways to tap into children’s natural reservoirs of enthusiasm for singing, moving, and experimenting with instruments.
- 1.2: Music- Fundamentals and Educational Roots in the U.S.
- The first half of this chapter attempts to define music as a subject and offers perspectives on music, including basic vocabulary and what you should know about music in order to incorporate it in your work with children. The second half gives a brief overview of music education and teaching in the U.S., which provides the foundation of the discipline for the book.
- 1.3: Assessment and Learning Goals
- This chapter is divided into two parts. The first section addresses the role of assessment in education. The second section addresses personal assessment in relation to your professional development and career goals.
- 1.4: Approaches to Music Education
- The goal of this chapter is to introduce the reader to the most well-known music teaching methods used in music education. They are Zoltan Kodály, Emile-Jacques Dalcroze, Orff Schulwerk, Edwin Gordon, Shinseki Suzuki, and Reggio Emilia. This chapter also familiarizes the reader with each method’s philosophy and principles, unique pedagogy, and practices and activities.
- 1.5: Children Singing and Children’s Songs
- One of the most basic yet challenging activities to do with children is to teach them a song.This chapter focuses on the child’s singing voice, including their vocal range, selection of appropriate musical material, and methods for teaching a song in a musically meaningful, cognitively stimulating way that lays the groundwork for future integration.
- 1.6: Creative Activity and Lesson Planning
- This chapter looks at creative ideas for approaching and planning a successful music lesson, including a guided outline, models of full lessons, and classroom management tips.
- 1.7: Music and the Brain
- Scientists are only recently beginning to investigate the relationship between music and the brain as the field of neuroscience develops. This chapter covers some of this research in terms of music processing, active listening, and benefits of the music-brain connection.
- 1.8: Music in Early Childhood Development
- This chapter focuses on the role of music in early childhood, including the importance of musical experience in early childhood, the musical abilities and enjoyment of infants and children, and the vocal ranges of the young child. It also explores musical activities and repertoires appropriate for young children.
- 1.9: Music and the Older Child
- This chapter explores the uses of music with older elementary-aged children. It covers their vocal ranges, preparation for multi-part singing including echo songs, ostinato patterns, drone and multi-part performing including polyphony (multiple melodies) such as rounds, partner songs, harmony and descants, as well as other age-appropriate repertoire such as cumulative songs, play-party songs, and African-American songs.
- 1.10: Children’s Musical Play- Musicality and Creativity
- Children’s creativity is at the heart of this book, and is one of the most important factors to consider when creating pedagogical material. This chapter addresses children’s creativity, and introduces different types of children’s musical play and their associated repertoires as well as ideas for children’s improvisation.
- 1.11: Music and Inclusion
- Allowing all children equal access to an art form is more difficult than it sounds. Social pressures, stereotypes, and changing attitudes and perspectives can inhibit inclusion and lead to exclusionary practice. This chapter addresses the issue of several types of musical inclusion, including music and gender, and music for children with autism, ADD/ADHD, learning and physical disabilities.
- 1.12: Music Integration
- This chapter introduces the reader to processes and vocabulary of music integration, including a general definition of arts integration, and strategies and examples for integrating music with other subject areas.
- 1.13: Musical Multiculturalism and Diversity
- This chapter will look at the history of multiculturalism and diversity education, the field of ethnomusicology, and strategies for teaching using multicultural music aesthetics. It also includes case studies from several different culture areas.