music for everyone: songs, games, dances, and learning activities to meet the needs of a diverse...
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Music for Everyone: Songs, Games, Dances, and Learning Activities to Meet the Needs of
a Diverse Population
Berta Hickox – [email protected]
Alice Hammel – [email protected]
El Florón
El Florón
1. Sitting, circle gets smaller2. Standing, knee down or stay
on your dot3. Standing, beer fest
El Florón
Musical goals achieved1. beautiful song2. mrd prep for older
beginners3. harmony4. triple microbeat5. AB macro form6. singing game from Puerto
Rico
El Florón
Potential issues & modifications/adaptations for success
Sensorya. Start with greater
restrictions to increase comfort level
b. Give student another role (singing/playing
harmony)
El Florón
Potential issues & modifications/adaptations for success
Physicala. Provide alternative
movements and roles in game
El Florón
Potential issues & modifications/adaptations for success
Behavioral/Emotionala. Provide very clear
directions and parameters for behavior
b. Provide an ‘out’ for students who are not able to participate fully
El Florón
Potential issues & modifications/adaptations for success
Communicationa. Singing while playing
gameb. Singing solfa
i. use of clickerii. show body signs
or hand signsiii. play on pitched
percussion or piano
Five Domains For Learning
1.Communication2.Cognition3.Physical4.Behavioral/Emotional5.Sensory
Music Aptitude
Music aptitude is one’s potential to achieve in music.
Music aptitude is innate, but not inherent.
Music Aptitude
Music aptitude is developmental until age 9,and can fluctuate until about age nineaccording to the richness and diversity of musical experiences the child undergoes.Music aptitude stabilizes after age 9.One cannot expect to achieve in musicbeyond the limit of one’s stabilized music aptitude.
Music Aptitude
Administer a valid and reliable test such as the Primary Measures of Music Audiation (PMMA) or the Intermediate Measures of Music Audiation (IMMA) to measure each student’s music aptitude.
Music Aptitude
It is NOT the purpose of aptitude testing to identify students for inclusion or exclusion in music activities.
Music Aptitude
Because many students with high music aptitude have not had the opportunity to achieve in music, a music aptitude test can reveal musical potential that might otherwise remain unknown to those students and their teachers.
Music Aptitude
Use the scores to differentiate each student’s instruction. Scores will be normally distributed in a population; they will fall in a “bell curve.”
Music Aptitude
Students with low music aptitude will need manymore opportunities to listen, echo patterns, decode, and read than those with average or highmusic aptitude. Students with high music aptitude will learn faster and need more challengesthan those with average or low aptitude.
Music Aptitude
A student’s scores in tonal aptitude and rhythmaptitude will likely differ: a student with hightonal aptitude could have a below average rhythm aptitude. Therefore, the teacher ischallenged to teach to each student’s individualdifferences.
Creative Movement
Heavyland/Lightland
Free and Bound Flow
Bach Activity
Creative Movement
Can support communication goals
1. Comparatives (high/low, fast/slow)2. Melodic direction3. Phrasing4. Solfa5. Self-leveling activities
Creative Movement
Assessment Informal:
Observation
Formal: Rating Scale
move at appropriate time
freeze at appropriate time
move quickly
move slowly
-move smoothly
Singing
Teaching a rote song/how to repeat a song for increased success with cognitive challenges
1. sing 4x, c. sings2. fill in a word3. ask questions4. # of phrases5. highest/lowest pitch6. resting tone7. form
Singing
Potential issues1. Sensory – too loud
a. plug ears, smaller groups perform
2. Communicationa. demonstrate with
gross motor3. Behavioral/Emotional
a. recognize the inherent emotional elements in music and acknowledge
these differences
Goodnight
Bate, Bate
The Gallows Pole
Phoebe in Her Petticoat
SNACK TIME!!!
Literacy
Literacy
Aural Decodinga. Play game – if anyone gets hurt, the
game is overb. Aural decoding - melodic
i. Sensory – gameii. Physical – gameiii.
Behavioral/Emotional – gameiv. Communication –
decodingv. Cognitive – decoding
p. 134
Sol-Mi NotationPresentation Stage
Non-Modified or Adapted Curricular Goals
Modified Curricular Goals
Adapted Curricular Goals
Students will sing sol-mi patterns using neutral syllables.
Student will approximate higher and lower pitches following individual prompt by teacher.
Student will sing sol-mi patterns using neutral syllables at a tempo of his choosing
Students will derive quarter-eighth patterns from chants that are well-known to them.
Student will tap the rhythm with words to chants that are well-known to him
Student will derive quarter-eighth patterns using popsicle sticks given as much time as necessary
Sol-Mi NotationPresentation Stage
Non-Modified or Adapted Curricular Goals
Modified Curricular Goals
Adapted Curricular Goals
Students will show higher and lower with their hands and with the use of icons.
Student will show higher and lower through any modality he prefers.
Student will demonstrate higher and lower using icons and/or body motions.
Students will discover the two pitches (sol and mi) and their similarities as noted in several folk songs well-known to them.
Student will sing folk songs that contain sol-mi with other students.
Student will discover sol-mi in at least one folk song well-known to him.
Sol-Mi NotationPresentation Stage
Non-Modified or Adapted Curricular Goals
Modified Curricular Goals
Adapted Curricular Goals
Students will apply new rhythm syllables to chants well-known to them.
Student will chant rhymes that contain quarter/eighth patterns with other students.
Student will chant using rhythm syllables at a tempo of his choosing.
Students will apply new solfege syllables to chants well-known to them.
Student will apply new solfege syllables to at least one chant well-known to him.
Literacy
Literacy
Tideoa. Aural decoding – rhythmicb. Adapted sequence p. 146
Aural Decoding Assessment
Solo assessment: 1. By phrase or pattern with modifications
(different content – smd only)
2. With adaptations
(fewer patterns)
Reading
RhythmUse many means to the same end for variety and repetition
R ladderR flashcardsbeach ballKing of the MountainSinking ShipMatch titles to rhythm patterns
Reading
RhythmBeat FlashcardsWho Has This Rhythm?Read BackwardsRhythm Card GameRhythm-Go-Round
Reading
RhythmDifferentiate for
intellectually gifted high musical aptitude needs more repetition
(cognitive and low musical aptitude)
Reading
MelodyUse many means to the same end for variety and repetition
tone laddertone setfinger staff (read from teacher’s)body signshand signsmagnetic noteheads
Writing
RhythmUse many means to the same end for repetitionand as modifications
popsicle sticksrhythm flashcards + flyswatterfill in the missing rhythmsclass set of rhythm cardsbeat flashcards
Writing
MelodyUse many means to the same end for repetition and as modifications
felt staffsfinger staffmagnetic noteheadsmelodic flashcardstransfer stick notation
to stafftranspose from one
staff placement to another
Reading/WritingAssessment
1. small group performance if student is unable to sing solo
2. assess individuals within a group (Rhythm-go-Round, felt staffs)
3. rubric with modifications
(quarter note, eighth notes, quarter rest, half note only)
Reading/WritingAssessment
4. Rubric with adaptations (perform at own tempo, assess fewer examples,
choose own patterns to read)
Rhythm Sequence
Rhythm Sequenc
e
ECHONeutral
Syllable
Transfer neutral to syllable
Rhythm Sequence
Rhythm Sequence
IDENTIFYIn a rhyme or song - aurally
Visually
Rhythm Sequence
Rhythm Sequence
DERIVEFrom a
rhyme or song
CREATENew
rhythms that
contain
LUNCH TIME!!
Folk Dancing
Seven JumpsChimes of DunkirkHeel & Toe PolkaSasha!Sashay the DonutHaste to the Wedding (Sicilian circle and contradance)
Folk Dancing
Potential issues1. Sensory (desensitization)2. Physical
tempo3. Cognitive –
can’t remember the order of the calls
4. Behavioral/Emotional working with partners
Folk Dancing
Modifications/Adaptations 1. Assign a buddy who is a strong dancer2. Teacher demonstrates the dance
with a student who needs extra repetition, a slower tempo, to experience the dance without music
3. Some students choose partners first
Folk Dancing
4. Allow an individual to observe as necessary;rotate in
5. Teacher chooses partners6. Partner chain (random choice of partners)
Four Primary Teaching Practices
SizeColorPacingModality
Sample Folk Dance Sequence
Seven JumpsRM2
Les Salutscircle MBBarnereinlender NorwegianFDMAgaduIsraeli FDMYesh Lanu Tayish longways setFDM (also as play-party in Roots and Branches)
Sneaky Snake line dance RM4
Sample Folk Dance Sequence
Chimes of Dunkirk longways set CHHeel & Toe Polka circle
CHSweets of Maylongways set CHRural Felicity longways set SDGalopedelongways set CHKings and Queenslongways set SD
Sample Folk Dance Sequence
Irish Stew circle RM2 (“Rakes of Mallow”)
Pepperell Stomp circle SD (“Irish Reel”)
Bridge of Athlone longways set MB (“Blarney Pilgrim”)
La Bastringue circle CHBlaydon Races circle CHSasha! SD
Sample Folk Dance Sequence
Jubilee Rag longways setMB
Simple Square squareCH
Sashay the Donutdouble circleSD
Black Joke Sicilian circleCH
Zemer Atik IsraeliRM4
Haste to the Wedding Sicilian circleCH
Sample Folk Dance Sequence
Haste to the Wedding contradanceCH
Dip for the Oyster Sicilian circle CHLucky Sevencircle CHMariposaSicilian circle MBJefferson & Libertycontradance CH
Sample Folk Dance Sequence
Close Encounters double circle RM4 (“California Dreaming”)
Circle Waltz Mixercircle SD
Teachable Moments through Folk Dance
1. Dance until the music is finished2. Partner chain or “May I please have this dance?” (the answer is “yes”)3. Clap for the music at the end of the dance
AND say “thank you for this dance” to your partner
Resource Guide for Folk Dances Used in Sequence
FDMFolk Dance Music for Kids and Teachers (Sanna Longden’s CD No.1)MB Listen to the MockingbirdRM2 Rhythmically Moving 2
(Phyllis Weikart)RM4 Rhythmically Moving 4
(Phyllis Weikart)CH Chimes of DunkirkSD Sashay the Donut
Part Work
TypesCanonOstinato (rhythm, melodic, spoken, played)Root melody/implied bass linePartner songsCountermelody/descant2-part musicsing + reading/conducting/beat and
beat division/ball-bouncing
Part Work
Potential issues1. Communication2. Cognitive3. Physical - beat + beat division,
conducting, playing ostinato
Part Work
Part Work
Teachers create other parts (with or without instruments) to be performed with song
Students choose what is comfortable to perform = self-leveling
Part Work
Instruments1. another avenue for communication2. size3. modality
SNACK
Singing Games
Singing Games
Singing Games
Singing Games
Singing Games
Potential issues1. Sensory
desensitization2. Cognition
when to meow3. Communication
vary modalities
4. physical5.
behavioral/emotional
Q&A
General Ideas
Use a predictable/standard lesson plan
Many tasks in a single music class =Opportunity to give positive feedbackRegarding each student’s strength
Sequence! Break down each task andsequence
General Ideas
Identify carefully what you want to assess
Offer multiple opportunities to learn andReinforce skills/concepts so kids haveOpportunities to learn what you want to assess
Seek incremental improvement for each student
Einstein Quote
“Everyone is a genius. But if you judge a fish onIts ability to climb a tree, it will live its wholelife believing it is stupid.”
Double Dream HandsThe Big Finish!
Dip for the Oyster