Here are a couple fingerplays that I have been doing with the younger groups such as the Bumblebees, Ducklings, and Butterflies. With "Whoops" you replace "Johnny" with your child's name. You can then repeat and replace your child's name with any family members name. Ask for suggestions from your child. Remember to keep a beat and do a "vocal swoop" on the "whoops." Your child will probably be able to show you what I mean. This simple little activity helps support the younger ones in finding their head voice and develop musicality by feeling the beat. When doing "Tommy Thumbs" again, say rhythmically, keeping a beat and perhaps even showing the beat in your hands. You can then demonstrate various musical concepts by changing the tempo (regular speed/fast/slow slow). Then you can also change the "timbre" (tone sound) and support the different ways a voice can be used by repeating the fingerplay while talking/whispering/singing etc. Once it is very familiar, you can even drop out the voice completely and say it "inside your head" while showing the beat with your hands. This "inside voice" concept is a very useful strategy that can be used in various social situations for both children and adults. Enjoy.
Since I only was able to say a quick hello at open school night, I wanted to post this in addition to the hand out about music that you may have received. It goes into more detail on my philosophy here in the music room. Any questions? Please email me. MUSIC AT THE GILLEN BREWER SCHOOL
Through folk music and nursery rhymes, composed music, improvisation, singing, instrumental and movement activities, and dramatic music plays, each child develops: * an understanding of the speech-related elements of music: pitch, volume, tempo, duration, and timbre; * rhythmic organization, fine and gross motor skills, as well as, listening and auditory memory skills; * self- awareness and self-esteem through group and individual singing and playing, creative expression through improvisation and, an increase in self regulation with activities that promote attending skills and impulse control; * increased social interaction skills and an awareness of self and others through singing games and ensemble work requiring turn taking, choosing and being chosen, leading or following, quick thinking, and following directions; and, *basic music appreciation which can include, the ability to experience, demonstrate and identify elements of music such as: beat, rhythm, note symbols, rhythm and melody names, hand signs, musical styles, musical composition. Opportunities are also provided to: *sing, play instruments and dance from memory, a large number of traditional singing games, chants, and folk songs, drawn first from the child's own heritage of folk song material and later expanded to include music of other cultures and countries. *listen to, and analyze different styles of music. *improvise and compose, using their known musical vocabulary at each developmental level. Purposes and Objectives of the Music Program The music program has been developed to teach lasting musical skills, and to enhance the intellectual, social, and emotional growth of each child through positive experiences in music. Through folk music and nursery rhymes, composed music, improvisation, singing, instrumental and movement activities, and dramatic music plays, each child is given the opportunity to successfully perform and also enjoy music intelligently. The music education aspect of the program is based upon a modified Kodaly Methodology. This methodology believes in the principals that music is for everyone and is necessary for healthy human development. Folk songs are the primary source material for beginning music education and singing is the foundation of musical culture. Its’ aim is to make every child musically literate with the voice used as the instrument, and with singing as the basic musical activity. Kodaly music education is child developmental, not subject developmental. A program should contain elements of comprehensive training in rhythm, solfege, sight-singing, listening, writing, performing, creating, and focus on aural and visual memory perceptions. The concept begins with the total experience, then moves to the symbolization of that experience. The pedagogical principle of going from the known to the unknown is utilized. Although elements of a music literacy program are present, the main purpose of a typical music session at The Gillen Brewer School is that of music appreciation. One goal is to create an environment in which a love of music is fostered through the presence of carefully chosen songs, musical games, dances, accompanied by success-oriented tasks and activities. Another goal is to provide a foundation of basic musical terms and concepts that the child can utilize if a more rigorous musical study is chosen either outside of school or at a later date. Within the safe environment of the music room, "mistakes" are deemed as an accepted and integral part of the musical learning process in order to build self-confidence and increase the likelihood of participation. When specific music literacy concepts are approached, they are often taught within the group setting to increase the success of the individual. Within the emotional safety of this group setting, a musical concept is presented and repeated until a majority of the group has grasped the concept. Then the group can be divided up into smaller groups, with the teacher taking care to equally pair the musically stronger individuals with those who are still learning. The groupings are eventually subdivided into pairs and then down to the individual child, but only when the individual has shown success learning the concept within a larger group, is he/she singled out to demonstrate the concept to their peers. This increases the likelihood of success and establishes a sense of security and self-confidence that often appears in other contexts, both social and academic. Therefore, evaluation of the student’s progress is often assessed within the safe confines of the group. In the music room, it is understood that children participate at different musical levels. Children are thanked for their participation rather than required. Children are encouraged to participate in their own way, often suited to their strengths rather than weaknesses. A variety of ways in which one can participate and learn are presented within a typical song or class since each child may learn in different ways. Songs and activities used within the music room typically contain various visual, audio, and physical elements meant to stimulate, serve, and confirm each child’s strength. For example, a child can be provided with many ways to participate during a song and that participation can take many forms that best suit the child’s abilities. He/she can be given the option to sing; show hand signs that represent the words; simply hum the melody or move his/her body to represent the musical elements. At times, a child’s participation can be confirmed by simply being a part of the group by either exhibiting proper listening or audience member skills. Those who master one or more of these options can be further challenged by being encouraged to do any combination of the above at the same time. This enables the music teacher to approach a wide range of talents often found within a group of eight to ten children here at The Gillen Brewer School. Although non-participation may and does occur at times, that particular child is usually engaged or re-directed through self-motivation. Increasing a child’s participation in music can be attained in many ways. Behavior modification charts may be incorporated within the music class, and be in conjunction with classroom incentive systems. But a child’s motivation to participate can come from within the activity, whether it is a desire to play an upcoming "musical game" or get a turn on an instrument. The safe environment encourages risk-taking behavior and many musical activities are often geared to help children to realize that he/she is part of a greater group. Through group activities such as structured instrumental pieces or musical games, the individual becomes invested in the quality of his/her contribution to a musical piece and also the quality of the group’s musical effort and accomplishment. The overall goal is to have self-motivated children, rather than developing a child that is adult oriented or teacher dependent. Hello everybody,
Just getting this website updated after a summer of playing in the Quad Band at the Ethical Culture Fieldston Outdoors Camp. (I had just bought an upright bass last spring, and it was fun learning how to play this instrument over the summer). I've played in the band for the last few summers and it is kind of a "work/study" for me. Every day, the entire camp gathers to listen, sing along, and dance to "folk" or "traditional" songs that are sung to help connect children to their surroundings, learn about history, and raise their awareness of their environment. It is an excellent opportunity for me to hone my musical skills and learn from other musicians/educators. I've even run into a former GBS student who attended the camp, and another who was a junior counselor this last year. But it is good to be back here at GBS, to see all the familiar faces and the new ones. |
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