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Something Old, Something New, Something Borrowed = Something YOU! Encouraging Music Creativity, Responsiveness, and Performance in Young Children National Association for Music Education Sunday October 26, 2014 3:15-4:15pm
Julie Maragos
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General & Choral Music Specialist Overlook Elementary School Abington School District Abington, PA 19001
[email protected]
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Dr. Alison M. Reynolds
Associate Prof. of Music Education Presser Center for Research and Creativity in Music Boyer College of Music and Dance Temple University Philadelphia, PA 19122
[email protected] www.temple.edu/boyer
How do you define creativity in the context of your music classes or activities?
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How do you define improvisation?
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Criteria for rubrics stem from definitions.
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Teach/prepare collaborative process.
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Focus prompts, interactions, materials, outcomes on music and movement.
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IN THIS SESSION:
Participants will engage in a playful, innovative sequence of activities they can use immediately to promote elementary students’ fluency as music improvisers and creators. The presenters will share video examples of children engaging in the same activities, examples of assessments, and connections to the new standards.
Considerations ***Begin • with End in Mind
Frame objectives!
Scaffold
Same/Different Form/Plan Evaluate/Revise
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Listen •
Responsively
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Balance • Congrats and Revisions
(Wiggins & McTighe, 2005)
Collaborate/Share DOCUMENT
Children listen, decide, and own the process.
Invite • Students to Assess
Engage students in the cycle. Learn what they notice.
Create and • Improvise Routinely
Useful habits are hard to break!
What will you remember about this session tomorrow? How will you demonstrate what you have learned? Photo from www.menc.org
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What is 21st Century Music Education? Contexts for Creativity and Improvisation What does it take to be a musician? Vocal, kinesthetic, instrumental skills Communication, Interaction Collaboration Creativity Technology, Business Sense, Tenacity, Patience, Drive
Creativity by Design:
What do musicians “do” relative to music creativity? Perform (tour), Move, Record Produce, Remix, Score Films (etc.), Compose, Improvise, Arrange, Orchestrate Conduct Teach, Interact Listen, Analyze, Compare, Evaluate, Revise PRACTICE J
• Consider the Learner Individual Differences, Special Needs, Requisite Experiences, Outside School Experiences
• Bring Outside School Applications Inside School • Consider Multiple Outcomes
Photo Credit, Below: Al Pewsey http://www.flickr.com/photos/alpew/3482870610/
“A group of children in the Langtang valley who seemed like they were on their way home from school and had stopped for an impromptu make 'music' meeting. You could hear them for miles!”
Realize room for flexibility while remaining committed to objectives
• Create Shared Responsibility What do students’ ideas teach everyone to try next?
Music and Movement Creative Process •
Learn what your youngest learners know, can do, and want to do. o
Consider the importance of Play, Humor, and Enjoyment while planning, interacting, and responding. Creating our plans with those moments in mind influences our outlook and students’ engagement.
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If we don’t ask, we don’t know.
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Invite collaborative efforts, student-led activity
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Ensure individual opportunities. Hear multiple voices! •
Who can sing a song about that?
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What would that sound like if we sang it?
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Let’s sing a different ending.
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What happened next?
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OVERARCHING THOUGHTS: • • •
Setting up Playful Environment in Music Class Interacting Collaboratively and Musically in a Safe Space Modeling Music as Dynamic vs. Static
STYLE~~METER~~TEMPO~~TONALITY~~HARMONIC STRUCTURE~~FORM Use (but step away early and often from) instructions to “be or do the same.” Be my echo. Repeat after me. Move like I move. Sing the song. Chant the chant. Dance the dance.
Offer opportunities to feature “new” & “different,” with (and with fewer/no) framework. Offer variety: time and space to “think” different . . . in the moment--spontaneity Sing a different pattern.
Chant a different pattern.
Play a different pattern.
Sing a different ending.
Chant a different ending.
Play a different ending.
Decide the instrumentation and the form! SOMETHING “OLD”
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SOMETHING “NEW”
My Mother/Your Mother (Music Play) o Duple Meter o Style o Lyrics
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Same/Different **Triple Meter Jazz Style Names, People, Animals
Blow Wind, Blow o Duple Meter o Minor Tonality o Chord Root Melody
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Same/Different **Different Meter **Different Tonality *Improvise Tonal Patterns and Rhythm Patterns
Skip to My Lou o Phrases o Chord Roots o Tonal structure o Harmonic structure o Tonality o Meter
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Same/Different *Sing a different ending *Improvise rhythms patterns *Improvise tonal patterns *New melody over chord changes **Different tonality **Different meter
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Nursery Rhyme o Characters o Point of view o What happened next?
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Same/Different **Add commentary, characters **Re-tell (different perspective), dialogue **Extend scenario
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MUSIC o Jam session (Beat box, vocal; Found objects, Instrumental; Music instruments) MOVEMENT o Flow; Dramatize, action, gesture; Creative movement; Dance; Choreography
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SOMETHING BORROWED: CREATE/IMPROVISE ACCOMPANIMENT •
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References: *Azzara, C. D. (varies). Developing musicianship through improvisation. Chicago: GIA. ***Covey, S. (2013). The seven habits of highly effective people. Delran, NJ: Simon & Schuster. **Gordon, E. E. (2012). Learning sequences in music: Skill, content, and patterns. Chicago: GIA. Pink, D. H. (2005). A whole new mind: Why right-brainers will rule the future. New York: Riverhead Books. Taggart, C. C., Bolton, B. M., Reynolds, A. M., Valerio, W. H., & Gordon, E. E. (varied). Jump right in: The music curriculum, Teacher Edition for grades 1, 2, and 3. Chicago: GIA. Taggart, C. C., Reynolds, A. M., Valerio, W. H., Lange, D., Bailey, J., & Gordon, E. E. (2010). Jump right in: The music curriculum, Kindergarten. Chicago: GIA. Valerio, W. H., Reynolds, A. M., Bolton, B. M., Taggart, C. C., & Gordon, E. E. (1998). Music play: Guide for parents, teachers, and caregivers. Chicago: GIA. Wiggins, G., & McTighe, J. (2013). Understanding by design, Expanded 2nd Edition. Alexandria, VA: ASCD. TEMPLE UNIVERSITY GRADUATE PROGRAMS in MUSIC EDUCATION: http://www.temple.edu/boyer/academicprograms/music-education/index.asp Thank you, Abington School District for funding this trip, and Overlook Elementary School students, parents, and Mike Wilkins, videographer for participating in new adventures together! Thank you to Boyer College of Music and Dance for funding this trip for Alison Reynolds. Common core state standards for English Language Arts & Literacy in History/Social Studies, Science, and Technical Subjects with Appendix Z: research supporting key elements of the standards; glossary of terms. http://www.corestandards.org/assets/Appendix_A.pdf
English Language Standards (from glossary) Domain-specific words and phrases Editing, Revising, Rewriting Evidence Focused question Print or digital (text, sources Technical subjects: A course devoted to a practical study, such as engineering, technology, design, business, or other workforce-related subject; a technical aspect of a wider filed of study, such as art or music. Standards for Mathematical Practices: http://www.corestandards.org/Math/Practice 1. Make sense of problems and persevere in solving them. 2. Reason abstractly and quantitatively. 3. Construct viable arguments and critique the reasoning of others. 4. Model with mathematics. 5. Use appropriate tools strategically. 6. Attend to precision. 7. Look for and make use of structure. 8. Look for and express regularity in repeated reasoning.
Photography: Websites Pg. 1 Four children “different”: http://blog.gryphonhouse.com/category/music-movement/, Pg. 2 Project P.L.A.Y. School, Elkins Park (my photo!); Nepal children making music: http://www.flickr.com/photos/alpew/3482870610/ Pg 4: Three children “same” (Frank Fitzpatrick): http://earthtones.org/2012/10/music-and-education/
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