LEVEL 2 HANDOUT PACKET

Transcription

Drake University
Kodály Certification Level II
Teaching Processes and Skills
Kris VerSteegt, instructor
(515) 975-8496 CELL
[email protected]
This page intentionally left blank.
Kodály Certification LEVEL II
Course Syllabus
(515) 975-8496 CELL
[email protected]
1.0
Course Description
A course in the Kodály methodology of teaching music, focusing on the knowledge, pedagogy, and
materials needed for successful implementation in the intermediate elementary grades.
2.0
Objectives
2.1
To provide a review of Zoltán Kodály’s philosophy of music education, as presented in
Level I
2.2
To study the principles, methods and techniques of Kodály-based pedagogy as they
relate to a literacy-based, spiral music curriculum for intermediate elementary grades,
with emphasis on music skill development
2.3
To provide opportunities for writing, peer-teaching, discussion and evaluation of Kodályinspired lesson plans
3. 0
Content and Organization The topics in this course will include the following:
3.1
Melodic concepts: low la, low so, high do
3.2
3.3
4.0
Rhythmic concepts : y, m, M, w, eq e
Other skills to be used in the intermediate elementary classroom
listening lessons
assessment (summative and formative)
folk-dancing
notation software
manipulatives and materials management
planning strategies (concept plans, yearly plans, meaningful transitions, etc.)
Teaching Methodology
4.1
Type of instruction: This course will involve a variety of instructional techniques
including lecture, large and small group discussion and activities. Class will
be an active experience. Attendance and participation are required.
4.2
Required Texts
-Eisen, Ann & Robertson, Lamar: An American Methodology
-Erdei, Peter (ed.): 150 American Folk Songs
4.3
Suggested Texts
-Any New England Dancing Masters text w/recordings
-Any Sanna Longden materials w/recordings
It is also suggested that you use notation software to process your assignments for this
class. If you prefer to write your notation, please be sure that notes are properly spaced,
measures are aligned between systems, and lyrics are centered under each
corresponding note.
5.0
Special Needs
Students with disabilities are encouraged to contact the instructor for a confidential discussion of their
individual needs for academic accommodation. Contact information is provided at the top of this page.
3
6.0
4
Evaluation
6.1
Assignments and tentative due date (date subject to change)
1.
Share a “practice” activity with the class Tuesday, Week 1
2.
Sing a songtale from memory for the class Wednesday, Week 1
3.
Teach a folk dance to the class (& provide written copy) Thursday, Week 1
4.
Teach a listening lesson (& provide written copy) Friday, Week 1
5.
One concept plan Monday, Week 2
6.
Peer-teaching lesson plan Monday, Week 2
7.
Develop a Year Plan for Grade 2 and/or 3: Wednesday, Week 2
8.
Peer-teaching: (& provide written copy) Thursday, Week 2
6.2
Basis for determining final grade: Project / Possible Points (200 pts. possible)
1.
Sing a songtale from memory (& provide a written/analyzed copy) / 10
2.
Share a “practice” activity/formative assessment with the class / 10
3.
Teach a folk dance to the class (& provide written copy) / 10
4.
Teach a listening lesson (& provide written copy) /10
5.
One concept plan / 25
nd
rd
6.
Develop a Year Plan for 2 Grade OR 3 Grade 3: / 40
7.
Peer-teaching: (& provide written copy) / 25
8.
Song analysis /70 (5 points each)
8.1 Two y songs
8.2 One songtale
8.3 Two low la songs
8.4 Two low so songs
8.5 One m song
8.6 One M song
8.7 One w song
8.8 Two high do songs
8.9 Two synCOpa songs
6.3
Grading Scale
97-100= A+ (97%-100%)
94-96= A (94%-96%)
90-93= A- (90%-93%)
87-89= B+ (87%-89%)
84-86= B (84%-86%)
80-83= B- (80%-83%)
77-79= C+ (77%-79%)
74-76= C (74%-76%)
70-73= C- (70%-73%)
67-69= D+ (67%-69%)
64-66= D (64%-66%)
60-63= D- (60%-63%)
0-59= F (below 60%)
7.0 Class Schedule:
Day 1
Standards and expectations of course
Review philosophy of method
Review how to choose a folk song
Review of song analysis
Using a Concept Plan
Using a Year Plan
Assignment: Present a Songtale tomorrow or
Wednesday (as memorized as possible,
written out and analyzed)
Day 2
Folk Dancing
 Class presented songtales , day 1
The Planning Process
y lesson
 What a great song! I wish it had a game…
Day 3
Locating and using multicultural repertoire
Class presented songtales, day 2
Low la lesson
Class presented folkdances
Day 4
Listening Lessons
Low so lesson
Class presented folkdances
Day 5
m lesson
Peer Teaching Assignment and guidelines
Class presented listening lessons
Day 6
M lesson
 Concept Plan
Whole note lesson
Peer Teaching rough draft due
Assessment in the Music Classroom
Formative -- “practice activities”
Summative
Day 7
High do lesson
eq e lesson
Write/Share an assessment
Day 8
Managing transitions/maximizing
engagement
Time to work on Year Plan
Day 9
Peer teaching
Year Plan
Day 10
FUN Stuff for the Kodály Teacher
Kodály Certification Level II and III
Music Literature
Kris VerSteegt, Instructor
(515) 975-8496 CELL
[email protected]
FOLK SONG ANALYSIS GUIDELINES
1. Notate songs in black ink or use notation software (preferred).
2. Include all song information (verses, dance directions, game, analysis) on one page if possible.
3. Make neatness and accuracy a priority.
4. Add stick notation and solfa somewhere on your analysis. Intervals, patterns, pitches, will become mo re
apparent in stick notation.
5. Enclose all songs in a sheet protector (plastic sleeve), one song per sleeve.
Analyze folk songs according to these guidelines. An example is given under each heading when appropriate.
SONG ANALYSIS
Tone Set
Mode/Scale
Ext. do pentatonic
Arrange solfege syllables high to low, leaving gaps when pitches are missing. Circle the
tonal center. For high do and above (in all tonalities) use apostrophes (superscripts) to
indicate; for notes beneath do (in all tonalities) use commas (subscripts) to indicate.
ALWAYS use lowercase for solfege! (You can use upper case for ABC pitch names.)
Indicate the tonal center and scale type.
If there are gaps, the scale is TONAL. If there are no gaps, the scale is CHORDAL.
If there are notes below the tonal center, or an octave or more above the tonal center,
the scale is EXTENDED.
2 tones: bitonic or bichord
3 tones: tritonic or trichord
4 tones: tetratonic or tetrachord
5 tones: pentatonic or pentachord
6 tones: hexatonic or hexachord
Any do-based song with a ti is considered major. If there are other tones that are
missing (except ti) then a do-based song is considered incomplete major.
See next page for songs which you suspect are modal. In short, songs based on
do are Ionian/Major
re are dorian
mi are phrygian
fa are Lydian
sol are Mixolydian
la are aeolian/minor
ti are locrian ◦ (Really a theoretical mode, perhaps your song is in blues scale…)
Form
aa,ba
Indicate the structure of the song using letters. I prefer lower case for phrases and
upper case for sections. Use what works for you. VR (verse refrain); CR (call and
response) are also acceptable. Please use a subscript (comma) when a phrase is similar
but not identical. If there is more than one variation, use a sub 2, 3 and so on.
If you are not sure if a phrase is a variation or a new idea, check its harmonic function. If
it functions differently, consider it different.
7
Other
This is an appropriate place to list other items of analytical interest, such as 6/8 meter,
anacrusis, etc.
Source
Site the most primary source from which you have collected this song.
SERIES text books are not considered primary. Include the title and author/editor as
well.
CLASSROOM USE
Rhythm
List the rhythms used in the song according to YOUR sequence, from simple to complex.
For your convenience, the sequence we are using in these levels is:
Melody
List significant combinations of intervals or short melodic motives which are in
prominent position. These combinations will make great extractions later.
Other
This is an appropriate place to list other items of interest regarding classroom use, such
as songtale, play party, multicultural, etc. This is a great spot to note if a song is PURE
(readable in its entirety given present knowledge)
PPPP Box
In the box at the lower right, please include how you will use this song regarding the
3(4) Ps: prepare, present, practice, (prove). Often a song will work well for one tonal
concept and one rhythmic concept. Include at least one concept in this box and mark
the appropriate checkbox.
Prepare: Has the element, in prominent position, and could possibly have unknown
rhythms (if element is melodic) or pitches (if element is rhythmic).
Present: PURE rhythm and melody (if melodic). Make sure that this song is EASY to
read.
Practice: Pure for new element, but helps to prep another element on the other front.
Prove: Could be easily used in an assessment of the concept.




FOUR BOXES
Once you have determined how you will likely use the song, the 4 remaining boxes can
serve as a way for you to pre-plan extractable patterns. These boxes can really help you
plan transitions and assessments.
These 4 boxes are not required for the purposes of this class and will not be graded.
MODES, continued
If you suspect a song is modal, but are not sure, follow these steps:
Sing it.
Determine if it is minor-ish or major-ish.
Determine tonal center. Call it la if minor-ish, call it do if major-ish.
 If Major-ish and it has this tone set:
o do re mi fa so la te do -- it is Mixolydian. Write it as s-s.
o do re mi fi so la ti do -- it is Lydian. Write it as f-f.
o do me fa se so te do -- it is Blues Scale. Write it d-d.
 If minor-ish and it has this tone set:
o la te do re mi fa so la -- it is phrygian. Write it as m-m.
o la ti do re mi fi so la-- it is dorian. Write it as r-r.
o la do re me mi so la -- it is minor blues. Write it l-l.
8
Note: It cannot be in a mode if it doesn’t have its characteristic altered tone!
Dorian raised six kids.
Lydian raised just 4.
But they both paid quite a FI
to get them all out the door.
Mixo has a flat 7.
Phrygian has a flat 2.
But they both drink TE
instead of TI every afternoon.
Note that dorian and Lydian BOTH sound
like names. Note that Mixolydian and
phrygian DO NOT.
9
___________________________________________________
/25
CONCEPT PLAN CHECKLIST
3 pts
1 pt.
1 pt.
5 pts.
3 pts.
5 pts.
7 pts.
Include concept, characteristic, and readiness skills
Add a dance, octavo, or orchestration
Add a songtale or book
Add two or more prepare and practice songs/games and their sources
Add one to each of the PAVe strategies
Include your presentation song and plan (these can certainly be different than mine!)
Add seven or more things to the practice strategies
TOTAL
/40
YEAR PLAN CHECKLIST
3 pts.
18 pts.
2 pts.
2 pt.
8 pts.
2 pts.
5 pts.
A minimum of three concepts are planned for the year
All six areas of participation are addressed in each of the three concepts
An average of two concept-driven activities appear for each week
Preparing (through PAVe strategies) is evident
Practicing (through reading, writing, partwork, memory, inner hearing, form, improvisation,
and listening (not necessarily all of these for each concept)) is evident
At least one melodic assessment and one rhythmic assessment are planned.
The pacing of activities makes sense given your contact time
TOTAL
13
Peer Teaching Guidelines
(515) 975-8496 CELL
[email protected]
Peer Teaching Guidelines
1. WRITE a 30-minute lesson plan for grade 2 or 3 (using level II concepts), DUE Day 6.
 Include:
o Objectives to be met or addressed
 One main focus and one secondary focus
o Singing game
o A sequence of activities to maximize engagement
 Include transitions where appropriate
 Alternate periods of strong cognitive work with joyful music making
o High quality repertoire (memorized!)
o Four areas of the six areas of participation
 Sing, move, play instruments, create, listen, read/write
o Two PAVe or practice strategies (can both be from the same domain)
 Physical, aural, visual
 Reading, writing, partwork, memory, inner hearing, form, improvisation,
listening
o A manipulative, visual, or board work/worksheet
o OPTIONAL: A songtale, listening lesson, or multicultural song/game
2. TEACH 15-minutes of that lesson (and take 5 additional minutes to discuss the other 15minute portion with your level II class) DAY 9
 Include:
o Succinct directions for each activity or step
o Evidence of preparation and preparedness
HELPFUL TIPS from Madeline Hunter!
Good lessons contain many of the following elements:
Anticipatory Set (introduction)
Objectives/Learning Targets
Teacher directed learning and teacher modeling
Transitions that maximize engagement (see next page)
Checking for understanding (formative assessment)
Guided Practice
Independent Practice
THINK ABOUT the focus of your lesson…
Prepare? Rote learning, PAVe strategies, iconic representation used by teacher, etc.
Present? Discovery learning, symbolic representation used by teacher
Practice? Practice strategies, symbolic representation used by students to read, write,
memorize, work in parts, etc.
15
/25
Beginning – 1 pt.
Progressing—2 pts.
Proficient—3 pts.
Advanced—4 pts.
Instructions
Too many instructions
given; or, before each
step, teacher explains
what will come next.
No plan or sequence
is apparent in the
teaching; teacher
stops to retrace steps
during lesson.
Little or no actual
music making occurs.
Instructions fit
naturally into overall
lesson. Superfluous
instructions are
omitted.
The plan is wellsequenced and the
lesson flows
smoothly.
Instructions given in
10 words or less for
each activity or step.
Sequencing/Planning
Occasionally, too
many instructions are
given; most
instructions given are
helpful.
Some planning is
evident; teacher
occasionally gets lost
or skips steps.
Some music making
occurs.
Music making occurs
throughout the
lesson.
Teacher is poised and
confident and shows
much evidence of
practice.
Music Making
Teaching Attributes
Teacher mumbles,
giggles, uses “like,”
“um,” or other
nonsense words.
Objectives
No objectives were
met; several
objectives were not
addressed.
Materials Management
Teacher lacked
materials and student
materials were not at
the ready.
PAVe and Practice
No PAVe or practice
skills were
incorporated.
Low quality song
materials were
chosen.
Overall Musicality
16
Teacher is mostly
poised and confident
and shows some
evidence of practice.
A few indicators of
lack of self-confidence
are present.
At least one objective
was met or
addressed; one or
more objectives were
not addressed.
Teacher lacked
materials OR student
materials were not at
the ready.
One PAVe or practice
skill was incorporated.
Song materials varied
in quality.
All objectives in the
lesson were met or
addressed.
Teacher materials
were at the ready and
student materials
were quickly
managed by the
students.
Two or more PAVe or
practice skills were
incorporated.
High quality song
materials were
chosen.
(515) 975-8496 CELL
[email protected]
FOLK DANCING
Dances selected from the following:
Sasha!
From Sashay the Donut
Scatter Mixer
Music: Sasha! from Sashay the Donut
Troika
From Teaching Movement & Dance
Triple Circle Dance
Music: Troika from Rhythmically Moving 2
Sashay the Donut*
Double Circle Dance
Music: Quebec Reels 2 from Sashay the Donut
Heel and Toe Polka
From Chimes of Dunkirk
Circle of Couples
Music: This Old Man from Chimes of Dunkirk
Same B section as Sasha!
Hey Ho Diddly Dum
Sicilian Circle Dance
Music: Hey Ho Diddly Dum from Chimes of Dunkirk
Similar to hipping in I’s the B’y
Simple Square
Square Dance
Music: Simple Square from Chimes of Dunkirk
Solomon Levi
Square Dance
Music: Solomon Levi from Sashay the Donut
Similar to Simple Square
The Vowel Dance
From Listen to the Mockingbird
Scatter Mixer
Music: Irish Reel Medley from Listen to the Mockingbird
Fjäskern
From Teaching Movement and Dance
Double Circle Dance
Music: Fjäskern from Rhythmically Moving 2
Galopede
Longways Set Dance
Music: Galopede from Chimes of Dunkirk
Down the River
From Step Lively 3
Longways Set Dance
Music: Down the River from Step Lively 3
Cedar Swamp
From Bought Me a Cat
Longways Set Dance
Music: Cedar Swamp from Bought Me a Cat
Zemer Atik
From Teaching Movement and Dance
Broken Circle Dance
Music: Zemer Atik from Rhythmically Moving 4
*adapted
Resources:
From the New England Dancing Masters (Amidons): Sashay the Donut; Chimes of Dunkirk; Listen to the Mockingbird.
Weikart, Phyllis. Teaching Movement and Dance (and the companion recordings Rhythmically Moving CDs 2 and 4.
Rose, Marian. Step Lively 3.
Trinka, Jill. Bought Me a Cat
17
This page intentionally left blank
(515) 975-8496 CELL
[email protected]
USING MULTICULTURAL RESOURCES
“There are thousands of Musics around the world. To argue against multicultural music education is to ignore musical reality,
to restrict students’ musical knowledge and creativity, and to enforce a kind of “school music imperialism” (which was the norm
in many countries until fairly recently). Put another way, “music” is much, much more than sonic events. As I’ve said many
times, musical practices, and the products and events they produce, are saturated with personal and collective values and
meanings. Multicultural music education allows us to develop students’ understandings of these values and
meanings; “teaching music” with a multicultural mindset allows us to deepen students’ knowledge and “feel” for the
ways in which “music” is deeply social, cultural, ideological, political, and personal. “
http://www.davidelliottmusic.com/praxial-music-education/multicultural-music-education/
Clearly, as teachers we cannot travel all over the world. But others can and have! You can learn these
multicultural gems by attending workshops, or by purchasing materials generated after the travels of
ethnomusicologists. Some examples…
Let’s Slice the Ice--Available from West Music, $14.95
Step it Down--Available from West Music $19.95
African Songs and Rhythms—Available from West Music $10.95
Global Grooves (World Music Drumming)—Available from West Music $29.99
19
Diez Deditos (Book and CD)—Avaialble from West Music $19.97
Hot Peas & Barley-O, Over the Garden Wall—Available from
West Music $29.95-$34.99
Children’s Songs from Afghanistan—Available from West Music $17.95
Global Voices—now included with Spotlight on Music (McGraw Hill)
20
(515) 975-8496 CELL
[email protected]
LISTENING LESSONS
“The beauty of teaching music using the Kodaly approach is that it leads beyond itself to the music of
the masters. Whenever possible, find a short piece of art music which contains the new element
being practiced. The students may only listen to the music, but it is better if they get a fuller
appreciation and read a part of either the rhythm or the melody before listening so that their
listening is active and not passive” (Eisen/Robertson, An American Methodology).
I believe that the deepest connection to classical musical is made when children are playful with it.
Movement to classical music is something my students ask to do, and many of our movement activities
end up on the “greatest hits” list for each school year. There is SO MUCH JOY. While it is true that my
students remember the masterwork by its activity (The Flashlight Song!) which is not ideal, I know that
when they hear those works again as adults, they fill remember the DELICIOUSNESS of the experiences
they had with me while we listened and moved.
Not all masterworks work well for movement, but many do. Not all masterworks work well for
extracting rhythmic and tonal concepts. Thus, I strive to find balance between these two ideas:
Listening for Literacy and Listening and Moving.
Remember, listening activities should always contain one or more of the following:
Visual (video, listening map, beat sheet, etc.) YOUTUBE is a fantastic resource!
Movement
Element of Literacy in prominent placement
Element of Curriculum you wish to emphasize
(form, instrument families, style, texture, meter, tempo variation, etc.)
ALL listening activities must be artful! If an activity isn’t
, don’t waste your students’ time!
Listening for Literacy (examples):
q and n patterns in The Crane, the Surprise Symphony, Beethoven 7:2, or In the Hall of the Mountain King
Melodic ostinato in L’Arlesienne Suite no. 1, Pachelbel’s Canon in D, or Habanera from Carmen
y patterns in Rondo alla Turca, or M patterns in Bach’s Gavotte from the French Suite 6
o patterns in Chopin’s Prelude Opus 28 no. 20
Listening and Moving (examples):
The Russian Dance, March and Chinese Dance from The Nutcracker
O Fortuna from Carmina Burana or Sabre Dance by Khachaturian
In the Hall of the Mountain King
The Syncopated Clock by Leroy Anderson
The William Tell Overture
21
(515) 975-8496 CELL
[email protected]
ASSESSMENT
Unless you have been living under a rock, you have probably noticed that assessment seems pretty important
among policy makers right now. That being said, I believe that timely, authentic assessments CAN make a real
difference! It really does come down to the four questions (DuFour):
What do we expect our students to learn? These levels should fill in those blanks for you.
How will we know that have learned it? What we are talking about today.
How we will respond if they don’t learn it? Interventions.
How we will respond if they already know it? Differentiation and extension.
Formative Assessment: Should be linked to your lesson’s learning target and aligned directly to how they
learned the material. The results of these assessments should not be used to determine grades. KEEP THAT A
SECRET!
Did they accomplish your objective or not, and how can you QUICKLY know in EACH LESSON?
PAVe strategies
Practice strategies
Keeping track of which classes are where in your sequence of targets
Keeping track of individual kids
Ca n they PERFORM the concept a nd maintain
i ndependence?
Ca n they i dentify i t when you perform it i n s omething
they know a nd s omething they don’t know?
Ca n they crea te with it?
Ca n they rea d it i n s omething they know a nd s omething
they don’t know?
Ca n they wri te i t down when they hear i t in s omething
they know a nd s omething they don’t know?
Ca n they crea te with it a nd write down what they ha ve
crea ted?
(Feierabend, Conversational Solfege)
Summative:
Should happen at the end of a unit or sub-unit (eg: writing mrd). Used to determine grades.
At this point, there should be NO SURPRISES because you should have been formatively assessing all along the
way. If there are, fix it.
23
Transitions
(515) 975-8496 CELL
[email protected]
TRANSITIONS
A great lesson can fall apart if the transitions between activities are not artfully
executed.
This information, from Rita Klinger’s Book “Lesson Planning in a Kodaly Setting” was originally shared
with me by Tom Michalek in my Level II class in 2009.
I. Verbal
A. Thematic
1. “When Tommy Tucker’s dog got home, he couldn’t find his bone!”
2. “Where was Dinah’s house? In New Orleans!”
B. Directive
1.”Echo me as you move to the ABC circle.”
2. Use the melody from the previous song to sing the directions for its game.
II. Non-Verbal
A. Directive
1. Motion for student to make a circle as the teacher sings
2. Demonstrate BP or UPP as song is sung
B. Unconscious (two nnnq songs or two songs in pentatonic)
III. Tonal
A. Motives (sing last three notes of Bow Wow Wow; then first three notes of Hot Cross Buns)
1. Verbal or non-verbal
2. Sometimes visual
3. Sometimes connect to solfege or rhythm syllables
“What was that last line in solfege? Start with mi (mrd). Does anyone know another song
that begins mrd?”
B. Altered Motives
1. Sing a motive, alter it slightly
Hot Cross Buns, Hot Buns Cross… Bizet, Carillon from L’Arlesienne Suite no. 1
Buns Cross Hot Buns… Are You Sleeping
C. Tone set/ Key
1. Select two songs with the same tone set in the same key
25
IV. Rhythmic
A. Beat connections
1. Two songs with the same tempo
2. Compare the tempi of two adjacent songs
B. Meter connections
1. Two songs in the same meter
a. could be connected through metric BP
C. Rhythmic transitions
1. Begin a new song whose first phrase has the same rhythm as the previous song’s last phrase
2. Use the last phrase of the previous song to create a rhythmic ostinato for the next song
3. Use the last phrase of previous song, alter it aloud (while children error detect) to new song
4. End flashcards with the first phrase of a new song
V. Other
A. Dictation—final dictation leads to next song
B. Song Match (p. 213, 215)—choose which game to play from the songs in the game
C. Mystery Song—from handsigns, pitch ladder, etc.
My suggestion would be to plan for transitions in every lesson (write them into your plan) until they feel
natural, OR use the same transition every time you move to the same kind of activity.
Having a lesson sequence that you always use can help tremendously!
For example, my upper grades typically follow this sequence:
Opening movement
students are met at the door with formation--ABC circle, student stack, longways set, double
circle facing partner, facing front door/back door partner, etc.
Vocal Warm-Up and review of known syllables--as they move to visual display
Review of known symbols from visuals
Learning Target—I CAN…
Game--directions sung using motives from game song
PAVe or Practice strategies—in student stack
Formative Assessment—in student stack or at mailboxes
Instrument Work—UPP in student stack, PP in assigned places from student stack
Listening (classical music, book, songtale)-- in student stack or scooched up
Canon or fragment song (echo, call and response, etc.)—teacher models as ABC circle is made
Lining Up—indicated non-verbally while a song is sung
26

LEVEL 2 HANDOUT PACKET

Transcription

Similar documents

CANDID McKINLEY

ROLE:!!JERRY!LEE!LEWIS!

first_grade_practice

Songs 1 Second Edition

MORE THAN A GHOST IN TIME

Album Synopsis

Anjj Bio Page in Adobe PDF format

At Your Venue 2013/2014

press kit - ghostweed

teachers - guncha bhan and madhavi