Change in the music curriculum Manhattanville Music Curriculum

INTEGRATED MUSIC ACTIVITIES:
LISTENING, PERFORMING
AND
CREATING
‹Introduction
‹The Parameters of Music (Swanwick, 1979)
‹Creating, Performing, and Listening
Creating
z Performing
z Listening
z
Presented for the Seed Project,
Hong Kong Education Bureau
18 September 2009
‹Teaching and Learning
Presented by Prof. Ho Wai Chung
‹Summary and Implications
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Change in the
music curriculum
Calls for change in curricular practice
Curriculum studies in music education
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Manhattanville Music Curriculum
Project (MMCP) (1965-1970)
A comprehensive
music curriculum
A project in the 1960s designed
to promote creativity
MMCP
Primary objective: to have children learn to hear
and perceive music much as a composer does.
expressive
creative
Students were asked to compose, listen,
perform, and conduct.
relevant to
daily life
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John Paynter
A tightly
structured curriculum
In the pioneering Sound and Silence (1970),
Paynter and Aston set out
to demonstrate the importance of drawing on children's
creative talent as the basis for music education.
performing
MMCP
analyzing
His basic philosophy is: music is
a creative art in all its modes— composing
(inventing), performing (interpreting)
and listening (remaking the music within ourselves).
creating &
evaluating
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Currents of change
More comprehensive views of
musical behavior
A wider array of musical styles
An integrated sense of music as
an embodied experience
Greater depths of
musical understanding
Reference: Barrett, 2007, pp. 149-151
Swanwick (1979):
The Parameters of Music Education
Swanwick’s theory
composition
Literature studies
Audition
Music
education
Skill acquisition
Performance
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Achieving the Four Learning Targets through
Integrated Music Activities
Creating
Developing
creativity and
imagination
Listening
Cultivating
critical responses
in music
Developing
music skills
& processes
Understanding
music in
context
Performing
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Reference: Curriculum Development Council, 2003, p.13
Creating: main areas
Creating: general principles
Providing
Providing space
space
composing
Providing
Providing sufficient
sufficient time
time
improvisation
Integrated
Integrated music
music activities
activities
arrangement
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Creating: types
Rhythmic
ostinato
Melodic
ostinato
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Creating: three stages
Rhythm
Inducement stage
Types
Melody
Development stage
Chordal
ostinato
Musical
forms
Completion stage
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Creating: notes on
designing and conducting
Performing
Creating an open environment
Types: singing; instrumental playing
Using different points of entry
Using different groups
Functions
Handling student progress flexibly
Using diversified methods
Assessing creative works in a positive manner
Using resources effectively
For
enjoyment
Cultivating an atmosphere of creating in school
For
For
development
music
musical skills competition
For
others
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Performing: notes
Performing: general principles
Emphasizing both aesthetic &
skill development
Cultivating music imagination
and musicality
Exploring the use of human voice
& instruments
Choosing suitable quality repertoire
of different styles
Practicing effectively
Designing progressive &
varied exercises
Developing abilities
in interpretation
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Listening: general principles
Developing music reading skills
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Listening as a skill
Setting
Setting clear
clear listening
listening
objectives
objectives
Developed
Developed
through
through --
Using
Using music
music of
of different
different
cultures
&
styles
cultures & styles
Processing
Processing an
an open
open
attitude
attitude
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(1) Attending
(2) Focusing attention
(3) Discriminating
(4) Identifying
(5) Analyzing &
synthesizing
(6) Evaluation
Reference: Philpot (2001, p.86)
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Musical Term
appraisal
Listening
and
Appraising
The process of
listening to,
discussing and
evaluating a
piece of music.
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Listening & Appraising
* musical knowledge
Values
Values
* musical imagination
What
What are
are
the
the
musical
musical skills
skills
for?
for?
*to learn, recognize,
distinguish, and/or
imagine the sound/
music
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John Dewey
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Dewey: Music as experience
A meaningful interaction
or transaction
Aesthetic: refer to the
response that listeners &
watchers have to what has
been created by the artist
Notion of
aesthetic
Artistic: to describe what
artists do in creating music,
painting, sculpture, dance,
and drama
Everyday
experience
Social
life
Art as an experience is a mode of
communal life
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Aesthetic/Aesthetics
Today
Generally aesthetics seems to be
the defining characteristic of the
arts with which it is usually
identified.
Aesthetic
features
Aesthetic
experience
Objective
Subjective
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Skills and activities
Reading
music
Listening to
music
Describing
music
Performing
music
Creating
music
ACTIVITIES
OUTCOMES
Making
music
Valuing
music
Understanding
& knowing
music
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Reference: Hoffer, 2009, p. 119
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Creative activities are available because they:
require
require students
students about
about the
the process
process of
of
creating
creating music
music
educate
educate students
students about
about the
the process
process
of
creating
music
of creating music
allow
allow students
students to
to explore
explore their
their own
own
musical
musical potential
potential
Reference: Hoffer, 2009, p. 117-8
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Graphic Notation:
presentation
Pulse activities
Keep going
Taking turns
drawings
lines
curves
dots
any combination of the above
Clapping & instrumental
playing
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The elements of dance
Video presentation:
Steve Reich (Stephen Michael Reich)
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Clapping Music written in 1972
Written for 2 performers &
performed entirely by clapping
The body
space
force
time
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Vocal exploration
(vocal improvisation)
Activities
imitating
sounds
others
words &
drama
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Use of words in music
Aim 1
Aim 2
To cultivate
our ability of
language &
thinking
To tap our
inner wellsprings of
imagination &
creativity
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Types of learning
Three
Three interrelated
interrelated domains
domains of
of learning
learning
Cognitive
(verbal & aural)
affective
psychomotor
Types
of
Learners
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Visual Learners: some examples
Visual Learners:
Learn through seeing…
Visual materials;
multi-media
Mind maps
A clear view of your
teachers
Take notes
Visualize information
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Auditory Learners:
These auditory learners benefit from
audio materials such as:
Learn through listening…
Characteristics:
•Chatterbox
•Enjoys listening to music and stories
•Reads aloud or moves lips
•Rehearses knowledge aloud
speeches interviews
music
video
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Strategies for Teaching
Kinesthetic Learners
3D
puzz models,
le s ,
gam
es
Vary active/
passive learning
bjects,
Real o tives
ula
manip
r,
in a i
e
t
i
Wr board
e
larg
Is Teaching a
Performing
Art?
Song, rhythm
Dramatize and
act out
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The Art of Music Teaching
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Tools for Music Teaching
Being true to oneself
Observation
Observation Guidelines
Guidelines
Accepting one’s limitations
Teaching to one’s strengths
Quality of
Teacher
Teaching
the
communirehearsal/
technication
classroom
ques
skills
environment
Keeping an open mind
Reference: Jorgensen, 2008, Chapter 1
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Teacher
musicianship
Participant
responses
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Some characteristics of progressive teachers
Integrated subject matter
Teacher as guide to educational experiences
Active participation of pupils
Pupils participate in curriculum planning
Learning predominantly by discovery techniques
External rewards & punishments not necessary
Little testing
Not too concerned with conventional academic standards
Focus on cooperative group work
Focus on creative expression
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Reference: Bennett (1976)
Achieving the Four Learning Targets
through Integrated Music Activities
Today’s Focus
Education Provision
Education Policymaking
Reforms:
System
Curriculum
Language
IT
Quality
Teacher as professional
Challenges to Teachers
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Implications for
teaching music
Reference: Curriculum Development Council, 2003, p. 13
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The End
Music teaching should be discovery-based
so that children can explore musical sounds around them
THANK
YOU!
The music curriculum should be spiral.
A teacher's goal is to translate
the structure of music in ways students can understand.
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