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Music for Everyone: Songs, Games, Dances, and Learning Activities to Meet the Needs of a Diverse Population

Music for Everyone: Songs, Games, Dances, and Learning Activities to Meet the Needs of a Diverse Population. Berta Hickox – bertayee@dejazzd.com Alice Hammel – hammela@mac.com. El Florón. El Florón. 1 . Sitting , circle gets smaller 2. Standing , knee down or stay on your dot

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Music for Everyone: Songs, Games, Dances, and Learning Activities to Meet the Needs of a Diverse Population

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  1. Music for Everyone: Songs, Games, Dances, and Learning Activities to Meet the Needs of a Diverse Population Berta Hickox – bertayee@dejazzd.com Alice Hammel – hammela@mac.com

  2. El Florón

  3. El Florón 1. Sitting, circle gets smaller 2. Standing, knee down or stay on your dot 3. Standing, beer fest

  4. El Florón Musical goals achieved 1. beautiful song 2. mrd prep for older beginners 3. harmony 4. triple microbeat 5. AB macro form 6. singing game from Puerto Rico

  5. El Florón Potential issues & modifications/adaptations for success Sensory a. Start with greater restrictions to increase comfort level b. Give student another role (singing/playing harmony)

  6. El Florón Potential issues & modifications/adaptations for success Physical a. Provide alternative movements and roles in game

  7. El Florón Potential issues & modifications/adaptations for success Behavioral/Emotional a. Provide very clear directions and parameters for behavior b. Provide an ‘out’ for students who are not able to participate fully

  8. El Florón Potential issues & modifications/adaptations for success Communication a. Singing while playing game b. Singing solfa i. use of clicker ii. show body signs or hand signs iii. play on pitched percussion or piano

  9. Five Domains For Learning Communication Cognition Physical Behavioral/Emotional Sensory

  10. Music Aptitude Music aptitude is one’s potential to achieve in music. Music aptitude is innate, but not inherent.

  11. Music Aptitude • Music aptitude is developmental until age 9, • and can fluctuate until about age nine • according to the richness and diversity of • musical experiences the child undergoes. • Music aptitude stabilizes after age 9. • One cannot expect to achieve in music • beyond the limit of one’s stabilized music aptitude.

  12. 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.

  13. Music Aptitude • It is NOT the purpose of aptitude testing to • identify students for inclusion or exclusion • in music activities.

  14. 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.

  15. 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.”

  16. Music Aptitude • Students with low music aptitude will need many • more opportunities to listen, echo patterns, • decode, and read than those with average or high • music aptitude. Students with high music • aptitude will learn faster and need more challenges • than those with average or low aptitude.

  17. Music Aptitude • A student’s scores in tonal aptitude and rhythm • aptitude will likely differ: a student with high • tonal aptitude could have a below average • rhythm aptitude. Therefore, the teacher is • challenged to teach to each student’s individual • differences.

  18. Creative Movement Heavyland/Lightland Free and Bound Flow Bach Activity

  19. Creative Movement Can support communication goals Comparatives (high/low, fast/slow) Melodic direction Phrasing Solfa Self-leveling activities

  20. Creative Movement • Assessment • Informal: Observation • Formal: Rating Scale • move at appropriate time • freeze at appropriate time • move quickly • move slowly • -move smoothly

  21. Singing Teaching a rote song/how to repeat a song for increased success with cognitive challenges 1. sing 4x, c. sings 2. fill in a word 3. ask questions 4. # of phrases 5. highest/lowest pitch 6. resting tone 7. form

  22. Singing Potential issues 1. Sensory – too loud a. plug ears, smaller groups perform 2. Communication a. demonstrate with gross motor 3. Behavioral/Emotional a. recognize the inherent emotional elements in music and acknowledge these differences

  23. Goodnight

  24. Bate, Bate

  25. The Gallows Pole

  26. Phoebe in Her Petticoat

  27. SNACK TIME!!!

  28. Literacy

  29. Literacy Aural Decoding Play game – if anyone gets hurt, the game is over b. Aural decoding - melodic i. Sensory – game ii. Physical – game iii. Behavioral/Emotional – game iv. Communication – decoding v. Cognitive – decoding p. 134

  30. Sol-Mi NotationPresentation Stage

  31. Sol-Mi NotationPresentation Stage

  32. Sol-Mi NotationPresentation Stage

  33. Literacy

  34. Literacy Tideo a. Aural decoding – rhythmic b. Adapted sequence p. 146

  35. Aural Decoding Assessment Solo assessment: 1. By phrase or pattern with modifications (different content – smd only) 2. With adaptations (fewer patterns)

  36. Reading Rhythm Use many means to the same end for variety and repetition R ladder R flashcards beach ball King of the Mountain Sinking Ship Match titles to rhythm patterns

  37. Reading Rhythm Beat Flashcards Who Has This Rhythm? Read Backwards Rhythm Card Game Rhythm-Go-Round

  38. Reading Rhythm Differentiate for intellectually gifted high musical aptitude needs more repetition (cognitive and low musical aptitude)

  39. Reading Melody Use many means to the same end for variety and repetition tone ladder tone set finger staff (read from teacher’s) body signs hand signs magnetic noteheads

  40. Writing Rhythm Use many means to the same end for repetition and as modifications popsicle sticks rhythm flashcards + flyswatter fill in the missing rhythms class set of rhythm cards beat flashcards

  41. Writing Melody Use many means to the same end for repetition and as modifications felt staffs finger staff magnetic noteheads melodic flashcards transfer stick notation to staff transpose from one staff placement to another

  42. 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)

  43. Reading/WritingAssessment 4.Rubric with adaptations (perform at own tempo, assess fewer examples, choose own patterns to read)

  44. Rhythm Sequence

  45. Rhythm Sequence

  46. Rhythm Sequence

  47. LUNCH TIME!!

  48. Folk Dancing Seven Jumps Chimes of Dunkirk Heel & Toe Polka Sasha! Sashay the Donut Haste to the Wedding (Sicilian circle and contradance)

  49. Folk Dancing Potential issues 1. Sensory (desensitization) 2. Physical tempo 3. Cognitive – can’t remember the order of the calls 4. Behavioral/Emotional working with partners

  50. Folk Dancing • Modifications/Adaptations • 1. Assign a buddy who is a strong dancer • Teacher demonstrates the dance • with a student who needs extra • repetition, a slower tempo, to • experience the dance without music • Some students choose partners first

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