Sound Connection Chapter 1
Music educators across the nation of fallen into a performance based class curriculum, and while though performances are expected the true focus of our classes should be music literacy.
Music literacy is the foundation in which excellent musicianship is built upon. Students are learning the most basic of music literacy skills such as sight –singing, however many educators do not further the skills of the students beyond that point leaving the student to build their musicianship on shaky grounds, and leaving the students unable to comprehend the musical language. The first chapter of Sound Connection has enlightened me on the dangers of a performance bassed class. Not only my students suffer from a lack of music abilities, I would have failed them as a teacher. Knowing that the fundamentals of music are push aside for to make room for competitions made me rethink the value of competitions. While reading this chapter, I found myself wondering how legislation could hinder the arts even more.
Music educators across the nation of fallen into a performance based class curriculum, and while though performances are expected the true focus of our classes should be music literacy.
Music literacy is the foundation in which excellent musicianship is built upon. Students are learning the most basic of music literacy skills such as sight –singing, however many educators do not further the skills of the students beyond that point leaving the student to build their musicianship on shaky grounds, and leaving the students unable to comprehend the musical language. The first chapter of Sound Connection has enlightened me on the dangers of a performance bassed class. Not only my students suffer from a lack of music abilities, I would have failed them as a teacher. Knowing that the fundamentals of music are push aside for to make room for competitions made me rethink the value of competitions. While reading this chapter, I found myself wondering how legislation could hinder the arts even more.
Chapter 2)
Learning Theories
- Behaviorist
-Progressive modification of specific behaviors via external means
- Cognitivist
-Importance of self-determination and readiness
Important People
-Pavlov - Classical Conditioning
-Pavlov Dog’s
- Skinner - Operant conditioning
-Vygotsky- Emphasize the social context
-Collaborative-Learning
-Gestalt
-Paget
-The sensorimotor stage (ages 0-2) in which children rely on their senses for learning
-The preoperational stage (ages 2-7) when symbolic learning such as language can begin
-The concrete operations stage (ages 7-11) that results in the ability to classify and conserve
-Formal operations, the stage at which adult-like abstract thinking begins
-Bruner
-Discovery Learning
Modern Theory and Practice
-Combination of Behaviorist and Cognitvist
Learning Theories with Music
-Gordon
-Learning Sequences in Music
-Sound-before-sight
Learning Readiness
-The maturity of ones ability to learn and retain new information
-Bamberger
-Gromko
Memory
-Sensory Memory
-Visual < 1 Seconds
-Aural < 2-4 Seconds
-Working Memory
-5-20 Seconds
-Long Term Memory
Summary-
In Chapter 2 of Sounds Connection focuses the how learning theory can be impacted in music literacy. Dr. Ester combines the best learning theories to create an instruction guide to understand the cognitive complexity of music literacy.
Discussion-
This chapter was both incredibly confusing for me. However, after reading, re-reading, and some more re-reading, I was able to comprehend the gist of the chapter. Music literacy is on of the hardest skill set that anyone can have. As a teacher I will need to know how a young mind learns, in which is exactly the knowledge I gain from this chapter. I will have to re-read this chapter a few more times to fully comprehend and understand this subject matter to the best extant that I can.
Learning Theories
- Behaviorist
-Progressive modification of specific behaviors via external means
- Cognitivist
-Importance of self-determination and readiness
Important People
-Pavlov - Classical Conditioning
-Pavlov Dog’s
- Skinner - Operant conditioning
-Vygotsky- Emphasize the social context
-Collaborative-Learning
-Gestalt
-Paget
-The sensorimotor stage (ages 0-2) in which children rely on their senses for learning
-The preoperational stage (ages 2-7) when symbolic learning such as language can begin
-The concrete operations stage (ages 7-11) that results in the ability to classify and conserve
-Formal operations, the stage at which adult-like abstract thinking begins
-Bruner
-Discovery Learning
Modern Theory and Practice
-Combination of Behaviorist and Cognitvist
Learning Theories with Music
-Gordon
-Learning Sequences in Music
-Sound-before-sight
Learning Readiness
-The maturity of ones ability to learn and retain new information
-Bamberger
-Gromko
Memory
-Sensory Memory
-Visual < 1 Seconds
-Aural < 2-4 Seconds
-Working Memory
-5-20 Seconds
-Long Term Memory
Summary-
In Chapter 2 of Sounds Connection focuses the how learning theory can be impacted in music literacy. Dr. Ester combines the best learning theories to create an instruction guide to understand the cognitive complexity of music literacy.
Discussion-
This chapter was both incredibly confusing for me. However, after reading, re-reading, and some more re-reading, I was able to comprehend the gist of the chapter. Music literacy is on of the hardest skill set that anyone can have. As a teacher I will need to know how a young mind learns, in which is exactly the knowledge I gain from this chapter. I will have to re-read this chapter a few more times to fully comprehend and understand this subject matter to the best extant that I can.
Sound Connection Chapter 3
-The Problem
-Non – Uniformed tonal and rhythm system is public schools.
-Most Music Educators uses the system they were thought.
-The Differences
-Tonal
-Symbol Based Fixed Do
-Original Guidonian syllables
-Extremely complicated due to chromatic embellishments
-No distinction between Major and Minor
-Sound Based Numbers
-Improvement from symbol based systems.
-Does not include chromatic embellishments.
-Number system in Minor creates more issues.
- “Flat 5”
-Sound Based Moveable Do
-Uses key center as Do.
-Allows for easier learning due to the lack of chromatic embellishment symbols.
-La Minor and Do Minor
-La Minor uses la as starting pitch, allowing the students to sing the natural minor scale without the need for embellishments.
-Rhythm
-Kodaly
-Used in early music education.
-Creates irregularities between the beat and meter.
-Counting
-Creates irregularities between the beat and meter.
-Unable to switch Meters.
-Takadime
-No irregularities between beat and meter. Beat is Ta.
-Able to switch meter because of Ta beat.
The need for a single nation wide tonal and rhythm system is great. I find it hard to believe that the students are able to understand as much as we do with the inconsistenties that has hindered us. Though all three systems seem to get the basic understanding of music fundamentals across to the masses, I truly believe a universal system would allow for a greater understanding across all boards.
-The Problem
-Non – Uniformed tonal and rhythm system is public schools.
-Most Music Educators uses the system they were thought.
-The Differences
-Tonal
-Symbol Based Fixed Do
-Original Guidonian syllables
-Extremely complicated due to chromatic embellishments
-No distinction between Major and Minor
-Sound Based Numbers
-Improvement from symbol based systems.
-Does not include chromatic embellishments.
-Number system in Minor creates more issues.
- “Flat 5”
-Sound Based Moveable Do
-Uses key center as Do.
-Allows for easier learning due to the lack of chromatic embellishment symbols.
-La Minor and Do Minor
-La Minor uses la as starting pitch, allowing the students to sing the natural minor scale without the need for embellishments.
-Rhythm
-Kodaly
-Used in early music education.
-Creates irregularities between the beat and meter.
-Counting
-Creates irregularities between the beat and meter.
-Unable to switch Meters.
-Takadime
-No irregularities between beat and meter. Beat is Ta.
-Able to switch meter because of Ta beat.
The need for a single nation wide tonal and rhythm system is great. I find it hard to believe that the students are able to understand as much as we do with the inconsistenties that has hindered us. Though all three systems seem to get the basic understanding of music fundamentals across to the masses, I truly believe a universal system would allow for a greater understanding across all boards.
Chapter 4
Language is a system of symbols that have meaning, however without the understandings and meaning behind a symbol one cannot understand the language. Music is a form of language, and therefore should be taught as such. Just like any other language, [music] if taught wrong the student can and well be confused for the duration of his lifetime, or until someone re-teaches him. Chapter 4 of Sounds Connections is the begging process on how to teach the language of music.
Content Sequencing
Sequencing plays a major role in learning theory, in which Sound Connections takes full advantage of. In both tonal and rhythmic sequencing the student learns the most basic building blocks of music, which, in time will solidify allowing the student to continue on his path towards music literacy. Sequencing is composed of seven steps, which are: neutral and syllable echoing, echo translating, connecting to sound / symbol, notating, and finial melodic reading. After the student masters the sequencing technique, then learning the other levels are relatively easy. Not only does sequencing makes for a better understanding of music literacy, sequencing is also a good focusing tool to use at the being of every class.
Discussion
Learning a new language takes time, effort, patience, and most importantly a good teacher. Chapter 4 of Sound Connections gives the reader the tools he will need to be a good teacher, and to successful teach what essentially is a new language to his students.
Language is a system of symbols that have meaning, however without the understandings and meaning behind a symbol one cannot understand the language. Music is a form of language, and therefore should be taught as such. Just like any other language, [music] if taught wrong the student can and well be confused for the duration of his lifetime, or until someone re-teaches him. Chapter 4 of Sounds Connections is the begging process on how to teach the language of music.
Content Sequencing
Sequencing plays a major role in learning theory, in which Sound Connections takes full advantage of. In both tonal and rhythmic sequencing the student learns the most basic building blocks of music, which, in time will solidify allowing the student to continue on his path towards music literacy. Sequencing is composed of seven steps, which are: neutral and syllable echoing, echo translating, connecting to sound / symbol, notating, and finial melodic reading. After the student masters the sequencing technique, then learning the other levels are relatively easy. Not only does sequencing makes for a better understanding of music literacy, sequencing is also a good focusing tool to use at the being of every class.
Discussion
Learning a new language takes time, effort, patience, and most importantly a good teacher. Chapter 4 of Sound Connections gives the reader the tools he will need to be a good teacher, and to successful teach what essentially is a new language to his students.
Chapter 5)
Children have developed a basic sound vocabulary on the playground. Children will often use simple intervals such as major thirds to sing songs like “Fuzzy Wuzzy”, “Hot Cross Buns”, and so on. Because child are singing at such a young age, there is no reason into delaying music literary and therefore should be taught as early as elementary school. One might arguer that elementary students may not be cognitively ready to read and understand music, however, because music is just like any other language an elementary school student should be able to develop music literacy skills, however many educators do not know how to best effectively teach music literary. In chapter 5, Dr, Ester demonstrates the basic fundaments in teaching music literary to an illiterate student.
By echo-translating tonal and rhythmic systems the educator is allowing the student to associate, for example, ta as the beat, and do me sol, as a major chord. Any confusion of the students can be place on the inaccuracies of the educator, in which than the educator must go back and immediately fix in fear of wrong association.
Children have developed a basic sound vocabulary on the playground. Children will often use simple intervals such as major thirds to sing songs like “Fuzzy Wuzzy”, “Hot Cross Buns”, and so on. Because child are singing at such a young age, there is no reason into delaying music literary and therefore should be taught as early as elementary school. One might arguer that elementary students may not be cognitively ready to read and understand music, however, because music is just like any other language an elementary school student should be able to develop music literacy skills, however many educators do not know how to best effectively teach music literary. In chapter 5, Dr, Ester demonstrates the basic fundaments in teaching music literary to an illiterate student.
By echo-translating tonal and rhythmic systems the educator is allowing the student to associate, for example, ta as the beat, and do me sol, as a major chord. Any confusion of the students can be place on the inaccuracies of the educator, in which than the educator must go back and immediately fix in fear of wrong association.
Chapter 6)
-Working With the Staff
-Use Do clef
-Easier for students to read the given pitches
-Using Do clef allows Do to move without the need of accidentals
-Visual Media
-The Tonal Wand (of Gryffindor)
-Reduces distractions for maximal learning
-Easy to make
-Transparences and why use them
-Train the eye by highlighting the location of anchor syllables
-Move patterns of the staff to effectively reinforce the visual aspects of moveable - do
-Move patterns of the Staff to introduce the concepts of melodic sequence
-Much more
-Introducing New Materials
-Ledger Lines
-Slide a tonal pattern overlay to a position where the highest or lowest note of the pattern is beyond the staff.
-The Scale
-After the master of the solfage syllables one can use a transparence to aid the students to understanding the scale.
-The Clef
-Use an overlay to help aid the understanding of where the notes lay on the staff.
-Note Names
-Once the understanding of the clef is solidified the next step is to introduce note names. This process is made easier if the students have a strong understanding of the clef and where the notes lay in the staff.
-Accidentals
-The student will discover that not all keys of the piano will have a space on the staff. This is the best time to introduce the accidental by means of a harmonic minor scale. This will lead to the discussion of rising the sol by sharpening the note to cerate si, and there will open the gates to the other forms of accidentals.
-The Key Signature
-The students must of a full understating of all the subject materials listed above in order to understand the key signature.
-The Key Signature is a code to where do is hidden.
-Sharp farthest to right is ti
-Flat farthest to right is fa.
-Reading in Parts
-Read a two part melodic line that stays within the abilities of the students.
Noting
-Noting is an important part of the path towards music literacy and therefore should be taught with as much importance as anything else.
-Noting quiz
-Use very easy questions like pa pa (ta ta) to start off with.
-May not want to use the word quiz at first, more of work sheet that one the educator can see what the students are doing.
-Only progress if the entire class is ready to.
Conclusion
Developing tonal knowledge at a young age is not difficult if one knows how to teach music literacy. Sound Connections lays out the process on how to developed tonal knowledge in all age students in the most effective means.
-Working With the Staff
-Use Do clef
-Easier for students to read the given pitches
-Using Do clef allows Do to move without the need of accidentals
-Visual Media
-The Tonal Wand (of Gryffindor)
-Reduces distractions for maximal learning
-Easy to make
-Transparences and why use them
-Train the eye by highlighting the location of anchor syllables
-Move patterns of the staff to effectively reinforce the visual aspects of moveable - do
-Move patterns of the Staff to introduce the concepts of melodic sequence
-Much more
-Introducing New Materials
-Ledger Lines
-Slide a tonal pattern overlay to a position where the highest or lowest note of the pattern is beyond the staff.
-The Scale
-After the master of the solfage syllables one can use a transparence to aid the students to understanding the scale.
-The Clef
-Use an overlay to help aid the understanding of where the notes lay on the staff.
-Note Names
-Once the understanding of the clef is solidified the next step is to introduce note names. This process is made easier if the students have a strong understanding of the clef and where the notes lay in the staff.
-Accidentals
-The student will discover that not all keys of the piano will have a space on the staff. This is the best time to introduce the accidental by means of a harmonic minor scale. This will lead to the discussion of rising the sol by sharpening the note to cerate si, and there will open the gates to the other forms of accidentals.
-The Key Signature
-The students must of a full understating of all the subject materials listed above in order to understand the key signature.
-The Key Signature is a code to where do is hidden.
-Sharp farthest to right is ti
-Flat farthest to right is fa.
-Reading in Parts
-Read a two part melodic line that stays within the abilities of the students.
Noting
-Noting is an important part of the path towards music literacy and therefore should be taught with as much importance as anything else.
-Noting quiz
-Use very easy questions like pa pa (ta ta) to start off with.
-May not want to use the word quiz at first, more of work sheet that one the educator can see what the students are doing.
-Only progress if the entire class is ready to.
Conclusion
Developing tonal knowledge at a young age is not difficult if one knows how to teach music literacy. Sound Connections lays out the process on how to developed tonal knowledge in all age students in the most effective means.
Chapter 7) Developing Rhythmic Literacy
Developing a rhythmic literacy is a step towards creating a fully independent student body that is music literate. The process of developing rhythmic literacy is more or less the same of developing tonal literacy with the correct interchangeable terms. The use of echo translating is the main transport to create a well-developed rhythmic literate class. After the solidification of each rhythmic level the next step is to associate the rhythmic duration with the symbol by the use of rhythmic flashcards. The use of flashcards will allow the student to assimilate the correct note value to the correct note symbol. As each level is mastered one simply repeats the process until all the rhythmic levels are mastered. Overall, rhythmic literacy is much like tonal literary with its appropriate counter part.
Discussion –
Just like in the pervious chapter Dr. Ester gives the necessary steps to continue the students path towards music literacy. Chapter 7 however focuses on the rhythmic side of musical literacy. The steps are almost identical to the ones in chapter 6 just with the correct rhythmic terminology, eg. Takadimi syllables instead of solfage. To me, this makes teaching rhythmic literacy easier for both the student and the educator because of the similarities between tonal and rhythmic literacy.
Developing a rhythmic literacy is a step towards creating a fully independent student body that is music literate. The process of developing rhythmic literacy is more or less the same of developing tonal literacy with the correct interchangeable terms. The use of echo translating is the main transport to create a well-developed rhythmic literate class. After the solidification of each rhythmic level the next step is to associate the rhythmic duration with the symbol by the use of rhythmic flashcards. The use of flashcards will allow the student to assimilate the correct note value to the correct note symbol. As each level is mastered one simply repeats the process until all the rhythmic levels are mastered. Overall, rhythmic literacy is much like tonal literary with its appropriate counter part.
Discussion –
Just like in the pervious chapter Dr. Ester gives the necessary steps to continue the students path towards music literacy. Chapter 7 however focuses on the rhythmic side of musical literacy. The steps are almost identical to the ones in chapter 6 just with the correct rhythmic terminology, eg. Takadimi syllables instead of solfage. To me, this makes teaching rhythmic literacy easier for both the student and the educator because of the similarities between tonal and rhythmic literacy.
Chapter 8) Developing Melodic Literacy
To develop a melodic literate class should be the ultimate goal of all music educators. This can be an intimating process for both the student and the educator. The student will be attempting to syntheses of previous knowledge in which may take several attempts to achieve the resulted outcome. However, if the student is confident in his abilities of tonal and rhythmic literacy than the melodic literacy will process will and assimilation will be an easier task.
However, melodic literacy is just one aspect to becoming fully musical literate. The teacher has the responsibility to teach the about noting melodic lines. This is an area in which many educators tend to shy away from however, if the student has the ability to notate his understanding of the musical whelm becomes complete. The process to developing notational skills in students is not as hard as one may imagine. Just like in melodic development the student will have to syntheses his knowledge of tonal and rhythmic notating. This dual echo-translation may take a longer to master, in whom the teacher should not rush the student; however, help when necessary though a construal way. By carful sequence instruction, teaching melodic notation is a very doable component to music literacy.
Once the students develops his skill in melodic literacy the musical possibilities for the student becomes endless. With the knowledge of melodic literacy the student will be able to improve and compose. The students will be able to sight sing almost any piece of musical work. By allowing the student to become fully developed in musical literacy, the student is no longer trapped in confusion and can father their knowledge of music if the so wish to chose so. Discussion –
Discussion –
Teaching the student how to become musically literate is the ultimate goal of music education. If followed correctly the steps in Sound Connection will achieve that goal, and allow the student to become musically independent. From this chapter I have learned the process in which it takes to have a student combine tonal and rhythmic literacy into the one melodic literacy. I also learned the importance of teaching melodic dictation, as well as how to teach melodic dictation in a non-college level class setting.
To develop a melodic literate class should be the ultimate goal of all music educators. This can be an intimating process for both the student and the educator. The student will be attempting to syntheses of previous knowledge in which may take several attempts to achieve the resulted outcome. However, if the student is confident in his abilities of tonal and rhythmic literacy than the melodic literacy will process will and assimilation will be an easier task.
However, melodic literacy is just one aspect to becoming fully musical literate. The teacher has the responsibility to teach the about noting melodic lines. This is an area in which many educators tend to shy away from however, if the student has the ability to notate his understanding of the musical whelm becomes complete. The process to developing notational skills in students is not as hard as one may imagine. Just like in melodic development the student will have to syntheses his knowledge of tonal and rhythmic notating. This dual echo-translation may take a longer to master, in whom the teacher should not rush the student; however, help when necessary though a construal way. By carful sequence instruction, teaching melodic notation is a very doable component to music literacy.
Once the students develops his skill in melodic literacy the musical possibilities for the student becomes endless. With the knowledge of melodic literacy the student will be able to improve and compose. The students will be able to sight sing almost any piece of musical work. By allowing the student to become fully developed in musical literacy, the student is no longer trapped in confusion and can father their knowledge of music if the so wish to chose so. Discussion –
Discussion –
Teaching the student how to become musically literate is the ultimate goal of music education. If followed correctly the steps in Sound Connection will achieve that goal, and allow the student to become musically independent. From this chapter I have learned the process in which it takes to have a student combine tonal and rhythmic literacy into the one melodic literacy. I also learned the importance of teaching melodic dictation, as well as how to teach melodic dictation in a non-college level class setting.
Chapter 9) Assessment
Assessment is the finial step of the teacher on this path towards a more musical literate class. Throughout this adventure the teacher should constantly be assessing his students ability, wither it assessment is formal or informal, it must be done. Sound Connections intertwines assessment in all aspects of music literacy. Echoing is the most prominent forms of informal assessment sound connections uses. From natural echoing, which is the fundamental aspect of sound before sight approach, to melodic readings, the teacher is assessing the student’s ability, whether the teacher is aware of assessing or not.
Discussion
Having the ability to assess a student’s skill is crucial to the entire process of teaching. If one is not developed in the area of assessment than he should expect to never fulfill his requirements of an educator. I am lucky in having the ability to assess, not only the student’s skills, but mine as well. This chapter thought me the importance of constant assessment, in which I will become more skillful in years to come.
Assessment is the finial step of the teacher on this path towards a more musical literate class. Throughout this adventure the teacher should constantly be assessing his students ability, wither it assessment is formal or informal, it must be done. Sound Connections intertwines assessment in all aspects of music literacy. Echoing is the most prominent forms of informal assessment sound connections uses. From natural echoing, which is the fundamental aspect of sound before sight approach, to melodic readings, the teacher is assessing the student’s ability, whether the teacher is aware of assessing or not.
Discussion
Having the ability to assess a student’s skill is crucial to the entire process of teaching. If one is not developed in the area of assessment than he should expect to never fulfill his requirements of an educator. I am lucky in having the ability to assess, not only the student’s skills, but mine as well. This chapter thought me the importance of constant assessment, in which I will become more skillful in years to come.