Music Education

Key Curriculum ElementsI believe t distributivelying individuals nearly singing, playing instruments, moving, composing and swayening is incredibly important, ranging from infants with to adults, but jump in early peasanthood would be most beneficial for vast term benefits. These key elements contribute signifi screwtly in developing their medicine skills and k directledge contributing to their education on a more openhanded scale (Broad, 2007 pg23) and/or assisting the trainchilds emotional/mental development. The difficulties that could be expected in the affiliateroom when integrating the practice of medicine curriculum into lessons could be educatees inadequacy of wanting to participate (I set upt do it, Im non good at medicinal drug) due to fear of hardship and/or embarrassment from low self esteem participation levels of extrovertive students in comparison to introverted students or even a privation of concentration and maturity to handle situations. Other difficulties that might be a c foyerenge may perhaps be the lack of funding to entirelyow for reason equal to(p) resources insufficient metre allocation to allow reasonable worry to the medicinal drug curriculum instructors/students having uplifted expectations of their abilities and those expectations not organism met and there being a lack of space for students to move and experiment.Some potential solutions I rouse think of, to the difficulties I feel stated above might be providing a safe and encouraging environment so students do not feel if they attempt something and it does not go as well as they wanted or they might think they bugger out failed. Instead they determine encouragement andreassurance that they nurturent failed or let bothone down, what they read now done is earn something new and/or something they can consider from, stacks of positive feedback from the t for each oneer and otherwise students encouraging small crowds of 2-4 would divine serv ice introverted students participate more.By having each child required to vex a particularized task in all sort out work, so each child can arouse the same participation level might help introverted students have more participation and extroverted students still have participation, yet not over-whelming the introverted students constantly evolving activities utilise in sept to stimulate students learning and encourage active learning, encouraging lack of boredom.Scaffold selective information and skills starting from basics to attempt to develop a more spawn along level of understanding and acquaintance base for students to be more comfy the lack of funding to offer reasonable resources does not always have to be seen as a negative, it allows students to use their imagination and creativity to dress jump off resources to complete the same task or similar tasks insufficient time allocation to allow reasonable attention to the music curriculum is always going to be a sad situation, but integrating the music curriculum into other KLAs allows the students to be able to approve music and apprise that music can be incorporated into either situation in their lives unfortunately instructors/students get out always have high expectations of their abilities and those expectations volitioning not always be met.The out work out teachers can do is to not allow students to see when the students have not meet the expectations they had and when students do not meet their own expectations, the teacher wishings to encourage the student to try again and learn from their previous experience a lack of space for students to move and experiment is a shame but, a divisionroom is not the only place that students can learn to bring about, they can do the basic or the foundation type work in a rowroom and then(prenominal) move out into the playground or a hall. One of the outdo things about music is that it can be created play movement and listened to an ywhere there is a desire to enjoy/appreciate it.Some of the things I would hope to achieve in the classroom by means of the integration of the music curriculum be encouragement of the appreciation of music knowledge of music and how it can impact ones life how music can be integrated into everyday life and no matter who you are you can sing, play instruments, move (dance), compose and listen tomusic.Integrating Music into the CurriculumHSIE This Is Me (Early phase 1) activeness 1 prick Joe precept the students a metrical composition and some cadence The stamp out with Puppet Joe, this leave alone be explained in Lesson aim 1 Activity 2 Mirroring each others movements to musicThe students are pair offed off and allocated their own space in the room, standing up, they are facing each other. They will then listen to What I Am by Will.I.Am. As they listen to the metrical composition, it will speed up and slow down. The students will need to adapt their movement to appraise the tempo of the music, for example faster movements as the music speeds or slower movements when the music slows. Once they are able to adapt to different tempos, the music will change dynamics via get louder and softer. The students will need to adapt their movement to follow the dynamics of the music for example larger movements when the music is louder or smaller movements when the music is softer.The students will take turns in leading the movements by with(predicate) each change. Once the birdcall has played through, the students will have a few proceedings to blether and create movements together for the tempo and dynamic sections of the telephone call. The song is run through a second time and the students will move together to the music showing the movements they had worked on together. The students are then encourage to talk through what they found was the best representation of the music when it would change dynamic and tempo. Did the music have repetition, a con stant beat, similarities and differences? Time Allocation 45 legal proceeding HSIE Celebrations (Stage 1)Activity 3 Song earreachThe class is allocated into groups of 4-5 in their own spaces. severally group reads a cultural celebration from a rap on the teachers desk (each cultural celebration is celebrated by one or more of the students in the class at home).Once they have all picked the legal action, they are given a kit (which has been enjoin together by the students forward to this lesson as part of the Celebrations unit they are studying). They will listen to the song that is part of the kit and discuss as a group the beat, pitch, footprint colour,duration, dynamics, tempo and structure of the song. They discuss what features appealed to them or those that did not. Time allocation 45 minutes Activity 4 Mirroring each other through beat and movement Mirror Me, this will be explained in Lesson Plan 2HSIE international Environments Rainforests (Stage 3) Activity 5 Visualising the MusicStudents are advised that they are required to spend a penny a visual representation of the music they are about to hear. The class will talk about sounds and how they can represent their music visualisation. The students can, if they take on to, have different sections of the painting for different human faces they visualise with the music. For example, they can have 1 whole painting, 2 halves or 4 quarters, so they can show up to 4 different aspects of the music they are hearing. The class talks about what they are going to produce, it is not a faint impression rather a visualisation of what they believe that Rainforest looks like. Students will listen to a 2 minute excerpt from Relaxing mixing by Calmsound.The excerpt of the song will be repeated 4 times with 4 minutes between each repetition and the students have 10 minutes after to complete their painting. After the allocated time, the class will have a discussion on the different aspects they visualis ed and what aspect of the music created that specific image, notion colour, pitch, tempo, dynamic? The paintings will be put aside once dry to be used in other activity on another day. Time Allocation 60 minutes Activity 6 Group composition of a soundscape from a rainforest painting Rainforest getscapes, this will be explained in Lesson Plan 3HSIE The hold on with Puppet Joe Lesson Plan 1 Activity 1 Puppet Joe teaching the students a numbers and some rhythm 1. Level Early Stage 1 2. Goals Students will learn the rime The stop by A. A. Milne. Students will be able to follow a beat/rhythm and follow out co-ordinated movement. 3. Teaching materials 1. Puppet Joe 2. 2 x taping sticks for the beat 3. 1 copy of The End indite form by A. A. Milne (see appendix 1) 4. White maturate 5. White menu marker 6. colouriseed magnets for the white board 4. teaching outcomes melodious activity Performing Singing (y) Playing Instruments (n) Moving (y) Organising Sound (n) Listening (y ) tuneful Concepts Duration (rhythm) (y) Pitch (y) Dynamics (y) Tone Colour (n) construction (y) 5. Procedure1. bring an area in the middle of the room and have students sit on the floor in their own space. 2. Teacher introduces Puppet Joe (a kookaburra puppet) and explains that Joe will help them learn a new poem called The End by A. A. Milne (see appendix 1). 3. Start with Joe saying the first poetise and then repeating the write using his taping sticks he creates a beat (ti-ti ta ta, ti-ti ta ti-ti). The students then sing through the verse while tapping their knees or clapping their hands with the beat/rhythm. 4. Teacher writes the poem on the white board under bars and talks through the beats/rhythm and words, placing different coloured magnets for the ti-tis and tas.5. Each verse is then taught the same way, until the last 2 verses when the beat/rhythm is different (ti-ti ta ti-ti, ta ta ti-ti ta ta ta), The End sheet music see appendix 2. Once the class has learnt the po em and the beat/rhythm, they then sing through the poem together. 6. The class then picks out a number from a knock and the number allocates the student to their group. In the group the students talk through what movement they think would be good for their verse and if they should use loud, soft, fast or slow lyric/singing.7. The class sings through the poem together and then each group sings their own verse with their chosen movement. and so the class sings their section of the poem loud, soft, fast, slow or using a different voice without their movement. Then again mixing the movement and their chosen musical concept. 8. Ask the class if they have any suggestions about the structure, if they think it could be changed. Pick a couple of the suggestions and try them out, see if the class thinks they make the composition reveal or worse. As a class the student talk through the actions chosen by the groups and the musical concepts, whether they were applicable or not to their verse ? Whether there was repetition in the beat/rhythm? What similarities and differences there was in the beat/rhythm?6. AssessmentSee appendix 3 for the sagaciousness sheet. 7. Links to other subjects HSIE, Mathematics, English and PDHPE.HSIE Mirror Me Lesson Plan 2 Activity 4 Mirroring each other through rhythm and movement 1. Level Stage 1 2. Goals Students will understand how rhythm works and identify how the music changes resulting in their movements changing. Students will perform a number of rhythms and patterns in movement pore on rhythmic correctness and co-ordinated movement. 3. Teaching materials1. IPod dock 2. IPod with Creation by Descendance Aboriginal & Tsi Dance Theatre on it 4. Learning outcomes Musical activity Performing Singing (n) Playing Instruments (n) Moving (y) Organising Sound (n) Listening (y) Musical Concepts Duration (rhythm) (y) Pitch (y) Dynamics (y) Tone Colour (y) Structure (y) 5. Procedure1. Clear an area in the middle of the room. For this activity the students could even go into the school hall if it is available, to allow for extra space. 2. control the students pair up and stand in 2 lines. Allocate the lines identifys trees and grass. Have the students move away to their own area in the room/hall and face each other. 3. Talk to the class and advise that when a name (trees or grass) is called out the other student in the pair has to follow the other student. That students need to try movements they think would suit the music, fast, slow, loud and soft. What types of movements would best suit. If the students wanted to they could even represent Australian animals. 4. Start playing the song and prompt the students to listen at first. Then call out trees, as the students are comfortable in following (no less than 60 seconds), the teacher calls out grass. Alternating between the leader gets faster as the students learn to adapt faster.5. The teacher then increases the volume and decreases the volume to encourage alternate r esponses in the music. 6. At the end the teacher prompts the students to talk about what movements went best with which types of music? What types of movements did they use for the tempo, pitch, dynamics, regulate colour? Did they prefer certain part of the song more than others and why? Those students who represented animals, did they find it hard to choose movements and keep in character for the lesson? Was it blue for students to follow the leader? Was it easy to lead? Which did students prefer to follow or lead?6. AssessmentSee appendix 4 for the assessment sheet. 7. Links to other subjects HSIE, Mathematics, English and Science and Technology.HSIE Rainforest Soundscapes Lesson Plan 3 Activity 6 Group composition of a soundscape from a rainforest painting 1. Level Stage 3 2. Goals Students will create and perform a soundscape with the use of instruments, voice and movements from a painting of a rainforest. They will demonstrate their rhythmic abilities, co-ordination with m ovements, their tycoon to work in groups and ability to create a composition. 3. Teaching materials1. Paintings from previous music lesson 2. Cardboard box 3. 5 x numbers 1-6 4. White board 5. White board marker 6. Coloured magnets for the white board 7. 6 x A3 sheets of subject with a blank power grid on it. 8. Coloured pencils 9. Instruments chimes, drums, triangles, xylophone, tambourines, etc 4. Learning outcomes Musical activity Performing Singing (y) Playing Instruments (y) Moving (y) Organising Sound (y) Listening (y) Musical Concepts Duration (rhythm) (y) Pitch (y) Dynamics (y) Tone Colour (y) Structure (y) 5. Procedure1. Each student picks out a number (1-6) from a box and that shows which group the student is assigned to. On the white board the list of loads (see appendix 5) is written. Depending on which number the group is, depends on what the effect they will need to introduce into their soundscape. The rainforest pictures have been painted anterior to this lesson from an alternate music activity. Each group chooses their favourite painting to create the soundscape from (on condition that none of the students in the group painted it).2. The class has a discussion on what a soundscape is (a quick refresher) and what they need to cover when preparing for it (dynamics, tempo, pitch, tone colour, etc). The students are encouraged to create a story to at to the lowest degree start and finish the soundscape, they are welcome to have the story passim the soundscape, eg the effect with the men with axes, they could have them laughing and talking, whistling, etc.The students are also encouraged to overwhelm movements if they can see it fits with their soundscape, eg in the gorilla congregation, they can have one or two students sitting like gorillas and making gorilla noises. 3. Each group receives an A3 sheet of paper with a blank grid (see appendix 6) on it and coloured pencils. The students choose the instruments they believe will get the best r esult for their soundscape and work on their composition which needs to include the allocated effect for their rainforest soundscape. 4. Once the students have spent the allotted time creating the soundscape on the grid paper (see appendix 7) and practicing it.They will then perform as a group in-front of the class and demonstrate their soundscape. 5. Once all groups have finished performing for the class, there is a class discussion on the musical concepts used by each group and how they entangle they related to the painting and soundscape? Did they find that each group included rhythm, tempo, pitch, structure, dynamics, tone colour and if they felt that the groups incorporated the assigned effect successfully? Did the groups that used storytelling as part of their soundscape find it easier/harder to follow the story being told? Did any of the soundscapes sound like they came from any particular cultures? 6. AssessmentSee appendix 8 for the assessment sheet. 7. Links to other subj ects HSIE, English and Science and Technology.