Music Ed Pedagogues

Question 1

Phyllis Weikart

Answer 1

Kinesthetic experiences are broken down into individual movements. Movements must be isolated and modeled, then movement is simplified and builds upon, then students have varieties of opportunities to use movements in personal and creative ways.

Movement Plus Music, Round the Circle: Key Experiences in Movement, and Teaching Movement and Dance

Question 2

Comprehensive Musicianship Through Performance

Answer 2

Prioritizes inclusive, deeper understanding of music for lifelong musical involvement.

Rehearsal becomes a learning labratory with the teacher activing as a musical facilitator rather than lecturer or conductor. Literature becomes a vessel for musical discovery.

5 elements of CMP: Music selection, objectives, analysis, strategies, and theory.

Question 3

Gordon’s Music Learning Theory

Answer 3

Centers around audiation.

8 types of audiation:
1 - listening to familiar or unfamiliar music
2 - reading familiar or unfamiliar music
3 - writing familiar or unfamiliar music via dictation
4 - recalling and performing familiar music from memory
5 - recalling and writing familiar music from memory
6 - creating and improvising unfamiliar music
7 - creating and improvising unfamiliar music while reading
8 - Creating and improvising unfamiliar music while writing

Question 4

Orff

Answer 4

Emphasizes children’s’ natural tendency to play as a key component to musical discovery and development.

Speech, singing, movement, and playing instruments.

Question 5

Dalcroze

Answer 5

Physical movement is a tool for musical development. The body is an instrument.

Question 6

Eurhythmics

Answer 6

A study of music through movement and is based on the interaction of ear, mind, and body.

Question 7

Kodaly

Answer 7

An approach to music education rooted in the idea that music should be a social and cultural experience.