Music Education Philosophies Flashcards
Orff Schulwerk
emphasizes children’s natural tendency to play as a key competent to musical development/discovery, builds musicianship through singing, playing instruments, speech, and movement. Involves improvisation
Kodály
uses singing of folk songs and solfege with movable do as well as hand signs, the main goal of music education is singing
Dalcroze
eurhythmics, uses the body as an instrument through which music can be understood
Gordon
Music Learning Theory, which involves audition and use of tonal and rhythm patterns to teach music literacy
Comprehensive Musicianship through Performance
Involves 5 components: selection, assessment, outcomes/objectives, analysis, strategies. The rehearsal is seen as a laboratory where students can develop an understanding of musical concepts such as expression, melody, rhythm, harmony, texture, timbre and form by being involved in a variety of roles including performing, improvising, arranging, composing, conducting, and analyzing music
the aesthetic philosophy of music education
music ought to be studies in and for itself (not just for the benefit of other subjects), only through music and the arts can students develop the sensitivity, feeling, and symbolic communication represented by musical understanding. Example of an influential theorist is Bennett Reimer
Suzuki method
musical development is structured through a mother tongue approach, follows the language learning sequence, since children learn how to speak before they learn how to read - students learn music by ear, develop competency on the instrument and THEN learn how to read music. Involves substantial parent involvement, an early start, listening, and repetition
Praxial philosophy of music education
a departure from the aesthetic philosophy of music education, developed by David Elliot, this philosophy puts emphasis on the activity of, rather than the feeling that comes from, music making. Students start music making before they fully comprehend the art of music making when listening to music, focus on musicianship (music making and music listening), student apprenticeship model in which the teacher is the mentor/expert musician
Bloom’s taxonomy
outlines the hierarchical levels of thinking in three domains: cognitive (knowledge), affective (values), and psychomotor (physical motor skills). Cognitive hierarchy in order: knowledge, comprehension, application, analysis, synthesis, and evaluation
Laban’s theory of movement education
all people should learn the four elements of movement to develop mindfulness and creativity: flow (tense and free movements), weight (heavy and light movements), time (slow and fast movements), and space (direct/straight and indirect/arcing movement)
utilitarian philosophy of music education
stems from the writing of Plato and Aristotle - good character, civic responsibility, cultural awareness, and a quality of nobility were some of the non-musical benefits of music study. Music is a tool to develop extra-musical benefits
Phyllis Weikart
wrote many books on music and movement, founded Education Through Movement: Building the Foundation, a method involving kinesthetic experiences being broken down into individual steps. First, movements must be isolated and modeled to students, then the movement may be simplified and built upon, and finally, the students must have a variety of opportunities to use the movements in personal and creative ways
8 types of audiation according to Music Learning Theory
Type 1: listening to familiar or unfamiliar music, Type 2: reading familiar or unfamiliar music, Type 3: writing familiar or unfamiliar music via dictation, Type 4: recalling and performing familiar music from memory, Type 5: recalling and writing familiar music from memory, Type 6: creating and improvising unfamiliar music, Type 7: creating and improvising unfamiliar music while reading, Type 8: creating and improvising unfamiliar music while writing
