MUSIC TEACHING STYLES

ADINA HARRIS

MUE 530
PRAXIS PROJECT

MILE JAQUES-DALCROZE
SWISS MUSICIAN AND EDUCATOR
PIONEER OF MUSIC AND MOVEMENT
CURRICULUM USES BODY AND MIND
INTEGRATION

ESTABLISHED A SCHOOL AND THEATRE IN

HELLERAU, GERMANY

DALCROZE APPROACH
EURHYTHMICS
EXPERIEINCING ELEMENTS OF MUSIC THROUGH BODY MOVEMENT

SOLFEGE
SINGING WITH SOL- FA SYLLABLES

IMPROVISATION
CREATING MUSIC EXTEMPORANEOUSLY

STUDENTS USE THEIR BODIES AS MUSICAL INSTRUMENTS TO SHOW MUSICAL UNDERSTANDING

TEACHERS OF DALCROZE METHOD NEED DEVELOPED PIANO IMPROVISATION SKILLS TO
STIMULATE MUSICAL RESPONSES THROUGH MOVEMENT
TEACHERS NEED DIRECT INSTRUCTION TO UNDERSTAND AND USE APPROACH

CARL ORFF
GERMAN COMPOSER
DEVELOPED A CHILD-CENTERED APPROACH TO
MUSIC EDUCATION
EDUCATION APPROACH BECAME KNOWN AS
SCHULWERK
ELEMENTAL MUSIC- NEVER MUSIC ALONE, BUT
MUSIC CONNECTED WITH MOVEMENT, DANCE,
AND SPEECH
INFLUENCED BY NEW DANCE WAVE AND
DALCROZES EURHYTHMICS

ORFF METHOD
INSTRUMENTS ARE A MUST IN THIS METHOD
TUNED DRUMS, BARRED/ MALLET INSTRUMENTS, AND RECORDERS ARE PROMINENTLY USED

MOST FUNDAMENTAL ELEMENTS ARE EXPLORATION AND EXPERIENCE

STUDENTS EXPLORE AND EXPERIENCE FIRST BY IMITATION AND CREATION
EXPLORATION OF MUSICAL ELEMENTS BEGINS WITH RHYTHM, MELODY, AND FINALLY HARMONY
CHILDREN ARE ENCOURAGED TO EXPLORE MUSIC THROUGH MOVEMENT, SINGING, IMPROVISATION,
AND PLAYING INSTRUMENTS

SHINICHI SUZUKI

JAPANESE VIOLINIST, PHILOSOPHER, AND

HUMANITARIAN

MUSICAL ABILITY IS NOT AN INBORN TALENT, BUT

AN ABILITY THAT CAN BE DEVELOPED

BASED OFF OF THE PRINCIPLES OF LEARNING

LANGUAGE

SUZUKI METHOD

PARENT INVOLVEMENT
PARENTS ATTEND LESSONS WITH THEIR CHILD AND CONTINUE TO TEACH THEIR CHILDREN AT HOME DURING THE WEEK

EARLY BEGINNING
CRUCIAL FOR DEVELOPING MENTAL PROCESSES AND MUSCLE COORDINATION

LISTENING
LISTENING TO MUSIC EVERY DAY FROM THE SUZUKI REPERTOIRE IS IMPORTANT

REPETITION
CONSTANT REPETITION IS ESSENTIAL IN LEARNING TO PLAY AN INSTRUMENT

DELAYED READING
CHILDREN SHOULD DEVELOP BASIC TECHNICAL COMPETENCE ON THEIR INSTRUMENTS BEFORE BEING TAUGHT TO READ MUSIC

ZOLTN KODLY

HUNGARIAN COMPOSER AND MUSICOLOGIST

VOCAL APPROACH TO MUSIC LITERACY
THE ABILITY TO HEAR, READ, AND THINK MUSIC
SAW THE NEED TO MAKE MUSIC EDUCATION
AVAILABLE TO EVERYONE

KODLY APPROACH

SINGING A CAPPELLA IS THE FOUNDATION OF THIS APPROACH

SINGING, LISTENING, MOVEMENT, EAR TRAINING, AND CREATIVE SKILLS ARE DEVELOPED AT
EVERY GRADE LEVEL
STUDENTS ARE INTRODUCED TO PITCH THROUGH TONIC SOL- FA SYLLABLES WITH CURWEN
HAND SIGNS
USE THE PENTATONIC SCALE

EDWIN GORDON

MUSIC LEARNING THEORY

BASED ON THE THEORY OF AUDIATION (HEAR
AND COMPREHEND MUSIC FOR WHICH THE
SOUND MAY BE PRESENT)
SYSTEMATIC STUDY OF MUSIC
8 STEP HIERARCHY LEARNING SEQUENCE IS
DIVIDED INTO TWO CATEGORIESDISCRIMINATION AND INFERENCE

THEORY OF MUSIC LEARNING

FIVE LEVELS OF DISCRIMINATION
AURAL/ ORAL
VERBAL ASSOCIATION
PARTIAL SYNTHESIS
SYMBOLIC ASSOCIATION
COMPOSITE SYNTHESIS

THREE LEVELS OF INFERENCE

GENERALIZATION
CREATIVITY/IMPROVISATION
THEORETICAL UNDERSTANDING