Below is a chart I had created after looking over different charts representing the development of kinesthetic movement through education in elementary school. I had pulled ideas from other charts I saw but I decided to make a few of my own also.
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Frego, D. R. J. (n.d.). The Approach of Emile Jaques-Dalcroze. Retrieved from https://www.allianceamm.org/resources/dalcroze/#philosophy
Emile Jaques-Dalcroze is a music educator who in Switzerland developed the Dalcroze Eurhythmics approach to music. This method was originally designed for musicians in the conservatory but then realized it was applicable for an array of artists from all areas. As described by his reason was to create this its described as “Jaques-Dalcroze wanted to create an approach to music education in which sensory and intellectual experiences are fused into one neuromuscular experience—reinforcing the body’s response to music (Caldwell, 1995). He felt that this would lead to performance at high levels beyond expectations (Carder, 1990).”. The approach often includes 3 sections. The first one has rhythmic solfege or ear training. The solfege is taught through fixed Do. The student should be able to hear what they write and vise versa. Section two is improvisation based. This starts with an instructor playing piano while students improvise over the chords spontaneously reacting to the chords. Another section of this would be a student improvising rhythms on the drum while one improvises. The third section is described as “component is the eurhythmics itself. Often considered the core of the approach, eurhythmics was actually the last part to be developed.” These three parts of the learning process all complement each other nicely and have a good gradual build to a well rounded foundation of music education. Some uses for the Dalcroze rythmique involve the build a burrito activity we performed in class on the first day, as well as the scarf activity we performed in class. These are activities that are encouraging a kinesthetic learning environment where the students are improvising on pitch and rhythm and activity with one another. Some challenges that might approach me in a classroom with this is making adaptations for students in wheelchairs or with other movement disabilities. I am sure I can find ways to make adaptations for them in the classroom but I am worried about them not getting as much out of the experience because of their different situation. I think the advancements of that is most of school is sitting and watching and listening based lesson so when you ask the students to get up and move and interact your encouraging them to learn through more outlets as well as challenge each other in different ways than before, such as finding similar or different sounds and rhythms in the room. Brandon Rhinehart
Questions: How can the culture of an elementary classroom develop slower, faster or even different than another grade level classroom? When students enter elementary school music classrooms, how can the expectation of the lesson and atmosphere differ? Is there a standard I need to meet other than a SOL stand point? What kind of music field trips can I do with my class at such a young age. Am I even aloud to take students outside of the classroom. If so what is the process of doing a music field trip? What is the best way to go about surveying young minds on lessons and what they want to learn in the future of the class. Does the survey need to be more percises? Should I stay away from written or computer based surveys? When educating younger students, can I convince them something is easy even though its hard and keep them from psyching themselves as well as have them achieve something as long as they don't expect it to be hard? Research Questions:
Rationale:
I chose this one because meeting the standards of learning are important. This does not make a classroom however, how can I build an atmosphere to have set standards that the students do when they enter our class. How can I make sure they respect each other, don't talk over one another, or hinder each others learning experience. I need to build in my own standards if I want to have a successful classroom. Something along the lines of having the students come into the classroom and then instantly start singing along. How can I set it up so expect that to happen? How can I set it up so they also engage naturally also? How do I change standards if I need to make adjustments for a specific class or even a single student?
We talked about this during my Sophomore year music education class and it is a point I wanted to come back too. I was unable to figure out what book it came from but I would like to discuss on the point of it. We make things hard for our students when we tell them it's hard. Playing guitar is hard, well is it? Maybe for the teacher but as soon as you tell your students that they are going to approach it with caution. Students will build their own limitations as soon as you start telling them what is hard. Yes guitar is hard for you. But is it hard for a young 5th grader just picking one up? Chances are it is not because they can't do it but because you told them its hard and now they have doubts about being able to do it. The young mind absorbs information so fast, if we treat it like its any other activity, students may seem to accelerate much quicker than you expect it. Yes guitar will come hard to some of them but let them figure that out on their part. What ways can I really push my students if they are not told about an experience being hard. Could they do more than me even? Could that be the birth of a child prodigy? Is this an issue because teachers are worried about messing up in front of their students so they use it as a prefisit? |
Brandon RhinehartHere I will be posting reflective essays and philosophical documents and other assignments Archives
December 2019
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