Chapter 1, Hammel, A. M., & Hourigan, R. A. (2016). Winding it back: A framework for inclusive music education. In A. M. Hammel, R. A. Hickox, & R. M. Hourigan (Eds.), Winding It back: Teaching to individual differences in music classroom and ensemble settings (pp. 1-14). New York: Oxford University. The Winding sequence is the process of designing a learning experience for every student individually within the classroom. Winding starts with winding it back, this processes is taking something and decreasing the steps or simplifying the process so the student can learn at a level that best challenges them. For example a student is having trouble clapping half notes. Having them subdivide by clapping them on quarter notes or even eighth notes in order to understand its full value. This processes also includes winding it forward. This is the process of taking the next step in a lesson in order to challenge a student who is already meeting the general goal of the lesson before it even starts. An example of this is having a student clap hemiola rhythms that land on off beats while other students clap the straight pulse. A question I have about the winding sequence is how do you wind without making a student feel ashamed of their placement to their classmates or even superior? What do I do if a student does not accept the winding processes I created and they just want to keep attempting to do the original lesson that's very obviously too hard for them. When reading about Lena and her struggles in class within chapter one. I would think that a student being asked to not play one of the notes and rests for it would be demeaning to them. Everybody wants to be at least average so winding back can sometimes make a student feel like they aren't performing well even though they might be performing amazingly according to their self development. Chapter 2, Hammel, A. M., & Hourigan, R. A. (2016). Winding it back: Setting the Tone for Inclusive Music Learning. In A. M. Hammel, R. A. Hickox, & R. M. Hourigan (Eds.), Winding It back: Teaching to individual differences in music classroom and ensemble settings (pp. 14-45). New York: Oxford University.
This chapter covers a lot of basics for setting your students up for success when it comes to an ensemble setting. In one section it talks about patterns and the process of using these patterns that naturally come through solfege/ rhythm syllables. These can help build students into later classes where they would be able to apply these tools and learn from them but also transfer them to other things music related outside of performing such as composing. This chapter covers a lot of points on young children having an endless outlet with their free imagination. With just one little discussion young minds can reinvent the wheel with cool fun new ideas and games. In one section of this chapter it says the students “Strive to construct their understanding of the world around them. Thus, the natural approach for children is to use their bodies and sense to playfully interact with their environment” (Hammel 2016). We are cheating young minds of a fruitful and encouraging musical experience when we don't challenge them in the ways they specifically need it. They have the energy and creativity so why don't we use it?
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