Expand your music learning and musicianship skills with this comprehensive guide to music instruction. Whether you're a self-taught music enthusiast, a dedicated music student, or an experienced music teacher, this book is your helpful companion. Inside, you'll find a harmonious blend of practical insights and theoretical foundations. Unlike traditional music books, this guide embraces the Kodály philosophy of 'learning by making.' It means you'll dive straight into music practice from the very first chapter, gradually weaving in essential theory. As you embark on your musical journey, remember that the heart of music lies in enjoyment, celebration, and sharing! Using years of musical experience and a deep passion for teaching, the authors present a personal perspective on music education enriched by insights from the acclaimed Kodály approach to pedagogy. As a result, the book travels through singing (with lots of helpful tips and how-to-improve advice), vocal improvisation, hand signs, and many other tools and exercises to develop musicianship skills. You've got this because you've got this book and you've got the music in you. By design and intelligent execution, _I Got Music_ will help you immensely! The great thing about this book is it's designed to be great for musicians teaching themselves more about "really getting" music, but to prove equally terrific for instructors assigned to teaching music. While centered on sharing the Kodály way of instruction,it's been carefully engineered to help musicians “get in the groove” and sing and improvise intuitively. It is planned to serve also as a first resource for instructors suddenly assigned to teach music to elementary students. We are sure it will be exceptionally useful, in particular, for instructors who can’t obtain expensive textbooks about the Kodály way but wish to utilize it. It is written to help anyone assigned to teach music as an extra subject on top of their other classroom duties. It’s even designed for anyone who admires the Kodály method with its emphasis on working respectfully with local cultures and traditions by using a carefully gathered folk-music repertoire to instruct students through movement and singing, and often in chorale settings. So if you missed out on the advantages of learning the Kodály method in early childhood, it isn't too late to get all the benefits and share them with others. While centered on sharing the Kodály way, given its enduring popularity and the extensive documentation for its effectiveness as a teaching approach, this book is compatible with most other methods of teaching and learning music. In every chapter you’ll find useful information contrasted with years of music-teaching experience, and with a respectful eye to the other excellent teaching methods, such as Orff-Schulwerk, Dalcroze Eurhythmics, and the Suzuki Method, to name just a few. Music books usually go from theory to eventually making music, but here you'll find real-life practice comes first. Thus, we explain practice and complement it with theory. Almost immediately you'll be “learning by making” as the Kodály method urges. So even if you have zero experience in this field, you’ll find guides and fresh practices that fit your case. As the book goes on, we keep bouncing between theory and practice, considering many aspects of music instruction and sharing the most essential instruction. You should likewise feel free to bounce from one aspect to another and skip any chapter or part about things that you've long-since mastered. So enjoy the process! Don’t pretend to be a blank canvas, awaiting someone’s paint brushes. In the end, music is about having fun, enjoying life, and sharing with others. So relax! You’ve got the music in you, as everyone does, and with this book's sharing of practice and guidance, you can let it out!

Grade level: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, k, p, e, i, s.

This book explores reflective practice as a source and resource for teaching, learning and research in Art and Design, Dance, Drama and Music. Many of the authors are both arts educators and researchers who reflect current trends in arts education, and consider the relationships between teachers, artists and learners across disciplines. The book offers a resource for individual and collective professional development which, by its nature, involves reflecting on practice.

Marilyn Nonken finds precedent in the works of pianist-composers Liszt, Scriabin and Debussy for spectral attitudes towards the musical experience.

Gateways to Understanding Music explores music in all the categories that constitute contemporary musical experience: European classical music, popular music, jazz, and world music. Covering the oldest forms of human music making to the newest, the chronological narrative considers music from a global rather than a Eurocentric perspective. Each of sixty modular "gateways" covers a particular genre, style, or period of music. Every gateway opens with a guided listening example that unlocks a world of music through careful study of its structural elements. Based on their listening experience, students are asked to consider how the piece came to be composed or performed, how the piece or performance responded to the social and cultural issues at the time and place of its creation, and what that music means today. Students learn to listen to, explain, understand, and ultimately value all the music they may encounter in their world. FEATURES Global scope—Presents all music as worthy of study, including classical, world, popular, and jazz. Historical narrative—Begins with small-scale forager societies up to the present, with a shifting focus from global to European to American influences. Modular framework—60 gateways in 14 chapters allow flexibility to organize chronologically or by the seven recurring themes: aesthetics, emotion, social life, links to culture, politics, economics, and technology. Listening-guided learning—Leads to understanding the emotion, meaning, significance, and history of music. Introduction of musical concepts—Defined as needed and compiled into a Glossary for reference. Consistent structure—With the same step-by-step format, students learn through repeated practice how to listen and how to think about music. In addition to streamed audio examples, the companion website hosts essential instructors’ resources.

(Schott). This book is intended for those who want detailed, practical assistance in how and why to use Orff techniques and materials in the classroom. Goals are outlined and the best ways to achieve them are explored, but the principal focus is on the arrangement of the curriculum in a logical sequence. Such a structure provides a reasonable progression from simple to more complex objectives not only from day to day but from year to year. Structured learning need not be the enemy of improvisation but rather the best way to provide students with the tools they need to improvise. The book contains an introduction to the development of Orff-Schulwerk and a discussion of the distinguishing features of this approach. Chapter Two introduces the activities children use in their music-making. The teaching procedure that structures those activities is taken up in Chapter Three while Chapter Four explains the vocabulary and accompaniment theory essential to the Orff teacher. Part Two applies these elements in a sequential curriculum designed for Grades One through Five. Especially important in each chapter is the inclusion of supporting activities designed to aid in teaching the various skills and concepts.

In this new edition of their groundbreaking Kodály Today, Mícheál Houlahan and Philip Tacka offer an expertly-researched, thorough, and -- most importantly -- practical approach to transforming curriculum goals into tangible, achievable musical objectives and effective lesson plans. Their model -- grounded in the latest research in music perception and cognition -- outlines the concrete practices behind constructing effective teaching portfolios, selecting engaging music repertoire for the classroom, and teaching musicianship skills successfully to elementary students of all degrees of proficiency. Addressing the most important questions in creating and teaching Kodály-based programs, Houlahan and Tacka write through a practical lens, presenting a clear picture of how the teaching and learning processes go hand-in-hand. Their innovative approach was designed through a close, six-year collaboration between music instructors and researchers, and offers teachers an easily-followed, step-by-step roadmap for developing students' musical understanding and metacognition skills. A comprehensive resource in the realm of elementary music education, this book is a valuable reference for all in-service music educators, music supervisors, and students and instructors in music education.

In Revolution or Renaissance, D. Paul Schafer subjects two of the most powerful forces in the world – economics and culture – to a detailed and historically sensitive analysis. He argues that the economic age has produced a great deal of wealth and unleashed tremendous productive power; however, it is not capable of coming to grips with the problems threatening human and non-human life on this planet. After tracing the evolution of the economic age from the publication of Adam Smith's The Wealth of Nations in 1776 to the present, he turns his attention to culture, examining it both as a concept and as a reality. What emerges is a portrait of the world system of the future where culture is the central focus of development. According to Schafer, making the transition from an economic age to a cultural age is imperative if global harmony, environmental sustainability, economic viability, and human well-being are to be achieved.