MUS 392 Critical Questions Ch2-3 PDF

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This document includes answers to the critical thinking questions assigned from chapter 2 and 3 of the Campbell/Kassner textbook. ...

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Demi Beuligmann Critical Questions Chapter 2 1. Which theories can help to guide the design of a child-centered curriculum? How might such a curriculum manifest itself in the behaviors of teachers and children? Response: With a child-centered curriculum being one that is based upon the needs and learning experiences of a child, I think that the theories that can help guide that type of curriculum are any of the ones that include the musical play and socialization, or any theory that focuses on the child developing their knowledge through exploration and experimentation. A few that I can specifically recount as helpful in guiding a child-centered curriculum are the reinforcement theory (or the Skinnerian technique) and the social learning theory. If teachers use these theories as a guide for their lessons, then the child will be experiencing a curriculum where they are behaving in a way where they are emulating a model, experimenting on their own, and learning with others to achieve musical goals. 2. How is it that musical play can be a child’s work—a means for their development intellectually, physically, socially, and emotionally. Give examples of musical play and its effects on children. Response: The way I interpreted musical play was that a child is able to learn and make discoveries while they are not necessarily in the middle of a teacher’s lesson. Free playtime in a music-class setting can give students the freedom to experiment musically and find out new things without the direct influence of a teacher. This ranges from understanding a musical concept after having the opportunity to physically do it themselves, making music on an instrument or through their voice along with another classmate, or even if having the opportunity to play on an Orff instrument brings a student some type of joy or giddiness. For instance, if a teacher says to get in groups of 3 or 4 and take turns improvising a melody on the recorder or some other instrument, the children are figuring out/making progress with the instrument mostly on their own in a social environment.

Chapter 3 1. What are the relationships among the three classic European methods (Dalcroze, Kodaly, Orff) regarding the development of aural skills, musical literacy, and creative musical expression? Response: Kodaly has a stronger focus toward music literacy in that he supports the use of solfege with movable Do, Dalcroze has a focus toward aural skills through improvisation and movement, and Orff focuses on creative musical expression by way of instrumental and musical experience.

Demi Beuligmann 2. What aspects of these notated pedagogies for children can be continued into the realm of music instruction for adolescents? Adults? In choral settings? Instrumental Settings? Response: I think in some ways, all of the aspects can be carried through all stages into adulthood and ensemble settings, especially considering that sometimes adolescents and adults are beginners to the music world. However, in an attempt to be specific, I think Dalcroze and Orff have something to offer with movement for adolescent visual learners, and Kodaly’s methods can be grasped at that age for people who are auditory learners. As for adults, some of the same ideas apply, but maybe considering an adult who is already musically trained, Kodaly’s methods are probably considerably more applicable for higher-level music, but I still think the other methods can be continued into adulthood for a more versatile musician. The Kodaly solfege can be easily continued for choral settings, and I think the Orff methods are useful for instrumental musicians. 3. Experiment with the samples of the Dalcroze, Kodaly, and Orff pedagogies. Design and implement original examples of the principles. For Dalcroze pedagogies, an activity could be to play a track and every time the students hear a “ding” they do one jump, every time the students hear a cowbell, they spin in a circle, and any time they hear a record scratch, squat low to the floor. For Kodaly pedagogies, an activity could be to pick a common song (or a few songs), speak it with rhythm syllables, have the students repeat it (section by section after you’ve demonstrated it). Next, teacher sings it in solfege, have the students repeat it in solfege after teacher has demonstrated, and then have them guess the popular tune and add words to finish the lesson. For Orff pedagogies, an activity could be to put children in small groups with Orff instruments. Students will take turns alternating between all of them except one pulsing a singular note, while the remaining one improvises a short solo over the other ones. Keeping the pulse going, students will take turns being the soloist until the teacher signals for everyone to stop....