MUSIC FOR CHILDREN2011LindemanISBN10: 0136043844The pages of this Sample Chapter may have slight variations in final published form. 5Curricular Integration and ApproachesC H A P T E RThe curriculum in the primary grades includes a myriad of subjects. How to inte-grate and relate these subjects one to another to make learning more meaningfulforchildrenisahugechallengeforteachers.Whatfollowsaresomeideasforintegrating music with other subject areas. In addition, since technology can also play arole in curricular integration, not to mention the enhancement of music learning, ideasareofferedinthisareaaswell.Finally,numerousapproachesforteachingmusicarecurrentlyinuseinourmusicclassrooms.Sinceeachgroupofchildrenisdifferent,teachers must select appropriate methods and approaches for their particular teachingsituation and teaching style. Adescription of some of the most prevalent approaches isoffered.CURRICULAR INTEGRATIONIntegratingthevarioussubjectareasintheschoolcurriculumcomesnaturallyintheearly grades. The classroom teacher has the unique opportunity to work with the samechildren every day and the responsibility for instruction in most subjects, thus connec-tions can easily be made between subjects. Childrens learning is much more meaningfuland comprehensive when curricular integration is a priority. An integrated curriculumhelpschildrenunderstandtherelationshipsbetweensubjectstomakesenseoutoffragmented skills and knowledge so they can see the big picture.Integrating Music with Other SubjectsMusic can be infused and integrated with other subjects in the curriculum throughoutthe school day just as other subjects can be integrated with music. Musical experiencescan be an exciting stimulus for other academic areas because they are often creative andhands-on. When music is integrated with other subjects, instructional goals need tobeestablishedforbothmusicandtheothersubjects.A validintegrativeexperienceshoulddeepentheunderstandingofmusicaswellasthatoftheothersubject(s).Be-cause classroom teachers know their students and the curriculum, they can choose thebest time to connect music to other school subjects such as social studies, math, visualarts, language arts, and science.Every single music lesson in this text makes connections with other subjects in theschoolcurriculum.TheCurricularConnectionscategoryineachincludessuggestionsofhowtorelatethesong,listeningselection,and/orconcepttolanguagearts,socialstudies, science, and other subjects. In addition, most every song included in the Collec-tion of Songs suggests a way to relate that song to one or more subject areas in the cur-riculum.Recognizingtheimportanceofmakingconnectionsbetweensubjectareas,both National Music Education Standards 8 and 9 (Appendix A) specify the knowledgeandskillschildrenshoulddevelopastheyunderstandrelationshipsbetweenmusic,38M01_LIND3844_01_SE_C01.5.QXD7/9/108:23 AMPage 38Chapter 5 Curricular Integration and Approaches 39the other arts, and disciplines outside the arts as well as understand music in relationto history and culture.Themessuchastransportation,animals,andholidaysorcelebrationsareoftenused in the primary classroom as the unifying thread to integrate learning. For example,lessons 7, 8, and 9 in Section Two are focused on transportation and several lessons arepresented for use during African American History Month. By using the Monthly Plan-ners in Section Two, teachers can readily see what materials are available to integratemusicwiththevariousholidaysandcelebrations.Bymakinguseoftheclassifiedindexesandexploringthemanysongsandlisteningselectionsofferedinthistext,teachers can create their own curricular connections that will best suit their curriculumand their students.An integrated curriculum contributes to excellence in all subjects. Perhaps, mostimportantofallisthatchildrencanexploretheirfeelings,theircreativity,andtheircultural heritage in an integrated curriculum.Integrating TechnologyEvery sort of music technology is finding its way into the school classroom, the musicclassroom,andintothelivesofchildren.Thereisaplethoraofmusicproductsforyoung childreneverything from technology-based musical toys to digital music play-ers to interactive multimedia. For example, the WiiMusic video game by Nintendoisespeciallyaimedatyoungerchildrenandteachersareexploringwaystointegratethistechnologyintotheirclassroomprograms.SeveralinteractiveWebsitesengagechildreninlearningaboutinstrumentsoftheorchestra,creatingpiecesoftheirown,and exploring all sorts of other music-making adventures. (See listing in Appendix C.)Awide variety of music software (CD-ROMs, DVD-ROMs) is available to provideindividualized instruction, creative music activities, and collaborative learning oppor-tunities. Alisting is included in Appendix C. Because there is so much information con-tainedinaCD-ROMorDVD-ROMprogram,itisimportantthatteachersprovideScreen shot from Sibelius's Groovy Music: Jungle, a music program that can be integrated with ascience unit on the rain forestCourtesy of AvidM01_LIND3844_01_SE_C01.5.QXD7/9/108:23 AMPage 3940 Section 1 Music Learning and Young Childrenguidanceonhowtousetheprogramsothatchildrenwillnotbecomefrustratedoroverwhelmed. For example, teachers can introduce and demonstrate a new music soft-ware program to an entire class using an interactive white board or other projector, orevenamovablemusicworkstation.Thenchildrencanlaterworkindividuallyorinsmall groups with the program.No matter what the platform (or playform), the technology integrated into the cur-riculum should enhance learning, increase childrens fascination with music, and reflectthe best educational practice. Technology offers extraordinary opportunities for individ-ualized instruction in music and creative music-learning activities. However, it shouldnot replace the valuable active music-making experiences so vital to young children.CURRICULAR APPROACHES FOR TEACHING MUSICApproachesaboundforteachingmusictochildren.Threeteachingapproacheshavebeen imported from Europe and adapted for American classroom music programs: OrffSchulwerk,theKodly Approach,andDalcrozeEurhythmics. AnapproachbasedonAmericanEdwinE.GordonsMusicLearningTheoryhasalsoinfluencedthemusiccurriculum at the elementary level. Some teachers incorporate and integrate ideas andtechniques from many different sources in their teaching, which may be referred to asan eclectic approach. Abrief description of each approach follows.The Orff Schulwerk ApproachOrff Schulwerk (schulwerk is German for schoolwork) is a child-centered approach tomusic education, developed by German composer Carl Orff (18951982). It encouragesAn Orff Schulwerk ensembleCourtesy of Sonor InstrumentsM01_LIND3844_01_SE_C01.5.QXD7/9/108:23 AMPage 40Chapter 5 Curricular Integration and Approaches 41children to explore and experience music through movement, singing, playing instru-ments, and improvisation (creating music extemporaneously). They explore and experi-ence first by imitation, then by creation; they proceed from the part to the whole, fromthe simple to the complex, and from individual to ensemble experiences.TheOrffapproachoftenbeginswithchildrenrhythmicallyspeakingchantsandrhymes, accompanied by body rhythms: clapping, patting thighs (patsching), fingersnapping, and foot tapping. The body rhythms are first transferred to nonpitched per-cussioninstrumentsandlatertopitchedmalletinstruments:xylophones,metallo-phones, and glockenspiels that come in various sizes. Playing instruments is a vital partofeverySchulwerkexperience.Improvisationisalsoanimportantpartofallexperi-ences, whether through playing instruments, speech, movement, or singing.OrffSchulwerkisveryappealingtoteachersandstudents,foritinvolvesactivemusicmakingandmanycreativeactivities.ItisincorporatedinsomeelementaryschoolsintheUnitedStatesandisusedwithmanyadaptations,includingthoseforspecial learners.The Kodly ApproachBasedonHungarianfolkmusic,theKodlyApproachbeganundertheguidanceofcomposer and musicologist Zoltn Kodly (18821967). Music literacy is its goal, withsinging and music reading central to its success. Children learn to read, hear, and thinkmusic following a sequential program. The melodic sequence starts with so-mi and pro-gressesthroughthepentatonicscale(do-re-mi-so-la),accompaniedbyspecifichandsigns for each. The hand signs, originally developed by John Curwen and Sarah Gloverin England, are an important teaching tool in the Kodly Approach. See Appendix Dforan illustration of the hand signs.TheCurwen/Gloverhandsignsareperformedbypositioningoneshandstoshowhighandlow.Forexample,ifso isperformedattheupperchestlevel,thenmishould be at the lower chest level.Rhythmsyllablesareusedfromthebeginningtoteachrhythm.Therhythmicsequence uses specific rhythmic syllables for chanting and begins with ta for quarterHand signs for so and miPhoto by P. BurgessM01_LIND3844_01_SE_C01.5.QXD7/9/108:23 AMPage 4142 Section 1 Music Learning and Young Childrennotes and ti-ti for eighth notes. Shorter durations are presented before longer dura-tions. Initially notation is presented without noteheads. The rhythm syllables are shownin Appendix D.Kodly practice in the United States varies. The approach ideally requires a rela-tively stable school population and time in the curriculum for several lessons per weekoverthecourseofseveralyears.WhenchildrenaretaughtmusicaccordingtotheKodlyprinciples,theywillreadmusicfluentlyandbeabletotransfertheirmusicreading from voice to instruments.Dalcroze EurhythmicsThe Swiss musician and educator Emile Jaques-Dalcroze (18651950) was a pioneer ofmusicandmovementeducation.TheDalcrozeapproachincorporateseartraining,singing with sol-fa syllables, improvisation, and eurhythmics. The eurhythmics compo-nent is the one that receives more attention in current application and is often incorpo-rated in elementary general music.The approach encourages eurhythmics beginning at an early agefour or five isconsidered ideal. It focuses on free body movement in response to music. In eurhyth-mics experiences, children use their bodies as musical instruments; they show their mu-sical understanding through movement. For example, walking movements may be thenatural response to music in a moderate tempo, whereas running movements would bemoreappropriateforfastertempos.Thesebeginningexperiences(agesfourtofive)leadtomorecomplexresponsesinvolvingdualcoordination,suchaswalkingtothemusics steady beat while clapping the rhythm of the melody (ages nine to ten).Dalcrozeteachersoftenimproviseatthepianotostimulatemusicalresponsesthrough movement. However, recorded music and other instruments can also be usedto stimulate movement.Gordon Music Learning TheoryAmerican Edwin E. Gordons Music Learning Theory is a systematic study of how welearnmusic.Itisbasedonthetheoryofaudiation(innerhearing).Toaudiateistohearandtocomprehendmusicforwhichthesoundmay(ormaynot)bepresent.Audiationistomusicwhatthoughtistolanguage.Gordonstheoryexplainswhatastudentmustknowtobereadytobeabletoaudiate,anditprovidestechniquesforteaching audiation.Gordonslearningsequenceisdividedintoeightstepsbasedondiscriminationand inference learning. Discrimination learning, or learning by rote, precedes inferencelearning. Inference learning refers to being able to think for oneself or to perform tasksthathavenotbeenlearnedbyrote.Bycombiningthetwoinasequentiallearningprocess,studentswilldevelopmusicalskillssequentiallyandlogicallyusingtheGordon theory.Teachers will find sequenced lesson plans in the available materials listed in Ref-erences at the end of this chapter. These materials incorporate sol-fa syllables for learn-ingtonalpatternsandasetofmnemonicsyllablesforrhythm.TheGordonrhythmsyllables are presented in Appendix D.Eclectic ApproachMany teachers draw from the ideas offered in these approaches as they develop theirown special approach to teaching music to children. A teacher who selects what he orshebelievestobebestfromavarietyofteachingapproachesandmethodsandfusesthemintoacoherentwholeisusinganeclecticapproachtoteachingmusic.Thisre-quires careful planning to achieve a balance of the different methods, but offers unlim-itedopportunitiestochoosefromaplethoraofmusicmaterialsandtousethosematerials in multiple ways in the music classroom. Based on his or her own experienceand training, a teacher creates an eclectic approach unique to him or herself.Many different teaching approaches are used in primary-grade music programs.No matter what approach a teacher chooses or creates, his or her curriculum should beM01_LIND3844_01_SE_C01.5.QXD7/9/108:23 AMPage 42Chapter 5 Curricular Integration and Approaches 43standards-based and focused on engaging children in conceptual music learning. Theultimate goal is to help children deepen their understanding of music through concep-tualexperiences,tobringthemintouchwithavarietyofwaystoexperiencemusic,and,asaresult,toincreasetheirenjoymentofandsensitivitytomusicasanart.WhetherateacheradoptstheKodlyApproachorOrffSchulwerkoranyotherap-proach,thecommonthreadshouldbethathisorhercurriculumisbasedonstateornational standards.Summary of Curricular Integration and ApproachesAn integrated curriculum for children in the primary grades is a must. When connec-tions and relationships are made between subjects, learning becomes much more mean-ingful.Musiccanbeavibrantstimulusforthestudyofothersubjectsandinfusingothersubjectsinthestudyofmusicaddsimmenselytothedepthandrichnessofitsofferings. All kinds of technology are available to enrich the study of music and all theother subjects in the school curriculum.Musicprogramsintheprimarygradesincorporatemanydifferentcurricularapproaches. Some teachers use the Orff Schulwerk approach or Dalcroze Eurhythmics,others use the Kodly method, and still others incorporate the Gordon Music LearningTheory. Many teachers draw from the ideas offered in all of these approaches as theydevelop their own special eclectic approach to teaching music to children.References: Curricular Integration (Music)BARRETT, J. R., C. W. MCCOY, and K. K. VEBLEN.(1997). Sound Ways of Knowing: Music in theInterdisciplinaryCurriculum.NewYork:Schirmer Books.CORNETT, C. E. (1999). The Arts as Meaning Mak-ers:IntegratingLiteratureandtheArtsThroughouttheCurriculum.UpperSaddleRiver, NJ: Prentice Hall.GOLDBERG, M. (2001). Arts and Learning: An In-tegrated Approach to Teaching and Learning inMulticulturalandMultilingualSettings. 2nded.NewYork:Longman/AddisonWesley.HAMIK, R. E., and C. M. WILSON. (2009). Singin,Sweatin, and Storytime: Literature-Based Move-ment and Music for the Young Child. Lanham,MD: Rowman & Littlefield Education.HANSEN, D., and E. BERNSTORF. (2002). LinkingMusicLearningtoReadingInstruction.Music Educators Journal 88(5):1721, 52.HANSEN,D.,E.BERNSTORF,andG.M.STUBER.(2004).TheMusicandLiteracyConnection.Reston,VA:MENC:TheNationalAssocia-tion for Music Education.InterdisciplinaryCurriculum.(March2001).SpecialfocusissueofMusicEducatorsJour-nal 87(4).MCCOY, C. W. (Spring 1994). Music and Chil-drens Literature: Natural Partners. GeneralMusic Today 7(3):1519.MILLER,B.A.(Fall1994).WholeLanguage?Whole Music! General Music Today 8(1):38.MOORE, P. (February 2010). Music and Physi-calEducation:A MovingCombination.Teaching Music 17(5):57.MORIN, F. (March 2003). Learning across Dis-ciplines:AnApproachtoWestAfricanMusic. Music Educators Journal 89(4):2734.MusicandLiteracy.(Winter2008).Specialfocus issue of General Music Today 21(7).NationalStandardsforArtsEducation. (1994).Reston,VA:MusicEducatorsNationalConference.NOLAN, K. K. (2009). MUSI-MATICS! Lanham,MD: Rowman & Littlefield Education.OLSON, C. A. (January 2009). Music and Class-roomTeachersLearntoIntegrateTeachingMusic 16(4): 20.PAUL, P. M. (Winter 2004). Enhancing MusicalResponsewithChildrensLiterature.General Music Today 17(2):617.References: Curricular Integration (Music Technology)BURNS,A.M.(2008).TechnologyIntegrationinthe Elementary Music Classroom. Milwaukee,WI: Hal Leonard.KASSNER,K.(May2000).OneComputerCanDeliverWhole-ClassInstruction.MusicEducators Journal 86(6):3440.KASSNER,K.(Winter2001).TechnologyforTeaching:UsingtheInternetforMusicIn-struction.GeneralMusicToday 14(2):3032.MCCORD,K.(January2001).MusicSoftwareforSpecialNeeds.MusicEducatorsJournal87(4):3035, 6.M01_LIND3844_01_SE_C01.5.QXD7/9/108:23 AMPage 4344 Section 1 Music Learning and Young ChildrenDalcroze EurhythmicsDalcroze Society of America, www.dalcrozeusa.orgThis professional organization has chapters na-tionwide and offers national conferences aswell as local workshops. There are certifica-tionandlicensurecoursesforDalcrozeteachers.ABRAMSON, R. M. (1998). Feel It: Rhythm GamesforAll. Miami:WarnerBros.Publications.Book and CD.ABRAMSON,R.M.,andG.GEISE,ed.(1997).RhythmGamesforPerceptionandCognition.Miami: Warner Brothers Publications. Bookand 2 CDs.CALDWELL,J.T.(March1993).A DalcrozePerspectiveonSkillsforLearning.MusicEducators Journal 79(7):2728.DalcrozeEurhythmicswithRobertM.Abramson(producedbyJ.T.Caldwell).DVD.Avail-able from www.giamusic.com.Kodly ApproachOrganizationofAmericanKodlyEducators(OAKE), www.oake.orgThisprofessionalorganizationoffersbothre-gionalandnationalconferences,hasstatechaptersnationwide,andlocalchaptersthat often offer weekend workshops. TherearefourlevelsofteachercertificationinKodly training.BOSHKOFF, R. (October 1991). Lesson PlanningtheKodlyWay.MusicEducatorsJournal79(2):3034.CHOKSY, L. (1998). The Kodly Method I: Compre-hensiveMusicEducation.3rded.UpperSaddle River, NJ: Prentice Hall.DEVRIES,P.(November2001).ReevaluatingCommonKodlyPractices.MusicEduca-tors Journal 88(5):2330.LANDIS,B.,andP.CARDER.(1990).TheEclecticCurriculuminAmericanMusicEducation:ContributionsofDalcroze,Kodly,andOrff.2nd ed., Polly Carder, ed. Reston, VA: MusicEducators National Conference.References: Curricular Approaches for Teaching MusicAmerican Orff-Schulwerk Association (AOSA),www.aosa.orgThis professional organization offers a nationalconferenceannually,hasstatechaptersna-tionwide, and local chapters that often offerweekend workshops. There are three levelsof teacher certification and master classes inOrff Schulwerk.GOODKIN, D. (November 2001). Orff SchulwerkintheNewMillennium.MusicEducatorsJournal 88(5):2330.GOODKIN, D. (2002). Play, Sing and Dance: An In-troduction to Orff-Schulwerk. London: Schott.LANDIS,B.,andP.CARDER.(1990).TheEclecticCurriculuminAmericanMusicEducation:ContributionsofDalcroze,Kodly,andOrff.2nd ed., Polly Carder, ed. Reston, VA: MusicEducators National Conference.SALIBA,C.(1994).OneWorld,ManyVoices:FolkSongs of Planet Earth. Memphis, TN: MusicraftPublications. Songs (60) with Orff-Schulwerkarrangements; movement, games and poems;PreK through grade 2.STEEN,A.(1992).ExploringOrff. NewYork:Schott. Grades K5 curriculum.WARNER,B.(1991).OrffSchulwerk:ApplicationsfortheClassroom. EnglewoodCliffs,NJ:Prentice-Hall.NARDO,R. (October2008).MusicTechnologyinthePreschool?Absolutely!GeneralMusic Today 22(1):3839.OLSON, C. A. (February 2010). Making the TechConnection. Teaching Music 17(5):3035.Opportunity-to-LearnStandardsforMusicTech-nology.(1999).Reston,VA:MENC:TheNationalAssociationforMusicEducation(www.menc.org).REESE, S., K. MCCORD, and K. WALLS, eds. (2001).StrategiesforTeachingTechnology.Reston,VA:MENC:TheNationalAssociationforMusic Education.RUDOLPH,T.E.(2004).TeachingMusicwithTechnology. 2nded.Chicago:GIA Publica-tions, Inc.SIEGEL, S. J. (April 2004). How One Class withOne Computer Composed Music. TeachingMusic 11(5):4448.VENNEMEYER,J.(June1999).Orff Technol-ogy Composition for Kids. General MusicToday 6(6):3638.Orff Schulwerk ApproachM01_LIND3844_01_SE_C01.5.QXD7/9/108:24 AMPage 44Chapter 5 Curricular Integration and Approaches 45Gordon Music Learning TheoryGordon Music Learning Theory, www.giamusic.comGIA Publicationsoffersageneralmusictext-bookseries,materialsforpreschool,andcurriculumguidesbasedontheGordonTheory of Music Learning.GORDON,E.E.(September1999).AllAboutAudiationandMusicAptitudes.MusicEducators Journal 86(2):4144.GORDON, E. E. (2007 edition). Learning SequencesinMusic:A ContemporaryMusicLearningTheory. Chicago: GIAPublications, Inc.GORDON,E.E.(2003).A MusicLearningTheoryforNewbornandYoungChildren.Chicago:GIAPublications, Inc.GORDON,E.E.(1979).PrimaryMeasuresofAudiation.Chicago:GIA Publications,Inc.GORDON,E.E.(1997).StudyGuideforLearningSequencesinMusic.Chicago:GIA Publica-tions, Inc.JORDAN-DECARBO,J.(September1997).ASound-to-SymbolApproachtoMusicLearning.MusicEducatorsJournal 84(2):3437, 54.TheMusicLearningTheoryofEdwinE.Gordon.(Winter1995).SpecialissueofGeneral Music Today 8(2).Eclectic ApproachCHOKSY, L., and R. M. ABRAMSON, A. E. GILLESPIE,D.WOODS, andF.YORK.(2001).TeachingMusicintheTwenty-FirstCentury.2nded.Upper Saddle River, NJ: Prentice Hall.MARK,M.L.(1996).TeachingMethods.InContemporaryMusicEducation.3rded.Belmont, CA: Wadsworth.SCHNEBLEY-BLACK, J., and S. MOORE. (2003). TheRhythmInside:ConnectingBody,MindandSpirit Through Music. Van Nuys, CA: AlfredPublishing Co.FINDLAY, E. (1999). Rhythm and Movement: Appli-cationsofDalcrozeEurhythmics.Miami:Summy-Birchard.JOHNSON,M.D.(April1993).DalcrozeSkillsforAllTeachers.MusicEducatorsJournal79(8):4245.LANDIS,B.,and P.CARDER.(1990).TheEclecticCurriculuminAmericanMusicEducation:ContributionsofDalcroze,Kodly,andOrff.2nd ed., Polly Carder, ed. Reston, VA: MusicEducators National Conference.MEAD, V. H. (January 1996). More Than Move-ment: Dalcroze Eurhythmics. Music Educa-tors Journal 82(4):3841.M01_LIND3844_01_SE_C01.5.QXD7/9/108:24 AMPage 45M01_LIND3844_01_SE_C01.5.QXD7/9/108:24 AMPage 46