Musical instruction practices throughout the world use oral traditions, such as rote learning, with proven success. Yet, in recent decades within Western systems of education, memorization is an unpopular learning practice regarded as lacking the opportunity for the development of critical/analytical skills required for a deeper understanding of subject matter. However, rote learning, in music education specifically, is a strong and effective approach to learning within a larger framework of multiple entry points.
Your music students might become sharper-thinking seniors because of your classes! There might be yet another benefit associated with childhood music education. A recent study published in Psychology and Aging reveals an association between playing a musical instrument in childhood and cognitive benefits later in life.
In elementary music classrooms where western standard music notation is taught, it is not uncommon to see rhythm flashcards or charts displaying common rhythms along with associated rhythmic word cues. For instance you might see two eighth notes accompanied by the word “pizza”. The word “pizza” contains two distinct syllables and two distinct beats readily heard by the ear.
Our students face a variety of stresses throughout their days. Between social pressures, peer conflicts, and busy schedules, students are managing a variety of physical, mental, and emotional challenges on a daily basis.
Music teachers around the world have been using Kodály time names for decades. This system is based on the teachings of composer, ethnomusicologist, and pedagogue Zoltán Kodály (1882-1967). Kodály time names are learned quickly and are easy for students to say. They are musical to the ear as they sound like the note values they represent.
Subdivisions are all the beats in a bar, both played and unplayed. Subdivisions are both the notes and rests in a bar. When counting subdivisions, you SAY ALL the beats but only PLAY the notated rhythm.
Our first entry point in this series is traditional counting.
With traditional counting, numerals are familiar and easy for students to say. This is a quick and readily accessible entry to learning rhythm. This might be an obvious entry point for teaching rhythm, but when other popular and sometimes more complex rhythm teaching methods become our go-to systems, we might overlook the use of traditional counting, and it shouldn’t be. It is simple, but it works for many students.
Multiple entry points refer to a teacher’s implementation of a variety of strategies in combination to teach a specific concept or a skill. Teachers use multiple entry points for inclusivity and to meet the varied learning styles of their students. Since students learn in a variety of ways, one method or entry point is not enough to best meet the learning needs of all students.
You might have seen bucket ensembles performing on YouTube or at local musical festivals. Maybe you’ve wondered if this unique musical experience is something you could offer your students. Read on to discover the eight top reasons why you should start a bucket drumming program.
We are so happy that you have found us here! This is the first official blog post of Song Moon Press. Although this post marks the launch of our new brand, we’ve been around for several years. Many of you know our resources under our former publishing name Talking Drum Educational Resources. We’ve built some wonderful relationships with teachers over the years. Here, we will offer you more inspiration and support in the classroom with exciting new lines of resources and programs. For teachers meeting us for the first time, a warm welcome to you too!
