Now Is The Time For Music Learning Theory Using Learning Theory To Teach “Reading Notes” On The Recorder
by Joel Perry Redwood School West Orange, NJ
joeljperry@gmail.com
on an instrument. We know that music reading implies reading with understanding. That is, looking at the notes, and hearing the sound in our heads as we play them on our instruments. We know how important it is to teach not only the “note names” but how to understand tonality. Our students need to be able to “think critically” in music. If our students can sing, play, improvise, read, write and compose music, then they are truly demonstrating a deep understanding of music. In short they need to “audiate” tonality and tonal patterns. If we, as music educators understand the basic principles of Music Learning Theory then the teaching of tonal audiation can be a wonderful, fun and creative process for the teacher and student! It is a lot of fun to be able to make music together! Below is just one way that it might be done.
W
Understanding the elements of Tonality (Whole) Songs in major and minor tonalities as well as mixolydian and
Dorian tonalities should be part of an on going repertoire for the student to perform and listen to, as well as audiate. These songs should be part of the student’s repertoire. The student should be able to sing the resting tone or tonic to a number of songs in various tonalities as well as know how to sing the songs as well as perform them on an instrument. This would be part of the classroom activities, or the main part of the performing group rehearsal. This is the “whole” part. Some of these songs can be taught by rote or by “echo/playing” phrases on instruments. Notation can be used as well.
Learning Sequence Activities (Part) It is recommended that the “Learning Sequence” part of the lesson be at the beginning of the lesson and last for about 5 – 10 minutes. The “Sequence” consists of a content sequence (in this case tonal content) and a skill learning sequence. It is the interaction of these two areas that create the forward motion of learning. If the class meets two times a week for thirty minutes each time, it might be best to alternate content every week or so. That is, one week tonal, the next week rhythm, etc. It is important to change tonalities for comparison and building understanding. One week use major, the next week minor and so on. The tonal content is divided up into patterns (see examples) for each tonality. The skill learning sequence is divided into Discrimination
learning and Inference learning. Discrimination learning is teacher centered. The teacher models or demonstrates and the students respond. It is “rote” learning. Inference Learning is student centered. The student generalizes and comes up with new information. The teacher can only set up a situation where this can happen. They can ask a question. It is student centered. The student must do the heavy
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J.Perry
hat does it mean to read music? We as musicians and music teachers know that to read music means more than decoding a symbol and finding a fingering
lifting. The teacher cannot teach inference learning, but can provide a situation for the student to make inferences. The same skill level can exist in both categories. The order of instruction is sequential. One can “bridge” over from the Discrimination side to the Inference side and then back again to enrich learning and increase understanding. This is also valuable in assessing understanding. (*Foot note #1) The Skill Learning sequence is: Discrimination
Learning Aural/Oral. Verbal Association. Partial synthesis. Symbolic Association (Reading –Writing). Composite Synthesis. Inference Learning Generalization (Aural/Oral –Verbal – Symbolic) (Reading, Writing). Creativity/Improvisation (Aural/Oral, Symbolic, Reading and Writing). Theoretical Understanding (Aural/Oral, Verbal, Symbolic) Reading and Writing. It is from the interaction of the skill learning sequence and the
content sequence that long –range goals and sequential objectives can be developed and taught and assessed. This is specifically how curriculum can be developed. Benchmark assessments can be directly derived from the rhythm content. Here is just one way out of many that this can be achieved. Comprehensive Goal A. Students will demonstrate the ability
to perform on recorder, read, write, and create using the following tonal patterns: major tonal patterns (see example 1)
Example 1
Treble Solo 3
Tr. Solo 6
Tr. Solo 9
mi Do
Tr. Solo sol
Tr. Solo sol
12 Tr. Solo 15
ti
re
fa
Do
fa
Tonic Patterns sol mi Dominant Patterns
fa
re
16
fa
re
ti
Do Do 13
re
fa
sol 17
fa
ti
re
Comprehensive Goal B. Students will demonstrate the ability
to perform on recorder, read, write, and create using the following minor tonal patterns. (See example 2)
Using a schedule of a class having music two times a week,
for thirty minutes, each sequential objective (one a week) would be studied at the beginning of each period. Stay on each objective for two classes. The first class would be in a “teaching mode”. The
JANUARY 2014 10 mi sol mi 14 sol
re
sol
Each measure is a pattern. Alternate between Tonic and Dominant Patterns. 2
re
sol 7 Do sol Do 11 sol Do mi
Major Tonal Patterns
mi 4 sol
fa
mi 8 Do mi sol mi 5 Do
ti
Do
re
Do
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