Debunking Myths: Integrating Music History And Literature Into The General Music Classroom Using The Eight Music Elements
by April Stephens
Campbellsville University, Kentucky
astephens@campbellsville.edu
Reprinted from Bluegrass Music News
tory. Now, you may think these two pas- sions might not overlap, but in fact it is the opposite. In my experience as an elementary music teacher, I found that students had the ability to learn about music history and literature and to enjoy these lessons. I be- lieve there are three myths that deter some elementary music teachers from integrating music history into their music curriculum. Integrating music history within a mu- sic lesson does not have to be a daunting task. It can be as simple as varying the class- room listening selections used. For example, when teaching triple meter to your third grade class, go to your local library to locate CDs from several different music periods (e.g. Strauss’ Blue Danube Waltz or Aaron Copland’s “Saturday Night Waltz”
I from
Rodeo). Simply share with the students the time period for which each work is associ- ated and you have already started the inte- gration process in your music classroom!
Myth 1: “There isn’t enough time.”
Most teachers are limited in their amount of weekly instruction time, and it is understandable that time remains a concern for teachers to present their required curriculum. In a study by Byo (1999), music teachers rated the nine National Standards for Music Education in seven categories: 1) interest, 2) sense of responsibility, 3) ability, 4) teacher’s training, 5) perception of available time, 6) conjunction, and 7) resources. Each participant used a rating scale of 1 to 5 (l=strongly agree and 5= strongly disagree). In the category of history/ culture (Standard 9), the mean rating of the teachers’ interest was 1.27. The ability to teach this content was slightly lower at 1.49, and the perception of available time
JANUARY 2014
have two strong passions in regards to music education: 1) Elementary General Music and 2) Music His-
to teach this content was 2.44. The mean for resources was 2.23. This study indicates some teachers’ hesitation to integrate music history within their curriculum due to lack of time and resources. Many teachers feel that music his-
tory is its own stand-alone lesson and time constraints do not allow a long music his- tory lesson. As mentioned previously, music history can be taught simultaneously with other musical concepts. Leave behind the mindset that a music history lesson has to be a long, fact-filled, “boring” lesson. Inte- grate music history into your everyday mu- sic lessons quickly and with minimal time.
Myth 2: “There are too many oth-
er important musical concepts I must teach.” It is true the National Standards provide teachers an abounding list of con- cepts to teach (NAfME). It is important to remember that music history is included in that list of nine standards. Music history provides students the context in which to perform. Without that historical context, a performer might not interpret correctly the musical style. Ferguson’s (2004) article entitled, “Put-
ting It Together: Integrating Jazz Education in
the Elementary General Classroom,”
discusses the fact that many secondary schools have a jazz education program but enrollment in such programs remains low. She suggests the integration of jazz educa- tion into the elementary general music classroom might increase later interest in secondary jazz programs. Building a strong foundation in music history will prove prof- itable as students begin the study of instru- ments or voice. Another important purpose for integrating music history concepts into the general elementary music class is to show where music “has been” to better un- derstand “where it is going.”
63 Myth 3: “Students will be bored
with a music history lesson.” In my ex- periences as an elementary music teacher, I have found this incorrect. In my second year of teaching, I chose to showcase a com- poser each month. Throughout the month, I provided short facts about the composer’s life and music and played a variety of lis- tening examples from their oeuvre. Stu- dents responded positively to this concept. These lessons fit well in a 5-10 minute time frame. I found the students eager to hear the new fact of the day and the amount of knowledge they retained was exceptional. For example, play Mozart’s Symphony No. 1 in Eb Major, K. 16, movement 3, Presto as students enter the classroom. Once stu- dents are seated, initiate a brief discussion about the music heard. Ask questions such as, “What instruments did you hear?” “De- scribe the mood of the music,” or “Was the music fast or slow?” After a brief, 2-3 min- ute discussion introduce the fact of the day, Mozart wrote his first symphony when he was eight years old. At this point, enter into a light-hearted discussion about Mozart being a musical prodigy. Engage students with questions such as, “Can you imagine writing a symphony at your age?” or “Has anyone ever written a song? How long did it take? Did you find it easy or difficult?” Within a few minutes, you’ve com-
pleted your mini-lesson for the day. At the end of the month, include an assessment for students. A written assessment might include multiple choice or fill-in-the-blank questions about the composer or replay one of the listening examples and ask students questions about the piece (instrumentation, dynamics, tempo, etc.) The remainder of this article will pro- ideas
vide for integrating music history
into your elementary general music class- room using eight musical concepts includ-
TEMPO
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