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What are the advantages and disadvantages of a musical education ...

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important part <strong>of</strong> <strong>the</strong> Dalcroze method <strong>and</strong> is practised using instruments, movement <strong>and</strong> <strong>the</strong><br />

voice.<br />

Dalcroze believed that students should be able to listen to <strong>the</strong> rhythm <strong>of</strong> a piece <strong>of</strong> music <strong>and</strong><br />

<strong>the</strong>n develop <strong>the</strong> skills to be able to express what <strong>the</strong>y heard <strong>and</strong> how <strong>the</strong> music made <strong>the</strong>m<br />

feel through movement. The main aims <strong>of</strong> <strong>the</strong> Dalcroze method <strong>are</strong> to improve creative<br />

expression, coordination, concentration, inner ear <strong>and</strong> music appreciation. All <strong>of</strong> <strong>the</strong>se skills<br />

contribute to being a good performer. Whilst teaching in Geneva Dalcroze felt that his<br />

students lacked feeing in <strong>the</strong> music <strong>the</strong>y were performing; he felt that <strong>the</strong>y didn’t put all <strong>the</strong>y<br />

had into <strong>the</strong>ir music <strong>and</strong> lacked <strong>the</strong> ability to hear <strong>the</strong> harmonies <strong>the</strong>y were playing. ‘Their<br />

playing showed little sense <strong>of</strong> rhythmic vitality. In Solfège, he began to devise ear-training<br />

games to develop more acute inner hearing. These games sharpened <strong>the</strong> students’<br />

perceptions <strong>and</strong> resulted in more sensitive responses to <strong>the</strong> <strong>musical</strong> aspects <strong>of</strong> performance:<br />

timing, articulation, tone quality, <strong>and</strong> phrase shape’ (Farber, 2009). Dalcroze believed that<br />

<strong>the</strong> body should be conscious <strong>of</strong> every movement in <strong>the</strong> music. He was able to incorporate<br />

natural <strong>and</strong> instinctive gestures into his teaching to help students engage with different<br />

rhythms. Gestures such as swinging <strong>the</strong> arms whilst walking around to a piece <strong>of</strong> music or<br />

bouncing a ball on <strong>the</strong> first beat <strong>of</strong> a bar <strong>are</strong> used to help students to develop a natural sense<br />

<strong>of</strong> rhythm. When teaching <strong>the</strong> Dalcroze method to young children an exercise that<br />

incorporates natural movements is used: ‘Notes <strong>are</strong> given names such as walk for crochets,<br />

jogging for quavers, skipping for a dotted quaver/semiquaver <strong>and</strong> stride for minims, etc. This<br />

is not, as one Ofsted inspector seemed to think, liable to confuse <strong>the</strong> pupil. The names take<br />

advantage <strong>of</strong> <strong>the</strong> very natural movements children make when young’ (Vann, 2003). The<br />

Dalcroze method is still commonly used today <strong>and</strong> is especially popular in schools in <strong>the</strong><br />

United States. The Dalcroze Society that is now well established all over <strong>the</strong> world continues<br />

to teach its students using <strong>the</strong> teachings <strong>and</strong> methods <strong>of</strong> Dalcroze.<br />

Carl Orff was born in Germany in 1895 <strong>and</strong> became one <strong>of</strong> <strong>the</strong> most forward thinking <strong>and</strong><br />

influential composers <strong>of</strong> <strong>the</strong> 20 th century. He developed one <strong>of</strong> <strong>the</strong> most influential methods<br />

<strong>of</strong> teaching music <strong>education</strong> to children; his ideas <strong>and</strong> methods still have a huge influence on<br />

children’s music today. "Since <strong>the</strong> beginning <strong>of</strong> time, children have not liked to study. They<br />

would much ra<strong>the</strong>r play, <strong>and</strong> if you have <strong>the</strong>ir interests at heart, you will let <strong>the</strong>m learn while<br />

<strong>the</strong>y play; <strong>the</strong>y will find that what <strong>the</strong>y have mastered is child's play (Orff Cited in Estrella,<br />

2005).<br />

The ideas <strong>of</strong> Carl Orff <strong>are</strong> referred to as <strong>the</strong> Orff Method or <strong>the</strong> Orff Approach or sometimes<br />

it is just referred to as ‘Music for Children’. The main idea behind his method is to introduce<br />

<strong>and</strong> teach music to children in a way that <strong>the</strong>y will underst<strong>and</strong> <strong>and</strong> relate to. ‘Musical<br />

concepts <strong>are</strong> learned through singing, chanting, dance, movement, drama <strong>and</strong> <strong>the</strong> playing <strong>of</strong><br />

percussion instruments. Improvisation, composition <strong>and</strong> a child's natural sense <strong>of</strong> play <strong>are</strong><br />

encouraged.’ (Estrella, 2005)<br />

Music Education in Regard to Children CM6002 Emily McGregor 163930<br />

14

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