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