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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The Suzuki method is an idea that is based around <strong>the</strong> importance <strong>of</strong> p<strong>are</strong>ntal influence <strong>and</strong><br />
involvement. ‘Adults play a critical part in whe<strong>the</strong>r or not children become creative people.<br />
Unless <strong>the</strong>y work sensitively with children <strong>and</strong> <strong>the</strong>ir families, <strong>the</strong> emergent possibilities for<br />
creativity that <strong>are</strong> in every child do not develop or can be quickly extinguished’ (Bruce, 2004,<br />
P.24).<br />
The Suzuki method teaches that children should be exposed to music from birth <strong>and</strong> that<br />
p<strong>are</strong>nts <strong>and</strong> teachers need to work toge<strong>the</strong>r to help develop <strong>musical</strong> ability in children at a<br />
young age. Suzuki believed that p<strong>are</strong>nts played a vital role in teaching music to <strong>the</strong>ir children<br />
<strong>and</strong> that <strong>the</strong>ir input was just as important <strong>and</strong> beneficial as music classes held in schools. The<br />
Suzuki method was originally developed to help children learn to play <strong>the</strong> violin but it has<br />
now been adapted to include o<strong>the</strong>r instruments such as piano, guitar <strong>and</strong> flute. Typically<br />
children start instrumental lessons at two or three years <strong>of</strong> age <strong>and</strong> background music should<br />
be played to children while at school to help <strong>the</strong>m develop good listening skills. The main<br />
aims <strong>of</strong> <strong>the</strong> Suzuki method <strong>are</strong> to develop discipline, confidence, technical mastery <strong>and</strong><br />
musicianship.<br />
All four <strong>of</strong> <strong>the</strong>se <strong>musical</strong> scholars have made a huge contribution to <strong>musical</strong> <strong>education</strong> <strong>and</strong> in<br />
<strong>the</strong>ir own individual ways <strong>the</strong>y have helped to mould <strong>the</strong> music curriculum into what it is<br />
today. Their different approaches to music <strong>are</strong> still being practised all over <strong>the</strong> world.<br />
Jingle Jangle Club Journal<br />
During <strong>the</strong> process <strong>of</strong> writing this dissertation a personal experiment took place to see how<br />
young children react <strong>and</strong> respond to music. Six <strong>musical</strong> storybooks were written about<br />
various percussion instrument characters. The instrument characters were: Tommy <strong>the</strong><br />
Triangle, Antoinette <strong>the</strong> Castanet, Izzy Bell, Molly <strong>the</strong> Maraca, Dean <strong>the</strong> Tambourine <strong>and</strong><br />
Wilbur <strong>the</strong> Whistle. Each <strong>musical</strong> storybook came with a song, a dance, <strong>and</strong> a short story that<br />
taught <strong>the</strong> children about <strong>the</strong> instrument <strong>and</strong> when to play it. An interactive children’s<br />
event/play called <strong>the</strong> ‘Jingle Jangle Club’ was <strong>the</strong>n put toge<strong>the</strong>r with <strong>the</strong> main aim <strong>of</strong> getting<br />
young children involved in making <strong>and</strong> responding to music. The play consisted <strong>of</strong> various<br />
<strong>musical</strong> activities that were all based around <strong>the</strong> six <strong>musical</strong> storybooks.<br />
During <strong>the</strong> event <strong>the</strong> children were able to get involved making <strong>the</strong>ir own <strong>musical</strong><br />
instruments, which <strong>the</strong>y were <strong>the</strong>n taught to play. All <strong>the</strong> instruments made were percussion<br />
instruments; this gave <strong>the</strong> children an opportunity to play around with different rhythms <strong>and</strong><br />
sounds. The children <strong>the</strong>n took part in an interactive performance in which <strong>the</strong>y were able to<br />
sing, dance <strong>and</strong> play <strong>the</strong> instruments that <strong>the</strong>y had made. The response from <strong>the</strong> children was<br />
quite remarkable. It was amazing to see how an introverted <strong>and</strong> shy child at <strong>the</strong> start <strong>of</strong> <strong>the</strong><br />
event <strong>the</strong>n transformed into a smiley, chatty, <strong>and</strong> confident child by <strong>the</strong> end <strong>of</strong> <strong>the</strong> day. The<br />
Music Education in Regard to Children CM6002 Emily McGregor 163930<br />
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