The musical classroom backgrounds, models, and skills for elementary teaching

Photo by P. Burgess.82 Section I: Backgrounds for Teaching Music

Figure 6.6 Discovering a sound shape drum.

in early childhood educational settings and child-care centers have the joyful respon-
sibility to create developmentally-appropriate music experiences that take place in a
teacher-directed and supported play environment. This environment is very different
from what they will experience later when they enter the elementary school classroom.

Infants and Music

While we have all observed that most babies coo, babble, or move to music, there is
evidence that musical responses begin in utero. For example, a number of researchers
have noted that in the third trimester of pregnancy the fetus can hear and respond to
external sounds evident with changes in heartbeat and movement (Abrams et al., 1998;
Lecanuet, 1996; Lecanuet et al., 2000; Parncutt, 2006). There are even indications that
the fetus shows a preference for low-frequency sounds (Hepper and Shadidullah, 1994;
Lecanuet et al., 2000). However, by six months of age, infants show a preference for
higher pitches (Trainor and Zacharias, 1998; Werner and Vandenbos, 1993). Given
such findings, it is obviously never too early to begin music experiences!

The first year of a childÊs life is considered significant for the development of
auditory/musical perceptual abilities. There is evidence that a number of „neural path-
ways important for music making are established during the first year of life‰ (The Col-
lege Board, 2011: 28). For example, the newborn is able to recognize the rhythm, pitch,
and expression of the motherÊs voice and distinguish it from other female voices (Fox,
1991: 43). Infants of 2 months are able to perceive rhythm patterns and groupings, and
infants of 7 months can recognize variations in tempo and frequency (Trainor and Corri-
gall, 2010). Babies can even tell when a singer is singing in a different register (Trainor
and Zacharias, 1998) and recognize when an accompaniment is added to a melody (Ilari
and Sundara, 2009). They are able to focus and concentrate on a person singing or clap-
ping and not be distracted when nearby activities are going on (Bahrick et al., 2004).

The results of these selected studies remind us how important the musical inter-
action between infants and parents/caregivers is for later musical involvement. We are

Chapter 6: Curricular Developments and Integration 83 SECTION I

Courtesy of Green Tones. encouraged to involve babies in music making by singing and chanting to them, imi-
tating the sounds they make, providing safe toy instruments for them to play, rocking,
patting, touching, and moving with them to all kinds of music.

Toddlers and Music

Toddlers love to explore all kinds of sound sources·pots and pans, body sounds,
found materials. You name it·they love to try it out and see and hear what it sounds
like! Instruments are a natural delight. They are fascinated with musical timbres and
providing them with instruments that they can manipulate will delight them no end!
They are more than able to learn the names of instruments and explore how they look
and make their sounds. Experimenting with a variety of musical timbres using com-
puters is also of great interest to many youngsters too. It is definitely recommended to
expose them not only to instrumental sounds, but vocal, body, and environmental ones
as well.

Children of this age love to create little tunes on instruments such as small xylo-
phones or mallet instruments. They engage readily in any kind of spontaneous music
making such as inventing little „singsongs‰ and chants. Research shows that they
become even more inventive when an adult plays the role of observer or responder,
rather than the leader or director (Berger and Cooper, 2003; Tarnowski and Leclerc,
1995). Children of this age love to sing so parents, caregivers, and teachers need to
share lots of songs, singing games, and rhymes with them.

Figure 6.7 Oh, is this fun!

And do toddlers love to whirl around and dance to all kinds of music! Exposure
to lots of different kinds and styles of music for their movement explorations is very
appropriate and definitely recommended. It is important to note that toddlers are just
gaining control of their body movements so they may be making enthusiastic jerky and

84 Section I: Backgrounds for Teaching Music

punchy motions rather than graceful, controlled ones. However, some appear to be able
to perceive and synchronize their movements to a steady beat (Provasi and Bobin-
Begue, 2003). Props such as a dolly for rocking or a ribbon wand for swishing may
be especially appropriate additions to their creative play movements (Andress, 1998).

Prekindergarten Children and Music

Prekindergarten children enjoy all kinds of music experiences: performing music
through singing and playing instruments, creating music, responding to music through
listening and movements, and, as a result, developing important understandings about
music. These musical experiences are precisely what the National Core Music Stan-
dards for prekindergarten through grade 12 articulate with a focus on the three artistic
processes of performing, responding, and creating (www.nationalartsstandards.org).
That prekindergartners are included in these national standards speaks volumes of the
importance of the preschool years in music learning. Music educators are underscoring
how critical these early childhood years are and how better alignment between the pre-
kindergarten and kindergarten music experiences will help children grow intellectually
and musically.

As prekindergarten teachers and caregivers plan music experiences specified
by the standards, some background information on the three artistic processes of
performing (singing, playing instruments), responding (moving to music, listening to
music), and creating music follows. While each is addressed separately, almost always
preschoolers are generally engaged in several of these activities during a musical expe-
rience. Through these musical experiences preschool children will develop important
understandings about music that will prepare them for kindergarten and beyond.

Performing: Singing

Young children bring to the PreK classroom each and every day their own personal
musical instrument·their voice. And use it they do! They use it quite naturally to sing
and express themselves musically. The preschool experience should help them develop
their singing skills and learn to use their voices appropriately. To do this teachers and
caregivers should sing to, with, and for the young child every day. The songs can be
„real‰ ones or ones made up to fit an activity such as inviting children to come for „cir-
cle time.‰ Singing need not be just at circle time though, but incorporated at different
times throughout the day. The motto should be „Make singing frequent, make singing
playful, and make it fun!‰

And children do love to sing·all kinds of songs. Nursery rhymes and folk songs
are in abundance and perfect for engaging and delighting young children in early
singing experiences. The best ones are usually short and simple, have repetitive parts,
include only a few pitches, and are sung in the range of the young childÊs voice. Some
young children will be able to sing songs in tune. Others will only be able to approx-
imate the ups and downs of the melodies. This is to be expected given the relatively
wide range of individual differences at this stage in their development. (For informa-
tion on teaching a song, etc., refer to the Singing section in Chapter 3.)

Teachers and caregivers may note that childrenÊs singing and language/speech
development seem to be related. For example, a prekindergartenerÊs singing range is
generally similar to his or her speech range and relates directly to his or her flexibility
in singing different pitches. Youngsters with higher speaking voices sing with greater
accuracy than those with lower speaking voices (Trollinger, 2003: 78 94). Assessing
and expanding the childÊs speech and singing skills are critical during the preschool

Chapter 6: Curricular Developments and Integration 85 SECTION I

Photo by P. Burgess. Figure 6.8 Happy singers!

years. With frequent experiences exploring and expanding the „special‰ voices they
use for singing, playing, talking, and whispering, sprinkled with lots of positive rein-
forcement and appropriate modeling from adults (women in head voice and men in
falsetto), most children will become successful (and happy!) singers.

Performing: Playing Instruments
It does not take much to spark a young childÊs interest in playing instruments. Offer-
ing lots of opportunities for children to experiment independently and in group set-
tings with a variety of sound sources and simple classroom instruments (even „smart‰
instruments in an application such as GarageBand) is an important part of the prekin-
dergarten musical experience and starts them on the path to becoming active music
makers.

Children should become acquainted in these prekindergarten years with both
nonpitched instruments such as wood blocks and rhythm sticks and pitched instru-
ments such as xylophones and glockenspiels. Although rhythm instruments are fairly
easy to play, there are special ways (and tips) for holding and playing them to get the
best results (Lindeman, 2002). Young children need to get to know each instrument,
just as they would get to know a new friend. And when they do, they will be adding
sound sources to represent different activities in a story, accompanying a song with
a rhythm instrument, and figuring out how to play simple melodies or patterns from
melodies by ear on a pitched instrument.

Responding: Moving to Music
Music without movement is nearly impossible for young children·they listen with
their whole bodies and physically experience the music. „When children put music

86 Section I: Backgrounds for Teaching Music

in their bodies, they learn the music, the music comes alive in them, and they become
the music‰ (Bennett, 2012: 4). Without question, preschool children learn about music
(and lots more!) quite naturally through movement.

Creative movement is probably the most natural (and playful) way for children
to move in their own special ways and express themselves. That definitely means that
they should have many opportunities to make up movements to music. Teachers and
caregivers often use prompts such as „letÊs pretend‰ or „just suppose‰ to entice chil-
dren to express themselves with creative movement (Miranda, 2015). And they love it
when an adult „plays‰ with them!

Four- and 5-year-olds gain more and more control of their body movements. Even
though they still are developing many psychomotor skills, they have more control and
accuracy in responding to music with creative movements. They love to pretend and
move in all sorts of creative ways as images and verbal cues are suggested.

Preschool children also need multiple opportunities to experience fundamen-
tal movements such as walking, marching, running, hopping, jumping, and sliding
to music. As they develop these motor skills, they learn about their bodies. Through
finger plays, songs, chants, and games, they clap their hands, wiggle fingers, and tap
their feet·all ways to explore and move their bodies.

As with all musical experiences, teachers and caregivers should plan movement
activities that are age appropriate and focus on process rather than product.

Responding: Listening to Music

Listening is central to singing songs, playing instruments, creating music, and mov-
ing to music. However, young children need opportunities to learn to listen to music
just for its own sake too. So often recorded music is played only as background
music for nap time or snack time in preschools. This is worthy and appropriate, but
more focused, attentive listening is especially important at the prekindergarten level
as well.

Learning to listen attentively to music is a challenge for children. Success-
ful and positive music listening experiences result when they are engaged as active
participants. It appears that they listen most attentively when their teacher, parent,
or caregiver is actively involved in listening attentively too, e.g., doing some move-
ments to music, maintaining eye contact with students, and using positive facial
expressions (Sims, 1986). Ways to focus their attention include using movement
or visual aids to elicit responses to particular events in the music. For example,
if children are listening to music that has parts with contrasting long and short
sounds, they can do hand movements while seated to demonstrate what they hear.
Or use puppets to show their understanding. Neither the movements nor the visual
aids should detract from the listening experience! (For helpful hints for children of
any age, refer to the „Guidelines to Encourage Students to Listen Attentively‰ on
page 36 in this text.)

Creating Music

Being a creator comes naturally to prekindergarten children. They love to explore and
experiment with new ideas and this creative nature needs to be nurtured (and cher-
ished). To enable children to experience and expand their creative horizons, teach-
ers and caregivers need to provide lots of time and settings for children to be able

Chapter 6: Curricular Developments and Integration 87 SECTION I

to explore and express themselves in new ways·both alone and with others. Chil-
dren will thrive in an environment that is positive, encouraging, non-challenging, and
respectful of individual efforts. These early experiences in creativity will help children
develop self worth and self esteem.

Singing is a perfect music-making activity for creative experiences. Young chil-
dren love to invent little „singsongs‰ or tunes to accompany their play. When and if
appropriate, have them share their creations with others. Encourage and model ways
to „make a picture‰ of what they create using pictorial or iconic notation. Children are
also intrigued by making up new words for familiar songs or creating dramatizations
to songs. Some even like to improvise a song about someone or something special
to them.

Creative movement comes very naturally to children. They can create dif-
ferent movements, e.g., tapping wrists, rubbing hands back and forth to go with
a familiar song. Or express themselves with free movements to a short listening
selection such as „Aquarium‰ from Carnival of the Animals. Teachers can either
set the stage for a movement experience such as this with some suggestive clues
or let the children be „clueless‰ as they explore and experience the music for the
first time.

Children can use instruments to create accompaniments for their songs. Or they
can improvise musical ideas on simple classroom instruments·even virtual instru-
ments using the GarageBand software and an iPad. To inspire a creative improvisatory
experience, Sims suggests that two children create a „sound conversation‰ between
a pair of instruments with one child starting the conversation and the other answer-
ing (Sims, 1993). Most of these creations may be created on the spot (improvised)
and probably not remembered. Certainly some musical ideas might be repetitive and
could be remembered (and hopefully, „pictured‰ some way in iconic or pictorial
notation).

Understanding Music

Prekindergarten children often understand more than they can tell, and comprehend
many music concepts about timbre, dynamics, rhythm, melody, form, and texture
(McDonald and Simons, 1989: 85). Sometimes questions about „comparatives‰ are
particularly effective for bringing out a response: „Does this (clapped) beat get slower
or faster?‰ „LetÊs sing the song loudly, and then quietly.‰ In addition to fast and slow
tempos and loud and soft dynamics, young children can identify long and short sounds,
same and different phrases, steady beats, various selected orchestral instruments, high
and low sounds, and a number of other music concepts. Once they have experiences
exploring these concepts, they will be ready to describe the differences using the
appropriate words.

There are many musical examples referred to in this text that can be adapted and
used for prekindergarten experiences. For example, children can be invited to show
(through movements) that they hear the fast and slow parts in „Boogie-Woogie Walk‰
(Model 5). They can chant favorite chants (see Appendix C) loudly and quietly·
as well as experiment singing favorite childhood songs with different dynamics (see
Section III).

Multiple experiences creating, performing, and responding to music will enable
young children to develop meaningful music concepts and prepare them for future
musical adventures. The stage has been set through these experiences for the next step
in a childÊs education·kindergarten and beyond.

88 Section I: Backgrounds for Teaching Music

Prekindergarten Approaches to Music Learning*

Just as there are various approaches to teaching music in the elementary school, early
childhood programs also offer a number of curricular choices. In Chapter 5, the most
prevalent elementary classroom music approaches are described·Dalcroze, Orff
Schulwerk, Kodály, and GordonÊs Music Learning Theory. All of these approaches
have a significant early childhood component. However, many prekindergarten pro-
grams incorporate a music learning approach that matches the philosophy of their
overall preschool curriculum. For example, three of the most popular early childhood
schools·Montessori, Waldorf, and Reggio Emilia·all use music and visual art learn-
ing activities as a central aspect of their curricula.

Montessori schools begin with „lessons in silence‰ before moving on to dis-
crimination of sound and music. Waldorf schools also believe that the experience of
listening is important to develop before moving on to more formal music learning
experiences. In Montessori schools there are daily musical experiences that encour-
age children to engage in spontaneous movement and other activities. The Waldorf
curriculum also uses daily movement, dances, and song games with the purpose of
nurturing childrenÊs physical and spiritual development. In Reggio-inspired schools
there is a dedicated arts studio (atelier) where children receive intensive instruction
from a trained arts specialist. ChildrenÊs artistic work is carefully documented and
then shared with teachers, parents, and other children for reflection, and negotiated
by everyone regarding further ideas for including new materials and activities in the
studio (Hanna, 2017).

Central to both the Montessori and Waldorf approaches are carefully selected
materials and activities based on developmental stages and sensitive periods for learn-
ing. In contrast, the Reggio approach introduces materials and activities based on the
childrenÊs current interests and is a part of a non-planned, emergent curriculum.

Pedagogy for singing and instrumental study in the Waldorf schools includes
singing and moving to music in the „mood of the fifth,‰ which are five-note melodies
containing open fifths centering around the note A. Additionally, instruments in the
early years are used only for tone color and mood and never for melodic or rhythmic
purposes. As children reach higher developmental levels in the Waldorf schools, tone
flutes, strings, and band instruments are introduced as regular activities in the class-
room (see Association for Waldorf Music Education at www.waldorfmusic.org). In
Montessori schools special instruments, created by Maria Montessori, are used, such
as the Montessori bells, the Choroi interval flute, the monochord, and sets of prisms
and wooden cylinders with varying pitches and sound colors. These sets of instruments
provide children with ear training experiences and tactile, sensory problem-solving
challenges, and can be completed at each childÊs own pace with little adult supervision
(Burns, 2017). The selection of songs or instruments in Reggio-inspired schools is
based on the music teacher, children, or other adultÊs suggestions.

These three curricular approaches clearly focus on whatÊs important in early
childhood music and share a common belief „in the child as an active learner in an
interactive environment, who is constructing and revising her versions of the world and
finding multiple means to interpret and express them.‰ (Jordan-DeCarbo and Nelson,
2002: 232)

For information on each school, see the following websites: www.montessori.
org, www.waldorfanswers.com, www.reggiochildren.it

* Special thanks to Wendell Hanna for her assistance with this description.

Chapter 6: Curricular Developments and Integration 89 SECTION I

The Prekindergarten Musical Environment

Prekindergarten children need space, equipment, and time for musical play. In addi-
tion to large-group experiences, they need space for individual learning and, when
they are ready, for small-group activities. Adequate space and equipment help music
happen and allow for several kinds of learning. A music corner or separate music
centers serve as an excellent choice to nurture individual learning and musical play
(Kenney, 2004).

Music Centers

A music center or corner can include a variety of musical materials for exploration; a
digital music player (with headphones) and recorded music for listening, a computer
or portable tablet and music-related software, books about songs, instruments, and
other music-related materials. Or individual music centers could be created if space
allows.

Some ideas for four individual music centers follow.

1. The listening center should include a „child-proof‰ digital music player with an indi-
vidual headset, recordings, and picture books about the recorded pieces, or about
instruments used in the music.

2. A singing center could include picture books of familiar stories so the child can „sing
the story,‰ using her or his own melodies. A soft armchair in this area would be an
added plus! Available hand puppets might encourage a youngster to create a song-
story about a particular puppet.

3. The movement center may be stocked with items such as hats or scarves that children
can use in moving to recorded music or their own singing. Clear boundaries should
separate this area from the others.

4. An exploration center for creative activities might include a large „sound box‰
of cardboard or plywood that is outfitted on the inside with chimes, small per-
cussion, and a xylophone. The exploration center provides a private space for
improvising.

Teachers need to devise techniques for managing the classroom activities while using
music centers. For example, decide on a signal that means „stop and listen‰ such as
flicking the light switch, or playing a „signal song‰ on the piano. Be sure children
know how many children can use each center at the same time, and how (and where)
they will wait for their „turn.‰ Keep in mind that the teacher must circulate around the
room, not spending too much time at individual centers. With good planning and orga-
nization, the music centers will be a favorite activity for the children and teacher alike,
and musical play will be truly „musical.‰

PROJECTS

1. Visit a preschool or child-care center and find out how music is integrated into the
program. Briefly describe the situation, including the physical environment, the
music-making activities (e.g., singing, moving) encouraged, and the instruments and
technical equipment available.

2. Check out websites such as www.naeyc.org (National Association for the Educa-
tion of Young Children), www.ecmma.org (Early Childhood Music and Movement

90 Section I: Backgrounds for Teaching Music

Association) or www.earlychildhoodnews.com (Early Childhood News·The Pro-
fessional Resource for Teachers and Parents) to learn more about resources and
tips for working with young children. Summarize your findings.
3. As you explore the Level I model experiences in Section II, consider what experi-
ences at the prekindergarten level should precede the models for kindergarten and
grade one.

REFERENCES

Abrams, R.M., Griffiths, S.K., Huang, X., Sain, Hepper, P. and Shahidullah, B.S. (1994).
J., Langford, G., and Gerhardt, K.J. (1998). „Development of Fetal Hearing.‰ Archives of
„Fetal Music Perception: The Role of Disease in Childhood: Fetal and Neonatal,
Sound Transmission.‰ Music Perception, 15: 71(2): F81 F87.
307 317.
Ilari, B. and Sundara, M. (2009). „Musical Listening
Andress, B. (1998). Music for Young Children. Preferences in Early Life: Infant Responses to
Fort Worth, TX: Harcourt Brace and Co. Accompanied versus Unaccompanied Sing-
ing.‰ Journal of Research in Music Educa-
Bahrick, L.E., Lickliter, R., and Flom, R. (2004). tion, 56: 357 369.
„Intersensory Redundancy Guides the Devel-
opment of Selective Attention, Perception and Jellison, J.A. (2015). Including Everyone:
Cognition in Infancy.‰ Current Directions in Creating Music Classrooms Where All
Psychological Science, 13(3): 99 102. Children Learn. New York: Oxford Univer-
sity Press.
Bennett, P.D. (2012). Playing With the Classics.
Van Nuys, CA: Alfred Music Publishing Co. Jordan-Decarbo, J. and Nelson, J.A. (2002)
„Music and Early Childhood Education.‰ In
Berger, A.A. and Cooper, S. (2003). „Musical The New Handbook of Research on Music
Play: A Case Study of Preschool Children Teaching and Learning, pp. 210 242. New
and Parents.‰ Journal of Research in Music York: Oxford University Press.
Education, 51: 151 165.
Kenny, S. (2004). „The Importance of Music
Burns, S. (2017). „Music Education Through a Centers in the Early Childhood Class.‰ Gen-
Montessori Lens.‰ NAFME E-News. www. eral Music Today, 18(1): 28 32.
nafme.org/music-education-montessori-lens-
every-child-musical-potential. Lecanuet, J.P. (1996). „Prenatal Auditory Expe-
rience.‰ In I. Deliege and J.A. Sloboda (eds),
College Board. (2011). Child Development and Musical Beginnings: Origins and Devel-
Arts Education: A Review of Current Research opment of Musical Competence, pp. 3 36.
and Best Practices, p. 28. New York: The Oxford: Oxford University Press.
College Board. www.advocacy.collegeboard.
org/preparation-access/arts-core Lecanuet, J.P., Graniere-Deferre, C., Jacquet,
A.Y., and DeCasper, A.J. (2000). „Fetal Dis-
The Council for Exceptional Children. (2005). crimination of Low-pitched Musical Notes.‰
Universal Design for Learning: A Guide for Developmental Psychobiology, 36: 29 39.
Teachers and Education Professionals. Upper
Saddle River, NJ: Pearson. Lewis, R., Wheeler, J., and Carter, S. (2017).
Teaching Students with Special Needs in Gen-
Fox, D.B. (1991). „Music, Development, and eral Education Classrooms. 9th ed. Boston:
the Young Child.‰ Music Educators Journal, Pearson.
77(5): 42 46.
Lindeman, C.A. (2002). Adventures with Sound.
Gardner, H. (2011). Frames of Mind: The Theory Fort Worth, TX: Rhythm Band Instruments,
of Multiple Intelligences. 3rd edn. New York: Inc.
Basic Books.
McDonald, D.T. and Simons, G.M. (1989). Musi-
Gordon, E.E. (2013 edn). A Music Learning cal Growth and Development: Birth Through
Theory for Newborn and Young Children. Six. New York: Schirmer Books.
Chicago: GIA Publications, Inc.
Miranda, M. (2015). „Moving Off the Page:
Hammel, A.M. and R. Hourigan. (2011). Teach- Tapping into Young ChildrenÊs Imagination.‰
ing Music to Students with Special Needs. General Music Today, 28(2): 33 35.
New York: Oxford University Press.
Parncutt, R. (2006). „Prenatal development.‰ In
Hanna, W. (2017). The ChildrenÊs Music Studio: G.McPherson (Ed.). The Child as Musi-
A Reggio-inspired Approach. NewYork: Oxford cian: A Handbook of Musical Development,
University Press. pp. 1 32. Oxford: Oxford University Press.

Chapter 6: Curricular Developments and Integration 91 SECTION I

Provasi, J. and Bobin-Bègue, A. (2003). „Spon- Trainor, L.J. and Corrigall, K.A. (2010). „Music
taneous Motor Tempo and Rhythmical Acquisition and Effects of Musical Expe-
Synchronization in 2 - and 4-year-old Chil- rience.‰ In M.R. Jones et al. (eds), Music
dren.‰ International Journal of Behavioral Perception. Springer Handbook of Auditory
Development, 27: 220 231. Research 36.

Sims, W.L. (1986). „The Effect of High Versus Trainor, L.J. and Zacharias, C.A. (1998). „Infants
Low Teacher Affect and Passive Versus Active prefer Higher-Pitched Singing.‰ Infant Behav-
Student Activity During Music Listening ior and Development, 21(4): 799 806.
on Preschool ChildrenÊs Attention, Piece
Preference, Time Spent Listening, and Piece Trollinger, V.L. (2003). „Relationships Between
Recognition.‰ Journal of Research in Music Pitch-Matching Accuracy, Speech Fundamen-
Education, 34: 173 191. tal Frequency, Speech Range, Age, and Gen-
der in American English-Speaking Preschool
Sims, W.L. (1993). „Guidelines for Music Activities Children.‰ Journal of Research in Music Edu-
and Instruction.‰ In M. Palmer and W.L. cation, 51(1): 78 94.
Sims (eds), Music in Prekindergarten: Plan-
ning and Teaching. Reston, VA: Music Edu- Universal Design for Learning at The Center for
cators National Conference. Applied Special Technology (CAST), www.
cast.org/research/udl/index.html.
Tarnowski, S.M. and Leclerc, J. (1994). „Musical
Play of Preschoolers and Teacher Child Inter- Werner, L.A. and Vandenbos, G.R. (1993). „Devel-
action.‰ Update: Applications of Research opmental Psychoacoustics: What Infants and
in Music Education, 13(1): 9 16. Young Children Hear.‰ Hospital and Commu-
nity Psychiatry, 44(8): 624 626.



7

Planning and Assessing
Music Learning

Q Planning Music Learning, p. 93
Q Assessing Music Learning, p. 94

What should elementary school children learn about music? How can that learning be
assessed? These are two important questions to be asked by any teacher working with
children in a school setting. If elementary school children are to be sensitive to the
power of music and to grow musically, then careful planning and meaningful assess-
ment of music learning must be at the top of a teacherÊs instructional agenda.

Learning and evaluating plans are often stated in the form of goals and objec-
tives. Once goals and objectives have been prepared, instruction can then be planned,
and the educational processes and products assessed. Student learning should be mea-
sured using methods that are reliable, valid, and performance-based, such as those used
in authentic assessment.

PLANNING MUSIC LEARNING

Planning requires teachers to consider carefully what will be learned and how. Assess-
ment necessitates examining how well or to what degree students have learned what
was planned. These learning and evaluation plans are most often stated in the form of
goals and objectives.

Goals and Objectives

Goals are broad, general statements, usually few in number, that indicate long-range
outcomes and reflect the philosophical basis for the curriculum and program.

Such statements are central to curriculum planning and development. Goals are
articulated in state curriculum frameworks and for a school districtÊs music program
(K through 12). Goals may even be stated specifically for the elementary school music
program. An example of a goal for a school districtÊs Kindergarten through Grade 12
music program is to help students understand the role music has played and continues
to play in the lives of human beings.

Objectives relate directly to the long-term goals and are simply more precise
statements to make the goals operational.

93

94 Section I: Backgrounds for Teaching Music

Objectives are specific statements of what the students will learn as a result of
music instruction and should be easily measurable.

Objectives are stated for immediate music-learning experiences, such as weekly
or daily lessons as well as monthly or yearly plans. Again, state and district curriculum
frameworks often articulate monthly or yearly objectives as well as goals. Teachers
most often are responsible for preparing objectives for weekly or daily lessons.

Numerous books, articles, learning kits, and other materials are available to
assist in the writing of objectives. The approaches and terminology vary, but the com-
mon denominator in most sources is that an objective should specify how the learner
will demonstrate learning (observable behavior). The verb chosen to specify desired
behavior must connote observable activity. Action verbs such as sing, move, play, and
clap clearly indicate how students will demonstrate their music learning. Verbs such
as recognize, understand, and know do not connote observable activity and should be
avoided.

Once objectives have been formulated, immediate learning experiences can be
created that align with the goals. And once the learning experiences become opera-
tional, the assessment process begins. In this text, each model experience (an imme-
diate learning experience) includes a stated objective indicating what students should
know and be able to do as a result of that particular musical experience. An example of
an objective for Model 19 („Chinese Dance‰ from The Nutcracker Suite) specifies that
students should be able to „identify aurally the high-pitched and low-pitched phrases
that recur and to demonstrate that recognition by raising hands and cards during the
phrases.‰

Note how students will demonstrate learning in this objective·raising hands and
cards to show aural perception of the high and low phrases. This observable behavior
allows teachers to easily assess student learning.

In addition to an objective stated in each model experience, a performance stan-
dard from the National Core Music Standards is also specified. Notice in the example
below how closely the performance standard matches the stated objective. Again, the
alignment between the objective and the standard are important for the next step·
assessing student learning. An example of the standard (both in performing and con-
necting) for the same second-grade music lesson (Model 19) noted above indicates
that students should be able to „demonstrate (by raising hands/cards) understanding
of the music concept (high-pitched and low-pitched phrases) in an instrumental music
selection‰ (MU:Re8.1.2a).

Finally, a clear statement of how to assess whether students have met the objec-
tive as well as the standard is also included in each model experience. The sample
assessment for the second-grade music lesson (Model 19, p. 162) states, „Observe how
successful students are in demonstrating and describing the differences between high
and low phrases in similar compositions.‰

This assessment articulates that in order for students to show their understanding,
they must be able to transfer what they have learned to other similar pieces of music.

ASSESSING MUSIC LEARNING

Once goals, objectives, and standards have been stated and instruction has taken place,
it is important to determine if and how well the objectives have been met. The first
step in assessment should be to determine how well the short-term plans lead to long-
range goals. This review may suggest that the learning experiences be revised or mod-
ified. See the cyclical process as illustrated in the following five steps for planning and
assessing music learning.

Chapter 7: Planning and Assessing Music Learning 95 SECTION I

Figure 7.1 Planning and assessing music Learning.

Ways to Assess

Teachers must assess student learning in a reliable, valid, systematic way. Therefore,
assessment in music cannot be limited to multiple-choice or paper-and-pencil tests.
Techniques must be used that require students to demonstrate a particular musical
behavior or skill. This type of assessment·one that requires actual performance in an
authentic setting·is known as authentic assessment. Techniques for authentic assess-
ment in music try to measure student progress in each of the artistic processes of per-
forming, creating, and responding (Brophy, 2000: 19).

Fortunately, technology-aided methods have been developed to join the older, but
still valid paper-and-pencil method of assessment. For example, one teacher describes
using the Educreations whiteboard app to have her young students record themselves
tapping on the screen to a steady beat. Later she reviews their performance and deter-
mines if they have met the proficiency level expectation. Another elementary teacher
uses Google Forms for creating quizzes and placing them on iPads for children to
individually work with. Using the iPadÊs camera for video recording and GarageBand
for audio recording of student work is yet another of the many options for using tech-
nology in assessing music learning (Criswell, 2017: 32).

Assessment is an integral part of the National Core Music Standards (2014).
In fact, the standards were created to be measurable and to offer valid and reliable
ways to assess student progress. Model Cornerstone Assessments (MCAs) have been
developed by the National Association for Music Education to provide methods for
assessing each music standard. There is an assessment for every single performance
standard at all levels. The MCAs are models to illustrate authentic assessment and
are not created to dictate curriculum. However, they can serve as a guide for devising
assessments. A list of the model cornerstone assessments may be accessed at www.
nafme.org/my-classroom/standards/mcas.

96 Section I: Backgrounds for Teaching Music

Table 7.1 Guidelines for assessment

1 Assessment should be standards-based and should reflect the music skills and
knowledge that are most important for students to learn.
Assessment of student achievement should not be based on the skills and knowledge
that are easiest to assess nor on those for which ready-made assessment devices are
available. Instead, it should be based on the extent to which each student has met the
standards established, and it should reflect the priorities of the instructional program.
Assessment should not be based primarily on where the student ranks relative to
a particular class or group. It should be based on whether or not the student has met
specific criteria.

2 Assessment should support, enhance, and reinforce learning.
Assessment should be viewed by both students and teachers as a continuing, integral

part of instruction rather than as an intrusion into—or interruption of—the process of
learning. The assessment process should itself be a learning experience, and it should
not be conducted or viewed as separate from the learning process.

Students should regard assessment as a useful tool rather than as a source of fear or
anxiety. They should use it as a means of further learning and as a means of measuring
their own progress. When assessment tasks are designed to provide information
concerning the extent to which students meet standards that have been established for
them, teachers can adjust their instructional programs so as to be more effective.

3 Assessment should be reliable.
Reliability refers to consistency. If an assessment is reliable, then another assessment

of the same skills or knowledge will produce essentially the same results. For assessment
to be reliable, every student must be assessed by identical procedures and the assessors
must share the same levels of expectation so that a student’s score does not depend on
who is doing the scoring.

4 Assessment should be valid.
Validity means that the assessment technique actually measures what it claims to

measure. The mental processes represented by the scores correspond to the mental
processes being assessed. No measurement instrument should be used to measure
something that it was not designed to measure. If there is a mismatch between
assessment strategies and the objectives of the curriculum, the assessment strategies are
not valid for that curriculum.

5 Assessment should be authentic.
Authentic assessment means that assessment tasks reflect the essential nature of

the skill or knowledge being assessed. The student should actually demonstrate a
music behavior in an authentic or realistic situation rather than merely answer written
questions about it. For example, the ability to play the recorder should be assessed by
having the student play the recorder, not by having the student answer test questions
concerning fingerings, hand position, phrasing, and note-reading.

Assessment does not need to be based on multiple-choice tests or even on paper-and-
pencil tests, though those techniques have their uses. Portfolios, performance-based
assessment, and other techniques of authentic assessment have been used successfully
by music educators for many years; however, these techniques cannot by themselves
solve the assessment problems facing educators. A portfolio is simply a collection of
samples of a student’s work taken periodically for a specific purpose throughout the
instructional process. Those samples must still be assessed, and the assessment requires
not only careful thought about what should go into the portfolio, but also great care in
developing suitable assessment strategies and appropriate scoring procedures.

Assessment should be based on a holistic view of music learning. It should not
concentrate on isolated facts and minutiae but should deal with broad concepts,
“whole” performances, and complete works of music. Authenticity, like reliability, is a
prerequisite to validity.

Chapter 7: Planning and Assessing Music Learning 97 SECTION I

6 The process of assessment should be open to review by interested parties.
Although assessment of music learning can best be carried out by qualified music

teachers, it is important that students, parents, and the public be provided with sufficient
information and help that they too can make judgments about the extent to which
music learning is taking place in their schools. If their evaluations are faulty, it should
be because of their lack of professional qualifications and not because of lack of
information concerning the assessment process. It is especially important that students
know what they are to be assessed on, how they are to be assessed, and what criteria
will be used to judge their achievement. When appropriate, they should be allowed to
participate in developing the criteria by which their work will be assessed.

“Guidelines for Assessment” reprinted from Performance Standards for Music, PreK–12: Strategies
and Benchmarks for Assessing Progress toward the National Standards. ©1996. MENC: The National
Association for Music Education. Used by Permission.

No matter what method is used for assessing student learning, the assessment has
to be valid, reliable, and performance-based. Table 7.1 presents six important guide-
lines for assessment. Teachers need to consider each as they plan and assess student
learning.

PROJECTS

1. Write an objective for a musical experience in which young children move their bod-
ies to show upward/downward melodic direction. Make sure the statement includes
observable behavior.

2. Create an original model experience following the format of the model experiences
in this text (or design a format of your own). Develop an assessment strategy for your
original lesson.

REFERENCES

Brophy, T.S. (2000). Assessing the Developing Criswell, C. (2017). „Using Technology in

Child Musician: A Guide for General Music Assessment.‰ Teaching Music, 24(3): 22 33.

Teachers. Chicago: GIA Publications, Inc.



IISECTION SECTION II

Model
Experiences for
Teaching Music

99

100 Section II: Model Experiences for Teaching Music

Teaching music to children requires careful planning. This section provides
43 model experiences to serve as samples of what kinds of music learning
can actively engage students in kindergarten through grade 5. Because it is
important to understand the scope and sequence of which music concepts
are appropriate at the different levels and the developmental characteristics
of elementary school students, descriptive charts precede the actual model
experiences. The model experiences are organized by three levels (K-1,
2 3, and 4 5) with a review and an opportunity to create your own model
experience at the end of each level. Monthly planners for use in coordinat-
ing the model experiences and music in the text to coincide with various
celebrations, seasons, and other special events conclude this section.

8 Introduction to Model Experiences for Teaching Music, pp. 101–110
9 Level I: Kindergarten and First Grade, pp. 111–152
10 Level II: Second and Third Grades, pp. 153–190
11 Level III: Fourth and Fifth Grades, pp. 191–242

CHAPTER 8 8

Introduction to Model
Experiences for
Teaching Music

Q Scope and Sequence Chart of Music Concepts in Model Experiences,
Levels I–III, p. 103

Q Developmental Characteristics of Kindergarten–5th-Grade Students, p. 104
Q The Model Experience Format, p. 106
Q Suggestions for Model Experience Presentations, p. 108
Q Teaching Tips, p. 109

Source: Photo by P. Hackett

Taking turns with the resonator bars
101

102 Section II: Model Experiences for Teaching Music

INTRODUCTION TO MODEL EXPERIENCES FOR
TEACHING MUSIC

Classroom teachers are faced with a myriad of subjects to teach·everything from
math to music. State and district standards specifying what students need to know
and be able to do are in place for each subject. The challenge for teachers is in putting
the planning puzzle together·to ensure that students develop the needed skills and
understanding·and in assessing how well they have met those standards. Students
seem to learn best when connections are made between subjects. This means that
teachers are challenged to plan instruction that will integrate the different subject areas
and, as a result, bring about more meaningful student learning. ItÊs a big job to organize
all of this instruction sequentially! Teachers have to carefully plan all the various steps
needed to maximize student learning in each and every subject.

To meet all of these challenges, teachers must be expert planners. Putting together
the puzzle of what needs to happen in the classroom on a daily, weekly, monthly, and
yearly basis is an enormous challenge. And, as the pieces are being put in place, special
consideration has to be given to how to reach and teach all students. Students come to
the classroom with a variety of abilities and disabilities and it is a teacherÊs responsi-
bility to reach each and every learner.

Most school districts require teachers to have daily, weekly, and monthly plans.
These written plans come in various designs, but there are components common to
all. Weekly plans reflect the short-range goals, objectives, and standards for each sub-
ject; activities/procedures to reach those objectives; materials needed to deliver these
activities; and ways to assess student learning. Modifications are made for individual
students as needed and as recommended by the student profiles and individualized
education programs (IEPs).

To help teachers with planning and teaching the curricular area of music,
43 model experiences follow. Each model specifies what music standards will be met
in the learning experience and provides ways to assess music learning. Connections
are made to other subject areas to aid in integration of learning. Adaptations and exten-
sions for reaching all learners are offered. Worksheets, picture maps, charts, recordings
of all the music (see icons ), and other teaching tools are included to maximize the
learning experience and peak student interest.

These individual model experiences can be shared with students in one session
(approximately 15 30 minutes depending on the level) and reflect a daily lesson plan
design. However, teachers can extend most models using suggested follow-ups and
different music selections so the model could be shared several times. These music
learning strategies are appropriate for Kindergarten-grade 1 (Level I), grades 2 and 3
(Level II), and grades 4 5 (Level III).

It is possible that by sequencing and extending these models (an abundance of
supplementary music from Section III is referenced in the lessons), teachers can
organize music instruction on a weekly, monthly, and even yearly basis. Monthly plan-
ners are also included to help coordinate model experiences with various celebrations,
seasons, and other special events occurring throughout the school year. With so much
to do and so little time, these models can serve as a jump start for putting together the
planning puzzle for music.

Chapter 8: Introduction to Model Experiences for Teaching Music 103

SCOPE AND SEQUENCE CHART OF MUSIC CONCEPTS IN
MODEL EXPERIENCES, LEVELS I–III

ELEMENTS OF LEVEL I CONCEPTS LEVEL II CONCEPTS LEVEL III CONCEPTS SECTION II
MUSIC K–1ST GRADES 2ND–3RD GRADES 4TH–5TH GRADES

Melody Pitches can be high or low Pitches can be high or low Pitches can move by stepping
Rhythm Pitches can move up Pitches in a melody can move up or down
Form Pitches can move down by step A melody can exhibit a
Pitches in a melody can stay Pitches in a melody can move distinctive contour as it moves
Harmony/ the same up and down by step up or down or repeats
Texture
Expressive Chants can move with a steady The rhythm of a melody Beat can be grouped in fives
Qualities beat includes long and short sounds
Music can move with a steady Beats can be grouped in twos Phrases in a melody can be the
beat Beats can be grouped in threes same or different
The rhythm of a melody Sections of a composition
includes long and short sounds In call and response form, can contrast with one another
responses can be identical to and sections can be repeated
Songs may have a clear ending the call (ABA)
Repeating patterns can create Melodies are divided into The initial section of a
unity smaller parts called phrases composition may alternate
Melodies can be made up of Phrases in a melody can be the with contrasting sections in
sections that are different same or different rondo form
In call and response form,
A melody can be performed Borduns and ostinatos can add responses can be identical to
alone or with an accompaniment harmony to a melody the call, or contrasting
Each of the three phrases in
Music can be soft and loud Music can be performed legato „12-bar‰ blues consists of four
or become gradually softer or and/or staccato „bars‰
louder Each instrument has its own Sections of a composition
Music can move in a fast and special sound can contrast with one another
slow tempo Instruments are grouped into and sections can be repeated
Sounds are produced by families (AABBACCA)
vibrations
Chords consist of three or
more pitches stacked in thirds
Chords can be performed as a
song accompaniment

Each instrument has a
characteristic timbre that
when combined with others
can create a sound piece
Instruments can be identified
and grouped by their timbres
and materials
The elements of music can be
identified and compared in
music of different historical
periods

104 Section II: Model Experiences for Teaching Music

DEVELOPMENTAL CHARACTERISTICS
OF KINDERGARTEN–5TH-GRADE STUDENTS

This chart summarizes a number of important developmental characteristics concerning childrenÊs cognitive, phys-
ical, and musical growth, and their special interests and needs. Recognizing that many children will exhibit these
developmental characteristics, some may function at a younger or even older level.

Learn by K–1ST GRADE 2ND–3RD GRADE 4TH–5TH GRADE
Doing
(Cognitive Hands-on experiences allow Children continue to While students continue to
Growth) children to show what they learn through hands-on learn best through hands-on,
Physical know and understand by experiences, but they begin to concrete experiences, they can
Growth doing; learning results from internalize processes cognitively internalize their
interaction of their own understandings
Singing thinking and experiences
Small-muscle coordination Physical growth is slow and
Playing Large-muscle coordination and fine motor skills improve steady; girls mature faster
Instruments is better than small-muscle than boys; small muscle
coordination Singing range increases development reaches a higher
Moving from 5 to 10 pitches and level
Voices are light and small; in-tune singing with a clear,
singing range is generally open, and unforced quality Singing range is larger than an
limited to 5 to 6 pitches; in- should be encouraged; with octave and may be as much as
tune singing is a challenge; more control of their singing 12 or more pitches; vocal cords
singing with a pleasant, light voices, singing becomes and lungs are more developed
tone and many opportunities more accurate and expressive so better control of voices and
to sing individually and with as they sing alone and with breathing results; boysÊ voices
others should be encouraged others are more resonant, and girlsÊ
are clear and light; students can
Children love to play simple Because their small-muscle sing in harmony by performing
classroom instruments that coordination and fine motor descants, partner songs, rounds,
they can strike, tap, rub, and skills are improving, students and songs in two parts
shake to accompany their can play more challenging
singing and other musical classroom instruments Students can play a wide
experiences such as the recorder, the variety of pitched and non-
Autoharp®, and Qchord®. pitched classroom instruments,
Moving to music is essential can coordinate two skills such
and fun; children can Locomotor, nonlocomotor, as singing while playing an
experience locomotor, and creative movements are Autoharp® or Qchord®, and
nonlocomotor, and creative still important as are more are ready to start instruction
movements, and can learn challenging singing games on formal instruments such as
simple singing games and simple folk dances; clarinet, trumpet, violin, and
boys may not readily choose percussion
girls as partners, but when
assigned to a partner, they More challenging nonlocomotor
seem to participate willingly movements such as hand jives
are intriguing for students; more
complicated folk dances are very
appropriate

Chapter 8: Introduction to Model Experiences for Teaching Music 105

Reading K–1ST GRADE 2ND–3RD GRADE 4TH–5TH GRADE

Reading skills are limited; Language and vocabulary Language and reading skills
however, both language and develop rapidly; language are steadily improving and
speech skills are rapidly reading skills are developing, studentsÊ music reading and
developing and children start to learn to notating skills are developing
read and notate music
Working with Gradually, children are Students enjoy working in SECTION II
Others learning to take part in and Children like to work and both small and large groups;
benefit from larger-group play in groups; peers of the cooperative learning groups
Interests experiences but still need same sex are particularly work particularly well; students
opportunities to interact important are able to take more initiative
Needs individually with musical and work on their own
materials
Being curious and interested Interests broaden, and students
Curious about and alert to in everything, children are more aware of the larger
everything around them, especially love songs with world; popular music becomes
children like songs that tell ridiculous humor and especially important and
a story and focus on familiar fantastic adventures multicultural music fascinates
experiences (animals, them
holidays, etc.) Even though they are better
able to concentrate and focus Students need to „belong‰
Short attention spans, tiring their attention for longer and peer group approval takes
easily, and being able to periods of time, children on new importance; they
concentrate for relatively still need to alternate active continuously need positive
short periods of time are and quiet periods; they need reinforcement for their
special needs of this age positive reinforcement for achievements (both academic
group; they need lots of their achievements and social)
individualized attention,
encouragement, and positive
reinforcement

106 Section II: Model Experiences for Teaching Music

MUSIC CONCEPT THE MODEL EXPERIENCE FORMAT
Music
This is the single understanding that will result from using the music and the
Objective process of the model experience.

Standard This is the musical selection upon which the model experience is based.
Songs are notated in alphabetical order in Section III. All musical selections
Materials are recorded (specified with icons ).

This is a statement that specifies what students will be able to do as a result of
the musical experience. Teachers should note how the students will demon-
strate their music learning: through singing, playing instruments, body
movements, and so forth.

This specifies the National Core Music Standard that is addressed in the
lesson. The performance standard is indicated by the code used in the
standards—see Chapter 1. Standards are also identified in the Extend section
of the lesson.

Recordings, instruments, props, and other materials are identified. Work-
sheets for student use should be prepared in advance.

[Lesson begins here]

When a sentence is written in italics, it suggests a phrase or a question that may be
spoken by the teacher exactly as it appears.

OPEN To capture the attention of your students, a focus statement or action is sug-
gested for your use. (Create your own, to reflect your personality!) Although
the “open” statements in The Musical Classroom are brief and concise, some
teachers are able to elaborate and expand on them without losing the interest
of their class.

Key Terms Key terms are noted in the margin. Consistent and repeated use of these
terms facilitates learning.

Steps 1, 2, 3 Each procedure is numbered, suggesting a step-by-step sequence for devel-

opment of music concepts and skills.

Indicator of Success This identifies how and when students demonstrate understanding of the
music concept. Most often, the teacher must watch and listen carefully as the
class sings, plays, moves, and so forth.

CLOSE At the end of an experience, it is important to summarize the music concept
and bring the model experience to a close. Rather than announcing this sum-
mary to the class, elicit it from them.

[Lesson ends here]

ASSESS This indicates how, with different musical selections, students can show they

perceive the studied concept.

Chapter 8: Introduction to Model Experiences for Teaching Music 107

Background Note
This section, in some model experiences, provides background informa-
tion for the teacher on the music, composer, or type of music.

Adapt SECTION II

To reach each and every learner, suggestions are given here for engaging all
learners by maximizing and individualizing the learning experience. Ideas
are offered for visuals, charts, dances, English language learning, ASL signs,
and so forth that can be incorporated into the model experience.

Math Extend
Language Arts
To be enjoyed, music usually must be heard until it becomes an old friend.
Science Exciting music contains much that can be discovered on subsequent days.
Social Studies Music concepts also need exploration and refinement. This section includes
Multicultural activities that may serve as follow-ups to the model experience to extend
learning in music and other subjects.
Movement
Visual Art Relationships to other subjects are suggested by activities in related arts, lan-
guage arts, math, science, and social studies. Program ideas are provided, as
Dramatization well as Orff and Kodály adaptations and cooperative and peer-assisted learn-
Orff Adaptation ing projects.
Kodály Adaptation
Music Learning Other Music

Theory Every model experience in The Musical Classroom includes a list of selections
Peer-assisted that illustrates the same music concept. Teachers may choose other selections
that are more familiar, more available, or more appropriate for their particu-
Learning lar classes.
Cooperative Learning
Now, turn to pp. 116–117 and take a look at this format in a model experience.

108 Section II: Model Experiences for Teaching Music

SUGGESTIONS FOR MODEL EXPERIENCE PRESENTATIONS

„Try your wings‰ teaching music to peers in a college classroom or to children in an
elementary classroom by using one of the model experiences in this text. Consider
your own enthusiasms and strengths as you make your selection.

If your „best instrument‰ is a digital music player, choose a model experience
based on listening to orchestral, jazz, or multicultural music. If singing is one of your
strengths, select a song experience. (However, even an insecure singer can handle a
lesson that has a song recording, and many model experiences are specially designed
for this.) If you enjoy moving to music, choose a model experience involving move-
ment. Or consider models that involve cooperative learning and integrating arts and
other subjects. Music involves so much variety that there is sure to be an avenue that
will lead you to successful music teaching.

After selecting a particular model experience, study its format, referring to the
description on pp. 106 107.

Prepare your lesson so it fits within the time frame recommended by your instruc-
tor. If time allows, also prepare an extension activity to use on a different day.

Now review the following guidelines, which describe what to do before, during,
and after presenting a model experience.

Before Presenting a Model Experience

1. Study the entire model experience carefully. Be sure the music concept and the proce-
dures described are clear to you. See your instructor if you have any uncertainty.

2. Find out as much as possible about the background of your learners. If possible, visit
the group before you start teaching. Learn what books, materials, and audiovisual
equipment will be available to you.

3. If you will be using a recording, listen to it several times. Be sure to practice finding
the music on your device so that you can find it quickly during the presentation.

4. Practice using any materials (instruments, props, etc.). When using a recording,
make certain that practice activities are conducted in the tempo of the music on the
recording.

5. Study the objective and standard(s) stated for the experience. Be prepared to evaluate
the learnersÊ demonstration of their understanding.

6. Prepare yourself fully regarding the sequence of the lesson so that you know what
comes next.

7. If possible, audio or video record your presentation.

While Presenting a Model Experience

1. Grab the studentsÊ attention at the very beginning of the lesson. Use the suggested
„open‰ or a similar idea that reflects your own personality and strengths. Make the
opener as brief and concise as possible, keeping in mind that you must capture the
studentsÊ interest in the music to follow.

2. Involve students actively as soon as you can and as frequently as you can. The activ-
ities suggested in the model experience (clapping, singing, moving, playing instru-
ments, etc.) will lead in this direction. Interact with students throughout the lesson
to focus their learning. (Lecturing and dispensing information with little interaction
with the learners has not proved to be an effective teaching technique for elementary
school students.)

Chapter 8: Introduction to Model Experiences for Teaching Music 109 SECTION II

3. Try to keep interest high and to maintain excitement by moving at an appropriate
pace. Observe the students and let their degree of success dictate the tempo of the
work. You must move quickly enough to keep students intrigued and involved but
slowly enough to let ideas sink in, so students feel comfortable with the material.

4. Maintain eye contact with the class at all times to keep them „on task.‰ Your enthu-
siasm can be contagious and help them stay „tuned in.‰ Be expressive, dramatic, and
humorous.

5. Ask clear, direct questions. With children it is important to direct and phrase ques-
tions in such a manner that you do not elicit a response from all 25 at the same
time! Statements in capital letters within the model experience should provide ideas.
And with young children, you may first want to ask „Show me . . .‰ before you ask
„Tell me. . . .‰

After Presenting a Model Experience

Evaluate the effectiveness of your presentation using the Self-Evaluation of Model
Experience Presentation Form available on the companion website. If you were able
to record your presentation, use the audio or video to analyze, assess, and reflect fur-
ther on your teaching. Review the observations made by your instructor or by others
present during your teaching. If you were peer teaching, ask your classmates to fill out
the Peer Evaluation of Model Experience Presentation Form, available on the com-
panion website. Finally, use the feedback you have gathered and begin a journal of
reflections about your teaching. For example, you might note the areas that you want
to target for improvement in the future. Maintain your journal as you continue your
teaching experiences·reflection is a great way to grow as a teacher!

Teaching Tips

1. Be prepared! Have all equipment and materials at the ready and the lesson plan
thoroughly developed and well rehearsed.

2. Stay physically close to your students at all times. Maintain eye contact with each
and every student throughout the lesson.

3. Repeat information, as you teach. Restate in another way or elaborate on what
you have said. Give examples. It is not only OK to repeat, it is essential for student
learning.

4. Better to introduce less information rather than more. Do more repeating, citing
of examples, and so forth to reinforce what you are teaching.

5. Allow students “thinking” time before you ask them to answer a question you
have posed. DonÊt rush the process.

6. Compliment individual students on their achievements and individualize those
compliments, even saying the studentÊs name. For example, „Riley, you really
kept your beat steady playing that drum part.‰



LEVEL I 9

Kindergarten and
First Grade

Q Sequence of Songs and Listening Selections, p. 112
Q Sequence of Music Concepts, p. 113
Q Model Experiences, p. 114
Q Review of Level I, p. 150
Q Creating a Model Experience, p. 151

Photo by Universiti Teknologi MARA, Malaysia/ISME 2006.

Malaysian school children playing instruments.
111

112 Section II: Model Experiences for Teaching Music

SEQUENCE OF SONGS AND LISTENING SELECTIONS
LEVEL I (GRADES K-1)

MODEL MUSIC PAGE

1 “Golden Gate” (Traditional chant) p. 114

2 “Riding in the Buggy” (American folk song) p. 116

3 “Parade,” from Divertissement, by Ibert p. 118

4 “Sally, Go ’Round the Sun” (American folk song) p. 120

5 “Boogie-Woogie Walk,” by Spencer p. 122

6 “Looby Loo” (Traditional) p. 124

7 “Ballet of the Unhatched Chicks,” from Pictures at an p. 126
Exhibition, by Mussorgsky

8 “John the Rabbit” (American folk song) p. 130

9 “The Elephant” and “The Aviary,” from Carnival of the p. 134
Animals, by Saint-Saëns

10 “Five Angels” (German folk song) p. 136

11 “Wishy Washy Wee” (American folk song) p. 140

12 “Head-Shoulders, Baby” (African American game song) p. 142

13 “Bata Drums” (Nigeria) (excerpt) p. 144

“Munomuno” (Mulondo, Uganda) (excerpt) p. 144

14 “Wake Me!” (American folk song) p. 146

15 “Matarile” (Mexican folk song) p. 148

Level I: Kindergarten and First Grade 113

ELEMENTS SEQUENCE OF MUSIC CONCEPTS
OF MUSIC LEVEL I (GRADES K-1)

RHYTHM MUSIC CONCEPTS

Chants can move with a steady beat (Model 1, “Golden Gate”)

RHYTHM Music can move with a steady beat (Model 2, “Riding in the Buggy”)

DYNAMICS Music can be soft or loud or become gradually softer or louder SECTION II
(Model 3, “Parade”)

FORM Songs may have a clear ending (Model 4, “Sally, Go ’Round the Sun”)

TEMPO Music can move in a fast and slow tempo (Model 5, “Boogie-Woogie
Walk”)

FORM Melodies can be made up of sections that are different (Model 6, “Looby
Loo”)

RHYTHM The rhythm of a melody includes long and short sounds (Model 7, “Ballet
of the Unhatched Chicks”)

FORM Repeating patterns can create unity (Model 8, “John the Rabbit”)

MELODY Pitches can be high or low (Model 9, “The Elephant” and “The Aviary”)

MELODY Pitches can move up (Model 10, “Five Angels”)

MELODY Pitches can move down (Model 11, “Wishy Washy Wee”)

MELODY Pitches in a melody can stay the same (Model 12, “Head-Shoulders,
Baby”)

TIMBRE Sounds are produced by vibrations (Model 13, “Bata Drums” and
“Munomuno”)

HARMONY/ A melody can be performed alone or with an accompaniment (Model 14,
TEXTURE “Wake Me!”)

RHYTHM The rhythm of a melody includes long and short sounds (Model 15,
“Matarile”)

114 Section II: Model Experiences for Teaching Music

PREMUSIC CONCEPT Model 1
Chant
Chants can move with a steady beat (Rhythm)
Objective
“Golden Gate” (Traditional chant)
Standard MU:Cr1.Ka
Materials To identify aurally a chant that moves in steady beats and to demonstrate that
recognition through body movements

With guidance, explore and experience a music concept (steady beat).

None needed (chart below is for teacher preparation)

OPEN Step 1: Begin patsching steady beats (| | | |) and invite students to try
some steady beats with me. When steady beats are well established,
Patsch means to pat suggest they keep those steady beats going while I add some words:
tops of thighs.
Key Term: Two, four, six, eight,
steady beat || | |
Meet me at the Golden Gate.
|| | |
If youÊre late, I wonÊt wait
|| | |
Two, four, six, eight.
|| | |

Step 2: Discuss the words of the chant—have children find the rhyming
words. Teach each line of the chant in echo form while maintaining
Indicator of Success steady-beat patsching. When all the words are learned, announce
CLOSE we’re ready to do the whole chant together. I’ll keep the steady beats going;
you just chant the words. Repeat several times. Encourage expressive
speaking. If students are able, have them patsch as they repeat the
chant.

Step 3: When do you like to say chants? Elicit answers like “jumping rope,
bouncing a ball,” and so on. It’s easy to keep ball bouncing and rope
jumping steady when we use a chant with a steady beat.

ASSESS Observe how students can successfully keep a steady beat with a different

chant.

Level I: Kindergarten and First Grade 115

Adapt

1. Prepare visual prompts to help children remember the sequence of words
“2, 4, 6, 8,” “meet” illustration, “Golden Gate” Bridge picture, etc. Make
the visuals large and colorful enough to attract and focus the children’s
attention.

2. For children with physical challenges, create gestures that the class can
do too for feeling and showing the beat (e.g., head bobbing).

Movement Extend SECTION II

Kodaly Adaptation 3. Steady beats can be performed with other body rhythms. For example,
Music Learning students could tap fingertips together, forming a Golden Gate Bridge
Theory with their arms.
Orff Adaptation
4. When students can successfully perform the steady beats with body
Social Studies rhythms, have them step the steady beats with their feet by moving about
the room as they chant.
Visual Art
5. While the class chants, mark beat lines (|) on the board. Repeat the chant,
Language Arts pointing to the beat lines. (If students are able to read, the words of the
chant could also be written on the board.) Have students take turns
touching the beat lines as the class chants. The class could also speak “ta”
or “du” for each beat.

6. Accompany the chant with a steady-beat accompaniment on a rhythm
instrument such as a small drum or a tambourine, or on a barred instru-
ment (e.g., xylophone or resonator bars) using the pitches C (low) and G
played simultaneously.

7. Share a book about San Francisco and its famous Golden Gate Bridge—
for example, M. Sasek’s This is San Francisco (Universe, 2003) or R. Ber-
man’s Sasha—The San Francisco Sea Lion (Smith Novelty Co., 2003).

8. Challenge students to see the relationship between steady beats in music
and the similarities in Wayne Thiebaud’s Big Suckers and Sprinkles Cup-
cakes. Download the pictures from www.images.google.com.

9. Read one of the following books to children—B. Martin’s Chicka Chicka
Boom Boom (Simon & Schuster, 1989) or A. Parkins and E. Guerney’s
Hand, Hand, Fingers, Thumb (Random House, 1997). Both convey a strong
feeling of beat.

Other Chants

See collection in Appendix C.

116 Section II: Model Experiences for Teaching Music

MUSIC CONCEPT Model 2
Music
Music can move with a steady beat (Rhythm)
Objective
“Riding in the Buggy” (American folk song), p. 310
Standard
MU:Pr4.2.1a To identify aurally and sing a song that moves with a steady beat and to
demonstrate that recognition in body rhythms
Materials
With limited guidance, demonstrate knowledge of music concept (steady
beat) in a song

None needed

OPEN Step 1: With students seated in a circle, review steady-beat clapping with
a chant such as “Golden Gate” in Model 1. Then, invite students
Key Term: beat to listen to a song and clap the steady beats. Sing the song or play the
recording, with students clapping steady beats.

Step 2: Share with them what a buggy is and who is riding in it. Sing again,
with students dramatizing how they hold the reins and bounce
(gently), as to a steady beat of a horse’s hooves. Encourage them
to sing the “Riding in the buggy, Miss Mary Ann” parts. Repeat
the singing and moving, also learning the “She’s a long way from
home” phrase.

Indicator of Success Step 3: Create new verses about other vehicles, such as a car and substi-
Step 4: tute a student name for “Mary Ann.” Have students show how they
“drive a car” with hands on an imaginary steering wheel, “turn-
ing” from left to right on each beat as they sing. (The student whose
name is substituted could be in center of circle to lead the move-
ments!)

While the class sings, mark beats (|) on the board creating the four
lines of four beats below. Repeat the song, pointing to the beats.
Invite students to take turns pointing to the beats as the class sings
and moves (or claps).

| | || | | ||
| | ||
Riding in the buggy, Miss Mary Ann, Miss | | ||
| | ||
|| ||

Mary Ann, Miss Mary Ann.

| | ||

Riding in the buggy, Miss Mary Ann, She’s a

||||

long way from home.

CLOSE Step 5: What a good job you did showing the steady beats in the song! Invite
students to show steady beats one more time as they walk back to
their seats and sing the song.

Level I: Kindergarten and First Grade 117

ASSESS Note whether students are successful in keeping a steady beat as they sing a

different but familiar song and point to the beats with reasonable accuracy.

Peer-assisted Learning Adapt

1. Since some children may have difficulty following the beat lines on a chart SECTION II
displayed several feet away, team children with peer partners. Using a
small beat chart, one partner can point to the beats while the other holds
the small chart.

2. To clarify the meaning of the words for English language learners (and
other children as well), prepare visual cues such as colorful cards or
charts of a: house, horse and buggy (with “Miss Mary Ann”).

3. Encourage any active response for feeling the beat (e.g., swaying from
side to side, nodding head, etc.) for children who are limited physically.
Children who are having difficulty feeling the beat might be helped by
exaggerated modeling of the motions or the teacher moving around the
room and tapping the beat on all the children’s shoulders.

Movement Extend
Kodály Adaptation
Music Learning Theory 4. Have students freely explore movements depicting vehicles such as boats,
trains, and trucks as they create new verses for “Riding in the Buggy.”
Language Arts
5. Introduce traditional notation by converting the beat lines (|) to quarter
Movement notes (q). Repeat singing and clapping while pointing to the quarter-note
beats. Students could practice speaking the quarter-note beats with “ta”
or “du.”

6. Share a book focusing on children’s names: E. Sanders’s What’s Your
Name? From Ariel to Zoe (Holiday House, 1995) or Y. Choi’s The Name Jar
(Dragonfly Books, 2003).

7. Choose songs or instrumental selections from “Other Music,” and involve
students in steady-beat experiences. Use nonlocomotor movements like
moving arms, swaying, and stepping in place, then use locomotor move-
ments like marching. Students could also play rhythm instruments.

Other Music
Songs (Section III):

“Hickory, Dickory, Dock”
“Obwisana”
“Ring Around the Rosy”
“Sally, Go ’Round the Sun”
“Wake Me!”
“Wishy Washy Wee”

Listening Selections:

“The Stars and Stripes Forever,” by Sousa
“Viennese Musical Clock” (Háry János Suite), by Kodály
“Hoedown” (Rodeo), by Copland

118 Section II: Model Experiences for Teaching Music

MUSIC CONCEPT Model 3
Music
Music can be soft or loud or become gradually softer or louder (Dynamics)
Objective
“Parade,” from Divertissement, by Jacques Ibert (“ee-BEAR”) (France,
Standard MU:Pr4.2.Ka 1890–1962)
Materials
To identify aurally the parts of a musical composition that are soft and loud
and to demonstrate that recognition by responding with appropriate body
movements

With guidance, explore and demonstrate (through movement) awareness of
music contrasts such as loud/soft in music.

None needed

OPEN Step 1: Play a “Follow the Leader” game with students clapping steady
beats, but experimenting with soft and loud steady-beat clapping.
Key Terms: Then, ask students to listen to a piece of music that begins softly but has
loud, soft, steady beat loud parts too. Clap the steady beats and show when the music is loud or
soft.
Indicator of Success
Step 2: After listening and clapping with “Parade,” ask How did the music
CLOSE begin? Soft or loud? (soft) How did it end? (soft) Was it soft or loud in the
middle? (loud)

Step 3: Invite students to think of ways to show soft steps (tiptoe), loud
steps (marching), and steps for in-between loud and soft (walking).
Choose a group to try those movements with the music. Repeat,
giving all students an opportunity to move. (Students not moving
could be clapping steady beats.) Compliment students on showing
the differences between the louds and softs in the music.

Step 4: Ask students to suggest possible titles for the music. If “Parade” is
not suggested, share with them the composer’s title. Ask if they can
decide where the parade was located (far away or up close) when
the music was soft, when it was loud, when it was in between loud
and soft. Talk a bit with them about parades—the bands playing
instruments, floats, flags, and so on allowing them to share their
own experiences.

ASSESS Observe how successful students are when they sing a familiar song once soft

and once loud and describe the differences.

Level I: Kindergarten and First Grade 119 SECTION II

Adapt

1. Model the soft and loud beats with exaggeration to help children who
may have difficulty hearing the contrasting dynamics and/or matching
their movements to the beat. Encourage children who may not be physi-
cally able to clap or march to use any mobility they have to demonstrate
soft and loud beats.

2. For visual learners, prepare and label picture cards suggesting “soft”
and “loud” to reinforce what is happening in the music. Examples might
be: fingers over lips saying “SHHHHH!” and hands cupped around open
mouth as if calling. Help English language learners pronounce the words
“soft” and “loud” as they associate the words with the movement and
the pictures.

Language Arts Extend

Movement 3. Read G. Baer’s Thump, Thump, Rat-a-Tat-Tat (HarperTrophy, 1991), invit-
Peer-Assisted Learning ing children to join in on the repeated lines using the appropriate loud
and soft inflections. Choose rhythm instruments to accompany “Thump,
Social Studies Thump” and “Rat-a-Tat-Tat.”

Movement 4. Play a loud/soft movement game. Using a drum, first explore moving
Dramatization to steady beats. Then suggest different movements for when the drum
sounds loud or soft—for example, jumping for loud, tiptoeing for soft.

5. In pairs, have students search the classroom for objects that produce loud
and soft sounds. Pairs should find three and be prepared to share them
with the class.

6. Ask children to share the different kinds of parades they have seen. Talk
with them about the kinds of things they saw in the parade. Share books
about parades such as H. Ziefert’s Hats Off for the Fourth of July (Viking,
2000) or D. Crews’ Parade (Mulberry, 1986).

7. Plan a parade with students marching to music with a steady beat, play-
ing in a band (use rhythm sticks or other rhythm instruments), carrying
pom-poms, flags, and so forth. Sousa’s “The Stars and Stripes Forever” is
great marching music.

Other Music

“The Stars and Stripes Forever,” by Sousa
“Dream March” (Red Pony Suite), by Copland
“March” (Children’s Games), by Bizet
“Spring” (The Four Seasons), by Vivaldi

120 Section II: Model Experiences for Teaching Music

MUSIC CONCEPT Model 4
Music
Songs may have a clear ending (Form)
Objective
“Sally, Go ’Round the Sun” (American folk song), p. 312
Standard MU:Cr1.Ka
Materials To identify aurally the ending in the song and to demonstrate that end by
jumping and turning on the final pitch and playing a drum

With guidance, explore and experience the music concept of song endings

Large pictures and word cards of sun, moon, chimney (with a pipe at the top)
Large drum and beater

OPEN Step 1: Ask What do you do just before leaving home to come to school? (put on
jackets, backpacks, and so on). Ask What is the last thing you do when
Key Term: end you leave home? (close the door) Note how closing the door suggests
the end of being at home.
Indicator of Success
CLOSE Step 2: Songs can also have a clear ending. Sing or play the recording and ask
students to listen to a song about a girl named Sally and see if you can
discover what the last word is. (“Boom”) Repeat the song with students
joining in on the boom by speaking and throwing both hands up in
the air to show a “boom.”

Step 3: Ask students to discover all the things “Sally goes ’round” as they
listen again and join in on the “boom.” As they identify sun, moon,
chimney pot, display the picture of each in a place where all students
can see. Sing the entire song using the pictures for visual cues. Then,
repeat adding the sight-word cards.

Step 4: Bring out the drum demonstrating how to play. Ask students in
what special place in the song might the drum sound appropriate
(“boom”). Move through the class letting children play the “boom”
on the drum. Then, have students sing again, adding a student
playing the “boom.”

Step 5: Play the drum to help arrange students in a circle (hands joined).
Add a student drum player in the center to play the “boom.” Then,
have them step the steady beats, as the song is sung and jump on
the ending word, boom. Repeat several times. (On each repeat of
song, students could change direction from clockwise to counter-
clockwise.) Finally, have students drop hands and sing the song as
they move back to their seats (with a final “sitdown” on the “boom”).

What a good job you did showing when the song comes to an end! What
was the last word? (“boom”)

ASSESS Note whether students are successful in identifying a song or a composition

ending when they become familiar with different pieces of music.

Level I: Kindergarten and First Grade 121 SECTION II

Adapt

1. Make a circle on the floor with brightly colored masking tape to give
students a visual reference for a moving circular line.

2. To develop children’s memories and help them learn the words of the
song, make picture cards large and colorful enough to attract the chil-
dren’s attention and use only one picture at a time to focus attention.
Children who are unable to step and jump can be the assistants in the
middle of the circle holding up the appropriate pictures.

3. If a child is unable to grasp the beater to play the drum, try a mod-
ified drum beater or attach the beater to the child’s hand with a strip
of Velcro®.

Movement Extend
Science/Language Arts
4. Teach a chant (Appendix C) or read a story and let students discover the
Orff Adaptation final word(s).

5. Choose a song from “Other Music” and create a movement experience to
accompany it that will help children show the ending.

6. Form a large circle with one child in the center to be the “sun.” Have
another child step just inside the circle to be the “earth” and to walk
around the “sun.” Accompany this by creating new words to fit this idea
about the solar system. Repeat so that other children can be the “sun” and
the “earth.”

7. Invite students to add an accompaniment using, e.g., soprano metallo-
phones and alto xylophones to play a block and alternating bordun.

Other Songs (Section III)

“London Bridge”
“Punchinella”
“Ring Around the Rosy”
“Teddy Bear”
“Wishy Washy Wee”

122 Section II: Model Experiences for Teaching Music

MUSIC CONCEPT Model 5
Music
Music can move in a fast and slow tempo (Tempo)
Objective “Boogie-Woogie Walk” by Dee Spencer (United States)
To identify aurally sounds and music that move fast and slow and to demon-
Standard MU:Pr4.2.Ka strate that recognition in body movements
With guidance, explore and demonstrate (through movement) awareness of
Materials music contrasts (fast/slow)
Drum

OPEN Step 1: We can walk in many different ways. Who can show how you’d walk if you
were excited about going somewhere? Ask for individuals to demon-
Key Terms: fast, slow strate. How about if you were not happy about going somewhere? Con-
tinue with questions that will elicit creative fast and slow walks
Indicator of Success such as going to an ice cream shop to order their favorite ice cream
CLOSE cone, coming in from playing outside to clean up for dinner, and so
forth. Encourage arm movements too.

Step 2: Let’s have a drum be part of our special walks. Ask individuals to choose
a place that they would like to walk and to keep it a secret. As they
walk, match their walking beat with the drum. After the student
demonstrates, ask the class if it was a slow or fast walk and have the
student share where they were going on their walk.

Step 3: Tell the students that music can move fast and slow too. Listen to
this music and tap the beats on your laps as you imagine going somewhere
you are excited about or in a slow way to somewhere you are not excited
about. Be sure to match your tapping with the music. Play the recording,
encouraging them to listen carefully. After listening, ask them to
raise hands and share where they went quickly, where they went
slowly.

Step 4: Now let’s try our walks with the music. Decide where you are going for
the fast part and where you are going for the slow part. Before playing
the recording, arrange students as a group (or take turns in small
groups) in a space that will allow them to move freely and safely.
Alert them to listen carefully for the fast and slow changes.

Step 5: After students have moved to the music, congratulate them on how
their movements matched the slow and fast tempos. Ask them to
raise hands and share where they went on their walks. Comment
on how the body moves in ways that express how we feel: when
we are excited, we might move fast; and when we are not excited,
we may move slower. Ask the students to now show your very special
slow walk as you move quietly back to your seats.

Level I: Kindergarten and First Grade 123

ASSESS Note when students move to other music with tempo changes that they

demonstrate recognition of different speeds through their movements.

Language Arts Adapt

1. Pictures of children or animals moving fast versus slow would reinforce SECTION II
what is happening in the music and help suggest movements. Or books
such as J. Hindley’s Funny Walks (Troll Communications, 1997) and
P. Showers’s The Listening Walk (HarperCollins, 1993) would be a natural
connection.

2. Help English language learners pronounce the words “fast” and “slow”
as they associate the words with the movement and the pictures. Encour-
age the sharing of how to say those words in Spanish and other languages.

3. Children who are unable to physically walk (and joined by several other
classmates) could move puppets to show a fast and a slow walk.

Movement Extend
Dramatization
4. Play the drum/moving game, but introduce the concepts of gradually
getting faster (accelerando) and gradually getting slower (ritardando).

5. Step the steady beats and chant “Engine, Engine” (Appendix C). Incorpo-
rate tempo changes with train movements. For example, children could
chant and move faster as the train leaves the station and slow down when
it arrives at the station.

6. To continue to open children’s ears to jazz (boogie-woogie was an early
form), share the book/CD Ella Elephant Scats like That with them. The
“Intro to Ella” (track 1) includes scatting fast and slow and “Duck Elling-
ton plays the Piano” (track 11) would be great music for a jazzy walk.

Other Music

“Barcarolle” (Tales of Hoffmann), by Offenbach (mostly slow)
“Jesu, Joy of Man’s Desiring” (Cantata no. 147), by Bach (mostly slow)
“The Swan” (Carnival of the Animals), by Saint-Saëns (mostly slow)
“Devil’s Dance” (The Soldier’s Tale), by Stravinsky (mostly fast)
“Four on the Floor,” by Larsen (mostly fast)
“Russian Dance” (The Nutcracker Suite), by Tchaikovsky (mostly fast)
“In the Hall of the Mountain King” (Peer Gynt Suite no. 1), by Grieg (gradu-

ally faster)
“The Little Train of the Caipira” (Bachianas Brasileiras no. 2), by Villa-Lobos

(slow/fast)

124 Section II: Model Experiences for Teaching Music

MUSIC CONCEPT Model 6

Music Melodies can be made up of sections that are different (Form)
Objective
“Looby Loo” (Traditional), p. 293
Standard MU:Pr4.2.Ka
To identify aurally the sections of the song that are different and to demon-
Materials strate that recognition by singing/responding with contrasting movements

With guidance, explore and demonstrate (through singing and movement)
awareness of music contrasts (same/different) in a song

None needed

OPEN Step 1: Review the days of the week with students and ask them to listen
for a day of the week in a new song (Saturday). Play the recording
Key Terms: or sing the first section (“Here we go . . .”), asking them to patsch a
sections/parts, different steady beat along with our song. Review the “silly” words and repeat
several times with students joining in singing.
Indicator of Success
CLOSE Step 2: When the first section is learned, have students stand and sing as
they get into a circle. Encourage a light, swinging walk as they sing
this first part of the song and move in the circle without joining
hands.

Step 3: Note that this is only part of the song. Tell them that on the other
part we will try some different movements with our bodies. Let’s listen
and see what we will do. Play the recording or sing the second section
(“I put my right hand . . .”). Help students learn the new section by
reviewing the words and trying the movements.

Step 4: Now try the entire song with students walking in a circle on the
“Here we go . . .” section and standing in place as they move
their right arms inside or outside of circle on the “I put my right
hand . . .”. As students become confident, they can add the other
verses using other parts of the body.

Step 5: Ask Were the words the same for both parts of our song? (No!) Review
the different words. Did we do the same movements for both parts? (No!)
Review the different movements. You really showed with your singing
and movements how our “Looby Loo” song had two different sections!

ASSESS Observe how successful students are in identifying same and different sec-

tions in other songs.

Level I: Kindergarten and First Grade 125

Language Arts Adapt SECTION II

1. Make a circle on the floor with brightly colored masking tape to give chil-
dren an outline to follow as they move in a circle with hands not joined.
A child unable to do locomotor movements (and joined by several other
classmates) could make his or her hands be the “Looby Loo Walkers”
during the “Here we go” part.

2. For children who have difficulty combining two concepts such as “right”
and “hand” simultaneously (for the second part of the song), have the
entire class put “one hand” in and then the “other hand” in. When that
concept is understood, add the directions “right” and “left.” Small stick-
ers with “R” and “L” could be placed on their hands as reminders.

3. Since “Saturday” is mentioned in the song, the days of the week could
be reviewed for English language learners. Write the seven names on the
board and help children understand that the “day” part is common to
all and is much like a “last name” while the first part is similar to a “first
name.”

Movement/Language Extend
Arts
4. Create additional verses of the song, focusing on rhyming words and use
Math of words. Create different body movements for each verse while keeping
the “Here we go . . .” movements the same.
Movement
5. Draw different shapes (e.g., square, circle) on board and ask children to
name. (Elicit from them that some are made out of lines and others out of
curves.) Ask them to choose one shape for the “Here we go” part guiding
them to decide whether a different shape or the same should be used for
the “I put my” part. Sing the song again with students taking turns point-
ing, at the beginning of each section, to the two different shapes.

6. For a similar experience helping young children learn body parts and the
difference between left and right, sing and do the motions for the “Hokey
Pokey” song.

Other Songs (Section III)

“Get on Board”
“Hey, Lidee”
“Shoo, Fly”
“Up on the Housetop”
“Willowbee”
“Wishy Washy Wee”

126 Section II: Model Experiences for Teaching Music

MUSIC CONCEPT Model 7
Music
The rhythm of a melody includes long and short sounds (Rhythm)
Objective
Standard MU:Re7.2.Ka “Ballet of the Unhatched Chicks” (No. 9) from Pictures at an Exhibition, by
Modest Mussorgsky (“moo-ZOR-skee”) (Russia, 1839–1881)
Materials
To identify aurally the long and short durations in the rhythm of a melody
and to demonstrate that recognition in body movements

With guidance, demonstrate (through movement) how a specific music con-
cept (long and short durations) is used in music

Baby chick puppet or toy
Picture Map (for children), p. 128, illustrated on a large chart
Listening Guide for Teachers, p. 129

OPEN Step 1: Show the baby chick puppet or toy and ask students to identify and
describe. Pretend you are a baby chick, pecking with its beak. Show with
Key Terms: short sounds, your hand what kind of movement you might make. Help students form
long sounds a “beak” with thumb and fingers to show their ideas. Comment on
students’ fast and slow movements and on how the chick uses its
Indicator of Success beak to hatch out of its shell.

Listening Guide for Step 2: Tell students they are going to hear some music about a chick peck-
Teachers gives precise ing and breaking out of its shell. Have them look at the Picture Map,
first noticing the last two pictures. Then have them tell what is hap-
timings. pening in each picture. Have students follow the pictures as they
listen to the recording. Ask them to listen for the sound when the chick
CLOSE finally breaks out of the shell (last two pictures).

Step 3: Repeat the Picture Map experience with students depicting the
story with their hands (cup one hand to be the “egg” and “peck”
with the other—short pecking followed by a long peck). Help them
show the “resting” portion (for about 15 seconds during number 5
at the beginning of the B section) by “putting their chick to rest” and
holding the position. Help them understand that fast movements
go with short musical sounds and slow movements with long
sounds. Repeat the listening and movement until most students are
successful.

Step 4: Ask students to show your baby chick pecking with short movements.
Now, with long movements! Let’s put our baby chicks to sleep! Compli-
ment the students on how well they showed the long and short
sounds of the baby chick hatching out of its shell.

ASSESS After students become familiar with different music, observe whether they
are able to show short sounds by fast movements and long sounds by slow
movements.

Level I: Kindergarten and First Grade 127

Language Arts Adapt SECTION II

1. Describe or involve the class in describing each part of the Picture Map
before the first listening to assist a child with limited vision (and the rest
of the class). Either print out the Picture Map in raised ink or enhance
the map with fabric or paper to enable the child to follow. A child with
a hearing loss will be able to follow the class Picture Map (with teacher
guidance) to discover the music events as they unfold.

2. Help English language learners pronounce the words “long” and “short”
as they associate the words with the hand movements and the music.
A word card for each will help all children learn to read the two words.

Dramatization Extend
Science
3. Try a simple, but creative movement/dramatization for “Ballet of the
Unhatched Chicks”—one that matches the music. For example, children
can curl up and become “the chick inside the shell,” pecking at the hole,
taking a rest, and finally breaking open the “egg.”

4. Draw short and long horizontal lines on the board and while rhythmi-
cally pointing to each, have students clap or move hands in the air. Try
patterns such as — — – – —, — – – — —, and – – – – — —.

5. Read with the students one of the following books to help them learn
more about the life cycle of a chicken.

Legg, G. (1998). From Egg to Chicken (Lifecycles). Franklin Watts.
Sklansky, A. E. and P. Paparone. (2005). Where Do Chicks Come From?

HarperTrophy.
Sykes, J. (1998). Dora’s Eggs. Little Tiger Press.

Other Music

“Devil’s Dance” (The Soldier’s Tale), by Stravinsky (short sounds)
“Kangaroos” (Carnival of the Animals), by Saint-Saëns (long and short)
“Ase’s Death” (Peer Gynt Suite), by Grieg (long sounds)

128 Section II: Model Experiences for Teaching Music

Level I: Kindergarten and First Grade 129

Listening Guide for Teachers

The form of this piece is AABA. MussorgskyÊs composition is based on a drawing by
Victor Hartmann of chicks in their shells.

1. Chick pecks and peeps 2. Tiny hole appears (sec: SECTION II
inside shell (sec: 0–14) 15–16; one long sound)

A 4. Hole is enlarged (sec:
29–31; one long sound)
s
e
c
t
i
o
n

A chick can always be
heard peeping inside the
air sack of its shell.

3. Chick pecks and peeps
A again (sec: 17–28)

s
e
c
t
i
o
n

B 5. Chick rests (sec: 32–44) 6. Chick gently resumes
pecking (sec: 45–53)
s
e
c
t
i
o
n

The chick always rests a
few hours after making
the first hole in the shell.

7. Fast pecking and peeping, 8. Two mighty kicks of the chick's 9. Chick staggers, then flops on
A shell develops a large feet push chick out of shell stomach to rest (three seconds
(min: 1:10, two long sounds) of soft, high sounds)
crack (min: 54–1:09)
s
e
c
t
i
o
n

The chick is tired and wet; its
feathers dry and fluff out in about
two days. It is full grown in about
six months.

130 Section II: Model Experiences for Teaching Music

MUSIC CONCEPT Model 8
Music
Repeating patterns can create unity (Form)
Objective
“John the Rabbit” (American folk song), p. 285
Standard MU:Pr4.2.1a
To identify aurally the repeated patterns in a rhythm game and in a song and
Materials to demonstrate that recognition by performing the repeated patterns

With limited guidance, demonstrate understanding of the music concept
(repeating pattern) in a song

Sticks or claves
D (low) resonator bar
Large picture chart of key words (peas, cabbage, etc.), see p. 132

OPEN Step 1: Challenge the students to play an echo game with you. I am going
to clap a pattern. I want you to echo me exactly. Clap some different
Key Terms: repeat, patterns for students to repeat. Have individual students make up
pattern, unity patterns for the class to echo, and note that the class repeats them.

Indicator of Success Step 2: Tell students I am thinking of a little animal—can you guess what it is?
Give clues such as floppy ears, fluffy tail, hippety hop, wiggly nose, nib-
CLOSE ble/nibble/nibble (rabbit). Then, clap the rhythm of the clues and have
students repeat.

Step 3: I know a song about a rabbit named John. Can you discover the part that is
repeated? After singing the song or playing the recording, talk about
the “Oh, yes” repeats and encourage students to sing that part
with you.

Repeat the singing with body movements for “Oh, yes.” For exam-
ple, use both hands as rabbit ears that bend twice on each response.
Encourage students to discover what John is doing as they listen
and sing. Discuss the lyrics and use the pictures to assist in under-
standing and learning the words of the song.

Step 4: Have a student play the “Oh, yes” part with rhythm sticks or claves
as the class sings and pantomimes the stick playing. Introduce the
D resonator bar for the “Oh, yes” part. Involve the entire class by
holding the bar and moving quickly from student to student, invit-
ing each to play during the song.

Step 5: Conclude by noting how important the repeated part was in the
echo game and in the song. Clap a few more patterns for them to
repeat, and review the repeated tonal pattern in the song.

ASSESS As students become familiar with different songs, note their success at iden-

tifying and performing a repeating pattern.

Level I: Kindergarten and First Grade 131

Language Arts Adapt

1. Using the labeled pictures for the key words in the song will assist all SECTION II
children (including English language learners) in learning to read (and
pronounce) the words. Have children share the vegetable names in other
languages.

2. Encourage a child who has motor impairments to show the “Oh, yes” in
any way he or she can (e.g., bobbing head, tapping fingers, etc.) and to
choose from several instruments that can be manipulated easily or that
have only minor adaptations.

Language Arts Extend
Visual Art
3. Read a poem or story that has repeated lines and invite students to join
Orff Adaptation in speaking those lines. Two good examples are S. Silverstein’s “It’s All
Language Arts the Same to the Clam” (see p. 133) and E. Carle’s “The Very Clumsy Click
Beetle” (New York: Philomel Books, 1999).

4. Study paintings for repetition, such as The Pie Counter or Sugar Cones, by
Wayne Thiebaud; The Equatorial Jungle, by Henri Rousseau; or Little Girl
in a Blue Armchair, by Mary Cassatt. Discuss what repeats in each and
how these repetitions unify the artwork (see images.google.com).

5. Play the echo game using children’s names. Clap and chant names with
the class repeating each.

6. Add a steady-beat accompaniment by alternating D (low) and A on a
barred instrument (xylophone, metallophone, resonator bars).

7. Share one of the following books on rabbits.

Cole, H. (1997). Jack’s Garden. HarperCollins.

A cute story about Jack planting a garden and the fun in watching the garden
bloom.

Fleming, C. (2002). Muncha! Muncha! Muncha! Anne Schwartz Books/
Atheneum.

A delighful story about Mr. McGreely’s garden and the persistent bunnies
that want to munch on his vegetables.

Rohmann, E. (2007). My Friend Rabbit. Square Fish.

A rabbit and a mouse become good friends in this story even though the rab-
bit has a habit of getting into trouble.

Other Songs (Section III)

“Hello, There!”
“Kye Kye Kule”
“Sing About Martin”