Group 7 - Gordon Music Learning Theory

AMP3043 INTEGRATED APPROACHES IN MUSIC EDUCATION

Gordon Music
Learning Theory

Pendekatan Pendidikan Muzik Kaedah Gordon

Group Members :

SITI HAJAR BINTI ARIF (D20182085121)
NUR ZAINAB BINTI MAIDI (D20182085110)
LAILEEN NUR KHATIJAH BINTI YUS (D20182085129)

ORNAN JOACHIM MATTHEW
RESTARIANA JAIKAN (D20181083304)

MAIN TOPICS

POINTS TO TALK ABOUT

Introduction
About Edwin E. Gordon
Philosophy
Audiation:

1. Audiation and Language
2. Types of Audiation
3. Stages of Audiation
Learning Sequence:

1. Discrimination Learning
2. Inference Learning
Demonstration of Gordon Music Learning Theory

INTRODUCTION

WHAT IS GORDON MUSIC
LEARNING THEORY

Music Learning Theory, researched and developed
by Edwin Gordon from the mid 1950’s to present, is

a set of ideas about how humans learn music
through audiation.

Edwin E. GordonSince 2012 40

Born: Sept 14, 1927, Stamford, 30
Connecticut, US 20
Died: Dec 4, 2015, Mason City, US 10
Edu : Eastman School of Music,
University of Iowa 0 Item 1 Item 2 Item 3 Item 4 Item 5
Widely remembered as a researcher,
teacher, author, editor, and lecturer
The author of six highly regarded music
aptitude tests, as well as numerous books,
articles, and research monographs.

ABOUT EDWIN E. GORDON

He earned bachelor’s and master’s degrees in string bass
performance from the Eastman School of Music. He played string
bass with the Gene Krupa band before going on to learn a Ph.D. from
the University of Iowa in 1958.

Exploring music development with infants, from 1 month
to 18 months old and refining those skills in children from
18 months to age three.
Focused on investigating the levels of Music Learning
Theory, stages and types of audiation, developmental
and stabilized music aptitudes, and rhythm in movement
and music

Edwin E. Gordon

Music Learning Theory is explained in detail in Professor
Gordon’s Learning Sequences in Music: Skill, Content,
and Patterns. The musical development of young
children is described in A Music Learning Theory for
Newborn and Young Children.

He also authored, Introduction to Research and the
Psychology of Music and his most recent book,
Preparatory Audiation, and Music Learning Theory: A
Handbook of a Comprehensive Music Learning
Sequence.

PHILOSOPHY Gordon bases Music Learning Theory on his
extensive research in music aptitude, the
potential each human has for music
achievement .

According to Gordon, we are each Moreover, both music aptitude and music
born with music aptitude. As with achievement are dependent on audiation.
other human learning potentials, there That is, our music learning potentials and
is a wide range of music aptitude our music learning achievements are based
levels distributed among the human on our music thinking. Most importantly,
population. that music thinking goes beyond mere
imitation and leads to music
comprehension

AUDIATION

AUDIATION AND LANGUAGE

The foundation of musicianship.
It takes place when we hear and comprehend music for
which the sound is no longer or may never have been
present.
One may audiate when listening to music, performing
from notation, playing “by ear,” improvising,
composing, or notating music.

AUDIATION

AUDIATION AND LANGUAGE

Audiation is not the same as aural perception.
A cognitive process by which the brain gives meaning to
musical sounds.
Musical equivalent of thinking in language.

AUDIATION

TYPES OF AUDIATION

Gordon differentiates different varieties of audiation
and categorizes them into 8 types and 6 stages.

Type 1, Listening to familiar or unfamiliar music.
Type 2, Reading familiar or unfamiliar music.
Type 3, Writing familiar or unfamiliar music from dictation.

AUDIATION

TYPES OF AUDIATION

Type 4, Recalling and performing familiar music from
memory.
Type 5, Recalling and performing familiar music from
memory.
Type 6, Recalling and writing familiar music from memory.

AUDIATION

STAGES OF AUDIATION

In addition to outlining types of audiation, Gordon also
differentiates between stages of audiation

Stage 1 Momentary retention
Stage 2 Imitating and audiating tonal patterns and rhythm
patterns and recognizing and identifying a tonal center and
macrobeats
Stage 3 Establishing objective or subjective tonality and meter

AUDIATION

TYPES OF AUDIATION

Stage 4 Retaining in audiation tonal patterns and rhythm
patterns that have been organized
Stage 5 Recalling tonal patterns and rhythm patterns
organized and audiated in other pieces of music
Stage 6 Anticipating and predicting tonal patterns and rhythm
processes

LEARNING SEQUENCES

DISCRIMINATION LEARNING




Discrimination learning is defined as
the ability to determine whether two
elements are same or not the same.
Gordon describes five sequential levels
of discrimination: aural/oral, verbal
association, partial synthesis, symbolic
association, and composite synthesis.

LEARNING SEQUENCES

5 SEQUANTIAL LEVEL OF DISCRIMINATION :

Aural/Oral :


Gordon describes that the most basic type of discrimination being
aural/oral, where students hear tonal and rhythm patterns and
imitate by singing, moving, and chanting patterns back to the
instructor. Students listen in the aural portion of discrimination
learning, while performing represents the oral portion. At this stage,
students use neutral syllables to perform tonal and rhythm patterns.

LEARNING SEQUENCES

5 SEQUANTIAL LEVEL OF DISCRIMINATION :

Verbal Association :


After students are more able to audiate and perform basic rhythm
and tonal patterns and become comfortable with imitating songs
and chants in introduced tonalities and meters, Gordon explains the
next step is verbal association, where contextual meaning is given to
what the students are audiating and imitating through tonal or
rhythm syllables (such as solfege or the names of concepts students
may be audiating through tonal patterns such as tonic and
dominant)

LEARNING SEQUENCES

5 SEQUANTIAL LEVEL OF DISCRIMINATION :

Partial Synthesis :


At both aural/oral and the verbal association level, students identify
familiar tonal and rhythm patterns performed on neutral syllables by
their verbal association.

Symbolic Association :

Symbolic association is the point at which students are introduced to
notation, learning to associate written symbols and notation describing
familiar tonal and rhythm patterns that had been introduced in the
aural/oral and verbal association level of the skill learning sequence.

LEARNING SEQUENCES

5 SEQUANTIAL LEVEL OF DISCRIMINATION :

Composite Synthesis :


At the composite synthesis level, students give context to familiar
tonal or rhythm patterns by reading and writing them and identifying
their tonality or meter as introduced in the symbolic association
stage.

LEARNING SEQUENCES

INFERENCE LEARNING




At the inference learning level, students take an
active role in their own education and learn to
identify, create and improvise unfamiliar patterns.
Inference separates into 3 categories which is a
generalization, creativity or improvisation and
theoretical understanding.

LEARNING SEQUENCES

INFERENCE LEARNING

GENERALIZATION


Students may listen to sets of familiar
or unfamiliar tonal or rhythmic patterns.
Students determine whether the
patterns are the same or different.

GENERALIZATION

LEARNING SEQUENCES

INFERENCE LEARNING

CREATIVITY/IMPROVISATION


Teachers present familiar or unfamiliar
patterns and have students respond
with patterns of their own.
Students learn to recognize and sing
patterns.

CREATIVITY/IMPROVISATION

LEARNING SEQUENCES

INFERENCE LEARNING

THEORITICAL UNDERSTANDING


Students gain further understanding of music
theory concepts in aural/oral, verbal, and
symbolic contexts.
Theoretical understanding is like grammar in
language, which deals with all of the 'WHYS'
in music.
Students may learn concepts such as
interval, key signature names, and cadences.

DEMONSTRATION

GORDON MUSIC LEARNING THEORY





SUMMARY

PHILOSOPHY AUDIATION LEARNING
SEQUENCES
.

THANK YOU

Q & A SESSION