Teaching about the Korean Ganggangsullae Folk Tradition in General Music Class

2019 ◽  
Vol 105 (3) ◽  
pp. 45-53
Author(s):  
Gina J. Yi
Keyword(s):  
Folk Music ◽  
Music Teachers ◽  
Historical Background ◽  
Western Music ◽  
General Music ◽  
Music Curriculum ◽  
Music Classroom ◽  
Korean Folk Music ◽  
Music Class ◽  
Folk Tradition

Korean folk music has been rarely included in the Western music curriculum due to limited materials for music teachers to use. This article introduces Ganggangsullae, a prominent Korean folk tradition (called a “folk play” by Koreans) that incorporates singing and dancing, and discusses its historical background and the unique elements of Korean folk music that it illuminates: Korean rhythm, minyo singing, dancing, and dialogue play. In addition, this article offers practical teaching guidance for incorporating Ganggangsullae into the elementary general music classroom.

Integrating Social-Emotional Learning Into Our “New Normal” Teaching Elementary General Music

2020 ◽  
pp. 104837132096137
Author(s):  
Taryn Raschdorf ◽  
Brittany Nixon May ◽  
Amie Searcy
Keyword(s):  
Music Teachers ◽  
Social Emotional Learning ◽  
Music Educators ◽  
Emotional Learning ◽  
General Music ◽  
Music Curriculum ◽  
Social Emotional ◽  
Building Relationships ◽  
Music Classroom ◽  
Elementary General Music

As social-emotional learning (SEL) initiatives are being adopted by many states and school districts, many music teachers have been actively and successfully integrating SEL into their elementary general music curriculum. Whether teaching in person or remotely music educators can create an environment conducive to SEL by practicing mindfulness, building relationships with and between students, encouraging family music engagement, and engaging in inclusive music activities. In this column, you will find resources and ideas about SEL, discover how it looks and functions in the music classroom (virtual or not), and hear from music educators who currently incorporate SEL in their teaching.

scholarly journals Creating a Meaningful Music Curriculum for Students With Disabilities

2019 ◽  
Vol 33 (1) ◽  
pp. 47-49
Author(s):  
Ellary A. Draper
Keyword(s):  
Special Education ◽  
Students With Disabilities ◽  
Music Teachers ◽  
Traditional Curriculum ◽  
Music Curriculum ◽  
Music Classroom ◽  
Functional Curriculum

When teaching students with disabilities, it is important for music teachers to consider the functionality of the skills taught and learned beyond the music classroom. In special education, a curriculum centered on the life-long skills important for students to be independent in their communities is called a “functional curriculum.” Before considering how to adapt a traditional curriculum for students with disabilities, music teachers can used the ideas based in functional curriculum to develop a functional music curriculum, ensuring that both students with and without disabilities are learning the skills to engage in life-long music experiences.

scholarly journals General Music Today Music Ideas Series: Viewpoints in Secondary General Music—Article Two: Power Trio: Three Ideas for Renewed Success With Classroom Ensembles

2019 ◽  
Vol 33 (1) ◽  
pp. 6-14
Author(s):  
Virginia Wayman Davis ◽  
Laura Singletary ◽  
Kimberly VanWeelden
Keyword(s):  
Music Education ◽  
Popular Music ◽  
Practical Experience ◽  
Upper Elementary ◽  
Elementary Music ◽  
General Music ◽  
Music Classroom ◽  
Music Ensembles ◽  
Music Class ◽  
Instrumental Ensembles

In this second of three in the series, we explore methods for incorporating instrumental ensembles into your music classroom. Experiences such as performing on ukulele, bucket drums, and in modern popular music ensembles are excellent ways to provide meaningful, relevant music education to students of all ages. Using both research-based information and practical experience, we will discuss ideas for three common instrumental ensembles. The techniques and resources provided in this article are starting points, appropriate for various levels and configurations of music classes: upper elementary music classes, secondary general music classes, afterschool or extracurricular music groups, or for teachers seeking to start an alternative ensemble or rebrand an existing nonperformance music class.

Teaching Students with Autism Spectrum Disorder: Strategies for the Music Classroom

2019 ◽  
Vol 33 (2) ◽  
pp. 87-89
Author(s):  
Ellary A. Draper
Keyword(s):  
Autism Spectrum Disorder ◽  
Classroom Environment ◽  
Music Teachers ◽  
Autism Spectrum ◽  
Spectrum Disorder ◽  
General Music ◽  
Neighborhood Schools ◽  
Music Classroom ◽  
Control And Prevention ◽  
Students With Autism

The most recent Centers for Disease Control and Prevention report estimates that 1 in 59 children have autism spectrum disorder, and many of these children are receiving their education in their neighborhood schools, possibly participating in general music. Music teachers can make adaptations to their classroom environment and instructional strategies to support students with autism spectrum disorder, so they are able to participate in successful music-making experiences alongside their typical peers.

On Becoming Musical

2017 ◽  
pp. 322-328
Author(s):  
Gena Greher
Keyword(s):  
Music Education ◽  
Special Needs ◽  
Music Teachers ◽  
Music Technology ◽  
Music Teacher ◽  
General Music ◽  
Education Students ◽  
Music Participation ◽  
Music Class ◽  
Context Specific

This chapter examines the role of both high- and low-tech solutions, when using music technology as a form of reflective practice in working with special needs populations. Music teachers often are given little coursework in working with at-risk and special needs students. It is little wonder that music teacher attitudes are often negative regarding the inclusion of these students in music activities, whether it’s in a general music class or ensembles. Rather than marginalizing these students, music technology can be adapted to allow even the most severely impacted student a means to music participation in school settings. Providing music education students with context-specific field experiences working with a variety of special needs populations can help students realize the musical potential of all students.

Charles Faulkner Bryan's Legacy for General Music

1998 ◽  
Vol 46 (2) ◽  
pp. 223-238
Author(s):  
Carolyn Livingston
Keyword(s):  
Music Teachers ◽  
Art Music ◽  
Music Educators ◽  
General Music ◽  
Music Curriculum ◽  
Work Habits ◽  
Positive Attitudes ◽  
Student Interests ◽  
Multicultural Music ◽  
Musical Knowledge

Charles Faulkner Bryan (1911-1955), music educator and ethnomusicologist, was best known as a composer who was influenced by Appalachian folk music. This study focuses on his ideas about general music and the qualities of exemplary music teachers. Bryans own general music curriculum and his teaching attributes are also examined. Bryan believed in solid planning for instruction and maintained that the general music curriculum should be eclectic, experiential, community-oriented, founded on local culture and student interests, and include both vernacular and art music. Bryan valued adaptability, resourcefulness, and creativity in music educators. He believed that a teacher should demonstrate thorough musical knowledge, strong technical skill, an attractive personality, good work habits, and positive attitudes. By all accounts, he displayed these qualities in his own teaching. Bryan designed and taught a general music course that included multicultural music and curriculum integration. His work may have influenced present practices and curricula.

Exploring and Listening to Chinese Classical Ensembles in General Music

2017 ◽  
Vol 31 (1) ◽  
pp. 26-33
Author(s):  
Wenzhuo Zhang
Keyword(s):  
Classical Music ◽  
General Music ◽  
Cultural Elements ◽  
Cultural Contexts ◽  
Music Classroom ◽  
Music Class ◽  
Contemporary Chinese ◽  
Chinese Classic ◽  
Music Activities

Music diversity is valued in theory, but the extent to which it is efficiently presented in music class remains limited. Within this article, I aim to bridge this gap by introducing four genres of Chinese classical ensembles—Qin and Xiao duets, Jiang Nan bamboo and silk ensembles, Cantonese ensembles, and contemporary Chinese orchestras—into the general music classroom. The explanations of original cultural contexts, representative repertoire, and cultural elements embedded in each ensemble can be incorporated in a classroom as part of an exploration of classical music from China. No Chinese instruments are required in the class, since it would focus on listening and related music activities. Drawing on attentive and engaged listening, sample lessons demonstrate the use of these Chinese classic ensembles at all levels to relate the National Core Arts Standards to encourage students to perform, create, respond to, and connect with the music.

Exploring Collaborative and Creative Learning Experience Through Playing Ocarina Ensemble in Chinese Public Schools

2019 ◽  
pp. 65-93
Author(s):  
Danqing Zhou
Keyword(s):  
Public Schools ◽  
Low Income ◽  
Music Teachers ◽  
Learning Experience ◽  
Learning Theories ◽  
General Music ◽  
Creative Learning ◽  
Music Class ◽  
The Cost ◽  
Chinese Public

The current general music class in China, especially in low income communities, does not provide students many opportunities to gain ensemble playing experiences, due to the cost of getting and maintaining various instruments and to the lack of music teachers who know and have experiences of teaching ensembles and the various instruments. According to current teaching pedagogy and learning theories, ensemble playing and collaborative and creative learning experiences are important to students. This chapter presents the value and benefits of group playing, collaborative and creative learning models, and the reasons for choosing ocarina as a media for gaining group playing experiences in Chinese public schools. In the last part of the chapter, some ocarina teaching activities are explored and discussed as examples of how students can learn creatively and collaboratively and gain ensemble playing experiences.

An Orientation to Musical Pedagogy

2017 ◽  
Author(s):  
Birch P. Browning
Keyword(s):  
Effective Teachers ◽  
Music Teachers ◽  
Music Educators ◽  
Music Curriculum ◽  
Specialized Knowledge ◽  
Music Classroom ◽  
Professional Educators ◽  
Instructional Context ◽  
New Vision ◽  
Service Music

Novice music educators often experience conflict between their roles as teachers and their roles as musicians. The broad purpose of this text is to assist pre-service music teachers as they begin the transition from students to professional educators and musicians by challenging what they think they know about those two distinct yet complementary roles. Rather than perpetuating existing practice, these future educators are encouraged to build their own new vision for music curriculum and education by examining the "big concepts" of teaching and musicianship based on several research-based ideas: (1) There's no such thing as talent, (2) effective teachers have specialized knowledge about their subject, students, pedagogy, and instructional context, and (3) musicianship is not magic. More important, through deliberate thought and action, pre-service music teachers can learn the concepts and practices of expert teachers and musicians and incorporate them into the music classroom. Attention is given to how students learn and to designing and delivering engaging classroom instruction.

General Music Learning Is Also Social and Emotional Learning

2019 ◽  
Vol 33 (2) ◽  
pp. 74-78
Author(s):  
Edward Varner
Keyword(s):  
Music Teachers ◽  
Social And Emotional Learning ◽  
Primary Objective ◽  
Emotional Learning ◽  
General Music ◽  
Self Awareness ◽  
Music Learning ◽  
Social And Emotional ◽  
Music Classroom ◽  
Music Program

The purpose of this article is to highlight the relationship between general music and social and emotional learning. Social and emotional learning involves a set of social, emotional, behavioral, and character competencies that are essential to success in school, in the workplace, within relationships, in the community, and in life. Music teachers are uniquely positioned to help students become more socially and emotionally competent while simultaneously developing the skills outlined in the general music curriculum. Many general music program activities reinforce and help students understand the concepts of self-management, self-awareness, responsible decisionmaking, relationship skills, and social awareness. Activities such as improvisation, ensemble playing and singing, and defining emotions with music can be used to develop social and emotional learning skills in the general music classroom. The primary objective of this article is to help general music teachers understand that general music learning environments naturally lend themselves well to aiding in these efforts.

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