We are nearing the end of July, and most stores in this part of the world are clearing out the summer merchandise and bringing in the back-to-school supplies. Time to stock up on swim noodles - you know, those long flimsy towers of closed-cell foam so practical in the water.
If you are a classroom teacher, you need buy only half the number of students in your class because you will be cutting the noodles in half. If you are a parent, get at least one, cut it in half, and keep half for yourself!
Yes, there will be the greatest of temptations, especially among the boys, to immediately turn these into swords. It pays to have the noodles in sight but not yet available until you explain how "we use them at music time". (It also pays to have consequences for using them incorrectly, as in "Ooops. This noodle didn't learn the rule [or how to act] yet. Put one hand on each end 'til he can learn the rule.)
How do we use them?
1) Beat the floor with the rhythm of a recording. Progress from slow beats (1 for every 4 counts) to fast beats (one for every count) to "silly fast" ( as fast as they can possibly do it, just to get it out of their systems). By "progressing" I mean, play slow beats for a minute or two until most children aree hitting somewhere near the beat. Then go beating on counts 1 and count 3. Then, if most are getting that, try to beat on every count. (WARNING: Do not do this if there are children napping next door. It does get loud. Your neighboring teacher will not be happy with you!)
2) Beat the floor in different dynamics. LOUD soft soft LOUD soft soft or soft, louder, louder, louder, louder, LOUD (any combination of a beat pattern and/or a sound pattern.
3) If noise takes over, make the noodle a "unicorn", (make it a horn projecting from your forehead) or a "stinger" (make it stick out from your bottom). They will have to be watching, or they will get "caught"!
4) Older children who are learning to gallop can practice riding the noodle like a pony. The foot that stays behind becomes the pony's lame foot. (And a bandana suck in the top noodle hole becomes a mane, and one stuck in the bottom hole becomes a tail....) Any "cowboy" music will do! One of my favorites - Nickel Creek's "Little Cowpoke".
Have fun!
Friday, July 23, 2010
Sunday, July 18, 2010
Safety Issues!
Before going much further with describing musical adventures to try with your children, let's address a few really important issues! Just as with all toys, props and activities for very young children, there are certain safety considerations in the vibrant music classroom. While many of these primarily apply to group situations, there are aspects that also apply on a one-to-one basis.
1) Teacher supervision - This means being attentive and watchful, and maintaining the same ratios of teacher/student as is appropriate for the children in a regular classroom. One must be vigilant for any child mis-using a prop, or for the excitement of the group overtaking what is safe.
2) Any props must be checked for choking hazards for children under the age of 3, and any others who may be less mature than the norm for the classroom. Note: Any hand-made shakers should be carefully sealed with glue and tape in order to be sure that small pieces don't come flying out!
3) Rhythm sticks made of wood should be checked periodically for splintering, and should have rounded ends or rounded edges just in case!
4) Streamers are best kept at a length not to exceed 2 - 3 feet. Some commercial streamers are very long, and require much more height and longer arms. If the streamers are too long, trim them so that the children can manipulate them more easily, and not trip over them.
5) Ideally, children should be spaced appropriately for large motor activities. If they are using streamers, they need enough for their movements plus the outreach of the streamer, if at all possible. PLEASE NOTE: If you have a child who refuses to adjust his space, or who refuses to participate, without making a huge issue of the refusal, just help the child move while explaining that he needs to be in a safe spot where he can watch and/or listen - and that he may rejoin the group for the next activity.
6) Last, but not least, ideally, all props/instruments should be sanitized at the end of the day according to childcare guidelines. If at all possible, it is helpful to have enough extras to where, if a child mouths the prop, it can be set aside and replaced with another while the mouthed prop is set aside.
1) Teacher supervision - This means being attentive and watchful, and maintaining the same ratios of teacher/student as is appropriate for the children in a regular classroom. One must be vigilant for any child mis-using a prop, or for the excitement of the group overtaking what is safe.
2) Any props must be checked for choking hazards for children under the age of 3, and any others who may be less mature than the norm for the classroom. Note: Any hand-made shakers should be carefully sealed with glue and tape in order to be sure that small pieces don't come flying out!
3) Rhythm sticks made of wood should be checked periodically for splintering, and should have rounded ends or rounded edges just in case!
4) Streamers are best kept at a length not to exceed 2 - 3 feet. Some commercial streamers are very long, and require much more height and longer arms. If the streamers are too long, trim them so that the children can manipulate them more easily, and not trip over them.
5) Ideally, children should be spaced appropriately for large motor activities. If they are using streamers, they need enough for their movements plus the outreach of the streamer, if at all possible. PLEASE NOTE: If you have a child who refuses to adjust his space, or who refuses to participate, without making a huge issue of the refusal, just help the child move while explaining that he needs to be in a safe spot where he can watch and/or listen - and that he may rejoin the group for the next activity.
6) Last, but not least, ideally, all props/instruments should be sanitized at the end of the day according to childcare guidelines. If at all possible, it is helpful to have enough extras to where, if a child mouths the prop, it can be set aside and replaced with another while the mouthed prop is set aside.
Friday, June 11, 2010
Shake it up! Pompoms!
Similar to, but not to be confused with scarves, are double-duty pompoms.
Pompoms' claim to fame is that they can be either a prop, or an instrument. You may use them in rhythmic ways, similarly to the way you use scarves, such as:
1) Moving up/Moving down
2) Swinging here/Swinging there
3) Showing left/Showing right
4) Punching away/pulling back
Or, you might create a first-class train, shaking the poms to these patterns:
Shake hard, Shake gently, Gently, Gently
Loud, Soft, Soft, Soft
Choo, Choo, Choo, Choo
All of this time, children are un-wittingly learning vocabulary (linguistic learning), ways to move (spatial/kinesthetic learning), patterning (logical/naturalistic learning), rhythm, dynamics, timbres - just for starters.
Then, if you decide to have your class make the pompoms themselves (more on this later!), you have a hands-on creative craft experience with rolling, cutting, taping - and a built in recycling lesson later, if you choose.
Pompoms' claim to fame is that they can be either a prop, or an instrument. You may use them in rhythmic ways, similarly to the way you use scarves, such as:
1) Moving up/Moving down
2) Swinging here/Swinging there
3) Showing left/Showing right
4) Punching away/pulling back
Or, you might create a first-class train, shaking the poms to these patterns:
Shake hard, Shake gently, Gently, Gently
Loud, Soft, Soft, Soft
Choo, Choo, Choo, Choo
All of this time, children are un-wittingly learning vocabulary (linguistic learning), ways to move (spatial/kinesthetic learning), patterning (logical/naturalistic learning), rhythm, dynamics, timbres - just for starters.
Then, if you decide to have your class make the pompoms themselves (more on this later!), you have a hands-on creative craft experience with rolling, cutting, taping - and a built in recycling lesson later, if you choose.
Thursday, May 27, 2010
Scarves...a music educator's "go to"
A scarf is such a simple thing...a square or rectangle of lightweight fabric which can take on its own personality when used creatively!
Once, in a workshop given by an occupational therapist, we were told that movements which encourage the use of the upper body are essential in development of the strengths that later help to coordinate writing and other fine motor skills.
Scarves work with any kind of music. They will imitate any style as long as the arm guiding them does the same.
1) Smooth, long motions to smooth, connected sounds...short, quick, choppy motions to very beat-oriented sounds.
2) Alternate moving from "high" to "low" on consecutive beats. Or in a pattern, such as every 4 beats or 3 beats - depending on the meter.
3) Alternate going "this way" and "that way" (right and left) in exaggerated motions all the way across the body. Again, move on a beat and then wait for the next most comfortable beat to reverse. More on why this is important later... [If you have older children, go ahead and use the words "right" and "left".]
4) Tossing and catching is great for eye-hand coordination. Toss up on a strong beat. Wait for most of the children to catch or pick back up before tossing again - say on the strongest beat in a pattern. [Use 2 hands for younger children, 1 for older, or alternate right and left.]
5) Make "rainbows". Make an arch over your head from low on the right side, up, and reaching over and across your body to the left side, and then reverse. Alternate hands and arms.
6) Color-code the scarves to the seasons, if possible. Orange, red and brown for fall. White, blue, etc. for winter. Pink, yellow, light green for spring. Lots of green for summer.
These are the simplest suggestions, and there are plenty of variations of course. If you watch, the children will give you even more ideas!
Once, in a workshop given by an occupational therapist, we were told that movements which encourage the use of the upper body are essential in development of the strengths that later help to coordinate writing and other fine motor skills.
Scarves work with any kind of music. They will imitate any style as long as the arm guiding them does the same.
1) Smooth, long motions to smooth, connected sounds...short, quick, choppy motions to very beat-oriented sounds.
2) Alternate moving from "high" to "low" on consecutive beats. Or in a pattern, such as every 4 beats or 3 beats - depending on the meter.
3) Alternate going "this way" and "that way" (right and left) in exaggerated motions all the way across the body. Again, move on a beat and then wait for the next most comfortable beat to reverse. More on why this is important later... [If you have older children, go ahead and use the words "right" and "left".]
4) Tossing and catching is great for eye-hand coordination. Toss up on a strong beat. Wait for most of the children to catch or pick back up before tossing again - say on the strongest beat in a pattern. [Use 2 hands for younger children, 1 for older, or alternate right and left.]
5) Make "rainbows". Make an arch over your head from low on the right side, up, and reaching over and across your body to the left side, and then reverse. Alternate hands and arms.
6) Color-code the scarves to the seasons, if possible. Orange, red and brown for fall. White, blue, etc. for winter. Pink, yellow, light green for spring. Lots of green for summer.
These are the simplest suggestions, and there are plenty of variations of course. If you watch, the children will give you even more ideas!
Thursday, February 18, 2010
What can young children do?
The quick answer to that question is, "Often more than we expect!"
But what can we really expect developmentally from little ones in terms of their musical experiences? Of course, sometimes they will surprise us, but these are some fair expectations of the different age groups. Not a complete list by any means, but it gives us a starting point!
1. Infants and Toddlers can listen, be soothed, sort musical sounds (like rattles, bells, sticks), chant, enjoy instrumental music, have sounds they make imitated back to them, rock, pat, bounce on their bottoms, sway, enjoy active vs. quiet activities and use the "Universal Chant."
(the one that goes "You ca-an't catch me!")
2. Twos can do simple fingerplays, move freely to music, play shakers, sticks, maracas, hand drums, and sing some songs as they develop some language skills.
3. Threes can sing a song in their own key, and they may or may not play with a beat. They enjoy creating "kitchen bands", and like to play triangles, cymbals, and xylophones (though these may present coordination challenges). They are often very receptive to musical play.
4. Fours love to invent new verses to songs they already know - they love word play! They like follow the leader-type games, call and response songs, and echo songs - all of this in addition to everything else above.
The point is to be observant of the child, provide experiences that appeal to a child's sense of play , curiousity, and adventure, and guide them toward expressing themselves in musical way, according to the way in which they learn.
But what can we really expect developmentally from little ones in terms of their musical experiences? Of course, sometimes they will surprise us, but these are some fair expectations of the different age groups. Not a complete list by any means, but it gives us a starting point!
1. Infants and Toddlers can listen, be soothed, sort musical sounds (like rattles, bells, sticks), chant, enjoy instrumental music, have sounds they make imitated back to them, rock, pat, bounce on their bottoms, sway, enjoy active vs. quiet activities and use the "Universal Chant."
(the one that goes "You ca-an't catch me!")
2. Twos can do simple fingerplays, move freely to music, play shakers, sticks, maracas, hand drums, and sing some songs as they develop some language skills.
3. Threes can sing a song in their own key, and they may or may not play with a beat. They enjoy creating "kitchen bands", and like to play triangles, cymbals, and xylophones (though these may present coordination challenges). They are often very receptive to musical play.
4. Fours love to invent new verses to songs they already know - they love word play! They like follow the leader-type games, call and response songs, and echo songs - all of this in addition to everything else above.
The point is to be observant of the child, provide experiences that appeal to a child's sense of play , curiousity, and adventure, and guide them toward expressing themselves in musical way, according to the way in which they learn.
Friday, January 29, 2010
Multiple Intelligences
Anyone who is in education for any length of time comes across Howard Gardner's "Theory of Multiple Intelligences" which discusses the ways through which each of us learns. The point is to realize that it is important for teachers especially to use techniques that appeal to as many of these learning styles as possible in teaching concepts, in an attempt to reach as many students as possible.
The magic of music is that it can appeal to everyone. If a student learns through the:
1. Linguistics - Song lyrics or musical stories will be the connection.
2. Logical - Sequences and the organization of the musical sounds will be the connection. The mathematical relationships of the notes will be the draw.
3. Body Movements/Kinesthetic - Dances, fingerplays, and instrument playing will be the connection.
4. Interpersonal - Interacting, performing, and communicating with the music will be the attraction.
5. Intrapersonal - The connection between the musician and instrument/voice, and the self-assessing, reflecting, goal setting and planning that goes into performing will be the draw.
6. Visual/Spatial -The movement in space of performing or watching the performance of music or dancing, and/or the reading of written music will be the connection.
7. Natural - The discerning of patterns, categories, and classifications of musical sounds and the observation of it all will be the attraction.
Brain research is showing us that the connections between right and left brain made in the first 5 years of life are critical to a child's future thinking and recall abilities. Music is an ideal stimulus for making those connections!
The magic of music is that it can appeal to everyone. If a student learns through the:
1. Linguistics - Song lyrics or musical stories will be the connection.
2. Logical - Sequences and the organization of the musical sounds will be the connection. The mathematical relationships of the notes will be the draw.
3. Body Movements/Kinesthetic - Dances, fingerplays, and instrument playing will be the connection.
4. Interpersonal - Interacting, performing, and communicating with the music will be the attraction.
5. Intrapersonal - The connection between the musician and instrument/voice, and the self-assessing, reflecting, goal setting and planning that goes into performing will be the draw.
6. Visual/Spatial -The movement in space of performing or watching the performance of music or dancing, and/or the reading of written music will be the connection.
7. Natural - The discerning of patterns, categories, and classifications of musical sounds and the observation of it all will be the attraction.
Brain research is showing us that the connections between right and left brain made in the first 5 years of life are critical to a child's future thinking and recall abilities. Music is an ideal stimulus for making those connections!
Wednesday, January 27, 2010
A word of explanation...
Or perhaps a point of view...
My thought is that if any activity contains one of the musical elements, it can be claimed as being a somewhat musical activity - especially with young children.
So what are the elements?
1. Pitch - the high-ness or low-ness of the sound, or the number of vibrations in the soundwaves if you want to be technical. Melodies and harmonies come out of this.
2. Dynamics - the loudness, softness, or anything-in-between-ness of the volume of the sound.
3. Timbre - the "color" of the sound, as in the difference between the sound of a voice and a piano, or a violin, or flute, or drum.
4. Rhythm - the beat or pulse of the sound, which also includes the meter (the way the beats are organized) and the tempo (whether the beat is fast or slow).
5. Form - the way the melodies are organized into a whole composition.
6. Texture - the number of different melodies, sounds, etc. going on at one time.
Enough theory, right?
My thought is that if any activity contains one of the musical elements, it can be claimed as being a somewhat musical activity - especially with young children.
So what are the elements?
1. Pitch - the high-ness or low-ness of the sound, or the number of vibrations in the soundwaves if you want to be technical. Melodies and harmonies come out of this.
2. Dynamics - the loudness, softness, or anything-in-between-ness of the volume of the sound.
3. Timbre - the "color" of the sound, as in the difference between the sound of a voice and a piano, or a violin, or flute, or drum.
4. Rhythm - the beat or pulse of the sound, which also includes the meter (the way the beats are organized) and the tempo (whether the beat is fast or slow).
5. Form - the way the melodies are organized into a whole composition.
6. Texture - the number of different melodies, sounds, etc. going on at one time.
Enough theory, right?
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