CEDFA XVI SESSION II: TIMES ARE CHANGING – ROADMAPS TO SUCCESS

How do music teachers make their plans to be like the type of organic environment necessary to help these abilities flourish? What would be the opposite types of practices? Talk with your table, pick a speaker to share your ideas.

SESSION II OBJECTIVES In Session II we will… Put a plan into action! Put a plan into action! How will teaching practices change? How will teaching practices change? How will instructional delivery change? How will instructional delivery change? How will the educational environment change? How will the educational environment change? How will assessments change? How will assessments change? Outreach to parents and community Outreach to parents and community

Singing Playing Reading Writing Moving Listening Creating Performing Evaluating

Plan of Action for Creating Road Maps 1.How do you decide on where to place the TEKS? 2.Prepare – Present – Practice 3.Does your 1 st 6wks (or 9 wks) focus on review? 4.Spread out the curriculum over several six weeks

LITERACYCREATIVERELEVANCERESPONSE TEKS K1TEKS K2TEKS K3TEKS K4 COMPARATIVES 5 voicessingrhymesaudience BEAT/RHYTHM timbre of singingINST clsrm -playfolk musicBeat in perf PITCHES Inst famMOVEseasonalComp in perf FORM Same/diffPART-WORKinterdisciplinary TEMPO Beat/RhythmLoud/Soft DYNAMICS High/Low TIMBRE/voices Loud/Soft INST orch/clsrm Fast/Slow PARTWORK simple patterns MOVEMENT Beat icon PERFORM Rhythm icons LISTEN 2 or 3 tone icons CREATE EVALUATE

How will teaching practices change? How will instructional delivery change? How will the educational environment change? How will assessments change? PUT A PLAN INTO ACTION!

Directions With your table group, open the envelope in the middle of the table. The envelope will tell you which grade level to create a road map Use the template provided for you to write the objectives.

WHAT IS THE FOCUS FOR HIGHER- LEVEL LEARNING? THE FOCUS IS ON WHY STUDENTS MAKE ART RATHER THAN WHAT THEY ARE MAKING OR HOW THEY ARE MAKING IT! WHAT IS OUR FOCUS FOR MUSIC? Just because students are making music does not mean they are being creative!

CALL IT EDUCATIONAL COURAGE IF… 1.You allow your students control on how they improvise and compose a piece of music. 2.You live with the discomfort of not being sure of the lesson’s destination. 3.You juggle the time pressures of allowing students to create an original work rather than the convenience and speed of telling them what to play.

CALL IT EDUCATIONAL COURAGE IF… 4.You redo old and comfortable lesson designs so they include higher-level thinking and encourage 21 st Century Skills. 5.You allow noise and movement in your class to foster active lesson designs which in turn fosters creative risk-taking. 6.You brave the observation of your administrators as they observe your seemingly manic class.

10 minutes10 minutes!

Discuss the video: 1.What are elements of the classroom (environment, culture, etc) that elementary music teachers might take for granted? 2.How might the roadmaps that you are working on together uncover some of these things and open them up for analysis and discussion?

Kod á ly Orff Carl Orff and Gunild Keetman collaborated to develop a creative approach to Music Education. The approach is based on the child’s way of learning as it combines joyful spontaneity and practiced skills. Classroom materials are based on the traditional folk heritage and extend to include an instrumentarium made up of three families of tonebar instruments along with unpitched and pitched percussion instruments. The heart of the Orff-centered music classroom is the child who sings, plays, dances, and creates in the music-making process. By Sue Orrell, Ed. D. Retired Orff Specialist Worked with Grace Nash The Kodály Concept is a comprehensive approach to the development of the complete musician through the sequential preparation, presentation and practice of concepts related to making, reading, writing and creating music. This experience-based pedagogy focuses initially on the development of strong aural skills and musical audiation primarily through use of the child’s first instrument, the voice. Tools commonly associated with this approach are traditional folk songs of the child’s native language and quality art music, rhythmic duration syllables, tonic solfège and Curwen handsigns. By Kathy Kuddes Plano ISD Director of Fine Arts

How do Kod á ly and Orff create a 21 st Century Student? Is there something missing from each one? Is there something better? Do they support the new TEKS or vice versa? Discuss these HOT topics with your table group

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