Thanks to Katie Wardrobe, here’s is a list of 19 free iPad apps which can promoted creativity and composition.
Thanks to Katie Wardrobe, here’s is a list of 19 free iPad apps which can promoted creativity and composition.
Aboriginal stories about life and life-cycles revolve around 4 different natural elements.
Sun, Moon, Water, Land
Divide your class into 4 groups, each labelled Sun, Moon, Water or Land. In 15 minutes they will choose classroom instruments and/or sound sources to depict their label … Each group performs to the rest of the class … Discuss and decide upon a logical order for the soundscape sections … Perform all 4 sections in their order.
These two YouTube clips feature the gorgeous music of the Stiff Gins, sung in Indigenous language.
www.youtube.com/watch?v=ikilFioL9SQ with Sydney Children’s Choir at TEDx
This national initiative, which takes place from 16 – 22 May, is a collaboration between
Music: Play for Life and the Australian Music Therapy Association and it’s all about a grassroots celebration of the links between music making and wellbeing.
When you register to participate – it’s FREE – we’ll send you event posters, stickers and brochures and you’ll get access to lots of downloadable resources including event planning and promotional tips.
How you participate is up to you. The best way to be involved is to take something you may already have planned for that week and hitch it to the national wagon of Making Music Being Well 2011. You don’t have to do something on every day during the week – one event is enough. Your event will be outlined on the MMBW website and you and your group members or students will be helping to shine the national spotlight on an important fact: music is good for you!
Here are a few ideas based on previous years:
Register to be part of it at www.makingmusicbeingwell.org.au
Don’t forget – registration for our biggest school music initiative, Music: Count Us In, opens soon too!
A Brief Survey of Research into the Benefits of Music in Education
Mandy Stefanakis and Assoc Prof Robin Stevens, of the MCA’s working group for a National Strategy for Research in Music Education, have conducted a national and international survey of research in music education to identify research projects demonstrating a broad range of benefits of music education. The references below are to research outcomes supported by research methodology assessed as producing highly reliable results.
Where research reports are available online, links have been given. Otherwise, readers can seek them through the list of references at the end of this report.
Music provides the opportunity for aesthetic experiences. An aesthetic knowledge can be described as a deep perceptual understanding in which the senses, the emotions and cognition are combined to make meaning through the experiences of creating, making and interpreting aesthetic forms. (See Australian Curriculum: The Arts, 2013; Seidel et al )
Personal, Social, Cultural Expression and Identity Formation
Music through performance and creative experiences provides a means for personal expression, communication and personal, social and cultural identity formation (See McPherson and Welch, 2012; Damasio, 2012; Bowman; Australian Curriculum: The Arts; Seidel et al; Dissanayake; Bresler; Storr; 1992; Green, 2011; Hargreaves et al, 2012; Gupta; Campbell et al 2008; McPherson et. al, 2012; Stefanakis)
Music contributes to students’ personal well-being through developing self-image, self-confidence, self-esteem, etc. (see Deasy; National Association for Music Education, President’s Committee on the Arts and in the Humanities; Seidel et al.)
With the introduction of more precise techniques to scan different areas of the brain, there has been a massive interest and increase in the amount of neurological research into brain function when engaged in a whole range of musical activities from passive listening to performing on individual instruments. Research specifically shows that both older and newer areas of the brain inclusive of sensory-motor, emotions, cognition, fine motor, equilibrium, aural centres, and both hemispheres of the brain are used to varying degrees and in different ways when engaged in musical activity with dependence on a range of factors. These include gender, age and experience of the musician, the task being undertaken, for example aural, performance, conducting, individual task, group task, and even the kind of music or sound used in a study. Additionally there are variations among individuals.
Importantly, evidence demonstrates that there is a more pervasive effect on the development of the brain (brain plasticity) when a child starts learning an instrument than learning that takes place as an adolescent or adult, but there is still plasticity in the adult brain. Sustained, structured practice with delineated outcomes enhances this plasticity. (Of note is the work of Levitin, 2012; Damasio, 2012; Evans et al, 2009; Hodges, 1996; Hodges and Gruhn, 2012; Juslin and Sloboda, 2001; Merrett and Wilson, 2012; Peretz and Zatorre, 2003; Asbury and Rich, Winner and Hetland)
Music contributes to students’ cognitive development including abstract thinking, aural and spatial awareness, verbal understanding (see above)
Music contributes to students’ kinetic / motor skill development (see above)
Music contributes to students’ creativity when engaged with composing, arranging, improvising tasks which call upon the individual or group to imagine, plan, organise, experiment with and develop sound in an abstract way (see Barrett and Tafuri, 2012; Harwood and Marsh, 2012; Seidel et al; Arts Ed Search, President’s Committee on the Arts and the Humanities).
Learning Outcomes across Disciplines
It is still not fully understood why, but music enhances learning in a range of non-musical domains. Current thinking centres around the fact that music stimulates so many different brain regions, or that it motivates learning through the brain chemical ‘rewards’ (such as dopamine hits), the joy that music provides, (McCarthy) or that the social connections and self-esteem it establishes in students has a carry-over effect. Although the reasons are not fully understood there is a great deal of evidence to show that there is a correlation between music learning and enhanced abilities in a range of areas:
· Music contributes to students’ rational thinking—reasoning, critical thinking, logistical thinking and interpretive skills (see McGarity, 1986)
· Music contributes to learning in other knowledge and skill areas such as numeracy, literacy (see Bahr, 1996; Geoghegan, 1993)
· Music contributes to students’ concentration, memory, time management. A plethora of short-term and longitudinal studies, particularly in the US, demonstrate these effects as a result of Arts Education and the suggested sources list many of these studies (see Burnaford, Arts Ed Search, Fiske, Deasy, Nafme for the above).
Social Cohesion and Skills
Music connects people through sound, so that there is a sense of physical and emotional camaraderie and shared experience. It is what is most unique about the musical experience (see Todd, 2002; Brown, 2000; McNeill, 1995). This ‘shared sound’ leads to a greater sense of communication with others, team cooperation and enhances social confidence (see Welch and McPherson, 2012).
Music provides a vocational outcome for some students (McPherson and Welch, 2012).
Barrett, M. S. and Tafuri, J. (2012) ‘Creative Meaning-Making in Infants’ amd Young Children’s Musical Cultures’ in McPherson, G. and Welch, G. (Eds.) (2012) The Oxford Handbook of Music Education Volume 1. New York, NY: Oxford University Press.
Bahr, N. (1996). Relationships between Musicianship and Mathematical Skill. MEd thesis, University of Queensland, Queensland.
Brown, S. (2000) ‘The “Musilanguage” Model of Music’, in N. L. Wallin, B. Merker, and S. Brown (Eds.) The Origins of Music (pp. 271-300). Cambridge, MA: MIT Press.
Campbell, P. Connell, C., and Beegle, A. (2008) ‘Adolescents Expressed Meanings of Music in and Out of School,’ in Journal of Research in Music Education. Fall 2007, Volume 55, Number 3, pp.220 – 236.
Damasio, A. (2012) Self Comes to Mind: Constructing the Conscious Brain. New York: Vintage.
Evans, A. C., Forgeard, M., Hyde, K. L., Lerch, J., Norton, A., Schlaug, G. and Winner, E. (2009) ‘Effects of Musical Training on Structural Brain Development: A Longitudinal Study,’ in The Neurosciences and Music III: Disorders and Plasticity: Annual New.York Academy of Sciences. 1169: 182–186.
Geoghegan, N. (1993). Possible Effects of Early Childhood Music on Mathematical Achievement. MA thesis, Macquarie University, New South Wales.
Green, L. (Ed.) (2011) Learning, Teaching and Musical Identity: Voices Across Cultures. Bloomington: Indiana University Press.
Hargreaves, D. J., MacDonald, R. and Miell, D. (2012) ‘Musical Identities Mediate Musical Development,’ in McPherson, G. and Welch, G. (Eds.) (2012) The Oxford Handbook of Music Education Volume 1. New York, NY: Oxford University Press.
Harwood, E. and Marsh, K. (2012) ‘Children’s Ways of Learning Inside and Outside the Classroom,’ in McPherson, G. and Welch, G. (Eds.) (2012) The Oxford Handbook of Music Education Volume 1. New York, NY: Oxford University Press.
Hodges, D. (1996) ‘Human Musicality,’ in Hodges, D. (Ed.) Handbook of Music Psychology. San Antonio: Institute for Music Research.
Hodges, D. and Gruhn, W. (2012) ‘Implications of Neurosciences and Brain Research for Music Teaching and Learning,’ in McPherson, G. and Welch, G. (Eds.) (2012) The Oxford Handbook of Music Education Volume 1. New York, NY: Oxford University Press.
Juslin, P. and Sloboda, J. (Eds.) (2001) Music and Emotion. Oxford: Oxford University Press.
Levitin, D. J. (2012) ‘What Does it Mean to be Musical?’ in Neuron 73, February 23, pp. 663 – 637.
McDonald, L. M. M. (1999) The Response to Classroom Music Experiences of Students who have Learning Difficulties and/or Behaviour Problems. MEd research paper, Deakin University, Victoria.
McGarity, B.M. (1986) Relationships among Cognitive Processing Styles, Musical Ability and Language Ability. MEd thesis, University of New England, New South Wales.
McNeill, W. (1995) Keeping Together in Time: Dance and Drill in Human History.
Cambridge, Massachusetts: Harvard University Press.
McPherson, G. E., Davidson, J. W., & Faulkner, R. (2012) Music in Our Lives: Rethinking Musical Ability, Development and Identity. Oxford: Oxford University Press.
McPherson, G. E., and Welch, G. (Eds.) (2012) The Oxford Handbook of Music Education Volumes 1 and 11. New York, NY: Oxford University Press.
Merrett, D. and Wilson, S. (2012) ‘Musicianship and the Brain,’ in Brown, A. (Ed.) Sound Musicianship: Understanding the Crafts of Music. Newcastle Upon Tyne: Cambridge Scholars Publishing.
Peretz, I. and Zatorre, R. J. (Eds.) (2003) The Cognitive Neuroscience of Music. New York: Oxford University Press.
Stacey, B.J. (1983) Music Education and the Hearing-Impaired Child: An Experimental Program. MMus thesis, University of Queensland, Queensland.
Storr, A. (1992) Music and the Mind. New York: Free Press.
Todd, N., Lee, C. and O’Boyle, D. (2002) ‘A Sensorimotor Theory of Temporal Tracking and Beat Induction’. Psychological Research, Volume 66, Number 1 / February pp: 26 – 39.
Weidenbach, V.G. (1981) Music in the Education of the Young, Multiply Handicapped Deaf / Blind Children. MA thesis, Macquarie University, New South Wales.
Welch, G. F. & McPherson, G. E. (2012) ‘Introduction and Commentary: Music Education and the Role of Music in People’s Lives,’ in McPherson, G. and Welch, G. (Eds.) (2012) The Oxford Handbook of Music Education Volume 1. New York, NY: Oxford University Press.
This article talks about the connections between primary music and the mainstream curriculum (including anti-bullying). Prue has written a song with accompanying booklet called “It’s OK to be different”. You can view a sample HERE.
http://www.youtube.com/watch?feature=player_embedded&v=Z78Mzkl9rTk Please watch this with your classes – the video shows a young disabled girl making amazing progress with regular music sessions.
“Give Me Excess of it” – Richard Gill’s memoirs (released Nov 2012).
“Richard Gill is one of Australia’s best-known – and best-loved – musical figures. His career has taken him from teaching music in Sydney’s western suburbs to Music Director of the Victorian Opera, and along the way an involvement with almost every major opera company and orchestra in Australia.
What truly distinguishes Richard is his passion and enthusiasm for spreading not just the joy of music, but its myriad benefits. He is our greatest musical educator, and his life’s work – alongside his other roles – has been advocating music in our education system, and furthering the development of those who’ve gone on to choose music as a vocation. He brings music to life, and his knowledge and deep enjoyment of his subject is as inspiring and enlightening to a class of primary school students as it is to the cast of a major opera.
Give Me Excess of It is Richard’s memoir, tracing his life from school days to the highs (and lows) of conducting and directing an opera company. It’s warm, extremely funny, highly opinionated, occasionally rude (where warranted) and always sublimely full of the love of music.”
We’ve got the Music & Music: Count Us In online resources are up and going, Jozzbeat-style. They are accessed via this page:
Jozzbeat will give each school a free log-in (after the school has registered for Music: Count Us In at www.musiccountusin.org.au)
Existing customers of Jozzbeat that come through as MCUI registrees can just use their existing JozzBeat website password/username to access the resources.
Grab a group of kids, log on, learn the song, add some percussion, and have a fun lesson