GMEA 2021 Scaffolding Listening

Chapter 1: Introduction

Frederic Tarant opens the presentation, introducing Jason Jones, the Music Education Coordinator at Reinhardt University and a doctoral candidate at the Eastman School of Music. Mr. Jones is currently focusing on his dissertation about how communication methods influence musical development in elementary school children. He highlights his experience as a conference presenter and his work on various music education topics, including teacher instruction and the improvisation of cultural songs.

Mr. Jones welcomes participants to his session titled "Listen, Respond, Move, and Play: Scaffolding Strategies for Music Listening Skills," emphasizing the Dalcroze approach to music education. The main objectives of the session include an overview of the Dalcroze methodology, learning scaffolding techniques for listening, observing scaffolded listening activities, and adapting these methods for diverse learners.

Chapter 2: Choosing Music for Listening Activities

Mr. Jones defines listening activities as including diverse music selections—both choral and instrumental—that enhance students' appreciation and understanding of music. He notes the importance of selecting music that effectively teaches musical concepts such as tempo, dynamics, or rhythmic patterns. The goal is to introduce students to enjoyable music while also exposing them to a variety of cultures and genres, ensuring age-appropriateness in complexity and length. He suggests that the ideal duration for a piece is about three minutes to maintain students' interest.

The session emphasizes the significance of including composers from various backgrounds, including female composers and those representing minority cultures, thus making music more relatable to students. Common activities like listening maps, drawing to music, and imagery are noted as prevalent in elementary settings but are not the focus of this session.

Chapter 3: Understanding Scaffolding

Mr. Jones defines scaffolding in education as the process of bridging students' current abilities and their potential by providing support. He discusses several scaffolding techniques for music listening activities, including using guided questions, mirroring exercises, and visual representations of music. These methods aim to engage students actively and help them build their understanding in manageable steps.

The importance of engaging students through movement is stressed, encouraging techniques that allow students to embody the music they hear, thereby deepening their experience.

Chapter 4: Dalcroze Activities

Dalcroze was a multifaceted musician and educator who developed the concept of eurythmics as a way to integrate music, movement, and emotional expression. Mr. Jones presents three pillars of Dalcroze's methodology: rhythmic solfege, improvisation, and eurythmics. This approach focuses on experiences rather than rote knowledge, aiming for students to "live the music" instead.

Two games—quick reaction and following games—are introduced. In quick reaction games, students react to musical cues, while following games involve synchronizing movements with a leader. This incorporates the core idea of students physically and actively participating in their musical education, further developing their movement repertoires.

Chapter 5: Observing Listening Activities

In practical demonstrations, students engage with music through physical activities, such as bouncing racquetballs to the rhythm, which allows them to experience the pulse of the music actively. Jones emphasizes the effectiveness of using paired activities to increase complexity and promote collaboration, thus scaffolding the learning experience. Videos showcase how to engage students dynamically in music listening and promote active participation even when students may initially be hesitant.

Chapter 6: Response and Improvisation

Mr. Jones elaborates on using improvisation within listening activities. He encourages facilitating student expression through movement and experimenting with different rhythmic representations. Activities like the statue game help students explore their desire to react to music through their bodies, while flocking encourages communal movement and synchronization within a group.

The importance of iteration in these activities is discussed; by returning to familiar music and varying the specifics of the movement tasks, students can build confidence and enhance their listening and improvisation skills over time.

Chapter 7: Conclusion

As the presentation concludes, Mr. Jones reiterates the significance of scaffolding techniques that encourage musical expression and assess students' understanding through observation of their movements. He stresses that every student may express themselves differently, advocating for accessible music education that incorporates physical engagement to cater to diverse learning styles.

Participants are encouraged to adapt the techniques presented to fit their unique classroom dynamics and to contribute their innovative ideas for developing music education further. Mr. Jones invites attendees to reach out with questions or suggestions to enhance future workshops. The session wraps up with thanks and encouragement for continued exploration of these methods in music instruction.