1

511 Midterm (75 points)

In the elementary music classroom, there are 5 major approaches or methods that provide strong pedagogy for students. As a certified music
teacher, it is important that you know and understand each of these methods and what they offer for students. You will do 5 homework
assignments (5 additional points each). For these homework assignments, you will read 1-2 articles and watch 1-2 videos on each method,
gathering information on the teaching processes, history, philosophy, components, limitations and benefits of each. Use the attached graphic
organizer to help you take notes (See this on page 3 and 4. You can type into it and expand it as needed to contain your information).

To synthesize this information, you will design a final product that displays your findings as well as your comparisons between the methods and
your evaluation of them as useful for teaching music to young students. Position yourself as if you needed to convince your principal you're
your approach to elementary music will be effective for students or design it as if the audience is the parents of your students. You can choose to
present your work in the way that best suits your learning style. Use the rubric to guide your work. Here are some options:

 Design a prezi or powerpoint that includes slides with images and text. Create a script and overdub your voice giving this presentation.
 Design a poster that organizes and displays your findings in paragraph form. Use images and text in complete sentences, thoroughly
explaining your ideas.
 Create a Youtube video. Use visuals, explain all of the information from the project as well as how you will be teaching the children and
why.
 Write a journal article. Organize your findings and write as if you are presenting this information and method comparison for practicing
music teachers or music education majors (or parents and administrators) in a journal such as “Music Educators Journal.”
 Other: do you have a creative way to present this information that you would like to try? Run it by Dr. Gurgel!

Rubric 0-5 points each
Kodaly Project identifies at least some elements of the
Summary history, philosophy, elements, processes,
limitations and benefits of the Kodaly approach,
but these elements may be incomplete, inaccurate,
OR contain too much information to be called a
summary—the project rambles.
Orff Project identifies at least some elements of the
Summary history, philosophy, elements, processes,
limitations and benefits of the Orff approach, but
these elements may be incomplete, inaccurate,
OR contain too much information to be called a
summary—the project rambles.
Dalcroze Project identifies at least some elements of the
Summary history, philosophy, elements, processes,
limitations and benefits of the Dalcroze approach,
but these elements may be incomplete, inaccurate,
OR contain too much information to be called a
summary—the project rambles.
Gordon Project identifies at least some elements of the
Summary history, philosophy, elements, processes,
limitations and benefits of the Gordon approach,
but these elements may be incomplete, inaccurate,
OR contain too much information to be called a
summary—the project rambles.
World Project identifies at least some elements of the
Music history, philosophy, elements, processes,
Pedagogy limitations and benefits of the WMP approach,
Summary but these elements may be incomplete, inaccurate,
OR contain too much information to be called a
summary—the project rambles.
Comparison The project accurately identifies some obvious
(similarities similarities between the methods, but does not
of the describe how they are similar to each other in a
approaches) detailed manner.
Contrast The project accurately identifies some of the
(differences unique elements of the four musical approaches,
between the but does not provide description that explains
approaches) these distinctions.
6-8 Points each
Project identifies and describes the key elements
of the history, philosophy, elements, processes,
limitations, and benefits of the Kodaly approach;
but one or two categories may be lacking in
completeness or identifies elements that are
peripheral and not critical.
Project identifies and describes the key elements
of the history, philosophy, elements, processes,
limitations, and benefits of the Orff approach;
but one or two categories may be lacking in
completeness or identifies elements that are
peripheral and not critical.
Project identifies and describes the key elements
of the history, philosophy, elements, processes,
limitations, and benefits of the Dalcroze
approach; but one or two categories may be
lacking in completeness or identifies elements
that are peripheral and not critical.
Project identifies and describes the key elements
of the history, philosophy, elements, processes,
limitations, and benefits of the Gordon
approach; but one or two categories may be
lacking in completeness or identifies elements
that are peripheral and not critical.
Project identifies and describes the key elements
of the history, philosophy, elements, processes,
limitations, and benefits of the WMP approach;
but one or two categories may be lacking in
completeness or identifies elements that are
peripheral and not critical.
The project accurately identifies most of the
similarities between the methods (3-5), or might
be lacking in detailed synthesis, descriptions, or
analysis. This could be because not enough
writing is present—it is a good start but needs to
go further to provide an analysis that synthesizes
the similarities in a cohesive manner.
The project accurately identifies unique
elements of the approaches where they occur,
but the description either fails to illuminate the
distinctions between these approaches or is
disorganized and unclear.
2
9-10 Points each
Project comprehensively identifies and
describes the key elements of the history,
philosophy, elements, processes, limitations,
and benefits of the Kodaly approach.
Project comprehensively identifies and
describes the key elements of the history,
philosophy, elements, processes, limitations,
and benefits of the Orff approach.
Project comprehensively identifies and
describes the key elements of the history,
philosophy, elements, processes, limitations,
and benefits of the Dalcroze approach.
Project comprehensively identifies and
describes the key elements of the history,
philosophy, elements, processes, limitations,
and benefits of the Gordon approach.
Project comprehensively identifies and
describes the key elements of the history,
philosophy, elements, processes, limitations,
and benefits of the WMP approach.
Project accurately links the four musical
methods/approaches, identifying at least 6
similarities in the areas of philosophies,
elements, teaching processes, limitations, and
benefits where they occur. The presentation
synthesizes the similarities in a way that
demonstrates thoughtful analysis of the
methods.
Project accurately identifies unique elements
of the approaches where they occur in each
methods’s 1) Goals and elements, 2)
Approaches to student creativity, 3) Use of
movement, 4) Instrumental training/use, 5)

Evaluation Project identifies the student’s preferred approach
(or a hybrid) but the rationale does not make
connections between the chosen approach and the
student’s preferred mode of teaching and lesson
planning.
Project identifies the student’s preferred
approach (or a hybrid) to teaching in the
elementary music classroom, but does not
provide a complete rationale, detailing how the
elements of the approach mesh with the
student’s preferred mode of teaching and lesson
planning.
3
Music reading and writing, 6) Teaching
processes and music used in instruction? The
description provided illuminates these
differences clearly.
Project identifies the student’s preferred
approach (or a hybrid) to teaching in the
elementary music classroom and provides a
clear rationale, making a case for the use of
this approach that details the elements of the
approach and how they mesh with the
student’s preferred mode of teaching and
lesson planning.

Kodaly Orff Gordon Dalcroze WMP

History: Who, what, Who: Hungarian Who: German
when, where, how, educator and composer Carl Orff
why? composer Zoltan (1895-1982) What:
Kodaly. created the Orff
What: Geared Strategy “Elemental
toward very young Music” How: develop
elementary school mentally appropriate
students, it provides activities through
a fun framework active participation.
for learning the What: Uses specially-
basics. designed percussion
instruments like
miniature xylophones
and drums. Requires
children to sing,
dance, clap, pat and
snap fingers.
Incorporates
rudimentary forms of
everyday play to
create musical
experiences.
Who: Edwin E.
Gordon
When:1970’s
What: music learning
theory to explain how
children learn music.
How: music learning
theory provides
teachers with a
theoretical framework
to help them
understand how to
prepare and structure
learning so that they
can provide their
students with optimal
learning
environments.
Who: Swiss musician Who: Patricia
and educator, Emilee Shehan Campbell
Jacques-Dalcroze
geared toward early What: Description of
beginners in world content and
elementary school. practice in
How: Aids a student’s elementary and
physical awareness of secondary school
music through music programs.
movement.
What: teaches concepts How: Use of human
of rhythm, structure, resources, deep and
and musical expression continued listening
using movement to archived
resources.
 4
Philosophy: What are Sing, play, and The approach is Music learning theory Due to the nature of Seeking out the
the primary beliefs move from primarily taught to is not and never Dalcroze’s goals in meaning of equitable
behind this method? memory, many elementary school intended to be a expanding music pedagogy across
What is the goal of this traditional children. Process of methodology. education, his ideas are students regardless
method for children? folksongs of the teaching that involves readily applicable to of their race,
mother tongue. singing, moving, Music learning theory young students. An ethnicity, or
playing instruments, offers guidance and objective of his was to socioeconomic
Achieve, listen to, creating, and direction for “musicalize” young circumstance.
and analyze the improvising. The development of children to prepare
great art music of students create their appropriate method. them for musical Children don’t get
the world. own music. expression in future the opportunity to
Teachers have instrumental studies. learn about culturally
Attain proficiency tremendous freedom He believed exposure diverse communities
in musical skills, within music learning to music, an expanded and music, through
such as musical theory in terms of the understanding of how this strategy of
reading and types of instructional to listen, and the differentiated
writing, singing and activities they use and training of gross and learning styles of
part-singing. how they sequence fine motor skills would different cultures.
and plan instruction, yield faster progress
Create and as long as they pay later in students’
compose, using attention. musical studies.
their known
musical vocabulary
at each
developmental
level.
Elements/Components: The musical Elemental music Audiation: Gordon The vital enjoyment of Attentive Learning is
What elements are material consisting of borduns believed that rhythmic movement the initial ear
included in this emphasized is the and ostinatos should audiation is and the confidence that opening experience
methodology, and mother-tongue be intertwined with fundamental to music it gives; the ability to that teachers
explain each one folksong which are movement and speech learning and music hear, understand and facilitate for
(syllable systems, songs that are “Simple, basic, making. express music in students, students
movement elements, concentrated first natural, and close to movement, the call may be challenged
improvisation, etc)? from a child’s the child’s world of Acquisition of a sense made on the pupil to through questions to
native music or of thought and fantasy.” of syntax and context improvise and develop learn for instruments,
their own country. You allow the students or, in cognitive freely his own ideas. melodic segment,
1.Aural – oral – to figure it out and psychologists’ terms, etc.
kinesthetic take ownership of their developing cognitive
 5
2. Written – own ideas. Element of schemas is Activities such as Engaged Listening
Pictoral – abstract. Play. fundamental to music rhythmic dictation, Students of every
3. Read – understanding and composition, and the age, are drawn to
recognized forms the core of performance of possibilities for
audiation. rhythmic canons and interactive
Steady beat is also polyrhythms can engagement with
emphasized by accommodate a wide music.
“level” not “grade” range of meters and
using pentatonic vocabulary. Enactive Listening is
scale in the Vocabulary can be essentially the aural
beginning. organized according to learning of a song or
number of subdivisions musical selection
of the pulse. through a process of
oral transmission.

Creating, absolute
and unconditional
internalization of
sonic structures by
students are achieved
and demonstrated
through the creation
of new musical
expressions.
Teaching process: Hand signals are Speech: The natural In his model of Rhythmic dictation: Five phrases for
What does the used to show tonal rhythm of speech is an formal learning, The teacher plays Teaching Music
teaching process relationships. Hand important ingredient in Gordon draws on the several measures of Globally
include (What is signs are used for the Orff process. Orff work of Gagne. He music repeatedly, the
taught first, second, the singer to teachers believe that identifies the first four rhythm of which the 1.Attentive
third)? visualize what the out of speech comes types of learning students dictate. Listening: Multiple
note or tone is rhythm. Melody then (multiple- Rhythms: Students directed listening
doing. evolves from these discrimination, clap or step a experiences focused
speech rhythms. (Start concept learning, predetermined on structures.
The moveable “do” with simple chants principle learning, rhythmic pattern. The
is practiced and such as nursery and problem solving.) teacher can experiment 2. Engaged
utilized through the rhymes) easiest to do as conceptual types of with augmentation and Listening: Active
use of the “do” clef through ostinato, a learning, because the diminution. Participation while
meaning the tonic listening.
 6
moves around and short pattern that learner is not told the
Small group activities:
is not just the repeats over and over. correct answer. Students work together 3. Enactive
starting note. Body Percussion: in small groups to Listening: Continued
Once something is According to Gordon, accomplish rhythmic listening to
Solfege can be used experienced in the the student learns by tasks, encouraging performance level.
through the use of body, it is usually not learning and creates cooperation.
hand signs, as a forgotten. The process new and unique ideas. Ball games: Students 4. Creating World
way to visualize the of teaching In Gordon’s formal pass a ball around in Music: Invetion of
pitches being sung: instruments is done music learning model, different ways, extensions,
using body percussion this becomes exploring naturally improvisations,
(snap, clap, pat, and inference learning. occurring rhythm and compositions.
stamp). It can be used developing motor 5. Integrating World
to teach a phrase, or skills. Music: Connection
rhythm of a song or Tempos: Students of music to life and
chant, or to highlight work to discover curriculum.
words. different tempos that
Bordun: The bordun is can be applied to
an open fifth on the classical repertoire,
first and fifth scale familiar songs, or
degrees. This strategy everyday movements.
works well with The teacher can also
pentatonic melodies or lead in experimenting
simple harmonic with tempo
changes such as I-V. relationships and
Four types of borduns adjustment.
include 1. Simple 2.
broken 3.crossover
4.level. tonic is always
on bottom
Limitations: What, if Teaches only basic Doesn’t teach actual Has had criticism to Limits student’s Can be seen as
any limitations, do you music theory and skill on pitched be too narrow and understanding of music unneeded as students
see to this approach? notation. instruments. limited in scope to theory by relying on should be learning
Provides a limited provide students solfege and does not modern instruments
Relies on arbitrary understanding of access to the diversity develop songwriting opposed to
solfege hand signs, music theory and of musical belief ability. instruments they will
rhythm solmization independent song systems, practices, never see again.
or verbalization and writing. and groups that exist.
 7
unusual musical Can be overwhelming Could become a
shorthand notation. for younger students problem if it
in the beginning somehow offends
stages of instruction someones culture.
by focusing only on
the complexities of
music
Benefits: What Appeals to younger Works well with Breaks down Appeals to young kids Students get to
benefits do you see to children using young children and for Audiation into stages through movement and experience new
this approach? physical movement those with special that can be delved dance. instruments from
(walking, running, needs, and helps kids into with more different cultures to
marching, clapping) become comfortable understanding. Can help a student experience sounds
solving problems with Learning sequences truly understand from all over the
Meant to make their peers. are given to teach rhythm on a deeper world.
music fun with a students more about level.
primary goal of Improves dexterity, music theory at a Students will remain
instilling a life-long and coordination in a younger age. more focused on
love of learning. stress free, play-like something they don’t
environment see often, thus the
new instruments will
grab the students
attention.
Compare: 1) What elements do you see as similarities between the approaches? (List and describe at least 6)

Contrast: What elements do you see as unique to each methods’s 1) Goals and elements, 2) Approaches to student
creativity, 3) Use of movement, 4) Instrumental training/use, 5) Music reading and writing, 6) Teaching processes and
music used in instruction?
 8

Evaluate: Is there one approach that stands out to you and how you like to teach and learn or do you think a blend of
approaches is valuable? Name the approach that you feel works best, and describe why you feel this is the case; OR
how could you combine elements of the approaches to create a method that would work for you in the classroom? Add
a few details about what your future classroom might "look" or "sound" like, giving examples of activities the students
might do. Add a closing section that describes the overall goal for your students musically (what do you hope they
might leave your elementary classroom knowing or being able to do?)