A look at the brief biographies of Carl Orff, Zoltan Kodaly and Emile Jacques-Dalcroze, with a focus on their musical philosophies and approaches, their strengths and weaknesses and the impact on teaching music to children.
3,150 words (approx. 12.6 pages), 7 sources, 1993, $ 111.95
From the Paper "Carl Orff, Zoltan Kodaly, and Emile Jaques-Dalcroze brought new influences to the process of teaching music to elementary school children in this country. Their creative approaches dramatically changed how 20th C. classroom teachers thought about and went about the task of encouraging small children in their musical development. This research will provide brief biographies of these three music educators, outline their philosophies, teaching approaches and methodologies, and discuss their relative strengths and weaknesses as applied to teaching music to elementary school children.
Carl Orff was a German-born composer who lived from 1895 until 1982. He is known in music education circles for his innovative use of percussion and simple melodic instruments with children, but he did not originally set out to teach children..."
Abstract The paper traces the development of music education and discusses the four major international styles that have had a great impact on the way music is taught, namely, the Kodaly method, the Orff Schulwerk, the Suzuki method and the Dalcroze method. The paper talks about groups who raise money and stress the importance for music in our schools and focuses on VH1's Save the Music Foundation, The National Association for Music Education, and the American Music Conference.
From the Paper "Music education seems to always have been a subject on the minds of many Americans. After its beginning and the growth of the subject, schools seemed to either embrace it, or shove it off into a dark corner. Many argue that children's minds react from musical stimulation, and that children who are taught the art of music may excel better long-term throughout their lives. There are different ways of presenting the teaching of music, and these styles came from all over the world. Programs have been started to save music programs in today's schools, and it seems that music will somehow always exist in the education of the youth."
Abstract The paper states that learning styles are just as different as the individuals who utilize the various styles of learning. Taking these into consideration in the use of instructional strategies in music, education has long-term payoffs for the student in relation to educational outcomes. The paper examines the possibilities of using the Dunn and Dunn Model to teach music, specifically eurhythmics, a method of learning and experiencing music through movement. The paper notes that music instruction and the learning derived from instruction are referred to as declarative knowledge, while practical knowledge is the ability of the individuals to use sensory motor and cognitive skills.
Outline:
Introduction
Meaning and Ability
Types of Individual Learners
Five Characteristics of Learning
Intrinsic (Inner) & Extrinsic (External) Motivation
Application of Different Strategies
Performance Marks
Sensory Integration Into Music Categories
The Dalcroze Approach to Music Education
Summary and Conclusion
From the Paper "There are both intrinsic and extrinsic rewards that motivate students meaning that they are motivated 'internally' or 'externally' by the promise of the reward. The learning environment is a 'key' aspect of the motivation of the student in learning and the work of Hallam states that the learning environment is the combined: "...complex interactions between the characteristics of the individual and the environment that they find themselves. [And that it also] refers to the cultural climate at the time, the place of learning, and the people who are in it, including teachers, family and peers."
