Curriculum is a tricky thing to talk about. Here we go...
- In its purest form, curriculum is everything a student experiences in the topic of school.
- The curriculum begins with the first things a child sees and hears when they walk through the door or when they step onto the bus.
- It is all learning about their school world. I base my curriculum around this idea that curriculum is the entire school experience.
- I foster an environment where my students can feel safe and encouraged to explore, be curious, ask questions and create freely. I want my students to have a lifelong relationship with arts making.
- My curriculum is process driven not product driven, even at concert time.. Value is placed on gains made from an activity not how well students can perform a specific song at a given moment. Students learn about themselves and their world. They learn how they learn best and how to use this information to be more successful in all areas of their learning.
I use all art modalities to teach:
I vary my teaching modalities as well and include the following:
The Orff Approach
The Orff Method is a way of teaching children about music that engages their mind and body through a mixture of singing, dancing, acting and the use of percussion instruments (i.e. xylophones, metallophones, glockenspiels). Lessons are presented with an element of "play" helping the children learn at their own level of understanding.
The Kodaly Method
The Kodaly Method's philosophy is that music education is most effective when started early and that everyone is capable of musical literacy. Singing is stressed as the foundation for musicianship and the use of folk and composed music of high artistic value.
The Dalcroze Method
The Dalcroze method, also known as Dalcroze Eurhythmics, is another approach used by educators to teach musical concepts. This method, which connects music, movement, mind, and body, was developed by Emile Jaques-Dalcroze.
This early-childhood approach sometimes referred to as the Sensory-Motor Approach to Music was developed by the violinist Madeleine Carabo-Cone. This approach involves using props, costumes, and toys for children to learn basic musical concepts of staff, note duration, and the piano keyboard. The concrete environment of the specially planned classroom allows the child to learn the fundamentals of music by exploring through touch.
Deriving influence from both Kodály methodology and Gordon's Music Learning Theory, Conversational Solfege was developed by Dr. John M. Feierabend, chair of music education at the Hartt School at the University of Hartford. The philosophy of this method is to view music as an aural art with a literature based curriculum. The sequence of this methodology involves a 12 step process to teach music literacy. Steps include rhythm and tonal patterns and decoding the patterns using syllables and notation. Unlike traditional Kodály method, this method follows Kodály's actual instructions and uses a sequence based on American folk songs instead of using the sequence that is used in Hungary based on Hungarian folk songs.
Kiddos will have access to many instruments and music technology. An eclectic program of many music skills is offered to my students to help them understand music concepts. All students are involved in a cumulative program of singing, moving, reading and writing, playing instruments, and listening skills throughout the year. Emphasis is given to the enjoyment of the program and success through performance.
We are well equipped with a full Orff Instrumentarium (as described to the left), keyboards, handbells, a class set of ukuleles, soprano recorders, alto recorders, non pitched percussion interments, jump bands, scarves, ribbon wands, poi poi, tinikling rods, and boomwhackers! We also have access to a full iPad and computer lab!!!