Movement in the Elementary Music Classroom: Good Citizenship in Action(S) Michelle Denise Jones
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Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2014 Movement in the Elementary Music Classroom: Good Citizenship in Action(s) Michelle Denise Jones Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC MOVEMENT IN THE ELEMENTARY MUSIC CLASSROOM: GOOD CITIZENSHIP IN ACTION(S) By MICHELLE DENISE JONES A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Spring Semester, 2014 Michelle Denise Jones defended this thesis on April 15, 2014. The members of the supervisory committee were: Michael Bakan Professor Directing Thesis Margaret Jackson Committee Member Alice-Ann Darrow Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the thesis has been approved in accordance with university requirements. ii For the Children's Association for Maximum Potential, my star and guiding lamp. iii ACKNOWLEDGEMENTS I owe so much to my mentor, Dr. Michael Bakan, who has provided patient guidance throughout my Master’s program. I value our many fruitful discussions about the nature of dis/diff/ability and of the continuum between conformity and creativity. Dr. Meg Jackson opened many doors by introducing me to thought-provoking theoretical texts, including Interaction Ritual Chains, and challenging me to approach each thing I write from all possible directions. Dr. Alice-Ann Darrow has graciously given her input to this project and provided valuable leads on behavioral writings for educators. Thanks to my informants Natalie and Marsha, who welcomed me into their classrooms and gave so generously of their time and insights. I am fortunate to have gotten to work with two talented teachers who approach their classrooms in such different ways. To my parents, thank you for the stargazing, physics lectures, aquariums, and hot air balloon festivals. For adventures at museums and archives. For home science experiments, music lessons, and all of those trips to the library. For teaching me, above all, the wonder of questioning and exploring the world around me. To all of my family and friends, and to my wonderful partner, thank you for your constant love and support. A dear mentor recently asked, “Do you experience daily joy?” Thanks to all of you, I can honestly answer, “Yes.” iv TABLE OF CONTENTS LIST OF FIGURES…………………………………………………………………………….vii ABSTRACT ................................................................................................................................ viii PROLOGUE: USKAGING WITH THE BLIND FIGHTING LLAMAS ...............................1 CHAPTER 1: INTRODUCTION .................................................................................................4 Background………………………………………………………………………………..4 Purpose and Significance………………………………………………………………….5 Survey of Literature……………………………………………………………………….6 Theoretical Approach……………………………………………………………………...8 Method…………………………………………………………………………………...11 My Informants…………………………………………………………………………...12 Randall Collins, Interaction Ritual Chains, and Ritual in Music Education ……………14 CHAPTER 2: BUILDING SOCIAL SKILLS………………………………………………..18 Musicality as a Social Skill………………………………………………………………19 Participation as a Social Skill……………………………………………………………24 Practicing Modes of Sociability and Affection through Musical Movement……………26 Conclusion……………………………………………………………………………….28 CHAPTER 3: BEHAVIOR DEVELOPMENT AND MANAGEMENT……………………30 Behavior Modification…………………………………………………………………...36 Proximity………………………………………………………………………...37 Eye Contact and Coded Gesture…………………………………………………40 Physical Touch…………………………………………………………………...46 v Out Spaces……………………………………………………………………….49 Behavior Modeling………………………………………………………………………55 Engagement………………………………………………………………………………63 Behavior Inclusion and Variant Behaviors………………………………………………72 Conclusion……………………………………………………………………………….84 CHAPTER 4: TEACHING ACADEMIC SKILLS…………………………………………..86 Non-musical Academic Skills……………………………………………………………86 Musical Skills……………………………………………………………………………87 Experiencing Musical Elements…………………………………………………87 Musical Expression and Improvisation…………………………………………..89 Musical Coordination…………………………………………………………….93 Motor Skills for Playing Instruments…………………………………………….95 Memory Aid and Reinforcement of Lyrics………………………………………98 Musical Literacy…………………………………………………………………99 Conclusion……………………………………………………………………………..101 CHAPTER 5: CONCLUSION……………………………………………………………….102 APPENDIX A: ASL HANDSHAPES………………………………………………………..104 APPENDIX B: IRB APPROVAL LETTER………………………………………………...105 APPENDIX C: SAMPLE ADULT CONSENT FORM…………………………………….107 APPENDIX D: SAMPLE CHILD CONSENT FORM……………………………………..109 BIBLIOGRAPHY……………………………………………………………………………..111 BIOGRAPHICAL SKETCH…………………………………………………………………116 vi LIST OF FIGURES Figure P.1 Visual pun………………………………………………………………………….....1 Figure 3.1 “Hello, How Do You Do?”………………………………………………….………42 Figure 3.2 The wiggle finger……………………………………………………………………43 Figure 3.3 “Shh”………………………………………………………………………………...44 Figure 3.4 Ta ti-ti………………………………………………………………………………..56 Figure 3.5 Natalie gives directions……………………………………………………………...59 Figure 3.6 “Clap Your Hands Together”………………………………………………………..75 Figure 4.1 Choral reading……………………………………………………………………….94 Figure 4.2 “Yum Drum”………………………………………………………………………...96 Figure 4.3 “Yum Drum” continued……………………………………………………………..97 Figure A.1 Select ASL handshapes……………………………………………………………104 vii ABSTRACT The pairing of children’s songs with games, dances, and visually representational motions is an important part of the elementary general music classroom and is used especially frequently with the youngest age group (which I am defining here as spanning from preschool through second grade). Teachers cite a variety of reasons for incorporating these songs into their curricula: gestures can be used to reinforce musical or academic concepts, increase student engagement, and decrease problematic behaviors by providing productive outlets through movement. To all of these ends, teachers combine music with movement in equipping children with socially appropriate adaptive behavior. The particular ways in which these movements are used in the classroom, as well as the teachers’ motivations for doing so, are, moreover, indicative of value systems that are emphasized and reinforced within the curricular agendas of American public education. This thesis primarily investigates ways in which musical movement activities are used in elementary classrooms for the purpose of teaching social, behavioral, and academic skills. I also address the social functions of physical gesture in the elementary music classroom and how teachers employ them intentionally to manage behavior and teach class-relevant skills. I explore implications of the competencies learned through movement in elementary music classrooms for enculturating acceptable behavior and shaping children into socially healthy adults. This thesis delves into the elementary music classroom as a stage for reinforcing social synchrony and experimenting with the boundary between creativity and deviance. My case studies for this thesis center on the classrooms of two elementary music teachers in Tallahassee, Florida, where I observed and conducted interviews with teachers and some of their students. Through this thesis, I explore ways in which both planned and habitual modes of viii enculturation through music and gesture are conceived of in the classroom and in pedagogy texts. Theories contributed by microsociologist Randall Collins serve as a lens for interpreting the experiences of these teachers and students and for recontextualizing skills learned in music classrooms as contributing to students' social development. ix PROLOGUE USKAGING WITH THE BLIND FIGHTING LLAMAS I walked into work to find Cherylanne and Amelia sitting at the table chatting with day staff. Cherylanne was wearing my favorite t-shirt of hers—black with roses, two crossed revolvers, and a healthy smattering of rhinestones. Amelia wheeled over to me, gave an earsplitting laugh when I signed "WHAT’S-UP+BUTTER+CUP1," and complimented me on my skirt. It was 2011 and I was working at a residential school for the blind in the southern United States. Rather than naming the school, I'll just say that Andrew, one of my students, often proposed we change our mascot to the Blind Fighting Llamas. I don't think that ever happened, though I secretly wish it would. Most of my students were young adults with multiple impairments who were preparing to enter the world (or, for most of them, return to live with their families) as they aged out of many of the services and schooling available to young people with special needs. As their instructors, we were expected to prepare our students to interact with other adults in appropriate and constructive ways and to be as independent as possible in their everyday lives. In most ways, this involved what you might expect: teaching life skills like cooking and cleaning, along with social skills to make their relationships with future co-workers, friends, and caretakers more fruitful. But to some degree we were also teaching conformity, not for the sake of conformity 1 This is a joke, similar to English visual puns, like this one: + C + Figure P.1 Visual pun Note: all illustrations are drawn by the author, unless cited otherwise 1 itself, but as a survival skill. By reinforcing behavioral norms, we hoped that